Tag Archives: Tim Drake

A Detective Comics #965 Review – Robin Resurrected

TITLE: Detective Comics #965
AUTHOR: James Tynion IV
PENCILLER: Eddy Barrows
PUBLISHER: DC Comics
PRICE: $2.99
RELEASED: September 27, 2017

By Rob Siebert
Editor, Fanboy Wonder

Here’s something I don’t think I’ve ever shared: My first trade paperback was Batman: A Lonely Place of Dying. I picked it up during what might have been my first ever trip to a comic shop in the mid-90s. I had no idea what the story was about. Just that it had Batman and Robin on the cover. At this point they still looked pretty similar to Adam West and Burt Ward on the classic TV show. So I found myself pulled in. It remains in my library to this day. It’s easily the most tattered and worn trade I own. But it’s earned its spot up there. A Lonely Place of Dying introduced me to Batman’s current status quo. It’s how I learned about Jason Todd. It was my first Nightwing story. It also introduced me to Tim Drake, a character I would practically grow up alongside.

That’s what makes Detective Comics #965 a special issue for me. I’m sure it’s special for a lot of fans my age. It’s a love letter to A Lonely Place of Dying and much of the early Tim Drake material, bringing it into modern canon. We also see an intriguing component from Geoff Johns’ work with the character in Teen Titans. For those of us who hated what happened to Tim in the New 52 reboot, it’s fanboy nirvana. I imagine this is how die-hard Flash fans felt when Wally West came back in DC Universe Rebirth.

It’s been quite awhile since Tim was imprisoned by the mysterious Mister Oz. But what drew this ominous hooded figure to Red Robin in the first place? We get the answer to that question as Tim prepares to finally strike back. But in attempting to escape, our hero will come face with the last person he ever expected to see…

During our first seven pages, we alternate between present day and flashbacks to Tim’s early days with Bruce Wayne and Dick Grayson. Most of this material is pulled from A Lonely Place of Dying. James Tynion IV, Eddy Barrows, and our creative team focus on very specific moments from that story. For the most part, they pull the exact dialogue written by Marv Wolfman, and take care to honor but not duplicate the work done by artists like Jim Aparo and George Perez. Clothing and hairstyles have been updated, and the classic Robin costume has been switched out for its New 52 counterpart (shown left). I think we can also assume certain specifics from Lonely haven’t translated into modern canon. But by and large, the spirit of that story is intact. That’s such a beautiful thing to see. For so long,the events of Lonely have, for whatever reason, been glossed over. Even before the New 52, writers would always allude to Tim deducing Batman’s identity on its own. But it would rarely go further than that, presumably because certain aspects (Tim seeing Batman and Robin on TV, for example) didn’t match current continuity. But this material deserves as much attention as any part of Batman’s history. In that respect, this is justice done.

Detective Comics #965, and Tynion’s run on the series as a whole, also resurrects an idea introduced in the mid to late-90s: That Tim Drake has no intention of being Robin forever. He certainly doesn’t want to be Batman. His superhero career has an expiration date, and that has weighed heavily on his actions as of late. One of the things that makes Tim distinct amongst his fellow Robins is his independence. He’s willing to disagree with Batman, even if it creates a conflict between them. That’s a trait that suits Tim well, and Tynion uses it to inject some really nice drama into the big reveal later in the issue.

Eddy Barrows compliments Tynion’s writing very well. So I’m always happy to see him on Detective. He hits all the right emotional notes for the retro Tim Drake material. He made me feel like I was actually flipping through A Lonely Place of Dying, which is above and beyond what they were going for here. Colorist Ariano Lucas also lends a very nice sepia tone to those flashback scenes.

There are, however, a pair of light stumbles in the issue. On the page at left, Barrows has the unenviable task of recreating the debut of Tim Drake’s Robin costume from Batman #457 (shown left). By and large, he does very well. But that face is a miss. Something about the simple white slits for the eyes combined with the smile, which is slightly too big. Two pages prior, Barrows and the artistic team hit another smile related stumble with Tim. They weren’t aiming for creepy. But creepy is what we got.

I called this issue a love letter to Tim Drake. But James Tynion’s entire run on Detective Comics seems like a tribute to beloved ’90s characters either tossed aside or gutted in recent years. We’re talking Tim Drake, Cassandra Cain, Stephanie Brown, and even Anarky. It’s very much in tune with what the DC Rebirth initiative has been about, in that it celebrates the legacy of these characters while continuing to tell new stories. If that’s not Detective Comics #965 in a nutshell, I don’t know what is.

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A Teen Titans: Damian Knows Best Review – A Return to Glory?

TITLE: Teen Titans, Vol. 1: Damian Knows Best
AUTHOR: Benjamin Percy
PENCILLERS: Jonboy Meyers, Diogenes Nieves, Khoi Pham
COLLECTS: Teen Titans #15Teen Titans Rebirth #1
FORMAT: Softcover
PUBLISHER: DC Comics
PRICE: $16.99
RELEASED:
June 14, 2017

By Rob Siebert
Editor, Fanboy Wonder

The Teen Titans have had a pretty awesome run on television over the last decade and a half. The comics, on the other hand? They’ve been a mixed bag. But this new Teen Titans series under the DC Rebirth banner offered yet another fresh start for one of the most iconic and prolific superhero teams in all of comics. A chance to make the Teen Titans great again!

I wouldn’t call Damian Knows Best a great book. But these still manage to be the best Teen Titans comics we’ve gotten in several years. Since 2011 at the very least.

In the wake of his 13th birthday, Damian Wayne, a.k.a. Robin, summons his own team of young heroes to combat a threat from his past. Damian’s grandfather, Ra’s al Ghul, has sent his own team of young assassins after the Boy Wonder. Their mission? Either bring Damian back into the League of Assassins or kill him. But as his new teammates are about to find out, Damian isn’t one to make things easy.

Damian should have been on the Teen Titans a long time ago. That last really good Teen Titans story I alluded to above? It sees Damian barge in and briefly anoint himself team leader. Why it took so long to get him back on the team is beyond me. Sticking a character as abrasive as Damian in a team environment is a natural source for tension and conflict. Making it a team of adolescents ups the ante even more. It’s an update this book has desperately needed since…well, 2011.

Perennial team members Starfire, Beast Boy, and Raven are back. I’ve lamented previously about how the series can’t move away from them, presumably because DC wants to match the cartoon show. Plus, they’re synonymous with the iconic Wolfman/Perez era. Swapping one or two of them out for newer characters might open the door for even more new possibilities. That’s what a relaunch is supposed to be about, after all. We at least get a little of that with the inclusion of Kid Flash.

However, Ben Percy does a commendable job turning up the teen angst with most of our heroes. The common theme among them is the feeling they don’t belong anywhere. Like so many young people, they feel isolated.. That commonality that makes them feel like they belong together, instead of being lumped together for no real reason (other than editorial mandate). The opening sequence with Beast Boy is one of the character’s best in quite some time. As he behaves in his typical animated and boisterous fashion, the narration captions highlight his inner turmoil, most notably over the “death” of Tim Drake. Throw in how wonderfully drawn and colored the whole thing is, and you’ve got a knock-out intro.

That’s one of the things DC has failed to do with Teen Titans for so many years: Really amp up the teen element effectively, making this book considerably different from Justice League and the other team books out there. Need an example? Look what Mark Waid is doing in Champions. All those characters feel like teenagers trying to find their way in the world and blaze a new trail that’s different from the previous generation’s. Teen Titans doesn’t have that rebellious streak to it. But having these characters feel young and a little less sure of themselves is damn sure a step in the right direction.

Most of the Demon’s Fist characters are forgettable. They’re led by Damian’s cousin Mara. Despite being fairly forgettable herself, she has a strong origin story. She trained alongside Damian growing up, competing with him but never quite besting him. Damian was intended to lead the Demon’s Fist, but Mara took over in his absence. If you subscribe to the idea that all of Batman’s villains represent a distorted mirror image of him, then Mara would be the equivalent for Robin.

Jonboy Meyers was supposed to be the regular artist for Teen Titans. He made it through issue #1 before leaving due to “creative differences.” That’s a damn shame. Meyers breathed so much new life into this series, giving us an Anime-inspired expressiveness, and thus a sense of fun the book has sorely lacked for a long time. Make no mistake about it, the guy knows his way around a superhero action sequence. I’ll specifically cite the Kid Flash pages from the Rebirth issue as evidence.

Diogenes Nieves has the unenviable job of tagging in for Meyers in issue #2. To his credit, the transition goes about as smooth as you could ask. He gives us a couple of gorgeous pages of a rainy rooftop scene between Damian and Talia al Ghul. Still, the little quirks in Meyers’ art are still sorely missed. The same, sadly, can be said for when Khoi Pham takes over on issues #3-5. Objectively, he’s a fine artist. When it’s time for our team to rise up in issue #5, Pham nails it. It’s just that Meyers has that certain flair. Starting with it and then taking it away doesn’t do the book any favors.

Thankfully, one constant in the book is colorist Jim Charalampidis, who brings a valuable consistency to the series despite the changing artists. These pages look a touch darker than I might have expected. But it’s still the beautiful blaze of color you’d hope to see from a superhero team book like this.

It’s been quite awhile since I picked up Teen Titans on a consistent basis. This new series changed that. Did Damian Knows Best make Teen Titans great again? No. But it made the series good again. That’s more than you can say for any other book to bear it’s name in the last several years. Now, here’s hoping things stay good for quite some time. These characters, and this series deserve at least that much.

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A Batman: Night of the Monster Men Review – Hollow Monsters

Batman #7, 2016, cover, Yanick PaquetteTITLE: “Batman: Night of the Monster Men”
AUTHORS: Steve Orlando, Tom King, Tim Seeley, James Tynion IV
PENCILLERS: Riley Rossmo, Roge Antonio, Andy MacDonald
COLLECTS: Batman #79Nightwing #78Detective Comics #941942
PUBLISHER: DC Comics
CUMULATIVE PRICE: $17.94
GRAPHIC NOVEL RELEASE: March 2017

***WARNING: Spoilers lay ahead.***

By Rob Siebert
Editor, Fanboy Wonder

This “Night of the Monster Men” crossover boasts an extremely talented group of writers and artists, stars Batman and some of his more popular allies, and is even inspired by one of the very first Batman stories. It also began a week after DC “killed” Tim Drake. So there was a lot of potential here for a creative, emotional, thrill ride.

Yeah, none of that happened. “Night of the Monster Men” feels like your wife dragging you to one of your friend’s weddings. It’s an obligation you’re stuck with, so you try to make the best of it. But in the end you’re just happy to get the hell out of there.

Running through BatmanNightwing, and Detective Comics, this story sees Hugo Strange create giant monsters that attack the city. Much of Batman’s surrogate family gets wrapped up in the chaos. But despite all the innocent lives that hang in the balance, Strange’s entire plot is about Batman himself.

Batman #1, Professor Hugo Strange and the Monsters, 1940, Bob Kane and Bill FingerAll this Hugo Strange/Monster Men stuff is inspired by a story from 1940’s Batman #1 entitled “Professor Hugo Strange and the Monsters.” It’s a respectable early outing for the Dark Knight by Bill Finger and Bob Kane in which Strange creates a bunch of big ogres to terrorize the city. Matt Wagner took the same cue for his 2006 miniseries Batman and the Monster Men, which was exponentially better.

“Night of the Monster Men” suffers from a variety of problems. But chief among them is a lack of emotional stakes. That’s an odd problem to have, considering what just happened with Tim, and how many of Batman’s surrogate family members are in this fight. In the first issue, Batman repeatedly emphasizes that no one else is dying. This gives the impression that we’re going to get an overprotective Batman, frantically trying to micromanage the efforts of his partners to keep them from dying. This would be futile, of course. But it would have made a great emotional backdrop. We also had the perfect cast for such a story, with Bruce having recently trusted Batwoman to train this new crop of young heroes. And of course, we’ve got his original partner, Dick Grayson. Hugo Strange’s motive also would have been more poignant.

Instead, we mostly get a story about Batman fighting monsters. Monsters created from cadavers, no less. We can’t even go the route of, “Don’t kill the monsters! They’re people!” Later, two of our heroes are turned into monsters, but they don’t mine this for much emotion either.

Granted, they’re cool looking monsters. “Night of the Monster Men” enlists Riley Rossmo and Andy MacDonald, both of whom excel in the fantasy/horror side of things. We also have they very capable Roge Antonio, who give us a nice blend of horror and naturalism. Instead of going the ogre route, the story mostly opts for a mix of mutant aberrations and giant kaiju type monsters. They’re fun to look at, but they’d be more fun if they were more than mere physical threats to our heroes Batman. There’s little of any depth or substance to them, and what the final issue attempts to pass as such via Strange’s motivation doesn’t connect in a meaningful way. (That monster represented fear? But weren’t we supposed to be afraid of all of them?)

Detective Comics #942, monster two-page spread, 2016So instead of a coherent crossover that ties into and takes advantage of Batman’s fragile emotional state, what we essentially get is a bunch of fluff that they attempt to tie together at the end with some psych mumbo jumbo. It’s all so hollow.

“Night of the Monster Men” also suffers from being a little too long, and a little too crowded. The story struggles to give Spoiler and Orphan something to do in all of this. Like Booster Gold in his Justice League Unlimited episode, they’re mostly relegated to crowd control. There’s a cave sequence (not that cave) involving Spoiler, Orphan, and Harvey Bullock that largely feels like padding. If they’d cut that out, along with the ridiculous scene where our heroes use giant guns and harpoons on top of buildings (conveniently adored with the heroes’ insignias) to stop a monster, they’d probably have been able to trim this down from six issues to four. Five at most.

Nightwing #8 and Detective Comics #942 also make full use of the “Hugo Strange dressed as Batman” trope, as we learn that Strange himself wants to be Batman. A fine motive, though not necessary in this case. “Night of the Monster Men” would have worked fine as Strange’s attempt to spotlight Batman’s inadequacies and force him to hang up the cowl, in the process pouring salt in the wound left by Tim’s departure. Perhaps the urge to use the only piece of classic Batman/Hugo Strange imagery was too intense. Admittedly, at that point I was just happy we were finally getting a scene between two human beings, as opposed to hollow monster battles.

batman-clayface-suit-detective-comicsOn the upside, this story makes fine use of Clayface’s new status as one of Batman’s allies. He plays a practical role at first, spreading himself out to guide people out of the city. He also plays an integral role in the finale. But his highlight here, and one of the highlights in “Monster Men” as a whole, comes in Batman #8. As the Dark Knight is about to face one of the monsters head on, Clayface envelops him, effectively becoming a suit of armor. Does technically this fall under the banner of giant awful Batman robots/armor? Absolutely. But the execution is unique enough that it gets a pass from me.

“Batman and the Monster Men” offers good showings from the artists attached, and a bright spot here or there. But by and large, this was a turn off and a waste. Nightwing and Detective Comics were both on a solid course up to this point, and things were starting to look up for Batman. Hopefully we can get back to our regularly scheduled programming in short order.

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A Detective Comics #941 Review – The Dead Robin Trope

Detective Comics #941, 2016, coverTITLE: Detective Comics #941
AUTHOR: Steve Orlando, James Tynion IV
PENCILLER: Andy MacDonald. Cover by Yanick Paquette.
PUBLISHER: DC Comics
PRICE: $2.99
RELEASED: September 28, 2016

By Rob Siebert
Editor, Fanboy Wonder

Thus far, “Night of the Monster Men” has left me uninspired. Certainly not what I was hoping for after what happened with Tim Drake last issue.

The plot of this Batman/Detective Comics/Nightwing crossover is pretty straightforward. Professor Hugo Strange is unleashes a bunch of giant monsters on Gotham City. All the while, a hurricane threatens to hit the city during the attack. Batman, Batwoman, Nightwing, Gotham Girl, and various other members of the surrogate “Bat-Family” are truly in a battle against he elements. But in the wake of Tim’s “death,” the Dark Knight is having trouble allowing others to take the risks necessary to save lives.

Before we get into this issue, or “Night of the Monster Men” as a whole, let’s talk a little bit about what happened to Tim. Rumors of his demise are greatly exaggerated. During the events of Detective Comics #940, he attempted to sacrifice himself in the battle against Jacob Kane and the Colony. But the mysterious Mr. Oz, who we’ve previously seen interact with Superman, captured him. Now everyone, including Batman, believes Tim to be dead. By and large, the whole thing was well done. The art was engaging. The writing was impactful. It was a nice way to put the character on the shelf for refreshment, while also paying tribute to him.

Batman #1, portrait shot, Greg CapulloBut part of me really wishes they hadn’t done it.

I understand there are only so many routes to take with these  superhero characters. At some point, everybody’s going to have a brush with death. But now, all four characters that have been the official canonical Robin have either been killed off, or thought to be dead by almost everyone in their universe. Even Stephanie Brown, who was only Robin for about a month, has “died” and come back. What’s more, most of it has happened in just the last five years.

Let’s look at the timeline…

* 1988: Jason Todd is killed by the Joker in “A Death in the Family.”
* 2004: After a short stint as Robin, Stephanie Brown, a.k.a. the Spoiler, fakes her death.
2013: Damian Wayne is killed in battle by Heretic.
* 2014: With Batman’s help, Dick Grayson fakes his death and joins Spiral.
* 2016: Tim Drake is captured, presumed killed after a fight with the Colony.

The concept of Robin is pretty hard to swallow. It’s always been fun, but if you look at it in a real world context, there’s a definite creep factor to it. This Dead Robin trope ups that creep factor considerably. What we have here is a man continually enlisting aids from these boys, who eventually age out of their role, and all have the same black hair style. And eventually, they all die violently.

Detective Comics #941, 2016, Nightwing, Gotham GirlAm I getting carried away? Maybe. But at the very least, the storytelling in these Bat-books is getting repetitive. I’ll at least credit Tynion and the Detective Comics crew for doing it better than it’s been done in awhile.

“Night of the Monster Men” feels like it’s going to be an examination of the trust Batman puts in his partners, which he’s reconsidering after what happened to Tim. At one point in this issue, Batwoman tells him he’s in a situation he can’t control. Our hero’s response is: “I refuse to accept that scenario.”

What’s happening in Batman’s head is, thus far, the most interesting element in all of this. The trouble is there isn’t much more to latch on to in terms of meat. At least not yet. The monsters look cool enough, but we see they’re somehow created from cadavers. So while they’re obviously very threatening, we’re not invested in them much more than we would be mindless foot soldiers or zombies. Thankfully, that changes at the end of this issue.

This is my first exposure to Andy MacDonald’s work. But he and colorist John Rauch give everything a nice texture, and make solid use of splash pages and larger panels to show off these Godzilla-ish monsters. Our creators also don’t hesitate to use “They’re not alive? Let’s rip ’em to shreds!” logic when it comes to Gotham Girl fighting them.

“Night of the Monster Men” seems like a summer blockbuster that arrived late. Thus far, like many a summer blockbuster, it’s heavy on the action, but low on substance. As we’re halfway through, that doesn’t bode well. We’ve got some really good talent on these books, so I want to give them the benefit of the doubt. But I don’t have high hopes.

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A Detective Comics #939 Review – Tim Drake’s Return to Glory

Detective Comics #939, cover, Eddy BarrowsTITLE: Detective Comics #939
AUTHOR: James Tynion IV
PENCILLER: Eddy Barrows
PUBLISHER: DC Comics
PRICE: $2.99
RELEASED: August 24, 2016

***WARNING: Spoilers lay ahead.***

By Rob Siebert
Editor, Fanboy Wonder

Did any character get a more of a raw deal in the New 52 than Tim Drake? Not only was he put in a horrendous new costume, but his 20-year history was compressed and retconned to the point that we were essentially dealing with a new character. Almost four years later, and things aren’t much better for him.

That being said, Tim Drake fans should send James Tynion IV a thank you note. Detective Comics #939 is the best Tim Drake story I’ve read in years. New 52 Red Robin may finally become more than a shell of his pre-reboot self, and really set himself apart from his “brothers” in Batman’s surrogate family. Though in a way it’s a shame, as it’s looking like he’ll soon be either retired or dead…

The quaint team of heroes assembled by Batman and Batwoman have begun to mount a comeback against the military force Jacob Kane has dedicated to eliminating caped heroes in Gotham. But as drones prepare to swarm the city, Kate Kane suspects Batman knows more than he’s letting on about her father’s efforts. Meanwhile, Tim Drake ponders a future without superheroics. But he may not live to see such a future, after he makes a drastic choice that terrifies his teammates.

Detective Comics #939, Tim and Steph, Eddy BarrowsSince Tynion came aboard Detective Comics, Tim has been debating whether to leave Gotham to attend Ivy University full time. This is consistent with the Tim Drake we often saw in the late ’90s and early ’00s. At that point, Tim was unsure of his future as a superhero, often insecure when comparing himself to Dick Grayson and the like. This college storyline seems to play off that idea. As much of a Tim Drake fan as I am, seeing him walk away might not be the worst thing at this point. Batman has a lot of legacy characters that tend to simply drift in the status quo, serving no real purpose. Letting Tim hang up his cape might freshen up his character, and his relationships with the active heroes. And as a bonus, things would be a little less crowded in Gotham.

But of course, Detective Comics is really about Batwoman these days, giving her the spotlight she deserves. What stands out prominently about Tynion’s take on her is the relationship she has with Batman. They’ve been established as cousins, and early in the issue we see a young Kate try to comfort Bruce Wayne at his parents’ funeral. Because they have that deep-rooted connection, she’s able to talk to him in a way few people can. Her words have weight with him, as illustrated when she calls him out for keeping something from her, and he’s forced to admit fault. How often does that happen to Batman? She may be his cousin, but Kate often acts like his big sister.

I’ve been mostly pleased with Eddy Barrows’ work on this series thus far. In recent issues he and the other artists have emphasized certain panels, usually those that transition to another scene, by adjusting to a more painterly style. The above image of Stephanie is an example. Often it will occur when something dramatic or important is said. Other times it just enhances a nice character shot. It takes some getting used to. But it’s a fun way to liven up dialogue scenes, and can leave lasting impressions.

Clayface, Detective Comics #939, 2016Barrows is also very good at showing us the dichotomy of Basil Karlo, a.k.a. Clayface. Case in point, the page at right. On one hand, we’ve got a great shot of this bulky, gooey monster. But in the next panel, that same monster almost looks like a sad puppy. Here’s hoping this book devotes some more time to Basil in the near future. We could potentially see some really good stuff here.

Barrows does love that legs spread and knees bent pose, doesn’t he? We saw Batman in this pose in issue #934, and now Tim. On the cover, no less. I opted for the Rafael Albuquerque variant.

Like Tim Drake, Detective Comics is better than it’s been in quite some time. In terms of consistency, we’re talking pre-New 52. This book isn’t simply housing for Batman’s legacy characters. It’s in contention for the best Bat-book on the stands. My only question now is whether it’ll be down a Robin going forward…

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A Justice League #52 Review – Aren’t You Forgetting Something?

Justice League #52, 2016TITLE: Justice League #52
AUTHOR: Dan Jurgens
PENCILLER: Tom Grummett. Cover by Paul Pelletier.
PUBLISBER: DC Comics
PRICE: $3.99
RELEASED: June 22, 2016

***WARNING: Spoilers lay ahead.***

By Rob Siebert
Editor, Fanboy

For such a smart man, Lex Luthor makes a pretty big mistake in the design of his Superman armor. It’s a pretty obvious one. If you’re looking for it, it’s right there on the cover…

Lex Luthor and the world at large are still reeling from the death of Superman. Having just returned from Apokolips after the events of Darkseid War, Luthor is prepared to assume a new role as Metropolis’ new Man of Steel. The question is, why? Why would Luthor want to assume the role once occupied by his nemesis?

This move for Luthor makes sense to me. He’s always wanted to be revered as a savior the way Superman is. So it’s believable that he would try to step in and take Superman’s place, even wearing the same emblem and cape. And of course, Luthor has a much darker approach to things. His attempt at reasoning with a gunman is to give him a choice between paralysis and death.

Justice League #52, Luthors

But one of the elements that makes Lex so intriguing is the sense of nobility that’s mixed with the narcissism and greed. As he should, Dan Jurgens brings that to the forefront here. We see Lex does indeed love his currently comatose sister Lena, and he wants to prove to her that he can be a good man. Hearing him speak of himself in that regard, and watching him reinvent himself in Superman’s image is surreal in the best possible way.

Tom Grummett, no stranger to Superman books, turns in a commendable performance here. His style is a fascinating mix or characters with an animated look, conveying emotions that feel very real. He’s a very good “acting” artist, in that sense. His Luthor looks like something you’d expect to see in a superhero comic. But his expressions aren’t dynamic or cartoony. The Lex we see here, regardless of the scenario he’s in, is stoic and reserved. It’s exactly the way he should be. It’s a really interesting balance Grummett has been able to do it at least as far back as his work on Batman: A Lonely Place of Dying. That’s right, folks. Tom Grummett helped create Tim Drake.

Lex Luthor, Justice League #52, 2016, Tom GrummettNow, let’s get to that armor he’s wearing. I don’t know who designed this thing, but it’s got a big logic flaw: There’s no headpiece. Luther stops a mugging in this issue, and gets shot at in the process. The bullets bounce off the armor, of course. But if the muggers had simply aimed a bit higher and SHOT HIM IN THE HEAD all their problems would have been solved. This flaw in logic not only makes the muggers look incredibly stupid, but it makes Luthor look stupid for not thinking of it. It’s not limited to this issue, either. In Action Comics #958 (also written by Jurgens), there’s a moment where Doomsday, the gigantic indestructible monster that killed Superman, grabs Luthor by his head. This is in the middle of a battle! Luther’s head could, and should, have been crushed like a grape.

Here’s an idea: Why not get him a retractable, clear helmet like Buzz Lightyear had? You know, with that “whoosh thing.” I’m only half joking. It’s better than getting your head crushed by Doomsday.

This volume of Justice League meets its end here. Though it obviously doesn’t so much serve to send the series off, as it does set up the events unfolding in Action Comics. That’s fair enough. It’s not like the League is disbanding, or we’re getting a new roster or anything. And if you are indeed reading Action Comics, you’ll want to pick this up.

Image 1 from insidepulse.com. Image 2 from batman-news.com. 

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A Detective Comics #934 Review – Rebirth and Redemption

Detective Comics #934, 2016, Eddy BarrowsTITLE: Detective Comics #934
AUTHOR: James Tynion IV
PENCILLER: Eddy Barrows
PUBLISHER: DC Comics
PRICE: $2.99
RELEASED: June 8, 2016

***WARNING: Spoilers lay ahead.***

By Rob Siebert
Editor, Fanboy Wonder

I dig this issue for no other reason than it rights a wrong that’s been present since 2011. It fixes the Red Robin costume. That thing had been far too ugly for far too long. It was a damn embarassment.

But there’s plenty more to like here. A mysterious force is targeting Gotham’s heroes, some of whom are not prepared for this new threat. Batman comes to Kate Kane, a.k.a. Batwoman, to help train the next generation of heroes. Red Robin, The Spoiler, Orphan, and (of all people) Clayface are chosen to train under The Dark Knight and his new partner. A partner who knows more about Batman than he suspected, and is hungry for more knowledge. Such as what Batman isn’t saying about this new threat to costumed heroes.

This “reborn” Detective Comics has a feel-good vibe to it by virtue of its cast, which consists largely of characters who were screwed over creatively during the New 52. Tim Drake lost so much of his depth and backstory in the reboot, and given that silly costume. I’ve got high hopes that James Tynion IV, an accomplished Batman writer himself, can do some justice for him. And of course, Stephanie Brown and Cassandra Cain were wiped from continuity and didn’t return until later. With their respective backstories altered, of course. Fans may remember the shakeup in 2013 over DC not allowing Kate Kane to marry. The road to this title has been frustrating. But there’s a nice opportunity for redemption here.

Detective Comics #934, Eddy Barrows, ClayfaceOn the subject of redemption, the addition of Clayface to this team is surprising. He obviously doesn’t qualify as a costumed hero. But it plays to the idea that on some level, Batman really is trying to rehabilitate the villains he fights. The smart bet is this goes bad at some point. But in the meantime, the dynamic Basil Karlo will have with his more virtuous teammates is intriguing.

This issue is also particularly noteworthy for the return of Jean-Paul Valley, the original Azrael, and the man who replaced Bruce Wayne as Batman in the early ’90s Nightfall storyline. How he connects to the Michael Lane version of Azrael (if at all) remains to be seen, and I can only assume Knightfall is no longer canon. But longtime fans may get a kick out of seeing him again, and hopefully not for the last time. As we open the issue, Batman seems to be trying to recruit him. I’d love to see him return as either a part-time ally, or even an enemy.

It’s not often you see Batman playing the good cop. But that’s exactly what we get here, with Batwoman in the bad cop role. She comes off as a hardened drill sergeant, while Batman plays the supportive mentor. It’s a side to him that don’t see quite as regularly. At least not since Batman & Robin ended. What’s more, Batwoman gets put over really well. Especially when she surprises Bruce with the knowledge of his secret.

Eddy Barrows has earned this run on Detective Comics. He’s had memorable runs on both Nightwing and Superman and recently spent some time on Martian Manhunter. He’s good with acting, and emotion, which shows here. From the fear in Azrael’s eyes as Batman closes in, to the intensity and anger from Kate when a mysterious figure appears in her apartment. He’s able to inject sympathy into the otherwordly Clayface as well as any artist I’ve ever seen (shown above). He connects you to the characters well in that sense.  Barrows’ rendering of Batman’s cowl evokes memories of Michael Keaton’s costume from the Tim Burton movies. Inker Eber Ferreira and colorist Adriano Lucas also deserve credit for making the presentation so clean, and beautifully shadowy.

Detective Comics #934, Eddy Barrows, BatmanIt’s Barrows’ body proportioning I’m not certain about. There’s a panel in which The Spoiler is looking down on a crime in progress, and it looks like her legs are separated from her torso. There’s an otherwise beautiful shot of Batwoman swinging through the city in which our heroine looks just a bit too lanky. Barrows also has a weird thing about leg positioning, as we see in a shot of Batman swooping into a building (shown right). It’s a similar bizarre position to the one we saw on his Nightwing #1 cover.

Part of what made DC Universe: Rebirth #1 such a feel-good issue was the combination of story intrigue, and justice finally being done to characters that had gotten a raw deal in recent years (Wally West, Ted Kord, etc.) Detective Comics #934 is similar in that respect. The two issues also weren’t afraid to show us some emotion and humanity. Between Kate’s often volatile nature, the villainous tendencies of Clayface, and the presence of the younger heroes, I suspect there’ll be no shortage of those things going forward. That’s a good thing.

Image 1 from insidepulse.com. Image 2 from comicbookmovie.com.

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