Category: DC Comics

Written by James Robinson

Art by Brett Booth; Daniel Sampere; Jesus Merino; Miguel Sepulveda; Norm Rapmund; Wayne Faucher; Jesse Delperdang; Andrew Dalhouse; Allen Passalaqua; & Rob Leigh

Cover Art by Ivan Reis; Joe Prado, & Peter Steigerwald

SUMMARY:

Released in 2012 by DC Comics, this 192-page collection reprints Justice Society of America # 43 and Justice League of America # 54-60 from 2010-11.  This book concludes the last Justice League of DC’s pre-New 52 era. 

With the Moon’s mystical Emerald City powered by the Starheart, Obsidian reconnects with his father, Alan Scott — DC’s Golden Age Green Lantern.  On the secluded Diablo Island, Bruce Gordon is Eclipso’s host body once more.  Amidst Eclipso’s bloody rampage, he corrupts the Shade, Shadow Thief, Nightshade, Acrata, Bete-Noire, and Dark Crow. 

Backed by his new army, Eclipso attacks the Emerald City to forcibly recruit Jade.  Falling captive to Eclipso, Jade’s sacrifice allows Jesse Quick to escort her weakened dad, Alan Scott, to safety.  Viewing remnants of New Krypton, Dick Grayson’s Batman and ‘Dark Supergirl’ are attacked by Doomsday.  Aided by the alien Starman and Blue Lantern Saint Walker, Batman & Supergirl get the wounded Alpha-Lantern Boodikka to the League’s satellite for medical attention.  The Girl of Steel disappears off-screen battling Doomsday, who has breached the orbiting Watchtower.

At the Emerald City, Donna Troy battles a corrupted Jade, as most of her back-up team (including Cyborg, the female Dr. Light, and Red Tornado) become more enslaved troops for Eclipso.  The remaining Leaguers (Batman, Donna Troy, Congorilla, Jesse Quick, and Starman) team with Alan Scott, Obsidian, and Ray Palmer’s Atom to initiate a counter-strike.  Seemingly destroying the Spectre, Eclipso slices the Moon in half.  A chaotic showdown pits the Leaguers vs. Eclipso.  The series finale disbands the League for various personal reasons.           

Note: Unlike most DC graphic novels of that time, this book was released only as a paperback.

REVIEW:

The well-written Alan Scott-Obsidian opener lays out groundwork, specifically as to why Emerald City is the League’s battlefield vs. Eclipso’s forces.  Scott’s medical dilemma re: the Starheart and the Jade-Obsidian ‘can’t be in the same room together’ makes for an interesting scenario.  The one bizarre ‘what-if’ notion is the risk of a combined Jade-and-Obsidian entity corrupted by the Starheart.  Scott’s assessment of his son and daughter potentially merging into one being as “super-duper creepy” pretty much covers this wonky idea.   

Aside from some vile imagery (Issue # 54), The Rise of Eclipso is a better-than-expected storyline.  In fairness, writer James Robinson doesn’t cop out and call in Superman, Wonder Woman, Hal Jordan’s Green Lantern, and others for the big save. Instead, he depicts Dick Grayson’s Batman strategizing a way to neutralize Eclipso, with few heavy hitters (i.e. Donna Troy, Saint Walker, and Alan Scott) available.  Seeing Batman’s ingenious counter-scheme play out offers some terrific moments, including Congorilla as an unlikely sniper.  Like his previous volume (Justice League of America – Omega), Robinson relies far too much on Quentin Tarantino’s back-and-forth time-shifting gimmick.  All of the jumping ahead and/or jumping back minutes or hours (i.e. Issues # 57-59) muddles what exactly is happening when and who went where.  Nonetheless, Robinson does a nifty job depicting this makeshift League in various sequences. 

As for the team’s finale, it’s a mixed bag.  Though each Leaguer’s personal motivation is sufficient, the contrived timing insists upon all of them choosing to jump ship at once.  Also, Batman & Donna Troy’s weak abandonment of the Watchtower is a disingenuous and unsatisfying finish.  Leaving a glimmer of hope as to the League’s future (i.e. a quick cameo by a fan favorite Leaguer) would have sufficed.  It’s just a shame that Robinson’s League goes out with a whimper.  

Despite Robinson’s disjointed scripting, what really pops in The Rise of Eclipso are the top-caliber visuals.  Beginning with the intriguing covers, they are stellar.  The only ‘red flag’ is that some of them are deceptive re: the heroes corrupted by Eclipso.  As for the interior artwork, Jade, Saint Walker, Congorilla, and Donna Troy look stunning at times, as artist Brett Booth’s team know how to vividly depict them.  Scenes of Eclipso and his soldiers are well-produced, as are the extensive battle scenes on the moon.  The only caveat is the excessively bloody mayhem seen in Issue # 54, which definitely merits a parental advisory.  Otherwise, the art team’s consistent excellence is this book’s best creative asset. 

If Robinson had just conjured up a more engaging closure, The Rise of Eclipso might have earned its place as the last Justice League adventure (before DC went amok with its New 52 reboot).

ADDITIONAL CONTENT:

Full-page covers are included, as is a cover gallery of full-page variants for Issues # 54-60.  Specifically, the Justice Society of America # 43 cover is by Shane Davis; Sandra Hope; and Barbara Ciardo.  Artists Brett Booth and Andrew Dalhouse handle Issues # 54-55.  With Norm Rapmund, Booth & Dalhouse also created the covers for Issues # 56-59.  Doubling as this book’s cover image, artists Ivan Reis, Joe Prado, and Peter Steigerwald create the finale’s cover. 

David Mack is the variant cover artist for Issues, # 54, 56, and 59-60.  The trio of Dan Jurgens, Rapmund, and Dalhouse are the variant artists for Issue # 55.  Ed Benes and Dalhouse handle Issue # 57’s variant while Aaron Lopresti & Hi-Fi are the variant artists on Issue # 58.    

BRIAN’S ODD MOON RATING:                    6½ Stars

Written by James Robinson

Art by Mark Bagley; Pow Rodrix; Robson Rocha; Brett Booth; Rob Hunter; Norm Rapmund; Christian Alamy; John Dell; Julio Ferreira; Sandra Hope; Don Ho; Hi-Fi; Rod Reis; Andrew Dalhouse; Rob Leigh; & Travis Lanham

Cover Art by Mark Bagley; Rob Hunter; & Ulises Arreola

SUMMARY:

Released in 2011 by DC Comics, this 200-page collection reprints Justice League of America # 49-53 and its tie-in, a Starman/Congorilla # 1 one-shot (all from 2010-2011).  The book’s lead off has Donna Troy & Jade vs. Donna’s perverted old foe: the imprisoned  Bogeyman.  Both heroines must defy their personal demons that the Bogeyman’s mental powers conjure up to taunt them.  The issue’s sub-plot depicts Supergirl and Dick Grayson’s Batman working together off-screen against the so-called ‘Murder Maestro.’  Already seeking a lost gorilla ally, Congorilla must also locate an AWOL Starman, who is despondent over his boyfriend’s recent death.

With the team mostly reunited, the arrival of Earth-Tangent’s female Green Lantern sets up an extended showdown against the depraved Crime Syndicate (Ultraman; Superwoman; Owlman; Power Ring; & Johnny Thunder) inside the Hall of Justice.  The presence of more villains, including the cosmic Omega Man, threatens the entire multi-verse.  In part due to Jade’s efforts, an impenetrable force shield covers Washington D.C. to protect the rest of Earth. 

A slew of violent double-crosses ensue, as a short-handed League struggles to outmaneuver its sinister counterpart.  A diminutive former Leaguer returns to help.  While Congorilla, Starman, Animal Man, and Rex the Wonder Dog seek a potential means in the Florida swamps to breach the force shield, a shocking homicide, and two resurrections confirm that the League is running out of time.  Unable to intervene, Superman urges the world’s frustrated heroes that they must put their faith in this makeshift JLA.

REVIEW:

While the team chemistry of writer James Robinson’s Justice League is underrated, this dubious run isn’t close to his best work.  The one-shot format re: Issue # 49 is a solid team-up for Jade & Donna Troy, though their adversary’s obsession with mentally torturing women and children is not kid-appropriate.  Yet, this issue’s montage of hallucinations is much easier to digest than the ridiculously convoluted Crime Syndicate storyline.

Muddled by time-shifting back and forth between scenes (as if it’s a JLA movie directed by Quentin Tarantino), as well as by convenient super-science in the finale, Robinson’s script absurdly overextends itself.  One detriment is the inclusion of too many villains (Omega Man; Dr. Impossible; and the Crime Syndicate) to make the League’s comeback compelling, let alone coherent.  An excess of fight scenes doesn’t work either, particularly as one brawl within the Hall of Justice’s morgue is an instance of unwarranted poor taste.  Add to this mind-boggling brew a series of improbable double-crosses (including a self-absorbed ‘Dark Supergirl’), and Robinson’s plot rapidly depletes what little momentum it has generated.

The Congorilla/Starman tale is an intriguing side angle, as it fits this book’s narrative.  Yet, its awkward resolution broaching Starman’s sexuality (and that of another hero) is unnecessarily stereotyped.  At least, the Congorilla/Starman story enjoys the book’s best interior artwork.  Aside from top-caliber cover images and all the variants, the majority of this book’s interior visuals hover in the forgettable B- range.  Some individual panels (including close-ups of the Tangent Green Lantern, as well those as of Jade’s powers) are nicely rendered, even if they are lost in the shuffle. 

Despite the book’s missteps, this League (Jade; Donna Troy; Starman; Congorilla; Jesse Quick; Supergirl; & Dick Grayson’s Batman) implies untapped potential for a solid future.  Unfortunately, the middling Omega (as its second-to-last-volume) fails to maximize these characters amidst chaotic violence.  

ADDITIONAL CONTENT:

The covers and variant covers are included.  The various art teams are:

• Issue # 49: Mark Bagley, Rob Hunter, & Ulises Arreola, which doubles as this book’s cover.  Its Donna Troy variant is by Francis Manapul & Brian Buccellato);
• Issue # 50 (JLA vs. Crime Syndicate): Ethan Van Sciver & Hi-Fi.  Its Silver Age JLA homage variant is by Jim Lee, Scott Williams, & Alex Sinclair.  A separate Crime Syndicate variant is by Bagley, Hunter, and Hi-Fi ‘after Frank Quitely’);
• Issue # 51:  Bagley, Hunter, & Hi-Fi.  Its Congorilla/Starman variant is by David Mack.
• Issue # 52: Bagley, Hunter, & Hi-Fi.  Its Supergirl/Dick Grayson’s Batman variant is by Mack.
• Starman/Congorilla # 1: Gene Ha.
• Issue # 53: Bagley, Hunter, & Hi-Fi.  Its Donna Troy variant is by Mack.

BRIAN’S ODD MOON RATING:               5 Stars

Note: This book was first released in 2011 in hardcover form.

Written by Steve Englehart

Art by Joe Staton; Mark Farmer; L. Lois Buhalis; Bob Lappan; Pete Costanza; Carl Gafford; & Anthony Tollin

Collection Cover Art by Joe Staton; Bruce Patterson; & Allen Passalaqua 

SUMMARY:

Released by DC Comics in 2010, this 144-page collection reprints Green Lantern Corps # 201-206 from 1986.  With the conclusion of Green Lantern # 200, Hal Jordan & John Stewart were demoted into an ensemble title. 

In DC’s immediate post-Crisis on Infinite Earths era, the Guardians of the Universe have departed to another dimension.  With the Green Lantern Corps dividing its forces now however it wishes, five alien Lanterns (Katma Tui; Arisia; Ch’p; Kilowog; & Salakk) opt to join John & Hal on Earth.  Beyond setting up their team logistics, the seven Lanterns must repel threats from Dr. Polaris, Baron Tyrano, Sonar, and Black Hand.  While Ch’p, Kilowog, and Salakk adapt to Earth’s customs to varying degrees, the youthful Arisia hides her romantic crush on Hal.  The Lanterns also tangle with Ch’p’s most diabolical adversary. 

On the abandoned planet, Zamaron, a corrupted Carol Ferris makes a cameo as Star Sapphire, as she contemplates vengeance upon Hal, John, & Katma Tui.  On planet Maltus, Guy Gardner intends to desert the remaining Guardian, Appa, and two of his fellow Lanterns to pursue his own interests.  The issue titles are: # 201 – “Setting Up Shop;” # 202 – “Turf;” # 203 – “The Diabolical Doctor Ub’X;” # 204 – “Young and Innocent;” # 205 – “Bad Reputation;” and # 206 – “In Deep.”  

REVIEW:

This sample of Steve Englehart’s mid-80’s Green Lantern run readily justifies why the series was soon cancelled.  Englehart’s generally kid-friendly work meets mid-80’s standards, but his middling storylines aren’t close to Hal & John’s better adventures.  By consolidating seven Green Lanterns (eight, when you count Guy Gardner) into one title — the equivalent of squeezing them into a single elevator, the ensemble concept waters them all down. It’s pretty evident, from revisiting these particular stories, that DC shafted the Green Lantern franchise amidst the company’s various post-Crisis reboots. 

Smarting from losing Carol Ferris, Hal’s Ferris Air sub-plot make sense, but Englehart doesn’t explore it much.  Getting mauled multiple times, John appears the wimpiest of the group.  Katma Tui is given far too little to actually do while Arisia’s ongoing sub-plot is simply icky.  It’s cringe-worthy when Hal correctly rejects Arisia’s crush by pointing out she is still a teenager — yet, he still condescendingly nicknames her ‘Honey.’  Inexplicably, no one (not even John) chastises Hal for sending a naïve Arisia potentially mixed signals. 

Considering Carol’s impact on Hal’s life, Star Sapphire is somehow reduced to a single scene.  Guy Gardner’s sub-plot adds little, if anything, short of making Englehart’s fractured approach seem even more cumbersome.  As for Ch’p, Salakk, & Kilowog, they are fine leads for some back-up stories, but too much screen time further sabotages how mighty all Green Lanterns supposedly are.  Case in point: pitting a makeshift tag-team of Dr. Polaris, Sonar, and some ultra-forgettable super-powered henchmen (or even an insipidly-scripted Black Hand by himself) as fair opposition against multiple Lanterns strains any whiff of plausibility. 

Unlike the weak storylines, the art squad’s sufficient visuals hold up fairly well today, particularly with DC’s nice production values. Still, it’s not enough to compensate for the underwhelming story content permeating Tales of the Green Lantern Corps, Volume 3. In somewhat pitiful fashion, even mid-80’s nostalgia can’t save the Green Lanterns this time.    

ADDITIONAL CONTENT:

A table of contents spells out each chapter.  The full-page covers for Issues # 201-206 are included.  The cover artists are: Joe Staton & Bruce Patterson (Issues # 201-202 & # 205-206); Luke McDonnell & Bruce Patterson (Issue # 203); and Joe Staton & Rick Magyar (Issue # 204).

BRIAN’S ODD MOON RATING:                      4 Stars

Written by (See Credits Below)

Art by (See Credits Below)

Cover Art by Brian Bolland

SUMMARY:

Released by DC Comics in 2010, this 144-page collection reprints eleven early-to-mid-’80s back-up tales from the Green Lantern series headlined by Hal Jordan & John Stewart.  Its extra-sized finale features multiple Lanterns seen in solo action elsewhere in this volume.  The dozen stories are:

The Lysandra Saga, Part One: Sins in the Stars and Part Two: Sun-Fall (Green Lantern # 168-169, September-October 1983).  Written by Jack C. Harris, with art by Jerome K. Moore, Sal Trapani, Philip Felix, & Jeanine Casey.  On planet Zintha, rookie Green Lantern Lysandra precariously balances her world’s religious views preserving all life vs. the fate of its apparently dying sun.

Deeter & Dragons (Green Lantern # 171, December 1983).  Written by Todd Klein, with art by Dave Gibbons and Jeanine Casey.  Deeter, now a veteran Green Lantern, regales a bullied child with a romantic damsel-in-distress tale from his rookie days.  His younger self misreads a crisis attempting to save abducted Princess Oryna from a dragon.

Scavenger (Green Lantern # 172, January 1984).  Written by Todd Klein, with art by Dave Gibbons & Jeanine Casey.  Taken prisoner, Green Man must enlist the aid of his captors, including a metal scavenger, to defend their world against the Spider Guild’s yellow armored drone.  Green Man’s heroism sparks an ironic outcome. 

Progress (Green Lantern # 173, February 1984).  Written by Joey Cavalieri, with art by Dave Gibbons & Jeanine Casey.  Without narration, an unknown Lantern valiantly falls to the Spider Guild’s invasion forces.  Continuing the cycle, his caveman-like successor explores his new power ring’s magic before taking on the same Spider Guild armada.   

Final Duties (Green Lantern # 177, June 1984).  Written by Len Wein, with art by Gil Kane, Ben Oda, and Anthony Tollin.  Green Lantern Kwo Varrikk has a busy and insightful last day on the job before entering retirement.

Green Magic: Enemy Lines Parts One and Two (Green Lantern # 179-180, September-August 1984).  Written by Todd Klein, with art by Dave Gibbons & Anthony Tollin.  On remote planet Rhoon, young Green Lantern Hollika Rahn struggles to find a means of ending her world’s war of sorcery vs. science.  This story is the compilation’s only unresolved tale. 

One Night in a Bar on Lawrel-Hardee XI (Green Lantern # 181, October 1984).  Written by Paul Kuppenberg, with art by Don Newton, John Clark, & Anthony Tollin.  Inside a sleazy, deep space cantina, diminutive Green Lantern Ch’p lights up a fugitive gang of pirates that fatally sabotaged a galactic cruise ship. 

I, Lantern, Parts One and Two (Green Lantern # 182-184, November-December 1984).  Written by Joey Cavalieri, with art by Kevin O’Neill, John Constanza, and Anthony Tollin.  On planet Grenda, Yron reluctantly convinces the Guardians to make him a Green Lantern.  Trying to alleviate a crisis on Grenda, Yron ironically finds that his predecessor, Stel, whom he once ridiculed, now shares his destiny. 

Burdens (Green Lantern # 185, February 1985).  Written by Kurt Busiek, with art by Don Heck, Todd Klein, & Shelley Eiber.  Once planet Feron’s elderly Green Lantern retires, Feronians realize he won’t be coddling them anymore.

Forever Blowing Bubbles (Green Lantern # 187, April 1985).  Written by Mike Baron, with art by Marshall Rogers, Ben Oda, and Anthony Tollin.  Of the planet Jerome, single mother Green Lantern KT21 is taken prisoner by off-world raiders.  A favorite toy-making hobby for her young son may be KT21’s last hope.

Mogo Doesn’t Socialize (Green Lantern # 188, May 1985).  Written by Alan Moore, with art by Dave Gibbons, and Anthony Tollin.  On planet Oa, Arisia hears a legendary fable from Tomar-Re re: a moronic thug who hunts their mysterious fellow Green Lantern known as Mogo.

Insect Trust, Parts One and Two (Green Lantern # 189-190, June-July 1985).  Written by Todd Klein, with art by Kevin O’Neill and Anthony Tollin.  On planet Xaos, the grasshopper-like Green Lantern Xax needs the Corps when his home planet faces the ruthless Spider Guild.  

Those Who Worship Evil’s Might (Tales of the Green Lantern Corps Annual # 1, 1985).  Written by Paul Kuppenberg & Len Wein, with art by Gil Kane, John Costanza, and Anthony Tollin.  Six Green Lanterns (Arisia; Katma Tui; Ch’p; Xax; Arkkis Chummuck; and Tomar-Re) investigate a galactic crisis linked to an abducted Guardian.  One Lantern must make an ultimate sacrifice to stop the villainous Maaldor. 

Note: Despite his prominence on the cover, Hal Jordan isn’t in this volume.  His then-replacement, John Stewart, appears in the book’s last panel.

REVIEW:

To this book’s credit, there is infinite diversity behind the stellar Brian Bolland cover.  Even if these fables aren’t riveting, Tales of the Green Lantern Corps, Volume 2 is still commendable for concocting kid-friendly entertainment.  Including its amusing pun-laden title, the Ch’p’ adventure is the best read, as fans are reminded why one shouldn’t mess with a little critter packing an emerald power ring.  Other contenders for the best tale are the Mogo tale and Lysandra’s two-parter.  The last story is a well-played team-up, as it features many of the better-known Corps members of that era.  “Forever Blowing Bubbles” is an underrated treat, as it’s a gentle throwback to stories that the comics industry rarely produce anymore.

If anything, these imaginative gems (particularly, their consistently solid visuals) smartly expand upon the universe’s other 3,598 Lanterns not named Hal Jordan or John Stewart.  In that sense, this well-produced collection should be construed as a nostalgic reminder of how virtuous DC Comics storytelling once was.      

ADDITIONAL CONTENT:

There is a helpful table of contents.

BRIAN’S ODD MOON RATING:                7 Stars

Written by Rob Williams

Art by V Ken Marion; Guillem March; Sandu Florea; Ray McCarthy; Dinei Ribeiro; Tomeu Morey; Carlos M. Mangual; Josh Reed; Tom Napolitano; & Steve Wands

Collection Cover Art by Clay Mann & Tomeu Morey

SUMMARY:

Published in 2018 by DC Comics under its Rebirth banner, this 160-page collection reprints Trinity Annual # 1 and the issues # 12-16 from 2017-18.  Accessing the mystical Pandora Pits, the sorceress Circe and Ra’s al Ghul conspire to sacrifice Batman, Wonder Woman, and Superman.  Once their enemies are disposed of, Circe can regain her lost soul.  Jason Blood stumbles upon this scheme, only to be relieved of his co-existence with Etrigan the Demon.  A fully-evil Etrigan battles the Trinity while Blood’s accelerated aging signals his mortal end has evidently come.  Or has it? 

Demonically corrupting Bizarro, Artemis, and Red Hood (Jason Todd), Circe & al Ghul send their unstoppable pawns to destroy the Trinity.  With Zatanna Zatara and Deadman held captive inside the Pandora Pits, only a mortally wounded John Constantine is left to aid them against Circe’s forces.  On New Year’s Eve, Batman recruits Wonder Woman & Superman to help Deadshot rescue his kidnapped young daughter from Kobra’s mutated minions.  Simultaneously, the Trinity must defuse a quantum energy bomb threatening to destroy Gotham City, along with their extended families.     

Notes: The cover artists are: Annual # 1 (Guillem March & Tomeu Morey); Issue # 12 (Clay Mann & Tomeu Morey); Issue # 13 (David Finch & Brad Anderson); Issue # 14 (Tony S. Daniel, Danny Miki, & Tomeu Morey); Issue # 15 (Philip Tan & Elmer Santos); and Issue # 16 (Guillem March & Tomeu Morey).  For Issues # 12-14, Bill Sienkiewicz handles the variants.  Ben Oliver produces Issue # 15’s variant, and Issue # 16’s variant is by Jason Fabok & Brad Anderson. 

REVIEW:

Writer Rob Williams conjures up a ghoulishly entertaining adventure that challenges the Trinity’s vast resources.  Its glaring detriment is an ultra-contrived ending where Batman’s technological wizardry is as conveniently preposterous as Circe’s magical Pandora Pits, if only to fit the desired end result.  By Williams’ dubious logic, instantly resurrecting characters from death (or freeing them from demonic possession) via magic or science is easy.  Still, the triple Trinity concept (including Zatanna-Constantine-Deadman & Red Hood’s Outlaws) is stellar throughout the Dark Destiny storyline. 

Beyond Deadshot’s effective guest spot, seeing Lois Lane casually mingle with Steve Trevor, among other interactions of Diana, Bruce, and Clark’s loved ones, makes for a terrific sequence.  What doesn’t make sense is that this same script conveniently ignores the Justice League’s implied presence during a fight scene between the Trinity and Kobra’s mutant monsters — a few panels of the Trinity’s super-friends backing them up would have made good sense.  Capably masking Dark Destiny’s deficiencies are the art team’s top-caliber visuals, including the covers and their variants.  Despite its implausible plot twists, Trinity, Vol. 3: Dark Destiny still makes for a solidly entertaining read.         

ADDITIONAL CONTENT:

Including the variants, a full-page cover galley is included. 

BRIAN’S ODD MOON RATING:                    8 Stars

Written by Greg Rucka

Art by Drew Johnson; Shane Davis; Steve Sadowski; Linda Medley; Ray Snyder; Richard Horie; Tonya Horie; Todd Klein; J.G. Jones; & Matt Wagner

Cover Art by J.G. Jones

SUMMARY:

Collecting Wonder Woman # 201-205 {2nd series} (plus a bonus story from Wonder Woman # 200), DC Comics released this 128-page book in 2004 –the same year these issues were published.  Describing the Perseus vs. Medusa myth, teenager Cassie Sandsmark (Wonder Girl) and Ferdinand the Bull-Man tell a bedtime story for two little boys Cassie is babysitting.  While Themyscira’s Amazon populace desperately contains the catastrophe that has hit the island, Wonder Woman seeks medical care for Silver Swan.  She must also rapidly improvise a miracle to protect the Carolinas from a massive tsunami.  Elsewhere, Medusa’s two Gorgon sisters push a rescued Circe to revive the long-dead Medusa.

The unsolved murder of Darrell Keyes, one of Wonder Woman’s most vocal public critics, requires Diana to consult Batman.  Veronica Cale chillingly takes revenge for a suspected leak that has sabotaged her efforts to destroy Wonder Woman’s reputation.  Diana asks Cale’s business partner, Dr. Leslie Anderson, to aid the hospitalized Silver Swan.  Batman & Wonder Woman realize that Cale’s own security chief was evidently involved in Keyes’ assassination.  Seeking answers at Cale’s pharmaceutical headquarters, Diana finds out too late that the mind-bending Dr. Psycho is on the loose.       

REVIEW:

Writer Greg Rucka’s storyline cohesively juggles its intriguing sub-plots: among them Medusa’s imminent return; Veronica Cale’s illicit scheming; and Dr. Psycho’s elusive antics.  Serving as Diana’s back-up, Batman’s role is well-played, as the Keyes murder investigation takes some cool twists. 

Despite the art team’s strong support, some of its imagery for the voluptuous Gorgons and Circe, however, is gratuitous (i.e. Medusa’s nudity on the final page).  Rucka smartly doesn’t hurry his sub-plots, but that also means that nothing is satisfactorily resolved, at least for now.  Bitter Rivals merely continues several storylines in progress.  It still makes a worthwhile ride.

ADDITIONAL CONTENT:

There’s a single-page summary of the ongoing storyline.  From J.G. Jones and Matt Wagner, the full-page covers for Wonder Woman # 201-205 are also included.

BRIAN’S ODD MOON RATING:                   7 Stars

Written by Shea Fontana; Tim Seeley; Vita Ayala; Michael Moreci; Collin Kelly; & Jackson Lanzing

Art by Mirka Andolfo; David Messina; Inaki Miranda; Christian Duce; Claire Roe; Stephanie Hans; David Lafuente; Josh Reed; Romulo Fajardo Jr.; John Rauch; Jodi Wynne; Allen Passalaqua; Jordie Bellaire; Saida Temofonte; Dave Sharpe; & Jenny Frison

Cover Art by Jenny Frison

SUMMARY:

Released by DC Comics in 2018, this 176-page DC Rebirth paperback reprints Wonder Woman # 26-30; Wonder Woman: Steve Trevor # 1; and three tales from Wonder Woman Annual # 1 (all from 2017).  Needing a night off, Wonder Woman joins Etta at a family wedding.  At the reception, Etta is critically wounded in an explosive blast.  Desperately seeking help from Dr. Shannon Crawford, Wonder Woman is too late discovering the physician’s ulterior motive.  After stealing a blood sample from a sedated Diana to possibly cure her own fatal illness, a powered-up Crawford is Wonder Woman’s next challenge.

Supervising Etta’s lengthy at-home recuperation, Diana confides her frustrations over sufficiently protecting Etta and Steve.  Wonder Woman faces super-powered mercenaries (including Cheshire) pursuing a hefty secret bounty on her.  Ultimately, Etta and Steve Trevor must aid Wonder Woman to thwart a covert government scheme seeking Diana’s mystical blood to create an army of unstoppable government super-soldiers.         

In “The River of Lost Years,” Steve Trevor’s outnumbered commando squad faces a Nazi-like warrior, Saturna, and her armored troops re: the fate of a dying elderly woman named Fatma.  At stake is the revelation of a hidden sanctuary in Turkey where children live in eternal youth.  An untitled short story has Wonder Woman in Markovia to save King Shark from an unjust public execution.  “The Curse and the Honor” depicts Diana’s cursed friend protecting his snowy Japanese village from a bloodthirsty beast.  In “The Last Kaiju,” Wonder Woman befriends a lonely young dinosaur-like creature.

REVIEW:

It’s an entertaining compilation, as Diana’s serene personality reflects Gal Gadot’s self-effacing interpretation in the 2017 live-action film.  Yet, Wonder Woman’s occasionally child-like naiveté (which curiously resembles DC’s Starfire) doesn’t always jive for a veteran heroine who has supposedly been in modern-day society for years.  Still, the storytelling is admirable, even if the three touching short stories are thematically too similar.  Stepping out of Diana’s shadow, Steve Trevor’s solo tale has a well-played sense of poignancy, though Trevor’s bearded appearance is probably too close to Green Arrow. 

The various art teams do a splendid job depicting Diana’s adventures.  The only sporadic inconsistency pertains to Diana’s height and muscular build in the lead feature.  There are some inconsistent panels in “Heart of the Amazon,” where Wonder Woman appears far more petite (or, at least, average-sized) than one might expect.  Otherwise, the capable visuals (including the cover images) adds another major asset to this terrific book.        

ADDITIONAL CONTENT:

All the cover images are included, as are black-and-white renditions of them.  A six-page variant cover gallery has five covers by Jenny Frison and the Steve Trevor one-shot by Yanick Paquette & Nathan Fairbairn.  Frison’s variant for Wonder Woman # 28 doubles as this paperback’s cover.

BRIAN’S ODD MOON RATING:                              8 Stars

Written by John Ostrander & Len Wein

Art by John Byrne; Karl Kesel; Tom Ziuko; Carl Gafford; & Steve Haymie

Cover by John Byrne

SUMMARY:

This 168-page paperback was re-released by DC Comics in 2016.  First published as a six-issue mini-series in 1986-87, Legends heralds the Justice League’s reboot after DC’s historic Crisis on Infinite Earths.  Specifically, Legends revamps the League concept, as likely contenders Superman, Wonder Woman, Batman, and Wally West’s Flash are already busy in their own individual titles.  For this series, potential Leaguers include: Guy Gardner’s Green Lantern; Doctor Fate; Martian Manhunter; Black Canary; Changeling (Beast Boy); Captain Marvel/Shazam; and Ted Kord’s Blue Beetle. 

On the planet Apokolips, Darkseid initiates his less-than-subtly titled ‘Operation: Humiliation’ to disgrace and ultimately neutralize Earth’s super-heroes. Inspiring public antipathy through underling Glorious Godfrey’s hypnotic voice, Darkseid frames Captain Marvel/Shazam for murder.  Even with Firestorm and a time-displaced Cosmic Boy, a outmatched Detroit Justice League can’t stop the menacing Brimstone.  Upon halting a bank heist, Batman & Jason Todd’s Robin are ambushed by violent Gotham City demonstrators. A dismayed Superman observes U.S. President Ronald Reagan order a national ban on costumed heroes.  Others, including Black Canary, Guy Gardner, and Blue Beetle face their own predicaments once they’re suddenly branded as outlaws.    

Amanda Waller orders an incredulous Col. Rick Flagg to assemble Task Force X (aka the Suicide Squad) as a contingency plan.  As world unrest burns, eleven heroes join forces once they realize who is ultimately pulling the puppet strings.  A public showdown may be their last stand.   

REVIEW:

On the upside, this simplistic premise contemplates how the fickle masses idolize super-heroes.  The sequence re: Robin’s near-death, for instance, is compelling, as is Wally West’s public ruse impersonating Barry Allen’s deceased Flash.  Other sub-plots, such as Doctor Fate’s presence; the debut of a new Suicide Squad; and a devastated Billy Batson (again, a child rather than a young adult), shine at the right moments.  A predictable finale spells out why certain B-list characters are used in lieu of reliable Justice Leaguers to help sell this fresh start. 

To this book’s credit, profanities, gore, and sexuality are excluded in an appreciated nod to good taste.  Still, from an adult perspective, unfortunately, the one-dimensional plot is so blandly clichéd.  Case in point: the ham-fisted opening Apokolips sequence seems straight out of The Super-Friends instead of kicking off DC’s new post-Crisis continuity.  Further, co-writers John Ostrander and Len Wein unnecessarily muddy new continuity, as it isn’t clear which characters know one another or previously belonged to the League (in another life, of course).  At least, Changeling and Wally West’s prior history in the Teen Titans is kept intact. 

Ostrander & Wein further ensure that their cast members receive some welcome character depth at opportune moments, i.e.  devising the post-Crisis Wonder Woman’s public debut.  The problem is that these well-played ideas invariably get lost in the overall shuffle, as Darkseid’s political smear campaign takes precedence.

John Byrne’s fine visuals are an asset, but they don’t remotely challenge George Pérez’s stellar work on Crisis on Infinite Earths.  Despite Byrne’s classiness, the major detriment against Legends is an underwhelming script that falls far short as a worthy follow-up to Crisis. 

In fairness, as Alan Gold’s afterword indicates, Legends wasn’t designed to challenge Crisis, in terms of sheer epic caliber.  Regardless of DC’s intentions, its awkward strategy gambles on mixing real world adult politics with a kid-friendly, middle school mentality.  It’s no wonder that neither target audience will likely come away satisfied.  For that reason alone, Legends is a middling read for adults and younger fans alike – suffice to say, this storyline doesn’t age too well with today’s generation. 

ADDITIONAL CONTENT:

All six covers are nicely reproduced in a full-page format, as is the unremarkable cover for Legends: The Collection (the original release of this trade paperback).  DC Editor Alan Gold provides an insightful, three-page afterword explaining the behind-the-scenes production of Legends.  For instance, the creative rationale switching Superman and Wonder Woman’s scripted roles proves interesting.  

ROSCOE & BRIAN’S ODD MOON RATING:      6½ Stars

Written by Jeph Loeb

Art by Carlos Pacheco; Jesús Merino; Ivan Reis; Laura Martin; & Richard Starkings

Cover Art by Carlos Pacheco; Jesús Merino; & Laura Martin

SUMMARY:

Released as a trade paperback in 2006, this 128-page compilation reprints the then-recent Superman/Batman # 14-18.  A trio of 31^st Century renegades warp the space-time continuum by abducting infant Kal-El from the Kents in Smallville and an orphaned Bruce Wayne from their prospective origins.  Four other pivotal Justice Leaguers: Hal Jordan, Barry Allen, Martian Manhunter, and Aquaman are then ruthlessly eliminated to prevent future resistance.  In a grim Total Recall-like present-day, the expression – “absolute power corrupts absolutely” applies, as surrogate brothers Clark Kent and Bruce Wayne dominate Earth on behalf of their ‘three’ mysterious parents. 

A defiant Wonder Woman & Uncle Sam’s Freedom Fighters are no match for them, as several brainwashed Legionnaires supply additional firepower for Clark & Bruce.  Yet, an unlikely threesome in yet another reality beyond time and space forces Superman & Batman to restart their intended origin once more.  The World’s Finest Duo must somehow then undo the considerable damage they’ve wrought.  Meanwhile, alternate realities on top of alternate realities are plaguing Superman & Batman.  A stunning betrayal sets up one last reality where Ra’s Al Ghul has wiped out Earth’s heroes and taken command of the planet.  Superman & Batman must risk everything to restore reality back to what it is, not simply what it should be.    

Note: This title was previously released as a hardcover in 2005.

REVIEW:

In terms of assets, Absolute Power sports some welcome twists – i.e. Uncle Sam assuming a familiar Justice Leaguer’s powers, not to mention a cool last page.  Further, the art team’s visuals are consistently well above-average.  That leaves writer Jeph Loeb’s ultra-convoluted storyline, which negates its surplus of goodies (including a slew of unexpected cameos) with unnecessarily grisly violence. 

Specifically, the excessive mayhem (including a decapitation and multiple heat vision obliterations) is appalling – i.e. a full two pages alone glorify Wonder Woman’s beating and strangulation-related demise.  Casually mentioning that Zatanna Zatara had been previously tortured to death (off-screen) by the depraved World’s Finest evidently wasn’t enough misogyny for this creative squad.  Adding the Freedom Fighters’ destruction (including Phantom Lady’s death) only exacerbates a vile excuse for entertainment, no matter if it accentuates the corrupted heroes’ mentality.  At a minimum, the art squad could have asserted good taste, for instance, by conveying Wonder Woman’s death from a distance or in shadow.  No, this creative team opts for sadistic shock value, so readers will see it be used to later haunt Superman. 

Later on, Loeb explores an intriguing reality where Batman’s parents had lived.  Seemingly righting the ship, plot-wise, Absolute Power’s redemption fall short, as Loeb decides more implied gore is necessary.  For that matter, absurdly conveying that Superman would instantly recover after being impaled through the heart by a kryptonite blade thwarts a potentially dramatic moment to reset ‘reality.’ Even worse , Loeb opts to add yet another alternate reality to tidy up his storyline.  While revealing at last who an enigmatic second Superman is a neat trick, everything makes far too little sense come the end.  The poignant epilogue scenes with Wonder Woman and Alfred come too little too late, but at least Absolute Power goes out on a classy note. 

If Loeb hadn’t squandered an intriguing premise (i.e. more along the lines of what if Superman and Batman traded worlds with The Crime Syndicate’s nefarious Ultra Man and Owlman), then Absolute Power might have been worth keeping.

ADDITIONAL CONTENT:

The original covers are presented as full-page reprints.  There’s some brief creative team synopses.  Also, a two-page ad hypes trade paperbacks available re: Superman and Batman’s solo adventures  

BRIAN’S ODD MOON RATING:                 3½ Stars