Category: DC’s Hardcovers & Trade Paperbacks

Written by Joel Rose & Amos Poe

Art by Tayyar Ozkan

SUMMARY:

Published as the 94-page black-and-white conclusion of the La Pacifica trilogy, it was released by Paradox Press (a DC Comics imprint) in 1995.

Arriving in New York City, motel owner Don Cooper’s persistence pays off, as he finally locates the elusive Holly Stone as a Bloomingdale’s salesgirl.  He wants answers from this ex-girlfriend of the deranged culprit who recently slaughtered seventeen guests at Cooper’s idyllic La Pacifica motel in California.  Despite suspecting her true nature, Cooper’s libido succumbs to a steamy affair with Holly. 

Confronting Holly with her shadowy past, Cooper’s worst fears are realized once she tries to manipulate him into killing her alleged stalker.  He barely evades her demented knack for corrupting ordinary guys into potential killers trying to ‘protect’ her.  When he and girlfriend Libby learn that Holly/Molly is ominously coming to see him, it appears their bloodthirsty game isn’t over just yet.   

REVIEW:

It’s contemporary noir, complete with hardcore profanity-laced dialogue.  Though this suspense thriller resembles a movie, Sucker’s End is still a R-Rated cliché-fest.  Between the seemingly well-intentioned protagonist whose obsession is betrayed by his own impulses and a sultry, identity-shifting mystery girl, one will readily smell the inevitable swerve coming. 

The rugged Don Cooper represents the kind of roles that Al Pacino, Tom Berenger, and Michael Douglas have personified on-screen for years.  As for the manipulative Holly/Molly, she relies on the same sleazy playbook previously utilized by femme fatales personified by actresses like Kathleen Turner, Linda Fiorentino, Sharon Stone, and Ellen Barkin.  Still, if contemporary casting means anything, Thomas Jane would make an ideal Cooper, and Jennifer Lawrence could readily pass for Holly/Molly. 

Yet, the real non-surprise is how the only likable character (Cooper’s girlfriend, Libby), has far too little to do, even in the finale.  It’s the book’s biggest detriment — neither of the two leads endear themselves to readers, thus making their ultimate fates all the more meaningless.  It’s unfortunate, as the narrative of Sucker’s End is occasionally intriguing. 

The choice of gritty black-and-white visuals makes perfect sense, but this book’s mediocre artwork leaves readers with close to a zero impression.  Despite its basic potboiler elements, the Cooper vs. Holly/Molly feud falls far short of contributing anything new to this genre.     

ADDITIONAL CONTENT:

The front inside cover summarizes the first two volumes of the La Pacifica storyline.

BRIAN’S ODD MOON RATING:                    3 Stars

Written by Grant Morrison

Art by Yanick Paquette; Chris Burnham; Michael Lacombe; Scott Clark; Cameron Stewart; Dave Beaty; Pere Perez; Nathan Fairbairn; John J. Hill; Patrick Brosseau; Dave Sharpe; Sal Cipriano; Frazer Irving; David Finch; Scott Williams; Michel Lacombe; & J.H. Williams III

SUMMARY:

Published in 2012, this 264-page compilation reprints the original Batman, Incorporated # 1-8 and Batman, Inc.: Leviathan Strikes! from 2010-2011.  Upon Bruce Wayne’s return, he recruits a worldwide network of Batmen at his command.  Shockingly, Wayne sets himself up as Batman, Inc.’s public sponsor. 

A globe-trekking Batman and numerous guest stars confront the forces of evil in Japan; France; Argentina; the American Southwest; Australia; and Africa to enforce that the real Dark Knight is back.  As Bruce’s nightmarish premonition has forewarned him, his Bat-franchise seeks to save the world from the Leviathan terrorist group.     

• Episodes 1 & 2: “Mr. Unknown is Dead” and “Resurrector.”

In Tokyo, Batman & Catwoman’s recruitment of Mr. Unknown sets up a showdown vs. the diabolical Lord Death Man and his skeleton-clad goons.  Aquazon of DC’s Japanese super-team (the Super Young Team) makes an appearance.   

• Episodes 3, 4, & 5: “Scorpion Tango,” “The Kane Affair,” & “Master Spy.”

Bruce goes solo in Buenos Aires to recruit El Gaucho.  Teaming with Cimarron of Super-Malon (Argentina’s Justice League), the heroes confront two ruthless desperadoes (El Sombrero & Scorpiana), who are holding three blind children as hostages.  El Gaucho’s secret linking him to the long-dead Silver Age Batwoman makes it a personal grudge for Bruce.  Kate Kane’s Batwoman & the U.K.’s Hood join in against an enigmatic villain known as Doctor Dedalus. 

• Episode 6: “Nyktomorph.”

In Africa, Bruce listens in as Batwing disrupts a Leviathan recruitment of children with guns.  Back in Gotham City, Batman has two game plans: one re: the public’s perception of Batman Inc., and the other for his Bat-allies on thwarting Leviathan.  In Paris and Australia, Batman recruits the Nightrunner and the new Dark Ranger.  Meanwhile, villainous entrepreneur Joe Average schemes a counter-assault against Batman, Inc.

• Episode 7: “Medicine Soldiers.”

In the American Southwest, Native American father-and-son crusaders, Man-of-Bats and teenage Raven, need Batman’s help against covert Leviathan forces. 

• Episode 8: “Nightmares in Numberland.”

Featuring Matrix-like cyberspace graphics, Batman teams with Oracle (appearing as a Batgirl avatar) to halt a terrorist takeover of Wayne Enterprises’ computer system.  Might they also link Bruce’s treacherous ex-girlfriend, Jezebel Jet, to Leviathan?

• Episode 9: “Leviathan Strikes!, Chapter 1: The School of Night.”

An undercover Stephanie Brown (Batgirl) has infiltrated the overseas St. Adrian’s Finishing School for Girls, as it’s another Leviathan shopping center.  With Batman’s help, Stephanie must face Johnny Valentine (aka the bloody Son of Pyg) and the school’s mastermind, Miss Hexley.  A cryptic hint is dropped re: Leviathan’s identity. 

• Episode 10: “Leviathan Strikes!, Chapter 2.”

As Oracle deploys some robotic back-up, Batman; Dick Grayson’s Batman; Red Robin; and Damian Wayne’s Robin are under siege at Doctor Dedalus’ base.  As Batwing deduces the truth behind Leviathan, the Bat-squad realize that their attackers are brainwashed Batman Inc. operatives. 

Aboard Leviathan’s orbiting satellite, the Outsiders face an explosive confrontation against Lord Death Man. The fates of Batwing and the Hood are also ultimately at stake.  Declaring all-out war on a stunned Batman, Leviathan’s mastermind is revealed.  Even Dick and Damian are chilled at the voice they instantly recognize.

REVIEW:

Considering that writer Grant Morrison’s epics often are wildly hit-or-miss, this one isn’t a grand slam, but it’s akin to a triple.  Not only does Morrison coherently pack this saga with guest stars galore, he devises a series of plot twists that mostly make sense.  The art team’s varying styles capably enhance this complex storyline, including sporadic instances of excessive gore (i.e. the Mr. Unknown caper).  Even that segment’s shock value works to Morrison’s advantage.   

However, Morrison’s pacing is muddled at times, as evidenced by the El Gaucho-Batwoman-Hood three-parter.  In the final segment (Chapter 2 of “Leviathan Strikes!”), he crams far too much plot, back story, and ulterior motives into too little space, making it difficult for readers to keep up. 

The other episodes are mostly self-contained, easy to read, and are well-played in terms of ongoing continuity — with one exception.  “Nightmares in Numberland” is Batman’s bewildering answer to The Matrix and Tron films.  At least its utterly dazzling artwork is consolation for a confusing story.  Still, Morrison finds some neat ways to make this cyberspace tale a worthwhile entry in this collection. 

Among the assorted guest stars, only Dick Grayson’s now-redundant Batman is a letdown, as he makes so little impact.  Dick, unfortunately, is instantly demoted back to sidekick due to Bruce’s overwhelming presence.  Not once does Dick or any of the other Bat-characters defy Bruce’s outright dominance, as only Catwoman dares to challenge him as an equal.  Without prior knowledge of Morrison’s previous Batman storylines, this convoluted book would be difficult to jump into.  Still, for long-time DC readers, Morrison’s complex work is worth catching, if only to witness Batman, Inc. in action. 

Ultimately, this pre-Flashpoint saga delivers a vintage Batman saga, no matter how many Robins, Batgirls, and foreign-nation Batmen comprise the Dark Knight’s army.

ADDITIONAL CONTENT:

In addition to the covers (and variant covers), there is an additional eighteen pages, including: a picture gallery and synopses of the guest heroes and villains; sketch artwork from this storyline; and preliminary sketches of possible covers.

BRIAN’S ODD MOON  RATING:                8 Stars

Written by Brian K. Vaughan

Art by Karl Story; Roberta Tewes; John Costanza; Rick Burchett; John Lowe; Jason Wright; Scott Kolins; Dan Panosian; Drew Geraci; Pam Rambo; Marcos Martin; Mark Pennington; Tom McCraw; & Tim Harkins

SUMMARY:

Re-released by DC Comics in 2017, this 160-page collection reprints earlier work from Brian K. Vaughan: specifically, Batman # 588-590; Detective Comics # 787; Wonder Woman (2^nd Series) # 160-161; and a Skeleton intro from Batman: Gotham City Secret Files # 1. 

First up is the “Close Before Striking.”   Nightwing is stunned that an oddly-behaving Batman years ago siphoned his ‘Matches’ Malone underworld alias off a small-time arsonist-for-hire, who evidently committed suicide.  Yet, a vengeful Scarface and the Ventriloquist put a hit out on Malone, not realizing that the real ‘Matches’ is back in town.  Seeking atonement for rookie mistakes, Batman’s vengeance blurs even his own mind, as to his true identity.

“Mimsy Were the Borogoves” has Batman seeking to rescue an abducted Arkham Asylum psychiatrist whom the Mad Hatter intends to transform into a Lewis Carroll-inspired monster dubbed ‘The Jabberwock.’  Worse yet, this dragon-like creature possesses DNA from Killer Croc; Solomon Grundy; and Man-Bat. 

In “A Piece of You,” Wonder Woman & Donna Troy pursue Clayface to regain a stolen portion of magical clay that created Diana’s essence.  The finale is “Skullduggery.” The mysterious ‘Skeleton’ reveals that he/she will impersonate various Bat-villains in a very personal scheme bent on destroying close friend Bruce Wayne.     

Note: This book was previously released by DC Comics as False Faces, as both a 2008 hardcover and a 2009 trade paperback.

REVIEW:

Beyond the deceptive cover implying a Batman/Wonder Woman cross-over, this compilation is a hodgepodge.  Though the artwork for “Close Before Striking” is underwhelming, the storyline compensates by revealing that Batman’s psyche is more fragmented than previously known.  The idea that one of his rookie mistakes sets up a tragic homicide years later offers some ingenious storytelling.  Even if it’s ultra-contrived that the real ‘Matches’ Malone would resurface, Vaughan’s compelling take on Batman as more indomitable than omniscient is still well-played.

Reasonably good artwork for the Mad Hatter tale was evidently inspired by Batman: The Animated Series.  It isn’t a coincidence that “Mimsy Were the Borogroves” would have made a decent TV episode, with the exception for part of one sequence.  Vaughan’s omission of what four words Batman ominously taunts an unidentified Arkham Asylum female psychiatrist with is evidently a naughty enigma that readers will never know.  Still, one can make a reasonable conjecture, as her boast of once giving the Joker a sponge bath may be a ghoulish hint.

The five-page “Skullduggery” is an unfortunate misfire.  Having a Chameleon-like rogue impersonate the Joker, the Riddler, and Mr. Freeze, in theory, sounds like an inspired idea.  Yet, this villain’s ‘motive’ is far too much of a cliché, as Jason Todd’s Red Hood and Tommy Elliot’s Hush are already close ex-associates of Bruce Wayne seeking vengeance – one might even ponder if the Skeleton is really either Todd or Elliot.  Another detriment is that the Skeleton’s mass destruction antics (especially, as the Joker) are excessive.  Still, the neat artwork makes an impressive contribution to this quick tale.

“A Piece of You” wins this book’s best-story prize for its combo of capable artwork and a fun Wonder Woman/Donna Troy team-up.  Considering its circumstances, Vaughan’s concept of pitting Wonder Woman vs. a monstrous Clayface is a gem.  Bat-cameos from Nightwing & Robin are a nice bonus, too.  Ultimately, Vaughan’s storytelling is entertaining, but these tales aren’t memorable enough to justify getting a copy of this showcase.

ADDITIONAL CONTENT:

There is the 2007 two-page introduction from Vaughan himself, fairly analyzing his own work.  Five of the six covers are included: Scott McDaniel & Patrick Martin (for Batman # 588-590); Tim Sale & Mark Chiarello (for Detective Comics # 787); and Adam Hughes (for Wonder Woman # 160-161). 

BRIAN’S ODD MOON RATING:                 6 Stars

Written by Tom King

Art by Mikel Janin; Joëlle Jones; Travis Moore; Hugo Petrus; June Chung; Jordie Bellaire; Guilia Brusco; & Clayton Cowles

Cover Art by Joëlle Jones & Jordie Bellaire

SUMMARY:

Released by DC Comics in 2018, this 168-page collection after DC’s Rebirth imprint consists of Batman # 38-44.  Now engaged to Selina “Catwoman” Kyle, it contain some of the Dark Knight’s adventures from earlier that same year.   

• # 38: The Origin of Bruce Wayne.  Art by Travis Moore; Giulia Brusco; with Clayton Cowles, and the cover art by Tim Sale & Dave Stewart.  The grisly double-homicide of young Matthew Warner’s wealthy parents, who were linked to Bruce’s company, leads Batman to suspect an imprisoned Mr. Zsasz.  Yet, as the murders continue, could a different psychotic killer be responsible?   

• # 39-40: SuperFriends (Wonder Woman), Parts 1 & 2.  Art by Joëlle Jones; Jordie Bellaire; & Clayton Cowles, with cover art by Mikel Janín (# 39) and Joëlle Jones & Jordie Bellaire (# 40).  Fulfilling an old promise to the warrior known as “The Gentle Man” from a JLA mission years before, Batman & Wonder Woman temporarily assume his place in an extra-dimensional realm of Gehenna (where mortals don’t age).  They must battle a never-ending onslaught of bloodthirsty monsters.  Unless Selina can intervene, Batman & Wonder Woman might never return.  

• # 41-43: Everyone Loves Ivy, Parts 1-3.  Art by Mikel Janín; June Chung; Hugo Petrus; & Clayton Cowles, with cover art by Mikel Janín.  In the aftermath of The War of Jokes and Riddles, Bruce & Selina awaken to find that Poison Ivy’s mind control has enslaved Earth.  With Ivy in command (and Superman, Supergirl, and Alfred among her pawns), it’s up to the Bat and the Cat to save Earth.  Could a mesmerized Harley Quinn prove Selina & Bruce’s last hope?      

• # 44: Bride or Burglar?  Art by Mikel Janín; Joëlle Jones; June Chung; Jordie Bellaire; & Clayton Cowles, with cover art by Mikel Janín.  Slipping away from Wayne Manor late at night, Selina goes dress shopping, Catwoman-style, by breaking into a high-end bridal boutique.  In search of the purr-fect bridal gown, Selina ruminates over her long history with Batman. 

REVIEW:

Including all the cover images and their variants, this paperback’s visuals are top-caliber.  In that sense, the art team’s commendable effort should make this book worth the price of admission alone.  However, there are ghastly images in the first story, which absolutely merits a parental advisory (DC Comics chose not to provide one).  There’s also a gratuitous and full-page close-up of Bruce’s horribly busted face amidst the Poison Ivy storyline. 

Speaking of which, writer Tom King never explains how a barefoot Bruce instantly recovers from a massive head injury to leap out a hospital window four stories up, bounce off a ground-floor awning, and perfectly land on a waiting Batmobile’s roof (all with an unconscious Harley Quinn cradled in his arms).  In this three-parter’s last scene, Bruce’s face is inexplicably restored, which (unless there was some off-screen magical plastic surgery from Zatanna Zatara) would be impossible. 

Justifying these ludicrous twists as more or less ‘well, he’s Batman,’ is pure cop-out.  The best one might surmise is that somehow, off-screen, Batman has ingeniously devised a ruse to fool Ivy into believing that Superman really messes his face up with a point-blank punch.  Still, this unforced error isn’t King’s worst misjudgment re: this book.

Starting with The Origin of Bruce Wayne, King eerily lifts a similar murder-mystery writer Brian Azzarello devised for Batman back in 2003-2004’s Broken City run.  Beyond mirroring Bruce Wayne’s childhood tragedy, King’s Law & Order-style series of false leads push several reprehensible plot twists past absurdity.  These twists ultimately become so contrived that this book’s first tale is a vile excuse for Bat-entertainment.   

An inevitable ‘will-they-or-won’t-they?’ vibe re: Bruce & Diana permeates SuperFriends, Parts 1 &2.  Yet, their extra-dimensional predicament is beyond ludicrous (yes, they somehow endure 37 years of constant battle against bloodthirsty monsters).  The inspired artwork for Batman & Wonder Woman at least makes this portion of the story readable. Also, some bits King devises for Bruce & Diana’s private dialogue are gems.  Selina’s portion of this tale is poignant and compelling, as she demonstrates why she should be the future Mrs. Batman.

The prolonged Poison Ivy storyline has some inspired moments (particularly in its last chapter).  However, the visuals are much better than King’s contrived scripting.  Primarily, King overplays his hand by inserting Superman, Supergirl, and even three Flashes into the mix.  This three-parter might have been remotely plausible, had Batman & Catwoman been facing their closest allies – hence, cameos from Damian Wayne, Dick Grayson, and Batgirl would have made better sense.  Curiously, with the exception of Alfred and Commissioner Gordon, none of the traditional supporting Bat-cast shows up in this entire book to interact with Selina & Bruce.

Despite its insipid title, King saves his best story for last, as only Catwoman would casually break into an upscale bridal boutique for after-hours shopping.  Even if the fleeting flashback images of Batman & Catwoman’s convoluted past dating back to the Golden Age make little sense, they are gorgeously rendered.  Aided by a clock noting the passing time, Selina’s low-key dress quest delivers some fine storytelling.  The last page is a wonderful finale.  Ironically, this wrap-up sequence only reiterates what a mixed bag Bride or Burglar? is.          

ADDITIONAL CONTENT:

All the full-page color covers (plus black-and-white versions) are here.  There is also a full-page, variant cover gallery featuring the work of Olivier Coipel & Dave Stewart (Issues # 38-43); and Joëlle Jones & Jordie Bellaire (Issue # 44), which doubles as this book’s cover.

BRIAN’S ODD MOON RATING:                6½ Stars

Written by Paul Dini

Art by Dustin Nguyen; Derek Fridolfs; John Kalisz; Guy Major; John. J. Hill; Jared K. Fletcher; Steve Wands; Alex Ross; Andrew Robinson; & J.G. Jones 

SUMMARY:

Released by DC Comics in 2011, this 144-page ‘Batman Reborn’ title reprints Detective Comics # 852; Batman # 685; and Batman: Streets of Gotham # 1-4 (all originally from 2009). 

After a single-page introduction, first up is the Faces of Evil one-shot: “Hush: Resurrection.” Inadvertently rescued from attempted suicide, Dr. Tommy “Hush” Elliot realizes how he can now impersonate a missing Bruce Wayne.  Perpetuating a worldwide scam, Elliot loots and kills his way from one mark to the next. 

Eventually, Catwoman catches up to him in Vietnam.  Their face-off continues in Catwoman’s own ‘Faces of Evil’ one-shot entitled “Catspaw.” Settling an old score with Hush, Selina Kyle ignites a nocturnal jungle firefight with a well-armed, Vietnamese poaching operation.  The new Dynamic Duo is also hunting for an elusive Hush.

After pushing Harley Quinn to leave town, the new Batman & Robin must contain a Gotham inferno caused by the newly-enhanced arsonist-for-hire, Firefly.  Aided by Alfred, Dick Grayson’s Batman takes his new flying Batmobile for a test run against a blazing onslaught.  The arsonist’s destructive spree sets into motion Hush’s escape and subsequent public impersonation of Bruce Wayne. 

Brazenly depleting the Wayne Family fortune, Hush’s deceptive antics force Dick Grayson & Damian Wayne to deploy their vast network of super-friends to contain him.  Meanwhile, upon finding an ideal new hideout, serial killer Mr. Zsasz hires a crew to abduct homeless children for some sick game. His defenseless victims are held captive and herded inside portable cages.  An underworld real estate agent may be Batman’s only chance to track down some of Gotham’s most elusive monsters, including Zsasz.

REVIEW:

Though well-illustrated by Dustin Nguyen’s distinctive style, writer Paul Dini’s gritty storyline isn’t a home run.  It falls somewhere between a double and a triple.  Possibly inspired by The Talented Mr. Ripley, the chilling opening salvo does a spot-on job narrating Hush’s psychotic rationalizations.  His deceptive scheme seamlessly carries over to a well-played confrontation with Catwoman, Dick’s Batman, and Damian’s Robin.  Seeing an undercover Dick & Damian resort to machine guns adds extra zip for a transition back to Gotham City. 

While Dini’s Firefly-Hush-Zsasz storyline is mostly effective, there are unsettling images and inferences that are definitely inappropriate for kids.  For instance, the script briefly shows victims of Firefly’s explosive carnage.  At least, the final segment leaves Zsasz’s imminently horrific intentions to a reader’s imagination.  More so, the bleak last page makes it clear that Batman’s possible failure means there won’t be happy endings in Gotham anytime soon.  In that sense, Dini & Nguyen’s finely-honed teamwork makes Dick Grayson a far-less-omniscient and more plausible Dark Knight.        

ADDITIONAL CONTENT:

The superb covers by Robinson; Ross; Nguyen; and Jones (for the Batman: Streets of Gotham # 1 variant) are included.

BRIAN’S ODD MOON RATING:                      7 Stars

Written by Bryan Q. Miller

Art by Lee Garbett; Trevor Scott; Sandra Hope; Pere Perez; Jonathan Glapion; Tim Levins; Dan Davis; Aaron Sowd; Oliver Nome; Talent Caldwell; Richard Friend; Rodney Ramos; Walden Wong; Yvel Guichet; John Stanisci; Guy Major; John J. Hill; Pat Brosseau; & Travis Lanham

Cover Art by Stanley “Artgerm” Lau

SUMMARY:

Released by DC Comics in 2017, this 304-page collection assembles Batgirl # 1-12 from 2009-2010.  19-year old college freshman Stephanie Brown’s brief return as the Spoiler ends once Cassandra Cain abruptly passes her the mantle of Batgirl.  Mentored by the original Batgirl, Barbara “Oracle” Gordon, Stephanie gamely faces an unpredictable learning curve as Gotham City’s newest guardian. 

This Batgirl Rising storyline includes appearances from Dick Grayson’s Batman; Damian Wayne’s Robin; Commissioner Gordon; Dr. Leslie Tompkins; Wendy Harris (formerly of the Teen Titans); and Red Robin (Tim Drake).  The formidable shadow of a presumed-dead Bruce Wayne looms overs everyone.

Awaiting this rookie Batgirl are: the Scarecrow; the League of Assassins; Dr. Phosphorous; Roulette; Roxie Rocket; and the Calculator, along with new threats Diesel and Riot.  Amidst a torrential rainstorm, Stephanie’s initiation test is a techno-zombie virus overwhelming Gotham City. 

Forced to evade an infected Catwoman, Huntress, and Man-Bat, Stephanie & Wendy must rescue an abducted Oracle from an old foe intent on setting a personal score by inflicting mass casualties.  It’s up to this mistake-prone Batgirl to finally save Gotham City her way.         

Note: As part of Issue # 8’s crossover, Red Robin # 10 isn’t included.

REVIEW:

Writer Bryan Q. Miller’s take on this rookie Batgirl delivers underrated YA dynamite.  Exploring Stephanie’s impulsive personality, Miller sets up Barbara Gordon as an ideal ‘big sister’ in a muddled Bat-world now dominated by Dick Grayson & Damian Wayne.  He throws in well-played allusions, as Barbara and Dick acknowledge familiar parallels to their own pasts while mentoring the not-always-mature Stephanie & Damian. 

The ‘big sister vs. bratty little brother’-style relationship developing between Stephanie and Damian adds a terrific mix of comedic relief and poignancy.  Curiously, one sub-plot that Miller abandons is the Aunt May-like presence of Stephanie’s working mother, as she is conveniently written out of the book’s second half. 

To Miller’s credit, nearly two-thirds of this book is ideal teen reading — minus the predictable violence quotient, there’s minimal profanity and no sexual content.  However, Miller deploys some ghoulish plot elements late in the game (i.e. dark domestic flashbacks of Calculator’s past; the presence of his son’s decaying corpse; and attempted ‘mind rape’).  These macabre twists don’t necessarily distort Miller’s storyline, but their questionable presence likely precludes middle schoolers as a potential audience. 

Perhaps even more essential than Miller’s contributions are the art team’s top-caliber visuals.  Not only are the interior graphics consistently high-caliber, but the classy covers from artists Phil Noto and Stanley Lau signify that this creative team isn’t taking a lazy approach.  Due to the creative team’s mostly commendable effort, Batgirl (Stephanie Brown), Volume 1 is a welcome revelation to Bat-fans. 

ADDITIONAL CONTENT:

All twelve full-page cover reprints by Noto and later Lau are joined by a first issue variant by artist Cully Hammer and Noto’s unused second issue cover.  Accompanying the covers are expanded full-page portraits of Stephanie’s Batgirl.

BRIAN’S ODD MOON RATING:                   8½ Stars

Written by Roy Thomas

Art by Jerry Ordway; Rafael Kayanan; Etc.

SUMMARY:

In 2015, DC Comics reprinted its four-part America vs. the Justice Society mini-series as a 156-page trade paperback. This 1984-85 courtroom storyline is a last hurrah for DC’s original Earth-Two  — prior to 1985-86’s game-changing Crisis on Infinite Earths.  On Earth-Two, the elderly Justice Society of America (JSA) has aged in real time (even Superman) since World War II, as their heroic offspring (the Infinity, Inc. team) waits to assume the JSA’s mantle. 

America vs. the Justice Society depicts ghosts from the JSA’s decades-old closet coming back to haunt them.  Blindsiding the team is a deceased Batman, as he launches a vindictive assault from beyond the grave.  His covert Bat-diary is published directly accusing his fellow JSA members of war-time treason.  Per the Caped Crusader’s enigmatic instructions, the diary is posthumously passed for safekeeping from a trusted Gotham City scientist, Dr. Nichols, to Clark Kent, now the editor of The Daily Star.  Unbeknownst to Clark, his own newspaper reveals this explosive exposé.          

According to Batman, his Golden Age JSA allies (excluding Robin & Superman) were secretly Nazi double-agents during World War II.  Surrendering to federal custody, a reeling JSA is forced into a grand jury-like hearing before a three-member congressional inquiry. 

Defending the JSA as its legal counsel is Batman & Catwoman’s daughter, Helena Wayne (aka the Huntress).  Her opposition includes attorney Dick Grayson (still Robin), who still believes his Batman’s word above all others.  Further complicating the case is that both Huntress and Robin are JSA members themselves. 

Narrated by various members in turn, the team’s convoluted history is revisited.  For instance, why did Batman, Superman, and Wonder Woman remain active while their friends abruptly chose retirement amidst the McCarthyism of the early 1950’s?  During this “trial,” others covertly scheme to hijack the JSA’s predicament.  A long-absent JSA member resurfaces to further impact the team’s defense. 

A troubled Helena contemplates the dire possibility of revealing her late father’s secret identity, if necessary, to save the JSA.  Will the Golden Age Batman’s final case come to light?  Only time will tell, so to speak. 

REVIEW:

Roy Thomas and a reliable artistic crew (i.e. Jerry Ordway) deliver first-class entertainment for DC Comics’ old school fans.  In satisfying fashion, it resolves a 1970’s mystery re: why Gotham City Police Commissioner Bruce Wayne (possibly Earth-Two’s biggest hypocrite) became the aging JSA’s most vocal critic.  As readers are reminded, a disturbed Wayne had tragically donned Batman’s mantle one last time and sacrificed his life to rescue a captive JSA.  Given the complexity of circumstances, the final reveal is a remarkable epitaph honoring the Golden Age Batman. 

Despite the JSA’s occasionally  wacky exploits, Thomas smartly balances their storied history with plausible character depth.  He also knows well enough not to expand the storyline’s cast too much.  For instance, Power Girl’s presence is bolstered by relegating her Infinity Inc. teammates to minimal ‘screen time.’

Another terrific plot thread is depicting the JSA’s personal lives in old age.  Case in point: Wonder Woman fumes over not being home on Paradise Island to care for her ailing husband, General Steve Trevor.  The Golden Age Sandman hasn’t fully recovered from a recent heart attack.  Seen in one-panel cameos, readers can only wonder what is ticking in the minds of the JSA’s worried spouses, includes Lois Lane-Kent; Sheira Hall; Inza Nelson; and Joan Garrick.  The friction rising between Helena and Dick is another intriguing element.  To Thomas’ credit, his non-courtroom sequences are top-notch.      

Yet, readers are inexplicably left cheated, as Thomas’ extensive footnotes per each issue have been excluded.  These insights would have been helpful to casual readers puzzled by minor details that Thomas references.  Omitting the footnotes doesn’t ruin America vs. the Justice Society, but they would have provided the necessary historical context re: the JSA’s Golden Age exploits.  Even so, this well-produced collection offers a proper sense of closure for comics’ original super-team.  America vs. the Justice Society is well worth re-discovery.  

Note: A gunshot suicide sequence may preclude this storyline as an appropriate reading option for pre-teens. 

ADDITIONAL CONTENT:

Full-sized replicas of the four covers are included.

BRIAN’S ODD MOON RATING:            8 Stars

Written by Judd Winick

Art by Ed Benes; Mark Bagley; Rob Hunter; Jack Purcell; Ian Hannin; JD Smith; Pete Pantazis; Jared K. Fletcher; Tony S. Daniel; Sandu Florea; & J.G. Jones

SUMMARY:

Published in 2010 by DC Comics, this 128-page Batman Reborn book collects Batman # 687-691 (originally published in 2009).  Finally accepting the Bat-mantle, Dick Grayson launches a public blitz to convince the world that he is the same legendary Batman as Bruce Wayne.  Poignantly joining Wonder Woman, Superman, Black Canary, and Green Arrow at Bruce’s gravesite, Dick implores them to not let anyone know that Bruce’s Batman is gone. 

With Alfred’s help, a new Dynamic Duo tackles Doctor Phosphorus; Clayface; and the Scarecrow.  An increasingly suspicious Two-Face enlists a villainous teleporter to help him infiltrate the Batcave.  Harvey Dent desperately wants a showdown vs. the exuberant pretender he believes is impersonating the Dark Knight.           

REVIEW:

Even if Long Shadows isn’t a vintage storyline, it explores well the Dick Grayson-as-Batman concept.  Unlike Tony Daniel’s intense noir-like take on Dick’s Batman, writer Judd Winick treads closer to Paul Dini’s playbook in deploying an entertaining middle-ground stance.  Long Shadows, for instance, has some gritty action scenes without resorting to ghoulish ultra-violence.  Case in point: the epic Batcave face-off certainly qualifies as bloody mayhem. 

Also, Winick smartly re-asserts Dick & Alfred’s poignant rapport, such as when they establish a new downtown Batcave.  Curiously, Dick’s long history with Two-Face isn’t exploited, but the vile hatred Dick inherits as Batman from this old adversary is well-played.  Its best element surfaces when Harvey Dent correlates the original Robin to this new Batman.  Describing Dick’s vicious clash with Two-Face as growing pains is an understatement, but how he ultimately responds is worth the price of admission.         

Impressively, the artwork (i.e. Dick’s sequences with Wonder Woman & Superman) is often superb.  Long Shadows, as a result, is an underrated minor gem that is well worth exploring.

ADDITIONAL CONTENT:

Six full-page covers are included, including J.G. Jones’ variant for Batman # 687, which also doubles as this book’s cover.  A brief intro explains Dick Grayson & Damian Wayne’s roles as the new Dynamic Duo.

BRIAN’S ODD MOON RATING:                        8 Stars

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.