One last hurrah from the braided mega-event that occupied all the Batman titles during 2005, and as collected in War Drums and War Games: Outbreak, Tides and Endgame. As the dust settles Batman needs to find out how his own hypothetical training scenario led to the catastrophic gang war in Gotham and the death of two of his crime-fighting team. More moody and introspective, this dark tale of repercussions leads to the loss of yet another long-time Bat-ally.
Written by Andersen Gabrych, Devin Grayson, Bill Willingham, Bruce Jones and Will Pfeifer and no less than eleven artists, this slim volume reprints Batman #643-644, Batman Allies Secret Files & Origins2005, Batman Villains Secret Files & Origins 2005, and Detective Comics #809-810.
This movie tie-in volume reprints the comic adaptation of Superman Returns and pads out with an eclectic collection of tales from the more recent portion of the Man of Steel‘s nigh seven decades of fun and thrills.
The Origin of Superman comes courtesy of The Amazing World of Superman Treasury Edition from 1973. The much-told tale gets another outing via E. Nelson Bridwell, Carmine Infantino, Curt Swan and Murphy Anderson, whilst the Luthor, Lois, Superman dynamic is re-examined by Stuart Immonen, Mark Millar and Yanick Paquette in A Night at the Opera originally seen in Adventures of Superman #575 (2000).
Geoff Johns, Brent Anderson and Ray Snyder show a lighter side in The Second Landing from Superman #185 (2002), Action Comics #810 (2004) provides a Christmas and New year’s fable by Joe Kelly and a fistful of guest artists, and the book ends with the delightful tale of Lois Lane’s fight to break the story of that brand new hero Superman, in Lois and the Big One from Superman Secret Files and Origins (2005) by Jami Bernard, Renato Guedes and Nick J. Napolitano.
Good, old fashioned comic book romp as the Man of Steel meets up with neophyte superhero Captain Marvel, who is in fact a little boy with a tremendous gift. Full of big fights, dastardly villains, giant monsters and robots, all rendered in a painterly style very reminiscent of the old Fleischer Studio Superman cartoons.
This is a great read for all ages and serves as a solid introduction for anyone unfamiliar with some of the major players of the Infinite Crisis volumes.
Alan Moore once again surrenders his writer’s role to a selection of top creators for an intriguing medley of tales from his own private universe in this the final collection of Tom Strong adventures.
First is The Black Blade of the Barbary Coast by Michael Moorcock and Jerry Ordway, wherein The Man of Science goes both trans-temporal and trans-dimensional in a quest to save the multiverse, with pirates, dinosaurs and the odd guest star from Moorcock’s own formidable pantheon of fantasy characters.
The Journey Within from Joe Casey and Ben Oliver features Strong’s steam-powered associate Pneuman, whose increasingly erratic behaviour proves to be less decrepitude and malfunction, and more infection and civilisation. Steve Moore and Paul Gulacy provide a dark oriental fantasy that examines the nature of fiction and reality in The Spires of Samakhara, and we see the final fate of a Science-Villain in Cold Calling from Peter Hogan, Chris Sprouse and Karl Story.
The volume — and indeed the series — ends with the appropriately apocalyptic-sounding Tom Strong at the End of the World, written by Alan Moore, who ties in the event with the ending of the Promethea series. In an introspective and contemplative turnabout the characters all transmigrate to a typically different Valhalla beautifully rendered by Sprouse, Story and colourist Jose Villarrubia.
All in all this collection (reprinting issues #31-36) is a fine end to a genuinely different take on the conventions of super-heroics, and a sad loss to the breadth and variety of the comic medium. I suspect we shan’t see its like for many a year.
Here’s another triumph of style over substance as our heroes are targeted by a strangely familiar – not to say almost dangerously copyright-infringing – team of super heroes from another reality – another? again? – bent on obtaining vengeance for the murder of a team-mate at the hands of – surely not? – Superman and Batman!
This further interdimensional foofaraw follows on from Superman-Batman: Absolute Power with a graphically astounding package of rollercoaster twaddle with lots of branded guest-stars but very little sense. Ooh, Shiny!
By Steve Niles & Scott Hampton, with Jose Villarrubia
(DC Comics) ISBN 1-84576-401-3
Eerie and evocative thriller as Batman investigates a serial killing spree in the sleepy suburbs of the big, bad city that only really kicks into high gear after the death of the perpetrator. Batman is one of the few heroic icons who has always been equally at home with super-science and the supernatural and the Dark Knight’s arena is here extended to beyond the veil of tears and deep into nightmare territory.
Rife with zombies, ritual killers, early life revelations and the odd guest-star, this still manages to be a crime thriller and a detective mystery that Bat-fans will enjoy and cross-over readers – especially horror aficionados – will revel in.
Hardcover ISBN 1-4012-0447-3 Paperback ISBN 1-84576-144-8
This most reductionist, iconic version of the World’s Finest team returns in a bewildering romp that is an aging fan-boy’s dream, as the time-travelling Legion of Super Villains co-opt history by raising Clark Kent and Bruce Wayne to be the conquerors of Earth, thus provoking universal doom and a plethora of DC guest stars from all histories and genres dying heroically before our consensus of reality is restored.
Although there is a vast amount of razzle-dazzle from Jeph Loeb and spectacular art from Pacheco and Merino, it still fails to really satisfy, and even the most desperate of continuity freaks know that everything’s going to come out right eventually.
This original graphic novel is a sadly lightweight piece of fluff that sees investigative reporters Mr and Mrs Kent tracking down the source of a devastating super-gun, only to be sucked into a strange time-warped dimension. There they become embroiled in a civil war between greedy, slimy, power hungry industrialist Jesden Tyme (yes – oh, ha ha – indeed) and the robotic Mayor, who just happens to be a download of the consciousness of Superman’s father, Jor-El.
Still, a new graphic novel is a rare enough investment in these days of translated Manga and album editions of almost anything that reaches 6 issues in its own monthly comic, so perhaps we should just shut up and support the gesture.
This is the charming, if eccentric, tale of Aya, a young girl who has seemingly lost the power to dance after an accident at a ballet contest. Her life finally turns around after she sees the boy Akira dance with the COOL ballet troupe. Revitalised, she makes joining COOL her life’s ambition, and nothing, not even the fact that COOL is an all-male company, is going to stop her.
Aimed at a young teen audience, Forbidden Dance is replete with the school angst and success pressure that dominates this branch of manga fiction, but the energy, power and enthusiasm of Hinako Ashihara’s story-telling elevates the tale above the crush of its peers. As Aya’s story progresses the ending is never a foregone conclusion and even the most jaded reader must wonder “what next?â€
In a crowded and conservative market, it’s good to see quality story-telling in varied settings, and most fans would probably benefit from giving this book a chance.
Marvel UK set up shop in 1972, reprinting their earliest successes in the traditional weekly papers format, swiftly carving out a corner of the market – although the works of Lee, Kirby et al had been appearing in other British comics (Smash!,Wham!,Pow!,Eagle, Fantastic!, Terrific!, and the anthologies of Alan Class Publications) since their inception.
In 1976 they decided to augment their output with an original British hero – albeit in a parochial, US style and manner – in a new weekly, although fan favourites Fantastic Four and Agent of S.H.I.E.L.D. reprints filled out the issues. One bold departure was the addition of full colour printing up front for the new hero, and the equivalent back quarter of each issue.
Unremarkable even by its own standards at the time, this first compilation volume (featuring issues #1 through 23) of Captain Britain’s adventures reads quite well in the hyper-tense 21st century. There is a matter-of-fact charm and simplicity to the adventures that is sorely missed in these multi-part, multi-issue crossover days, and the necessity to keep attentions riveted and hungry for more in eight page instalments sweeps the willing reader along. Chris Claremont was given the original writing assignment apparently due to his being born here, Herb Trimpe the pencilling chores because he was actually resident here for awhile. Gary Friedrich eventually replaced the unhappy Claremont, but the artist, inked by golden age legend Fred Kida (Airboy, The Heap) provided rip-roaring art for this entire first volume. Future artists will include John Buscema, Alan Davis, and, if the publishers include the Black Knight strips from Hulk Weekly, John Stokes.
As for content, if you like old fashioned Marvel-style comics you’re in for a treat, as young Brian Braddock learns how to be a hero with help from the likes of Nick Fury and Captain America, not to mention Prime Minister James Callaghan, against the likes of Hurricane, The Vixen, Doctor Synne, Mastermind and even the Red Skull. The only possible quibble to endure is the petty annoyance of the volume ending mid-story, although the next volume is not too far away, apparently. If this sort of stuff doesn’t appeal, you might consider that these stories are pivotal to understanding the Alan Moore, X-Men and Excalibur tales of the last twenty years. Or the fact that there’s a free Captain Britain mask with the book. Not so easy to resist now, huh?
