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STAR TREK: THE RETURN

Written by William Shatner, Garfield Reeves-Stevens, & Judith Reeves- Stevens

SUMMARY:

Released in 1996 by Pocket Books, the 371-page Star Trek: The Return is the direct sequel to the first ‘Shatnerverse’ entry – 1995’s Star Trek: The Ashes of Eden.  Given occasionally retroactive contradictions with Trek’s established mainstream continuity (i.e. the fate of the U.S.S. Enterprise-A), the so-called ‘Shatnerverse’ evidently occupies its own self-contained alternate timeline.     

Set a few weeks after Star Trek: Generations (and as teased by The Ashes of Eden), Starfleet’s Veridan III salvage operation of the crashed U.S.S. Enterprise-D is unexpectedly besieged.  At the base camp, Commander William Riker and Counselor Deanna Troi barely survive the unknown enemy’s onslaught. Is this ruthless attack merely a diversion?  Meanwhile, elsewhere on Veridan III, a visiting Ambassador Spock directly witnesses the theft of Captain James T. Kirk’s remains from his mountaintop grave. 

As it’s soon revealed, the Romulans have joined The Borg in a sinister alliance to destroy Federation opposition.  Joining a covert Starfleet strike team, Captain Jean-Luc Picard and Dr. Beverly Crusher confirm this joint invasion has already commenced with the assimilation of the remote Starbase 804. 

Worse yet, through use of alien technology, Kirk has now been resurrected and then brainwashed.  His new mission is to kill The Borg’s greatest threat: Picard himself.  As a sleeper agent for the Romulan/Borg alliance, Kirk’s restored body is infested with bionic nanites that helped bring the Starfleet legend back to life.  Simultaneously, these same nanites are now slowly killing him.  Kirk, meanwhile, experiences enigmatically haunting dreams occupied by the ghost of Spock’s father, Sarek. 

Targeting Picard’s temporarily displaced crew (i.e. Worf, Geordi LaForge, & Data), a disguised Kirk intends to extract Picard’s whereabouts by any means necessary.  Though instinctively resistant to his brainwashing, the amnesiac former captain of the U.S.S. Enterprise finds himself on an intercept course with allies turning on one another.  With Riker and later Picard suspecting Ambassador Spock’s current Romulan ties, they wonder why The Borg didn’t assimilate Spock upon his brief capture.  Spock, in turn, questions Picard’s own previous Borg assimilation.  The rogue Kirk intends to take full advantage of such distrust – even as he is reunited with his two best friends. 

With Dr. Julian Bashir’s help, a team of U.S.S. Enterprise luminaries (Picard, Riker, Troi, Crusher, Data, Worf, LaForge, Spock, Admiral McCoy, and Kirk) join a desperate Starfleet strike mission.  Targeting The Borg’s home world, the Federation’s new makeshift Enterprise is caught in the crossfire by the same Romulans who had abducted Kirk.  With their new Enterprise’s weaponry rendered inoperative, Starfleet’s two greatest captains both realize an ultimate sacrifice must be made.  In order to thwart The Borg, will the simmering rivalry between Captains Kirk and Picard again end in tragedy? 

The initial Kirk resurrection storyline subsequently concludes with 1997’s Star Trek: Avenger.  The ‘Shatnerverse’ chronology would resume with two additional trilogies and, finally, a Starfleet Academy prequel in 2007.         

Notes: In addition to hardcover, this title’s alternate formats include paperback and audiobook; however, as of this writing, a digital format isn’t available. 

Purportedly, Shatner had pitched to Paramount Pictures after 1994’s Star Trek: Generations that the second Next Generation film explore Captain Kirk’s resurrection for the franchise’s upcoming 30th Anniversary.  As Paramount opted to instead produce Star Trek: First Contact, one wonders how closely The Return expands upon Shatner’s initial premise. 

REVIEW:

William Shatner (far more likely, his ghostwriters: Garfield Reeves-Stevens & Judith Reeves-Stevens) sharply concocts a slam-bang Trek adventure no doubt meant to be as cinematic as possible.  Including tidbits of well-informed fan service (i.e. V’Ger, Spock’s prior mind-melds, etc.), Star Trek: The Return devises a plot far more aggressively complex than the old school ambitions of Kirk & Picard’s ill-fated Generations team-up. Think of it this way: Star Trek: The Return aspires for a complicated storyline more akin to Star Trek VI: The Undiscovered Country (and Star Trek: First Contact) than Generations.  

Whereas Generations clearly made Kirk its expendable guest star, The Return boldly flips that concept upside down.  Hence, it’s indisputable that Shatner’s take on Star Trek is that the franchise ought to still revolve around James T. Kirk.  Everyone else (from Spock, Picard, etc. on down), therefore, comprises his high-profile supporting cast.  As to a sixty-something Kirk’s inexplicable vigor, one might presume that his murky nanite-infused resurrection has transformed the Trek icon into something just short of ‘The Six Million Dollar Kirk.’       

In addition to lots of Kirk, this storyline supplies a welcome exploration of Spock and, to a lesser degree, the ever-cranky Admiral McCoy, as to their geriatric presence in the Late 24th Century.  As for Jean-Luc Picard, William Riker, and the primary Next Generation roster (plus guest star Dr. Julian Bashir), this novel at least lives up to their established characterizations. One can credit Garfield Reeves-Stevens & Judith Reeves-Stevens for ensuring that Picard’s team isn’t merely a hollow afterthought in a ‘Best of Both Worlds’ (pardon the expression) bridge between generations.  

The significant difference, however, is that the Next Generation characters have been obviously diminished in favor of emphasizing Kirk’s star power.  For instance, various scenes where Picard’s crew merely stands in the background observing Kirk (or Kirk & Picard) (or Kirk, Picard, & Spock) or make minimal contributions become abundant in the novel’s second half.  For that matter, the amount of deference aimed at Kirk is never left lost upon readers (who should already get the point).    

Spelling out further numerous contrivances building towards ‘Kirk vs. The Borg’ would likely present too many plot twist spoilers.  Suffice to say, the Shatner team’s efforts to re-imagine The Next Generation as far more action with dense plotting and far less technobabble can be construed as a worthwhile endeavor. Conversely, The Return’s mostly coherent plot risks being cluttered with non-essential characters and still squeeze in sufficient ‘screen time’ for everybody. This gamble, in terms of pure entertainment value, pays off, but anyone’s reasonable sense of Trek plausibility may be stretched at times too thin.

Ultimately, as long as one doesn’t mind Shatner’s ego assuming the captain’s chair (to the shock of no one), Star Trek: The Return still delivers an intriguing read for Trekkers from any generation.     

ADDITIONAL FEATURES:

None.

BRIAN’S ODD MOON RATING:                   7½ Stars

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LAST DANCE (by Donna Summer – from 2003’s The Journey: The Very Best of Donna Summer)

SUMMARY:                           RUNNING TIME: 3:17 Min.

For 1978’s Thank God, It’s Friday movie soundtrack, Donna Summer first performed this disco tune.  Also co-starring in the film, Summer’s “Last Dance” song becomes a pivotal element of the storyline’s plot.  The song subsequently won ‘Best Original Song’ at the 1978 Academy Awards and 1978 Golden Globes.  In 1979, Summer’s tune won ‘Best Female R&B Vocal Performance’ at the 1979 Grammys. 

Subsequently re-released multiple times on various disco compilations and Donna Summer-related projects, one option to find “Last Dance” is 2003’s The Journey: The Very Best of Donna Summer.  This song is also available digitally.      

REVIEW:

Donna Summer’s effervescent vocal performance remains timeless.  She quickly converts what seems like a seemingly romantic and low-key R&B ballad into a disco gem.  The song’s subsequent accolades prove well-deserved. Donna Summer’s “Last Dance” is highly recommended to boost any road trip or movie hits playlist.     

BRIAN’S ODD MOON RATING:           8½ Stars

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

AVENGERS: TWILIGHT (MARVEL Comics)

Written by Chip Zdarsky.

Art by Daniel Acuña; VC’s Cory Petit (Issues # 1-2); & Joe Caramagna (Issues # 3-6).

Cover Art by Alex Ross.

SUMMARY:

Released by Marvel Comics in 2024, this 208-page trade paperback collects the same year’s Avengers: Twilight # 1-6.  In a dystopian alternate future, it’s been decades since the catastrophic H-Day where Boston was demolished and countless lives were lost in the Hulk’s monstrous rampage. 

Simultaneously, with access to newfound data, Ultron-enhanced super-villains hunted down and eliminated nearly all of Marvel’s heroes (including Spider-Man) by preying upon their secret identities.  The few that survived subsequently slid into the public’s shadows or have seemingly vanished altogether.  For instance, the fates of Iron Man and the Wasp remain unknown, though they are presumed dead. 

The U.S. Government, consequently, has confiscated virtually all of Tony Stark’s advanced technology (i.e. Avengers Mansion) and is using it to pacify or pummel the public into submission through constant surveillance.  Hence, thuggish IronCops now roam city streets to remove society’s undesirables from sight.  With the U.S. President reduced to a glorified puppet, Kyle Jarvis (purportedly Edwin Jarvis’ brother) and his adoptive protégé: Tony Stark’s orphaned adult son, James, essentially now control the country.  Through Stark’s technology, a small group of Avenger lookalikes are now seemingly the world’s high-profile protectors. 

In New York City, an elderly and depowered Steve Rogers is married to a physician, Rosa, and stays in contact with Luke Cage and Matt Murdock – both also worn down by age.  After his failed entry running for political office, Steve’s two friends are disappointed that he isn’t trying harder to stem America’s ugly downward spiral. 

Still, Steve fumes when a Red Skull news retrospective falsely implies that his old enemy was secretly a double agent working against the Nazis.  A friend’s subsequent off-screen death and a brutal encounter with IronCops completely lights Steve’s fuse.  Jeopardizing both his life and his marriage, Steve risks everything to become the original Captain America once more.  Joining a decrepit Luke Cage and his underground band of ninja-like Defenders, Captain America is back in action.  Steve then makes multiple attempts to bring the grim reality to the mass public’s attention. 

Staying in his way is an ultra-arrogant James Stark – the upstate genius son of Iron Man and the Wasp – who has no intention of letting his surrogate uncle (and, in his mind, a now-useless relic) ruin America’s new way of life.  What the younger Stark doesn’t know is his adoptive father’s true identity, and, therefore, an insidious ulterior motive.  Steve’s attempts to recruit his few remaining old friends fall short until he confirms Tony Stark’s bizarre fate. 

Infiltrating the Raft (now an illicit laboratory), Steve regains his classic shield.  A fiery battle with the world’s new Iron Man results in both Thor’s majestic return and Tony’s ‘resurrection’ of sorts.  Hence, the classic Avengers trio reunites one last time, with a new female Hawkeye and Kamala Khan’s Ms. Marvel aboard, as well.  It all comes down to a pivotal White House showdown where Steve’s vilest enemy has the U.S. military, nuclear missiles, and, once more, the world’s most devastating menace at his disposal. 

Even the arrival of one more original Avenger may not be enough to end the Red Skull’s catastrophic final scheme.

Note: This title is also available digitally.   

REVIEW:

Elements of DC’s Kingdom Come and Dynamite’s Project Superpowers come to mind when reading Avengers: Twilight

Specifically, writer Chip Zdarsky delves into a warped future where America’s traditional ideals have been long suppressed in a nightmarish exaggeration of contemporary real-world issues.  Not everything Zdarsky pitches is original, makes sense, or is even adequately explained (i.e. what happened to the Ultra-powered villains?  What happened to Marvel’s mutants? What are the fates of other Avengers?), but he still concocts an intriguing thrill ride.   

Zdarsky gives a grizzled, far older Steve Rogers a similar vibe as Frank Miller does with Bruce Wayne’s middle-aged Batman in The Dark Knight Returns.  The same applies to assigning familiar characters like Ms. Marvel, Luke Cage, and briefly Matt Murdock into valuable supporting roles.  Extra kudos are merited for delivering this reality’s last Thor vs. Hulk slugfest as it’s practically akin to the climatic Superman vs. Captain Marvel encounter in Kingdom Come.  There are some welcome surprises, too, as Zdarsky recognizes how six issues allow only so much.  Hence, his sensible yet fewer plot twists (i.e. so few Avengers) should go a longer way with readers.       

Zdarsky’s storytelling is admirably reinforced by the art team’s excellent visuals – their only inconsistency is James Stark’s inexplicably older facial appearance near the end.  Overall, Avengers: Twilight is likely a must-have for Avengers die-hards, who prefer the team’s Silver Age roster.  For most others, however, it’s most definitely a welcome library find.   

ADDITIONAL CONTENT:

Each full-page Alex Ross cover precedes its story.  The 14-page variant cover gallery consists of:

            FULL-PAGE

  • Issue # 1 (2nd printing) – artist: Daniel Acuña;
  • Issue # 1 (foil) – artist: Acuña;
  • Issue # 1 (IronCops) – artist: Acuña;
  • Issue # 2 (Iron Man) – artist: Acuña;
  • Issue # 3 (Kamala Khan’s Ms. Marvel – artist: Acuña;
  • Issue # 4 (Thor) – artist: Acuña;
  • Issue # 5 (the new Hawkeye) – artist: Acuña;
  • Issue # 1 (the Avengers) – artist: Acuña;

QUARTER-SIZE

  • Issue # 1 variants (5): 1. artist: Felipe Massafera; 2. artist: Frank Miller; 3. artists: Leinil Francis Yu & Sunny Gho; 4. artist: Skottie Young; and 5. artist Simone Bianchi;  
  • Issue # 2 variants (4): 1. artist: Greg Smallwood; 2. artist: Phil Noto; 3. Artists: Sergio Dávila & Arif Prianto; & 4. Superlog; 
  • Issue # 3 variants (3): 1. artist: Noto; 2. artists: Sara Pichelli & Matthew Wilson; & 3. artist: Taurin Clarke;
  • Issue # 4 variants (5): 1. artists: Carmen Carnero & Nolan Woodard; 2. Francesco Mobili; 3. artist: Mark Brooks; 4. artist: Brooks (black-and-white sketch of variant # 3); & 5. artist: Bianchi; 
  • Issue # 5 variants (3): 1. artists Tony Daniel & Jay David Ramos; 2. artist: Benjamin Su; & 3. artist: Cafu; &
  • Issue # 6 variants (3): 1. artist Declan Shalvey; 2. Artists: Yu & Romulo Fajardo Jr.; & 3. artist: Marc Aspinall.

Lastly, Acuña shares four pages of his character designs, including the elderly Steve Rogers; the IronCops; the ninja-like Defenders; the ‘new’ Captain America; Kamala Khan’s Ms. Marvel; the new Hawkeye; Thor; Iron Man; and the Wasp.

BRIAN’S ODD MOON RATING:                         7½ Stars

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

BATMAN INCORPORATED, VOLUME 1: NO MORE TEACHERS (DC Comics)

Written by Ed Brisson.

Art by John Timms; Michelle Bandini; Rex Lokus; & Clayton Cowles. 

Cover Art by John Timms. 

SUMMARY:

Released by DC Comics in 2023, this 213-page hardcover compiles Batman, Incorporated # 1-7 from 2022-2023.  In addition to Ghost-Maker, the team includes Chief Man-of-Bats, and his son, Raven Red; the Batman of Japan; the Bat-Man of China; the Knight (formerly the Squire – sidekick of the original Knight); Dark Ranger; El Gaucho; Nightrunner; Wingman; and Ghost-Maker’s reluctant protégé: the teenage Clownhunter.  They are subsequently joined in Eastern Europe by Gray Wolf – previously recruited by Lex Luthor.    

Note: This team’s machismo quotient is considerable, as its sole female member (The Knight) ruefully notes.

A brief flashback (as the prologue) has a masked Bruce Wayne and ninja-like Ghost-Maker teaming up to thwart a terrorist group in Madrid, Spain, to rescue hostages.  It’s emphasized that the duo has a conflicting viewpoint on the lethal use of force. 

In the present-day, Batman Incorporated now has an underwater secret headquarters.  Batman subsequently shocks his international alliance of Bat-associates by anointing the controversial Ghost-Maker as their new leader.  Ghost-Maker then splits the team into international and local divisions.  Essentially, the international squad is under his direct command while the others are assigned smaller-scale cases.

The international team probe multiple locales overseas to seek out Lex Luthor’s renegade Batmen that he has since abandoned.  More so, varying degrees of damage control becomes necessary.  Meanwhile, the Knight alerts Ghost-Maker to a murder in Dublin, Ireland.  It appears to be the latest grisly entry in a series of high-profile homicides of expert criminals linked to Ghost-Maker and Batman’s shadowy pasts. 

Per a mysterious adversary called ‘Phantom-One,’ Ghost-Maker’s own death will become the climax of a personal grudge.  Worse yet, the vengeful Phantom-One is hardly alone, as Batman Incorporated must face its own treacherous team of imitators.   

In Gotham City, the insidious Professor Pyg is abducting various Bat-villains thinking one of his rivals ripped him off or knows who did.  He intends to brutally kill them to get back his most prized possession.  What Pyg doesn’t realize is that two teenagers looking for a fast and easy heist have unknowingly crossed him.  It becomes a team game across Gotham City to win this game, as Clownhunter’s instincts play a pivotal role.  A grim last scene sets up the next storyline, as a longtime Batman Incorporated member is ambushed and evidently assassinated. 

Apart from the Dark Knight’s brief presence (in Issue # 1 only), subsequent Gotham City cameos include: Nightwing, Batwoman, Tim Drake’s Robin, Barbara Gordon’s Batgirl, the Signal, and Stephanie Brown’s Spoiler.

Notes: This title is also available digitally.  DC Comics will presumably release a paperback edition in the near future.

REVIEW:

Including its high-caliber artwork, this latest incarnation of Batman, Incorporated mostly delivers the necessary goods.  Still, what readers are getting is Ghost-Maker’s glorified answer to the Jason Todd/Red Hood saga.  Writer Ed Brisson’s dense storytelling, in that sense, is neither always cohesive nor particularly original. 

By conveniently linking Batman and Ghost-Maker’s backstories so closely together (as rival students to all these criminal underworld masterminds), the premise is far-fetched.  Brisson at least concocts enough twists to make riding this storyline to its finish line a worthwhile experience.   

With DC Comics retroactively inserting additional Bat-mentors (i.e. the recent Batman: The Knight series), most readers won’t be able to identify so many new characters.  This muddling of Bruce Wayne’s past is further exacerbated by his otherwise non-presence – as if Phantom-One’s homicide victims were solely created as fodder for this one storyline. 

Had the murder spree exclusively involved Ghost-Maker’s old associates, Brisson’s premise would make more sense.  More so, No More Teachers’ ante could have been logically upped as a personal threat to Ghost-Maker – without questioning the future Dark Knight’s own dubious choice of international crooks as mentors. 

One can also surmise that there is a glut of Bat-associates working in Gotham City, i.e. Batman’s growing army ought to be practically bumping into each other. Upon this volume’s plentiful cast being further expanded by Lex Luthor’s rejected Bat-commandos, only the more astute readers can keep track of them all (at least 16-17 Bat-characters) – no less, by name. 

In spite of various plot contrivances, Batman Incorporated, Volume 1: No More Teachers makes a great read for Bat-fans, ages 15 and up. Even if this book isn’t necessarily a must-have, its page count alone for a welcome library option.

ADDITIONAL CONTENT:

Each of artist John Timms’ covers precedes its story in a full-page format.  However, reprints of the credited variant covers for each issue are not included.

BRIAN’S ODD MOON RATING:                           7½ Stars

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THE ARMS OF ORION (by Prince & Sheena Easton: 1989 Batman movie soundtrack)

SUMMARY:                               RUNNING TIME: 3:52 Min.

Off Prince’s 1989 Batman movie soundtrack, Track # 3: “The Arms of Orion” is his duet with Sheena Easton.  Serving as the movie’s love theme, this romantic ballad utilizes astronomy as an analogy in describing Bruce Wayne’s (Michael Keaton) and Vicki Vale’s (Kim Basinger) feelings for one another.   

REVIEW:

One could easily dismiss this synthesizer-heavy ballad as excessively sentimental … or, in all fairness, ridiculously sappy.  Still, “The Arms of Orion” is the classiest tune on Prince’s exclusive Batman soundtrack.  Much of this welcome asset is attributable to Sheena Easton’s angelic-like vocal presence.  Prince, to his credit, expands his artistic game to match Easton’s spot-on romantic pop instincts. 

Even if “The Arms of Orion” isn’t necessarily a solo must-have, its original sound merits consideration for either a movie hits playlist or a comprehensive Batman soundtrack playlist.           

BRIAN’S ODD MOON RATING:               6½ Stars

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

BATMAN/SUPERMAN – WORLD’S FINEST, VOLUME 2: STRANGE VISITOR (DC Comics)

Written by Mark Waid.

Art by Dan Mora; Travis Moore; Tamra Bonvillain; Steve Wands; & Aditya Bidikar.

Collection Cover Art by Dan Mora.

SUMMARY:

Released by DC Comics in 2023, this 176-page hardcover compiles Batman/Superman – World’s Finest # 6-11 from 2022-2023.  As previously established, writer Mark Waid’s Silver Age-inspired storyline occurs in the unspecified yet not-so-distant past.  Hence, Dick Grayson’s Robin and Supergirl are still teenagers yet comfortably experienced as Batman and Superman’s protégés      

In a cliffhanger from Issue # 5, Supergirl inadvertently loses Robin during their time-traveling mission, with seemingly no way to locate him in the timestream.  In 1892 Corto Maltese, Robin has since joined a traveling circus where he is investigating multiple bloody murders being blamed on the show’s caged lion.  Having discovered Dick’s landmark clues, Batman & Superman arrive undercover at the circus to assist the Boy Wonder’s sleuthing and bring him home.

On a doomed parallel Earth, married scientists Gayle and Asher Sikela send their teenage son, David, in a rocket ship towards another dimension to ensure his safety.  Arriving on DC’s primary Earth, a bewildered David discovers he now has heat-generating powers he neither understands nor can control.  As uniting David with his still-living parents in this reality isn’t an option, Robin enlists the Silver Age Teen Titans to befriend and tutor David.  Donna Troy’s Wonder Girl soon confides in Robin that David’s unstable personality is concerning.  Nonetheless, the Titans dub David as ‘Boy Thunder’ – Superman’s reluctant new protégé. 

Having consoled David about his guilt-ridden ‘survivor’s remorse,’ Supergirl goes on a failed date with Robin.  With Batman backing up Superman as David’s mentor, both heroes witness David faltering under crime-fighting pressure and struggling to uphold their non-lethal code.  After a series of Key-related emergencies, David’s conscience prompts him to at last reveal to Superman the tragic reason for his ongoing anguish involving his parents.    

Meanwhile, the Key and the Joker abduct and subsequently torture David to extract vital secrets about Superman and Batman.  With the Teen Titans’ help, Batman & Superman attempt to rescue David.  Boy Thunder’s vengeful grudge against the Joker is now established. Given David’s ongoing psychological trauma, Superman & Batman agree de-powering the boy (at least, for now) makes the most practical sense – especially, if he were to suffer a psychotic break.  

A showdown with the elusive Key at the Fortress of Solitude, however, leaves David’s fate uncertain.  Still, the last page is a pivotal hint.  David Sikela’s storyline resumes in Batman/Superman – World’s Finest, Volume 4: Return to Kingdom Come.

Notes: This title is also available in trade paperback and digital formats.

REVIEW:

Though David Sikela’s destiny isn’t a shocker, writer Mark Waid concocts a terrific World’s Finest adventure.  Frankly, the best storytelling comes in the first half with Robin’s rescue and appearances from Supergirl and The Teen Titans.  Otherwise, Waid’s ‘Boy Thunder’ storyline wouldn’t be nearly as appealing, if not for the art team’s high-caliber artwork.  For instance, a bleeding David’s torture, for instance, conveys nasty inferences of child abuse. 

Apart from that icky sub-plot, Waid is very much on his creative game.  Volume 2: Strange Visitor isn’t necessarily a must-have, but it is a welcome option to consider at the library.        

ADDITIONAL CONTENT:

Dan Mora’s full-page cover precedes each story. In terms of intriguing padding, Volume 2: Strange Visitor delivers plenty in that regard. The flip side is that most of these covers are non-applicable to the actual plot. In a full-page format, its 24-page variant gallery consists of:

  • Issue # 6 (Supergirl & Barbara Gordon’s Batgirl) – artists: Terry Dodson & Rachel Dodson;
  • Issue # 6 (Superman & Batman) – artists: Trevor Hairsine & Arif Prianto;
  • Issue # 6 (Superman & Batman vs. Lex Luthor) – artists: Nick Bradshaw & Nathan Fairbairn;
  • Issue # 6 (Wayne Manor pool time, including Krypto) – artists: Rafa Sandoval & Matt Herms;
  • Issue # 7 (Silver Age Teen Titans) – artist: Dan Mora; 
  • Issue # 7 (Batman & Superman) – artist: Joshua Middleton;
  • Issue # 7 (Batman & Superman) – artist: Pete Woods;
  • Issue # 7 (homage: Bat-Family & Super-Family protégés) – artists: Todd Nauck & Hi-Fi;
  • Issue # 8 (Superman & Batman) – artist: Taurin Clarke;
  • Issue # 8 (Superman, Batman, & their arch-enemies) – artists: Clayton Henry & Marcelo Maiolo;
  • Issue # 8 (Joker & Punchline vs. Lex Luthor & Mercy Graves) – artists: Travis Mercer & Jordie Bellaire;
  • Issue # 9 (Superman & Batman help cave-in victims) – artist: Paolo Rivera;
  • Issue # 9 (underwater demon – possibly a demonic Aquaman) – artist: Steve Beach;
  • Issue # 9 (Batman & Superman) – artist Afua Richardson;
  • Issue # 9: (Superman & Batman – ‘90’s rewind) – artists: Mario “ Fox” Foccillo & Prasad Rao (Pressy);
  • Issue # 10 (Superman: The Movie & Batman ’89 homage) – artists: Dan Schoening & Luis Delgado;
  • Issue # 10  (eight mini-portraits) – artist: Brandon Peterson;
  • Issue # 10 (Joker & Doomsday) – artist: A.L. Kaplan;
  • Issue # 10 (Batcave holiday party with Paul McCartney) – artist: Dan Mora;
  • Issue # 11 (Batman-Superman-Mr. Mxyzptlk playing card) – artist: Juni Ba;
  • Issue # 11 (Huntress & Power Girl two-page spread) – artist: Jonboy Meyers;
  • Issue # 11 (Wonder Woman, Batman, & Superman) – artists: Claire Roe & Jordie Bellaire; and
  • Issue # 11 (‘Jack White III’) – artists: Rob James, Emery Swirbalus & photographer David James Swanson.

BRIAN’S ODD MOON RATING:                           7 Stars

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

INFINITE CRISIS (DC Comics)

Written by Geoff Johns.

Art by Phil Jimenez; George Pérez; Jerry Ordway; Ivan Reis; Andy Lanning; Oclair Albert; Marlo Alquiza; Marc Campos; Wayne Faucher; Drew Geraci; Jimmy Palmiotti; Sean Parsons; Norm Rapmund; Lary Stucker; Art Thibert; Jeromy Cox; Guy Major; Rod Reis; Tanya Horie; Richard Horie; Nick J. Napolitano; & Rob Leigh.

Collection Cover Art by (Uncredited – probably Phil Jimenez).

SUMMARY:

This 264-page hardcover is a 2023 re-release of DC Comics’ collected seven-issue Infinite Crisis series from 2005-2006.  Intermingled throughout Infinite Crisis are scenes looping from numerous DC tie-ins: The Rann-Thanagar War; The OMAC Project; Day of Vengeance; and Villains United, among them. 

At the end of 1985’s Crisis on Infinite Earths, Earth-Two’s elderly Superman and his wife, Lois Lane; Earth-Three’s Alexander “Alex” Luthor; and Earth-Prime’s Superboy had willingly departed for a heaven-like limbo.  Subsequently, they observed DC’s newly consolidated Earth for years, as dark events unfolded: i.e. the murders of Jason Todd, Superman (by Doomsday), Ted Kord’s Blue Beetle, and, most recently, Maxwell Lord.  More so, Batman’s OMAC technology has been seized by Lord and an unknown enemy for worldwide terroristic purposes. 

Feeling they have no other option, the four escape limbo to enforce supposedly positive changes.  For Earth-Two’s Superman, it’s about somehow restoring a non-existent Earth-Two to save his wife from dying of old age.  He is willing to sacrifice the current Earth to do so.  Unbeknownst to this Superman and Lois is that Alex and the teenage Superboy-Prime have already been for months pushing forward their own ulterior motives. Among their crimes is the destruction of the JLA Watchtower and, with it, the abduction of the Martian Manhunter. 

Hence, Alex’s impersonation of this Earth’s Lex Luthor has since egged the homicidal Secret Society of Super-Villains into trying to seize the world by force.  With the leadership of Batman, Superman, and Wonder Woman currently at idealistic odds, DC’s heroes have never been more vulnerable.

Meanwhile, a recently resurrected Donna Troy leads a team into deep space to combat an interstellar crisis linked to the Rann-Thanagar War.  Upon a corrupted Spectre’s killing of the wizard, Shazam, the selection of his new human host has begun.  Booster Gold tracks down Ted Kord’s lost Blue Beetle scarab to find its new possessor: teenager Jaime Reyes. At the North Pole, Lex Luthor’s effort to confront his ongoing impersonator finds that he can’t match the enemy’s multi-universal technology.  Superboy-Prime’s jealousy towards a passive Conner Kent finally erupts into a brutal showdown against an army of young DC heroes.

Unaware of Power Girl’s abduction (along with other beings once associated with other parallel Earths), Earth-Two’s Superman becomes desperate to save a dying Lois.  Once Alex’s cosmic scheme is unleashed, DC’s super-heroes still on Earth must unite to face a simultaneously threefold challenge: an unhinged Superboy-Prime; the deadly OMAC robots; and a rampaging Secret Society.  Heroes will fall and lives will be irrevocably altered (at least, for now), as DC’s possibly sole Earth faces its worst-ever crisis.      

Note: This title has been re-released multiple times since 2006.  The currently available formats are hardcover and trade paperback.

REVIEW:

Let me first acknowledge that I previously submitted a harsh critical review of Infinite Crisis on a different consumer website years before. By now re-reading Infinite Crisis, I sought to confirm whether or not my impression of utter disappointment still holds true.  My assessment of Phil Jimenez’s penciling, in that regard, stands.  Even if his handiwork isn’t as endearing as George Pérez’s one-man show from Crisis on Infinite Earths, this book’s best asset remains its high-caliber visuals. 

As to writer Geoff Johns’ scripting, at times his effort proves better in various scenes than I remembered.  Yet, DC’s tone-deaf enthusiasm to exploit the 1985 Crisis’ 20th Anniversary remains bewildering.  Clearly, there was no intention of reaching the same all-ages audience as Crisis on Infinite Earths.  What this project’s creative team (Johns & Dan DiDio, among them) instead concocted is a bloated, bloody, and ultimately hollow sequel unworthy of its predecessor. 

Think of Infinite Crisis this way: its vastly complicated story and sub-plots collapse under too little substance and a reliance upon shock value to hide gaping plot holes.   

The misconceived Infinite Crisis starts with its primary multi-universal refugees.  Aside from Earth-Two’s Lois Lane, how Johns warps Alexander Luthor, Superboy-Prime, and, to a degree, an implausibly misguided Earth-Two’s Superman into villains is a major disservice to their valiant prior incarnations in Crisis on Infinite Earths.     

Note: Reading DiDio’s introduction and the post-game round-robin interview spells out that DC’s creative team had few, if any, qualms over Infinite Crisis’ dubious content.

Make no mistake: various scenes (i.e. Power Girl’s family reunion with Earth-Two’s Superman and Lois Lane; Earth-Two Superman’s failed recruitment of Batman; the anti-OMAC counterstrike mission; and Earth-Two Superman’s last scene with Power Girl) are still generally excellent.  Unfortunately, they are overwhelmed by bloodthirsty fight sequences more akin to senseless ‘shooter’ video games than DC’s lost reputation for classy storytelling.  Infinite Crisis’ gratuitous violence, suffice to say, is appalling – no matter the generation reading it. 

Battles, such as the Freedom Fighters massacre; Superboy-Prime’s panic against the Teen Titans and their reserves; Black Adam’s two-finger dispatching of Psycho-Pirate; and the Earth-Two Superman’s senseless demise come off as grisly excuses for supposedly ‘ain’t it cool’ moments.  Considering Marvel and DC’s icky zombie projects, such unrepentant gore isn’t a shocker today, as opposed to two decades ago. 

Given the release of 2004’s questionable Identity Crisis before Infinite Crisis the following year, DC’s cynical money-making strategy becomes exposed. Its stoking of tasteless controversy for the sake of controversy is no different than the same desperate junk that the WWF/WWE and the now long-defunct WCW deployed in that era’s pro wrestling.  Cheap publicity, therefore, becomes priceless – it all just depends on the bait being used. 

Despite teasing nostalgic nods to the original Crisis (i.e. welcome cameos from Barry Allen and Earth-Two’s Wonder Woman; the current Flash’s disappearance; the death of one of Superman’s protégés), Johns falls far short on co-mingling coherent plot complications with plausibility. 

An initial red flag is the sanctimonious dialogue exchange between Wonder Woman, Batman, and Superman on the decimated JLA Watchtower.  Pitting them against each other’s ideals for dramatic purposes, Johns conveniently ignores why they made recently controversial decisions.  Instead, their verbal face-off is a three-way blame game over being smugly perfect heroes.   

Another example: Gardner Fox’s dubious Silver Age depictions of science (i.e. Batman punching anti-matter) are practically real-world physics … as compared to the ludicrous sight of Alexander Luthor’s climatic ‘perfect’ Earth-shopping.  Or devolving Superboy-Prime and Alexander Luthor into whiny brats in this epic’s second half to sell them as being corrupted beyond hope of redemption.  This list could stretch awhile – I prefer not to completely rehash my prior critique.   

No matter how stellar Johns’ DC gems (i.e. Green Lantern: Rebirth; JLA: Crisis of Conscience; Wally West’s Flash, etc.) previously were, this time he foolishly squanders the art team’s excellent work.  All Johns conjures up is a super-hero dumpster fire promising a ‘can’t miss’ epic again resetting DC’s status quo. Unlike the practical reasons necessitating the first Crisis, its sequel aims for little more than blowing stuff (and various characters) up.  

In conclusion, my prior assessment hasn’t shifted: Infinite Crisis, as designed, too often crosses the ‘good taste’ line into the territory of being both unnecessary and repugnant. Its classy epilogue scene with Diana Prince, Clark Kent, and Bruce Wayne setting up the weekly 52 series is one of this would-be epic’s few saving graces. Unfortunately, this smart bridging scene proves far too little too late. 

Note: As fair warning, Infinite Crisis doesn’t include a much-warranted parental advisory label.  It’s unsurprising, given that DC expressed the same stance towards its controversial 2004 Identity Crisis

ADDITIONAL CONTENT:

Preceding each issue are full-page renditions of the variant followed by the primary cover.  The cover art teams are George Pérez & Tom Smith (variants), and Jim Lee, Sandra Hope, & Alex Sinclair.  DC’s then-Senior VP/Executive Editor, Dan DiDio’s two-page introduction penned in August 2006 for this compilation’s first release is included. 

A sketch art gallery includes: the first issue’s Jim Lee cover and a quartet of panels (Issue # 3 – Lee; Issue # 4 – Lee; Issue # 5 – Pérez; and Issue # 6 – Lee).  Entitled ‘Infinite Discussions,’  DC’s Collected Editions Editor, Anton Kawasaki, hosts a roundtable interview with Geoff Johns (via speakerphone); Phil Jimenez; Group Editor Eddie Berganza; and Assistant Editor Jeanine Schaefer to review the project.  Including artwork (both in color and sketches), this insightful behind-the-scenes group discussion goes on for twelve pages.    

BRIAN’S ODD MOON RATING:                        3 Stars

Categories
Country, Folk, & Bluegrass Digital Songs & Albums Music & Radio Shows Rock & Symphonic/Metal

LIFE IS A HIGHWAY (by Tom Cochrane: Mad, Mad World)

SUMMARY:                                RUNNING TIME: 4:26 Min.

Canadian musician Tom Cochrane’s “Life Is a Highway” track comes off his 1991 album, Mad, Mad World.  In addition to inspiring a music video, this country-rock tune would peak at # 6 on the U.S. charts and # 3 in the United Kingdom. 

Its subsequent covers include Chris LeDoux’s 1998 version for his One Road Man album and by Rascall Flatts for the 2006 Cars animated film soundtrack.       

REVIEW:

Combined with a catchy, upbeat melody, Tom Cochrane’s rollicking vocals delivers a welcome treat.  This original version of “Life Is a Highway” is definitely a must-have for any road trip playlist.   

BRIAN’S ODD MOON RATING:                           8 Stars

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Categories
Digital Songs & Albums Individual Tracks (Digital Albums & Singles) Music & Radio Shows Rock & Symphonic/Metal Soundtracks (Digital)

VOICE OF AMERICA’S SONS (by John Cafferty & The Beaver Brown Band: Tough All Over)

SUMMARY:                           RUNNING TIME: 4:35 Min.

Originally off John Cafferty and The Beaver Brown Band’s 1985 debut album, Tough All Over, this upbeat rock tune ultimately peaked at # 62 on the U.S. charts.  Its release as a single, however, stemmed from the tune’s prominent appearance in the 1986 Sylvester Stallone action film, Cobra.  Hence, “Voice of America’s Sons” appears as the first track for both albums.

Today, the song still occasionally resurfaces through radio airplay.        

Note: “Voice of America’s Sons” is also available digitally.

REVIEW:

No matter how unremarkable it may sound, the rollicking “Voice of America’s Sons” is still undeniably catchy.  Hence, saving it a spot somewhere on your road trip playlist makes good sense.

BRIAN’S ODD MOON RATING:                     6 Stars

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Categories
DVD DVD/Blu-Ray Extra Movies Movies & Television (Videos)

GREASE: ROCKIN’ RYDELL EDITION

SUMMARY:                  RUNNING TIME: 1 Hr., 50 Min.

Paramount Pictures’ 2006 DVD widescreen release of 1978’s Grease is single-disc.  Randall Kleiser directed the film, which is adapted from the long-running Broadway stage musical.  It isn’t specified as to the film’s exact locale, but a subsequent drag race through a familiar river basin implies a Los Angeles, California suburb. 

Set in 1958, over a blissful California summer, shy Australian high schooler Sandy Olsson (Newton-John) falls in love at the beach with a local gang member, Danny Zuko (Travolta).  Not expecting to see her again, Danny begins his senior year at Rydell High School, with his fellow car-crazy and girl-crazy Thunderbirds (Conaway; Pearl; Tucci; & Ward)

Unbeknownst to Danny, Sandy has since moved to town and soon affiliates herself with Rydell High’s Pink Ladies (Channing; Conn; Manoff; & Donnelly) faction.  Weary of Sandy’s dreamy romantic claims and Danny’s own incessant (and egged-on) bragging, an abrasive Rizzo (Channing) deliberately reunites the couple – with awkward results.

The school year progresses, as romances between Sandy & Danny, as well as Rizzo and Kinickie (Conaway), undergo bouts of typical teenage angst. Danny becomes a school athlete attempting win Sandy back from the school’s dim-witted star quarterback, Tom Chisum (Lamas).  Other shenanigans involve the Thunderbirds’ auto shop class effort to soup up Kinickie’s (Conway) beat-up convertible; the school dance contest’s appearance on a live edition of TV’s National Bandstand; Rizzo’s possible pregnancy; and Frenchie’s (Conn) failed attempt at beauty school. 

Circumstances unexpectedly prompt Danny to replace Kinickie in a dangerous drag race in his friend’s refurbished ‘Greased Lightning’ convertible.  Awaiting Kinickie and Danny on ‘Thunder Road’ (the Los Angeles River Basin), with all their friends in attendance, is the despised punk, Leo (Stewart) – with his own tricked-out convertible.  Watching the climatic race, Sandy has an unexpected epiphany. 

On the last day of school, the new graduates energetically conclude their intertwined stories at their Seniors’ Day carnival.     

                                  Primary Cast:

Danny Zuko (The Thunderbirds): John Travolta

Sandy Olsson (Pink Ladies associate): Olivia Newton-John

Rizzo (The Pink Ladies): Stockard Channing

Kinickie (The Thunderbirds): Jeff Conaway

Frenchie (The Pink Ladies): Didi Conn

Marty (The Pink Ladies): Dinah Manoff

Doody (The Thunderbirds): Barry Pearl

Sonny (The Thunderbirds): Michael Tucci

Jan (The Pink Ladies): Jamie Donnelly

Putzie (The Thunderbirds): Kelly Ward

Principal McGee: Eve Arden

Coach Calhoun: Sid Caesar

Blanche: Dody Goodman

Patty Simcox: Susan Buckner

Mrs. Murdock: Alice Ghostley

Tom Chisum: Lorenzo Lamas

Leo: Dennis C. Stewart

Vi: Joan Blondell

‘Cha Cha:’ Annette Charles

Eugene: Eddie Deezen

Nurse Wilkins: Fannie Flagg

Mr. Lynch: Darrell Zwerling

Waitress: Ellen Travolta

Vince Fontaine: Edd “Kookie“ Byrnes

Johnny Casino & The Gamblers: Sha-Na-Na

Teen Angel: Frankie Avalon     

REVIEW:

Aside from its ultra-flimsy plot (i.e. an implausible timeline and no parents on screen), the cinematic Grease wins on rollicking pure charm.  This asset can be effectively divided amongst its musical numbers, a game cast, and a campy escapist fantasy take on high school life in the Late 1950’s.  The lesson to take from Rydell High is that this romantic musical-comedy doesn’t have to be even remotely believable – just be as entertaining as possible.    

Led by John Travolta and undeniably Stockard Channing, the cast consistently delivers the necessary goods, no matter if a few scenes don’t age well.  The cast is assisted mightily by Patricia Birch’s choreography and a batch of timeless showtunes.

Overall, Grease lives up to its reputation as one of the best feel-good musical comedies of its era.  Including this DVD’s surplus of extra goodies, the Grease: Rockin’ Rydell Edition is a welcome treat.        

BONUS FEATURES:

The impressive roster of additional materials is easily accessible via the DVD’s main screen.  The bonus features consist of (not necessarily in this particular order):

  • director Randall Kleiser’s optional brief introduction;
  • optional commentary by Kleiser & choreographer Patricia Birch;
  • an interactive ‘Rydell Sing-Along’ where fans can join on the film’s featured tunes;
  • 11 deleted-extended-and-or-alternate scenes;
  • DVD Launch party: footage from 2003’s 25th Anniversary DVD launch party;
  • John Travolta and Olivia Newton-John’s joint interview and Grease memories;
  • “The Moves Behind the Music” featurette;
  •  photo albums: ‘Rydell High Year Book,’ ‘Production,’ ‘Premiere,’ and ‘Grease Day;’
  • theatrical trailer; 
  • John Travolta and Allen Carr “Grease Day” interview;
  • Olivia Newton-John &  Robert Stiegman “Grease Day” interview;
  • “Thunder Roadsters” featurette.

The DVD’s widescreen format is ‘enhanced’ for 16:9 televisions.  The film’s sound is in Dolby Digital: English 5.1 Surround; English 2.0 Surround; and French 2.0 Surround.  English subtitles are available.  

Also included are Paramount DVD preview ads for Failure To Launch; Ferris Bueller’s Day Off; and Titanic.

PACKAGING:

The disc is sturdily protected.  The DVD case’s advertising is verified as accurate.  Given the number of special features, the main screen portal is easy to navigate.     

BRIAN’S ODD MOON RATING:                        8 Stars