Comics Review: ‘Event Leviathan’ #1

Brian Michael Bendis and Alex Maleev re-unite for DC’s new mystery thriller…

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Alex Maleev’s evocative and moody cover for DC’s ‘Event Leviathan’ #1 (credit: DC Entertainment).

Written by:  Brian Michael Bendis / art by:  Alex Maleev

What’s it about?

Drawn together as they investigate the destruction of key intelligence agencies, Batman, Lois Lane, Green Arrow and The Question find that they must uncover the identity of the mysterious perpetrator known as Leviathan before more attacks can occur…

In review

Writer Brian Michael Bendis expands his DC Comics work with Event Leviathan a six-issue mini-series that unites some of the DC Universe’s greatest detectives – Batman, Lois Lane, Green Arrow and The Question to investigate the decimation of the intelligence community by Leviathan, an enemy whose true identity remains unknown.  Teaming up with his most celebrated collaborator, artist Alex Maleev (the duo having previously worked on titles such as Daredevil, International Iron Man, Infamous Iron Man and the creator-owned Jinxworld series, Scarlet), Brian Bendis provides a promising and intriguing start to this gritty mystery thriller.

Less of an actual sprawling ‘event’ in the traditional sense, which usually involves collecting a plethora of titles and numerous tie-ins, Event Leviathan spills out of the recent “Leviathan Rising” arc in the Bendis penned (with art by Steve Epting) Action Comics yet is a contained story in its own right, although a reading of that aforementioned arc (and forthcoming issues of Action) will enrich the experience of this first issue.  This isn’t an action and plot heavy premiere and Bendis incorporates a decent amount of exposition to recap the events in Action Comics and the groundwork laid there, making the book accessible to new readers.  This might make things a little slow and ponderous to those who do follow that Superman – who is actually absent here – title but it sets the mood and we are drawn in by the dialogue as Bendis reiterates the stakes, principally the destruction of the facilities of intelligence agencies ARGUS, the DEO and Spyral, the dynamics between the central characters (always a strength with Brian Michael Bendis) and the mystery they must work together to quickly unravel – the identity of the masked Leviathan.

Bendis has already been crafting a solid run on both Superman and Action Comics and has certainly nailed the core components of Lois Lane’s personality and that continues seamlessly in Event Leviathan, pinning down her drive and determination to the truth – and not unlike her Kryptonian husband, justice.  He also has a unique handling of Batman who is slightly more engaging and forthcoming with others as well as being prone to a dash of dry sarcasm, in comparison to the more bleak and troubled soul of Tom King’s Batman.  That’s no criticism of King’s work but that specific approach wouldn’t quite fit in with Event Leviathan where the Dark Knight needs to be committed to a common cause.  It’s not necessarily inconsistent, just appropriate for this story and Bendis ensures that there’s a focus on the skill and deduction we expect and enjoy in any representation of Batman.  Aside from Lois and Batman, Bendis delivers strong takes on Green Arrow and The Question giving both significant roles to play and the tension is heightened by an injured and defensive Steve Trevor, desperate to prevent his survival of Leviathan’s acts being seen as a source of suspicion.

Alex Maleev’s art (who also provides his own inks and colours) is, as usual, sublime with the dirty and gritty visuals giving Event Leviathan the sort of grounded, detective noir feel it needs and whilst there’s that certain street-level sense that came with his work on Daredevil, he’s also just as capable when it comes to creating epic scenes – the crumbling interior of the new ARGUS base and the establishing exterior shot of its prior state are stark and beautiful, respectively.

The bottom line:  Event Leviathan launches with a slow burning but interesting and atmospheric start, made all the more appealing thanks to a tried and trusted creative team.

Event Leviathan #1 is published by DC and is available in print and digital formats now.

Images used herein are utilised for illustrative purposes only and remain the property of the copyright owner(s).

Film Review: ‘Shazam!’

The Worlds of DC greets its newest hero…

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Spoiler-free review

Zachary Levi enters the Worlds of DC in ‘Shazam!’ from Warner Bros. Pictures and New Line Cinema (c. Warner Bros. Pictures/New Line Cinema).

Starring: Zachary Levi, Mark Strong, Asher Angel, Jack Dylan Grazer, Djimon Hounsou, Grace Fulton, Ian Chen, Jovan Armand, Faithe Herman, Cooper Andrews, Marta Milans

Directed by: David F. Sandberg / written by: Henry Gayden (story by Henry Gayden & Darren Lemke, Shazam created by Bill Parker & C.C. Beck) / 132 minutes

What’s it about?

Foster child Billy Batson, granted god-like powers by a mysterious wizard finds he must grow-up sooner than expected when he finds himself faced against the threat of an ancient evil…

In review

Warner Bros. Pictures and New Line Cinema’s Shazam! Is the latest offering from the ‘Worlds of DC’ cinematic universe, a sweet, fun and funny superhero romp that wears its childlike innocence and sense of adventure with pride. It doesn’t reinvent the wheel or stand amongst the very best of the genre but Shazam! is non-the-less a good time and a crowd-pleaser with a spirit that harkens back to the Christopher Reeve Superman films.

Based on one of DC’s lesser known – but oldest – characters (who at one point was selling more comics than Superman and originally known as Captain Marvel until legal issues got in the way), Shazam! sees troubled fourteen year old foster child Billy Batson (Asher Angel), struggling to adjust to life with his new adoptive family, encounter a mysterious wizard (Djimon Hounsou) who believes Billy to be pure of heart and selects his as a successor to his incredible powers – by merely saying the word “Shazam” (which on the face of it seems silly but is actually an acronym of Greek gods Solomon, Hercules, Atlas, Zeus, Achilles and Mercury), Billy’s body transforms into that of a muscle-bound adult (Zachary Levi) endowed with an almost limitless range of powers and becomes the only hope of preventing evil demons, known as the Seven Deadly Sins, from being unleashed upon the world by the crazed Dr, Sivana (Mark Strong – formerly Sinestro in Warner’s ill-fated Green Lantern) who plans to seize the power of Shazam for himself.

Shazam! doesn’t hide from the fact that it’s essentially a superhero version of Tom Hanks classic Big (with a hint of Spielbergian magic) and much like Spider-Man: Homecoming did with the coming-of-age films of John Hughes, it simply goes along with it. Although the opening act may be a little sluggish it serves to give viewers a proper introduction to the characters and draw you into Billy Batson’s story – a significant part of which is his friendship with his foster brother and superhero fanboy Freddy, superbly played by It’s Jack Dylan Grazer and it’s the chemistry between the cast and their respective characters (which also includes an undeniably cute turn from the talented Faithe Herman as young ‘sister’ Darla) that really makes things click. Angel and Grazer are obvious standouts but it’s when Zachary Levi enters the frame that Shazam! hits its stride. The former Chuck star is absolutely the perfect choice to play the empowered version of Billy and he exudes the right combination of youthful excitement, awkwardness and physicality the role demands, handling all the action, heart and humour (an integral and well executed element of the film) with equal skill and with a believability and vulnerability that sells the idea of a boy in a man’s body. As Sivana (whose father is played by John Glover – Smallville’s Lionel Luthor), Mark Strong provides a decent amount of menace and danger – pitched with an appropriate touch of corniness. Sivana is by no means one of the all-time “great” villains but Strong does well with the character, for which we do get a bit of a backstory that helps define his motivations.

Shazam! is not as action orientated as other comic book blockbusters but it still has a fair measure, mostly reserved for its hero-forging middle section where Billy/Shazam must quickly master his abilities in a deadly face-off with Sivana and the climactic finale as he grapples with the creepy CGI-horde of the Seven Deadly Sins and director David F. Sandberg (Annabelle: Creation) has a firm grip on it all. These moments are certainly exciting but in the end it’s the family-focused, character driven aspects of Shazam! that make it all-the-more appealing and whilst it may make some fans hungry for a return of Superman, Batman and Wonder Woman it expands the DC film universe as it continues to find itself on firmer footing.

The bottom line: a solidly entertaining comic book flick with a great leading cast, Shazam! successfully balances emotion, laughs and superhero punch-ups to engage the masses.

Shazam! is in cinemas now.

Image(s) used herein are utilised for illustrative purposes only and remain the property of the copyright owner(s).

Comics Review: ‘Detective Comics’ #1000

DC celebrates 80 years of their most treasured icon…

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Main cover art by Jim Lee for the milestone ‘Detective Comics’ #1000 (c. DC Entertainment).

Written by:  Scott Snyder, Brian Michael Bendis, Tom King, Denny O’Neil, Kevin Smith and more / art by:  Greg Capullo, Alex Maleev, Tony S. Daniel, Steve Epting, Jim Lee and more / colours by:  various

What’s it about?

An anthology of short stories to mark the 80^th anniversary of Batman as Detective Comics reaches one thousand issues…

In review

Following Superman’s landmark 80^th birthday last year, DC presents the 1,000^th issue of Detective Comics (more accurately going by the full title of Batman: Detective Comics in contemporary times) in celebration of 80 years of Batman, the comic book publisher’s most treasured (and lucrative) character and one of the world’s most popular and beloved fictional icons.  This behemoth 96-page issue enlists some of the greatest comics talent to produce a truly special and memorable collection of short stories.

There are numerous tales in Detective Comics #1000 and it would be exhaustive to provide a detailed overview of each one but needless to say there are many highlights.  Perhaps fittingly, the book opens with the fan favourite creative team of Scott Snyder and Greg Capullo (whose character work is, pleasingly, a little less rough and cartoonish than in his previous collaborations with Snyder) and intriguingly as they deal with Batman’s longest and most mysterious investigation.  Current Batman writer Tom King with artists Tony S. Daniel and Joelle Jones present “Batman’s Greatest Case” an expectedly strong contribution that involves the whole Bat-Family and some fun interplay between the various players, particularly Dick Grayson and Damien.  Geoff Johns and Kelley Jones team-up in a creepy story dealing with a copycat criminal.  Jones’ art is the only real ‘blip’ here as there’s a diminished, muddied quality to his visuals in comparison to his work in the nineties.

Superman and Action Comics writer Brian Michael Bendis reunites with Alex Maleev for “I Know“, a stark and gritty tale where an elderly and bitter Oswald Cobblepot laments that he always knew what Batman’s other foes never knew – the true identity of the man beneath the cowl.  It’s a reminder of Bendis and Maleev’s monumental Daredevil run that will only make readers yearn for a full Batman mini-series from the (dynamic?) duo.

A real treat is the return of the legendary Denny O’Neil (whose most celebrated collaborator, Neal Adams appears elsewhere with a story written by Christopher Priest) who together with the sublime Steve Epting presents an appropriately sombre and moody sequel to the popular “There is No Hope in Crime Alley!“.  O’Neil’s tenure as a Batman writer in the 1970s helped to bring the character back to his darker crime fiction roots after the camp and zany 1960s and revisiting one of his most beloved stories is a perfect addition to this anthology.

The pick of the bunch though has to be “Manufacture For Sale“ by Kevin Smith (geek icon and writer of Batman: Cacophony and Batman: The Widening Gyre) and Jim Lee (DC art god who also pencils the main wrap-around cover for this issue), a heartfelt and poignant story which sees Bruce Wayne’s search for a specific item that ties to his past and turn it from something used for an evil deed and utilise it as an object of hope.  It’s beautifully crafted and bound to be cited in the years to come as a classic moment in Batman history.

Whilst much of the content of Detective Comics #1000 is self-contained it does close out with the title’s regular writer Peter Tomasi and rotating artist Doug Mahnke as they set-up the upcoming Arkham Knight arc that kicks off fully in issue #1001 which brings the popular video game character into DC Universe continuity and leaves the reader ready and waiting for many more issues of Detective Comics.

The bottom line:  Essential for even the most casual of comic book readers and Batman fans, Detective Comics #1000 is a perfect celebration of 80 years of the Dark Knight Detective, boasting some of the very best comics talent.

Detective Comics #1000 is published by DC and is available in print and digital formats now.  A Deluxe Edition hardcover containing extra material is slated for release in June.

Images used herein are utilised for illustrative purposes only and remain the property of the copyright owner(s).

Film Review: ‘Reign of the Supermen’

The Man of Steel’s potential successors rise in the latest DC animated feature…

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The ‘Eradicator’ continues the late Superman’s fight against crime in the DC/Warner Bros. Animation release, ‘Reign of the Supermen’ (image credit: DC Entertainment/Warner Bros. – used for illustrative purposes only).

Spoiler-free review

Starring (voices): Jerry O’Connell, Rebecca Romijn, Rainn Wilson, Patrick Fabian, Charles Halford, Cameron Monaghan, Cress Williams

Directed by: Sam Liu / written by: Tim Sheridan and Jim Krieg

What’s it about?

Six months after the death of Superman, Metropolis is stirred by the appearance of four new ‘Supermen’…

In review

Concluding the story which began with last summer’s The Death of Superman, DC Entertainment and Warner Bros. Animation present Reign of the Superman, a fun and enjoyable adaptation of the 1993 comic book arc. Picking up six months after Superman’s death following his defeat of the Doomsday creature, the world continues to mourn the loss of the beloved Man of Steel as the citizens of Metropolis are swept up in a media frenzy when four supposed ‘Supermen’ begin to appear – the wise-cracking, Lex Luthor sponsored clone who hates to be called ‘Superboy’ (Gotham’s Cameron Monaghan), the armoured champion of justice known as ‘Steel’ (aka John Henry Irons – voiced by Cress Williams, star of the CW’s Black Lightning), the mysterious yellow-visor wearing ‘Eradicator’ (Charles Halford) and the part organic, part machine ‘Cyborg Superman’ (Jerry O’Connell/Patrick Fabian). As each of these Supermen make their claim as to who may be the rightful successor to the fallen Last Son of Krypton, a looming threat from the stars places humanity in the path of a danger from which it has little hope of surviving…or do they?

Overall, Reign of the Supermen does a decent job of condensing the narrative of the original comics (which ran over the course of several months and numerous different titles) into its 89 minute running time. It does at times feel a little overstuffed and the various sub-plots and characters are not as fully developed as they could have been, particularly in the case of John Henry Irons/Steel and the Eradicator but it never feels jumbled or incoherent. There may have been a case for a further instalment to fully flesh things out and provide some breathing space but Reign of the Supermen works well enough as is and is still able to deal with the “World Without a Superman” part of the story sufficiently in its opening act, with some heartfelt moments between Lois and Jonathan and Martha Kent and an amusing yet poignant scene with Perry White (Rocky Carroll) in the Daily Planet offices. The Justice League once again play their parts (although it continues to be odd that, as with The Death of Superman, Hawkman is present but with no lines of dialogue) although the script wisely removes them from the action until the final act so that there’s more focus on the main story.

It’s difficult to discuss the plot of Reign of the Supermen in more detail without delving into spoilers but for those familiar with the comics, the film adheres fairly closely to the source material with a few original additions (and an alteration to the central threat) and it all leads to an exciting and action packed climax, a neat homage to Superman’s cinematic past and a tantalising tease of things to come in the DC animated universe.

The voice cast is solid and are served well by Tim Sheridan and Jim Krieg’s screenplay, the particular highlights being Rebecca Romijin who delivers a warm but strong portrayal of Lois Lane (bolstered by her scenes with Rosario Dawson as Lois builds a budding friendship with Diana Prince/Wonder Woman), Cameron Monaghan – bringing the arrogant, care-free and quippy Superboy fittingly to life and Cress Williams, applying the right qualities of inherent goodness and heroism to John Henry Irons/Steel. Rainn Wilson once again infuses Lex Luthor with the appropriate level of menace and deviousness but it’s still hard not to miss Clancy Brown in the role which he defined so definitively in Superman: The Animated Series.

The animation and character designs are good and the action (always a high point with these animated DC films) thrilling, all skilfully guided under the direction of Sam Liu – who also helmed The Death of Superman (with Jake Castorena) and many previous DC animation projects including Batman: Year One and Justice League vs Teen Titans resulting in an entertaining package that, when coupled with The Death of Superman creates a pleasing adaptation of the iconic story.

The bottom line: an enjoyable conclusion to the “Death of Superman” arc, Reign of the Supermen is a successful adaptation of the 1990s comic book story.

Have you read… ‘Superman Unchained’ ?

The comics and graphic novels you may not have read that are worth checking out…

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Art for ‘Superman Unchained’ by the phenomenal Jim Lee (image credit: DC Entertainment, used for illustrative purposes only).

Year:  2013

Written by:  Scott Snyder / pencils by:  Jim Lee (main story) & Dustin Nguyen (epilogues) / inks by:  Scott Williams / colours by:  Alex Sinclair

What’s it about?

As Superman tries to prevent the escalating attacks of a cyber-terrorist group, events lead to him crossing paths with General Lane and a mysterious and powerful alien being called ‘Wraith’…

In review:  why you should read it

Originally published as a nine-issue limited series, launched in June 2013 to coincide with Superman’s 75^th anniversary as well as the release of Man of Steel on the big screen, Superman Unchained is a bright spot in DC’s divisive ‘New 52’ reboot.  Whilst other DC characters and titles such as Batman (for the most part) and Justice League were well served during the New 52, Superman, generally, was not with both Superman and Action Comics something of a mixed bag, if not mediocre.  Superman Unchained remedied that with an epic and exciting story that shouldn’t be overlooked.

Written by Scott Snyder, who was already in the midst of his popular run on Batman (with artist Greg Capullo) and with pencils by Jim Lee (with inks and colours by his regular collaborators, Scott Williams and Alex Sinclair), Superman Unchained sees the Man of Steel faced with the threat of a cyber-terrorist group known as Ascension, whose attacks lead to an encounter with General Lane and his forces, the discovery of a military facility called ‘the Machine’ and a secret weapon: Wraith, an alien being – with powers to rival that of Superman – who arrived on Earth in 1938 with an equation that is the key to unlocking technological advancements.  Amidst this, humanity faces even greater danger as a further threat from the stars looms.

As well as drawing in appearances from Batman and Wonder Woman, Unchained also gives Lois Lane her own share of the action as she investigates and is ultimately captured by Ascension, learning that they are in possession of a powerful crystalline technology known as ‘Earthstone’ which they plan to utilise to devastating ends.  It also wouldn’t be a good Superman story without Lex Luthor and Snyder has fun with him, presenting a Luthor who’s at his megalomaniacal and ingenious best.  Luthor’s escape from maximum security detention (aided by a mech-suit of his own construction) and subsequent kidnap of Jimmy Olsen exemplify all of those qualities and remind us that he’s Superman’s most formidable nemesis.  The main story is complemented by back-up epilogues that run sporadically throughout, written by Snyder and pencilled by Dustin Nguyen and which provide tantalising teases of things to come.

Snyder creates a busy narrative, with multiple threats, fast action and several interconnected story threads but luckily it all hangs together quite successfully.  The fan-favourite writer has a good handle on the character of Superman in his New 52 iteration (later defined during DC’s ‘Rebirth’ initiative as an alternative version, whose essence would merge with that of the original pre-New 52 universe Superman…whoever said comics could be confusing?), who has a bit more of a gritty edge than the traditional take but still upholding those nurtured values of truth and justice.

Whilst Unchained may seem predominantly focused on Superman, there’s still a place for Clark Kent as we see his efforts to investigate Ascension and enlist the assistance of Bruce Wayne/Batman in tackling the group.  Snyder also incorporates a flashback of a traumatic event in Clark’s childhood that plays thematically into the present.

Although there’s a lot going on in Unchained and parts of it may seem overly wordy, it’s more a case of substance than waffle and Snyder does take time to focus on characterisation, even when there’s fists flying and satellites crashing and we get a sense of what motivates everyone.  The conflict between General Lane and Superman is a good example, both are sworn enemies with opposing viewpoints but Lane has an argument and a personal perspective with a commitment to duty and service that drives him, adding some dimension to the age old battle between the two characters.

Some of Snyder’s more recent works (and to an extent, the latter parts of his Batman run) tend to be a little overindulgent and unnecessarily convoluted but Superman Unchained is a more positive and coherent example of his writing and being paired with the amazing Jim Lee certainly helps.  Lee’s visual storytelling speaks for itself and his style here is as you would come to expect – powerful, detailed and cinematic – Superman Unchained reads and looks like a superhero blockbuster.  Lee’s renditions of Superman are confident and his depictions of the action scenes are exciting, all adding to the appeal.  Lee proves he can handle the scale and also the craziness of Snyder’s script, Superman’s battle against Lane’s forces in a Kryptonian armour suit being a particular highlight.  There’s also the design of Wraith, a hulking stone-grey creature emanating flaming tendrils of energy – simple, yet effective and when married with Scott Snyder’s dialogue together they create an interesting adversary for Superman with a foe who is not just physically imposing but also challenges the Last Son of Krypton on a philosophical level.  Having been in the service of the U.S. government since his arrival and intervening clandestinely in conflicts throughout history, Wraith believes in what he is doing just as much as Superman does and having our hero team up with Wraith against Ascension creates an unusual dynamic given Wraith’s declaration that once they’re done he has one more task to perform: kill Superman.

Superman Unchained is a highly entertaining read and easily one of the best Superman stories of the last decade and it wouldn’t be surprising if in the years to come it ends up ranking amongst some of the Man of Steel’s all-time greats.  Even if you weren’t a fan of DC’s New 52, it’s well worth the dive.

Read it if you like…

The Man of Steel by Brian Michael Bendis (as well as the writer’s current run on Superman with artist Ivan Reis), Batman: Hush by Jeph Loeb and Jim Lee and Superman: For Tomorrow written by Brian Azzarello with more fantastic visuals from Jim Lee.

Superman Unchained is published by DC and is currently available in print and digital formats.

Flashback: ‘Superman: The Man of Steel’

Decades before the New 52 and Rebirth, John Byrne was tasked with redefining the Superman mythos…

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John Byrne’s cover art for ‘The Man of Steel’ #1 (credit: DC Entertainment, used for illustrative purposes only).

Year:  1986

Written by:  John Byrne / pencils by:  John Byrne / inks by:  Dick Gordiano / colours by:  Tom Ziuko

What’s it about?

A young Clark Kent discovers his true heritage and decides to use his powerful abilities for the greater good to become the world’s mightiest hero, Superman…

In review

Following the multiverse shattering event, Crisis on Infinite Earths DC Comics proceeded to refresh their line and produce new, modern retellings of the origins of Superman, Batman and Wonder Woman that redefined the comic book titans in the age of The Dark Knight Returns and Watchmen.  With Frank Miller and David Mazzuchelli set to explore Batman’s beginnings with the four-issue “Year One” storyline and George Perez assigned to tackle Wonder Woman, DC enlisted writer/artist John Byrne to relaunch Superman beginning with a six-issue mini-series called The Man of Steel.

Having already crafted iconic runs on Marvel’s X-Men and The Fantastic Four, Byrne was the perfect choice to bring Superman soaring back into the eighties and give the character firm creative footing heading into the 1990s.  Each issue, or ‘book’, of The Man of Steel is a self-contained story that looks at the origin of Superman and a series of ‘firsts’ during the early days of his superhero career.  Book One opens with a prologue focusing on the destruction of Krypton before providing a glimpse of Clark Kent’s early years and the space-plane rescue that leads to the birth of Superman and his first encounter with his future love – Daily Planet reporter Lois Lane.

Byrne’s reimagining of Krypton has become highly influential, seen here as a scientifically and technologically advanced society that is relatively emotionless and where offspring are grown artificially inside egg-like genesis chambers are all ideas that would later be incorporated into Mark Waid and Leinil Yu’s Superman: Birthright, in big screen feature Man of Steel and more recently SyFy’s Krypton television series.

Byrne also manages to re-establish other classic elements from the Silver Age and reinterpret them in a way that is less ridiculous than in their earlier iterations, specifically an updated take on the oddball alternative Superman known as ‘Bizarro’ who appears in Book Three as an imperfect clone of the original Superman created by Lex Luthor.  Speaking of Luthor, it certainly wouldn’t be Superman without him and the titular villain makes appearances throughout the series as he draws his plans against the Man of Steel, with a slightly more sophisticated and sinister take on the character in comparison to his portrayal on the big screen (as enjoyable as Gene Hackman was in that role).

The highlight of the series though is undoubtedly Book Four, which depicts the first meeting of Superman and Batman.  Byrne perfectly nails the relationship between the two, demonstrating the differences in viewpoints and the values each attributes to their pursuit of justice.  There’s some nicely executed tension as Superman arrives in Gotham City, initially butting heads with the Dark Knight Detective but both heroes ultimately develop a comradery as they set aside their differing ideologies and work together towards a common goal in pursuit of the criminal known as ‘Magpie’.

With The Man of Steel, Byrne goes beyond the comic book action to dig into the man behind the cape.  This focus on characterisation is one of the most appealing aspects of the series as readers get a sense of who Clark Kent really is and how his upbringing by his adoptive parents, Jonathan and Martha Kent, together with his experiences growing up in Smallville shape the person he is to become.  It brings a human quality to Superman that adds layers to the character, making the hero more relatable and interesting.

It goes without saying that great writing in comics needs strong art to visualise it and John Byrne’s compositions are iconic.  Whilst modern art is often more flashy and energetic, Byrne’s style is classic and recognisable – his bold, assured character designs and intricate, realistic landscapes and environments give the series a pleasing look that combined with decent scripts makes The Man of Steel a defining point in the history of Superman comics.

Geek fact!

The origin of Superman would once again be revisited in 2009’s Superman: Secret Origin by Geoff Johns and Gary Frank, following another DC multiverse cataclysm in Infinite Crisis.

All six issues of The Man of Steel are collected in Superman:  The Man of Steel – Volume 1, published by DC and is currently available in digital format.

Comics Review: ‘Batman’ #58

The Penguin enters centre stage for the latest arc of DC’s ‘Batman’…

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Spoiler-free review

Cover art for ‘Batman’ #58 by Mikel Janin (image credit: DC, used for illustrative purposes only).

Written by:  Tom King / art by:  Mikel Janin / colours by:  Jordie Bellaire

What’s it about?

“The Tyrant Wing” : Batman crosses paths with the Penguin as the Gotham crime boss mourns a personal loss, but are his calls for a truce with the Dark Knight genuine?

In review

One of the many great things about Tom King’s Batman run is that he is clearly telling one huge story that’s made more easily digestible by breaking it down into a series of smaller, interconnected arcs that are all pieces of a larger whole.  Batman #58 marks the beginning of the next of those mini-narratives and whilst there are call-backs to previous arcs such as “I Am Suicide” and, to a lesser extent, “The Button” this Penguin-centric tale offers enough to be judged on its own merits.

It’s indisputable that Batman has the richest and most interesting rouges gallery in all of comics (only Marvel’s Spider-Man comes anywhere close) and you can’t really beat the classics – we’ve had a pleasing dose of the Joker and the Riddler and now it’s rightfully the Penguin’s turn in the spotlight.  Oswald Cobblepot hasn’t really had significant focus since the New 52 and has been at risk of slipping into the background and “The Tyrant Wing” looks set to rectify that.  Who better to handle that task than Tom King?  With his gift for deep, effective characterisation, King brings a sympathetic quality to Cobblepot/Penguin, here suffering his own personal loss of a loved one, that hasn’t really been seen since Batman Returns.  The added dimension makes the character (and in turn, the narrative) all the more engaging.

Of course, Batman continues to endure his own emotional pain – Selina Kyle’s abandonment of Bruce Wayne at the altar remains a gaping wound that has left his soul darker than it’s ever been.  As we’ve recently seen from “Beasts of Burden” (Batman #55-57) there’s no reprieve from the Dark Knight’s intense brutality unleashed during “Cold Days” and tragedy is being piled upon tragedy with Bane, its orchestrator, lurking in the shadows.  Ther’es a foreboding sense of more to come and glancing back at King’s run thus far, it’s certainly shaping up as a sort of sequel to the epic “Knightfall” saga and that’s an enticing prospect.

Returning to art duties on Batman is Mikel Janin and it’s always welcome, his beautifully composed layouts enriched by Jordie Bellaire’s colours it’s such an eye-catching issue with visuals that are bold, exciting (the wonderfully constructed splash-page depicting the Caped Crusader’s tussle with Penguin’s goons deserves to be lingered on) and coupled with Tom King’s lyrical script, emotive.  There’s no argument that Tony S. Daniel has delivered solid work in previous issues but Janin is the perfect fit for this particular story.

The bottom line:  Another fine issue of Batman courtesy of Tom King and Mikel Janin that adds new layers to a classic villain and teases more of Bane’s unfolding plot to break the Bat.

Batman #58 is published by DC Comics and is available in print and digital formats now.

Comics Review: ‘Superman’ #4

Superman’s battle against Rogol Zaar continues…

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‘Superman’ #4 features another striking cover from the art team of Ivan Reis, Joe Prado & Alex Sinclair (image credit: DC, used for illustrative purpsose only).

Written by:  Brian Michael Bendis / pencils by:  Ivan Reis / inks by:  Joe Prado & Oclair Albert / colours by:  Alex Sinclair

What’s it about?

“The Unity Saga” Part 4:  Superman faces Rogol Zaar and a dangerous horde of Phantom Zone escapees as he attempts to save Earth from imminent destruction…

In review

Brian Michael Bendis continues with his run on Superman and it’s another solid issue that’s pacey and action packed whilst offering some emotional investment that helps to ground the Man of Steel and reinforces the positive values of the character.

Picking up on previous issues, Earth is trapped inside the Phantom Zone and Rogol Zaar has partnered with Kryptonian traitor Jax-Ur and assembled an army of the Zone’s most powerful and deadliest prisoners to take on Superman and prevent him from saving his adoptive home and its denizens.  Naturally, this all provides very high stakes for Krypton’s Last Son and Brian Bendis keeps the pressure on and the tension ramped up.  It makes for an entertaining read that’s for sure but Bendis still takes time to focus on character and intersects the action with a flashback to a key moment with Jon in which he imparts an important moral lesson to his son – namely that despite what he may be capable of, sometimes intellect is more important than might.  In turn, this memory inspires Supes to calmly assess the situation in seemingly dire circumstances and find the best course of action to achieve a more effective outcome.

The story also features the inclusion of Superman’s Justice League colleagues and there are some fun scenes with Flash and the Atom as they work desperately to keep things together on the ground and aid the effort to free Earth from the Phantom Zone.  As for Rogol Zaar, there’s still some work to be done as we really don’t know a whole lot about him, we’ve had glimpses of his background and motivations but a shroud of mystery remains.  Zaar is still a decent enough villain and provides a palpable sense of threat but hopefully Bendis will get to delve deeper into the character’s backstory and how it connects to the destruction of Krypton – if he is indeed responsible (we know the why, we just don’t know the how yet).

Ivan Reis once again provides great visuals (together with his collaborators on inks and colours) bringing powerful and epic layouts that elevate the blockbuster action sequences in Bendis’ script.  There’s almost a Bryan Hitch style widescreen quality to it but Reis’s talents are equally effective in the smaller more character orientated moments where he proves deft at conveying a wide range of feeling via intricate facial expressions and body language.

Along with his work on Action Comics, Brian Michael Bendis is building an enjoyable run on one of the greatest comic book superheroes that has great potential for the future.

The bottom line:  Another good issue from Messrs Bendis and Reis, Superman #4 is an entertaining and at times insightful read that reassures fans that the Man of Steel is in the right hands.

Superman #4 is published by DC and is available in print and digital formats now.

Comics Review: ‘Heroes in Crisis’ #1

Tragedy strikes the DCU…

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Clay Mann’s powerful and evocative cover art for ‘Heroes in Crisis’ #1 (image credit: DC, used for illustrative purposes only).

Spoiler-free review

Written by:  Tom King / art by:  Clay Mann / colours by:  Tomeu Morey

What’s it about?

“I’m Just Warming Up” : discovering that several of their fellow heroes have been murdered, Superman, Batman and Wonder Woman must uncover the mystery surrounding the circumstances…

In review

Eisner Award winning writer Tom King (critically acclaimed scribe of DC’s Batman and Mister Miracle) teams up with artist Clay Mann for the highly anticipated nine-issue series Heroes in Crisis, which launches with a harrowing and emotionally charged opening chapter that shocks and surprises in equal measure.  Numerous crises have befallen the DC universe over the course of its long history but this one is more personal as opposed to cosmic.

Heroes in Crisis introduces us to Sanctuary – a safe and secure place set-up by Superman, Batman and Wonder Woman where superheroes, unnerved by the rigours of the job, can seek refuge and recovery.  However, it quickly becomes apparent that darkness has fallen as the Trinity race to Sanctuary to face a terrible horror…someone has turned the safe haven into a blood bath of tragedy that will have dire repercussions for the entire community.  Addressing the heart-breaking wave of shootings in America and tapping into his own experiences as a former C.I.A. operative, King infuses Heroes in Crisis with social relevance and an overdue commentary on the state of our world that makes for a stark but compelling read.  It’s quite clear that the core of this story concerns PTSD and King delivers necessary gut-punches of emotion throughout this first issue, which is sure to carry on into the rest of the series.

As readers of Batman will recognise, King employs an inventive narrative structure splitting the book between the perspective of Batman, Superman and Wonder Woman as they rush to the scene of the crime, confessional style flashbacks (utilising the iconic Watchmen style nine-panel grids) and a brutal encounter between Harley Quinn and Booster Gold, who are the main focus of this instalment.  King has a great handle on Harley, highlighting the zany humour and unhinged danger of the Joker’s old partner and continues the work he did on Batman to redefine Booster Gold beyond his more beaming and egotistic persona to create an iteration of the character that’s actually interesting.

The art by Clay Mann (who has previously worked with Tom King on Batman) in a word is simply incredible.  Mann’s figures are strong and heroic (his Superman is a particular standout) and his storytelling is cinematic on a variety of scales but proves most skilful in depicting the intimacy of the drama with detailed facial work, expressing every emotional nuance, vocal or not, that the characters experience.  It’s all rendered beautifully with the aid of Tomeu Morey’s organic colours.

So, does all this mean dark times for the DCU, then?  That remains to be seen but it’s probably unlikely in the long run, DC’s Rebirth has been celebrated for its optimism and hopefully Heroes in Crisis will have a resolution that reminds us that there will always, eventually, be light at the end of the tunnel.

The bottom line:  A strong and gripping start, Heroes in Crisis promises to be an important series and couldn’t be in better creative hands.

Heroes in Crisis #1 is published by DC and is available in print and digital formats now.

Comics Review: ‘Batman: Damned’ Book One

DC launches its Black Label with a startling new take on the Batman…

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Darker than night: Brian Azzarello and Lee Bermejo reunite for ‘Batman: Damned’, from DC’s Black Label (image credit: DC, used for illsutrative purposes only).

Written by:  Brian Azzarello / art by:  Lee Bermejo

What’s it about?

Discovering that the Joker is dead, an amnesiac Batman recruits John Constantine as he searches for the truth…

In review

The first release from DC’s adult-orientated ‘Black Label’ imprint, Book One of Batman: Damned is the first instalment of a three book Prestige Format series (released on a bi-monthly schedule) that reunites the writer and artist team of Brian Azzarello and Lee Bermejo, who previously worked together on the fan favourite villain-focused stories Joker and Lex Luthor: Man of Steel, of which this title is said to be a ‘spiritual successor’.

A standalone story set outside regular DC Universe continuity, Damned is a bleak, stark and visceral tale that’s not for the timid.  Against the backdrop of the grimy, decaying streets of a hellish Gotham City, Azzarello and Bermejo present a Batman who is the darkest of Dark Knights, a vigilante persona driven by a man whose emotional scars cut deep.  Its narrative carried by the narration of John Constantine, Azzarello’s script has a poetic, literary quality to it that elevates Damned above the average superhero comic.  Not that there’s anything wrong with Tom King’s Batman, this is just a different kind of approach that fully earns its ‘mature readers’ label via it’s grittier than gritty tone and startling, stylish visuals.

Damned opens with an injured Batman, dazed and confused as he learns that the Joker is dead and is unable to recall the events that have lead him onto an ambulance stretcher.  Making a brutal escape from the clutches of medics and the police, the Dark Knight Detective flees like a wounded animal and ultimately crosses paths with John Constantine who may be the only one who can help him piece things together.

Damned paints a Gotham City that truly is a Gothic nightmare and gives readers a Bruce Wayne who’s trauma runs deeper and more hopelessly than in the regular iteration and flashbacks to Wayne’s less than perfect childhood adds texture to an established origin and Brian Azzarello’s writing really provides a tangible sense of his pain.  The inclusion of Constantine, together with fresh takes on Zatanna, Deadman and the Enchantress, thickens the black, wintry atmosphere of the story with a strong dose of the supernatural which only increases its appeal.

The true power of Damned though lies in the haunting art of Lee Bermejo, rich with detail and vast in its storytelling this is one visually incredible comic book (it somehow feels like disservice to even call this a comic book) and it’d be a fair argument to say that Bermejo’s talents exceed Azzarello’s here and could carry the story with a minimum of dialogue – as good as it can be, Constantine’s narration does become a little too heavy and overbearing by the end of this fifty page opening chapter.  But that’s one miniscule criticism and in the grand scheme of things, Batman: Damned looks set to be a special story in the Batman mythos.

The bottom line:  In its first book, Batman: Damned shows great promise with a visually arresting and narratively gripping story that offers an alternative take on an iconic character.

Batman: Damned Book One is published by DC Black Label and is available in print and digital formats now.