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ODD MOON MEDIA REVIEWS

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BDC
October 2020

Categories
Comic Books & Graphic Novels DC Comics DC's Hardcovers & Trade Paperbacks

BATGIRL: STEPHANIE BROWN, VOLUME 2 (DC Comics)

Written by Bryan Q. Miller & Grant Morrison.

Art by Pere Perez; Dustin Nguyen; Derek Fridolfs; Ramon Bachs; Cameron Stewart; Lee Garbett; Trevor Scott; Guy Major; Nathan Fairbairn; Travis Lanham; Dave Sharpe; Carlos M. Mangual; Sal Cipriano; & John J. Hill.

Collection Cover Art by Dustin Nguyen.

SUMMARY:

Released in 2018 by DC Comics, this 328-page trade paperback completes Stephanie Brown’s initial journey as Batgirl — that is, prior to DC’s New 52 continuity reboot.  This volume collects Batgirl # 13-24; Bruce Wayne – The Road Home: Batgirl one-shot; and Stephanie’s overseas team-up with Bruce Wayne’s Batman in Batman, Incorporated: Leviathan Strikes # 1 — all originally released between 2010 and 2012.  With Issue # 24, DC Comics cancelled this series, as its subsequent New 52 reboot would restore Barbara Gordon to the role as the original (and again teenage) Batgirl.

After Volume 1, Stephanie Brown’s on-the-job training as the newest Batgirl resumes, as she tries evading her prior rookie mistakes.  Juggling her second semester as a Gotham University freshman, Batgirl must help enigmatic GCPD Detective Gage thwart a homicidal Clayface’s bank heist.  Another team-up awaits Stephanie, as fellow teen Supergirl flies into Gotham City for some downtime with her new friend.  Hence, they spend a wild Friday night pursuing twenty-four 3D clones of Count Dracula that have escaped from Gotham University’s campus movie screen into reality. 

Stephanie’s combat and sleuthing skills are then tested by a mysteriously stealth-powered adversary, who is the person she least expects.  Meanwhile, with Bruce Wayne still missing, a determined Vicki Vale confronts Barbara Gordon to confirm the original Dark Knight’s secret identity.

With Barbara and Wendy “Proxy” Harris providing her tech support from the Batcave and now the hidden ‘Firewall,’ Stephanie gains an unwanted ally in the ‘Grey Ghost’ in her pursuit of the sinister Reapers cult.  Worse yet, an injured Batgirl finds herself a prime suspect after being framed in the cult’s homicide of one of her own classmates. 

Stephanie, in the meantime, teams with Damian Wayne’s Robin in an undercover sting to rescue kidnaped children from their abductors. As his surrogate big sister, she later tries to demonstrate to ten-year-old Damian that he is still a child capable of innocent playtime.

Set amidst Valentine’s Day, Stephanie unexpectedly meets Klarion the Witchboy in Gotham City.  Helping Klarion find a romantic playmate for Teekl (his feline mascot), Batgirl reluctantly finds herself undercover in Limbo Town.  One friendly favor merits another, as Stephanie takes Klarion to a Valentine’s Day festival at Gotham University.  With Detective Gage and ‘The Grey Ghost’ at her side, Batgirl next faces the first of the Reapers’ techno-mercenaries: Slipstream.  Another of these techno-operatives, Harmony, subsequently challenges Batgirl.  At the same time, months after her brother Marvin’s grisly homicide, Wendy is now haunted by his zombie-like ghost.           

Assigned overseas to London by Bruce Wayne’s Batman, an undercover Stephanie teams up with her fellow teenage vigilante, the Squire, to rescue hostages.  The Knight makes a cameo appearance in this adventure.  Taken captive while probing a British boarding school, Stephanie confirms it’s an elitist front for a Leviathan terrorist recruitment center. 

With Batgirl vastly outnumbered, it’s up to the original Dark Knight to help even the grim odds.  Upon her return to Gotham City, Stephanie resumes her feud with The Reapers’ legion of armored thugs.  With an ally fatally struck down, Batgirl must re-double her efforts.  Hence, she summons the right kind of all-star firepower for this job: Supergirl, Miss Martin, Stargirl, and Bombshell.        

As the series comes to an end, Stephanie is stunned by the return of her supposedly dead father: the Cluemaster.  Rendered comatose, Batgirl’s life is saved by her beloved friends and the last person she wants discovering her secret identity.  Having dreamt possible future adventures awaiting her, Stephanie makes peace with her life as is.  She’s as ready for tomorrow as Batgirl as she’ll ever be.   

Notes: This title is also available digitally.  The prior volume complies Issues # 1-12, including a two-part crossover with Tim Drake’s Red Robin.

REVIEW:

Despite inevitable turnover with this franchise’s artistic personnel, Volume 2’s visuals are still well above-average.  In particular, Dustin Nguyen’s distinctive artistic charm is an ideal fit for Stephanie Brown’s Batgirl.      

In sync with a reliable visual look, writer Bryan Q. Miller proves consistently on his game progressing Stephanie’s “Lesson” as a rookie Batgirl.   Not only is Miller’s storytelling a fresh take on a college-age heroine, but he plays up Stephanie’s exuberance and self-confidence for what it should be – i.e. she’s a plausible teenager. 

Hence, energetic team-ups with Supergirl, Damian Wayne’s Robin, Klarion the Witchboy, and Stephanie’s British counterpart: the Squire, blend DC’s formulaic elements with the playful advantages this new Batgirl brings with her.  Ending an issue with a bounce house scene with the skeptical Damian, for instance, demonstrates how Miller has made Stephanie an appealingly relatable character to readers.         

With Barbara Gordon’s Oracle and Wendy Harris’ ‘Proxy’ leading the supporting cast, Miller ensures that his youthful protagonist isn’t overshadowed by a preponderance of too many Bat-characters crossing over.  That even includes the Dark Knight himself, as his team-up with Stephanie in the “Leviathan Strikes” crossover is a welcome treat. 

To Miller’s credit, he effectively phases in potential castmates that could stick around awhile or possibly prove expendable – it’s a welcome nod to unpredictability.  More so, DC Comics evidently paid attention to how Miller had revitalized Batgirl’s significance to the Bat-Family, even after this series was regrettably cancelled. 

One can recognize how many of Stephanie’s fun-loving traits were lifted for the New 52 Barbara Gordon to update the most famous Batgirl’s well-established persona with extra dimension.  It’s unsurprising given how another New 52 consolidation tweaked Barry Allen’s Flash to more closely resemble Wally West’s hyperactivity.  Hence, two Silver Age icons received contemporary personality makeovers while temporarily relegating both Stephanie and Wally to DC’s continuity dustbin. 

Nearly fifteen years later, Miller’s take on this underrated Batgirl still hasn’t received its due reward – let’s just say the poignant series finale speaks for itself.  Batgirl: Stephanie Brown, Volume 2, ultimately, is a teen-friendly gem well worth re-discovery.

ADDITIONAL CONTENT:

The original cover is presented in a full-page format followed by a posed Batgirl portrait taken from the interior artwork to precede each story.  The cover artists are: Stanley “Artgem” Lau (Issues # 13-14); Shane Davis & Barbara Ciardo (Bruce Wayne – The Road Home: Batgirl); Dustin Nguyen (Issues # 15-24); and Chris Burnham & Nathan Fairbarn (Batman, Incorporated: Leviathan Strikes # 1).

BRIAN’S ODD MOON RATING:                    8½ Stars

Categories
Comic Books & Graphic Novels Marvel Comics MARVEL's Hardcovers & Paperbacks STAR WARS-Related

STAR WARS: HAN SOLO (MARVEL Comics)

Han Solo # 1-5  Written by Marjorie Liu.

Art by Mark Brooks; Dexter Vines; Sonia Oback; Matt Milla; & VC’s Joe Caramagna.

Star Wars # 8-12 Written by Jason Aaron.

Art by Stuart Immonen; Wade Von Grawbadger; Justin Ponsor; & Chris Eliopoulos.

Collection Cover Art by Stephanie Hans.

SUMMARY:

In 2016, Marvel Comics released writer Jason Aaron’s Star Wars # 7-12 (from 2015) as a trade paperback entitled Star Wars, Volume 2: Showdown on the Smuggler’s Moon.  Writer Marjorie Liu’s complete 2016 Han Solo five-issue mini-series was subsequently released in a trade paperback format in 2017.  Come 2018, Marvel Comics compiled these two unrelated storylines into a 232-page hardcover simply titled Star Wars: Han Solo.  The only issue not included is Star Wars # 7, which sets up Luke Skywalker’s adventure apart from Han & Leia’s covert scouting mission.

Set several weeks after Star Wars – Episode IV: A New Hope, Captain Solo has uneasily dodged freelance smuggling gigs considering that he and Chewbacca are hot on the Empire’s Most Wanted list, not to mention Jabba the Hutt’s infamous bounty.  Prodded into a secret assignment by Princess Leia, Han & Chewbacca go undercover entering an illegal galactic race known as the ‘Dragon Void.’  Essentially, it’s any hotshot pilot’s dream to win the ultra-dangerous Dragon Void (let alone survive it).  As far as most of the elitist competition is concerned, Han Solo is a nobody; worse yet, just a lowly smuggler with seemingly nothing to lose but his life.    

Against the galaxy’s hottest racing talent, the Millennium Falcon’s crew must evade the Empire’s scrutiny while retrieving three Rebel spies, all targeted by an unknown mole bent on murder.  It’s up to Han & Chewbacca to protect their passengers from this assassin lurking among them.  In this five-part adventure, will Han’s pride or his conscience ultimately determine a rescue mission’s outcome vital to Rebel intelligence?

Picking up after Star Wars # 7 (also set in this same post-New Hope timeframe), Han & Leia find themselves in a tense stand-off with a vengeful mercenary, Sana Starros, who claims to be Han’s estranged wife.  Trapped in a nebula on a remote planet by the Empire, Leia & Han uneasily make a truce with the snarky Sana to escape with their lives. 

Meanwhile, Luke Skywalker’s search for long-lost Jedi secrets takes him (with Artoo-Detoo) to Mar Shaddaa – the Smuggler’s Moon.  Seeking passage into Coruscant (the Jedi Temple), Luke is taken captive by the ruthless Grakkus the Hutt.  The young Skywalker (and his vintage lightsaber) are deemed the new prizes of this Hutt’s extensive Jedi artifact collection.

Forced into arena combat by Grakkus and a mysterious handler, an inexperienced Luke faces a gauntlet of gladiatorial challengers.  Learning of Luke’s predicament, Chewbacca & See-Threepio, along with Han, Leia, and a reluctant Sana converge on Mar Shaddaa to rescue him.  Standing between them and Luke is the Empire; Grakkus and his bloodthirsty minions; as well as the vile bounty hunter, Dengar.  Against an intergalactic horde of enemies, Han, Chewbacca, and Leia must resort to unexpected weaponry to save their friend’s life. The truth of Han & Sana’s marriage years before is subsequently revealed.

Elsewhere, Darth Vader continues his obsession with uncovering the identity of the rookie Jedi, who participated in the recent Battle of Yavin.       

Notes: Both individual books are available digitally, as is this combined title.  

REVIEW:

Visually, this book is a welcome gem, in terms of its high-caliber artwork.  The main characters consistently resemble the actors, especially as it’s made easy to imagine Harrison Ford playing out these stories.  As for the plotting, frankly, neither one rates as an absolute must-have for Star Wars afficionados, but readily ‘above-average’ is a fair assessment.  In Marjorie Liu’s Han Solo, formulaic ‘Cannonball Run’-like elements hit the plot’s target justifying the art squad’s stellar effort.  Even if there are virtually zero surprises, Liu’s racing/espionage caper still takes readers on an entertaining ride.

Jason Aaron’s action-adventure, at a minimum, offers the intriguing sequence of Han, Leia, & Chewbacca standing back-to-back wielding lightsabers in arena combat.  The introduction of Sana Starros is also a fun treat, along with Han & Chewbacca’s face-off with Dengar. 

Perhaps the best bit of dialogue comes from a mortified See-Threepio, upon his translation of the growling Wookie’s reply that ‘we’ means that he will be accompanying Chewbacca to help save Luke.  Speaking of which, the necessity for Luke’s friends having to suddenly come rescue the impulsive young Jedi is this tale’s only off-note.  Aaron should have depicted either Han and/or Leia expressing some justifiable exasperation at Luke’s foolish journey – for some semblance of reality.

Ultimately, readers get a dynamite Star Wars double-feature from Marvel Comics, even without Star Wars # 7 to better introduce the Smuggler’s Moon storyline.  With that in mind, Han Solo’s Marvel/Disney exploits are off to a rousing start.   

ADDITIONAL CONTENT:

The original covers and their variants are reprinted as full pages.  The Han Solo cover artists consist of: Lee Bermejo (Issues # 1 & 3); Tula Lotay (Issue # 2); Olivier Coipel (Issue # 4); and Kamone Shirahama (Issue # 5).  Interspersed throughout this book, Issue # 1’s variant artists are: John Cassady & Paul Mounts; Mike Allred & Laura Allred; Scott Koblish & Nick Filardi, and John Tyler Christopher. 

Issue # 2’s variant duo is Mike Allred & Laura Allred.  Issue # 3’s variant team consists of Declan Shalvey & Jordie Bellaire, plus a separate cover from Michael Walsh.  Issue # 4’s variants are supplied by artists Stephanie Hans; Kirbi Fagan; Jamal Campbell; and Dustin Nguyen.  Issue # 5’s variants are provided by artists Mike Del Mundo; Joëlle Jones; Cameron Stewart & Matthew Wilson; and Kevin Wada.     

The Star Wars # 8-12 cover artists are the team of Stuart Immonen, Wade Von Grawbadger, and Justin Ponsor.

BRIAN’S ODD MOON RATING:                     8 Stars

Categories
Comic Books & Graphic Novels DC Comics DC's Hardcovers & Trade Paperbacks

SEVEN SOLDIERS OF VICTORY, VOLUME 2 (2 of 2) (DC Comics)

Written by Grant Morrison.  

Art by Frazier Irving; Pasqual Ferry; Ryan Sook; Mick Gray; Yanick Paquette; Serge LaPointe; Doug Mahnke; Billy Dallas Patton; Michael Bair; Freddie Williams II; & J.H. Williams III.

Collection Cover Art by Ryan Sook.

SUMMARY:

Released in 2011 by DC Comics, this 381-page hardcover concludes the 30-issue Seven Soldiers of Victory epic originally published in 2005-2006.  With Seven Soldiers # 0 and Seven Soldiers # 1 serving as its bookends, the saga’s seven primary characters are each showcased in his/her own four-part, interrelated mini-series playing off the premise that none of these Soldiers interact with one another, let alone realize their link to an ancient prophecy.

Presenting writer Grant Morrison’s storyline by each issue’s chronological release rather than each individual mini-series together, Volume 2’s contents shift between Klarion the Witch Boy # 4; Mister Miracle # 1-4; Zatanna # 4; Bulleteer # 1-4; and Frankenstein # 1-4 before concluding with Seven Soldiers of Victory # 1.  Grim revelations of The Sheeda’s magical invasion of Earth become more specific, as the destined Seven Soldiers rise against their common enemy. 

Notes: As with Volume 1, this title was subsequent re-released as as a trade paperbacks and in digital form.  Other formats include: a full-scale, nearly 800-page hardcover Omnibus assembling the entire series and the original Seven Soldiers Books 1-4 trade paperbacks (i.e. Volume 1 combines Books 1-2 and this Volume 2 is the combined  Books 3-4).

Klarion’s series finale begins with the Witchboy nearly burned at the stake by Limbo Town’s incensed inhabitants, including his own mother and sister.  With the sinister Mister Malmoth and his mercenaries invading Limbo Town, dark secrets are revealed.  It’s up to teenage Klarion and his feline familiar, Teekl, to save his underground home from Malmoth’s diabolical plans for ‘updating’ Limbo Town. 

Elsewhere, a re-imagined a ‘Mister Miracle’ named Shilo Norman emerges as possibly Earth’s greatest escape artist (note: the existence of Scott Free’s Mister Miracle isn’t addressed).  Like his unacknowledged predecessor, the slippery Mister Miracle finds himself targeted by a cadre of otherworldly threats, including the ominous ‘Dark Side.’ Even his extraordinary talents escaping the inescapable may not be enough to overcome these odds.  

A possibly powerless Zatanna Zatara and her young apprentice, Misty, arrived in Slaughter Swamp in search of its mysterious Seven Unknown Men.  A lethal showdown awaits Zatanna in the form of the evil magician, Zor.  The ethereal prize awaiting their battle’s victor is the truth of her late father’s elusive four magical books: the Libri Zatarae. 

Stunned by her husband’s reckless death, Alix Harrower has reluctantly become the hero-for-hire Bulleteer – a Bullet Girl for a new generation.  It’s revealed that Alix was the unidentified no-show in Seven Soldiers # 0, who had avoided the prior team’s gory annihilation.  Forced into battle by a personal foe, Alix refuses the summons of a persistent ghost pressing her acceptance as one of the prophesied new Seven Soldiers.  Another ominous link to the prior team has targeted this rookie Bulleteer for assassination by The Sheeda.

With help from his estranged secret-agent wife, The Bride, Frankenstein’s Monster faces multiple grisly missions in his pursuit of the immortal Mister Malmoth following the villain’s escape from a defiant Limbo Town. The legendary undead monster senses he must hunt down Malmoth first in order to destroy The Sheeda. 

To thwart The Sheeda Queen and her insidious forces, desperate solo gambits must be made by Frankenstein’s Monster; Zatanna Zatara and Misty; Klarion the Witchboy; Sir Ystina the Shining Knight; and Shilo Norman’s Mister Miracle.  Also converging on the scene are Jake Jordan’s Guardian and the Bulleteer, as one of the Seven Soldiers will make the ultimate sacrifice to secure victory.  The epilogue updates the fates of some of the survivors.

REVIEW:

Explaining Grant Morrison’s strange Seven Soldiers of Victory, Volume 2 to non-fans would be the equivalent of fathoming Kurt Vonnegut’s Slaughterhouse Five as a graphic novel.  Perhaps Morrison was aiming for a Vertigo Comics audience that deems weirdly subversive sci-fi/fantasies like Robert A. Heinlein’s Number of the Beast as top-caliber entertainment.

Given the artistic talent involved (and their varying degrees of murkiness), Volume 2’s visuals are consistently stellar – no matter how incomprehensible Morrison’s storyline often is.  Before proceeding further, Volume 2 concocts some cleverly devised plot twists, and a few well-written segments (i.e. Zatanna # 4) are easy to follow – scoring some rare poignancy at welcome moments.  Yet, that’s more the exception than the rule.  While Klarion # 4 and Frankenstein # 2-4 contribute necessary depth to The Sheeda invasion angle (and mostly make sense), the same doesn’t apply so much to either The Bulleteer # 1-4 and Mister Miracle # 1-4.       

Case in point: The Bulleteer’s sub-plots include some supernatural characters relevant to Seven Soldiers # 0 and # 1, which generates well-played intrigue.  However, the primary arc constructs an inevitable showdown between likable heroine Alix “The Bulleteer” Harrower and the woman her late husband was having a cyber-affair with. Aside from their terrific visual quality, Alix’s adventures are, therefore, mostly irrelevant. 

There’s also no mistaking the talented art team’s fixation on displaying the Bulleteer’s blatant sex appeal vs. crafting her a compelling origin tale.  While Alix’s mini-series is actually a fun read, her contribution is far more padding than any substantial one. More so, Alix’s cameo in the Seven Soldiers finale surely doesn’t add much to Morrison’s mixed-bag finish line. 

As for Morrison’s Mister Miracle, his re-imagining of Jack Kirby’s New Gods (including Darkseid) is a high-concept homage that baffles far more than it dazzles.  Readers will find that they have to operate on the same wavelength as Morrison to follow Shilo Norman’s confusing four-part tale.  Mister Miracle is prime evidence of how muddled Morrison’s saga becomes when Volume 2 is absorbed as a whole.  The glorification of horrific, R-rated plot curveballs (off-screen or not) makes their creative justification throughout this wonky project seem even more tasteless.

Note: Volume 1’s grisly surprises are more repulsive than in Volume 2.      

Ultimately, Volume 2’s high-caliber artwork and pristine production values are its two best and most enduring assets.  Morrison’s bizarre plotting, by comparison, is overrated, as his impressively grand ambitions tend to fall short of the actual content.

ADDITIONAL CONTENT:

A two-page summary conveys the events of Seven Soldiers of Victory, Volume 1.  The original full-page cover precedes each story.  Cover artists are: Frazier Irving (Klarion # 4); Pasqual Ferry (Mister Miracle # 1-2); Freddie Williams II & Dave McCaig (Mister Miracle # 3-4); Ryan Sook (Zatanna # 4); Yanick Paquette, Michael Bair, & Alex Sinclair (Bulleteer # 1 & # 4); Paquette, Serge LaPointe, & Sinclair (Bulleteer # 2-3); Doug Mahnke & Dave Stewart (Frankenstein # 1); Mahnke & John Kalisz (Frankenstein # 2-3); Mahnke & Nathan Eyring (Frankenstein # 4); and J.H. Williams III (Seven Soldiers of Victory # 1).

Morrison, at the end, presents six pages of insightful script notes preparing Seven Soldiers of Victory # 1.  Presented in a full-page format, the collection covers for Seven Soldiers of Victory, Book Three (cover artists: Paquette, LaPointe, & Stewart) and Book Four (cover artists: Mahnke & Stewart) are included.  In a full, double-page montage (essentially, a poster), Sook’s collection cover artwork for Seven Soldiers of Victory, Volumes 1 & 2 is saved for last.

BRIAN’S ODD MOON RATING:                      6½ Stars

Categories
Digital Movies & TV Movies & Television (Videos) Online Videos TV Episodes & Movies TV Series TV Series (Specific Episodes)

HART TO HART: NIGHT HORRORS (Season 1: Episode 14 or Episode 16)

SUMMARY:          RUNNING TIME: Approx. 49:15 Min.

First airing on January 22, 1980, on ABC-TV, Ray Austin directed this early Hart to Hart episode, which was written by Bill La Mond & Jo La Mond. Attending an awkward dinner party on a dark, stormy night, millionaire & amateur sleuth Jonathan Hart (Wagner) reluctantly declines wife Jennifer’s (Powers) prodding that they politely escape while they can. 

Not only is their friends Amanda & Fred’s (Harris & Snyder) secluded mansion haunted, the evening’s quirky fun is a treasure hunt for the late prior owner’s priceless cache stashed somewhere in the house.  Others recruited for this dimly-lit parlor game are: a boozy realtor (Small); a smarmy horror novelist (Shenar); an enigmatic reverend (Martin); the household’s creepy butler (Stuthman); and a frosty psychologist (van Pallandt) prone to psychic disturbances. 

Once their host makes a ghoulish entrance, everyone is split into random pairs to search the house – evidently, with the winner to take all.  As Jennifer & Jonathan find out, double-crosses aside, it appears that somebody is willing to kill to acquire the lost Greeley fortune. 

With their cars and telephones disabled, everyone has no choice but to wait inside the mansion and resume the search.  Not only are the elusive Greely gems at stake, so now are the Harts’ lives.  

Jonathan Hart & Jennifer Hart: Robert Wagner & Stefanie Powers

Max: Lionel Stander

Amanda & Fred: Cynthia Harris & Arlen Dean Snyder

Reverend Tyson: Barney Martin

Michael Shillingford: Paul Shenar

Gladys Leary: Mews Small

Simon: Fred Stuthman

Dr. Lorna Phelps: Nina van Pallandt

Freeway: Charlie Gray

REVIEW:

It’s false optimism if one expects more from this murder-mystery hokum than Wagner and Powers trading Halloween quips and marital double-entendres.  Otherwise, the eye-rolling plot resembles Hart to Hart’s bungled attempt at playing CLUE. 

Sabotaged by a glut of haunted house teases from a Hollywood cliché festival, the cast’s presence offers this misfire’s sole asset.  Still, the actors fall short of overcoming the guest characters’ absence of depth, let alone selling a series of plot curveballs that lead nowhere.  The blame falls on the La Monds’ mediocre script imitating far better haunted house whodunnits, which director Ray Austin doesn’t improve upon.  All he can do is convey an appropriately spooky ambiance, which mostly goes to waste.

This episode’s first two-thirds is tolerable as an average TV mystery for that era.  Regrettably, the worst unforced error comes in its last fifteen minutes, which resorts to some midnight grave-robbing. There’s no plausibility justifying sending the Harts and the other treasure seekers out to raid the Greeley family cemetery … conveniently located in the estate’s backyard. 

Even impulsive greed, as a homicidal motive, doesn’t disguise the last few twists in the cemetery from being flat-out ludicrous.  Ultimately, “Night Horrors” is one dubious Hart to Hart caper where even die-hard fans might resent far more cheese being served than substance.

P.S. As a spoiler, the script’s ineptitude even botches an easy gag prior to the epilogue.  Viewers will get to glimpse the aforementioned Greeley gems, which are obviously nothing more than glittery trinkets from the studio’s prop department.  The mystery’s end, however, is left ambiguous, with most of the treasure hunters inexplicably losing interest after taking a gaze inside the jewelry box. 

The La Monds and/or Austin inexplicably fail to conjure up some satisfying wink to explain why these gems were a joke all along (as irony given an earlier plot hiccup).  For instance, do the characters scornfully recognize these ‘precious’ Greeley gems as an assortment of unremarkable costume jewelry after risking their lives for it? Or is there some other reason why no one seems to want this treasure in the end?  

Such a surprise wouldn’t have salvaged this TV dud, but one decent chuckle still might have sufficed for viewers.  And the less said about the epilogue’s weak finish afterwards playing ‘vampires’ with Max the better.  

BRIAN’S ODD MOON RATING:                           4 Stars

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Categories
Comic Books & Graphic Novels DC Comics DC's Hardcovers & Trade Paperbacks

SUPERMAN/BATMAN: BIG NOISE (DC Comics)

Written by Joe Casey & Joshua Williamson.

Art by Scott Kolins; Ardian Syaf; Jay Fabok; Vincente Cifuentes; David Enebral; Norm Rapmund; Marlo Alquiza; Prentis Rollins; Rebecca Buchman; Derek Fridolfs; Walden Wong; Michael Atiyeh; Ulises Arreola; Pete Pantazis; & Rob Leigh.

Collection Cover Art by Ardian Syaf; Vicente Cifuentes; & Ulises Arreola.

SUMMARY:

DC Comics, in 2010, released this 144-page paperback compiling Superman/Batman # 64 and # 68-71 from 2009 and 2010.  Thousands of years before, homicidal Durlan terrorists aboard a hijacked Kryptonian vessel flee local justice through a space-time portal.  The shape-shifting Durlans intend to exterminate all Kryptonians to finally achieve victory in their intergalactic feud. 

In the present-day (amidst the aftermath of Our Worlds At War), Batman & Superman grimly investigate this same vessel they have found now derelict in a secluded asteroid belt.  Given a missing escape pod and the ship’s uneasy proximity to Earth, they conclude that an alien hostile is apparently now hiding somewhere on the planet. 

What confounds the World’s Finest Duo is how this Kryptonian ship could have jumped through time – more so, the reason why.  Meanwhile, in the Himalayan Mountains, reclusive billionaire (and STAR Labs silent partner) Anderson Gaines evidently makes a sinister discovery. 

A seemingly routine assignment weeks later for Clark Kent has him interviewing the enigmatic Gaines.  Soon afterward, an incendiary assassin named NRG-X launches fiery attacks targeting Clark Kent at The Daily Planet and then the Man of Steel in his own Fortress of Solitude.  Having probed his own suspicions of Gaines’ unusually public activities, Bruce Wayne contemplates the identity of NRG-X’s shadowy employer.  Whoever it is knows Clark’s secret and is unleashing a very personal vendetta to kill Superman.    

Against two formidable adversaries, the Dark Knight and the Man of Steel must go on offense to end a predator’s wrath bent on finally destroying Krypton’s legacy.   

Note: This title is presently available in a trade paperback format only.

REVIEW:

Considering this title’s brevity, readers could construe Big Noise either as a tight, plot-driven space/action thriller or a fast and forgettable read.  Squandering excellent artwork (specifically, Issues # 68-71), one makes a more convincing case for the latter.  Suffice to say, Big Noise’s storyline is, at most, superficially entertaining. 

A lack of depth is glaring, such as the absence of pivotal supporting characters  – apart from Alfred Pennyworth making some contributions, the plot leaves one wondering: where is Clark’s spouse, Lois Lane?  Or Perry White, for that matter, especially if The Daily Planet’s upper deck has been firebombed?  Writer Joe Casey doesn’t provide any answers, let alone seems to care.

As adequate compensation, Casey might have pitched some welcome plot twists, but the Superman-targeted-for-death storyline doesn’t bother with a single surprise.  Minimal creativity isn’t a deal breaker, but this story’s business-as-usual outcome has no impact.  The predictable Superman/Batman: Big Noise, if anything, is strictly a library find.  

ADDITIONAL CONTENT:

The full-page cover precedes each story.  The cover artists are for Issue # 64: Scott Kolins & Mike Auyeh; and for Issues # 68-71: Ardian Syaf; Vicente Cifuentes; & Ulises Arreola.

BRIAN’S ODD MOON RATING:                     4½ Stars

Categories
Comic Books & Graphic Novels Marvel Comics MARVEL's Hardcovers & Paperbacks

THOR BY JASON AARON: THE COMPLETE COLLECTION, VOLUME 3 (MARVEL Comics)

Written by Jason Aaron.

Art by Russell Dauterman; Matthew Wilson; Rafa Garres; Frazer Irving; Frank Martin; Valerio Schiti; Mat Lopes; & VC’s Joe Sabino.

Collection Cover Art by Russell Dauterman & Matthew Wilson.

SUMMARY:

Released by Marvel Comics in 2021, this 448-page paperback compendium collects Mighty Thor # 1-19 (from 2015-2017).  With a disgraced Odinson (the original Thor) presently missing, a terminally ill Jane Foster wields Mjolnir as a masked Goddess of Thunder.  Few are privy to Jane’s guarded dual existence as Thor, even among her fellow Avengers. 

Worse for Jane, she is fully aware that the ancient magic transforming her into Thor subsequently dissipates any progress her chemotherapy has made.  In effect, her heroics as the new Thor is prolonging her cancer death sentence and now killing her a little bit at a time.  Case in point: Jane calmly chooses to leave a chemo session to save a crashing Roxxon satellite plummeting from Earth’s orbit to save innocent lives.  Her fellow Avengers (in a cameo) can only observe her in awe.

Baited by the sight of hundreds of murdered Light Elf corpses falling out of space towards Earth, Jane’s Thor senses the Dark Elf, Malekith, has now started a War of Elves.  With chaos igniting among Asgard’s realms, Malekith’s shadowy alliance (including a link to Earth) intends to install him as the ruler of all Elves, by any unscrupulous means necessary. 

Destroying Jane’s Thor means one less obstacle to his growing reign of terror.  Unable to convince Asgard’s Council to intervene, Jane knows it’s up to Thor and her trusted friends to thwart the War of Elves and free a captive Queen Aelsa as Malekith’s unwilling new bride.     

Having already imprisoned his own wife, Freyja, a mentally imbalanced Odin’s wrath is challenged by opportunistic in-fighting in a fractured Asgard.  Hunted as a fugitive impersonator, Jane’s Thor faces off vs. Loki and even Odin himself to protect Asgard’s downtrodden.  Along with her allies (Sif and The Warriors Three, among them), Jane’s Thor attempts to quell insurrection, though Loki is an unpredictable wildcard.    

Trying to still maintain her mortal existence on Earth, Jane poignantly puts Asgard’s needs before her own.  Not only is a suspicious SHIELD probing Jane’s connection to Thor, but the Shi’ar Empire’s Imperial Guard intends to capture her as a prize amidst Asgardian civil war. 

Again challenged by a skeptical foe, Jane defennds herself against one of the galaxy’s mightiest aliens: the Imperial Guard’s Gladiator.  Yet, even he pales in comparison to the two ethereal Shi’ar adversaries demanding the Goddess of Thunder answer to them. 

Assuming she even survives battling the Shi’ar’s own gods, what still awaits Jane’s Thor and guest star Quentin Quire is a defiant stand against the cosmic firepower of the Phoenix Force.  Jane’s fate may well hinge upon the return of Odinson to Asgard.  Unlike old times, her odds of a climatic rescue have shifted – Jane’s Thor, with her mystical hammer, Mjolnir, refuses to be a damsel-in-distress.            

Note: This title is also available in a digital format.

REVIEW:

Fans of Jane Foster’s Thor ought to find Volume 3 a superb read.  Along with writer Jason Aaron consistently at the top of his creative game, the book’s visuals are mostly high-caliber.  Still, nineteen issues (with virtually zero humor and minimal downtime) is a lot to absorb for anybody. 

Casual readers may find themselves overwhelmed, as Aaron doesn’t simplify his sophisticated plotting for newcomers.  That’s really where this volume’s entertainment value becomes subjective – if one stays patient, Aaron’s epic storytelling gradually becomes immersing.       

Thor by Jason Aaron: The Complete Collection, Volume 3, suffice to say, is for mature fantasy saga buffs, who appreciate a creative long game.         

ADDITIONAL FEATURES:

After each issue, its full-page variant cover(s) follows.  Following the table of contents, the original full-paged cover by artists Russell Dauterman & Matthew Wilson precedes each story.  The 24-page extras gallery consists of:

  • Dauterman’s two-page, black-and-white (inked) spread of Issue # 1’s cover;
  • quarter-page cover sketches by Dauterman from Thor # 6-8 and # 10-12;
  • in a half-page format, Dauterman’s character designs of Jane Foster, Odinson (Thor), Roz Solomon, Exterminatrix, Ancient Loki, Titania, Bloodroot, Kurse, armored Asgardian warrior, Quentin Quire, Shi’ar Gods, Blue Witches,. Mangog, and characters from the ‘Congress of Worlds;’
  • a full-page variant of Mighty Thor # 1 variant of Dauterman’s Jane Foster character design;
  • the same for Mighty Thor # 2 features Dauterman’s takes on Odin and Freyja;
  • the same for Mighty Thor # 3 featuring Dauterman’s renditions of Hela, Queen of Cinders, & Karnilla;
  • the full-page Mighty Thor # 5 cover variant by artist Laura Braga; 
  • a full-page Mighty Thor # 6 cover variant by artists Joyce Chin; & Laura Martin; and
  • full-page cover variants: Greg Hildebrandt’s Mighty Thor # 8; Natacha Bustos’ Mighty Thor # 10; Pasqual Ferry & Frank D’Armata’s Mighty Thor # 11; Mike Deodato Jr. & Frank Martin’s Mighty Thor # 15; Andrea Sorrentino’s Mighty Thor # 15; Ryan Sook’s Mighty Thor # 15; and Joe Jusko’s Mighty Thor # 16.

BRIAN’S ODD MOON RATING:                            8 Stars

Categories
Digital Songs & Albums Individual Tracks (Digital Albums & Singles) Music & Radio Shows Pop, R&B, Soul, & Dance

BACK TO LIFE (HOWEVER DO YOU WANT ME) (by Soul II Soul: 1989’s Club Classics, Volume One aka Keep On Movin’)

SUMMARY:                             RUNNING TIME: 3:47 Min.

Released on May 29, 1989, by British R&B group, Soul II Soul, “Back to Life (However Do You Want Me)” was featured on the band’s 1989 debut album: Club Classics, Volume One in the United Kingdom. The album’s U.S. title is Keep On Movin’.

Inspired by lead vocalist/co-writer Caron Wheeler’s near-death experience, the dance song’s popularity would inspire a MTV/VH-1 music video.  The tune ultimately would win the 1990 Grammy for Best R&B Performance by a Duo or Group With Vocal. Since that time, “Back to Life (However Do You Want Me)” occasionally resurfaces on compiliation projects, as well as the band’s 10th Anniversary release of their debut album.      

REVIEW:

Though the lyrics are perhaps too repetitive, in terms of its primary chorus, this song’s exuberance still holds up nearly thirty-five years later.  Backed by a terrific R&B melody, Caron Wheeler’s effervescent vocals are undeniably the song’s best asset.  For R&B and dance playlists, this catchy Soul II Soul track is definitely worth a solo download. 

BRIAN’S ODD MOON RATING:                       8 Stars

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Categories
Books & Novels General Non-Fiction History & Biographies (Books) Movies & Television (Books)

THE GARNER FILES

Written by James Garner & Jon Winokur

SUMMARY:

First released as a hardcover in 2011 by Simon & Shuster, actor/producer (and self-described curmudgeon) James Garner co-wrote his 273-page memoir with professional scribe Jon Winokur. The book was published three years before Garner’s death in 2014 at the age of 86. 

Recounting his life’s journey, Garner (birth name: James Scott Bumgarner) starts with his turbulent youth growing up in Depression-era Oklahoma.  Though later chapters diverge on side topics, such as his passions for auto racing and golf, producing, his personal brand of politics, and a reluctant 1958 appearance on TV’s This Is Your Life, Garner’s account initially follows a linear path. 

With minimal parental supervision, Garner explains how he was essentially emancipated by age 14 and briefly joined the Merchant Marine just prior to the end of World War II.  Scrounging at various odd jobs before and after his Korean War stint, Garner wandered back and forth from his hometown in Oklahoma to Southern California. 

Sheer luck would land him his first Broadway role as a co-star to one of his big screen idols (and subsequent close friend), Henry Fonda, in The Caine Mutiny Court Martial.  As a struggling 28-year-old actor, Garner would soon marry Lois Clarke in 1956 beginning their 58-year union. 

Subsequent professional success ignited with his instant fame as the title character in the Maverick TV series followed by a series of memorable 1960’s films, including The Great Escape.  His impressive transition between films, television shows, and commercials would continue through the 1970’s, especially with his signature role as private detective ‘Jim Rockford’ on NBC’s The Rockford Files. 

Standing on principle, Garner describes his lawsuits against Warner Bros. over first escaping his Maverick contract and, years later, multiple lawsuits against Universal Studios over The Rockford Files. Meanwhile, Garner’s favorite hobbies, including golfing at various links worldwide, auto racing, and participating multiple times in the annual Baja 1000 race, are explored. 

Despite multiple lingering injuries impacting him throughout production of The Rockford Files, Garner’s workaholic attitude continued through the 1980’s, in films such as Victor/Victoria and Murphy’s Romance.  As the actor states, by now efficiently producing his own projects, he had become more selective of what scripts appealed to him and what projects he would decline (i.e. First Blood).     

Though not necessarily evasive, Garner discusses little of his family life as both husband and father.  Still, he acknowledges at least one marital separation and his battles with alcohol, smoking, and, briefly, a sampling of illicit drugs with John Belushi.  Garner also expresses his unpretentious feelings on the acting process, and by extension, his disgust with present-day Hollywood’s blend of condescension and shallowness. 

While well-regarded, both personally and professionally, he also relays his propensity for hot-tempered fits on the golf course, road rage, and multiple instances of fisticuffs.  For someone who claims to abhor violence and gunplay, the at-times ornery Garner conveys a complex personality, given his own experiences defending himself (or, at the very least, his sense of honor).    

In lieu of musing upon his lesser films and various projects late in his career (aside from 2004’s The Notebook), Garner supplies a filmography to briefly address his full body of credits.  For the most part, Garner, threads personal viewpoints on a variety of topics through his autobiography.  The experience is reminiscent of having a sit-down interview with him.  

Note: This title is available in these other formats: digital, audiobook, & paperback.

REVIEW:

Ironically, the front side jacket begins by describing Garner as one of Hollywood’s ‘all-time great leading men,’ which isn’t necessarily the actor’s own personal assessment.  Still, this bit of publisher’s gushing really isn’t that far off the truth. 

By Garner’s own admission, he headlined some classic Hollywood properties (i.e. The Rockford Files, Maverick, The Great Escape, etc.).  Garner also readily winces that, either by contractual obligation or merely later for the paycheck, he appeared in his share of awful films, too.  Hence, The Garner Files projects the actor’s candor and humility balancing his life’s successes, failures, and various obstacles in making his memoir a solid read.

Observations by Julie Andrews and Lauren Bacall, among others, are consistent describing Garner as a top-flight, old-school professional, with all the makings of a traditionally good-natured gentleman.  He is also someone that others foolishly crossed, and, by the actor’s account, Garner did not (and would not) back down, if provoked. 

While describing himself as an “average American,” tales of his glamorously expensive hobbies somewhat contradict that assessment.  Still, there is no mistaking that Garner’s perseverance and commitment to honest dealing readily merited his success, as well as a genuine legacy 21st Century Hollywood might only aspire to.         

For fans of Garner and/or Hollywood memoirs in general, The Garner Files is most likely a keeper.  For others, this memoir serves best as a standard, one-and-done library find.  Either way, The Garner Files offers welcome insights into one of the best Hollywood stars who evidently didn’t let iconic fame go to his head.  

ADDITIONAL FEATURES:

Following a table of contents, one of Garner’s favorite co-stars, Julie Andrews, provides the introduction.  Garner supplies a brief “Dear Reader,” which aptly summarizes his attitude towards penning this memoir.  

An unusual 31-page supplement (frankly, it’s a classy form of padding) entitled “Outtakes,” supplies anecdotes from his family, friends, colleagues, and even random acquaintances who recount meeting Garner. 

For instance, Garner’s wife, Lois, presents her own version of their first meeting and short courtship in August 1956 prior to their marriage.  Also included are entries from Garner’s two daughters; Lauren Bacall; Tom Selleck; James Woods; Doris Day; Carol Burnett; Dick Cavett; Stephen J. Cannell; and an amusing ‘confession’ from Steve McQueen’s widow, Neile McQueen Toffel.    

Saved for last is Garner’s candid take on his career filmography, along with his appearances in television shows and TV mini-series.  Of particular interest are his own star ratings of his big-screen films and side notes working on various productions.  His insights are occasionally surprising and refreshingly blunt.    

There are also two sections of black-and-white photographs (one is eight pages and the latter is sixteen pages).  From his personal collection and those of family and friends, the photos appear in chronological order, but they don’t necessarily correspond to that section of the book. 

BRIAN’S ODD MOON RATING:                  7 Stars

Categories
Agatha Christie-Related Books & Novels General Fiction Mystery & Suspense

THE THURSDAY MURDER CLUB – BOOK # 1

Written by Richard Osman

SUMMARY:

In 2020-21, Penguin Books released this 374-page paperback in Great Britain and the United States.   As British game show host and comedy writer Richard Osman’s debut novel, this mystery caper’s success has precipitated at least three sequels and possibly a future film adaptation.

In the secluded, present-day English countryside, Coopers Chase Retirement Village is a posh, inclusive community developed on property previously owned by the Catholic Church.  Among its elderly British retirees are: Ibrahim – a mostly retired psychiatrist; Joyce – a doting ER nurse and mother, who is likely the friendliest neighbor any of them have; Ron Ritchie – an outspoken and hard-nosed, social activist; and their informal leader, ex-spy Elizabeth – a former MI-5 (or MI-6) operative.  Of them, Elizabeth is the only one who isn’t widowed, but she is caring for her husband’s evident dementia. 

Setting up a weekly meeting, the quartet selects and, as a matter of keeping their minds active, reviews cold case murders.  Inspired by her comatose friend, Penny, who had been a stalwart police detective, Elizabeth shifts the group’s attention to its next project: probing the brutal homicide of the village’s building contractor, whose shady past evidently dates back at least thiry years. 

Reluctantly helping the Club seek out likely suspects are the local police: new detective Donna De Freitas and her simmering boss, Chris Hudson.  Even before one homicide can be resolved, another occurs involving Cooper Chase’s scheming developer, who has a mile-long list of potentially seething enemies.

With one, if not possibly two or more killers, on the loose, the Club’s investigation is further complicated by a grisly discovery in the cemetery adjacent to the community.  It’s up to an ever-resourceful Elizabeth and her friends to now snare an elusive culprit, who may be far closer to home than they dare realize.      

Note: This title is also available digitally and as an audiobook.

REVIEW:

The low-key, tongue-in-cheek humor lurking in some of Agatha Christie’s lesser-known works (i.e. The Man in the Brown Suit; The Seven Dials Mystery, etc.) comes to mind reading The Thursday Murder Club.  Part of this resemblance comes from Richard Osman’s inclusion of Joyce’s ‘diary entries.’

These brief shifts of narrative from third-person to first-person makes an insightful change of pace.  Exploring easygoing Joyce’s point-of-view over, say, the more dominant Elizabeth (it’s easy to visualize Judi Dench playing this role) is a smart move, as Joyce is the Club’s most down-to-earth participant. 

More so, it contributes to a welcome creative vibe reminiscent of a percolating tea kettle.  If one stays patient, Osman’s creative steam subsequently delivers the necessary goods at the right moments.  Such compensation more than makes up for the first several pages introducing the Club, which are comparatively dry. 

There’s decent odds that some readers, at the get-go, might be turned off (or simply bored) by the quartet’s casual pleasure discussing a young woman’s unresolved homicide.  Still, after that juncture, Osman’s clever storytelling picks up momentum, as plot twists and additional mini-mysteries contribute to an intriguing read where not everyone is really whom they seem.      

Deploying an unusual third-person omniscient present-tense, Osman’s quirky debut novel is a triumph for the British cozy mystery genre.  Playing off the genre’s reliance upon contrivance and outright implausibility, Osman still concocts a whodunnit gem more sophisticated than most amateur sleuth cookie-cutter formulas.

Given this book’s cast, there is at least half-dozen ongoing plot threads to keep track of (Osman makes it easy enough), so readers will left guessing as to which ones are foreshadowing and what others may prove red herrings. A leisurely surplus of character depth, in that sense, co-mingles with witty humor and poignancy to convey Osman’s well-played nods to the 21st Century’s generational gaps. 

The mystery’s final stretch, accordingly, delivers a satisfying, multi-layered resolution where not all loose ends are tied up, but most everything now makes sense.  Suffice to say, The Thursday Murder Club conjures up an original assortment of sleuths that readers will enjoy solving multiple homicides with.       

ADDITIONAL FEATURES:

Osman’s paragraph-length bio is included, along with his acknowledgements section.  He also introduces an outtake scene, from Joyce’s point-of-view.  There’s a six-page sample of the franchise’s second installment: The Man Who Died Twice.  A brief interview with Osman reveals the real-life inspiration for the novel.  Lastly, “A Penguin Readers Guide” is a helpful reference for setting up book club discussions.

Note: “The Readers Guide” has one typo referencing Donna’s off-the-record contacts with the Club.  It’s Elizabeth (not Joyce) who regularly communicates back and forth with 26-year-old Donna – as if she’s her surrogate great-aunt.          

BRIAN’S ODD MOON RATING:                       9 Stars

Categories
Comic Books & Graphic Novels DC Comics DC-Related DC's Hardcovers & Trade Paperbacks Movies & Television (Videos)

BATMAN: THE 1989 MOVIE ADAPTATION (2019/2023 DC Comics)

Written by Dennis O’Neil.

Art by Jerry Ordway; Steve Oliff; & John Costanza.

Cover Art by Jerry Ordway.

SUMMARY:

First released in 2019 by DC Comics for the film’s 30th Anniversary, this 134-page ‘deluxe edition’ reprints the comic book adaptation of 1989’s Batman movie co-starring Michael Keaton, Kim Basinger, and Jack Nicholson.  A subsequent 2023 reprinting was issued – presumably, to capitalize on Keaton’s much-anticipated return as Batman in The Flash. 

In only a month, the nocturnal Batman has become a terrifying urban legend to street thugs in decrepit Gotham City.  Local reporter Alexander Knox and his glamorous new partner, photojournalist Vicki Vale, attempt to solve this mystery.  Meanwhile, Vicki falls in love with enigmatic 35-year-old billionaire Bruce Wayne, who is reluctant to share his dark secrets with her. 

Upon being double-crossed by his boss, Carl Grissom, psychotic mobster Jack Napier has transformed into Gotham’s latest warped creation: the Joker.  Hence, Batman and his new arch-enemy commence a dangerous series of face-offs.  Batman, with Vicki’s help, attempts to thwart the Joker’s mass poisoning of Gotham’s public with his sinister Smylex laughing gas.  An ominous catch-phrase has Batman subsequently realize where his obsession with Jack Napier first began. 

With an abducted Vicki’s life at stake, Gotham’s Dark Knight pursues the maniacal Joker into a climatic final showdown.  The question becomes: who rules Gotham City’s nights?

Note: This title is also available digitally.

REVIEW:

Reading this adaptation, one will immediately recognize the 1989 comic book’s limitations, in fairness to O’Neil’s lackluster rehash.  First, multiple scenes and characters are omitted – i.e. Bruce & Vicki’s initial meeting; no Harvey Dent seen; a drugged Alicia’s disfigurement revealed to Vicki, etc.  The maximum page count no doubt prioritized what O’Neil could do with the plot’s content. 

Secondly, aside from minor tweaking, O’Neil sticks close to the script’s dialogue.  Like Craig Shaw Gardner’s novelization, the cast’s improvisations (i.e. Keaton’s memorable “I’m Batman” intro) aren’t represented.  Frankly, they wouldn’t have the same effect in this medium.  The reliable O’Neil, overall, does a decent job given how he’s creatively boxed in. 

As for artist Jerry Ordway, he has a knack for conveying terrific close-up likenesses of the cast much of the time.  Still, though generally faithful to the cast’s costuming, the visuals are otherwise pedestrian.  Suffice to say, the art squad falls far short of recapturing Anton Furst’s innovative art deco design, let alone a welcome sense of the mega-budget cinematography. 

It’s unfortunate that, back in 1989, DC Comics didn’t prioritize this project to merit its artistic A-game.  It appears that DC has since refreshened (to a degree) the comic’s weak-looking inks with a more worthwhile upgrade, aesthetics-wise.

Even if this ‘deluxe edition’ isn’t a must-have, it’s a decent slice of Bat-nostalgia from DC’s archives.      

Notes: O’Neil includes one brief scene (likely deleted from the finished film) where Knox poses as Batman’s ‘corpse.’  In one set of images (replicated on the back cover), Ordway presents nice head shot close-ups of Keaton, Basinger, & Michael Gough’s Alfred.  Keaton’s depiction has a  longer-hair comb-over, which, amusingly, resembles a toupee.

ADDITIONAL CONTENT:

In a full-page format, both covers of the comic’s prior release are included.  A scanned copy of Ordway’s artwork, as obvious padding, effectively doubles this book’s size.  Ironically, Ordway’s black-and-white sketches are more vividly noir than the inked version.

BRIAN’S OOD MOON RATING:                      5½ Stars

Note: Craig Shaw Gardner’s intriguing novelization depicts the movie’s intended script before Basinger replaced an injured Sean Young as ‘Vicki Vale.’ 

Hence, subsequently deleted/un-filmed scenes include Bruce & Vicki’s horseback riding sequence and a masked Bruce’s improvised horseback rescue of Vicki from the Joker and his henchmen.  This latter action sequence was replaced in the film by Bruce faking his apparent death in Vicki’s apartment before discreetly escaping to the Batcave.