Review: Justice League #19

Writer: Geoff Johns

Artist: Ivan Reis

Publisher: DC Comics

While the heroes are distracted by the tragedies in their lives, a masked assailant breaks into the Batcave. Taking out the unsuspecting Jason Todd and Alfred Pennyworth, the thief proceeds directly to a vault, containing dangerous items Batman has gathered secretly, designed specifically to take down the Justice League!

Now, it's impossible to address this issue without first pointing out the striking similarities to the famous "Tower of Babel" (JLA #43 - 46) storyline. Back in 2000, Mark Waid wrote a story whereby Batman had secretly compiled contingency plans for taking down specific members of the Justice League, should they ever go rogue and need to be dealt with. The idea of the Dark Knight safeguarding the world against his own friends seems to be a popular trope, as it's been repeatedly re-used since then. Between 2005's "The OMAC Project" and 2012's "Justice League: Doom", Batman has defeated his teammates numerous times. So to see these very same ideas pop up yet again, in a Geoff Johns book no less, tells me Bruce really needs to stop plotting the downfall of everyone he cares about. When he sits down to write these plans, he shouldn't be anticipating having to use them himself, but figuring out which villain is going to make a beeline towards him and use that plan to their own ends!

Also, while I'm not adverse to opening up the Justice League's world and using some of the individual character's supporting casts, I was truly taken aback when I flipped to the first page to find Red Hood and Alfred the Butler. It felt so random to have them there, even though they have every right. You just don't expect them to be mourning the events of Batman Incorporated in a Justice League book. Even though they both feature the adventures of Batman, there's usually a huge degree of compartmentalisation and the two portrayals to have no real effect on one another. I was similarly surprised with last month's issue, when Nightwing turned down League membership because he was still pissed at Batman due to "Death of the Family. Geoff Johns is clearly trying to make the DC Universe one big cohesive whole, I guess I'm just not used to it yet.

Two characters who are definitely benefiting from a functional shared universe are Firestorm and the new female Atom. Neither hero has had much success since the New 52 began, so bringing them both into the fold of the core Justice League book gives them a nice boost, where previously readers could take them or leave them. Firestorm has had a particularly traumatic time of it lately with his troubled ongoing series, which could never truly find a workable status quo. The union of Ronnie Raymond and Jason Rusch has had more than a few growing pains, so it's a joy to see them back to their more affable pre-Flashpoint selves. All the more credit to Johns for the creation of this new Atom. Where a typical fanboy may question his not using the original Atom, Ray Palmer, I didn't have much of an attachment to the character in the first place, he just happened to be the first attempt. So who is under the cowl is neither here nor there. For what it's worth, this new girl taking on the mantle seems like a lot of fun and is sure to find fans quickly.

The Superman/Wonder Woman romance continues to simmer in the background of the series. Where in the recent "Throne of Atlantis" crossover, Clark was attempting to soften Diana's view of humanity and potentially calm her warrior's instincts, the dynamic flips here. Rather than expose Clark to a noble trait of her own lifestyle, Diana shows him the worst humanity is capable of and has a speech that borders on a mustache-twirling supervillain, looking to impose her "just" will by any means necessary. Batman appears before she really puts her foot in her mouth, but it's clear that this incarnation of Wonder Woman isn't quite as friendly as she had been in the past. The Amazon could very easily lead Superman down the wrong path with the best of intentions, so I'm hoping their fling is short-lived before they do something they can't take back. After all, as we saw in the Justice League International Annual, one kiss between the pair was enough to erase Booster Gold from history. There's no telling what could go wrong the longer these two stay together.

Unlike the beginning of this volume, which tended towards big dumb fun, Johns is slowly returning to his traditional nuanced approach, preferring genuine character drama over the sight of muscly gods hitting one another. Every character in this book is working on several different levels, whether it be acting out, holding back suspicions, cracking wise, the works. There are genuine mysteries at play in this series and only now are we beginning to feel the ominous vibe sweeping across it's pages. Johns has finally found his feet on Justice League, I just wish it hadn't taken a year to get here.

9 out of 10

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Review: Nightwing #19

Writer: Kyle Higgins

Artist: Brett Booth

Publisher: DC Comics

With last issue's revelation that his parent's killer (Tony Zucco) is still alive and loose on the streets of Chicago, Dick Grayson packs his bags and heads for the Windy City! A change in venue for any series can be risky, as that generally means uprooting an entire cast and trying to justify their presence in this new location. For some inexplicable reason, the one hero who seems to be friends with everyone, has zero ties to where he sets up shop. Just like when Chuck Dixon packed Dick up and sent him down the river to Bludhaven all those years ago, it really is as simple as hopping a bus. Nightwing has to be the most transient superhero in history!

To be fair, I think this latest volume has been blighted somewhat by it's reliance on the core Bat-books. While building the central mystery of Haley's Circus, the writer Higgins often got sucked into the crossover flavour of the month. Where Dick was meant to be reacting to his own problems, he instead had the consequences of "The Court of Owls", "Death of the Family" or "Batman Incorporated" to deal with. To any Nightwing fans not reading those other books, they must have been wondering just what the hell was going on. The move to Chicago and a healthy distance from the rest of the Bat-family will most likely solve these complaints, allowing Nightwing to be a hero in his own right.

Ironically, within these first few pages of being in Chicago,  I was struck by the similarity to Gotham. Not necessarily due to the style of building or even the people, but by Nightwing being chased across rooftops by the local Police. The sequence bore an uncanny resemblance to the opening pages of Geoff Johns' Justice League #1 from several years ago, wherein Batman was chased in identically framed panels by the GCPD. But the similarity ends quickly, as where Batman had the good luck to stumble across Green Lantern, who made short work of his pursuers, Nightwing is well and truly on his own. Taking two shots to the back for his troubles.

The story itself is mostly scene-setting, as Dick moves to this new city and attempts to set himself up in both his civilian and superhero guises. His hours as Nightwing are the relatively simple part, as hitting the criminal underworld where it hurts is what he does best. However, finding somewhere to stay in his off-hours is another trial entirely. Having made the journey to Chicago on such short notice, he's basically at the whim of whatever cheap listing he can find on the internet. Soon settling upon a simple sub-letting, future issues will inevitably show Dick having to deal with hiding his double life from a roommate. A genre staple if ever I heard one! Gail Simone's Batgirl has been dealing with a similar situation recently, but let's hope this roommate is as normal as they come, as I'm not sure we need another random transgender announcement any time soon.

The incoming artwork of Brett Booth is sure to be a major talking-point going forward. Up until this point, the series was anchored by Eddy Barrows' real world aesthetic, however if you've read an issue of Teen Titans recently, you'll know Booth is anything but. Don't fret though, as this isn't a bad change. Booth's art echos the vintage days of noted former Nightwing illustrator Scott McDaniel, who would always have the hero in mid-air, leaping over rooftops, pulling off daredevil acrobatic feats, even in his quieter moments. As such, Booth brings us our most athletic depiction of Nightwing since the New 52 began. He adds a few unnecessary flourishes to the uniform around the neck and waist, but I think that's just an effort to put his mark on the character.

The villain of the piece (and for the foreseeable future) appears to be the Prankster. We don't learn much about the new(?) rogue in this lone issue, merely how much of an inconvenience they've been to the Mayor of Chicago and his criminal cohorts. The costume doesn't do much for me and so far they're only pestering generic corrupt officials, ergo not the most revolutionary story ever told. I was hoping Higgins might've swung for the fences with these latest issues, having been freed from the constraints of Haley's Circus and essentially being gifted a new beginning. Nightwing's rogues gallery is especially in need of work, having been gutted over the course of several years worth of terrible DC editorial decisions. Not since the days of Blockbuster, Torque, Nitewing, Shrike, Brutale, Lady Vic, etc, has Dick actually faced a legitimate threat. But while Prankster may not be my cup of tea, I have high hopes for the returning Tony Zucco. You can't have a villain with more pathos than having murdered the heroes' parents in cold blood. If Higgins plays his cards right, he could have a Nightwing story for the ages.

7 out of 10

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Review: Batman #19

Writer: Scott Snyder

Artist: Greg Capullo

Publisher: DC Comics

With the death of his son, Damian, fresh on his mind, Bruce Wayne may be about to lose himself, only not in the way you think!

While not strictly a "Requiem" issue for the recently fallen Robin, this issue holds another important piece of the grieving process for our favourite Dark Knight. Amid an outbreak of uncharacteristic robberies, Batman can be found locked away in the deep dark recesses of the Batcave, watching footage of recent missions with his dearly-departed partner from the comfort of his cowl-cam. After the relationship-breaking antics of "Death of the Family", seeing Bruce retreat into himself, with no one other than Alfred to fall back on, is heart-breaking. This is clearly a time for the entire Bat-family to pull together, but they're further apart than ever before. And if the cover wasn't clear enough, writer Scott Snyder even seeks to challenge Jim Gordon's faith in his long-time trusted friend.

Like most DC comics this month, it's all about the cover. The "surprising" gatefold covers were meant to be part of a promotion known as "WTF?", but two seconds after releasing the publicity for it, DC realised they'd put a popular swear word on the front cover of a supposed children's medium. Sufficed to say, the promotion was shot down almost immediately and now it's more of a theme than a branding. Unfortunately, these covers seem to be purely about the shock value, rather than any attempt at a genuinely intriguing plot. No matter how gorgeous a picture of Bruce Wayne pulling a gun on Jim Gordon that Capullo can draw, I don't think anyone in their right mind will put much faith in the story to genuinely feature that beat as it appears here. To Snyder's credit, he addresses it far more succinctly than his fellow DC writers, playing the mystery for fun just as much as for shock. I particularly enjoyed the beat where Bruce ran over Jim on his motorcycle, there's something morbidly funny about that panel.

It's difficult to address the story of the issue without touching upon the central mystery of why these upstanding citizens would commit such heinous crimes. But any Bat-fan worth a damn will probably figure out what's going on and who's causing it. There are only so many villains in Batman's rogues gallery that can bring about such behaviour in their victims and I'm genuinely happy to see them make their debut in the New 52, having been almost entirely absent since the line wide reboot several years ago.

Ultimately, I'm hugely impressed by Snyder's continued efforts on this series. While Grant Morrison's "Batman Incorporated" may steal all the headlines with it's Robin-killing shenanigans, that book has always felt disjointed and more of an experiment on Morrison's part to see what messed up things he can do to Batman and see if he'll spring back as an icon. Whereas, Snyder is far more interested in the person under the cowl. This core Batman series grounds the entire line more than I can say, piecing together the puzzle that is 10+ ongoing monthly series and still having the power to tell it's own story. It'd be easy for every Bat-book under the sun to get lost in a sea of Damian-related grieving *cough*Batman&Robin*cough*, but the far crueler realisation is that life goes on, even without that snobby murderous punk with a heart of gold. There will always be a case. There will always be a villain. There will always be Batman.

9 out of 10

Review: Batman Incorporated #8

Writer: Grant Morrison
Artist: Chris Burnham
Publisher: DC Comics

Batman and Talia Al Ghul's personal war rages over Gotham City, but as they both seek to win, they both lose.

As the cover to my left may have already given away, this issue of "Batman Incorporated" marks what is potentially Damian Wayne's final appearance as Robin, The Boy Wonder. The battle between his parents has been expertly told by veritable genius, Grant Morrison, across multiple series, since his very first arc on "Batman" way back in 2006. The prodigy has long claimed his initial plans called for Damian's death, but the character proved so entertaining to write, the young Master Wayne earned himself a reprieve. It's only fitting the writer should revisit the poor boy's fate in the run up to his own final issues.

Ironically, this major event comes hot on the heels of Scott Snyder's parallel blockbuster series "Death of the Family", which ended mere weeks ago, with no fatalities. So to have Damian survive the cruelty of the Joker, only to die soon after, at his own Mother's behest, is the ultimate cruelty. This trick is somewhat of a double-edged sword, as all eyes were on Snyder's masterwork, no one would possibly suspect Morrison of such a status-quo shattering development in short order.

The character's final fate is plain to see in the structure of the issue. Morrison goes out of his way to give Damian several memorable moments that will leave tears in the eyes of long-time fans. Chief among them, the camaraderie between he and Dick Grayson. For a short time, Dick and Damian operated as Gotham City's Dynamic Duo in the pages of "Batman & Robin" and this is not lost on Grant Morrison. In what has to be one of best moments of all Batman's long history, Damian tells Dick he was his favourite partner and that they will always be the best in his eyes. That moment alone fills my heart with joy, so it's only right something crushing happens later. If this had to be their final team-up, it was the right note to end on. Seeing the pair of them jump out from behind cover and dive into battle, side by side, is downright inspirational.

It's with that same manic pride in his own abilities that Damian chooses to take on his insane clone alone and endures the most vicious beating you could ever imagine a ten year old boy taking. Remember how we all winced when Jason Todd was beaten to death with a crowbar by the Joker back in the 80's? Well this is worse. This is a knock-down drag-out brutal slug-fest. I have to give Damian credit, he absolutely went out swinging. For every cringe-inducing blow that's landed on the youngster, he gives one back. The Boy Wonder refused to stay down at every turn and he'll always have my respect for that. Robin earned his wings.

Of course, the scariest thing about this issue, isn't even in the issue itself. What we are all dreading is the aftermath. Just how the hell does Bruce Wayne cope with the death of his only son? This is a man who thought dressing up as a giant bat and fighting crime was a sane way to deal with the death of his parents. Therefore, I am genuinely terrified at what horrors Grant Morrison has just unleashed on an already Dark Knight. The death of Jason Todd was traumatic enough. It cast a permanent shadow over the next twenty years of Batman comics. You couldn't crack an issue without finding Bruce staring at that damn display case (or having someone thrown through it). Losing Damian could shatter both the man and the hero forever. There is no more status quo.

10 out of 10

Review: Red Hood & The Outlaws #17

Writer: Scott Lobdell
Artists: Ardian Syaf, Robson Rocha & Ken Lashley
Publisher: DC Comics

Coming hot on the heels of last week's "Death of the Family" conclusion, this issue serves as a rare moment of reflection for the Bat Family. While the Joker's twisted endgame left no physical scars, psychological ones are another thing entirely. With their bonds broken and their ties cut, do the Family stand any chance of piecing things back together? It's not looking good.

Despite the majority of the issue taking on an overwhelmingly somber tone, it begins with Jason touching base with Arsenal and Starfire, letting his team know he's okay and that they should meet him at Wayne Manor. The "Outlaws" are so flippant and energetic in contrast to the traumatised Bat Family, it flat out contradicts the nature of the story. Where most people would be walking on egg shells, Roy and Kori have the social grace of a bull in a china shop.

After which, Jason works his way through the chain of command, from Robin to Nightwing to Alfred to Batman, looking for a twisted form of validation. While you would think a rebel like Red Hood would easily relate to the troubled child that is Damian Wayne, the pair struggle to verbalise their feelings, even with their recent experiences as Wingman and Red Bird in Batman Incorporated.

Starfire's presence at the Manor posed some interesting questions for Nightwing, as their past relationship has been shrouded in mystery since the advent of the New 52. But anyone looking for any serious resolution will be unfortunately let down, as Dick outright refuses to see her, not wishing to expose any more loved ones to the Joker. Just what the pair's relationship was meant to be in this new continuity, I'm not really sure. The New Teen Titans never existed, meaning they met in some other fashion and apparently ended things on bad terms. Not that it matters, as the New 52 Starfire has had the short term memory of a Goldfish. Don't even get me started on whether Dick and Roy are still best friends. I'm not sure we'll ever know. At least while Scott Lobdell is writing Arsenal as an adolescent douche.

The most important scene in the eyes of fans will be Jason sharing panel-time with Bruce...and it doesn't turn into a shouting match! As Batman and Red Hood, the two of them have been fighting continuously, ever since Jason returned from the dead and expressed his leaning towards more permanent solutions to criminals than locking them away in an easily escapable Asylum. After his recent betrayal of the Bat Family, Bruce has had somewhat of a change of heart. While he'll never agree with Jason's methods, he appreciates the results. This is meant to be Jason finally winning Bruce's respect, but I can't help feeling as if Bruce is at such a low point emotionally, he'll do or say anything to get his sidekicks back on side.

Last but not least, the Joker has left a parting gift for dear old Jason. Small tip for Mr Todd - when a psychopath has had your airtight mask all to himself for hours, if not days, it's probably best to check it for booby traps before putting it right back on your head! The cliffhanger itself promises death, but I have a feeling it's more a death of personality. Whatever the Joker has done, the Jason who found a place back in the heart of the Bat Family will no longer exist. I mean, they couldn't kill him, right? The book is called Red Hood!

6 out of 10

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Review: Justice League of America #1

Writer: Geoff Johns
Artist: David Finch
Publisher: DC Comics

In the wake of Justice League's just-completed "Throne of Atlantis" arc, several major cities have been flooded, thousands have died and the survivors are calling for a superhero team with a difference - accountability.

While the US government (and one assumes the rest of the world) have tolerated the existing Justice League due to their heroic deeds during the attempted invasion from Apokalips and their ensuing popularity with the masses, they've never had true control over them. Batman and Superman are both well-established vigilantes, having had numerous run-ins with their respective city's Police forces. Not to mention Wonder Woman, who is an out and out warrior, looking to solve the world's problems at the end of a sword over traditional diplomacy. If such a team decided the government didn't have their best interests at heart and turned on them, there's very little anyone could do.

Enter Steve Trevor and Amanda Waller. Two long-time government operatives and most importantly - loyal. Where you would usually expect them to be assembling the latest Suicide Squad, they've been tasked to create the brand-new Justice League of America! On the surface, the team is a PR exercise, much like the Justice League International before it. Protecting the world, while letting everyone know just who is in control of the literal superpowers. However, it has a much more sinister purpose, held back from everyone, even the majority of the team itself - each member has been chosen specifically to take out their counterpart in the existing Justice League.

As with most first issues, we're introduced to the team through a series of recruitment vignettes. Steve Trevor approaches the new team one by one. In doing so, he offers each prospective member a particularly personal reason to join, whether it be revenge, fame, cover or genuine patriotism. My favorite being Martian Manhunter. Rather than Steve having to track down J'onn, it turns out he was in the briefing room the entire time! His affiliation with the Justice League in the New 52 has been tenuous at best, so to see him lined up for such a prominent role definitely gets my attention.

The other recruits are a little more generic in their first appearances. Cliched scenes of characters being approached post-battle and basically being pitched the same deal over and over again. There's someone they know or something they want and the government can help them do it. Rinse and repeat. One that did catch my eye however was the reintroduction of Stargirl to the DCU. Pre-Flashpoint, the character had always gravitated toward the Justice Society. But with the team permanently shunted to Earth 2, we find the ever-enthused Courntey Whitmore making public appearances more akin to a celebrity than a superhero. The character is a passion project for Geoff Johns, having created her way back in 1999, modelling her personality and appearance on his late sister. As such, she's always had a special place in the heart of the DCU and Justice League of America assures us the New 52 will be no different.

With the recruiting done and the team assembled, their first mission prematurely kicks off with a badly wounded Dark Archer desperately trying to make his way back to base, after being hounded by what looks like the DC Trinity of Batman, Superman and Wonder Woman. There's a twist to the identity of this new character and it's surprising to see them placed in such peril so quickly, but would I be chancing fate to say we'll still see them back next month, if not a little worse for wear.

It's abundantly clear that the Justice League of America have been formed to fight the existing Justice League. However, Johns will have to be careful, walking a fine line with both titles, as neither team are outright villains, merely different perspectives on the same situation. In recent years, heroes fighting heroes, as a concept, has become insanely popular. But with each passing conflict, the reasoning becomes more and more laboured. If one of these teams is to truly become the villain of the piece, it better be for a damn good reason.

7 out 10

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Batman: The Dark Knight Returns Part 1 DVD Review

Twenty six years on from publication, Frank Miller's gritty dystopian epic is regarded as a masterpiece. If ever there were a definitive end to the Batman legacy, it would be "The Dark Knight Returns" (let's just forget the sequel "The Dark Knight Strikes Again" and put that down to early onset dementia, whether in us or Frank Miller). Picking up the story ten years after Bruce Wayne hung up his cape and cowl for what was meant to be the final time, Gotham City has been overrun by a new breed of criminal - the Mutants. Whether it be the elderly Wayne or the youthful Carrie Kelly, no innocent can so much as walk down the street without running into at least one member of the gang. Something must be done, but the Police aren't cutting it. The Batman must return.

First of all, let's get the gushing praise out of the way - this film is absolutely phenomenal. It captures the spirit of the original comic book perfectly. Gotham City is just that right blend of futuristic 80's grime we all imagined it would be and there's a palpable sense of dread for the residents. Whether Batman returned or not, something had to be done. This terror is effectively heightened through the use of worrying news reports throughout, not to mention occasional cutaways, showing the citizens being victimised. Never has there been a harsher depiction of Batman's hometown, let alone on film.

Fans of the original comic book may worry about how the story has been divided between Parts 1 and 2, but I'm pleased to report that this entry has been perfectly structured. It functions as it's own individual story, whilst establishing key components for the second half next year. This particular installment focuses almost solely upon Batman's war against the Mutant menace. Bruce has a lot to prove to the people of Gotham, as well as himself. Also along for the ride are faithful manservant Alfred Pennyworth, Commissioner of Police  James Gordon and new addition, Carrie Kelly, as the latest to don the mantle of Robin (her choice, not Batman's). There is a certain sequence wherein Batman chases a deranged Two-Face that feels slightly off-topic, but that subplot comes straight from the source material and it felt rather a strange choice there too. However, it also functions as a valuable insight into Bruce returning to work as Batman. He's not quite back to 100%, but this outing makes for a useful test-run.

A lovely little design flourish I noticed about the film was the way in which Batman begins the story looking like his traditional self and slowly over the course of the 70 minute runtime morphs into what most would call a Frank Miller character. It was a trick originally used in the source material and over the years, Miller has repeatedly spoken of this methodology. To start with the iconography everyone expects of the character and then slowly make it your own. He used it to similar effect in his run on Daredevil and his reinterpretation of the Kingpin character. By the time TDKR Part 1 comes to it's end, the transition is complete and Bruce has ditched the blue and yellow hues of his famous costume in favour of a more stealthy black and plain logo. The old Batman is dead. In his place, the new Batman. Frank Miller's Batman.

The voice casting, the most essential part of any animated adaption, works in spades where it counts. Peter Weller makes for an absolutely wonderful Batman. Somehow he perfectly captures the weariness of old age, yet the wistful longing for a return to one's youth. His Bruce Wayne almost didn't need the Mutant threat to get back to the Bat. He's been living a quiet, dull, boring existence for far too long and he's positively itching to put himself back in danger. For instance, the film begins with the elderly Wayne competing in a prolonged race sequence and he's taking every conceivable risk to get that last ounce of power out of his engine. Later, when Commissioner Gordon mentions just how happy he is that Bruce survived his tenure as Batman, you can feel Bruce positively squirm at the thought. In his mind he never wanted to stop, but the tragedy of Jason Todd's death forced his hand. His retirement is akin to a raw nerve, poke the memory of it too many times and he's going to do something rash and impulsive.

Ariel Winter similarly makes for an equally impressive Carrie Kelly (aka Robin III). Her story largely takes place away from Wayne's, as her decision to take up a life of vigilantism is completely her own. Like most good sidekicks, there's a moment of inspiration where she sees her hero in the flesh and can't help but want to emulate him. Even when it comes to the big battle against the Mutant horde, her presence there is of her own choosing, Bruce has no idea she's out there dressed as Robin. But when they do finally meet, the moment is filled with the appropriate amount of pathos and you're excited to see the Dynamic Duo back together again. Winter brings just the right level of naivety and fangirl enthusiasm to the role.

The only weak links come in the form of David Selby's Commissioner Gordon and Gary Anthony Williams' Mutant Leader. It's not that they're necessarily doing a bad job, as overly generic. I think maybe I've been spoiled on Commissioner Gordon ever since Bob Hastings' definitive take on Batman: The Animated Series, capturing just the right measure of gruff gusto and fatherly concern. In comparison, Selby comes away the poorer, channeling far too much an old man at the end of his days. Admittedly, that's exactly where the character is at in the story, but Jim Gordon has always been portrayed as such a strong individual, even into his elder days, that to hear him so weathered and weary, it's a little disconcerting. As for Williams' Mutant Leader, he doesn't even have the benefit of a comparison. It's simply that he's loud, brash and chewing the scenery (or Mayors) at every opportunity. When your performance goes that big, it's hard to exude a quiet menace afterwards.

Ultimately, "Batman: The Dark Knight Returns Part 1" is a fantastic adaptation of what was already a masterpiece and could quite possibly be the best animated feature DC have put out thus far. Where occasionally they'd played it safe with generic titles like "Justice League: Doom", this is as close to edgy as edgy gets, especially for a PG rated film. Animated Batman films have always pushed the boundaries, resulting in some of the best work the field has ever seen, whether it be "Mask of the Phantasm" or "Return of the Joker". I would proudly list "Dark Knight Returns" alongside them. In a year where Batman has dominated theatrically with Christopher Nolan's "Dark Knight Rises", I'd ask no one overlook the home video additions, as more often than not, they're giving their big budget brothers a run for their money.

9.5 out of 10

-MC

Weekly Round-Up 25/09/2012

NIGHTWING #0 (DC)

Epitomising the notion of DC's "Zero Month", we're taken all the way back to Dick Grayson's origin as Robin. It's pretty much beat for beat everything you'd expect from such a story. No radical reinventions on display here. But even so, a solid retelling of the tale none the less. The only true alterations come in the form of furthering writer Kyle Higgins' running theme of Dick always looking forward, never back. There's a particularly clever scene depicting this, with Dick and a childhood friend racing a train and saving an endangered innocent in the process. The only possible downside is the ghastly revisionist Robin costume. What was once a tunic and pixie boots has become a godawful suit of armour with so many details it must take the artist an hour to simply remember what it looked like in the last panel. The New 52 has been rife with such outfits and sometimes they could do with taking a step back and realising - simpler is better.

8 out of 10

SPIDER-MEN #5 (MARVEL)

In the final issue of this landmark crossover between 616 and Ultimate universes, Peter Parker and Miles Morales team up one last time to take down the dimension-hopping threat of Mysterio. So why does it feel like nothing much actually happened in this mini-series? Over the course of these five issues, conflict has been kept to a minimum, instead being more of a polite meet and greet between the two Spider-Men. Mysterio is so easily defeated in this issue that you can't help but wonder why it took so long in the first place. However, it's not all bad, as the bonding between the two arachnid-themed heroes has been genuinely funny and compelling. While it's not really the 616 Peter's place to give Miles his blessing (what with being in the wrong universe and all), the advice he was relaying was heartfelt and meaningful. Miles has always been lacking in any endorsement from his universe's dead Peter Parker, so it's quite fitting he receives it here. The issue ends on a hell of a cliffhanger, with Peter looking into whether or not the 616 universe has a Miles Morales of it's own. I don't know what it is that he found on that Google search, but I'm sure I'd buy another mini-series to find out!

9 out of 10

 STAR TREK: THE NEXT GENERATION - HIVE #1 (IDW)

As a life-long Star Trek fan, the initial news of this mini-series captivated my interest. Unfortunately, the implementation has failed to deliver on every conceivable level. Beginning five hundred years in the future, it's revealed that the Borg have achieved their goal of assimilating the entire galaxy. Yet their quest for perfection has yielded no answers, no resolution, no peace - they're actually quite bored by it. The reassimilated Locutus sets into motion a plan to restore the region to it's former glory and like all good Trek stories - uses time travel to do it. The issue itself features a horrifying scene which can only be described as Picard calling old flame Vash for a booty call, a frankly laughable Data substitute and manages to undo four seasons of character development for a major Voyager cast member (it shouldn't be too hard to guess who - she's on the cover!). Also, if the plot hinges on travelling back in time to stop the total assimilation of the galaxy, who are these new inter-dimensional beings acting as the villain and why should we care about them when all signs point to them being a wild goose chase. When Brannon Braga left the Star Trek franchise behind, that was the best decision anyone could ever have made. Why undo that all these years later?

3 out of 10

THE WALKING DEAD #102 (IMAGE)

Still reeling from the shocking events from issue 100, Rick's group have made their way back home to the Washington compound. Last issue's cliffhanger reveal of Andrea having captured a prisoner would have typically been taken as a rallying cry, especially with this group of characters. However, writer Robert Kirkman expertly turns the dynamic on it's head. Sure having a prisoner is a tactical advantage, but they're up against overwhelming numbers and one man held in a cupboard isn't going to change that. Previously, we would've expected lead character Rick Grimes to take his sweet revenge on the prisoner and set out looking for the villain, but recent events have shaken this once proud man into apathy. Where mere issues before he was offering his military support to a neighbouring community, he's now backed down and is actually conceding to the rebel's demands (or at least we think he is). For a hundred issues, these characters have proudly taken on the world all by themselves. This issue intelligently explores the option of cowardice under such circumstances, as worrying as that may be.

10 out of 10

Weekly Round-Up 25/08/2012

BATMAN INCORPORATED #3

After the brief respite of Talia's origin last issue, we're back, knee-deep in Wayne family affairs. It's quickly revealed that Damian is alive and well, hiding out from his mother's Leviathan army in the safety of the Batcave. But as anyone who's known Damian for more than five minutes will tell you, he's not likely to stay there! The majority of this issue falls to long-time Batman alter-ego, Matches Malone. It's been a while since Bruce donned this disguise, so it's good to see him take the wannabe-mobster out of mothballs. He puts so much gusto into his performance, it's hard to believe Bruce isn't having just a smidge of fun in the role. However, when coming to the aid of a hassled club singer, he gets himself into more trouble than he bargained for. Ultimately, a fantastic read with fantastic art. Why aren't you reading this already? 9/10

SUPERMAN #12

Continuing the trend of the past year, the adventures of this New 52 Superman have been spotty at best. No true drive or overarching storyline, they're simply random fights against forgettable foes. This issue is no different, opening on Superman held captive by an aggressive alien race (who bare an uncanny resemblance to Predators) and he's unable to communicate with them. Little more actually happens, besides a bizarre B-plot that bookends the issue, with Lucy Lane wanting to go bungee jumping. These don't feel like essential Superman tales that someone has been waiting a lifetime to tell. If anything, it's pure filler material. No one will remember this issue, no one will quote it in the future, it exists purely to have a Superman series on the racks. 2/10

THE PUNISHER #14

As this volume of The Punisher enters the home stretch, the reasons behind the upcoming War Zone mini-series become a little clearer. This issue opens on Frank surrounded by discarded Marvel Universe tech. Iron Man's helmet, Cyclops' visor, Spider-Man's webshooter, one of Doc Ock's mechanical arms, etc. How could he not draw the Avengers' scorn amassing an armory like that. But until then, he still has plenty of mobsters left to kill. To this end, he and his protege set up a buy for pieces of said technology, in an otherwise impenetrable location. Little do the criminals know, that's exactly where Frank wants them! The evolution of Rachel Cole-Alves over the past 13 issues has been fantastic and this installment provides yet another important piece of the puzzle. It'll be a wonder if this character isn't a permanent addition to the Punisher status quo going forward. 8/10

BUFFY THE VAMPIRE SLAYER: SPIKE #1

While the idea of a Spike solo mini-series is a no-brainer, this book is so steeped in recent continuity, it's sure to confuse alot of casual readers. To clarify, in a recent issue of Buffy Season 9, Spike decided he could no longer be Buffy's consolation prize, the dark place she runs to when things don't go her way. As such, our favourite English vampire has taken his spaceship (that's right, he has a spaceship now) and retreated to the dark side of the Moon for the purposes of excessive drinking and all-around moping. His insectoid crew don't take kindly to their captain's new melancholy attitude and verge on mutiny. While being a fun issue in and of itself, I can't help but feel the character is so far out of his (and our) comfort zone, the point of this series is entirely lost. Take William the Bloody back to Earth and have him carve out a niche where it really counts. 6/10

Batman: Earth One Review

Batman makes his Earth One debut in this long-awaited graphic novel from the superstar creative team of Geoff Johns and Gary Frank! The Earth One line is yet another attempt by DC Comics to entice new readers with a definitive "modern" origin for their iconic characters. So far, Superman has been the only other character to receive such treatment, getting the line off to a precarious start, with huge financial success but critical derision. Much like that attempt, this novel tackles familiar tropes, whilst altering the mythos in small but distinct ways. Whether for the betterment of the franchise or simply the writer putting his own stamp on the character, we'll never entirely know.

In critiquing "Batman: Earth One", comparisons to Frank Miller's masterpiece "Batman: Year One" are unavoidable. That story told much the same tale, with a freshly trained Bruce Wayne returning to Gotham seeking vengeance for his murdered parents. Similarly, it documents Lieutenant James Gordon's troubles as the only honest cop in a corrupt Police Department. However, that is where the similarity ends, with both stories taking a very different structural approach.

Ironically, "Batman: Year One" feels timeless in comparison to this latest entry. Nothing in "Batman: Year One" relied upon style or pop culture references, of which "Batman: Earth One" is most definitely guilty. The look of Batman's equipment, infrequent mentions of reality shows and Blurays, something tells me this incarnation will date rather badly given ten years or more.


However, the changes aren't purely cosmetic, extending to some curious character beats. Chief among them, Bruce Wayne himself. No longer was he strictly an innocent child, from Geoff Johns' perspective he was a rather petulant and annoying brat. All other retellings of the death of Thomas and Martha Wayne have Bruce as damn near angelic, focussing on the innocence lost that night. Whereas, in this world, Bruce ran off stubbornly into a dark alley and led his family to the slaughter not by chance, but because HE INSULTED THE MUGGER! This may be slightly dark and sadistic of me, but after such terrible behaviour from the young Wayne, he deserved to be taught a lesson. I hate to think of the spoiled trust fund baby this incarnation would've produced.


As to the young man's burgeoning career as a masked vigilante, I say - don't give up your day job! Other accounts typically show small errors in Batman's early outings. Whilst here, he's frequently screwing up on a grand scale. So much so, it's easier to list his flaws than anything he does right. I can't help but wonder whether or not DC are trying to steal a page out of Marvel's playbook by featuring "relatable" heroes over their traditional gods-among-men. This is very much in the vain of Spider-Man, where he'll forget to reload his webshooter and come crashing down to the ground with a thud. It's basically DC via Marvel.


Some of the more fascinating changes come in the form of Jim Gordon and his new partner Harvey Bullock. Traditionally speaking, Gordon has always been the straight laced stick in the mud who'll do whatever is right, no matter the consequence. Meanwhile, Bullock plays things fast and loose, turning a blind eye to injustice, as long as it suits his purposes. However, Earth One finds the dynamic flipped somewhat, with Bullock displaying a striking level of naivety, while Gordon has become world-weary. This version of our favourite cop has been broken utterly by the Mob. He's not complicit in their crimes or even on the take, but after losing his wife in a suspicious car accident, he's also lost his will to fight back. It takes this new bumbling take on Harvey Bullock to bring him back to the side of the righteous. Alot of my favourite moments from the book featured the duo, whether it be Gordon rediscovering his passion for the job or Bullock being chilled to the bone at the atrocities of Gotham City.


One aspect of the book that nobody could fault is the art. Gary Frank has outdone himself, which is no mean feat considering his past work on Supreme Power and Action Comics. There are multiple single panel pages that stop the story dead in it's tracks, mesmerising you with their beauty. I was particularly impressed by images of Batman laying hurt in an alleyway and another later featuring him perched atop a nasty looking villain he'd just taken down. Whatever faults lay with this book, Gary Frank can sleep well knowing he's absolutely blameless. Artists of the future will be aspiring to his high standard for years to come.


I may be the wrong person to be judging this novel. DC and Marvel have flooded the market with revamped origins every couple of years and as such, I'm absolutely burnt out on any superhero's beginnings. Just as long as they have their powers and have a rollicking good adventure in the process, I'm not sure I need to know how they got into that position. Leave it a mystery, at the very least it won't be retold a hundred times over like a bad game of Chinese Whispers. "Batman: Earth One" is exactly that - a story that once held meaning, but has been told so many times that it's lost alot of pathos along the way.


5 out of 10

The Best of DC Comics New 52!

5. NIGHTWING

While reverting from Gotham City's one and only Batman back to original identity Nightwing could be seen by some as a demotion, Dick Grayson has proved just as important in his New 52 role as he did pre-Flashpoint. Kyle Higgins has been on writing duties since the relaunch and in conjunction with Batman's Scott Snyder has created the perfect companion piece to the recent "Night of the Owls" crossover event. Just as Bruce Wayne has come to find his life shadowed by the fabled Court of Owls, so has Dick Grayson. Over the course of the first year, it's been revealed that long-time staple Haley's Circus was aiding in the creation of the next generation Talons and Dick was to be a leading candidate, if not for the timely intervention of his adoption and subsequent crimefighting career. All being big developments in the origins of the former Boy Wonder and leave me wondering what might happen next.



4. BATMAN INCORPORATED

This is a bit of a cheat, as there's only been one issue of this series set firmly in New 52 continuity so far. However, in that single issue, Grant Morrison achieved more than some creators have been striving all year for. Due to the luck of the draw, he's managed to pick up exactly where he left off in Volume One. After being hounded for months by a mysterious organisation named Leviathan, their leader stood revealed as none other than Robin's mother, Talia Al Ghul. Not only is the writing top notch, but the art by Chris Burnham evokes the same pop-art sensibilities usually only captured by Frank Quitely. A masterful book that's only ever going to rise in my estimation over the coming months.

3. GREEN LANTERN

Geoff Johns has been writing the spectacular adventures of Hal Jordan consistantly since 2004. Picking up seemlessly from where the last volume left off, following "War of the Green Lanterns", Hal has been stripped of his power ring and banished back to Earth by the Guardians of the Universe, having deemed him too rebellious (whilst secretly fearing his true power). In his stead, long-time nemesis Sinestro has been reinstated and tasked with bringing down the Corps of his own creation, who've invaded his homeworld of Korugar. While not remotely new-reader-friendly, relying heavily on one's knowledge of the past eight years of Green Lantern mythology, this series is unrelentingly entertaining with it's buddy-cop dynamic between the two leads. It's only a matter of time before they have an inevitable falling out and Sinestro is returned to his villainous roots, so I'm enjoying the pairing while I can. In recent months, there have been no end of hints towards a major new story arc entitled "The Third Army". The Guardians have secretly turned against the Green Lantern Corps and are plotting to supplant them with a new galactic police force, just as they did the Manhunters before them. Jump on board now, before the s*** hits the fan.

2. AQUAMAN

Anyone who's not reading this series already, what the hell is wrong with you? Admittedly, Aquaman has always been a tough sell (even to me), but this new volume has addressed that criticism head on. Not happy to write a plain old Aquaman story, Geoff Johns has no problem pointing out how the world at large laughs at the notion of a water-based superhero. The first handful of issues are rife with situations where members of the public bombard our hero, Arthur Curry, with ridiculous questions about the usefulness of talking to fish or what he intends to do to stop a crime on land. Instead of shying away from the inherent trouble this character has had in the past, Johns has embraced it, making it one big running joke and taking the sting out of any true criticism. Not to mention Ivan Reis has drawn the King of Atlantis to be the most dashing, awe-inspiring hero of them all. Whether it be stopping a bank robbery on land or fighting off a legion of carniverous sea-life underwater, never has the character looked so good. Put aside your scepticism for a single night and read the first arc, you won't be sorry.

1. BATMAN

As alluded to earlier, Scott Snyder's Batman is really knocking it out of the proverbial park at the moment. Continuing themes he began way back in his run on Detective Comics, Snyder treats Gotham City as a living breathing entity, that just as soon as you think you have a handle on it, it'll churn out a new threat specifically tailored to mess with your head. In that spirit, it's revealed that as confident and comfortable as Batman has grown in his home town, there has always been an unseen force operating in the shadows, namely - The Court of Owls. Initially hinted at as merely a nursery rhyme to scare the small children as Gotham, the threat becomes increasingly real, attacking Bruce Wayne from all sides. Nests spring up unexpectedly in his place of business and home. The situation ever worsening, the fearful Talon assassins eventually drag Batman down into the depths of madness. Never has an enemy shook our hero's core belief system so utterly. He can no longer trust his place of birth, his methods, even his closest allies. The Court has it's claws in them all. If you were under the impression that Grant Morrison would strole back in after a year and reclaim his mantle as head of the Bat-writers, Scott Snyder stops him dead in his tracks. Where Morrison has been building his masterpiece over the course of years, Snyder has given us one in a matter of months. The collected saga of "The Court of Owls" will undoubtedly become a classic before our eyes.  

Batman Annual #01 Review

While "The New 52" reboot from last September left Batman's continuity mostly intact, a few changes have snuck in over the course of the year. Dick Grayson is back to being Nightwing, Barbara Gordon is back to being Batgirl, etc. Generally these changes have been rolling back the clock on our favourite heroes' careers, making them younger and dare I say more stylish. However, this first Annual of the new volume takes a radical approach and completely rethinks the origins of one Victor Fries aka Mr Freeze. I won't go into details, but it both acknowleges the classic origin of Mr Freeze, as established in Batman the Animated Series' "Heart of Ice" over twenty years ago, and yet spins it off into an interesting new direction that no one was expecting, let alone me.

What will most likely catch any potential reader's eyes on the stands is the "Night of the Owls" crossover banner on the top of the cover. However, I should warn you that this doesn't play into the hugely popular event in the slightest. Apart from a casual mention of the Court of Owls having stolen Freeze's methods to animate their Talons and a nebulous time frame between another Freeze-related scuffle over in "Red Hood & The Outlaws", this is entirely a localised character study, delving deeper into what makes one of Batman's most notorious villains tick.

Furthering this theme, the Annual is bookended by flashbacks to Victor as a child, visiting a frozen lake with his mother. Sufficed to say, any mental disturbances in the mind of Freeze began a long time before Batman or Bruce Wayne became a thorn in his side. I really liked these two scenes. While it had no direct effect on the modern day, it played heavily into the psychosis Victor feels towards his wife Nora. Yet another important woman in his life that met an icy end.

The core story deals with yet another breakout from Arkham Asylum (making three or four across all the Bat-titles since last September alone). Thankfully, this one is far smaller in scale and only Freeze himself, yet all the more impressive for it. Watching him casually despatch staff memebers, whether they be therapists or armed guards is quite the sight. Sometimes relying on his gimmick of extreme cold or in a surprising move, blunt force trauma. He may be a malformed scientist, but he has no problem snapping a man's neck with his bare hands.

Upon regaining his freedom, Freeze heads straight for the the man who "wronged" him and led to his horrific transformation - Bruce Wayne. In this version of events, the good Doctor worked for Wayne Industries in the Cryonics Division. Victor spent months working on a cure to his wife's condition, neglecting all the other projects he should've been working on. When Wayne finds out, he personally fires Fries on the spot. After an unprovoked skirmish, Fries ruptures a canister of coolant and becomes the monster we know him to be today.

I'm not entirely sure I agree with the decision to tie Bruce so intrinsically into Mr Freeze's origin. It reminded me alot of The Riddler in Batman Forever. Jim Carrey was the mad scientist in Wayne's employ, got fired and poured his talents into revenge against his former boss. You could match the stories beat for beat. Now, I'd never accuse a mastermind like Scott Snyder of ripping off a hack like Joel Schumacher, but the similarities are eerie.

As you can imagine, when someone makes a kamikaze run at Bruce Wayne, they're bound to run into Batman. Before that inevitable round of fisticuffs, there was also a welcome pair of cameos in the form of Nightwing and Robin, running interference for their father. Ever since Dick Grayson and Damian Wayne's initial team-up in the first volume of "Batman & Robin", I've long been a fan of the pairing. I'm glad to see their chemistry hasn't been forgotten by DC editorial in the rush to get Nightwing back to a solo hero. It was only a couple of pages worth, but a reminder that not every change to the DCU was a positive one. I miss these two together.

In retrospect, the events of the issue themself aren't anything much to write home about. Infact, it's worryingly basic. But the beauty lies in the small character moments. Being able to understand this new Freeze a little more, even Bruce's personal connection to events. Not essential reading, but pleasant enough, should you want a deeper insight into the New 52.

8 out of 10