Concluding the Levitz-Ordway story is this nice piece, entitled Ascension.
We begin with Luthor watching another “care package” being sent to the planet he has named Lexor and he talks with various advisors about the distracting of Batman in Gotham and the suicide of the Superman cult leader. It’s a nice scene depicting the megalomaniac Luthor we all know and love.
We then cut to Gotham where Batman breaks up a mugging of a nun and Bruce suspects something is up as this continues the trend of religious or community service related small crimes that he has been taken care of in this story.
Meanwhile, Superman has discovered the existence of Lexor, where the inhabitants have turned against the Big Blue Boy Scout, with the help of “presents” from Luthor. Included are some pieces of kryptonite, and it is clear that the natives are aware of the effects it has on Kryptonians.
Cutting back to Gotham, Batman is able to get a lead on who is behind what’s been going on.
Back to outer space, Superman does some reconnaissance and intercepts the latest care package and realizes that Luthor is behind turning the planet against him.
In Metropolis, Luthor gets paid a visit by an angry Batman who warns Lex to stay out of Gotham. And that is followed by The Man of Steel swooping in to admonish Lex for “playing God” and the issue ends with a “NEXT TIME GADGET, NEXT TIME” sort of scene from Lex as Clark swoops in to have a nice roof top chat with Bruce.
This was a quick story, but not a bad way to wrap up a pretty sweet story. It was nice that it wasn’t overly preachy about God complexes as it was clear that Luthor had bad intentions and Superman rather have had the planet take a more natural course of evolution.
Coming up next, a star studded “anniversary” 75th issue which features the Legion of Super Heroes. Then a one shot where Judd Winnick explores Superman’s reaction to the “death” of Bruce Wayne at the end of Final Crisis (hey isn’t that what the whole “new direction” was supposed to be when it was announced last fall) and in October there is a story featuring Supergirl and the Damian Wayne Robin. Well, it should make for some interesting reading at the very least.
Superman/Batman #74:
Reviewed by SteveJRogers
The Art of Batman #700
Our first illustration is something I’ve covered before. I noted how David Finch’s Batman is every bit a crepuscular creature. The looming eyes peering from the blackened face with the wind swept dramatic cape add to the dynamic of a vengeful wraith ready to strike. The use of the buildings towards a vanishing point in addition to the “moon like” Bat signal gives great depth and perspective to the drawing. It very well could be that this picture alone led to the recently announced collaboration of Finch and Grant Morrison coming this November.
I’ve recently thought how this picture reminds me of one of the rings of Dante’s Inferno. The Batman here plays the part of one of the dark spirits just above the lowest of the lowest sinners. Those sinners being the scum that preys upon Gotham City terrorizing its existence. And to continue the allegory, those who deserve eternal damnation and await their fate at the hands of the Batman.
The next entry by Dustin Nguyen is one of the most intriguing. At first blush it is suggestive of a stained glass window. The religious overtones would be obvious as Batman is an iconic figure separate from mortal men.
This portrait also suggests Batman as multi-faceted where the sum of these multi-colored parts is greater than the whole.
There is something else though. The falling leaves and the warm hues give the picture an autumnal look. Perhaps Nguyen is representing Batman as the last turn of the seasonal calendar before the dark onset of a chaotic season of crime that is winter. Cold and foreboding.
Note the circular object over Batman’s right shoulder. Is it a Sun or Moon? Batman being a creature of the night suggests Nguyen is dealing with an abstract depiction of Batman where there is color and light where there is normally darkness.
One of my favorite images from the #700 issue of Batman is the black and white submitted by Phillip Tan. Off times the lack of color makes the illustration more striking. The subtleties of light and shade give better definition and we are given a portrait of Batman that is not inundated and therefore not muted, by color. This Batman’s cape and cowl has sharpened razor like points and edges that gives this crusader a dangerous saber like quality. He also appears rising out of a cloud of smoke or steam against the night sky portentous of vengeful phantasm intent of doing his enemies’ great harm.
As a counterpoint we have a colorized depiction of Batman by Davis, Hope and Ciardo. As we usually see Batman he is in a crouched position. Although this time he seems to have alighted to the Bat signal rather than being poised to leap from it. This is also evident from the trailing batarang cable. This is a standard comic book interpretation of Batman. Well defined musculature, the usual crouch etc. What’s different is Batman, being the night creature that he is, sits exposed to the light instead of lurking in the shadows. It’s almost as if he is saying, “You called?” A dramatic entrance indeed.
Our last entry comes from Dustin Nguyen. Although this picture was included in Batman #700 it is originally credited to the Batman series “Streets of Gotham”. I love its macabre nature as it is seemingly running with the blood of a violent aftermath to a gruesome crime. I’m not sure of the true disposition of the scene. A stricken Mr. Zsazz is apparently in the foreground and perhaps that is Damien hefting the bloody blade in the center. No matter. It is Batman that is most interesting.
This Batman has risen from the darkest part of the shadows like some underworld avatar ready to pass judgment. The glowing red eyes and the horns of Lucifer, that is otherwise the Bat cowl, complete the look. Nguyen’s take on Batman here reminds me Genndy Tartakovsky’s work. Tartakovsky, you may recall, was responsible for the “Samurai Jack” cartoon series. “Jack’s” opponents often rose out of the shadows especially his arch nemesis, Aku. The purpose of Aku and these spirits were to torment Jack and slow him on his journey. Now Batman fills this role in reverse. To torment and impede the plague of crime that is the bane of Gotham City.
Your thoughts Bat readers?
Posted by Dark Knight Dave
Following my enjoyment of the first issue of the relaunched Birds of Prey series – not to mention the critical acclaim that the issue received – I had extremely high expectations when I picked up and started reading issue #2: not only were my expectations met they were most definitely exceeded.
Picking up where issue #1 left off, 'Endrun', part two of this four part story-arc, opens up in the Gotham City retail district, where Dinah and Helena – Black Canary and Huntress – have, for the first time, encountered their new adversary: White Canary.
With The Penguin lying injured and covered in his own blood the two women take stock of their situation and deduce that the only way to stop this mysterious woman might be to 'take her down' with them – music to Huntress's ears as you can imagine.
With help on its way, courtesy of Barbara Gordon – Oracle – over the comm link Black Canary and Huntress realize that the time for talking is over and engage their target. As they deliver blow upon blow the women don't appear to be making any sort of impression – indeed White Canary takes it all in her stride and counters their moves effortlessly until …
Momentarily distracted, Huntress seizes the moment, leaps at White Canary and, temporarily at least, disables her as Black Canary, losing control of her emotions, reigns down punch after punch until Zinda – Lady Blackhawk – arrives on the scene along with Hawk and Dove – Hank Hall and Dawn Grainger. At this point it's then the Birds time to be distracted as White Canary wrestles free from Huntress's grasp and, in turn, neatly evades Hawk's attack.
Back at the base, Barbara, still monitoring events via the comm link, picks up a story on a television news channel that Gregory Chasco – the villain featured at the beginning of Birds of Prey #1 – had died as the reporter goes on to say that Chasco's fatal wounds were as a result of Black Canary's actions. Furthermore, the reporter goes on to say, the channel had exclusive live footage of the 'vigilante' – Black Canary – at large on the Gotham City streets.
Aware that the police were on their way and realizing that the situation was getting way out of hand Barbara orders Black Canary and the team to stop fighting and leave the area as quickly as they can. With the authorities closing in on the scene White Canary herself realizes it's time to move on – but not before delivering a chilling warning – 'one of you will die every hour for the next six hours …'.
Outnumbered and surrounded by armed police officers there's a decision to be made – fight or flight? Unsurprisingly for a group that includes Hawk and Huntress, Black Canary chooses to fight and, as the officers open fire, the Birds respond with their own brand of non-lethal force. As the fighting intensifies a police helicopter opens fire sending Dinah and Zinda scurrying to avoid the flurry of bullets.
Apparently less concerned for his own safety Hawk watches on momentarily before taking action – sending the helicopter and its crew crashing to the ground.
Watching the events play-out on the television news channel Barbara is becoming increasingly alarmed at what's unfolding as details are revealed of Black Canary's ties to former Star City Mayor Oliver Queen who himself, the viewers are reminded, has a dark past. While still trying to make sense of events, Oracle receives a communication from a familiar source – Aleksandr Creote. A distressed Creote reveals that he and Savant – Brian Durlan – had come under attack from a woman saying that their association with the Birds meant they themselves were guilty.
Revealing to Oracle that Savant had died in the attack, and that he considers her responsible, Creote – in a genuinely shocking scene – takes his own life.
Returning to the alleyways of Gotham City, the Birds are making their way to the safety of Penguins Iceberg Lounge nightclub when they come across a television set broadcasting the evenings news feed. To Black Canary's horror the broadcast reveals not only her civilian identity and more details of her personal life but also claims that she abandoned a young Asian girl whom she'd planned to adopt when the child proved 'inconvenient'.
The issue closes with Barbara trying to come to terms with events and realizing that the strengths of the Birds – 'Canary's fists, my brain' – are being used as weapons against them: and it's now time to fight back.
As I said at the start of my review, this was a really enjoyable read that gave me everything I ask for from a comic book: the story was well paced, the art is simply fantastic, there was action aplenty, a little comedy – I like 'comedy', I don't enjoy 'silliness!' – there were acknowledgments to previous Birds legacy as well as a cast of characters with tremendous strengths that are occasionally also their weaknesses.
Regular readers will know that I'm not generally a fan of the long fight sequences often found in comics and I'll be the first to acknowledge that about a third of this issue is exactly that. However, on this occasion it seems to work for me and I think this is down to a number of factors.
Firstly, the pacing of Gail Simone's script which sees never more than a couple of pages of 'punches and kicks' before the pace changes and we, the reader, are able to catch our breath as the characters lick their wounds, consider their options and plan their next move.
Secondly, Ed Benes's page layouts are every bit as enjoyable and engaging as his illustrations. I'm sure we knew that Ed Benes is a talented artist – although I can't help but feel he's getting stronger all the while – and what's particularly caught my eye have been the panel layouts which, for me at least, give the pages a real sense of chaos, energy and excitement – if you've got a copy in front of you check out pages four to eight for an example of what I'm referring to.
As the story progresses I found myself enjoying – perhaps appreciating would be a better word – how Dinah's state changes: from plain aggression in the opening pages through resignation when confronted by armed police officers to the anguish she feels and exhibits when her identity and personal relationships are exposed on television: all perfectly captured by her varying facial expressions.
Likewise, with Barbara during and following the video call from Creote we saw, I think, the reactions of a young woman normally so used to being in control of events suddenly gripped with a realization that these particular events were beyond even her control – for now at least.
Moreover, every character in this book was a joy to behold – Huntress's thirst for action, Zinda's charming 1940s dialogue, Dove's compassion, Hawk being … well Hawk being Hawk! Returning to the comedy I mentioned previously, I enjoyed that Penguin was so immediately smitten with Dove … his reactions and comments when Dove showed him just how compassionate she is really did make me smile.
I've so far done a pretty good job of avoiding the 'who is White Canary?' speculation and I'm not going to add to it here. I've got a few ideas – one or two I'd like to believe could be true and one or two I'm hoping not.
What I do know is that Birds of Prey has returned in strength and quickly established itself amongst my favorite monthly books.
An excellent read – I cannot wait for the next installment.
Birds of Prey #2:
Reviewed by Zaius
I'd been looking forward to reading this book since it was first announced that the title was being relaunched and I'm pleased to report that my expectations were not only met but exceeded.
As a 'first issue' (of sorts) this book worked really well I thought: plenty for the long-time, committed reader while at the same time accessible and inviting for the new reader – of which there will be many I am sure.
Our story begins out on the frozen snowfields of Iceland as a lone snow-mobile makes its way towards a group of pick-up trucks and hooded, and armed, men. Standing out amongst the group one man is wearing a bright red jacket and he has a small child alongside him.
As the snow-mobile reaches it's destination the driver, a young woman, approaches the group and explains that she's brought the money – her part of the bargain – and she'd like to see the boss. The boss is the man in red, named Chasco, and the young child is a 5-year old girl called Katy, the daughter of diplomats.
Aware of the woman's identity – Dinah Lance otherwise known as Black Canary – Chasco explains that while the money is for the local man he, an American, has his own demands. Dinah's priority, however, is the young girl who she knows has a serious medical condition and needs hospital treatment immediately.
Chasco, still holding a handgun to the girls head, explains that he wants Katy's parents to hold a press conference where they should apologize for what he considers to be their war crimes and then … they should commit suicide live on-air. Then and only then will he release the girl.
Realizing that they've passed the point of no return Dinah makes a familiar gesture with her hands and, in the few seconds before the thugs realize what's happening, is joined by Zinda Blake – Lady Blackhawk – providing air-support.
With the men under fire Dinah focuses her attention on Chasco, and Katy of course, and with a series of swift blows disarms the man and knocks him to the ground. Amid the chaos young Katy has also been knocked from her feet and is lying perilously close to the edge of an ice-shelf that could collapse at any minute …
Despite being grounded Chasco has been able to recover his weapon and has young child in his sights – with his finger on the trigger Dinah has to act quickly as she let's out a trademark sonic scream, races to gather Katy just as the ice shelf cracks, leaps into the air and manages to grab hold of the waiting helicopter. Mission accomplished.
Later on, while waiting at a city hospital Dinah and Zinda receive a very unexpected call … it's none other than 'the world's premiere infojock' Barbara Gordon – Oracle – on the line from the Batcave: it's time to get the team back together. With Dinah and Zinda on board Babs turns her attention to the next member of the team: Helena Bertinelli – Huntress.
Across town, on the nice side of Gotham we are told, Hank Hall and Dawn Granger – Hawk and Dove – have engaged with a street gang known as 'The Sick Cheerleaders'. Armed and extremely dangerous the cheerleaders give as good as they take until Hawk disarms one female member of the gang and hangs her over the edge of a bridge. Fearing that Hawk is at this point out of control Dove urges her partner to release the girl – which he does but not without a chilling declaration – 'God wants a soldier'.
Later that same evening, across town in a Gotham City 'drinkin' bar' an old man is drinking alone at the bar talking to whoever will listen – at this time that whoever is the aforementioned Hank Hall and the the bar keeper, a young woman called Molly. In the corner of the bar, at this point in the company of Zinda, is a pensive Dawn Grainger – Hank is on a destructive, possibly even self-destructive path, and it's understandably worrying her – after all, he is her responsibility.
Elsewhere, Barbara, Dinah and Helena are discussing the events that have brought them back together after all this time – Babs has been sent a series of files containing sensitive, and damaging, information about people close to them including The Riddler, Power Girl … and the Birds themselves. Along with the files came a threat: each hour somebody featured in the files will die and if the Birds don't try to stop it then the information will be published for all to see.
As the three women try to understand why the threat involves them and speculate who might be behind the plan Helena realizes that they are being summoned …
High up on a city center rooftop we find none other than Oswald Cobblepot – The Penguin – under attack and pleading for his life. Standing tall in front of him, we see the outline of a mysterious female figure. With The Penguin now on the offensive (hasn't he always been pretty offensive?!) Black Canary and Huntress step in, tell The Penguin to step aside and leave things to them.
As a fight begins there's speculation as to who the mysterious woman is … Cassandra Cain? Shiva Woosan? Despite holding a numerical advantage Black Canary and Huntress prove no match for their assailant who, with the women grounded, turns her attention to The Penguin.
Desperate for news Barbara pleads with her friends over the comms link for an update – Black Canary and Huntress are down, Cobblepot is dying as the mystery figure is revealed as … The White Canary.
As I say, I had high expectations ahead of reading the book and often when that's the case I can end up feeling just a little disappointed – thankfully, and most definitely, not on this occasion.
I'd anticipated this first issue to be more like a zero issue, largely concerned with establishing – or even reestablishing – the characters so therefore it was a treat to discover so much story within the pages: so much so that I later found myself counting the pages just to see if this was a larger than usual issue (24 in case you were wondering).
The opening scenes of the story, set as they were in the snow-fields of Iceland, made for a great new beginning – atmospheric and chilling (no pun intended!) every panel filled with danger and excitement – and served as a timely reminder of the strengths of the 'Birds'.
From front cover to the last page reveal the art – Ed Benes so well complimented by colorist Nei Ruffino – was absolutely glorious. I'd expected great art but what we got again far exceeded my expectations: the attention detail, imaginative page layouts, the amount of depth to the panels themselves, the rich colors throughout … absolutely superb.
It seems almost superfluous to comment on just how real, how genuine, the dialogue and narration felt. For many, myself included I believe, Gail Simone writes THE definitive Birds of Prey and as such the voice with which she wrote the characters in this issue is very much the voice I hear when I read.
All of this and a puzzling, intriguing new villain who I'm looking forward to finding out more about … what more could one ask for?
Reading this issue felt very much like being reunited with an old friend – there was familiarity, my read felt at first challenging and became more comfortable, there was an opportunity for reminiscence and there was a realisation that life had moved on and that things will never be what they once were, and neither should they be.
Birds of Prey – it's good to have you back.
Birds of Prey #1:
Reviewed by Zaius
Greetings everyone, and welcome back to Creator Spotlight. In this piece, I take a look at the highly successful and controversial Grant Morrison. You either love him or you hate him, I love him, but what about you? Let’s take a look:
Grant Morrison is one of the most highly creative and respected comic book writers in the medium today. However, while Morrison is considered a true pioneer of the comics’ medium, his works often divide the fan base of characters such as Batman.
Morrison began his career in comics working for Near Myths magazine. It was here that he introduced his character, Gideon Stargrave, who appeared in issues three and four of the magazine. Unfortunately, the magazine only ran for five issues before cancellation. Following his work at Near Myths, Morrison found himself writing comic strips and penning various issues of the comic, Starblazer. Morrison would leave the comics scene briefly, but he would later return and begin working for Marvel UK briefly before moving over to 2000AD. While working there, Morrison along with Steve Yeowell and Brendan McCarthy would create Zenith. Zenith, a popular piece in the 2000AD magazine would consistently appear from 1987 to 1992. Zenith is responsible for Morrison landing a job at DC Comics. Morrison would propose Animal Man. Now Animal Man was a somewhat forgotten DC character who Morrison would later revive. Morrison would write the first twenty six issues of the series and the title proved to be highly successful. With Morrison’s unique prospective on the superhero genre, DC would hand him the rains to Doom Patrol in 1989. Morrison would take a rather simple group of characters and expand greatly upon the concept. 1989 would prove to be rather important role in Morrison’s career, along with Doom Patrol, Morrison would write Arkham Asylum: A Serious House on Serious Earth.
The story was released as an original graphic novel and there is no other Batman graphic novel like it. By this point in his career, Morrison had established himself as a writer who would often want the reader to read in between the panels. Arkham Asylum: A Serious House on Serious Earth was no different. At the time, Morrison felt that too many writers were taking the realistic approach to Batman; therefore he countered that with a very surreal and mythical approach. While the story was simple; Batman enters Arkham Asylum to gain the asylum back from the prisoners, Morrison did an excellent job of weaving various forms of symbolism into the story. And while the story focuses on Batman, it is very much about Amadeus Arkham and how the asylum came to be. Morrison also greatly altered some of the characterizations of many of Batman’s villains; especially the Joker. Morrison depicted the eccentric clown as a transvestite. Along with Morrison, the artwork was done by Dave McKean. McKean created a world with boundaries within Morrison’s scripted pages, it was like no other Batman comic before it, and there has been nothing like it since.
With the enormous success of Arkham Asylum: A Serious House on Serious Earth, Morrison was now a household name in the comics industry. The graphic novel has gone on to become the best-selling graphic novel of all-time. In April of 1990, DC gave Morrison five issues in the fairly new Batman title, Legends of the Dark Knight. The storyline was titled, “Gothic”, and again, Morrison incorporated some surreal and satanic themes into the plot. The book was penciled by the legendary Klaus Janson and the storyline is considered to be one of the best of the series and one of the darkest Batman stories of all time.
Throughout the 1990s, Morrison would continue to work with DC Comics but would also have work published with small publishers, and would continue to have printed material in 2000AD. During this time, Morrison would also establish his relationship with fellow Scotsman, writer Mark Millar. The two would collaborate on various projects throughout the decade. Also during this time, Morrison would write his rather epic and fan favorite run on the Justice League of America. JLA was Morrison writing fun and action-packed superhero comics, and this is my favorite run of JLA. Morrison would also begin working within the Vertigo and Wildstorm universes. Morrison would work closely with DC Comics until 2000, where after the release of JLA: Earth 2, he would leave for Marvel Comics. However, while Morrison enjoyed success at Marvel, in 2004 he returned to DC and Vertigo. Morrison would relive great success with the releases of We3 and his return to the JLA. Over the next two years at DC, Morrison would continue to be their ace with such works as Seven Soldiers of Victory, 52, and All Star Superman. However, Morrison could not keep away from the bat and in 2006, was given the rains to the Batman main title, and really the entire Batman universe.
Morrison began his Batman run with issue #655 in September. He would begin with artist Andy Kubert, who was also working with DC for the first time. The storyline was titled; “Batman and Son” and it would run until issue #658. This would mark the beginning of the highly-acclaimed “Batman R.I.P.” story arc. Morrison would then attempt a prose issue, with issue #663, “The Clown at Midnight”. While it was a bold attempt and good story, fans didn’t seem to take kindly to it. None the less, Morrison continued with act II of Batman’s demise in, “The Black Glove” storyline. Morrison would collaborate with the talents of J.H. Williams III and then the current writer/artist on Batman, Tony Daniel. After the first two issues of the storyline, “The Resurrection of Ra’s Al Ghul” would crossover into the main title for issues #670 and #671. Morrison wrote the prelude and part 4 of 7 in the storyline that would also crossover into the Robin, Nightwing, and Detective Comics titles. Morrison would then continue on with “The Black Glove” storyline that was wrapped up with issue #675. Morrison, along with Tony Daniel, would begin of his epic and controversial Batman tale, with Batman R.I.P.
For the better part of two years, Morrison had been writing Batman and everything he had been working for was leading up to Batman R.I.P. All of the issues he had written going back to the beginning with issue #655 were intricate pieces to understanding the over all story. R.I.P. began with issue #676 in May of 2008 and concluded with the Last Rites storyline, issues #682 and #683. Also that same year, Morrison penned the DC main even, Final Crisis, which ended up playing a big role in the future of the current Batman universe. While I personally feel that Morrison’s run on Batman has been unforgettable and one of the best that I’ve read in a long time, many fans feel that Morrison began writing for himself. Many readers felt that they were misled and the ending was not what they were looking for. The question I ask is; did Morrison not capture the very essence of Batman’s character? Did he not show great respect and understanding for this comic book mythology we all love?
Following a brief absence from the Batman titles, Morrison made his triumphant return in June of 2009 with the release of Batman and Robin #1. The result was an epic critical and commercial success. The first three issues of the series are considered by many to be the best written superhero comics that were published in 2009. Morrison was redeemed by fans for any of his prior Batman work. Along with great artist and close friend, Frank Quitely, Morrison was able to capture the quirky and action-packed fun that we all have come to love inside the pages of comics. However, after issue three, Frank Quitely left the title, and the book has since had a revolving panel of artists every three issues. Morrison has remained and the book has lost some of the magic that it had within those first three issues. None the less, it is still considered to be the best current Batman title currently being released.
In addition to Batman and Robin, Morrison is writing The Return of Bruce Wayne miniseries. The first issue is set to release today. The six issues miniseries will bring Bruce Wayne back to Gotham City, and will be the latest chapter in Morrison’s Batman epic which continues. Morrison is also set to return to Batman with issue #700 in June of 2010. Morrison just continues to leave a rather large stamp on the character.
Grant Morrison is widely recognized and considered to be of “rock star” status in the comic book world. There is no denying that no other creator has impacted the character of Batman like Morrison has. He has taken chances, some that haven’t always worked but others that had. He isn’t afraid of making mistakes and I feel like he has taken the Batman universe in a fresh and bold new direction that will change the future of the character forever. Love him or hate him, you have to respect him.
That concludes this entry of Creator Spotlight; I hope you enjoyed a look at the rather impressive look at the career of Grant Morrison. Next time, I will be elaborating on the fan-favorite artist, Tim Sale. Until then, tune in next time, same bat-time, same bat-channel.
Posted by Zach
Following one or two reservations – okay, I'll say it, disappointments – with the previous issue I'd really been looking forward to seeing the return of a more familiar Batgirl with this release. 'Batgirl Rising: The Flood' marks the start of a new four-part story-arc that begins aboard a train screeching along the tracks through Gotham City. From the conversation between the driver and his Control it's clear something is amiss, that the driver isn't able to stop the train. Inside one of the carriages a middle-aged man – Johnny C – with a clear grudge against Gotham City wears explosives strapped around his waste as the passengers look on in fear.
As the train dashes in and out of the next station without stopping we see Batgirl – Stephanie Brown – desperately hanging on to the last carriage as she communicates with Oracle back at the Batcave. Having pulled herself up onto the roof of the train Stephanie surveys the situation inside the car, courtesy of thermal vision, and for the first time appreciates the scale of her task.
Rejecting Oracle's suggestion that she call in backup, Steph 'tools up', asks for the train to be plunged into darkness and … CRASH … swings through a window, knocks Johnny C from his feet amid a flurry of one-liners, calmly disarms the man and, with the lighting restored, receives – and accepts – the appreciation of the grateful passengers.
Soon afterwards, with the dramatic events behind them, Commissioner Gordon approaches Stephanie with a word of thanks, a warm hand on her shoulder and a reminder to be cautious. Stephanie seems a little taken aback by Gordon's comments, and as she reflects on a job very well done, it begins to rain before, almost immediately, catching her in a downpour.
In the meantime, with the rain getting heavier and forecasts suggesting that the weather is set in for the next 24 hours, over at the Computer Sciences lab of Gotham University Barbara Gordon is at work in her office accompanied by student Wendy Harris. While Wendy works to repair some electrical equipment Barbara is reminiscing about a previous encounter with Wendy's father – The Calculator – in which she foiled his attempts to cure Wendy of her paralysis using a dangerous procedure and ground-breaking technology.
Recounting the events that led to her brother Marvin's death and her own physical condition, Wendy's emotions get the better of her and she snaps back at Barbara's well-meaning words of encouragement, before pushing Barbara further away with some harsh words. The mood changes somewhat as the two are joined by Stephanie – now out of uniform of course – who is reminded that she and Wendy have met once before, at the fundraiser for the Thompkins Clinic. As Wendy leaves the office Barbara asks Steph to follow her …
Across the city, at the offices of Elysium Tech, Commissioner Gordon and Detective Nick Gage look on bemused at the blood-soaked body of an Elysium employee who had been discovered in very mysterious circumstances – it appears at first inspection that the individual had locked himself in the room and taken his own life, however it's not at all clear how or why. With blood covering the floor and the walls around the body Detective Gage identifies an unusual smell in the air around the deceased … curious!
Returning to the space beneath Barbara's apartment building we are introduced to the 'Team Batgirl' new secret base of operations in the making – Firewall! In a fantastic, fun panel, amid the high-tech workstations we see a number of buckets and pans catching drops of water as we are reminded of the atrocious weather conditions outside. As Barbara works to establish network connectivity and discusses her concerns and frustrations about Wendy with Steph she receives an alert that there's another incident underway at the offices of Elysium. A coincidence?
As Stephanie makes her way to the Elysium facility Detective Gage is already on site investigating the earlier suicide when the alarm sounds. Drawing his weapon, and making his way to the source of the security breach, he asks one of the staff members who had been assisting him to call for GCPD back-up – with alarming consequences for the young employee.
Arriving at the scene – level 38, Restricted Research – Gage is swept off his feet as he runs into a large security guard. As he soon realizes that the man is behaving suspiciously Nick finds himself at gun-point as the guard reels off a puzzling string of binary code. As the trigger is about to be pulled the weapon is knocked to the ground by a well-aimed batarang thrown by Batgirl. As Gage and Stephanie engage in clumsy verbal flirting the guard turns, runs, leaps through a window and falls towards his death. Stephanie immediately races after the man and does her best to catch him, but she just can't hold his weight.
Later that day both Stephanie and Detective Gage are at the West Mercy mortuary, collecting the results of the security guards autopsy. As the two wait, Barbara is back at the Batcave analyzing the mans blood sample … and she comes to a startling discovery.
Ordering Stephanie to return to the Batcave, Barbara explains that the sample contains a colony of nanites that are transmitting a subtle wi-fi trace – technology that Barbara has seen before.
The issue closes at a property out in Slaughter Swamp as the rain continues to fall: sat in front of a bank of displays is none other than the aforementioned Calculator. Viewing pictures of his daughter Wendy, he turns to the lifeless, decaying body of his son Marvin and declares that they are going to 'save' the girl.
'And you won't want to miss the best part' …
Following last issues 'dip', in my opinion, this issue felt like a real return to form. With Lee Garbett back on pencil duties and Guy Major taking care of colors, the art returned to a quality and style I've come to expect with this series and this, is turn, gave the book a much more confident and familiar feel.
I commented after reading issue #8 that Stephanie just didn't seem like … well she didn't seem like Stephanie: I've grown very fond of this cheeky, self-believing while at the same time self-deprecating young woman and in the last issue I just didn't see enough of her. Thankfully, throughout the pages of this issue I feel 'my' Steph returned with a healthy dose of wise-cracks, confidence, inner strength and physical comedy – none more so than during the opening pages of the book as Stephanie is towed at high speed behind the speeding train!
The appearances of Wendy Harris through previous issues of this series have puzzled and intrigued me in equal measure and, with the introduction of The Calculator into the story we get possibly the first indication of her true intended role. She's felt a little superfluous to the cast of characters up until this point so I'm glad for the opportunity to see her in a different context and I'm looking forward to seeing this particular theme develop.
Our first glimpse of the 'firewall' – the base of operations for Barbara and Stephanie – was something I also enjoyed. There was a nice sense of humor throughout these couple of pages – I thought the 'Now you're talking my language' exchange between Barbara and Stephanie was particularly charming. It'll be good over the coming months to see Barbara and Stephanie create their own home ground rather than relying on others 'cast-offs': it's a small but important step towards Batgirl – the character and the title – becoming more self-sufficient I think.
Throughout the early issues of this series Phil Noto produced some quite exceptional covers and new artist Stanley 'Artgerm' Lau has continued the tradition with his contribution to this issue – portraying Batgirl looking wind-swept, rain-soaked and sitting atop the sort of roof-top architecture of Gotham City that Bat-books are famous for, this cover is quite beautiful.
In summary, this was a very good first part of a new story arc – with themes continued from previous issues, 'new' characters introduced, a number of clues indicating the direction the story could be heading and an ending that leaves me keen for the next issues.
Welcome back Batgirl!
Batgirl #9:
Reviewed by Zaius
A new story-arc – 'Robins are Red …'; a new cover artist – Stanley 'Artgerm' Lau; a new interior artwork team – Talent Caldwell with Yvel Guichet and John Stanisci; plus a distinguished guest-star – Red Robin himself, Tim Drake: and maybe because there was so much 'new' about it Batgirl #8 felt, for me, just a little unsatisfactory. An enjoyable read? Yes, for sure, but just a little unsatisfactory nevertheless.
Following a brief – indeed very brief – appearance in Red Robin #9 this issue of Batgirl opens about 60 seconds or so before Red Robin #9 closes: Stephanie is in full combat mode, feverishly engaged in physical training. Pounding the training droids, who in turn scream motivational messages at her, Stephanie is very much 'in the zone'. Moments later, as she discovers she's not alone, she snaps out of the zone and we're back where Red Robin #9 ended -'Stephanie?!?', 'Tim'.
Stephanie and Tim, Batgirl and Red Robin, come face to face – the occasion catching both of them by surprise leading to some puzzled looks, sharp exchanges and barbed comments. No sooner had the former 'couple' calmed down and each taken a deep breath than they receive a warning that the Thompkins Clinic has been broken into, at which point Tim seizes control of the Bat computer – much to Steph's irritation! – and prepares to set off for the city – but not before sarcastically calling Steph 'Batgirl' and mocking her vehicle, the Ricochet that was revealed in issue #7.
In the meantime, we cut to a city center diner where we witness Barbara Gordon and Detective Nick Gage flirting shamelessly over a cup of coffee and a 'simple meal' – certainly not a date apparently! – as Babs does her best to apologize that their last get-together didn't go particularly smoothly. The two are getting along famously when they, and other diners, realize that despite being on a variety of networks none of them is able to get a mobile signal. At the very moment Steph and Tim race past the restaurant, both Barbara and Detective Gage realize that something is amiss, make their excuses and leave.
Arriving at the Thompkins Clinic, Tim immediately engages a couple of tech assassins who he discovers had broken into the offices – as Stephanie watches on she reflects how they have each changed and wonders what's happened in Tim's life to change him.
Discovering that the assassins were trying to access Leslie's patient files, with a menacing threat that 'Leslie's the first' and with electronic communication – internet, mobile phone and the comms link to Oracle – down, Steph realizes it's up to the two of them to intervene as Tim in turn, reluctantly it must be said, accepts that he needs her help.
Out of their costumes, Stephanie and Tim attend the Gotham Metropolitan Museum of Art where there is a fundraiser for the Thompkins Clinic taking place. Concerned for Leslie's safety Tim decides this would be a good moment for his public return to Gotham City high-society – with the hope of creating a distraction that will allow Steph to 'extract' Leslie.
At the Batcave, meanwhile, and still struggling to access any form of electronic communication, Barbara is surprised to discover the Ricochet – minus it's owner/driver (pilot perhaps?) – labeled 'return to sender' with an accompanying hand-written note from Stephanie explaining what she and Tim are planning.
Returning to the fundraiser, Leslie and Wendy Harris are having a 'heart to heart' – Wendy feels she's being used to promote the work of the Thompkins clinic while Leslie reminds Wendy that she's an attractive, strong, young woman who needs to start believing in herself a little more – when Stephanie interrupts, takes Leslie by the hand and leads her away, explaining that she's in danger.
Reunited with Tim in a museum storeroom, and with Leslie concealed, the two come under attack from a dozen or so of Ra's assassins. With a reminder of past encounters as Spoiler and Robin, Stephanie and Tim engage the assassins and as the last assailant hits the ground Stephanie – in something of a daze at this point – inadvertently punches Tim! With the immediate danger averted Barbara reveals that she's managed to overcome the communication problems that the city has been experiencing thanks to a little help from 'a little bluebird'.
Later that night, back in costume and high up on the rooftops of Gotham City, Stephanie tells Tim that she wants him to know that she's a different woman that the one he used to know; that she's changed. As Tim takes her hand, Steph pulls back – and the two discover they are not alone …
With the previous story-arc in Batgirl #7 ending very much on a high – for me at least, I know not everyone felt the same – this issue, as a whole, delighted and disappointed me in equal measures.
On the face of it I thought the story was excellent – who couldn't enjoy Stephanie and Tim versus The League of Assassins? Scratch beneath the surface though and I felt that the story flattered somewhat to deceive. I enjoyed the overall look and feel of the book although I felt it suffered somewhat from a lack of consistency.
The relationship between Stephanie and Tim was, quite naturally, a core theme throughout and was written, I thought, very nicely – interactions between the two had an 'awkward' feel that I sure many of us can relate to from our own personal or professional lives: a sense of 'we ought to talk about it, but I really don't want to talk about it'. Likewise, I enjoyed the Spoiler/Robin flashback panels and thought these were used very well.
I felt we saw a different Stephanie, and a different Batgirl, as a result of Tim's involvement in the issue and having seen her grow into a confident, head-strong young woman through previous issues she seemed to lose some of her self-belief and independence while working with Tim – she almost became his 'sidekick' at one point when she stood and watched on through a window while Tim fought the assassins at the clinic. This isn't a criticism as such, it's just that I've enjoyed seeing Stephanie grow and through this issue she appeared, to me at least, to have taken a couple of steps backwards – many would say that's a true reflection on life, and I couldn't disagree.
Onto the 'look' of the book and I've said many, many times that probably more than anything else art is very much a subjective thing: who hasn't looked at a painting or sculpture at some time and thought 'very nice, but is it art?'. If I was coming to this book afresh I'd be very happy with how it looked but I'm not, and following Lee Garbett and Trevor Scott's superb art throughout the first seven issues, I couldn't help but make comparisons – I like the artwork in this book, I just didn't like it as much as in the previous issues. Furthermore, as I say, it felt inconsistent at times, never more so than with what I think the credits are referring to as the 'end sequence': I'm not sure why it was necessary, or desirable, to have guest artists but the change of style mid-story jarred with me.
In summary, did I enjoy this book? Absolutely. Did it leave me feeling a little dissatisfied? Yes, it did somewhat.
Would I recommend picking the book up? Yes, 100% yes.
Batgirl #8:
Reviewed by Zaius
Editor's Note: Here is the final part of Suavestar's entry. Be sure to read the first two if you haven't already. And be sure to leave comments below on your thoughts of Fabian coming back.
Now for the big news, come June, Fabian Nicieza is coming to Red Robin. Most people will be happy about this news, as it means an end to the Chris Yost run on the book. I am one of those people; I am not a fan of Yost’s writing on the book.
I did not like it when Yost had the jumping around time in the first seven or eight issues, I did not like his writing of Tim Drake. I do not like the way he has still not given us any real justification for why Tim thought that Bruce was alive since issue 1, or why Lucius Fox was asking for Tim Wayne in issue 2. Yes, I know these questions will be answered by issue 12, but by that time, I will have stopped caring. His storyline, the grail, which has the first five issues of Red Robin, was average at best, and was plagued by his stupid jump cuts. His second storyline about Tim taking over the League of Assassins was perhaps even worse, because we were treated to flashbacks for a character nobody knew, or cared about. His current storyline with Tim back in Gotham is just as average as the other stories, except now, Tim is an annoying emo who I am slowly beginning to hate.
Fabian has written some good books over the years, like his run on Robin and his Cable/Deadpool run, which I am just getting into. However, most recently, he has been writing the Azrael series which has not been favorably received by many, but most of those are putting it down to the art, which is done by Ramon Bachs, who ironically started the art duties on the Red Robin series.
Fabian coming to the book can be a good can be seen as a good and a bad thing. I would rather wait and see what will happen and not get my hopes up to high, while still trying my best to enjoy what Chris Yost is putting out now.
Written by Suavestar
Editor's Note: Suavestar has created a nice three-part piece of not only a review of Batgirl, but also of his normal comic Red Robin. He also commented on yesterday's announcement of Fabian Nicieza taking over writing duties on Red Robin starting in June. All of the pieces will post today with a four hour window in between. So be sure to tune in throughout the day to see all three great pieces.
Last month, Red Robin #9 ended saying that there would be a crossover issue with Batgirl next. Being an idiot, and interested in seeing how this would turn out, this afternoon I went out and picked up both Batgirl #8 and Red Robin #10. So, welcome to this one off double review from me of both Red Robin #10, and Batgirl #8. Usually Zaius reviews Batgirl on the site, but for one night only, I will also be reviewing Batgirl. So let’s begin with the first issue of the two part crossover, Batgirl #8.
Batgirl #8 is written by Bryan Q Miller, with art by “Guest Artist!” Talent Caldwell. We open with Batgirl training against machines and an inner monologue about her life and a bunch of other stuff. She is then stopped by Red Robin, who asks her why she is dressed as Batgirl, and where are Dick and Cassandra. I’m already going to stop with a continuity error. In Red Robin last month, Batgirl was seen just hanging out in the cave waiting for Red Robin, and smiling, in this issue, she’s approached by him in the middle of training. I’m not too bothered about this error, but it’s something worth noting. The issue continues with some funny back and forth between Batgirl and Red Robin, it’s a light-hearted scene about how much Stephanie has moved on and how Tim needs to respect her as Batgirl. Really, that is all this issue is about, Tim is back in town, and he has to get used to the status quo. Stephanie is Batgirl, deal with it, oh, and if you have time, stop Ra’s Al Ghul from destroying Gotham.
Next up we have Tim and Stephanie going to a charity event of some sort in Gotham and Tim showing that he is back and here to be the hero Bruce wanted him to be. The issue is fast paced, as we next up have a Stephanie/Tim team up against a few league of assassin nobodies, followed by the end of the issue where Tim finally accepts Stephanie as Batgirl, and says that he is proud of her. The issue ends with the pair being confronted by Prudence of Red Robin frame, and the line “To be continued in Red Robin #10!”
Right, problems with this comic first, well the main issue is the art, it is horribly inconsistent here. You can have good pages, like the opening scene between Red Robin and Batgirl, which looks almost like Francis Manapaul, which is never a bad thing. You can compare that to the second half of the book, where you can almost hear the artist say “Crap, this is due in two hours!” and rush through his final ten pages. The game changing point where the art gets really bad is during the scene between Oracle and Detective Nick, the scene seems to set the pace for the rest of the book, in that it is cartoony, and not very nice to look at.
The writing by Bryan Q Miller, for the most part, is great. He doesn’t create a well organized action sequence here, but what he does give us is a great character issue. You can almost see Tim slowly accept Stephanie as Batgirl in this issue, and although it was the first issue of the title I have picked up, I did not feel like I was left out of the loop.
All in all, I was very happy with this comic, and even though, it wasn’t the crossover I was expecting, seeing as Ra’s takeover and destruction of Gotham was secondary to building a new relationship between Tim and Stephanie, I was still very happy with this comic. It’s a real shame that the art let this comic down.
Batgirl #8:
Reviewed by Suavestar
Like the last issue of the Brave and the Bold I reviewed, this comic was written by J.Michael Straczynski and the art and cover was by Jesus Saiz.
Before I go on and talk about this book, am going to fill you in on the character Brother Power the Geek. From what I learned from Wikipedia, Brother Power the Geek is a character created in the 60’s. The character was inspired by Frankenstein. He was a dummy in a tailor shop owned by Hippies in the 60’s, who decide to dress up the dummy in their clothes. The dummy got hit by lighting and was given powers. The comic only lasted two issues.
So on to this issue. It starts with Bruce as a child watching TV with his parents. It talks about how his dad would let him stay up late every now and then to watch horror films despite his mother getting angry. His dad said it would prepare Bruce to face his fears when the time came. Bruce wouldn’t be scared and too used to a life of luxury. It then shows Thomas and Martha being killed. Bruce then explains why Frankenstein was his favorite movie and the movies now are different the classic one because they don’t know how to end monster movie. We then see Brother Power the Geek climbing out of the remains of a burnt down building. Batman sees Brother Power walking down a dark alleyway looking like he is lost. Batman recognizes him from one of his case files and goes down to talk to him. But Brother Power just keeps repeating a phrase from the 60’s, “Make love not war, flower power.” Then Brother Power asks Batman what year it is and Batman proceeds to tell him that it’s the year 2009. Brother Power seems to be confused. Batman feels sorry for him and lets him go. Batman tells him that he will check up on him in a couple of days to see how he is doing.
There is a flashback to the 60’s when Gotham was a bright place and people are having fun. Brother Power is shown with some friends talking about a riot that’s going to happen. It then flashes forward back to 2009. Brother Power is wondering what happened to all of the trees. We then see Batman fighting some thugs with guns. While he is taking them down, all he can think about is Brother Power and why he is in Gotham. The thought is bothering him, but he can’t figure why. It then makes him remember one night when he was watching Frankenstein. Young Bruce overhears his parents talking about their friends who are going through some problems. Thomas tells Martha the reason why they are having problems is because it is easier to get mad and blame someone else when you are the one who screwed up. Then we see a split screen of Frankenstein and Brother Power calling themselves monsters. Brother Power is patrolling the streets protecting innocent people like he use to do. Batman starts to think about the burnt down building that Brother Power was found crawling out of. Batman leaves a few cameras in part of the building. When Batman leaves, a man and a woman walk in to the building, who we find out are actually living there with their baby.
Then we see Brother Power searching through a charity clothes bin and picks himself up some new threads. He puts on some make-up to make himself look less like a zombie. He remembers that in the 60’s he would go to a free clinic and get his makeup done by a nurse called Cindy. I don’t know if she was in his comics or that she is even important. During this flashback he is in the clinic with his friends and they hear on TV that President Kennedy has been shot. So he and his friends decide that you have to fight fire with fire and start a riot in downtown Gotham. Brother Power and two of his friends manage to not get arrested. Brother Power is not happy about what happened and tells his friends that he wants no part of this violence. Then it flashes back to 2009 and Brother Power is looking out of a window seeming sad and lost. He then he sees a fire. An alarm goes off in the Batcave and Batman rushes to the Bat-Computer only to find out that the building burning is one that he placed the camera in. He sees a man pouring gasoline inside the building and sees the couple tied up. Batman jumps into the Batmobile and races to the scene. At the building, Brother Power climbs up the fire escape and jumps through a window to get in to the building. Batman speeds to the scene and runs into the building. He starts to search for the couple, only to find Brother Power talking to himself. He tells Batman that the world is a much different place from the one he left in the sixties. He tells Batman "This isn’t my time… Maybe it’ll never be my time.” Batman leaves him and finds the couple. The woman tells Batman that their baby is upstairs. Then Batman hears “But maybe it’s not over.” Then Brother Power comes out of the flames and hands their baby over saying “For some of us.” He tells Batman to “Have a nice day” and is engulfed by the flames. Batman grabs the entire family and grapple guns out of the building. Batman’s footage helped the police catch the man who burnt down the building. Later Batman went back to the burnt down building. He looks to see if he could find anything left of Brother Power and finds it strange that there is nothing. Batman knows he is still alive and he is out there somewhere waiting to be reborn. Batman finds this thought strangely comforting.
This issue is pretty cool. At first the cover of this issue kinda put me off, but the story itself is really good. You get a to know Brother Power and you start to feel sorry for him right from the start. This is one thing that Straczynski is really good at. The art work is different and takes to some getting used to, but overall it is good. One thing that I have noticed about Straczynski is that he likes end an issue with something emotional, like a character dying and the other character commenting on their life. I find that pretty cool and different. I would say pick it up because it’s a pretty good read.
The Brave and the Bold #29:
Reviewed by Johnny Impulse
Arkham Asylum will be getting a special edition treatment later this month. Well, at least that's what the ad says. This website questions this and it's more likely we'll see a later release date.
This will be the "Game of the Year" edition". As you can see by the above ad, it will have six extra challenge maps. Don't worry, you won't have to re-buy the game. Most of these are supposedly ones that were already downloadable content. The exclusive ones? If I know video game companies, even if they say it'll be exclusive, you can bet that we'll be seeing these as downloadable content within the next year.
Interestingly enough, one of the challenge maps will be Crime Alley, and it doesn't seem to be a dream sequence like we got in the game. This is interesting because in the game we only fought inside Arkham and it's sewers. Going into Gotham would be a good preview for the eventual "Arkham 2" game that is being developed.
3D glasses? Video games in 3D rarely work. I doubt this will do much better. Save your money and download the maps later.
Green Lantern featuring Batman
Well, the comic starts off with a man being chased through Gotham City by some a saber-tooth tiger and a skull with wings that can breathe fire. The man is later killed by a man holding a Tattoo gun. After killing him, the unknown man writes a message on the dead man’s chest and the media claims this murder was done by a Green Lantern villain known as The Tattooed Man.
So Batman calls in Hal Jordan to help, as we all know Batman doesn’t like other hero’s villains in his city. So Green Lantern comes to the Batcave. He asks Bruce why he didn’t just call him, instead of getting Green Arrow to pass on the message. This leads to Hal and Bruce having a little argument as Bruce still doesn’t trust Hal (Continuity Note: Before coming back to life, Hal Jordan was affected by the evil Avatar of the Sinestro Corps Parallax). Bruce shows Hal the crime scene photos and says that they are dealing with Tattooed Man. Jordan thinks different as the Tattooed Man he knows of is locked up in prison. So they go out looking for this new Tattooed Man, but not before Bruce punches Jordan in the face and says that they are now even.
They take the Batmobile to the last known whereabouts of the new Tattooed Man. In the Batmobile, Hal tries to make Batman laugh, but he has a hard time doing so. He even makes a joke about Robin and asks if any of sidekicks ever grow because the seat is so far forward. Bruce tells him to buckle up which Hal jokes it off. Bruce hits a speed bump which in turn makes Hal hit the roof of the Batmobile. This is my favorite part of the issue because you see that Bruce does have a funny side to him. Soon afterwards, they are both attacked by the Tattooed Man, who calls them both sinners. Hal then gets the Tattooed Man attention, Bruce knocks him out with one punch, and the police come and arrest him. Bruce and Hal go back to the Batcave, where Jordan gives Bruce his power ring and asks him to put it on. Bruce refuses until Hal begs and tells Bruce it will help him overcome his greatest fear like it did for him with the death of his father. Bruce puts it on and his costume changes to a Green Lantern costume mixed with the Batsuit, which is pretty cool! Then Bruce creates an image of his parents with the ring and starts to cry. He takes off the ring and tells Hal that he is not ready got overcome his fear. Before Jordan leaves Bruce smiles and tells him that it’s good to have him back. Hal smiles and replies, “It’s good to be back”.
This issue is pretty good. The story is very solid and doesn’t feel like random team between two superheroes. Geoff Johns portrays the bad blood Bruce has towards Hal throughout. Johns also shows in this issue that he is a Batman fan and knows how to write Batman. This was really good. Didn’t feel like a pointless team issue. It made me glad that I picked it up last year at a comic book traders market. Also the back and forth banter between Hal and Bruce was priceless. Another thing I have to give Johns credit for is reminding us that Jordan and Bruce both saw their loved ones and they each handled it in their own way. The only problem I had with this issue was the fight they had with Tattooed Man. The fight was only two pages long and felt like it could have been longer. But hey, that's just me. I can’t wait and see what Johns bring to Batman: Earth One. The penciling by Ethan Van Sciver who not only draws a good Batman, but his art is amazing.
Green Lantern #9:
Reviewed by Johnny Impulse
Red Robin #8 is the end to the arc known as the council of spiders, and really is the finale to everything that Chris Yost has been setting up since issue #1. That being said, this issue is not something to cheer about, on the contrary, I found this issue to be the most cliched and boring of the entire series, and after reading what has came before this, which is saying something.
The comic really just comes across as Yost not really knowing how to write a finale to an arc and throwing stuff at the page and seeing what sticks. Let me take the final four pages for example, and these will be spoiling the comic: Red Robin blows up the cradle, and escapes with Tam, just as it’s blowing up. Tam kisses Red Robin and screams “I’m alive!"
The villains survive with barely a scratch on them. They were in the middle of the explosions inside the cave, and are walking out without a scratch. When she escapes the cave, the wanderer, leader of the council of spiders proclaims they have a new target, heroes. Well excuse me while I pretend to care that you survived.
The art in this issue, is very average, as usual, I do not really care for Marcus To’s art in this comic. This whole comic under To's pencils really lacks anything to get me interested in Tim and his international exploits.
Chris Yost as usual hands a very average script that achieves nothing and really makes this whole comic feels like Tim is just playing around outside Gotham, waiting for Bruce to come back, so that he can go back to being Robin. I really am not a fan of Yost’s need to have jump cuts every two panels, but after seeing him here trying to keep a story linear, I really want him to actually come up with an interesting plot for this comic, and execute it well.
All in all, this is a very mediocre end, to a very average storyline, with both writer and artist not seeming to know what they want from the character. Leaving me, as the reader of this comic, very disappointed.
Red Robin #8:
Reviewed by Suavestar
It's felt like a long month since turning the last page of Batgirl #5 and seeing Stephanie Brown, lying on the floor, having been shot in the head. Sure, I knew she'd be okay but I was genuinely taken-aback by the conclusion of the issue and I was looking forward to seeing how the story continued.
Batgirl #6 – Batgirl Rising, Core Requirements, part 2 of 3 – begins with Stephanie dropping in and out of consciousness as she receives treatment in the back of a Gotham ambulance. As one painful memory after another crosses her mind she wakes with a start on the realization that she's been shot.
With Stephanie 'missing in action' Barbara Gordon is back at the Batcave scanning the emergency service radio frequencies for information about her whereabouts when her systems lock onto the codename that Stephanie gives the medics. Realizing that the ambulance is heading to West Mercy Hospital – where Steph's mother works – Barbara distracts (and this is the understatement of the year!) the medics long enough for Stephanie to escape their attention.
Atop the Gotham Police HQ Commissioner Gordon, accompanied by Detective Nick Gage, meets with Batman to discuss the kidnapping of young Francisco Gracia. From a neighboring building Stephanie – now dressed as Batgirl – spies on them before being interrupted by the young Robin. As we discovered in issue #5, the two just can't get along and inevitably start bickering – with hilarious results! Forced to intervene Dick – in 'guardian' mode – breaks the pair apart and sends them both away for a time-out.
Furious with his young associates behavior Dick is reminded by Barbara that Stephanie and Damian aren't the first Batgirl and Robin to have trouble getting along … a comment both Dick and Barbara immediately regret as, for a moment, the mood between them turns sour.
Having temporarily settled their differences, at least enough to semi-agree on a plan, Stephanie and Damian break into Jordanna Spence's apartment and confront Francisco's girlfriend – what does she know about his disappearance? Why aren't the kidnappers demanding a ransom? Where is he?
In the meantime, Dick finds himself under attack as he pilots the Batmobile high over Devil's Square. As he reacts to avoid a collision he discovers his attacker is none other than Roxanne Sutton – 'Roxy Rocket' – who sends a figure resembling Francisco Gracia tumbling to earth. Rescuing the young man Dick discovers it's not Francisco but Freddie 'Riot' Frankenstein who in turn replicates and begins attacking the Batmobile.
As Dick struggles to keep his vehicle airborne we witness an angry roof-top exchange between Francisco and his father in which the older man explains that he knows he's made mistakes in his life but his plan will help him to clear his debts. As Jordanna had earlier told Stephanie, Gracia Senior is a gambler, often doing very well, and just as often very badly … he's in debt to 'Roulette' and his only release is to help her.
Elsewhere, with the Batmobile grounded and Dick injured, Barbara orders Stephanie and Damian, who along with Jordanna are following Roulette's plans to hunt down and kill Batman via an on-line video feed, to find Dick and bring him home.
Once again, another great – fun – issue of Batgirl. Without wanting to dismiss the storyline itself, which is certainly strong enough to maintain my interest, at the moment the true joy in this book for me is following the 'cast' as they develop their individual and group personalities.
The bickering, or banter, between Stephanie and Damian is brilliantly written by Brian Q. Miller and one of the highlights throughout this issue. Carrying on like brother and sister, their verbal dueling is genuinely funny and it must be said, at times quite charming – Stephanie describing Damian/Robin as a 'little badger' and Damian responding to Stephanie's declaration that she's been shot in the head by replying that she's got brain damage and he's not surprised had me chuckling.
The art throughout the issue, literally from cover to cover, is magnificent. I can't at the moment think of a book that's offering better interior art than we're seeing from Lee Garbett and Phil Noto's covers are great: I loved the sense of mischief between Stephanie and Damian as they are interrupted by Dick on this cover. Take a look at the look on Damian's face – he's startled that he's been discovered but at the same time he just can't hide the joy he's feeling!
I enjoyed the 'villains' in this story – Roulette, Riot, Roxy Rocket, and to a lesser extent, Doctor Phosphorous – and I'm looking forward to seeing them hunting their prey through the next issue.
Aside from Stephanie and Damian's relationship I again enjoyed the exchanges between Barbara and Dick and the way the mood between them quickly swings from affection, to irritation and back again to affection. I struggled somewhat to understand Barbara's actions in preventing the ambulance carrying Stephanie from reaching the hospital – would she really make the vehicle crash and risk injuring the medics, passers-by or an already injured Stephanie? I don't think so and this 'misjudgement', so early in the issue, troubled me throughout my read. Likewise, the ease with which Stephanie (or more to the point Mr Miller) shook-off the gun-shot wound to the head was a little … unsatisfactory – clearly I was relieved she was okay but I did feel just a little cheated after the jolt with which the previous issue ended.
These criticisms aside, this really was another excellent issue of Batgirl – great writing, quality artwork, fun without ever being silly, a real 'page-turner' that at the same time satisfied me and left me wanting more: quite possibly the most enjoyable book I'm picking up at the moment.
Batgirl #6:
Reviewed by Zaius
This is another show that you most likely have already seen. You might even already own the individual seasons. For the very first time the series is collected in one form on DVD. The series first aired in the late nineties after the success of Batman: The Animated Series. It featured Big Red saving Metropolis from the perils of many of his own rogues' gallery. It aired over three seasons and ended before the Timmverse continued on with Batman Beyond.
This set consists of seven discs. It has a total of fifty-four episodes for over eleven hundred minutes. There are special features throughout and even a brand new special feature specifically for this set. The new feature focuses on Darkseid.
The series featured all kinds of villains that you have heard of and some new ones that were made for the series. Metallo, Parasite, and Toyman are all present. Many may not know that Mercy Graves was created for the series. The classic voices of Clancy Brown as Lex Luthor and Tim Daly as Superman are obviously present as well. There is even a three-part episode that crosses over with Batman and Gotham City where Kevin Conroy and Mark Hamill make an appearance.
Overall, the series is another great release from Warner Bros. I don't have any complaints about this set like I had with the past ones. The discs are still numbered as if they were separate seasons, but I get why now. Another great series to add to this year's Christmas list.
Superman: The Complete Series:
The series became available on November 24, so you can get it at most retailers. If you want to get it from Amazon, click here. Warner Bros. sent over this clip to promote the release as well.
Posted by Dustin