Category: 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

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’ 20^th 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

Written by (See Below).

Art by (See Below).

Collection Cover Art by Jim Lee & Tamra Bonvillain.

SUMMARY:

In 2024, DC Comics released this 124-page hardcover consisting of twelve short stories, plus assorted bonus materials.  The 2018-2021 reprints were compiled from: DC Pride # 1; New Year’s Evil # 1; Mysteries of Love in Space # 1; and Young Monsters in Love # 1. 

The tales are:    

• Batwoman / Alice: The Wrong Side of The Glass (10 pages).  Writer: James Tynion IV & artwork by Trung Le Nguyen & Aditya Bidikar.  Kate Kane’s Batwoman wistfully recalls a childhood ‘looking glass’ game she had played with her twin sister, Beth.  After Beth’s supposed death, this game’s mirror-like influence would take an emotional toll in shaping Kate’s womanhood.  In the present-day, Batwoman and Beth (now called Alice) are compelled to play a different game against the Mad Hatter. 

• Extraño, Constantine, & Midnighter: By The Victors (8 pages).  Writer: Steve Orlando & artwork by Stephen Byrne & Josh Reed.  In a London pub one night, John Constantine attempts to hook up with a married sorcerer, Extraño – Gregorio De La Vega.  De La Vega subsequently recounts a date night team-up with the Midnighter against a neo-Nazi vampire, Count Berlin.  Afterwards, Constantine isn’t by any means romantically deterred.     

• Renee Montoya’s Question: Try The Girl (4 pages).  Writer: Vita Ayala & artwork by Skylar Partridge, José Villarubia;, & Ariana Maher.  The Question tries to avert a bleak ending for Gotham defense attorney, Valeria Johnson, who has evidently been abducted by thugs with an unknown motive.  The sparkling end teases a possible new relationship for Renee Montoya.

• Poison Ivy & Harley Quinn: Another Word for a Truck to Move Your Furniture (8 pages).  Writer Mariko Tamaki & artwork by Amy Reeder, Marissa Louise, & Ariana Maher.  In battle against a monster plant threatening Gotham City, Poison Ivy prods Harley Quinn into taking their romance more seriously.

• Alan Scott’s Green Lantern & Obsidian: He’s The Light of My Life! (8 pages).  Writer: Sam Johns & artwork by Klaus Janson, Dave McCaig, & Tom Napolitano.  Meeting his son Todd’s boyfriend, Alan Scott (also now publicly out) reveals a poignant glimpse of his first love prior to his destiny as Green Lantern.    

• Future State Flash: Clothes Makeup Gift (8 pages).  Writer: Danny Lore & artwork by Lisa Sterle; Enrica Angiolini; & Becca Carey.  Facing a new Mirror Master, Jess Chambers’ Flash finds she might run short on time preparing for her imminent date night with Andy Curry – Aquaman & Mera’s daughter.

• Pied Piper: Be Gay, Do Crime (4 pages). Writer: Sina Grace & artwork by Ro Stein, Ted Brandt, & Aditya Bidikar.  In Keystone City, the Pied Piper thwarts Drummer Boy’s mind-controlled heist, only to find they have a common adversary.

• Dreamer: Date Night (8 pages).  Writer: Nicole Maines & artwork by Rachael Stott, Enrica Eren Angiolini, & Steve Wands.  Before her movie date with Brainiac Five, Nia Nal (Dreamer) honors a prior commitment taking down a League of Shadows cell group in National City.  Note: Dreamer’s transgenderism isn’t referenced.

• Monsieur Mallah & The Brain: Visibility (8 pages).  Writer: Steve Orlando & artwork by Nic Klein & Tom Napolitano.  To end a hostage crisis, Metropolis SCU Captain Maggie Sawyer tries to bargain with Monsieur Mallah and an uncooperative Brain.  The Brotherhood of Evil duo’s intertwined origin is also presented in flashback.

• Crush: Crushed (8 pages).  Writer: Andrea Shea & artwork by Amancay Nahuelpan, & Trish Mulvihill.  In Portland,  a furious 15-year-old Crush seeks vengeance after her date ends in a sinister double-cross.

• Renee Montoya & Harley Quinn: Little Christmas Tree (8 pages).  Writer: Vita Ayala & artwork by Elena Casagrande, Jordie Bellaire, & Dave Sharpe.  Prior to the Christmas weekend, Detective Montoya intervenes in saving Harley Quinn from a bad arrest by the Gotham City Police.  Sensing Renee’s loneliness, an undeterred Harley won’t take ‘no’ for an answer in reciprocating the kindness.    

• Jackson Hyde’s Aqualad & Justice League Queer: Love Life (8 pages).  Writer: Andrew Wheeler & artwork by Luciano Vecchio, Rex Lokus, & Becca Carey.  Jackson & Sylvan “Syl” Ortega’s first date at a Pride parade is marred by Eclipso’s menacing presence.

Notes: This title is also available digitally.  Though he appears on the collection’s cover, Apollo appears only in a brief cameo in the last story.

REVIEW:

Starting with the varying artistic styles, the visuals are generally a welcome asset.  None of these twelve stories skimp on their caliber of artwork, but, as one could expect, it’s a matter of visual preference.  As for the scripting, however, it’s obvious that readers are getting glorified back-up tales.  For efficiency’s sake, it’s best to rate these stories individually.

• “The Wrong Side of The Glass.”        Rating: 8 Stars.

Quick Take: James Tynion IV’s insightful deep dive into Kate Kane’s psyche blends well with the low-key visuals.     

• “By The Victors.”      Rating: 3½ Stars.

Quick Take: Love and Justice’s best artwork is frankly squandered by Constantine’s blatant effort flirting with a married sorcerer.  Ambiguity stems from his actual objective: is he seeking an undefined team-up against an evil force or just merely a tawdry fling?  As it’s evidently the latter, good taste precludes from revealing the last page’s unnecessary inference.    

• “Try The Girl.”         Rating: 8½ Stars.

Quick Take: Given only so much can transpire in four pages, Valeria Johnson’s introduction suggests definite potential as Renee Montoya’s potential new love interest.  Vita Ayala’s well-played writing and the art team’s terrific visuals make this entry likely Love and Justice’s best read. 

• “Another Word for a Truck to Move Your Furniture.”     Rating: 6 Stars.

Quick Take: Considering the amount of exposure that DC already allots Poison Ivy & Harley Quinn’s romance, this tale doesn’t contribute anything new.  Aside from its double-entendre title, it’s just an okay read.  Still, the story’s quirky entertainment value should please the duo’s fanbase. 

• “He’s The Light of My Life!”     Rating: 6 Stars.

Quick Take: It’s an intriguing read, as Alan Scott reconnects with his estranged son over a newly acknowledged common bond.  The story’s visuals are reasonably good.  What might give fans pause, however, is DC’s retroactive tinkering with Alan Scott’s established backstory approximately eighty years after the character’s Golden Age debut.

• “Clothes Makeup Gift.”        Rating:  6½ Stars.

Quick Take: Supported by nice artwork, the plotting should appeal to the Future State Flash’s fans.

• “Be Gay, Do Crime.”            Rating: 4 Stars.

Quick Take: The story is quickly forgettable, but the artwork is still pretty good.  As for the awful title, it’s the less said the better.

• “Date Night.”                        Rating: 8 Stars.

Quick Take: Scripted by the actress portraying Dreamer on the Supergirl TV series, readers get an entertaining action romp with great artwork.

• “Visibility.”                           Rating: 7 Stars.

Quick Take: Along with appropriate visuals, the script supplies this compilation’s most poignant and original storytelling.  Conversely, DC’s Vertigo-era update of these Doom Patrol antagonists (making them an unconventional couple) might not resonate with readers remembering their Silver Age villainy.

• “Crushed.”                           Rating: 5½ Stars.

Quick Take: It’s an okay read, as the terrific artwork can’t boost an average revenge tale. 

• “Little Christmas Tree.”        Rating: 7 Stars.

Quick Take: The story’s charm and appealing artwork overcome Harley’s unexplained resourcefulness – which practically implies that she has magical powers.  Still, writer Vita Ayala concocts the second of two solid Renee Montoya tales for Love and Justice. 

• “Love Life.”                      Rating: 6½ Stars.

Quick Take: Apart from the implausibility of Aqualad surviving a solo showdown with Eclipso, it’s a fine read.  More so, its introduction of Justice League Queer offers ideal closure for this compilation. 

Including its bonus materials, DC Pride: Love and Justice, overall, isn’t necessarily a must-have for DC aficionados.  This book’s contents, however, presents an intriguing library option.

ADDITIONAL CONTENT:

Starting this collection is writer Marc Andreyko’s full-page foreword from 2021.  In the back, there is a sixteen full-page DC Pride variant cover gallery.  Specifically, the cover artists are:

• Apollo & Midnighter (artist: David Talaski);
• Far Sector Green Lantern Sojourner Mullein (artist: Brittney Williams);
• John Constantine (artist: Kevin Wada);
• Secret Six’s Scandal Savage, Jeannette, & Knockout (artist: Kris Anka);
• Kamandi -? (artist: Nick Robles);
• Harley Quinn & Poison Ivy (artist: Sophie Campbell);
• Jackson Hyde’s Aqualad, Crush, Syl, & Traci 13 (artists: Travis Moore & Alejandro Sánchez);
• Batwoman, Renee Montoya, Batman, Ghost-Maker, & Bluebird (artist: Jen Bartel from Batman # 109);
• Superman (artist: David Talanski from Superman # 32);
• Wonder Woman (artist: Paulina Ganucheau from Wonder Woman # 773);
• Nightwing (artists: Travis Moore & Alejando Sánchez from Nightwing # 81);
• Future State Wonder Girl (artist: Kevin Wada from Wonder Girl # 2);
• Poison Ivy & Harley Quinn (artist : Kris Anka from Harley Quinn # 4);
• Teen Titans Academy (artist: Stephen Byrne from Teen Titans Academy # 4);
• Crush & Lobo (artist: Yoshi Yoshitani from Crush & Lobo # 1); and
• Harley Quinn & Poison Ivy (artist : Jen Bartel from DC Pride # 1).

Last are the live-action DCTV Pride profiles from DC Pride # 1.  The character profiles each include interviews with Batwoman’s Javicia Leslie (for Ryan Wilder / Batwoman); Supergirl’s Nicole Maines (for Nia Nal / Dreamer); DC’s Legends of Tomorrow & Arrow’s Caity Lotz (for Sara Lance / White Canary); Constantine’s Matt Ryan (for John Constantine); Black Lightning’s Nafessa Williams (for Anissa Pierce / Thunder); and Doom Patrol’s Matt Bomer (for Larry Trainor / Negative Man). 

The last page is an advertisement for other DC Pride-related graphic novels and collections. 

BRIAN’S ODD MOON RATING:                       7 Stars

Written by Geoff Johns.

Art by Todd Nauck; Matt Herms; Hi-Fi; & Rob Leigh.

Collection Cover Art by Todd Nauck.

SUMMARY:

Released in 2023 by DC Comics, this 175-page trade paperback compiles the Stargirl Spring Break Special one-shot and Stargirl: The Lost Children released between 2021 and 2023.  Specifically, the one-shot and the subsequent six-issue mini-series join several interrelated projects meant to revitalize DC’s Justice Society of America (JSA) franchise.  Other titles include solo ventures for Wesley Dodds’ Sandman; Jay Garrick’s Flash; Alan Scott’s Green Lantern, and a new JSA title featuring Helena Wayne’s Huntress.

On a routine night patrol, Oliver Queen reveals to his far younger half-sister, Emiko (aka Red Arrow), that he and Roy Harper are in fact the Golden Age Green Arrow and Speedy.  Hence, during their time travel adventure to the 1940’s, Oliver and Roy were members of the original Seven Soldiers of Victory.  The ominous arrival of Jill Carlyle’s Crimson Avenger recruits Oliver on a mission to help his long-dead Seven Soldier teammate: Lee Travis – the original Crimson Avenger.

In Blue Valley, Nebraska, Pat Dugan brings along his teenage stepdaughter, Courtney Whitmore (aka Stargirl), on a trip to Myrtle Beach, South Carolina, at the behest of Greg Saunders – the Golden Age Vigilante.  Once there, Pat is recruited to rejoin his fellow surviving Soldiers on seemingly a final mission.  Left out, Courtney and Emiko catch up to them on Myrtle Beach’s shore amidst a shipboard battle against Clock King.  Caught in a time-warp, Courtney briefly comes into contact with Lee Travis. She also sees a fleeting present-day glimpse of his teenage sidekick, Wing, running with two unknown companions.

Note: Wing’s fate as the Soldiers’ eighth member is previously established – per Justice League of America # 100-102.  Apart from locating the original issues, the best reference is Crisis on Multiple Earths, Volume 3, which reprints this storyline.

Having finally recovered Lee Travis’ corpse, the Seven Soldiers believe their old teammate’s spirit is now finally at rest by thwarting Clock King.  Yet, Courtney and Emiko can’t help but think there is far more to this odd story, i.e. that the long-dead Wing might still be alive somewhere.  Stumbling upon an aging Daniel Dunbar’s (once TNT’s Golden Age sidekick, Dyna-Mite) ongoing investigation, the girls realize that Daniel is seeking to find dozens of long-lost sidekicks dating back to World War II.

After visiting Green Arrow’s ‘Arrow Cave,’ the duo follows Dunbar’s seabound course to a remote section of the Atlantic Ocean.  Upon being forcibly marooned, the girls wash up on a seemingly inescapable island prison dubbed ‘Orphan Island.’ 

With Emiko captured, Stargirl is rescued by Wing, Airwave II, and Cherry Bomb from their captor’s overpowering egg-shaped robots.  Welcomed into their hidden ‘clubhouse,’ Stargirl meets approximately two dozen time-lost Golden Age sidekicks, who have no idea how many decades have lapsed without them.  More so, the children gradually realize that someone or something has deliberately tried to erase their existence upon their disappearances.  

Co-led by Stargirl and young Time Master Corky Baxter, the young heroes desperately seek to rescue others, including Emiko, Dyna-Mite, Secret (Bart Allen’s friend), and Jay Garrick’s daughter, Boom.  Against the wicked witch-like Childminder’s forces, Stargirl is stunned that a former JSA teammate has become a pawn of someone intent on preventing the children from ever returning home.  In a final showdown, two of the young heroes realizes that tragic destiny cannot be changed.  An ultimate sacrifice must be poignantly made to save not only them, but the world itself. 

The epilogue teases a major shift in a resurgent Justice Society’s status quo.

Notes: This title is also available digitally.  Replacing the team’s decedents (the Star-Spangled Kid and Lee Travis’ Crimson Avenger) and the absent Roy Harper, successors Stargirl, Jill Carlyle, and Emiko Queen’s Red Arrow complete DC’s Seven Soldiers.  The other Soldiers include Oliver Queen’s Green Arrow, Pat Dugan’s Stripesy, Sir Justin the Shining Knight, and Greg Saunders’ Vigilante.   

REVIEW:

Frankly, no one writes Stargirl (and, by extension, DC’s younger characters) better than her creator: Geoff Johns.  Considering how far off-course Johns’ DC scripting had gone for nearly twenty years (case in point: starting with tone-deaf dreck like 2005’s Infinite Crisis), Stargirl: The Lost Children delivers a most welcome treat.  Glowing with inspired plot twists, homages to both DC’s original continuity and recent efforts to fix DC’s muddled continuity reboots, and a sincere reverence for Golden Age characters, this nostalgic legacy storyline finds Johns back at his best.

More so, this project’s art squad conjures up consistently high-caliber visuals befitting DC’s equivalent of Peter Pan.  Geared for all-age DC fans, Stargirl: The Lost Children is a highly recommended read.        

ADDITIONAL CONTENT:

Each full-page cover precedes its story.  In order, the cover artists are:

• Stargirl Spring Break Special # 1 (artists: Todd Nauck & Hi-Fi);
• Stargirl Spring Break Special # 1 variant (artists: Mike McKone & Luis Guerrero); 
• Issue # 1 (artist: Nauck) – collection cover art
• Issue # 1 variant (artist: Crystal Kung)
• Issue # 2 (artist: Nauck)
• Issue # 2 variant (artist: Mike Maihack)
• Issue # 3 (artist: Nauck)
• Issue # 3 variant (artist: Ant Reeder)
• Issue # 4 variant (artist: Crystal Kung)
• Issue # 4 variant (artists: Maria Laura Sanapo & Mike Atiyeh)
• Issue # 5 (artist: Nauck)
• Issue # 5 variant (artist: Sweeney Boo)
• Issue # 6 (artist: Nauck)
• Issue # 6 variant (artist: Meghan Hetrick).

An additional variant cover gallery, with three covers in 1/3-size to a page, consists of:

• Issue # 1 (artist: Mayo “Sen” Naito); Issue # 2 (artist: Sean “Cheeks” Galloway); and Issue # 3 (artists: Brandt & Stein)
• Issue # 4 (artist: Nauck); Issue # 5 (artist: Marguerite Sauvage); and Issue # 6 (artist: Kevin Maguire).

Nauck’s character design sketches include: Stargirl (black-and-white); Pat Dugan (black-and-white); Stripesy (black-and-white); ten child sidekicks (in black-and-white and/or color); and the villains.

BRIAN’S ODD MOON RATING:                           9 Stars

Written by Joshua Williamson.

Art by David Marquez; Alejandro Sanchez; & John J. Hill.

Collection Cover Art by David Marquez & Alejandro Sanchez.

SUMMARY:

Released in 2020 by DC Comics, this 160-page hardcover reprints 2019-2020’s Batman/Superman # 1-6.  As Batman grimly notes, his evil multiversal counterpart – The Batman Who Laughs now resides on DC’s primary Earth: Earth-0.

On a different Earth (perhaps in his own home universe), The Batman Who Laughs makes grisly work of the Justice League aboard its own satellite and lures an unsuspecting Superman to his doom there.  Shifting to Earth-0’s Gotham City, Batman and Superman work to resolve a missing child case.  Commissioner Gordon ominously tells them that the alleged abductor is evidently a ‘Superman Who Laughs.’ 

The trail soon enough leads to this evil Batman’s underground Batcave where evidence of six tainted batarangs exist.  These batarangs are specifically designed to infect six individuals close to the World Finest Duo.  The problem is that neither iconic hero knows who any of these sleeper agents are, apart from the paranoia of even suspecting one another. 

Batman and Superman’s probe soon puts them into brutal confrontation with two of these corrupted friends.  Batman’s injuries force a battered Superman to give up pursuit of their first target: a demonized Billy Batson/Shazam.  Subsequent revelations that Commissioner Gordon, Jaime Reyes/Blue Beetle, Donna Troy, Hawkman, and, ultimately, Supergirl are now The Batman Who Laughs’ corrupted demonic pawns further stack the deck.  It’s up to Superman & Batman to finally call upon the Justice League, despite fracturing their longtime alliance with Wonder Woman.

However, is it now too late considering how elusive their wicked foes have become? With this matter left dangerously unresolved, the epilogue teases a new menacing storyline coming in Volume 2.   

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

REVIEW:

A single read was something of a slog.  David Marquez and Alexandro Sanchez’s appropriately murky visuals are well-constructed for the plotting.  The problem lies with writer Joshua Williamson’s propensity for recycling.  Apart from more dubious ‘fun and games’ with The Batman Who Laughs, one may notice that the plot’s bleak horror twists echo Blackest Night – i.e. where corrupted heroes are capable of far greater evil than seemingly the worst villains.

Though Williamson’s storytelling has sufficiently original moments, this arc’s creative vibe feels far too blah. While DC’s The Batman Who Laughs fanbase may be pleased, Batman/Superman, Volume 1 isn’t an all-ages read.  Its unappealing plot elements, at certain junctures, risk being a divisive turnoff. Specifically, Williamson’s middling storyline conveys the six corrupted characters few, if any, favors.

Unlike prior kick-offs for incarnations of the Batman/Superman (or Superman/Batman) franchise, DC Comics was unwilling to concoct a traditionally entertaining and more inclusive adventure for readers.  That said, Batman/Superman, Volume 1: Who Are The Secret Six? is probably best found at the library.        

ADDITIONAL CONTENT:

Marquez and Sanchez’s full-page cover precedes each issue.  A full-page variant cover gallery consists of:

• Issue # 1: artists Leinil Yu & Tomeu Morey;
• Issue # 2: artists Jerome Opeña & Morry Hollowell;
• Issue # 3: artists Paola Pantalena & Romulo Fajardo Jr.;
• Issue # 4: artist Olivier Coipel;
• Issue # 5: artists Jime Cheung & Tomeu Morey;
• Issue # 6: artist Simone Bianchi;
• Issue # 1 (full wraparound cover): artists Marquez & Sanchez;
• Issue # 4 (secondary cover): artists Emanuela Luacchino & Rex Lokus;
• Issue # 1 (sketch cover): artist Marquez.

BRIAN’S ODD MOON RATING:                        4 Stars

Written and Artwork by Ngozi Ukazu.

Lettering by Wes Abbott.

Cover Art by Ngozi Ukazu & Wes Abbott.

SUMMARY:

Released in 2024 by DC Comics, writer/illustrator Ngozi Ukazu presents Barda as a 191-page romantic adventure adapted from Jack Kirby’s Fourth World saga.

On the far-off world of Apokolips, Barda (a Wonder Woman-caliber warrior) is the field leader of Darkseid’s Female Furies commando squad.  One could estimate this Barda’s age as somewhere between her late teens and early twenties.  Barda’s discovery of an enigmatic book left on the battlefield inspires her discreet search for love – a sentimental thought process expressly forbidden on the desolate Apokolips.  The candidate for Barda’s romantic affection is her rival warrior: Orion, who will gladly bait her into another round of combat, just for fun’s sake.   

Raised in isolation from childhood by the malevolent ‘Granny,’ Barda and her fellow violence-seeking Furies (Lashina; Stompa; Mad Harriet; DeSaad’s sister, Bernadeth; and young Auralie) are committed to lethal missions for the almighty Darkseid.  Specifically, they are presently seeking out scattered artifacts that are ‘variables’ in Darkseid’s obsession with conquering the Anti-Life Equation. 

Privately, however, Barda realizes that suppressing her natural compassion and, more so, her conscience, prompts some dangerous consequences.  For instance, reminiscent of an ‘older sister,’ Barda finds herself protective of the innocent-spirited Auralie, whose therapeutic dancing is her teammate’s sole sense of salvation.  At the same time, Barda serves as the chief guard of a prisoner named Scott Free, who is being held underground in the seemingly inescapable X-Pit. 

Scott’s efforts (and temporary successes) at escaping captivity make Barda wonder perhaps a satisfying life lies somewhere beyond her sheltered existence on Apokolips. Finding out why Granny isn’t allowed to kill Scott, Barda deduces that her mentor intends to sadistically break the resilient young prisoner’s spirit, by any means necessary.  More so, Granny is becoming increasingly suspicious of Barda’s judgment. 

Death prompts an outraged Barda to at last seek out the truth of the book she has kept hidden from her fellow Furies.  More so, her long-repressed rebellious streak finds Barda on a mission previously unthinkable to her: challenging her ruthless teammates in battle to save a friend from imminent execution.  Going undercover, Barda risks her own future on a quest where reciprocal love becomes the endgame.   

Note: This title has also been released digitally.

REVIEW:

Unlike other creators writing for DC’s Graphic Novels for Young Adults, Ngozi Ukazu doesn’t pursue a vivid and/or even excessive re-imagining of an established DC Comics character.  Instead, with sufficient originality, she faithfully updates Jack Kirby’s work into a poignant romance retelling Barda’s discovery of a genuine soulmate.  Ukazu’s storytelling conveys a wonderful depth of character where she meshes thoughtful scripting with deliberately low-key visuals.

Meant to reintroduce Big Barda & Scott Free to a new generation, Ukazu’s Barda is a welcome tribute celebrating one of DC Comics’ most underrated couples.   

ADDITIONAL CONTENT:

Included is a twelve-page preview of Nicole Maines & Rye Hickman’s Nia Nal (the Legionnaire known as Dreamer) graphic novel entitled Bad Dream: A Dreamer Story.  Maines had previously appeared as the character’s live-action counterpart in the Supergirl television series.  Unlike Ukazu’s story, Maines’ storytelling uses some profanity-laced dialogue.

BRIAN’S OOD MOON RATING:                          8 Stars

Written by Kurt Busiek & Fabian Nicieza.

Art by Mark Bagley; Scott McDaniel; Tom Derenick; Mike Norton; Art Thibert; Andy Owens; Wayne Faucher; Jerry Ordway; Mark Farmer; Karl Kesel; Pete Pantazis; Allen Passalaqua; Pat Brosseau; & Ken Lopez.

Cover Art by Shane Davis & Guy Major.

SUMMARY:

In 2009, DC Comics began releasing 2008’s weekly Trinity series in a trade paperback format.  The 364-page Volume 1 compiles Issues # 1-17, as a strange cosmic nightmare first zeroes in on Superman, Wonder Woman, and Batman.

Disturbed by variations of a dream each had the night before, DC’s ‘Trinity’ of Batman, Superman, and Wonder Woman initially have little to go on beyond determining their common denominators.  Yet, sinister machinations by the sorceress Morgaine Le Fey, the snarky Enigma, and Despero soon unleash an expanding scheme upon their three mutual foes. 

Through the use of mystical branding discs, each of the ‘Trinity’ is destined to be marked with an archaic tarot symbol.  Once all three heroes become ‘branded,’ mystic forces will warp their world’s reality in ways reminiscent of Flashpoint and The New 52: Future’s End. 

As the Justice League (including many of their Titans/Outsiders reserves) investigates this bizarre mystery, more nefarious components come into play. Among them is the Crime Syndicate’s mass abduction scheme, which prompts the JLA to storm in retaliation the Syndicate’s own parallel earth.

During their missions, other Leaguers begin to notice subtle shifts in the personalities of Batman, Wonder Woman, and Superman, as if their established core ideals are now rotating among them.  A seemingly climatic confrontation with the plot’s three major co-conspirators proves only the end of the beginning for the Trinity’s ordeal.  Sporadic hints of a fractured new reality are the first signs towards plot developments in Volume 2.

Meanwhile, the tarot-reading Marguerita (a character reminiscent of Madame Xanadu) has unsettling visions of what darkness is still to come for DC’s three greatest champions.     

Note: At present, this title hasn’t been released digitally.

REVIEW:

Considering 2008’s Trinity is another of DC’s yearlong titles (i.e. 52 and Countdown) from that era, one might have anticipated a reasonably good storyline. Unfortunately, this tiresome epic’s first third is really more of a glorified page count than a coherent, let alone vaguely interesting, read.  No one, in that sense, brought their creative A-game to this unnecessary DC ‘crisis.’    

While Kurt Busiek and Fabian Nicieza merely conjure up ways to prolong the trio’s predicament, the art squad’s lackluster visuals straddle various shades of mediocrity.  Single panels (i.e. a facial close-up) occasionally look terrific, but it’s still a stretch to say that Volume 1 even delivers consistent B-grade artwork.  Some good news, however, is that DC Comics may have learned a practical lesson from peddling this dreck. 

By later simplifying the Superman-Wonder Woman-Batman premise to closely resemble the World’s Finest (or Superman/Batman) team-up formula, the artists gain much better odds of producing quality visuals.  Hence, DC’s subsequent Trinity monthly titles have proven consistently superior in both episodic storytelling and appealing artwork. 

That said, it’s entirely possible that this Trinity’s Volumes 2 and 3 are improvements, given the creative talent involved.  Reading the underwhelming Volume 1, however, isn’t worth indulging the time.

ADDITIONAL CONTENT:

In the cover gallery, three covers at a time appear as two-page collage spreads.  For Issues # 1-6, the cover artists are Carlos Pacheco, Jesus Merino, and Allen Passalaqua.  Andy Kubert and Edgar Delgado are the cover artists for Issues # 7-12.  For Issues # 13-18, the cover artists are Jim Lee, Scott Williams, and Alex Sinclair. 

Artist Mark Bagley contributes a series of black-and-white sketches: a Trinity two-page collage; a Superman portrait; a Trinity portrait; an Interceptor portrait; a Graak portrait; and a Tarot character profile.  Bagley, with added color from Art Thibert and Pete Pantazis, provides a completed version of his earlier Trinity portrait.  Lastly, Shane Davis contributes the black-and-white sketch for this collection’s cover. 

Note: Issue # 18’s cover is included to complete a collage, but the story itself appears in Volume 2.

BRIAN’S ODD MOON RATING:                                4 Stars

Written by Jeph Loeb.   

Art by Tim Sale & Bjarne Hansen.

Cover Art by Tim Sale & Bjarne Hansen.

SUMMARY:

Released in 1999 by DC Comics, this 208-page paperback collects 1998’s Superman For All Seasons # 1-4 mini-series.  Its segments are titled in order by the season (but not necessarily from the same year).   Each issue is narrated by a different member from Superman’s supporting cast, as their insights prove vital to the ongoing story arc.

Spring:  Told through Jonathan Kent’s sage perspective, he observes how his 18-year-old son awkwardly realizes that it’s time to leave Smallville after a tornado ravages the town.  After sharing his secret with a bewildered Lana Lang, a lonely Clark Kent moves away to Metropolis.  It isn’t clear how many years have then lapsed. 

The astonishing presence of Superman coincides with Clark’s arrival as a rookie journalist for The Daily Planet.  The Man of Steel’s interception of a nuclear missile targeting Metropolis has dual significance.  Specifically, it draws the interest of Clark’s colleague, Lois Lane, and glowering resentment from the city’s other ‘superman,’ Lex Luthor.

Summer: As a jaded Metropolis sophisticate, Lois Lane contemplates the Man of Steel’s seemingly too-good-to-be-true intentions.  More so, she acknowledges that Superman’s mutual enmity towards Lex Luthor is really a boon for a career.  After Superman rescues an unconscious female fan from an overnight fire, Luthor senses a nefarious opportunity.

Fall:  Seen through Lex Luthor’s eyes, a humiliating overnight stay in the Metropolis city jail expedites his desired revenge against Superman.  Lois gains a brief insight into Clark’s private life before an unknown virus cripples Metropolis.  Only a few, including Superman and a conveniently well-protected Luthor, are unaffected.  With Luthor’s help, it’s up to the Man of Steel and an unexpected ally to douse the city with the airborne antidote.  The price, however, is a tragic casualty.

Clark despondently comes home to Smallville while a triumphant Luthor gloats.

Winter: Reuniting in Smallville for the first time since their high school graduation, Lana and Clark poignantly observe the humble adults they have become.  Encouraged by Lana and his parents, it’s up to Superman to save Smallville from a flood.  Clark realizes that he must accept his responsibility as the world’s savior.  Meanwhile, in Metropolis, Lois Lane curiously ponders the simultaneous absences of Clark and the Man of Steel. 

Note: This title has been re-released multiple times, and its formats include hardcover and digitally.

REVIEW:

One included observation from Smallville’s co-creators, Miles Millar and Alfred Gough, describes the timeless Superman For All Seasons as reminiscent of a John Ford film.  That assessment is accurate, but this All-American take on Superman also ingeniously mirrors Frank Capra’s filmmaking style.  Predictable as it may be, readers will get the feel-good experience of Luthor’s ruthlessness losing to Clark’s humble innocence and the human spirit, as personified by Smallville. 

Keeping such a familiar origin tale simple yet insightful, Jeph Loeb and Tim Sale’s creative teamwork is beautifully rendered.  More so, this duo’s classy storytelling would be hackneyed in nearly any other team’s hands.  More so, what is so impressive is the story’s heartfelt vibe.  Superman For All Seasons, in that sense, is conveyed as if it were fresh from a Norman Rockwell painting. 

Excluding the usual components like Krypton, the Lois & Clark romance, the Fortress of Solitude (apart from a brief wink), and an assortment of outlandish villains, a far greater balance between Superman and his supporting cast is achieved.  Hence, Superman For All Seasons, as an introspective, is a masterpiece for fans of any age.   

ADDITIONAL CONTENT:

Tim Sale’s full-page cover precedes each segment.

BRIAN’S ODD MOON RATING:                     8½ Stars