Category: DC’s Hardcovers & Trade Paperbacks

Written by Geoff Johns.

Art by Gary Frank; Jon Sibal; Brad Anderson; & Rob Leigh.

Cover Art by Gary Frank & Brad Anderson.

SUMMARY:

In 2021, DC Comics released this 160-page hardcover completing the Batman: Earth One trilogy.  In Earth One’s alternate reality, Bruce Wayne’s late mother was Martha Arkham making him the last heir of both the Wayne fortune and the controversial Arkham legacy.  Amidst Martha’s haunted childhood, her parents were both lost to bleak fates. 

In the present day, along with allies Alfred Pennyworth and Killer Croc, Bruce secretly excavates his way underneath Arkham Asylum to set up the first Batcave.  The GCPD’s Captain James Gordon remains Batman’s trusted police contact.

Shocking DNA evidence is uncovered proving that an elderly and mentally deranged transient is Wayne’s long-believed-dead maternal grandfather: Adrian Arkham.  Bruce desperately tries to connect with Adrian, who grimly believes that his grandson will inevitably soon fall victim to the Arkham family curse. 

Simultaneously, Batman and his allies encounter the first wave of mass quantities of military-grade weaponry being smuggled into Gotham for an incendiary criminal revolution.  Bruce isn’t sure how much he can confide in his ally and would-be girlfriend: Mayor Jessica Dent.  Currently, she is still recovering emotionally and physically from her psychotic brother Harvey’s recent death. 

Worse yet, it appears that a zombie-like Harvey is somehow the ghostly mastermind plotting Gotham’s imminent destruction.  Another wildcard in this combustible mix is a goofy-looking Catwoman (possibly Selina Kyle), who may join the Bat-team for the right price.  As both Bruce Wayne and Batman, Gotham’s Dark Knight races the clock to uncover the murky truth before he falls to shadowy forces targeting him. 

Threads are left teasing a potential Volume Four, including this reality’s Joker and a young Outsiders team.       

Note: This title is also available digitally. 

REVIEW:

Akin to their prior DC works (i.e. Superman: Secret Origin), this project’s art squad again delivers top-caliber visuals.  Yet, such reliable artwork compensates only so much for Geoff Johns’ middling storyline. 

Negating Two-Face’s intriguing new incarnation (two thumbs up for some originality), Johns’ ‘realistic’ Bruce Wayne/Batman struggles to be compelling as an old-school masked man pitted against such evil adversaries.  Volume Three, in that sense, falls short of conveying Gotham’s Dark Knight as the human force of nature fans are hoping for. 

Instead, it focuses far more on Bruce Wayne comingling his Arkham family heritage with his Bat-destiny, which frankly isn’t that interesting come the final few twists.  Pitching a woefully underwritten Catwoman (whose ridiculous fashion sense far more befits Harley Quinn) into this mix doesn’t improve the situation.  As for the dubious Adrian Arkham sub-plot, one might say its ‘mind games’ climax is just too reminiscent of Batman: Under the Red Hood. 

In that sense, Johns’ simplistic take on Batman is disappointing.  The excitement and fun he generated years ago with stellar pre-52 creative runs on Wally West’s Flash, Hal Jordan’s Green Lantern, JLA, and Superman: Secret Origin is sorely missed upon reading this underwhelming adventure. 

Resorting to occasional profanities and gore doesn’t hide that a third round of Earth One’s Batman is frankly a nonessential Elseworlds caper.  For Bat-fans, it is unfortunate that Batman: Earth One, Volume Three’s stellar visual look isn’t matched by an engaging mystery/horror tale worthy of this vibe. 

ADDITIONAL CONTENT:

In a two-page art gallery, two different panels are sampled depicting the evolution from sketch (Frank) to inked version (Sibal) and then on to the finished product (Frank, Sibal, Anderson, & Leigh).  The last page provides paragraph-length bios on the creative team – excluding Sibal.      

BRIAN’S ODD MOON RATING:                      5½ Stars

Written by Dennis O’Neil; Gerry Conway; J.M. DeMatteis; Martin Pasko; & Paul Kupperberg.

Art by Dick Dillon; George Tuska; Rich Buckler; Marshall Rogers; Mike Nasser; Romeo Tanghal; Joe Staton; Pat Broderick; Dick Giordano; Gerald Forton; Frank Chiaramonte; Bob Smith; Vince Colletta; Frank McLaughlin; Jerry Serpe; Doug Klein; Bob LeRose; Gene D’Angelo; Adrienne Roy; Ben Oda; Shelly Leferman; Albert DeGuzman; Todd Klein; & Milton Snapinn.

Interior Art Restoration by Mike Kelleher.

Credited Cover Art by Ross Andru & Dick Giordano; Jim Aparo; Neal Adams & Dick Giordano; Dick Dillin & Dick Giordano.

Collection Cover Art by Jim Aparo & Allen Passalaqua.

SUMMARY:

Released by DC Comics in 2018, this 182-page trade paperback reprints the following 1979-1980 tales:

World’s Finest Comics # 256 – “Encounter With a Dark Avenger!”

Meeting Green Arrow for the first time, Black Lightning teams up with the Justice Leaguer for a mutual vendetta against  Metropolis mobster Tobias Whale (Part 1 of 2).

World’s Finest Comics # 257 – “Death Ransom!”

A captive Black Lightning is caught in the crossfire between Tobias Whale and rival mobsters (Part 2 of 2).

World’s Finest Comics # 258 – “The Blood of the Lamb!”

In Metropolis, Black Lightning faces off vs. Tobias Whale inside the city’s Superman Museum.

World’s Finest Comics # 259 – “The Last Hideout.”

A Metropolis mob showdown at the Hotel Empire has Black Lightning pondering the fate of a long-missing jewel thief.

World’s Finest Comics # 261 – “Return of the River Rat!”

On a Metropolis River cruise ship, an undercover Jefferson Pierce goes into action as Black Lightning.

DC Comics Presents # 16 – “The De-volver.”

Teaming up with Superman, Black Lightning encounters a bizarre energy creature threatening Metropolis.

Justice League of America # 173 – “Testing of A Hero.”

Commencing a bizarre initiation test, the League (Hal Jordan’s Green Lantern; Zatanna Zatara; Barry Allen’s Flash; Green Arrow; and Superman) impersonate some familiar super-villains to test an unsuspecting Black Lightning.  If he lives up to expectations, then Black Lightning will be invited to join the JLA.   

Justice League of America # 174 – “A Plague of Monsters.”

Having declined the team’s offer, Black Lightning is the League’s (Batman; Green Arrow; Wonder Woman; Zatanna Zatara; Superman; Red Tornado; Aquaman; & Elongated Man) ace against the deranged Regulator, who telepathically commands an army of mutated vermin.

Detective Comics # 490 – “Lightning Strikes Out.”

Taken captive, Black Lightning tries to rescue a friend from a vengeful Haitian crime ring’s arson death trap (Part 1 of 2). 

Detective Comics # 491 – “Short-Circuit.”

Having lost his powers, Black Lightning must improvise to thwart a strange Haitian gang of crooks (Part 2 of 2).

The Brave and the Bold # 163 – “Oil, Oil, … Nowhere.”

Black Lightning and Batman team up to thwart an American paramilitary army’s scheme to invade Middle Eastern oil fields.

Detective Comics # 494 – “Explosion of the Soul.”

In Suicide Slum, Black Lightning pursues a psychotic masked vigilante: the Slime-Killer.

Detective Comics # 495 – “Animals.”

As Suicide Slum hosts a teenage Olympics, the vicious Duke Street Kings gang takes six female athletes as expendable hostages.  Threatening to kill a hostage every ten minutes, the Kings demand from the Metropolis police a million-dollar ransom and a free ride out of the country.  Along with guest star Jimmy Olsen, Black Lightning pays the Kings a visit.   

REVIEW:

In terms of DC Bronze Age nostalgia, this compilation is something of a rough gem.  While these stories aren’t necessarily genre classics, they effectively define Black Lightning’s evolution going into the early 1980’s.  Not only has the artwork been nicely refreshed, the consistently simple and satisfying storytelling (the ridiculous Justice League of America # 173 gets a pass here) is much appreciated. 

Despite some nasty inferences in the last story, Black Lightning, Volume Two is a welcome visit from DC Comics’ archives.  The terrific page count alone makes it worth the price of admission.  For Black Lightning fans, given the effort that DC went towards supplying its pristine look, this book is a should-have for the collection.   

ADDITIONAL CONTENT:

The character’s co-creator, Tony Isabella, supplies a single-page introduction written in 2017.  A table-of-contents with creative credits is included. In a full-page format, each cover precedes its story. Also included are: Black Lightning’s Who’s Who (1985) profile (artist: Jim Aparo); a full-page pin-up (circa 1992); and his 1992 Who’s Who profile (artists: Mark Bright & Joe Rubenstein, who also presumably devised the pin-up).   

BRIAN’S ODD MOON RATING:                         7½ Stars

Written by John Byrne & Marv Wolfman.

Art by John Byrne; Jerry Ordway; Keith Williams; Karl Kesel; P. Craig Russell; Bob Smith; Jose F. Marzan; John Beatty; John Costanza; Albert T. DeGuzman; & Dave Tanguay.

Collection Cover Art by Jerry Ordway; Tanya Horie; & Richard Horie.

SUMMARY:

Released in 2006 by DC Comics, this 208-page trade paperback reprints 1987’s Superman # 9-11; Action Comics # 592-593; and The Adventures of Superman # 432-435.

Superman # 9: “To Laugh and Die in Metropolis.” The Man of Steel contends with the Joker’s unexpected presence in Metropolis.  The Joker’s abduction of hostages Lois, Jimmy, and Perry White further complicates this situation.

Note: Lex Luthor’s back-up tale isn’t included.  However, along with Byrne’s Superman # 11, Luthor’s ‘indecent proposal’ was reprinted a decade before in DC’s Lois & Clark: The New Adventures of Superman paperback compilation meant as a tie-in to the same-named TV series.

The Adventures of Superman # 432: “Gangwar, Part One: From the Streets to the Streets!”  An apartment building fire’s prime suspect is Perry’s wayward son, Jerry.  Jose Delgado (the future Gangbuster) tries to reach Jerry’s conscience before Lex Luthor’s illicit influence damages him beyond redemption.

Action Comics # 592-593: “… A Walk on the Darkside!” and “The Suicide Snare.” Visiting Metropolis, Big Barda is abducted into its sewers by Darkseid’s fugitive demonic minion, Sleez.  A mesmerized Barda is forced to become Sleez’s  scantily-clad erotic dancer/sex slave.  The Man of Steel’s botched rescue puts him into the same predicament. 

Only an unlikely savior can clue in Barda’s husband, Scott “Mr. Miracle” Free and Oberon to intervene.  It’s up to them to save a mind-controlled Barda and Superman from making illicit pornos/sex tapes for Sleez’s underworld profit.

Superman # 10: “The Super-Menace of Metropolis!” Reminiscent of DC Silver Age tales of the 1950’s, Superman’s powers have suddenly gone haywire.  With the Metropolis police challenging him, Superman must also face the armored menace of Klaash.  The Man of Steel realizes who the logical culprit is for engineering these events against him.

The Adventures of Superman # 433: “Gangwar, Part Two: A Tragedy in Five Acts.”  Clark, Lois, and Jose Delgado become further involved in Perry’s issues with his son Jerry (and, by extension, Luthor). 

Superman # 11: “The Name Game.” Continuing Byrne’s franchise reboot, Mr. Mxyzptlk is re-introduced.  He first appears as a visual nod to Marvel Comics’ Beyonder – not to mention his anagram alias of ‘Ben DeRoy.’  Clark is immediately suspicious of Lois being instantly smitten by this suave new suitor, as if by mind control. 

Ultimately, both the Man of Steel and Metropolis must contend with the Fifth Dimension’s magical imp and his destructively playful impulses.  Lois is later dismayed that Clark’s own affections may have shifted to someone else.     

The Adventures of Superman # 434: “Shambles.” A misguided Jerry White’s storyline continues, as Jose Delgado unleashes his costumed Gangbuster persona.  A possible love triangle ensues between Clark, a peeved Lois, and Jose.  Cat Grant is still the wildcard seeking Clark’s romantic attention.  

The Adventures of Superman # 435: “The Circle Turns.”  The mysterious telepath from Qurac returns to further torment the Man of Steel.  This time, he battles a taunting Wonder Woman, along with familiar reprises of the Silver Age’s Superman Family.       

Note: This title is also available in a digital format and a compendium hardcover.

REVIEW:

Despite veering between two very distinct styles (John Byrne’s and Jerry Ordway’s), the book’s art squads steadily contribute good visuals throughout this book.  Unfortunately, such terrific artwork is squandered by one middling plot after another.  

For instance, the Superman/Big Barda sleaze-fest (with all its smutty off-screen inferences) is a glaring disservice to both the characters and DC’s readers.  Whatever smug parody or other cheap entertainment writer/artist John Byrne sought with this two-part garbage is unfathomable – i.e. even Darkseid expresses he’s appalled by Barda’s sexual exploitation.   Without letting Byrne off the hook, any further diatribe only advertises his severe creative misjudgment.  The same contempt applies to DC Comics for reprinting such icky material – especially without a parental advisory.  

Of the seven other tales, there is no mistaking the glut of forgettable Super-dreck, such as the inexplicably weak Joker caper.  Unless one find the Jerry White/Jose Delgado’s Gangbuster storyline appealing, this tiresome volume proves far more a page count than a remotely good read.  The sole inclusion exuding an ounce of charm (let alone justifying a reprint of any kind) is the silly Mxyzptlk adventure.  Even then, such ridiculous fantasy pap that may have clicked in the Silver Age doesn’t adapt particularly well for the mid-80’s. 

Superman: The Man of Steel, Volume 5, suffice to say, is a disappointing letdown for fans.

ADDITIONAL CONTENT:

Entitled “How Did I Get Here?,” DC’s Mike Carlin pens an unremarkable two-page introduction.  Presented in a full-page format, a cover gallery (with Byrne and Ordway trading off as the cover artist) concludes this compilation.

BRIAN’S ODD MOON RATING:                               4 Stars

Written by Christopher Sebela.

Art by Tom Derenick; Daniel Sampere; Juan Albarran; Marco Santucci; Jheremy Raapack; Pop Mhan; Derlis Santacruz; Andy Owens; Miguel Mendonca; Rex Lokus; J. Nanjan; Mark Roberts; & Wes Abbott.

Collection Cover Art by Mike S. Miller & J. Nanjan.

SUMMARY:

Released in 2017 by DC Comics, this 136-page hardcover reprints Injustice: Ground Zero # 7-12 from that same year.  Continuing her snarky narrative, Injustice’s Harley Quinn has derisively dubbed six marooned DC Universe lookalike counterparts as residents from the so-called ‘pancake dimension.’ 

Aside from the Joker, the stranded alternate-reality Justice Leaguers consist of: Hal Jordan’s Green Lantern; Aquaman; Wonder Woman; Oliver Queen’s Green Arrow, and, as ordered by the Injustice Superman for public execution, a captive Batman.  Though the Joker wears his familiar garb, these five counterparts are all wearing variants of their familiar costumes. 

A faint sense of renewed hope looms.  Allying with this short-handed Justice League, Injustice’s Batman leads a desperate rescue mission to save his tortured ‘pancake dimension’ counterpart from imminent death.  Simultaneously, the Injustice Lex Luthor makes a solo last-ditch attempt to neutralize the corrupted Man of Steel.  The Injustice Superman subsequently murders Luthor and Captain Marvel/Shazam.  They fatally dared to oppose the Man of Steel’s dual scheme: to decisively subdue Earth’s rebellion forces and then, for further measure, conquer this rival ‘pancake dimension.’ 

Both powered by magical green pills, a super-strong Harley Quinn and the ‘pancake dimension’ Joker trade off multiple times violently double-crossing one another.  With nudges from Doctor Fate and Zatanna Zatara, a pivotal interlude at the mystical Tower of Fate may forever change Harley’s mind.  Harley’s street gang later splinters into opposing factions, with one joining the Joker and the other still her loyalists.  Somehow, the fate of Earth may be determined by the outcome of this chaotic Gotham City feud. 

Meanwhile, the arrival from ‘the pancake dimension’ of its Cyborg and ultimately, Superman, sets up a final showdown.  The outcome is essentially a transition towards the premise of Injustice 2. 

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

REVIEW:

As its dubious best asset, Volume 2 offers a marginally better read than the wretched Volume 1.  Despite a few good moments, glaring plot holes in writer Christopher Sebela’s repetitively padded storytelling are just too hard to ignore. 

Among such conveniently flawed details: why should Poison Ivy readily know the security access protocols from the JLA Watchtower to Batman’s ultra-secret Gotham safehouse (aside from being an ex-prisoner herself)?  Or how do certain characters already know of ongoing plot twists elsewhere without being present?  Worst of all: given the multiple setbacks Batman’s Insurgency forces have faced in five years, the relative ease of finally accomplishing their climatic victory comes off as ridiculous and underwhelming.  Deciding that all it really takes is for one good Superman to quickly defeat an evil one is a hardly satisfying resolution pitched to readers. 

Like with Volume 1, the art squad’s reliably likable visuals will compensate only so much for bewildering logic gaffes, not to mention a predictable excess of fight sequences.  Sebela’s plotting, in that sense, fixates on pushing gaudy, practically nonsensical violence vs. rendering plausible substance – or, for that matter, a remotely compelling storyline.  Harley’s definitive romantic future – does she choose either the Joker or her own reality’s Poison Ivy? – is as close as one gets to actual character depth. 

Everything else, unfortunately, is superficial truth-and-consequences, including how Injustice’s Barry Allen/Flash is the only ex-hero appalled by Captain Marvel/Shazam’s vile homicide.  Otherwise, Injustice’s irredeemable Hal Jordan, Wonder Woman, and its Superman are simply bland Crime Syndicate knock-offs.  Hence, the lukewarm Ground Zero, Volume 2 is primarily for those fans who prefer Injustice’s signature brand of sadistic mayhem.  There’s minimal justification for this storyline’s generally tone-deaf existence.  

ADDITIONAL CONTENT:

In a full-page format, the cover (both in color and slick black-and-white) precedes each story.  The cover artists are: Issue # 7 (Matthew Clark, Sean Parsons, & Andrew Dalhouse); Issue # 8 (Renato Guedes); Issues # 9-10 (Stephen Segovia & Elmer Santos); Issue # 11 (Mike S. Miller & J. Nanjan); and Issue # 12 (Clark & Dalhouse).   

BRIAN’S ODD MOON RATING:                        4½ Stars

Written by John Byrne.  

Art by John Byrne; Dick Giordano; John Costanza; & Tom Ziuko.

Collection Cover Art by Jerry Ordway; John Byrne; Tanya Horie; & Richard Horie.

SUMMARY:

Released in 2003 by DC Comics, this 152-page trade paperback reprints 1986’s complete Superman: The Man of Steel # 1-6 mini-series.  The project was designed to softly reboot Superman’s continuity after 1985-86’s epic Crisis on Infinite Earths.  Hence, writer/artist John Byrne re-imagines the familiar saga beginning with the destruction of planet Krypton.

Book One.  “From Out the Green Dawn …/The Secret/The Exposure/The Super-Hero” – With planet Krypton’s destruction imminent, scientist Jor-El and his wife, Lara, hastily sends their infant son’s matrix orb/escape pod into hyperspace. Unlike his wife’s condescension towards Earth’s primitive culture, Jor-El knows full well the purpose of young Kal-El’s programmed destination. 

Eighteen years later, Kansas farmer Jonathan Kent reveals to his son, Clark (Smallville’s star athlete), the hidden truth of his existence.  Seven years then lapse, as Martha Kent maintains a scrapbook of Clark’s anonymous heroics.  Forced to intervene, a high-profile, mid-air collision damaging an experimental NASA space shuttle in Metropolis exposes his secret. 

Among those immediately demanding answers is one of the shuttle’s guest passengers: Lois Lane.  Retreating home to Smallville, a despondent Clark realizes he must continue as this so-called ‘Superman.’  Martha Kent sews a colorful costume for her son’s new dual identity.       

Note: Clark states that he has quietly resided in Metropolis for three years prior to the NASA incident.  He is also already aware of Lois Lane’s celebrity status as a journalist.

Book Two. “The Story of the Century!” – While Superman acclimates to Metropolis, a tenacious Lois Lane finally resorts to desperate measures to obtain an exclusive interview.  Yet, some interloper named Clark Kent seeking work at The Daily Planet may blindside her effort to score the elusive ‘scoop of the century.’

Book Three. “One Night in Gotham City” – Come one Gotham City night, Superman meets Batman for the first time.  Their elusive mutual target is a psychotic thief dubbing herself as ‘Magpie.’  

Book Four. “Enemy Mine …” – Nearly eighteen months after Book Two, Lois Lane & Clark Kent have a platonic work date exploring Lex Luthor’s luxury cruise ship, The Sea Queen.  An at-sea hostage crisis subsequently prompts Superman’s presence.  Luthor’s simmering resentment of the Man of Steel ignites into full-blown hatred.

Book Five. “The Mirror, Crack’d …” – Confirming Superman’s alien origins, Luthor’s first strike is the creation of Bizarro.  Caught in the middle of this showdown is Lois’ younger sister, Lucy.

Book Six.  “The Haunting” – At home in Smallville, 28-year-old Clark believes it’s time to make Lois aware of his feelings.  Coming full circle with Book One, Clark encounters ‘ghost’ holograms  of his Kryptonian parents.  Meanwhile, Lana Lang confronts Clark with the fallout of the secret he had entrusted her with a decade before. 

After Jor-El & Lara’s download of Krypton’s legacy into his mind, the Man of Steel rejects their belated gift in favor of his preference for Earth and America.

Notes: This title is also available in a digital format and a double-sized hardcover. This mini-series was also the precursor to DC renaming its original Superman series – “The Adventures of Superman” and then Byrne starting a new Superman series with his own Issue # 1. DC’s third Super-title, Action Comics, was mostly left unaffected.

REVIEW:

In both scripting and visuals, unsurprisingly, John Byrne’s The Man of Steel storyline feels dated nearly forty years later.  The last page practically spells this notion out. 

While the traditional tone of his Batman team-up is spot-on, Byrne’s plotting of Volume 1 too often falls short of awe and charm.  Hence, the vibe of this simplistic reboot comes off as underwhelmingly bland.  DC Comics’ later efforts at tweaking (i.e. a closer alignment with Christopher Reeve’s Superman films) frankly makes a more cohesive and entertaining fit for subsequent reboots. 

Still, there are familiar structural elements utilized in TV’s Lois & Clark: The New Adventures of Superman and Smallville, not to mention the 2013 Man of Steel film, that appear partially influenced by Byrne’s work.  Volume 1’s all-ages material, at least, is easily readable – as compared to some of DC’s monotonous Super-dreck dwelling deep in its archives.  Byrne’s Superman: The Man of Steel, in that sense, could provide an accessible jumping-aboard option at the library.

ADDITIONAL CONTENT:

Entitled “Why Superman? Why Today?,” Ray Bradbury provides a two-page introduction – featuring some odd real-world analogies. Byrne also offers his three-page “Superman: A Personal View.” In a full-page format, the cover gallery supplies all six covers, plus Issue # 1’s variant.  Byrne and Dick Giordano are the credited cover artists.

BRIAN’S ODD MOON RATING:                      6 Stars

Written by John Byrne & Marv Wolfman.  

Art by John Byrne; Jerry Ordway; Dick Giordano; Karl Kesel; John Costanza; Michelle Wollman; Albert T. Guzman; & Tom Ziuko.

Collection Cover Art by Jerry Ordway; Tanya Horie; & Richard Horie.

SUMMARY:

Released in 2004 by DC Comics, this 208-page third volume reprints 1987: Superman # 4-6; Action Comics # 587-589; and The Adventures of Superman # 427-429.

Superman # 4. “Bloodsport!” – Claiming to be a Vietnam War veteran, a heavily-armed, African American urban terrorist goes on a bloodthirsty rampage in Metropolis.  With Jimmy Olsen’s help, a wounded Superman realizes that this trigger-happy adversary’s disillusionment isn’t what he claims.  A hidden wildcard is Lex Luthor, as he has his own sordid reasons for neutralizing Bloodsport and his high-tech firepower.

The Adventures of Superman # 427. “Mind Games” – The Man of Steel single-handedly invades the Middle Eastern nation of Quraci to avenge a terrorist assault committed in Metropolis.  Superman is threatened by a mysterious, feline-like telepath capable of penetrating his deepest sub-conscious thoughts.

The Adventures of Superman # 428. “Personal Best” – A Metropolis mobster orders the abduction of Perry White’s son, Jerry, to extort The Daily Planet into retracting an exposé.  Despite his son’s physical torture, Perry’s ethics won’t let him give in.  While Clark Kent and Cat Grant become closer, it is up to Superman to find Jerry in time.

Action Comics # 587. “Cityscape!” – A bizarre mystical crisis in Gotham City has Jason Blood/The Demon propel Superman back in time to team with Blood/Demon’s mid-12^th Century counterpart.  To save present-day Gotham, the Man of Steel and the Demon must face off against Morgaine Le Fay.

Superman # 5. “The Mummy Strikes” – After a dream contemplating romance with Wonder Woman (in a brief flashback to Legends # 6), Clark Kent joins Lois Lane’s present archaeological assignment in South America.  However, a robot resembling a gigantic mummy initiates an explosive showdown with the Man of Steel.  (Part 1 of 2)

Superman # 6. “The Last Five Hundred” – In South America, Superman must fend off an alien invasion, as his adversaries have now taken human host bodies – including Lois Lane’s. (Part 2 of 2) 

Adventures of Superman # 429. “Old Ties” – In a sequel to Issue # 427, Quraci’s mystical Circle seeks revenge on Superman by sending the powerhouse assassin known as ‘Concussion.’  Meanwhile, as Clark Kent and Cat Grant tempt romance, Superman tries to reunite Cat with her estranged young son.

Action Comics # 588. “All Wars Must End” – Hawkman & Hawkwoman summon Superman to help thwart a renegade Thanagarian invasion of Earth.  The story subsequently ends of a double-cliffhanger.

Action Comics # 589. “Green on Green” – In outer space, Hal Jordan & the other six remaining Green Lanterns (Arisia; Kilowog; Ch’p, Salakk; Katma Tui; & John Stewart) save an unconscious Superman’s life.  The Man of Steel then collaborates with the Lanterns to confront an unexpected threat to Earth.

Note: This title is also available in a digital format and a double-sized hardcover.

REVIEW:

Volume 3’s best asset is that its various art squads ensure that the visuals are consistently solid.  Apart from the usual inconsistencies between John Byrne’s franchise reboot and Action Comics’ veteran Superman, the unremarkable storytelling lands squarely on the dull side. 

An ugly exception, however, is John Byrne’s Superman # 4.  Including its convenient, last-page plot twist, the story’s exploitative subject matter certainly isn’t entertainment in good taste.  The fact that Byrne dedicated this tale to ‘The Black Wall’ (presumably, he means the Vietnam Veterans Memorial) is akin to rationalizing vigilante action movies like First Blood as an ode to American patriotism.  Suffice to say, this compilation makes a crummy first impression.

Even guest spots by Jason Blood/The Demon, the Hawks, and the Green Lantern Corps mostly fall short of fun team-ups Superman had enjoyed in DC Comics Presents earlier that same decade.  That is really the crux of Volume 3 – these middling nine stories convey far more quantity than quality. 

ADDITIONAL CONTENT:

Jerry Ordway pens a three-page introduction.  In a  ¾-size format, a three-page cover gallery depicts all nine covers.  Byrne and Ordway alternate as the cover artists.   

BRIAN’S ODD MOON RATING:                   4½ Stars

Written by Neil Gaiman.

Main Feature Art by Andy Kubert; Scott Williams; Alex Sinclair; & Jared K. Fletcher.

“A Black and White World”  Art by Simon Bisley & John Costanza.

“Pavane”  Art by Mark Buckingham; Nansi Hoolahan; & Agustin Mas.

“Original Sins”  Art by Mike Hoffman; Kevin Nowlan; Tom McCraw; & Todd Klein.

“When is a Door”  Art by Bernie Mireault; Matt Wagner; & Joe Matt.

Collection Cover Art by Andy Kubert & Alex Sinclair.

SUMMARY:

First released in 2010 by DC Comics, this 128-page trade paperback compiles the two-part “Whatever Happened to the Caped Crusader?” from 2009’s Batman # 686 and Detective Comics # 853.  Out of the DC archives (dating back to 1989 and 1996) are a few of Gaiman’s previous Bat-tales: “A Black and White World” from Batman Black and White # 2;  and “Pavane” from Secret Origins, Vol. 2 # 36. Lastly, there is both “Original Sins” and “When is a Door” from Secret Origins Special # 1.

In a stream-of-consciousness-like dream, Batman and an unknown female invisibly observe a long procession (mostly his arch-enemies) assemble within Gotham’s seedy Dew Drop Inn.  Evidently, these mourners are from alternate realities, given a non-speaking cameo of the Joker from Batman: The Animated Series.  With the Dark Knight posed in an open casket, the memorial service prompts guests to each solemnly relate his/her own claim of Batman’s fatal last moments. 

The first of them are a Golden Age-like Selina Kyle/Catwoman and then Alfred Pennyworth.  Prodded by his enigmatic companion, Batman soon realizes he is in a near-death experience.  Subsequent guests include Bette Kane’s Batgirl; the Mad Hatter; the Joker; Dick Grayson’s Robin; Clayface, Harvey Bullock; Ra’s Al Ghul; and Superman. 

Batman’s instincts guide into a poignant face-to-face encounter with his companion.  Making peace with his origin, the Dark Knight seemingly bids farewell by a means reminiscent of Margaret Wise Brown’s Goodnight Moon. 

• “A Black and White World:” Depicted in ultra-cynical black-and-white (no surprise), Batman and the Joker break the fourth wall, as they are seemingly actors backstage on the set of a comic book. 
• “Pavane” A married Suicide Squad recruiter is seduced during his research on an incarcerated Poison Ivy.
• “Original Sins” and “When is a Door:” A TV news documentary prepares a controversial exposé re-examining Gotham City’s sordid Bat-villains.  During the news team’s research, the Riddler flips an interview on its star journalist.  Despite Batman’s warning, the journalist and his production team find out why their ambitious project is a bad idea.

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

REVIEW:

The art squad’s visuals are admirably top-caliber throughout this two-part quasi-mystery.  Neil Gaiman’s scripting, however, is a split-decision.  His first half (including its derivative nod to Robin & Marian) is beautifully enigmatic.  With the Dark Knight’s silhouetted companion telling him to figure it out, the tantalizing end of Batman # 686 seems spot-on. 

Gaiman’s intriguing subtlety, unfortunately, then shifts into a drop-the-hammer approach setting up the story’s outcome.  Per an ultra-obvious take on Goodnight Moon, Detective Comics # 853 implies Gaiman has penned the definitive epilogue to Batman’s saga.  There is no further explanation as to what this stream-of-consciousness memorial service supposedly means to Bat-fans beyond the obvious.  If anything, it would be exposed as a blatant bait-and-switch once DC’s inevitable ‘resurrection’ of Bruce Wayne was revealed months later.

As to the unimpressive back-up tales, the first instinct suggests to deem them the less said the better.  However, one shouldn’t let DC Comics off that easy.  These three unrelated tales are, at most, minor curiosities perusing Gaiman’s old DC resumé.  As his quirky scripting doesn’t redeem the mostly grotesque artwork, none of them justify inclusion.  Only “A Black and White World” even merits a possible reprint somewhere else. 

Had DC utilized common sense (i.e. a belated homage to the late Golden Age Batman), then, for instance, why not reprint 1982’s The Brave and the Bold # 182?  Adding other classy nostalgia along those lines from the Bat-archives would have been easy.  Aside from Andy Kubert’s neat sketchbook, readers are instead stuck with a slim helping of Bat-dreck.   

Kubert’s team deserves credit for disguising Gaiman’s plot holes by making everything seem as ethereal as possible.  Such an approach somehow works, but owning the storyline’s two individual issues makes more fan-friendly sense.  Otherwise, this skimpy compilation’s practical value belongs at the library.

ADDITIONAL CONTENT:

Gaiman provides a two-page introduction.  In a full-page format, the Kubert/Sinclair cover (and the Alex Ross variant) for Batman # 686 and both Kubert/Sinclair covers for Detective Comics # 853 are included.  Lastly, there is Kubert’s ten-page, black-and-white sketchbook, which details scenes and character designs for the project. 

BRIAN’S ODD MOON RATING:                     6 Stars

Written by Brian Buccellato & Christopher Sebela.

Art by Pop Mhan; Tom Derenick; Daniel Sampere; Juan Albarran; Marco Santucci; Jheremy Raapack; Rex Lokus; J. Nanjan; Mark Roberts; & Wes Abbott. 

Collection Cover Art by Ben Oliver.

SUMMARY:

Released in 2017 by DC Comics, this 144-page trade paperback compiles Injustice: Ground Zero # 1-6 from 2016-2017.  Set in Injustice’s alternate-reality world, Harley Quinn explains her involvement in the Joker’s lethal scheme to corrupt Superman.  Later seeking personal vengeance for both the Joker and lost friends (i.e. Green Arrow & Black Canary), she defines her allegiance to Batman’s underground Insurgency.  Hence, Harley’s narrative sets this storyline prior to the events of Injustice 2.

With a handpicked crew (aka Harley’s Horde), Harley Quinn leads an overnight assault to destroy an illicit factory – at the behest of her reality’s Batman.  Initially unbeknownst to her, at least six parallel-reality counterparts become marooned in her world.  Among them are Wonder Woman; Hal Jordan’s Green Lantern; Aquaman; Oliver Queen’s Green Arrow; Batman; and the Joker.  In the confusion, the corrupted Superman’s forces abduct this alternate world’s Batman and subsequently resort to torturing him for possible answers.

Joining forces with Batman’s Insurgency, the counterparts convince them of the dire necessity of rescuing this other Dark Knight.  Shockingly, one unexpected ally may be the Joker.  While teasing a possible romance with Billy Batson’s Shazam, Harley Quinn senses a the opportunity of a ‘second’ chance with her true love.  Among the unresolved arcs in Volume 1: what is Harley’s real endgame?

Notes: This title is also available in hardcover and digital formats.  The remaining six issues are compiled in Injustice: Ground Zero, Volume 2, which is available in multiple formats.   

REVIEW:

Unsurprisingly, the project’s reliable art squad ensures that Volume 1’s visuals are terrific.  Given the premise, what’s also unsurprising is how this storyline seems wholly unnecessary.  The plotting is essentially a flimsy excuse for more Injustice mayhem and destruction adding little, if any, depth to the saga itself.  Volume 1, therefore, is strictly for those in need of an Injustice Harley Quinn fix.   

ADDITIONAL CONTENT:

In a full-page format, each Ben Oliver cover precedes its story.  Issue # 1’s Matthew Clark variant cover is the last page.  Also included is Pop Mhan’s seven-page, black-and-white sketchbook of scenes.  

BRIAN’S ODD MOON RATING:                      3 Stars

Written by Jeph Loeb.

Art by Tim Sale; Gregory Wright; Todd Klein; & Android Images.

Collection Cover Art by Tim Sale.

SUMMARY:

Released in 1996 by DC Comics, this 192-page trade paperback compiles three Batman one-shots: Batman – Legends of the Dark Knight Halloween Special # 1 (referred to as “Fears”); Batman: Madness – A Legends of the Dark Knight Halloween Special; and Batman: Ghosts – A Legends of the Dark Knight Halloween Special.  Reminiscent of novellas, these issues were each released a year apart from 1993 to 1995 exploring the timeline after Batman: Year One. 

Note: Production of this Halloween trilogy preceded Jeph Loeb and Tim Sale’s mammoth Bat-projects: The Long Halloween and Dark Victory.

Fears: Set at an undefined point early in Batman’s career, Batman pursues the Scarecrow during the Halloween season  In this instance, the villain gleefully destroys a series of Gotham power relay stations while mostly eluding capture.  Meanwhile, a worried Alfred grows increasingly suspicious of a lonely Bruce’s romance with the enigmatic Jillian Maxwell. 

Is possible that the Dark Knight has been tainted by a new variant of the Scarecrow’s fear gas?   

Madness: Set during another Halloween, the Mad Hatter has been abducting children to play his wicked party games.  Among them is pre-teen Barbara Gordon, who has run away from her adoptive parents.  Meanwhile, Batman is tormented by poignant memories of his late mother, who had been sharing Alice’s Adventures in Wonderland with him the night of her death. 

Aided by Dr. Leslie Tompkins, an injured Dark Knight re-doubles his effort to thwart the Hatter.  More so, Captain Gordon won’t wait for him to rescue his adoptive daughter.

Ghosts: After a harrowing showdown with the Penguin, Bruce Wayne returns home the night before Halloween suffering from a strange bout of food poisoning.  During a restless night, in a manner reminiscent of Ebenezer Scrooge, Bruce is warned by seemingly his father’s chain-rattling spirit of the Ghosts of Halloween Past (Poison Ivy), Present (the Joker), and Future (no spoilers). 

Yet, is Bruce’s nightmare a series of ghastly hallucinations or something else entirely? 

Note: This title was subsequently re-released as a trade paperback in 2018.  Presently, it hasn’t been released in either hardcover or digital formats.

REVIEW:

Between Jeph Loeb’s articulate writing and Tim Sale’s reliable visual approach, this creative duo share undeniable chemistry. Yet, as compared to the excellence of both Long Halloween and Dark Victory, Haunted Knight is at most a good read. Sale’s artwork can only disguise that reality so much. 

Specifically, these three Bat-capers fall short once they’re boxed in by their formulaic tone (i.e. the predictable outcomes).  For instance, the maniacal taunting similarity between Scarecrow and the Mad Hatter is too much déjà vu when read together.  The femme fatale cliché of Jillian Maxwell doesn’t bolster suspense either, as far as Bruce Wayne being inexplicably blindsided by false love (yet again). That’s a prime example of where Haunted Knight generally falters. While Loeb sports good Bat-intentions, the results here simply lack originality.  

“Fears,” by relying too much on ts atmospheric Halloween vibe, is simply a standard-issue Bat-caper. Aside from creepy off-screen inferences, “Madness” is more reminiscent of quality storytelling from Batman: The Animated Series.  The same might well have applied to “Ghosts,” considering it’s a straightforward adaptation of Charles Dickens’ source material.  Loeb, unfortunately, lets “Ghosts” come off as too derivative to make a lasting impression. At least, its satisfying final page is the best of this book.

For faithful Bat-fans, Haunted Knight should prove worthwhile of their time.  Yet, its most practical location is a library shelf.             

ADDITIONAL CONTENT:

Loeb & Sale’s title page acknowledges their inspirations.  Entitled “Trick or Treat,” editor Archie Goodwin pens a two-page introduction.  Brief biographies for the creative team are included.

BRIAN’S ODD MOON RATING:             5½ Stars

Written by Grant Morrison & Mark Millar.

Art by Paul Ryan; John Nyberg; Gaspar Saladino; & Tom McCraw.

Collection Cover Art by Steve Lightle.

SUMMARY:

In 2008, DC Comics released this 144-page trade paperback compiling Wally West’s Flash # 130-135 from 1997-1998.  The three-part “Emergency Stop” pits a ghostly super-suit (dubbed ‘The Suit’) against a temporarily-crippled Wally West, Jay Garrick’s Flash, Max Mercury, and Bart Allen’s Impulse.  This murderous suit is essentially a parasite that steals super-powers and ultimately each victim’s life to continue powering itself. 

“Flash Through the Looking Glass” subsequently pits a still-injured Wally in a desperate race against time to save his girlfriend, Linda Park, from Mirror Master II’s scheme.

Next up is “Still Life in the Fast Lane,” as Jay Garrick’s Flash enjoys an eventful workday, which coincides with his 50^th wedding anniversary with wife Joan.  Guest stars include an undercover Nightwing, some of the Justice Society’s surviving members (i.e., Alan Scott’s Green Lantern/Sentinel & Johnny Thunder), and one of Jay’s Golden Age adversaries: the Thinker. 

Finishing this compilation is a three-part crossover with Green Lantern # 96 and Green Arrow # 130.  “Death at the Top of World, Part 3” has Wally, Kyle Rayner’s Green Lantern, and Connor Hawke’s Green Arrow as prosecution witnesses against multiple villains on trial after a failed effort to free Dr. Polaris.  Yet, the climatic rub is that a super-slick criminal defense attorney may outwit the Justice League’s younger generation.

Note: There is a brief gag reference, as Wally flippantly compares Dr. Polaris to an unnamed Magneto.

REVIEW:

Though this collection’s artwork is consistently solid, it is fair to conclude that Grant Morrison & Mark Millar’s scripting falls far short of remarkable. Case in point: Wally’s convoluted strategy to alter time, prevent his own imminent death, and still thwart ‘The Suit’ will prove mind-numbing to readers just trying to grasp all the wacky pseudo-science involved. Then, there is the eye-rolling matter of Wally’s makeshift Speed Force energy suit – suffice to say, the less said the better.

Essentially, there is nothing about the kid-friendly Emergency Stop that demands must-have reading – even for DC die-hards.  Wally West’s loyal fanbase should find Emergency Stop an enjoyable yet utterly average caper.  Most others will likely deem this book as quickly forgettable.    

ADDITIONAL CONTENT:

In a full-page format, each cover precedes its issue.  The cover artists are: Steve Lightle for Issues # 130-134, and Rodolfo Damaggio & Robert Campanella for Issue # 135.

BRIAN’S ODD MOON RATING:                     5 Stars