Category: Graphic Novels

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Iron Man Marvel Masterworks volume 10


By Mike Friedrich, Barry Alfonso, Tom Orzechowski, Bill Mantlo, George Tuska, Arvell Jones, Keith Pollard, Chic Stone & various (Marvel)
ISBN: 978-1-3029-0351-0 (HB)

Win’s Christmas Gift Recommendation: Iron Clad Entertainment Gold… 8/10

Arch-technocrat and supreme survivor Tony Stark has changed his profile many times since his debut in Tales of Suspense #39 (March 1963) when, whilst a VIP visitor in Vietnam observing the efficacy of the munitions he had designed, the inventor was critically wounded and captured by sinister, savage Communists.

Put to work building weapons with the dubious promise of medical assistance on completion, Stark instead created the first Iron Man suit to keep himself alive and deliver him from his oppressors. From there it was a simple jump to full time superheroics as a modern Knight in Shining Armour…

First conceived in the wake of the Cuban Missile Crisis at a time when Western economies were booming and “Commie-bashing” was an American national obsession, the emergence of a new and shining young Thomas Edison, using Yankee ingenuity, wealth and invention to safeguard the Land of the Free and better the World, seemed an obvious development. Combining the then-sacrosanct faith that technology and business in unison could solve any problem, with the universal imagery of noble knights battling evil, Stark – the Invincible Iron Man – seemed an infallibly successful proposition.

Of course, whilst he was the acceptable face of 1960s Capitalism – a glamorous millionaire industrialist/scientist and a benevolent all-conquering hero when clad in the super-scientific armour of his alter-ego – the turbulent tone of the 1970s soon relegated his suave, “can-do” image to the dustbin of history.

With ecological disaster and social catastrophe from the myriad abuses of big business the new zeitgeists of the young, the Golden Avenger and Stark International were soon confronting a few tricky questions from the increasingly politically savvy readership.

With glamour, money and fancy gadgetry not quite so cool anymore the questing voices of a new generation of writers began posing uncomfortable questions in the pages of a series that was once the bastion of militarised America…

This grand and gleaming chronological compendium – available in hardback and digital editions – completes that transitional period; reprinting Iron Man #68-81 (June 1974 – December 1975) and offering one last insightful measure of historical context courtesy of then-departing writer Mike Friedrich’s Introduction.

Iron Man #68-71 comprised the opening sortie in a multi-part epic which saw mystic menace The Black Lama foment a war amongst the world’s greatest villains, with ultimate power, inner peace and a magical Golden Globe as the promised prizes.

Written by Mike Friedrich and illustrated by Tuska & Mike Esposito, it all begins in Vietnam on the ‘Night of the Rising Sun!’ where the Mandarin struggles to free his consciousness which is currently trapped within the dying body of Russian super-villain the Unicorn.

Stark’s pacifist love interest Roxie Gilbert had dragged the inventor to the recently “liberated” People’s Republic in search of (part-time Iron Man) Eddie March‘s lost brother Marty: a POW missing since the last days of the war. Before long, however, the Americans are separated after Japanese ultra-nationalist, ambulatory atomic inferno and sometime X-Man Sunfire is tricked into attacking the intrusive Yankee Imperialists…

The assault abruptly ends once Mandarin shanghaies the Solar Samurai and uses his mutant energies to power a mind-transfer back into his own body. Reinstated in his original form, the Chinese Conqueror commences his own campaign of combat in earnest, eager to regain his castle from rival oriental overlord Yellow Claw.

Firstly, though, he must crush Iron Man – who had tracked him down and freed Sunfire in ‘Confrontation!’ That bombastic battle ends when the Golden Avenger is rendered unconscious and thrown into space…

‘Who Shall Stop… Ultimo?’ then finds the reactivated giant robot-monster targeting the Mandarin’s castle (claimed by the Claw in a previous battle) as the sinister Celestial duels the ancient enemy to the death, with both Iron Man and Sunfire arriving too late and forced to mop up the sole survivor of the contest in ‘Battle: Tooth and Yellow Claw! (Confrontation Part 3)’…

After all that Eastern Armageddon, a change of pace was called for, so Stark takes in the San Diego Comicon in #72’s ‘Convention of Fear!’ (by Friedrich, Tuska & Colletta, from a plot by Barry Alfonso), only to find himself ambushed by fellow incognito attendees Whiplash, Man-Bull and The Melter – who are made an offer they should have refused by the ubiquitous Black Lama…

Next issue the Super-Villain War kicks into high gear with ‘Turnabout: A Most Foul Play!’ (illustrated by Arvell Jones, Keith Pollard & Jim Mooney and derived from a premise by letterer Tom Orzechowski).

After secret-sharing confidantes Pepper Potts-Hogan and her husband Happy settle a long-festering squabble with Tony at Stark International’s Manila plant, Iron Man returns to Vietnam and a deadly clash with the Crimson Dynamo in a hidden, high-tech jungle city which is subsequently razed to the ground by their explosive combat.

Iron Man #74’s ‘The MODOK Machine!’ (inked by Dick Ayers) brings the Black Lama’s contest to the fore as the Mad Thinker electronically overrides the Avenger’s armour and set helpless passenger Stark upon the malevolent, mutated master of Advanced Idea Mechanics…

Without autonomy, the Golden Gladiator is easily overwhelmed and ‘Slave to the Power Imperious!’ (inked by Chic Stone) sees him dragged back to the Thinker’s lair and laid low by a strange psychic hallucination even as MODOK finishes his cognitive co-combatant and apparently turns the still-enslaved steel-shod hero on his next opponent… Yellow Claw.

As this is happening, elsewhere radical terrorist Firebrand is somehow sharing Stark’s Black Lama-inspired “psycho-feedback” episodes…

The tale wraps on a twisty cliffhanger as the Claw destroys MODOK and his clockwork puppet Avenger, only to discover that the Thinker is not only still alive but still holds the real Iron Man captive.

That’s quite unfortunate as the following issue – #76 – blew its deadline and instead reprinted Iron Man #9 (represented here by just the cover) before Friedrich, Jones & Stone’s ‘I Cry: Revenge!’ finds the fighting-mad hero breaking free of the Thinker’s control, just as Black Lama teleports the Claw in to finish his final felonious opponent…

Still extremely ticked off, the Armoured Avenger takes on all comers but is ambushed by the late-arriving Firebrand who has been psionically drawn into the ongoing melee.

As Iron Man goes down, the Lama declares non-contestant Firebrand the ultimate victor, explaining he has voyaged from an alternate universe before duping the unstable and uncaring flaming rabble-rouser into re-crossing the dimensional void with him…

Although a certifiable maniac and cold-blooded killer, Firebrand is Roxie Gilbert’s brother and the groggily reviving Iron Man feels honour-bound to follow him through the rapidly closing portal to elsewhere…

Deadline problems persisted, however, and the next two issues are both hasty fill-in tales, beginning with #78’s ‘Long Time Gone’ – by Bill Mantlo, Tuska & Vince Colletta – which harks back to the Avenger’s early days and a mission during the Vietnam war which first brought home the cost in blood and misery Stark’s munitions building had caused. IM #79 shares ‘Midnite on Murder Mountain!’ (Friedrich, Tuska & Colletta) wherein the hero emphatically ends the scientific abominations wrought by deranged geneticist and determined mind-swapper Professor Kurakill…

At last, Iron Man #80 returned to the ongoing inter-dimensional saga as Mission into Madness!’ – Friedrich, Stone & Colletta – follows the multiversal voyagers to a very different America where warring kingdoms and principalities jostle for prestige, position and power.

Here the Lama is revealed as King Jerald of Grand Rapid: a ruler under threat from outside invaders and insidious usurpers within. He’d come to our Earth looking for powerful allies but had not realised that travel to other realms slowly drives non-indigenous residents completely crazy…

With the mind-warp effect already destabilising Iron Man and Firebrand, it’s fortunate that treacherous Baroness Rockler makes her move to kill the returned Jerald immediately, and the Earthlings are quickly embroiled in a cataclysmic ‘War of the Mind-Dragons!’ before turning on each other and fleeing the devastated kingdom for the less psychologically hazardous environs of their homeworld…

Closing the covers on this stellar compilation are Gil Kane’s stellar front to all-reprint Giant-Size Iron Man #1 and a short gallery of original art covers and pages by Kane, Jones & Pollard.

With this volume Marvel fully embedded itself in the camp of the young and the restless who experienced at first hand and every day the social upheaval America was undergoing. Their rebellious teen sensibility and increased political conscience permeated forthcoming publications as the core audience grew beyond Flower Power protests into a generation of acutely aware activists. Future tales would increasingly bring reformed and repentant capitalist Stark into many unexpected and outrageous situations…

These Fights ‘n’ Tights classics are amongst the most underrated tales of the period and are well worth your time, consideration and cold cash…
© 1974, 1975, 2016 Marvel Characters, Inc. All rights reserved.

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Captain Marvel Marvel Masterworks volume 4


By Steve Englehart, Mike Friedrich, Chris Claremont, Jim Starlin, Alfredo Alcala, Al Milgrom & various (Marvel)
ISBN: 978-0-7851-5877-6 (HB)

Win’s Christmas Gift Recommendation: Maximum Marvel Mayhem… 8/10

In 1968, upstart Marvel was in the ascendant. Their sales were rapidly overtaking industry leaders National/DC and Gold Key Comics and, having secured a new distributor which would allow them to expand their list of titles exponentially, the company was about to undertake a creative expansion of unparalleled proportions.

Once each individual star of “twin-books” Tales of Suspense, Tales to Astonish and Strange Tales was awarded their own title, the House of Ideas just kept on going. In progress was a publishing plan which sought to take conceptual possession of the word “Marvel” through both reprint series like Marvel Tales, Marvel Collector’s Items Classics and Marvel Super-Heroes. Eventually, showcase titles such as Marvel Premiere, Marvel Spotlight and Marvel Feature also proudly trumpeted the name, so another dead-cert idea was to publish an actual hero named for the company – and preferably one with some ready-made cachet and pedigree as well.

After the infamous DC/Fawcett copyright court case of the 1940s-1950s, the prestigious designation Captain Marveldisappeared from newsstands. In 1967, during the “Camp” craze superhero boom generated by the Batman TV series, publisher MLF secured rights to the name and produced a number of giant-sized comics featuring an intelligent robot able to divide his body into segments and shoot lasers from his eyes.

Quirky, charming and devised by the legendary Carl Burgos (creator of the Golden Age Human Torch), the series nevertheless failed to attract a large following in that flamboyantly flooded marketplace and on its demise the name was quickly snapped up by Marvel Comics Group.

Marvel Super-Heroes was a brand new title: it had been reconfigured from double-sized reprint title Fantasy Masterpieces, which comprised vintage monster-mystery tales and Golden Age Timely Comics classics, but with the twelfth issue it added a showcase section for characters without homes such as Medusa, Ka-Zar, Black Knight and Doctor Doom, plus new concepts like Guardians of the Galaxy and Phantom Eagle to try out in all-new stories.

To start the ball rolling, the title headlined an alien spy sent to Earth from the Kree Galaxy. He held a Captain’s rank and his name was Mar-Vell.

After two appearances, Captain Marvel catapulted straight into his own title and began a rather hit-and-miss career, battling spies, aliens, costumed cut-ups such as Sub-Mariner, Mad Thinker and Iron Man. Most frequently, however, he clashed with elements of his own rapaciously colonialist race – such as imperial investigative powerhouse Ronan the Accuser – all the while slowly switching allegiances from the militaristic Kree to the noble, freedom-loving denizens of Earth.

Disguised as NASA scientist Walter Lawson, he infiltrated a US missile base and grew closer to security chief Carol Danvers, gradually going native even as he was constantly scrutinised by his ominously orbiting commanding officer Colonel Yon-Rogg – Mar-Vell’s ruthless rival for the love of the teeming starship’s medical officer Una…

The impossible situation came to a head when Mar-Vell gave his life to save the empire from overthrow from within. As a reward, vast, immortal hive-mind the Supreme Intelligence inextricably bonded the expiring warrior with voice-of-a-generation and professional side-kick Rick Jones who – just like Billy Batson (the naïve lad who turned into the original Fawcett Captain Marvel by shouting “Shazam!”) – switched places with a mighty adult hero whenever danger loomed.

By striking a pair of ancient, wrist worn “Nega-bands” together they could temporarily trade atoms: one active in our universe whilst the other floated, a ghostly untouchable, ineffectual voyeur to events glimpsed from the ghastly anti-matter Negative Zone.

The Captain was an alien lost on Earth, a defector from the militaristic Kree who fought for humanity three hours at a time, atomically chained to Rick by mysterious wristbands which enabled them to share the same space in our universe, but whenever one was active here the other was trapped in a terrifying isolated antimatter hell…

The book was cancelled soon after that… only to return some more!

A series which would not die, Captain Marvel returned again in the summer of 1972 for another shot at stardom and intellectual property rights security and secured its place when Jim Starlin used the title to wage a cosmic war with his greatest creation: the Mad Titan Thanos.

This fourth stellar Masterworks compilation (available in luxurious hardback and far-ranging eBook formats and spanning September 1972 to September 1976 whilst gathering Captain Marvel #34-46) details what happens after the ultimate villain was defeated and seemingly killed.
It is preceded by an Introduction by incoming scripter Steve Englehart who – with co-plotter and illustrator Al Milgrom – charted an even more cosmic course for the Good Captain…

With the universe saved and restored, Starlin’s run ended on a relatively minor note in Captain Marvel #34 as ‘Blown Away!’ – plotted by Jim, inked by Jack Abel and dialogued by Englehart – explored the day after doomsday.

As Rick tries to revive his on-again, off-again musical career, newly extant secret cabal the Lunatic Legion despatches Nitro, the Exploding Man to acquire a canister of nerve gas from an Air Force base where Carol Danvers is Chief of Security…

Although the Protector of the Universe defeats Nitro, he succumbs to the deadly toxin which escapes its canister in the explosive melee. From this exposure he would eventually contract the cancer that killed him – as depicted in Marvel’s first Graphic Novel, The Death of Captain Marvel – but that’s a tale for a different review…

Issue #35 finds Mar-Vell all but lifeless in ‘Deadly Genesis’ (Englehart, dialoguer Mike Friedrich & artist Alfredo Alcala). Simultaneously, Rick languishes in the Negative Zone where he is attacked by insectoid monster Annihilus …until a barely-remembered 3-hour time-limit automatically switches his body with the comatose Kree hero.

Later, as Rick’s manager Mordecai Boggs drives him to a gig, Rick’s consciousness slips into the N-Zone and animates Mar-Vell’s unresponsive body to escape Annihilus, and the lad realises this new power is merely one tactic in a cunning plan devised by the duplicitous, devious Supreme Intelligence…

Meanwhile on Earth, Rick’s vacated body has been taken to hospital where old friends Ant-Man and the Wasp are fortuitously visiting when the Living Laser attacks. The villain has been artificially augmented by his new masters, but it’s not enough to stop the retired Avengers or prevent Rick reclaiming his body and using the Nega-bands to restore his bonded soul mate to their particular brand of normality…

At this time, deadline difficulties caught up with the title and #36 was reduced to running a reprint of his origin from Marvel Super-Heroes #12. This Essential edition only includes the foreboding 3-page bookend ‘Watching and Waiting’ by Englehart, Starlin, Alan Weiss & friends, before the saga properly relaunches in #37 with ‘Lift-Off!’ from Englehart, Milgrom & Klaus Janson.

Although Mar-Vell easily discerns that the Lunatic Legion’s attacks stem from the Moon, Rick insists on playing a gig before they set off. After bidding farewell to Mordecai and his sometime stage partner Dandy, they wisely prepare for their trip by outfitting the boy with an advanced spacesuit…

Mar-Vell blasts off but only makes it as far as the outer atmosphere before being attacked by another Lunatic agent. Cyborg Nimrod is no match for Kree firepower, however, and in the Neg-Zone implacable Annihilus endures a painful defeat when he again assaults Rick who joyously revels in the sheer power packed into his EVA gear…

Crisis averted, the bored, naive kid swallows a “vitamin” Dandy slipped him before departure and is transported on a trip unlike any he’s ever experienced. Tragically, as Mar-Vell reaches the air-filled lost city in the “Blue Area of the Moon” he too begins to experience bizarre hallucinations and is utterly unable to defend himself when the all-powerful Watcher ambushes him…

The austere, aloof cosmic voyeur Uatu is part of an ancient, impossibly powerful race of immortal beings who observe all that occurs throughout the vast multiverse but never act on any of it. Non-interference is their fanatical doctrine, but Uatu has continually bent – if not broken – the adamantine rule ever since he debuted in Fantastic Four #13…

Now, somehow, the Legion have co-opted the legendarily neutral astral witness. Once Uatu defeats Mar-Vell, the demi-god despondently dumps his victim with the Lunatic Legion who are exposed as rebel, supremacist Kree plotting to overthrow the Supremor. Fundamentalists of the original race which assimilated the millions of other species, the colonially aggressive and racially purist Blue Kree plan to execute their captive who seemingly has ‘…No Way Out!’, but are unprepared for the closer psychic link which the hallucinations have forged between Earth kid and Kree captain…

With the insurgents defeated, Mar-Vell and Rick follow the repentant Uatu as he returns to his own distant world in #39 to voluntarily undergo ‘The Trial of the Watcher’…

In the aftermath of that mind-bendingly bizarre proceeding, Rick and Mar-Vell are finally liberated from their comic bond. With both now independently existing in the positive-matter universe and able to return and leave the Negative Zone at will, their troubles seem over. They couldn’t be more wrong…

CM #40 shifts focus as ‘Rocky Mountain ‘Bye!’ (inked by Al McWilliams) reveals how the space-farers return to an Earth which has no real use for them. As Mar-Vell battles a deadly beast possessing the corpse of his first love Una, Rick finds his music career and even his beliefs are considered irrelevant and of no value. Equally heart-sore and dispirited, the former cellmates reunite and decide to travel to the stars together…

The first stop is Hala, capital of the Kree Empire and Mar-Vell’s birthworld as #41 reveals ‘Havoc on Homeworld!’ (Englehart, Milgrom, Bernie Wrightson, P. Craig Russell, Bob McLeod & Terry Austin) with the populace suddenly swept up in a race war against “Pinks” (human flesh-toned Kree mulattos like our hero).

Determined to warn the Supremor of the conflict and the schemes of the Lunatic Legion, the heroes are appalled to learn the strife has been actively instigated by the colossal mind-collective…

It transpires that, from his earliest moments in military service, Mar-Vell has been groomed by the Supremor to be its ultimate foe. As the ruthless amalgamation of military minds seeks to jump-start the development of the evolutionarily-stalled Kree, it desperately needs an enemy to contend against and grow strong…

Distracting his baffled, betrayed opponents with Ronan the Accuser, the Supreme Intelligence places one Nega-band on Rick and another on Mar-Vell and casually banishes them to the farthest reaches of the empire…

Issue #42 sees them deposited in an insane pastiche of Earth’s wild west mining towns and quickly embroiled in interstellar claim-jumping and a ‘Shoot-Out at the O.K. Space Station!’ (inks by Frank Giacoia & Mike Esposito). As the Kree with a star on his chest lays down the law and has a showdown with the cosmically-charged Stranger, close by Drax the Destroyer is ravaging worlds and planetoids, slowly going insane for lack of purpose. Rick goes his own way and is almost fatally distracted by a beautiful girl nobody else can see…

Drax was created to kill Thanos, but since the Titan’s defeat – by someone else – the devastating construct has wandered the universe, slowly going crazy.

CM #43 shows how – unaware that Thanos still lives – the purposeless nemesis takes the opportunity to assuage his frustrations by attacking the hero who stole his glory in ‘Destroy! Destroy!’ (Englehart & Milgrom).

The epic clash ends in #44 as ‘Death Throws!’ sees the pointless conflict escalate until Rick’s imaginary friend intervenes and opens the Destroyer’s eyes…

With sanity restored all round, Mar-Vell then voyages to a Kree colony world ravaged by cyborgs and life-absorbing Null-Trons and discovers Supremor has been subtly acting to merge him and Rick into one puissant being to further his evolutionary agenda in ‘The Bi-Centennial!’

Forewarned, and with a small band of most unlikely allies, the cosmic conflict then wraps up in blockbusting fashion as Rick and Mar-Vell unite by not combining to defeat the Supremor in a battle ‘Only One Can Win!’ (scripted by Chris Claremont, and limned by Milgrom & Austin)…

This bombastic battle book of cosmic conflict and stellar spectacle also incorporates bonus treats in the form of the cover of all-reprint Giant-Size Captain Marvel #1, cover art from Ron Wilson & Giacoia and original artwork and colour guides from Starlin.

Captain Marvel was never the company’s most popular or successful character but the good stuff is amongst the very best the House of Ideas produced in its entire history.

If you want to see how good superhero comics can be, you’ll just have to take the rough with the smooth and who knows… you might see something that will blow your mind…
© 1974, 1975, 1976, 2017 Marvel Characters, Inc. All rights reserved.

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Palace of Tears Part 1


By Michael Lomon, with Alice Mazzilli
No ISBN

Win’s Christmas Gift Recommendation: Old School Blockbuster Family Entertainment… 9/10

Those of you who get out to popular events are probably well aware that all this week the Thought Bubble Yorkshire Comic Art Festival is lighting up the North, and morphs into a massive Comic Con on Saturday and Sunday (9th and 10th November).

As well as all the usual wonderments, mega guest stars convivial and bon homie of such enterprises, Thought Bubble is very proud of the number of comics and graphic novels that use the event for a high-profile launch springboard.

If you have the opportunity, you should go. Take your friends and family too. They’ll have a great time and maybe see that you aren’t that weird – relatively speaking – after all…

One enterprising chap attending the celebration is artist, illustrator and Motion Graphics Designer Michael Lomon – who wearily balances the complex digital day job with an irresistible drive to create thrilling traditional adventures (in actual pen and ink, yet!) – will be there, launching in person his latest extravaganza The Palace of Tears Part 1.

Somewhere in times forgotten or yet to be experienced, a poor fisherman dredges up a strange casket which contains possible doom and potential untold wealth. After opening the ornate flotsam – and subsequently outwitting the arcane horror within – the fisherman is set upon a precarious path to riches, selling very special fish to the Sultan.

However, human nature being what it is, neither vendor nor consumer can leave well enough alone and the equanimous daily transaction soon comes fatally adrift…

Accused of wizardry and cast into a dungeon, the cunning angler is astounded when a most unusual liberator manifests in a blaze of destructive luminescence and goes on a cataclysmic rampage.
That’s when things start to get really interesting… and quite terrifying…

Derived from an ancient Jewish folk tale and originated previously as a webcomic, this scintillating science fantasy tome offers a stunning, suspenseful yet fast-paced romp visually informed by classical fairy tales such as the Arabian Nights and Sinbad, with lush, lavish artwork referencing the very best of Michael Kaluta, Charles Vess, Moebius and the cinematic exploits of Douglas Fairbanks. It’s frankly quite dazzling to behold…
Absorbing, charming and over far too soon for my impatient attentions, this a sheer delight you must experience for yourself: either by going to the Comic Con and shelling out or via the usual web-based emporia…
© 2019 Michael Lomon. All rights reserved.

Find out more about The Palace of Tears at and other fine products at www.michaellomon.com
Find out more about Thought Bubble Yorkshire Comic Art Festival at https://www.thoughtbubblefestival.com/

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Batman Begins – the Movie and Other Tales of the Dark Knight


By Scott Beatty, Denny O’Neil, Greg Rucka, Ed Brubaker, Bill Willingham, Kilian Plunkett, Dick Giordano, Rick Burchett, Scott McDaniel, Tom Fowler & various (DC Comics)
ISBN: 978-1-4012-0440-2 (TPB)

Win’s Christmas Gift Recommendation: Blockbuster Bat Fun… 8/10

It looks like I’m just destined to be wrong. Do you remember flared jeans, or even bell-bottoms? From which time? As the 1970s gasped to a close I said that we’d never see those again. Horribly, tragically, I was wrong.

I was seven when the Batman TV show first aired, and I loved it. By the time I was nine I had learned the word ‘travesty’ and loathed the show with a passion. When it was all over and the “Camp” fallout had faded from my beloved comics, giving way to the likes of Frank Robbins, Denny O’Neil and the iconoclastic Neal Adams, I was in seventh heaven and praised pantheons of deities that I should never see ‘Batmania’ again. I was, of course, doubly wrong.

The Caped Crusader reconquered the world in 1989 and only the increasing imbecility of its movie sequels stopped that particular multimedia juggernaut. Now there’s a been a whole new sequence of films (some not half-bad – though that’s beside the point) spin-offs and a new iteration beyond that beckons. Each of these cinematic milestones generated its own host of print (and latterly, digital) tie in Bat Products.

Originally released in 2005, this crafty marriage of an inevitable “Official Movie Adaptation” of Batman Begins with a well-considered selection of thematically similar stories is one of the best I can recall and a nice prospect if you’re looking for a great read or ideal gift option…

The lead feature – creditably handled by Scott Beatty on script with Kilian Plunkett & Serge LaPointe illustrating – is an intensely readable reworking of the myth, so much so that I was able, for once, to stifle the small, shrill and incessant comic-fan voice that always screams “why do they keep mucking about with this?”, and “why isn’t the comic version good enough for those movie morons?”

I do, however, still question the modern hang-up with having to start from origin stories at all. Was Star Wars: A New Hope a relative flop because we didn’t know how Darth Vader got Laryngitis? Which Bond movie tells us how he got to be so mean and sardonic? Why can’t film-makers assume that an audience can deduce motivation without a brand-spanking-new road-map every time? Although to be painfully honest, most modern comics seem to be afflicted with this bug too…

Could it be that it’s simply a cheap way of adding weight to the villain du jour, who can then become a Motivating Force in the Birth of the Hero? Said baddies this time out are the Scarecrow and Ra’s Al Ghul, but I’m not going to speak any more about the cinema or plot of a movie that’s already being superseded by this generation’s Gotham Guardian. Batman fans will have already passed judgement…

Accompanying the filmic iteration, and following a pin-up by Ruben Procopio, is ‘The Man Who Falls’ by the aforementioned O’Neil and veteran Bat-artist Dick Giordano and taken from Secret Origins of the World’s Greatest Heroes. This is a skilful, engaging comics retooling of the so-pliable natal legend, created to address the media mania around the 1989 movie.

Hard on its heels and prefaced by a pin-up courtesy of Bill Sienkiewicz comes one of the better stories of recent vintage. ‘Air Time’ is by Greg Rucka, Rick Burchett & Rodney Ramos from Detective Comics #757 in 2001. It’s a taut countdown thriller that in many ways presages the style adopted for the wonderful procedural series Gotham Central.

KReasons’ (Batman #604, 2002), by Ed Brubaker & Scott McDaniel, revisits Batman’s origins in a tale seeking to redefine his relationship to inimical amour Catwoman, before the volume concludes with the brilliant ‘Urban Legend’ from Batman: Legends of the Dark Knight #168.

In a grim and unsettling tale of frailties, Tom Fowler illustrates a wickedly sharp Bill Willingham script stuffed with the dark humour and skewed sensibilities that made his Fables stories such a joy for grown-ups who love comics.

This is a smart package for any casual reader the films might send our way, with a strong thematic underpinning. In an era of streaming and ultra-rapid home release, I’m increasingly unsure of the merit of comic adaptations, but if you are into such things it’s probably best they’re done well, like here…
© 1989, 2001, 2002, 2003, 2005, 2012 DC Comics. All Rights Reserved.

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Batman: The Doom That Came to Gotham


By Mike Mignola, Richard Pace, Troy Nixey, Dennis Janke & Dave Stewart (DC Comics)
ISBN: 978-1-4012-5806-1 (TPB)

The origins of the Dark Knight are so well-known now that it’s simple to twist and tweak them to suit almost any tale. It doesn’t hurt that the character has a universal recognition factor that holds up in almost any imaginary scenario…

Released in 2015, available in trade paperback and digital formats and collecting the 3-issue Elseworlds miniseries (from November 2000 – January 2001), The Doom That Came to Gotham was written by horror moodmeister Mike Mignola (Hellboy; duh!) and Richard Pace (Negative Burn; Ashes; Imaginary fiends) with art from Troy Nixey (Harley Quinn; Trout; Only the End of the World Again), inker Dennis Janke & colourist & Dave Stewart.

In case you came in late: During the 1990s, DC regrouped and rebranded its frequent dalliances with alternate reality scenarios under the copious and broad umbrella of a separate imprint. The Elseworlds banner and credo declared that heroes would be taken out of their usual settings and put into strange places and times – some that have existed, or might have existed, and others that can’t, couldn’t or shouldn’t exist…

No doubts here, however, as the tale deftly takes us back to Roaring Twenties America, dishing out a daring dose of pulp fiction plumb centre in the ghastly spine-chilling mythos of H.P. Lovecraft, Clark Ashton Smith and their darkly-demented contemporaries…

It’s 1928 and orphaned Bruce Wayne is returning to Gotham City two decades after his parents were murdered by a maniac. He’s been roving the world, and recently uncovered the fate of long-lost Professor Cobblepot‘s Antarctic expedition. That resulted in a clash with a naked madman who talked to penguins and a large slab of ice with a creature inside it: a thing that never evolved on this world…

By the time he and his close associates Alfred, Dick, Jason and the rest have docked in his bleak and daunting home town, they have all had more than enough of the vile dreams the thing in the hold has generated…

There are more surprises when he reaches his long-closed mansion: a dead man who somehow speaks and a mysterious stranger named Jason Blood who has been sent to deliver a dire warning. Turning into an actual demon the visitor warns that to save Gotham, Bruce must cut out its heart…

Although shocked, Bruce is ready to act, and dons the strange uniform that makes him look like a human bat…

And thus begins a skilful, macabre pastiche as the desperate driven mystery man haunts the alleys and byways of the city, testing corrupt cops, self-serving officials and outright villains – all with names most comics fans will recognise – uncovering a long-suppressed, centuries-old secret even as literal Things From Beyond human comprehension and the borders of time and space congregate.

Can even a heroic Bat Man triumph against such odds and if so, at what cost…?

Complementing the eldritch epic is a full cover gallery by Mignola and a hefty sketches and design section, featuring pencilled pages by Pace (originally slated to illustrate the tale) and layouts by Nixey.

Bold, compelling, potently stylish and chilling in all the right places, The Doom That Came to Gotham is a supernatural romp to delight and impress: once read and never forgotten…
2000, 2001, 2015 DC Comics. All Rights Reserved.

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Batman: Gotham County Line


By Steve Niles & Scott Hampton, with Jose Villarrubia (DC Comics)
ISBN: 978-1-4012-0905-6 (TPB)

Many superheroes have a universal genre plasticity and can fit seamlessly into almost any kind of story. Even so, it’s almost no stretch at all to see DC’s Dark Knight tackling marauding monsters and dire demonic disaster, such as in this lost gem, long overdue for a new edition.

Released in 2006 and collecting a 3-issue miniseries (October-December 2005) by written by Steve Niles (30 Days of Night; Simon Dark; Criminal Macabre) with art by Scott Hampton (Silverheels; Batman: Night Cries; Simon Dark) and colourist Jose Villarrubia, the sinister suspense opens in ‘The Obvious Kill’ as yet another Batman-Joker clash throws up an aggravating mind-worm for the Dark Knight: is there a continuance of spirit and personality after death?

Suddenly obsessed with the notion, the manhunter’s subsequent researches are interrupted by a strange series of robbery/murders in the notionally peaceful, sleepy suburbs of the big, bad city. Reluctantly investigating, Batman overturns the police findings and discovers a serial killer at work. In the process of stopping the slaughter, Detective Radmuller of the Gotham County Sheriff’s Department is killed. He won’t be the last…

After closing the case, Batman returns to the city, unaware that the officer has subsequently risen from the dead. With unalloyed horror Batman realises that this case only really kicked into high gear after the death of the perpetrator. …

With zombies prowling the city and county – and even faithful manservant Alfred exhibiting symptoms – a nightmare-wracked but still ardently rationalistic Batman is forced to face the incredible facts of supernatural incursion by the ghost of Boston Brand – murdered aerialist and questing spirit Deadman – who accompanies him on ‘Death’s Highway’ in search of a solution to the plague of walking dead…

With life itself in retreat, Deadman, mystic guardian Phantom Stranger and recently deceased sidekick Jason (Robin) Todd hold back the hordes of unlife, allowing Batman to divine the root cause of the necromantic disaster and set the balance right again on the ‘Night of the Living Death’.

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 doom-drenched guest-stars, this still manages to be a crime thriller and a detective mystery Bat-fans will enjoy and cross-over readers – especially horror aficionados – can revel in.
© 2006 DC Comics. All Rights Reserved.

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Hellboy: Weird Tales


By Mike Mignola, Fabian Nicieza, John Cassaday, Eric Powell, Tom Sniegoski, Tommy Lee Edwards, Randy Stradley, Joe Casey, Sara Ryan, Ron Marz, J. H. Williams III, Jim Pascoe & Tom Fassbender, Will Pfeifer, John Arcudi, Jill Thompson, Matt Hollingsworth, Alex Maleev, Jason Pearson, Scott Morse, Akira Yoshida & Kia Asamiya, Bob Fingerman, Doug Petrie, Evan Dorkin, Andi Watson, Mark Ricketts, Kev Walker, Craig Thompson, Guy Davis, Stefano Raffaele, Ovi Nedelcu, Seung Kim, Steve Parkhouse, Steve Lieber, Jim Starlin, P. Craig Russell, Simeon Wilkins, Roger Langridge, Gene Colan, Eric Wright, Dave Stewart, Clem Robins (Dark Horse Books)
ISBN: 978-1616555108 (HB) eISBN: 978-1-63008-121-8

After the establishment of the comicbook direct market system, there was a huge outburst of independent publishers in America and, as with all booms, a lot of them went bust. Some few, however, were more than flash-in-the-pans and grew to become major players in the new world order.

Arguably, the most successful was Dark Horse Comics who fully embraced the shocking new concept of creator ownership (amongst other radical ideas). This concept – and their professional outlook and attitude – drew a number of big-name creators to the new company and in 1994 Frank Miller & John Byrne formally instituted the sub-imprint Legend for those projects major creators wanted to produce their own way and at their own pace.

Over the next four years the brand counted Mike Mignola, Art Adams, Mike Allred, Paul Chadwick, Dave Gibbons and Geof Darrow amongst its ranks; generating a wealth of superbly entertaining and groundbreaking series and concepts. Unquestionably the most impressive, popular and long-lived was Mignola’s supernatural thriller Hellboy.

The hulking monster-hunter debuted in San Diego Comic-Con Comics #2 (August 1993) before formally launching in 4-issue miniseries Seed of Destruction (with Byrne scripting over Mignola’s plot and art). Colourist Mark Chiarello added layers of mood with his understated hues. Once the fans saw what was on offer there was no going back…

What You Need to Know: on December 23rd 1944 American Patriotic Superhero Torch of Liberty and a squad of US Rangers intercepted and almost foiled a satanic ceremony predicted by Allied parapsychologist Professors Trevor Bruttenholm and Malcolm Frost.

They were working in conjunction with influential medium Lady Cynthia Eden-Jones. Those stalwarts were waiting at a ruined church in East Bromwich, England when a demon baby with a huge stone right hand appeared in a fireball. The startled soldiers took the infernal yet seemingly innocent waif into custody.

Far, far further north, off the Scottish Coast on Tarmagant Island, a cabal of Nazi Sorcerers roundly berated ancient wizard Grigori Rasputin whose Project Ragna Rok ritual seemed to have failed. The Russian was unfazed. Events were unfolding as he wished…

Five decades later, the baby had grown into a mighty warrior engaging in a never-ending secret war: the world’s most successful paranormal investigator. Bruttenholm spent years lovingly raising the weird foundling whilst forming an organisation to destroy unnatural threats and supernatural monsters – The Bureau for Paranormal Research and Defense. “Hellboy” quickly became its lead agent.

Moreover, as the decades of his career unfolded, Hellboy gleaned tantalising snatches of his origins, hints that he was an infernal creature of dark portent: born a demonic messiah, somehow destined to destroy the world and bring back ancient powers of evil. It is a fate he despises and utterly rejects, even though the universe keeps inexorably and relentlessly moving him towards it…

Hellboy was swiftly attributed the status of ‘legend’ in the comics world, starting as the particular vision of a single creator and, by judicious selection of assistants and deputies, cementing a solid take on the character in the hearts of the public. That’s just how it worked for Superman, Batman and Spider-Man and a big part of the same phenomenon was the eagerness of fellow creators to play in the same universe. Just how that and this collection came about is detailed in Editor Scott Allie’s Introduction preceding a blazing welter of strange and bizarre entertainment…

Originally an 8-part comics series wherein a star-studded cast of creators tell their own stories in their own varied styles under the watchful supervision of the big cheese himself in his unique infernal playground, Hellboy’s Weird Tales was gathered into a 2-volume set in 2004. This luxurious hardback and digital reissue originated in 2014, supplementing the original miniseries with back-up stories from Hellboy: The Wild Hunt #2-4.

Dramas that add to the canon nestle alongside bizarre and humorous vignettes that simply live for the moment and begin with ‘How Koschei Became Deathless’ crafted by Mignola, Guy Davis, Dave Stewart & Clem Robins. The filler from Hellboy: The Wild Hunt #2 & 3 details the valiant trials of a noble warrior and the bad bargain he made, after which a crafty man turns the tables on the world’s wickedest witch in ‘Baba Yaga’s Feast’ (H:TWH #4).

The mother of monsters returns in Fabian Nicieza & Stefano Raffaele’s ‘The Children of the Black Mound’ wherein a future soviet dictator has his own youthful and life-altering encounter with the queen of magic.

John Cassaday spoofs classic newspaper strips with rollicking pulp science hero in ‘Lobster Johnson: Action Detective Adventure’, after which Nazi-bashing nonsense, Eric Powell explores Hellboy’s childhood and early monster-mashing in ‘Midnight Cowboy’ whilst Tom Sniegoski & Ovi Nedelcu raise our spirits with an older ghostbuster failing to tackle a playful posse of spooks in ‘Haunted’…

A classical doomed East/West war romance ghost tragedy is settled by Tommy Lee Edwards & Don Cameron in ‘A Love Story’, setting the scene for more Japanese myth busting in ‘Hot’ by Randy Stradley & Seung Kim wherein the B.P.R.D. star clashes with an unhappy Tengu water spirit inhabiting a mountain hot spring…

Joe Casey & Steve Parkhouse then celebrate the glory days of test pilots and the right stuff in ‘Flight Risk’, when Hellboy gets involved in a competition to see who’s got the best jetpack, after which ‘Family Story’ (Sara Ryan & Steve Lieber) sees him acting as counsellor to the mum and dad of a rather diabolical kid, before we slip into all-out arcane action to retrieve a time bending artefact from a Guatemalan temple in ‘Shattered’ by Ron Marz & Jim Starlin.

A stakeout with an over-amorous fellow agent leads to unanticipated consequences in ‘Love is Scarier than Death’ by J. H. Williams III, whilst Will Pfeifer & P. Craig Russell’s dalliance with an undying theatre troupe traps our hellish hero in a ‘Command Performance’.

The entertainment motif continues in John Cassaday’s ‘Big-Top-Hell-Boy’ as the B.P.R.D. try to exorcise a mass-murderous circus in Germany before Hellboy and Abe Sapien battle zombies in the ‘Theatre of the Dead’ by Jim Pascoe & Tom Fassbender, illustrated by Simeon Wilkins.

The aquatic avenger sort of stars in comedic daydream ‘Abe Sapien: Star of the B.P.R.D.’ by John Arcudi & Roger Langridge, after which Jill Thompson takes ‘Fifteen Minutes’ to offer us the other side’s view of the eternal struggle whilst Matt Hollingsworth &Alex Maleev show us that the struggle against evil starts before we’re even legally alive in ‘Still Born’…

Indomitable psychic firestarter Liz Sherman acknowledges personal loss and the dreadful cost of the job in Jason Pearson’s ‘The Dread Within’ before Scott Morse conjures up a calmer moment for Hellboy in ‘Cool Your Head’ before Akira Yoshida & Kia Asamiya return us to ghost-riddled Japan for an unconventional duel with childish spirits in ‘Toy Soldier’…

Bob Fingerman’s ‘Downtime’ pits the cream of the B.P.R.D. against the vexatious thing inhabiting the office vending machine, after which Doug Petrie & Gene Colan follow Liz and Abe on typical ‘Friday’, even as artificial hero Roger the Homunculus foolishly seeks ‘Professional Help’ during a devious demonic assault (as recorded by Evan Dorkin).

Andi Watson tackles Hellboy’s infernal heritage and possible future during a social function where he is – as always – the ‘Party Pooper’, after which team leader/psychologist Kate Corrigan endures an acrimonious reunion with her dead-but-still-dreadful mother in ‘Curse of the Haunted Dolly’ by Mark Ricketts & Eric Wright, whilst Kev Walker pits bodiless spirit Johann Krauss against a thing from outer space in ‘Long Distance Caller’.

The narrative portion of this stellar fear & fun fest rightly focuses on Hellboy himself as Craig Thompson takes the warrior on an extended tour of the underworld in ‘My Vacation in Hell’ but there’s still a wealth of wonder to enjoy as Mike Mignola’s Hellboy Weird Tales Gallery offers a selection of potent images by Cameron Stewart, Maleev, Dave Stevens with Dave Stewart, Steve Purcell, William Stout, Leinil Francis Yu, Phil Noto, Gary Fields with Michelle Madsen, J. H. Williams III, Rick Cortes with Anjin, Galen Showman with Michelle Madsen, Ben Templesmith, Frank Cho with Dave Stewart, Michael Wm. Kaluta, Lee Bermejo with Dave Stewart and Scott Morse.

Baroque, grandiose, scary, hilarious and even deeply moving, these vignettes alternate suspenseful slow-boiling tension with explosive catharsis, and trenchant absurdity, proving Hellboy to be a fully rounded character who can mix apocalyptic revelation with astounding adventure to enthral horror addicts and action junkies alike or enthral jaded fun-lovers in search of a momentary chuckle. This is a classic compendium of dark delights you simply must have.
™ & © 2003, 2009, 2014 Mike Mignola. Weird Tales is ® Weird Tales, Ltd.

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John Constantine, Hellblazer volume 2: The Devil You Know (New Edition)


By Jamie Delano, David Lloyd, Richard Piers Rayner, Mark Buckingham, Bryan Talbot, Mike Hoffman, Dean Motter & various (DC Comics)
ISBN: 978-1-4012-3302-0 (TPB)

Originally created by Alan Moore during his groundbreaking run on Swamp Thing, John Constantine is a mercurial modern wizard, a dissolute chancer who plays like an addict with magic on his own terms for his own ends. He is not a hero. He is not a nice person. Sometimes, though, he’s all there is between us and the al-consuming void…

Granted his own series by popular demand, Constantine premiered at the height of Thatcherite Barbarism in Britain, during the dying days of Reaganite Atrocity in the US, to become a founding father of DC’s adult-oriented Vertigo imprint. Ah, what happy, simple times they seem now…

This collection – available in paperback and digital formats – collects Hellblazer #10-13, Hellblazer Annual #1 plus 2-part tangential miniseries The Horrorist: cumulatively spanning January to October 1988 and revelling in the renaissance of comicbook horror these yarns spearheaded, and which thrive to this day.

Back in 1987, Creative Arts and Liberal Sentiments were dirty words in many quarters and the readership of Vertigo was pretty easy to profile. British scripter Jamie Delano began the Constantine solo series with a relatively safe horror-comic plot about an escaped hunger demon, introducing us to Constantine’s unpleasant nature and odd acquaintances – such as Papa Midnite – in a tale of infernal possession and modern voodoo, but even then, discriminating fans were aware of a welcome anti-establishment political line amidst the metaphorical underpinnings.

The wonderment begins by concluding an epic eldritch saga started in Hellblazer: Original Sins (go read that, it’s great too) as the sanctimonious Resurrection Crusade attempt to re-enact the birth of Christ and their rivals the Damnation Army try to stop them, using Constantine as their weapon. Both sides learn that such a vile trickster is never to be trusted. ‘Sex and Death’ is by Jamie Delano with art from Richard Piers Rayner & Mark Buckingham.

The same team are responsible for the next trinity of linked stories ‘Newcastle’: A Taste of Things to Come (from #11 of the monthly comic) forms the beginning of an origin of sorts for the sordid sorcerer as we flashback to 1978 where punk rock singer/would-be wizard John Constantine takes a motley assortment of mystic wannabees into a possessed nightclub for what they think will be a simple exorcism.

It’s anything but, and the horrific events twist the survivors for the rest of their lives… ‘The Devil You Know’ features the mage’s return (from an insane asylum and worse) and revenge on the hellbeast that shaped his life….

Issue #13 finds him ‘On the Beach’, chilling after all the horror, but still somehow sucked into an ecological nightmare. What follows is an epic tale of two Constantines, as a ghastly heritage of magic and monstrosity is revealed.

Taken from the first Hellblazer Annual in 1989, ‘The Bloody Saints’ parallels the urban occultist’s squalid existence against the history of Kon-Sten-Tyn, mighty mythic Merlin‘s apprentice and a putative successor to King Arthur.

A glamorous rogue and unprincipled cheat, Kon-Sten-Tyn steals Merlin’s magic, makes pacts with devils, feigns conversion to Christianity, assumes unearned sainthood and generally does whatever he wants in a vividly dark, outlandish comedy terror beautifully illustrated by Bryan Talbot.

Also from the Annual comes an illustrated version of ‘Venus of the Hard-Sell’ originally “recorded” by Constantine’s punk band Mucous Membrane. Whatever you think it is, you’re wrong. Just get the book, revel in it and the wonderful creativity of writer/artist Dean Motter.

The 2-part miniseries The Horrorist fills the remainder of the book. Written by Delano and stunningly painted by David Lloyd, this is a bleak, cold fable which finds – in a state just like ‘Antarctica’ – an emotionally paralysed Constantine dutifully hunting across traumatised cityscapes and wretched broken America for a destructive force wreaking bloody havoc. All the trauma and misery of an uncaring world is the irresistible tool of a third world survivor and only more suffering seems to satisfy her…

As the creature called Angel passes, a typhoon of guilt, fear and terror is inevitably unleashed, savagely ending unfulfilled lives. She can’t be stopped by any means the wizard has used before, but there is one appalling tactic he can try…

John Constantine is probably the most successful horror comic character ever, with mood, tension and his surly, smug, intransigent attitude easily overwhelming and outlasting mere gore and splatter time after time. Ambivalent and ever-changing, the antihero of this series and the worlds he exposes never fail to deliver shock after shock.

Delivered by creators capable and satiric, but still wedded to the basic tenets of their craft, these superb examples of contemporary horror fiction – inextricably linking politics, religion, human nature and sheer bloody-mindedness as the root causes of all ills – are still powerfully engaging. Beautifully constructed, they make a truly abominable character seem an admirable force for our survival. The art is clear, understated and subtly subversive, while the slyly witty, innovative stories jangle at the subconscious with scratchy edginess.

This is a book no fear-fan should miss.
Hellblazer 10-13, Hellblazer Annual © 1988, 1989, 2011 DC Comics. All Rights Reserved. The Horrorist #1-2 © 1995, 1996, 2011 Jamie Delano & David Lloyd. All Rights Reserved.

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Batman: Haunted Knight


By Jeph Loeb, Tim Sale & various (DC Comics)
ISBN: 978-1 401-28486-2 (TPB)

Win’s Christmas Gift Recommendation: Timeless Seasonal Wonderment… 9/10

The creative team of Jeph Loeb & Tim Sale have tackled many iconic characters in a number of landmark tales, but their reworkings of early Batman mythology – such as The Long Halloween – must certainly rank amongst their most memorable.

Set during the Batman: Year One scenario created by Frank Miller, and originally released as a 13-part miniseries (running from Halloween to Halloween), it detailed the early alliance of Police Captain Jim Gordon, District Attorney Harvey Dent and the mysterious vigilante Batman, to destroy the unassailable mob boss who ran Gotham City: Carmine Falcone – “The Roman”.

However, even before that epic undertaking, the creators worked together on another All Hallows adventure; one that grew like Topsy to eventually become a triptych of Prestige One-Shot Specials under the aegis of Archie Goodwin’s most significant editorial project…

After the continuity-wide reset of Crisis on Infinite Earths, and with DC still in the throes of re-jigging its entire narrative history, a new Batman title launched, presenting multi-part epics refining and infilling the history of the post-Crisis hero and his entourage.

The added fillip was a fluid cast of prominent and impressively up-and-coming creators…

Batman: Legends of the Dark Knight was a fascinating experiment, even if ultimately the overall quality became a little haphazard and hit-or-miss.

Most of the early story-arcs were quickly collected as trade paperback editions – helping to jump-start the graphic novel sector of the comics industry – and the moody re-imaginings of the Gotham Guardian’s early career gave fans a wholly modern insight into the ancient yet highly malleable concept.

As explained in ‘Trick or Treat’ – Editors Goodwin’s reproduced introduction from the 1996 compilation – the first Batman: Legends of the Dark Knight Halloween Special began life as a story-arc for the monthly series before being cannily promoted to a single, stand-alone publication released for October 1993. Its success spawned the two sequels also included in this volume and the aforementioned Long Halloween epic…

Collected in one spooky stripped-down paperback and/or eBook compilation, those three scary stories comprise a raw and visceral examination of an obsessive hero still learning his trade and capable of deadly misjudgements as seen in initial yarn ‘Fears’.

Here, after spectacularly capturing terror-obsessed psychopath Jonathan Crane, the neophyte Caped Crusader leaves him to mere policemen ill-equipped to cope with the particular brand of malicious insanity cultivated by The Scarecrow…

It’s fair to say that the man behind the bat mask is distracted; still attempting to reconcile his nocturnal and diurnal activities, young Bruce Wayne is currently floundering before the seductive and sophisticated blandishments of predatory social butterfly and matrimonial black widow Jillian Maxwell. Faithful major-domo Alfred Pennyworth is not so easily swayed, however…

Left too much to his own devices, Scarecrow has run wild through Gotham, but when he abducts Gordon, he at last makes a mistake the Dark Knight can capitalise upon…

One year later another Halloween brings ‘Madness’ as rebellious teen Barbara Gordon choses exactly the wrong moment to run away from home: a night when her dad’s mysterious caped pal is frantically hunting Jervis Tetch – a certified nutcase abducting runaways to attend decidedly deadly Tea Parties orchestrated by a truly Mad Hatter…

Steeped in personal nostalgia as a maniac rampages through his city, inadvertently trampling upon some of Bruce Wayne’s only happy memories (of his mother’s favourite book), the heroic pursuer almost dies at the hands of the Looking Glass Loon, only to be saved by unlikely angel Leslie Thompkins – another woman who will loom large in the future life of the Batman…

The final fable here pastiches a Christmas classic by Charles Dickens as ‘Ghosts’ sees a delirious Bruce Wayne uncharacteristically taking to his bed early on the night before Halloween.

After socialising with young financier Lucius Fox, eating bad shrimp and crushing baroque bird bandit The Penguin, our sick and weary playboy lapses into troubled sleep, only to be visited by three spectres…

Looking like Poison Ivy, The Joker and the corpse of Batman himself, whilst representing Past, Present and inescapable Future, these phantoms prove that only doom awaits unless the overachieving hero strikes a balance – or perhaps truce – between his two divergent identities…

Trenchant with narrative foreboding – long-time fans already know the tragedies in store for all the participants, although total neophytes won’t be left wondering – these eerily enthralling Noir thrillers by Loeb perfectly capture the spirit of the modern Batman, supremely graced with startlingly powerful images of Mood, Mystery and rampant Mayhem from the magic pencil and brush of Tim Sale, vividly augmented by the colours of Gregory Wright and lettering of Todd Klein.

Adding lustre to these moody proceedings are a gallery of prior covers culled from earlier collections as well as a Sale Batman sketch, making this one of the very best Batman books you could read.
So, do…
© 1993, 1994, 1995, 2014, 2018 DC Comics. All Rights Reserved.

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Superman: Emperor Joker

By Jeph Loeb, J.M. DeMatteis, Mark Schultz, Joe Kelly, Ed McGuinness, Mike Miller, Doug Mahnke, Kano, Duncan Rouleau, Todd Nauck, Carlo Barberi, Scott McDaniel & various (DC Comics)
ISBN: 978-1-4012-1193-6 (TPB)

In the arena of superhero stories, the terms of narrative are often determined more by the antagonists than the gaudily costumed champions doggedly duelling with them. That’s never been more apparent than in tales featuring the Clown Prince of Crime such as this one…

Originally available as a trade paperback and now in a selection of digital formats, this outlandish yarn collectively spans September and October 2000, as originally published in Superman #160-161, Adventures of Superman #582-583, Superman: The Man of Steel #104-105, Action Comics #769-770 and Emperor Joker #1.

First 4-part story arc Superman: Arkham begins in Superman #160 with ‘It’s a Mad, Mad, Mad World!’ by Jeph Loeb, Ed McGuinness & Cam Smith. The night is broken with hideous screams. Every night.

A black-clad maniac dubbed Superman smashes out of grim asylum Arkham, only to be subdued again and re-incarcerated by warped clone Bizarro before day breaks.

Every night a diminutive and greatly distracted pixie of a man dashes to an appointment only to be hit by a train, or a giant weight or something else gigantic, weighty and somehow non-fatal…

In a sky that rains custard pies hangs a moon with the Joker‘s face. What is going on and when will it all end?

The madness spreads to Adventures of Superman #582 and ‘Crazy About You’ (by J.M. DeMatteis, Mike Millar & José Marzan Jr.) where unlikely nun Supergirl is tormented by visions whilst evil billionaire genius Lois Lane sets her incomparable intellect to solving the mystery of the constant Arkham escapee.

A ghastly warped convocation of the JLA resumes their terrorising activities as Superman: The Man of Steel #104 ‘No Axioms’ (Mark Schultz, Doug Mahnke, Tom Nguyen & John McCrea) sees the perennial escapee meet up with inspirational inventor armourer John Henry Irons; a man afflicted with astounding ideas and concepts torturously leaking out of his brain. As he strives to create a suit of Steel to aid the prisoner, Bizarro and the powered-up posse attack…

And elsewhere the little man remembers who he is. Now there’s a ghost of a chance to save and correct Reality…

Forced to toil as ineffectual fast-food peon Super Burger Boy, rebel teen Conner Kent witnesses a war between wonder beings and his clouded thoughts stir in ‘SupermanamrepuS’ (Joe Kelly, Kano & Marlo Alquiza from Action Comics #769). As Irons and the prisoner invade the JLA’s moon citadel, the kid’s powers revive too…

When 5th Dimensional trickster Mr. Mxyzptlk finally arrives to beg the Men of Steel’s assistance, they initially assume he’s the cause of the universe’s woes… until he makes them look at the Earth they’ve just come from…

Answers if not solutions are forthcoming in Emperor Joker #1. ‘It’s a Joker World, Baby, We Just Live in it!’ by Kelly, Loeb, Duncan Rouleau, Todd Nauck, Carlo Barberi, Scott McDaniel, Alquiza, Jaime Mendoza & Richard Bonk reveals how the beyond-deranged Harlequin of Hate appropriated the immeasurable power of Mxyzptlk, what he did with it and how his whimsical changes are threating all existence.

As the crisis encompasses a host of transformed and tormented guest stars, the disparate remnants of the former Superman Family launch a desperate last-ditch scheme to save everything, leading to closing story arc ‘The Reign of Emperor Joker’ and beginning with Superman #161.

Loeb, McGuinness & Smith’s ‘You Say You Want a Revolution?’ finds Superboy, Supergirl and the Action Ace picking off the Joker’s minions and invading his awesome Hahacienda, only to discover what the Joker has done to his greatest obsession The Batman…

The infernal realms are assaulted and overturned in Adventures of Superman #583’s ‘Life is but a (Very Bad) Dream’ (DeMatteis, Millar & Armando Durruthy), resulting in a shocking resurrection and counterstrike before even more unlikely revivals converge on the mad clown in ‘All the World His Stage’ (by Schultz, Mahnke & Nguyen from Superman: The Man of Steel #105).

After an inconceivable final battle that rocks all reality, the universe is set aright in Action Comics #769-770’s ‘He Who Laughs Last’ by Kelly, Kano & Marlo Alquiza, but don’t think for a moment that all’s right with the world…

Although not a new plot, this tale of a time and place where compulsively interventionist god the Joker employs Fifth dimensional magic to literally remake creation in his own image just so he can torture the heroes who have so often thwarted him, actually works. Maintaining breakneck pace and peppering the action with in-jokes and sly asides, the narrative of Superman under terminal pressure to save the universe is truly gripping and the eventual denouement actually succeeds in both contextual terms and delivery of a powerful payoff. This is a marvellous piece of comic eye-candy.

Although taken from a particularly grim and humourless period in Superman history, this thinly disguised tribute to the zany genius of Chuck Jones, Tex Avery and those wacky Warner Brothers cartoons reads like a breath of fresh air when gathered together in one collection and comes with closing contrary codicil ‘The Codex Comicon’ from Joe Kelly under his nom de plume Professor B. Zarro.
Thrilling, fun and full of perfect comics moments, this is a book every Fights ‘n’ Tights fan should have.
© 2000, 2007, 2016 DC Comics. All Rights Reserved.