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BATMAN (DICK GRAYSON): LIFE AFTER DEATH (DC Comics)

Written by Tony S. Daniel

Art by Tony S. Daniel; Sandu Florea; Norm Rapmund; Guillem March;  Tomeu Morey; Ian Hannin; & Jared K. Fletcher

SUMMARY:

Reprinting Batman # 692-699, this 200-page collection from 2010 consists of the six-part Life After Death, along with the Riddle Me This two-parter (both from 2009-2010).  In Life After Death, Dick Grayson’s Batman is mostly solo containing the latest Gotham gang war. 

As the mysterious Black Mask’s False Face army and the Falcone gang feud over Gotham City’s underworld, the new Batman runs a lethal gauntlet to decipher Black Mask’s identity.  Further, Dick must keep a wary eye on Hush (aka Tommy Elliot), as he is busily impersonating the presumed-dead Bruce Wayne for his own evil agenda.  With trigger-happy mobster Mario Falcone on the loose (along with his impetuous niece, Kitrina), Batman faces a dire task pursuing a trail of corpses re: Black Mask’s False Face operatives. 

Not only does Black Mask have Fright, Dr. Death, Hugo Strange, and the Penguin on his side, he even manages to ensnare Batman himself as one of his expendable, mind-controlled False Face pawns.  Pushed to his physical and mental limits, a battered Dick must prove his resilience, ingenuity, and detective reasoning just to survive. 

Even with the help of Damian Wayne’s Robin; Catwoman; Alfred; Huntress; Oracle; and a network of heroes (in brief cameos), Batman finds himself in deep trouble.  The war concludes with a showdown between Batman and the second Black Mask. 

The chapters are:

  • “Part One – Awakening”
  • “Part Two – Charades”
  • “Part Three – Fractured Pieces”
  • “Part Four – Smoke and Mirrors”
  • “Part Five – Mind Games”
  • “Part Six – Liberator.”

Haunted by residual exposure to Hugo Strange’s nightmare toxins, Dick tackles a bizarre serial murder mystery.  Initially, it seems that Mr. Zsasz has left behind a grisly series of corpses.  An uninvited Riddler joins Batman & Commissioner Gordon’s investigation.  Sensing a copycat, the trio finds more victims, killed by someone using Firefly’s and then Mr. Freeze’s gimmicks.  Could it be the evil magician Blackspell?  Or perhaps Firefly? And who tries to kill the Riddler with fake Joker toxin?   The new Batman senses someone knows more than he is telling, as perhaps nothing is what it seems.  

  •  “Part One – Black Magic Tricks”
  • “Part Two – A Means to an End.”   

REVIEW:

Not only can Tony Daniel draw stellar Batman action-mystery thrillers, he can adeptly write them, too.  The macabre Life After Death saga depicts Dick Grayson far more like a young Bruce Wayne than a seasoned ex-Robin, and this concept really clicks.  Readers can embrace Dick as the new Batman, much like how Wally West assumed the Flash’s mantle from Barry Allen. 

As both writer and artist, Daniel credibly builds Dick up as a more realistic Batman – one who isn’t a virtually omniscient sleuth (like some previous Batman writers have portrayed Bruce Wayne).  Dick’s interactions with Catwoman and Huntress are also well-played, particularly when an unexpected kiss leads to chilly tension with Barbara Gordon. 

One should be aware that this six-part storyline is brutal, in terms of the violence and horror quotient.  It makes sense that a comparatively restrained Dick must resort at times to his mentor’s ruthlessly aggressive playbook.  To thwart the new Black Mask, a gritty and tenacious Dick (thanks to Daniel’s masterful work, including the wise choice to minimize Damian’s presence) makes readers believe that he is indeed Bruce Wayne’s worthy successor.

Enhanced by Guillem March’s eye-popping artwork, Daniel also delivers a vintage and equally ghoulish Batman mystery in the Riddler team-up.  Instead of a conclusive (and likely forgettable) outcome, Daniel cleverly ends it with Dick putting together the pieces of only one baffling jigsaw puzzle.  A second, far more daunting enigma is smartly left for another time.  Somehow, it makes a satisfying means to end this smoke-and-mirrors whodunit by leaving ample room for a sequel. 

Though this book definitely isn’t kid-friendly, Daniel’s creative team makes an emphatic statement boosting Dick Grayson’s relentless mission as the new Dark Knight.

ADDITIONAL CONTENT:

The cover images are included, as is a table of contents specifying individual chapter titles.

BRIAN’S ODD MOON RATING:                  8½ Stars

Note: With a different cover, this book was subsequently released in paperback form in 2011.

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THE BATMAN STRIKES!, VOLUME 3: DUTY CALLS (DC Comics)

Written by Bill Matheny & J. Torres

Art by Christopher Jones; Terry Beatty; Heroic Age; Phil Balsman; & Travis Lanham

Cover Art by Jeff Matsuda & Dave McCaig

SUMMARY:

Released by DC Comics in 2007, this 144-page collection consists of The Batman Strikes! # 11-14 and # 16-18, which were published in 2005-06.  This book adheres to the artistic look of the animated series, The Batman.  The stories consist of:      

Issue # 11 (Man of Service): The Penguin aggressively targets both the Dark Knight and Bruce Wayne in his latest scheme, as a high-profile umbrella art exhibit falls under attack.

Issue # 12 (Break-In at Gotham Central): Jailing Bane’s creator, Lopez, the Gotham City Police Department (GCPD) is under siege from Bane.  Batman & GCPD detective Ellen Yin try to stop him.  

Issue # 13 (Prowler): In the first half of a two-parter, Batman & Catwoman’s latest ‘date night’ finds them stalked by a mysterious cat-like predator.

Issue # 14 (Sands of Time): The conclusion pits Batman, Catwoman, and Ellen Yin against the wrath of Ethan Bennett’s monstrous Clayface.

Issue # 16 (Hit and Run): A carjacked Batmobile sets up a three-way showdown between Batman, Ethan Bennett’s Clayface, and the Joker.

Issue # 17 (A Question of Identity): The Riddler threatens to publicly expose Batman’s identity, as the Dark Knight and Detective Yin are in a desperate race to thwart him.

Issue # 18 (The Greenhouse Effect): Batman & Batgirl’s new tag team faces off against Poison Ivy.

REVIEW:

For fans of the animated series, this volume’s unremarkable visuals won’t be a deterrent.  In terms of the writing, these re-imaginings of the Penguin, Clayface, Bane, and Poison Ivy earn points for creativity.  As in the animated series, only the lukewarm Joker is a disappointment — beyond a ridiculously hipper look, his revised persona resembles more of a goofy (and cheap) knock-off of Batman’s greatest foe. 

Otherwise, this volume is modestly entertaining for the pre-teen crowd, as none of the tales are weaker than the others.  This kid-friendly version of Batman meets all expectations, as supporting appearances from Alfred, Ellen Yin, and Batgirl also prove well-played.  For young Bat-fans, with plenty of reading material, The Batman Strikes! Vol. 3: Duty Calls is a safe choice for parents.  

ADDITIONAL CONTENT:

There is a two-page cover gallery: specifically, # 11 (Jeff Matsuda & Dave McCaig); # 12 (McCaig); # 13 (Christopher Beatty; Terry Beatty; & Heroic Age); # 14 (McCaig); # 16 (McCaig); # 17 (McCaig); and # 18 (Matsuda & McCaig), which doubles as the paperback’s cover image.

BRIAN’S ODD MOON RATING:                   6 Stars

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BATMAN ’66 MEETS MR. STEED & MRS. PEEL (DC Comics/Boom! Studios crossover)

Written by Ian Edginton

Art by Matthew Dow Smith; Wendy Broome; Jordie Bellaire; Carrie Strachan; & Wes Abbott

Cover Art by Michael Allred & Laura Allred

SUMMARY:

In 2016, DC Comics and Boom! Studios team the 1960’s two most iconic TV crime-fighting partnerships: Batman & Robin and the U.K.’s The Avengers in a six-issue mini-series.  Their 144-page collaboration was then released as a trade paperback in 2017. 

At a Gotham City museum, Bruce Wayne and British industrial heiress Michaela Gough witness a brazen attempted theft by Catwoman’s crew of the invaluable White Star Diamond on loan from England.  Intervention by British Secret Service operatives John Steed and Emma Peel thwarts the near-heist.  A greater mystery unfolds once an army of upgraded Cybernaut androids descends on the Batcave.  Linking these well-dressed robot thugs to Lord Ffogg and Mr. Freeze, the Dynamic Duo joins their new British allies for a climatic showdown in England.

Notes: Presumably, for legal purposes, the only time The Avengers TV series is referenced by name is on the title credits page.  The name of ‘Michaela Gough’ is evidently an in-joke referring to actor Michael Gough’s ‘Alfred’ in four Bat-movies (1989-1997).

REVIEW:

In theory, this crossover implies intriguing potential, as these TV franchises should have easily meshed.  Yet, writer Ian Edginton’s sub-par script falls short of even modest expectations.  His sole highlight is an obligatory fashion comment from Julie Newmar’s Catwoman re: Mrs. Peel’s own black cat-suit. 

Instead of recruiting an ideal Bat-villain (Joker, Riddler, or Penguin) to get his naughty paws on Cybernauts and/or possibly present a Batgirl/Emma Peel team-up, Edginton opts for the ultra-bland tandem of Lord Ffogg and Mr. Freeze.  Seriously?  Hence, Catwoman’s brief cameo is a mere afterthought, as far as including an A-list Bat-villain. 

To define the story’s ineptitude, try this preposterously campy plot twist.  Specifically, an undercover Batman & Robin arrive in England (dressed as Bruce Wayne & Dick Grayson, no less) under false identities sporting only phony pencil moustaches.  How no one doesn’t easily deduce the Dynamic Duo’s secret identities isn’t addressed, especially as Batman & Robin stupidly identify themselves aloud over and over again.  A

similar gaffe applies to a villain’s earlier pinpointing of the Batcave’s location without drawing any obvious inferences re: stately Wayne Manor.  There’s some minor compensation when yet another familiar somebody does plausibly deduce the Caped Crusader’s secret identity — yet, any faint hope this twist might boost Edginton’s storytelling quickly evaporates.

If one is assuming surefire visuals will compensate for mediocre plotting, then readers are out of luck.  Further squandering this project is the art squad’s shockingly poor watercolor visuals.  Case in point: far too few panels (i.e. a Batman image on page 38) remotely resemble anything big-league caliber.  Considering the artistic resources available to DC Comics and Boom! Studios, why such an amateurish creative style was deployed defies common sense.  Frankly, the vast majority of this book’s visuals shouldn’t have been released. 

Low-grade in virtually every aspect, Batman ’66 Meets Steed and Mrs. Peel is an atrocious tag-team effort from Boom! and DC.  Its sole redemption is that this book is kid-friendly, even if young Bat-fans will likely deem it an instant bore. 

ADDITIONAL CONTENT:

Broken into twelve chapters (per the mini-series’ digital form), this book has a table of contents.  Included are full-page cover reprints by Michael Allred & Laura Allred, which are a welcome improvement over the shoddy interior artwork.  An extra variant cover for Issue # 1 by artist Cat Staggs offers nice photo-realistic visuals of actors Adam West, Burt Ward, and Julie Newmar (as Batman, Robin, and Catwoman).  Yet, this same standard doesn’t apply to Patrick Macnee’s John Steed and Diana Rigg’s Emma Peel.  Instead, their scowling faces are inexplicably skewed.    

Of the full-page watercolor portraits showcasing the story’s pivotal characters, the art quality descends from good (Batman and Steed) to inexcusable (Mrs. Peel, Michaela Gough, and Catwoman).  Suffice to say, the Peel, Gough, and Catwoman portraits are early elementary school quality.  Yet, Matthew Dow Smith’s four-page character design gallery (Batman; Robin; Batgirl; Steed; Catwoman; and Mrs. Peel) preview actor likenesses better than the final product.  In this instance, Dow Smith’s take on conveying Macnee’s Steed is actually pretty good.

BRIAN’S ODD MOON RATING:                     2½ Stars

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BATMAN & THE SHADOW: THE MURDER GENIUSES (DC Comics/Dynamite Entertainment crossover)

Written by Scott Snyder & Steve Orlando

Art by Riley Rossmo; Ivan Placencia; Clem Robins; & Deron Bennett

Cover Art & All ‘A’ Covers by Riley Rossmo

SUMMARY:

Released in 2018, this 168-page DC Comics/Dynamite Entertainment crossover compiles its prelude from Batman (Rebirth) Annual # 1 and the complete Batman/The Shadow # 1-6 limited series.  In Gotham City, upon linking the vile homicides of billionaire Barry O’Neill and a Arkham Asylum employee named Lamont Cranston, Batman obsessively seeks to bring the long-dead Shadow to justice. 

The Dark Knight suspects the original Cranston somehow faked his death decades before and has now killed his own namesake descendant for some devious motive.  Batman tracks down the Shadow’s surviving allies for possible answers.  Yet, Gotham’s Caped Crusader is stunned to discover murky links to his own past and that of the Wayne Family. 

Once Batman and his quarry call a temporary truce, the diabolical killer known as ‘The Stag’ makes a preemptive strike.   To snare a final victim, the Stag recruits the Joker to help access evil’s answer to Shangri-La — the realm known as Shamba-La.  Mortally wounded, Batman’s only hope is trusting a Golden Age legend, who doesn’t mind using lethal force.  

Note: Also available is a different The Shadow/Batman team-up hardcover by Steve Orlando and artist Giovanni Timpano from 2018.

REVIEW:

Had this book been a DC Elseworlds team-up, Batman and the Shadow’s noir-ish Golden Age worlds should have easily meshed.  That isn’t the case with The Murder Geniuses.  Instead of a grim wartime caper, this story resurrects Lamont Cranston as a 21st Century anachronism ‘overshadowed’ by the present-day Batman.  Squandering its potential, the scripting from co-writers Scott Snyder & Steve Orlando prolongs itself by becoming increasingly contrived.  Case in point: the Shamba-La showdown merely exacerbates the plot’s dual lack of coherency and consistency. 

Primarily, Snyder & Orlando’s loose portrayals of Lamont Cranston’s Shadow and ex-girlfriend Margo Lane are out-of-tune from their established personas.  Short of extreme old age, it doesn’t make sense how the Shadow’s adult cronies (i.e. Margo Lane &  Harry Vincent) could conveniently still be around almost twenty years into the 21st Century. 

Then again, in order to accommodate Batman’s domineering role, it isn’t surprising that this Shadow does his original incarnation little justice (short of the tantalizing possibility of Batman facing off vs. Cranston’s vengeful ghost).    

By portraying the Dark Knight as so vehemently self-righteous and all-knowing in his pursuit of the Shadow, the writing duo fails to properly balance the Batman-Shadow pendulum.  Part of this gaffe involves far too much linking of a skeptical Batman’s past to the Shadow.  Instead of a few discreet inferences, Snyder & Orlando opt for overkill.  Their retroactive angle for the Shadow as Batman’s ‘secret’ mentor invariably proceeds to backfire.  Hence, Batman’s seemingly fatal injury becomes a mystical cop-out instead of a satisfying finish.

Further, the Joker’s presence merely exploits an obligatory Batman/Shadow vs. Stag/Joker tag match.  In that sense, The Murder Geniuses is paint-by-the-numbers.  While the Bat-villains make a collective cameo, no explanation is given re: why the abundant Bat-Family isn’t available. 

In this scenario, when a rightfully-worried Alfred makes an emergency call — where is Catwoman? Damian Wayne’s Robin? Batwoman? Nightwing?  The Justice League? etc.  Instead, readers are left to swallow Alfred’s judgment that only Commissioner Gordon’s cops can save Batman.  To the writers’ credit, some dangling plot threads (i.e. What is the Shadow’s enigmatic link to the Wayne Family? What other Bat-characters might have the Shadow impersonated?) are left for another time.

As compensation, the art team’s neat visuals are above-average.  The top-caliber covers and multiple variants provide the book’s best asset.  By favoring style over substance, this book’s artwork only disguises a litany of plot holes so much.  It’s as if far more time and effort was spent on devising cool cover images than problem-solving an undercooked storyline.

ADDITIONAL CONTENT:

All the covers and variants are included in a full-page format.  Artists Tim Sale & Brennan Wagner provide the ‘B’ covers for all six issues.  The alternate ‘C’ cover artists are: Cliff Chiang (Issue # 1), plus an extra unused cover from Riccardo Federici; Chris Burham & Nathan Fairbairn (Issue # 2); Edward Risso (Issue # 3); Steve Epting (Issue # 4); Francesco Mattina (Issue # 5); and ‘Jock’ (Issue # 6).

BRIAN’S ODD MOON RATING:                      5½ Stars

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BATMAN & ROBIN ADVENTURES, VOLUME 3 (DC Comics)

Written by Ty Templeton; Hillary J. Bader; & Kelley Puckett

Art by Bo Hampton; Brandon Kruse; Joe Staton; Terry Beatty; Rich Burchett; Stan Woch; Lee Loughridge; Linda Medley; Timothy Harkins; & Albert Tobias De Guzman

Cover Art by Ty Templeton

SUMMARY:

Released by DC Comics in 2018, this 240-page trade paperback consists of Batman & Robin Adventures # 19-25 and Annual # 2 (all from 1997).  Primarily written by Ty Templeton, these eight Bat-tales inspired by Batman: The Animated Series are:

  • Issue # 19: Duty of the Huntress.  A grief-stricken Helena Bertinelli is among the few survivors from a mob massacre at a family party in her honor.  Vengefully pursuing justice as the masked Huntress, Helena relies on her late father’s secret journal for guidance.  The Dynamic Duo try to contain a desperate Helena, as her vigilantism may prove more dangerous than she realizes.
  • Issue # 20: Through the Long Night.  Batman & Robin pursue a cache of deadly guns.  Meanwhile, the Gotham City Police Department (Harvey Bullock among them) has an ongoing betting pool re: how many goons the Dynamic Duo will nab that night.
  • Issue # 21: Why Is a Raven Like a Writing Desk?  With Batman temporarily out of town, it’s up to Batgirl (Barbara Gordon) to decipher some baffling clues one night to rescue her abducted dad from the Riddler.
  • Issue # 22:  Fifty Fifty.  Batman & Robin search for a kidnapped and partially-reformed Two-Face, who is using a temporary coin to make his ominous heads-or-tails decisions.  When a bloodthirsty gangster’s thugs threaten a mutual female friend of Harvey Dent & Bruce Wayne, the Dynamic Duo ultimately finds out that Two-Face has some unexpected tricks up his sleeve.
  • Issue # 23: Crocodile Tears.  Gotham reporter Summer Gleeson nonchalantly badmouths the Dynamic Duo on television while expressing less-than-sincere sympathy for Killer Croc.  She doesn’t realize that the fugitive Croc now has a romantic crush on her.   
  • Annual # 2: Token of Faith.  In a sequel to the animated episode, Zatanna, the Dynamic Duo faces the decrepit Hypnotist (a forgotten adversary from Bruce’s past) when a mystical amulet is stolen from Wayne Manor.  To recover the amulet, Batman contacts the Hypnotist’s next likely target: Zatanna Zatara.  Remembering their youthful past together, it’s up to Batman & Zatanna to rely on her late father’s tutelage to thwart the Hypnotist.
  • Issue # 24: Touch of Death.  Batman contends with Poison Ivy and ominous government agents who are pursuing Ivy’s new acquaintance: a young boy, whose skin exudes a lethal chemical. 
  • Issue # 25: Demon in the Sky.  Claiming to have tapped into the massive power of an alien flying saucer, Ra’s Al Ghul forces an injured Batman & Robin to pursue him to the edge of Area 51 and potentially beyond to stop his latest global destruction scheme.    

REVIEW:

As expected, these mostly kid-friendly stories adhere to the visual style of the cartoon series.  Yet, as a parental heads-up, there’s a rare glimpse of mass murder and blood on the opening page of the Huntress tale.  Of these eight stories, it’s impressive that they all could have inspired excellent TV episodes. 

While Token of Faith, Why is a Raven Like a Writing Desk?, and Fifty Fifty are this collection’s best tales, Through the Long Night scores re: Bullock’s inept efforts at cheating on his squad’s betting pool.  Also, Crocodile Tears makes for an unusual read, as both Killer Croc and Summer Gleason take surprising turns.  As for the biggest surprise, Demon in the Sky shifts Batman’s long-standing feud with Ra’s Al Ghul into a previously-unexplored direction re: a purported UFO encounter.

Extra credit goes to writer Ty Templeton for some terrific cover art, as he is the primary asset for making this book as entertaining as it is.  Batman & Robin Adventures, Vol. 3 proves a real winner for Bat-fans.  

ADDITIONAL CONTENT:

Full-page renditions are included of the covers by Ty Templeton (Issues # 19-25) and by Joe Staton & Terry Austin for Annual # 2.  A random image from the book’s various stories add an extra decoration to mark the beginning of the next tale.

BRIAN’S ODD MOON RATING:               8 Stars

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BATMAN: BROKEN CITY (DC Comics)

Written by Brian Azzarello

Art by Eduardo Risso; Clem Robins; Patricia Mulvihill; & Dave Johnson

SUMMARY:

Collecting Batman # 620-625 (from 2003-2004), this 144-page paperback was published by DC Comics in 2004.  Suspected of setting up Killer Croc’s vicious murder-for-hire of his own sister, elusive Angel Lupo is Batman’s latest obsession.  Shaking down the likes of Croc, the Ventriloquist, and the Penguin, the Dark Knight’s judgment is further impaired by the gunshot double-homicide of two parents in an alleyway, leaving a catatonic young boy behind. 

Haunted by nightmares of his own childhood tragedy, Batman is convinced that Lupo will kill to escape, despite some evidence to the contrary.  Not only must the Dark Knight survive the bloody onslaught of new Gotham thugs, ‘Fatman’ and ‘Little Boy,’ he is hard-pressed to hunt down Lupo first before others gunning for him do.  Chance clues from Gotham City police detective/pre-Spectre Crispus Allen and even The Joker may convince Batman that he has made a fatal series of misassumptions

REVIEW:

Gritty and grimy, Broken City justifies its bleak title — Batman’s Gotham City is depicted as an urban noir cesspool (complete with murky deluges of rain).  Justifying deliberately grotesque artwork, Brian Azzarello’s vile storyline is even uglier.  Beginning with Batman’s heavy-handed narrative, it’s evident that Azzarello is pushing Bat-noir far too hard. 

For instance, Azzarello’s Dark Knight spends excessive time conversing with his sleazy informants (that is, when he isn’t beating intel out of them).  There’s a hint of dark humor re: Croc’s ruined dentures, but it isn’t sufficiently explained why Batman defeating Croc is so utterly routine.  Also, Batman endures some bloody poundings from rookie tag team, ‘Fatman’ and ‘Little Boy.’  What isn’t satisfying is Azzarello’s failure to reveal exactly how an outmatched Batman reciprocates. 

Without divulging a total spoiler, one plot twist involves a partially-eaten homicide victim who was pregnant.  While this grisly detail supposedly sends Batman after the right suspect, Azzarello’s creative indiscretion is what readers should find highly suspect.  Let’s just say another late twist re: why Scarface and The Ventriloquist want Lupo dead makes one ponder how a highly implausible ‘love connection’ could have ever occurred.  Even as an intriguing development for a regular Bat-villain, Azzarello hardly makes a convincing case justifying another icky sub-plot.

One final twist, however, is worthy of a Law & Order TV episode.  Despite all the unrepentant sleaze leading up to this shocker, it still achieves a haunting effect.  The problem is that Azzarello doesn’t necessarily give Batman enough clues to make this last deductive leap.  Instead of peddling an unnecessary Joker scene, Azzarello should have indicated that Batman’s personal insight finally kicks in.  Sadly, this chilling double-homicide sub-plot is an all-too-realistic allusion to domestic violence (and easy access to guns).     

Hence, what’s intriguing re: Broken City is how Batman’s erroneous investigation has other players game his incorrect suspicions into a killing spree.  The storyline’s only worthy contribution to the Bat-mythos is a variant on Bruce Wayne’s traumatic nightmares over losing his parents. 

To Azzarello’s credit, he ingeniously doesn’t reveal the three hurtful words that young Bruce shouts at his parents shortly before their tragic deaths.  Any parent who remembers childhood can likely deduce what spiteful words are coming out of a child’s crushed feelings.  Otherwise, Batman-Meets-Law and Order: SVU is the closest approximation one can make to Azzarello’s sleazy effort to meld the Dark Knight with gritty Mickey Spillane-style noir.

ADDITIONAL CONTENT:

Former Batman Editor Bob Schreck provides a single-page introduction.  Another single page gives biographical synopses for Azzarello; Risso; Robins; Mulvihill; and Johnson.  Although not acknowledged as a cover gallery, all six of Johnson’s stylishly noir, full-length covers conclude this book.   

BRIAN’S ODD MOON RATING:                        2 Stars

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BATMAN: JOKER’S ASYLUM (DC Comics)

Written by (See Credits Below)

Art by (See Credits Below) & Lettering by Rob Leigh

Cover Art by Jason Pearson

SUMMARY:

Released in 2010 by DC Comics, this 126-page paperback showcases the five Joker’s Asylum one-shots of 2008.  The Arkham Asylum rogues profiled are: the Joker, the Penguin, Poison Ivy, Scarecrow, and Two-Face, with Batman in a supporting role in these grim Gotham City noir tales.  As the Joker gleefully plays master-of-ceremonies from his cell, the stories are:

  • The Joker: The Joker’s Wild! (Writer: Arvid Nelson and Artists: Alex Sanchez & Jose Villarrubia).  The Joker commandeers a televised game show and takes its live audience hostage.  As the program’s unpredictable new host, he divulges the ‘real’ human monsters behind-the-scenes.    
  • The Penguin: He Who Laughs Last …! (Writer: Jason Aaron and Artists: Jason Pearson & Dave McCaig).  Buffered by a flashback of young Oswald Cobblepot’s retaliation against a cruel prom-related prank, the present-day Penguin enjoys a flourishing relationship with a grateful young woman he frees from captivity.  Yet, his dark propensity for avenging personal slights may well come into play.
  • Poison Ivy: Deflowered! (Writer: JT Krul and Artist: Guillem March).  Targeting a trio of sleazy Gotham businessmen, serial killer Poison Ivy isn’t deterred by Batman’s relentless pursuit.  
  • Scarecrow: Dark Knight of the Scarecrow (Writer: Joe Harris and Artist: Juan Doe).  A cruel high school clique’s  sex-laced parlor game targets one of psychiatrist Jonathan Crane’s young female clients.  As his nefarious alter ego, the Scarecrow aids her retaliation.
  • Two-Face: Two-Face, Too! (Writer: David Hine and Artists: Andy Clarke & Nathan Eyring).  Similarly disfigured as Two-Face, an ex-firefighter naively reaches out to Harvey Dent.  Declining this offer of friendship, Dent abducts his would-be savior and his innocent spouse for a deadly game of torture.

REVIEW:

The best way to describe this wicked concept is pitching the Joker as DC’s answer to Tales from the Crypt’s Crypt Keeper. Make no mistake: DC Comics irresponsibly fails to identify Joker’s Asylum for adults only, especially how its grisly content glorifies evil. 

Unlike the hideous-looking “The Joker’s Wild!,” the four subsequent visual styles are surprisingly good to varying degrees.  However, it’s the gutter-level tripe passed off as macabre fun that merits far greater scrutiny.   Depicting the least amount of violence, “The Joker’s Wild!” is closest to a Tales from the Crypt-style TV tale since an ironic ‘moral’ comes into play.  Telegraphing its own cleverness, Arvid Nelson’s contrived Joker fable is a dubious sign of things to come.

Enhanced by excellent visuals, the Penguin love story’s ambiguity falls short of its potential.  If read straightforward, one should notice a close resemblance between present-day ‘Violet’ and the flashback’s conceited ‘Allison.’  Yet, writer Jason Aaron doesn’t acknowledge this obvious visual element — not even by Penguin simply acknowledging that Violet looks like someone he once knew. 

Considering that Violet’s fate is telegraphed, one might construe that this cruel episode is merely playing out in the Penguin’s imagination. If so, then the Penguin is merely foreseeing the bleak outcome, should he ‘rescue’ the enigmatic Violet from underworld human trafficking.  By that interpretation, the Penguin’s ambivalent psyche delivers this compilation’s most sophisticated story. 

There’s nothing remotely subtle about Poison Ivy’s “Deflowered!”  The book’s best artwork doesn’t disguise scantily-clad sleaze sensationalizing Ivy’s serial killing scheme.  Including Ivy’s impersonation of a prostitute, her gratuitous mayhem is the equivalent of Batman guest-starring in a porno/slasher flick.  Had Ivy’s over-sexualized look been toned down, JT Krul’s plot might have worked better.  Since the Joker relates this story, one infers that he knows of Batman’s secret identity, Alfred, and the Batcave.  Despite this inexplicable plot hole, Batman’s interactions with Alfred and Commissioner Gordon are perhaps this gruesome story’s only redeemable asset.      

Describing the final two stories, they’re merely a ghoulish excuse for barrel-scraping Bat-entertainment.  For instance, in spite of excellent work by Andy Clarke and Nathan Eyring illustrating Two-Face’s segment, there isn’t an iota of taste, plotting-wise.  Just look at the last page as a reprehensible creative choice dumped on readers. 

Considering far lesser degrees of depravity that DC Comics might have deployed (i.e. a witty Riddler caper, had he been included), The Joker’s Asylum opts for vile and misogynistic content for no justifiable reason.  Wasting good artistic talent, this depraved compilation gladly exploiting Batman’s villains as unrepentant psychotics is pure trash from DC Comics.   

ADDITIONAL CONTENT:

Full-page reprints of all five covers are included.  Two full-page images of The Joker’s wicked facial reactions staring through his cell door finish this book.

BRIAN’S ODD MOON RATING:                      1 Star

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CHRIS EVANS AS MARVEL’S CAPTAIN AMERICA (FUNKO BOBBLEHEAD STATUETTE)

SUMMARY:

In homage to actor Chris Evans’ Captain America from Marvel’s live-action Avengers films and his own three movies, this Funko bobblehead was released in 2016.  It is the standard Funko size (about 3.75 inches tall).     

REVIEW:

Included the standard Funko black button eyes, this Captain America’s costume detailing is dynamite.  As seen in the photo below, the familiar shield is worn on his back.  Durable and well-manufactured in hard plastic with a spot-on paint job (even down to his fingerless gloves), this star-spangled Avenger makes for a fun desk or bookcase decoration.  Considering all factors, this virtually-flawless Funko makes a stellar addition for any Captain America collection.      

BRIAN’S ODD MOON RATING:                9 Stars

Categories
LEGO MARVEL-Related Movies & Television (Videos) Toys & Games

LEGO 30447 CAPTAIN AMERICA – CIVIL WAR: CAPTAIN AMERICA’S MOTORCYCLE (LEGO Set)

SUMMARY:

Released in 2016 to promote Captain America: Civil War, this set comes with 25 pieces, one mini-figure (with shield), and an instruction pamphlet.  It’s recommended for ages 6-12.

REVIEW:

Starting with the mini-figure, it’s still the easiest way to get Chris Evans’ Cap.  It has nice printing, yes, but printing flesh tone onto dark blue can go either of two ways: it turns out to be a pale white or a dark tan. This figure has the latter, and it feels a little out of place when stacked up against other figures. Besides that and some stellar torso printing, there’s no arm printing, no leg printing, or alternate face,  but this figure still gets the job done.

The motorcycle is actually one of the rare times that LEGO hasn’t sized it up a few scales. The bike is roughly to scale with the mini-figure.  It comes with a sidecar to hold onto Captain America’s shield and a flick fire missile.  It’s a convenient way to get LEGO’s Captain America, so, for that objective alone, this set isn’t too shabby. Where this one lacks is its build.  Oddly, this wave included two other motorcycles in this scale, so why would anyone really need a third?

BONUS FEATURES:

None.

ROSCOE’S ODD MOON RATING:                      6 Stars

Categories
LEGO MARVEL-Related Movies & Television (Videos) Toys & Games

LEGO 30453 CAPTAIN MARVEL: CAPTAIN MARVEL IN KREE UNIFORM & NICK FURY (LEGO Set)

SUMMARY:

Released in 2020, this polybag contains 32 pieces, two mini-figures, and instructions.  It’s recommended for ages 6 and up.

REVIEW:

Looking at the mini-figures, this set comes with a re-released Nick Fury and a re-colored Captain Marvel.  Suffice to say, Fury looks good, though not really like Samuel L. Jackson.  The same applies for Brie Larson’s re-colored Captain Marvel. Her hairpiece doesn’t match the movie, and the face is very generic.  The supposed build is a phone booth-looking thing. It’s quite bluntly awful and feels like a rushed add-on for an already unnecessary polybag. 

Though it’s a convenient way to get both Nick Fury and Captain Marvel, this set coming out in 2020 isn’t timely, as the film came out the year before. With no extra hype around this ‘deluxe’ polybag, it stands to reason that it was put on shelves to help advertise another Captain Marvel set rather vs. being a selling point itself.

BONUS FEATURES:

None.

ROSCOE’S ODD MOON RATING:                   6 Stars