Category: DC’s Hardcovers & Trade Paperbacks

Written by Christopher Moeller

Art by Christopher Moeller & Bill Oakley

Cover Art by Christopher Moeller & Logo Design: Alex Jay

SUMMARY:

In 2000, DC Comics published this 108-page original Justice League of America epic.  Per the Late 90’s, the League’s roster consists of: Superman; Wonder Woman; Batman; the Martian Manhunter; Wally West’s Flash; Kyle Rayner’s Green Lantern; and Aquaman. 

In Western Europe of 1348, the monstrous Drakul Karfang, a flying and mystical fire-breathing dragon, is seemingly killed, with its reign of terror ended.  Centuries later, a vacationing Wonder Woman accompanies her nymph friends into a subterranean cave hidden beneath Themyscira.  There she learns of an ancient oracle’s prophecy: the hellacious dragon will soon return, and worse yet, her beloved League is destined to fall before its scorching firepower. 

Diana instinctively makes a fateful decision.  Utilizing stealth, Wonder Woman must betray her unsuspecting teammates and defeat them, one by one, in order to face Drakul Karfang alone.  If she succeeds, hence, the odds will then be even: one magical phenom vs. another in a showdown to the final death.

REVIEW:

Don’t be fooled by the flimsy page count; this book’s mass feels as though Christopher Moeller’s storyline is twice its actual length.  If Tower of Babel brings to light Batman’s worst instincts, then A League of One is effectively Wonder Woman’s equivalent, no matter her noble cause.  With each panel a lushly illustrated painting, Moeller most definitely packages A League of One as if it’s a modern-day fable with capes.

By all means, this Wonder Woman showcase is richly told.  The invariable weakness is that its very premise ensures One’s conclusion is ultra-predictable.  Ironically, unlike the dire risks Wonder Woman takes, Moeller’s simplistic plotting doesn’t take nearly enough to transform it into a DC Comics classic that rocks the League’s status quo. Whereas DC has exploited Tower of Babel’s dire ramifications for a quarter-century, A League of One has long since been forgotten, fairly or not, for this basic reason.

ADDITIONAL CONTENT:

Moeller includes an insightful five-page sketchbook, along with his abbreviated biography and thank-you’s.   

BRIAN’S ODD MOON RATING:                        7 Stars

Written by Brian Augustyn

Art by Mike Mignola; P. Craig Russell; David Horung; & John Workman

Cover Art by Mike Mignola

SUMMARY:

In 1989, DC Comics released this historical 48-page one-shot pitting Gotham’s Dark Knight vs. Jack the Ripper.  An immediate flashback reveals that, in 1874, Dr. Thomas & Martha Wayne are murdered by a lone highwayman on the outskirts of Gotham City.  While their young son, Bruce, survives, the gunman’s ultimate fate isn’t revealed. 

Flash ahead to Vienna, 1889: an enigmatic Bruce Wayne completes his studies aboard with an internship under Sigmund Freud before returning to Gotham for the first time in five years.  Joining him for the sea voyage home from London is his trusted attorney and salty family friend, Jacob Packer.

Gotham is soon beset by dual nocturnal threats: the mysterious Batman and an unexpectedly resurgent Jack the Ripper.  Despite Inspector Gordon’s skepticism, Police Commissioner Tolliver conveniently concludes that the Batman and Ripper are one and the same psychotic.  Framed for the Ripper’s ghastly crimes, an incarcerated Bruce Wayne now faces imminent execution.  Wayne’s last chance is to desperately unravel the Ripper’s true identity and end his gory reign of terror.

Notes: DC Comics retroactively deemed this book as its first Elseworlds project.  Augustyn & artist Eduardo Barreto’s 1991 sequel: Batman – Master of the Future, has since been packaged with Gaslight in a ‘deluxe edition’ format.  In 2018, DC loosely adapted Gotham by Gaslight (i.e. adding Selina “Catwoman” Kyle to the plot) into an animated film available in Blu-Ray, DVD, and digital formats. 

REVIEW:

Constructing their work to convey a simplistic Victorian style of storytelling, writer Brian Augustyn and artist Mike Mignola’s team-up delivers the necessary goods (without an excess of sleaze).  Standing out most is an imprisoned, mid-twenties Wayne forced into deciphering a bloody enigma that neither Scotland Yard nor the Gotham City police could solve.  Conveying Wayne’s frustration under such intense pressure proves a mini-masterpiece of suspense.  It’s a rare opportunity of witnessing Batman’s seemingly untouchable secret identity on the verge of defeat.

Aside from risking insufficient depth, the other detriment is that virtually all of Gaslight’s female characters are the Ripper’s nameless victims.  Augustyn might have tried harder inserting a Julie Madison (or a Vicki Vale, etc.) briefly to bolster some romantic spark in Wayne’s personal life.  A pivotal flashback revealing Martha Wayne’s personality, at least, offers a partial substitute. 

Though a few late plot contrivances risk bringing too much full circle, Gotham by Gaslight’s aura of gothic mystery still outclasses similar DC fiction imitating this kind of historical template.  Augustyn & Mignola’s bold experiment, in that sense, conjures up a macabre Bat-thriller worthy of the Elseworlds moniker.  

ADDITIONAL CONTENT:

Written by veteran Ripper scribe Robert Bloch, the opening page has the culprit introducing himself in a taunting letter.  

BRIAN’S ODD MOON RATING:                       8 Stars

Written by Chuck Dixon.

Art by JH Williams III; Mick Gray; & Lee Loughridge.

Cover Art by John Van Fleet.

SUMMARY:

DC Comics released this 64-page Elseworlds one-shot in 1997.  Set in the American Old West, the Southwestern desert frontier town of Paradise is annihilated by an unknown inferno.  Devastated by its loss, town sheriff Diana Prince abandons her prized badge and vows to avenge her fellow citizens, including her diminutive deputy, Oberon.  To effectively challenge her mysterious adversary, Diana first must recruit a trusted strike team, some of whom she has evidently encountered before. 

Joining her are: Native American shaman Katar Johnson (Hawkman); an adventurous gambler Booster Gold; young Wally West (Kid Flash) – literally the fastest gunman alive; fantastical inventor Beetle (Ted Kord’s Blue Beetle); and an enigmatically green-hued John Jones (Martian Manhunter).  Wildcards include immortal outlaw Felix Faust; snarky Pinkerton sleuth Guy “Kid Baltimore” Gardner, who is hunting down West for Marshal Barry Allen’s murder; and even a skeptical yet mild-mannered dime novelist/scribe named ‘Colonel Kent.’    

Reaching the ominously secluded base known as ‘Helldorado,’ Diana Prince’s makeshift vigilante force must face sinister railroad baron Maxwell Lord’s futuristic technology in a deadly showdown. It appears that the odds (and sheer numbers) this time are heavily stacked against justice. 

Note: This reality’s Diana Prince briefly returns in 2007’s DC Countdown: Arena mini-series.

REVIEW:

Considering this art squad’s collective talent, it isn’t a surprise that consistently appealing visuals present The Justice Riders’ best asset.  As to writer Chuck Dixon’s derivative storytelling, one can readily spot ideas lifted from The Terminator, Westworld, Wild Wild West, and, of course, The Magnificent Seven, among other Westerns, for his plot devices.  Aside from predating Wonder Woman & Maxwell Lord’s mutual vendetta by nearly a decade, Dixon contributes too few original ideas of his own, including a dubious reliance on clichéd Old West slang. 

Hovering somewhere between quickly forgettable and average, The Justice Riders delivers a quick read, with virtually zero gore (in terms of kid-friendliness).  Consumers are just better off finding it within an Elseworlds collection with other DC alternate-reality tales.  Specifically, this title can be found in 2016’s DC Elseworlds: Justice League, Volume One – which was subsequently re-released in 2024 (in both trade paperback and digital formats).         

ADDITIONAL CONTENT:

None.

BRIAN’S ODD MOON RATING:                           5½ Stars

Written by (See Below)

Art by (See Below)

Collection Cover Art by Alex Ross

SUMMARY:

In 2006, DC Comics published this 192-page compilation consisting of nine Superman tales from 1944 to 2005.  The specific contents are:

• “The Mysterious Mr. Mxyztplk” (from Superman # 30 – September/October 1944).  Writer: Jerry Siegel & Art by Ire Yarbrough.  A hot Metropolis day finds the Man of Steel and the city befuddled by the chaotic first appearance of a magical imp from another dimension.  Superman’s famous method of dispatching his unwanted companion is also established – yet, the question is: who gets the last laugh? 
• “Superman’s Other Life, Parts I-III” (from Superman # 132 – October 1959).  Writer: Otto Binder & Art by Wayne Boring and Stan Kaye.  With Batman & Robin present, Superman observes through his Fortress of Solitude’s Super-Univac the destiny he would have lived, had Krypton not exploded. 
• “Superman’s Return to Krypton, Parts I-III”  (from Superman # 141 – November 1960). Writer: Jerry Siegel & Art by Wayne Boring and Stan Kaye.  Encountering a bizarre threat in space, Superman is inadvertently propelled back through time to Krypton prior to his birth.  Long predating Back to the Future, the Man of Steel becomes a close friend of his future parents.  Meanwhile, he must adjust to a new adult life on his home planet.   
• “The Team of Luthor and Brainiac!, Parts I-III” (from Superman # 167 – February 1964).  Writers: Edmond Hamilton & Cary Bates, with Art by Curt Swan & George Klein.  Two of Superman’s most dangerous arch-foes conspire to finally eliminate the Man of Steel.  Their scheme includes a journey to the lost city of Kandor.
• “Superman Breaks Loose!”  (from Superman # 233 – January 1971).  Writer: Denny O’Neil & Art by Curt Swan and Murphy Anderson.  Seeking to revitalize Superman, DC Comics upends several familiar elements of the Man of Steel’s daily existence in this Bronze Age tale.
• “The Legend from Earth Prime” (from Superman # 400 – October 1984).  Occurring on Earth Prime, a futuristic TV news retrospective compares video imagery lifted from another dimension of George Reeves’ fake Superman to the real Superman.
• “The Secret Revealed” (from Superman {2^nd Series} # 2 – February 1987).  Writer/Artist: John Byrne & Inker: Terry Austin.  In Smallville, Lex Luthor’s forces torture an abducted Lana Lang to discover Superman’s secret identity.
• “Life After Death” (from Adventures of Superman # 500 – June 1993).  Writer: Jerry Ordway & Art by Tom Grummett and Doug Hazlewood.  From a Metropolis ICU unit, a comatose Jonathan Kent’s spirit desperately tries to rescue his lost son from a dream-like enigma.
• “Narrative Interruptus Tertiarius” (from Adventures of Superman # 638 – May 2005).  Writer: Greg Rucka & Art by Matthew Clark & Andy Lanning. Interrupting Lois & Clark’s private discussion re: parenthood, Mr. Mxyztplk presents them a poignant glimpse of one future possibility.  Note: This standard-length tale utilizes four different artistic styles.             

REVIEW:

Defining these tales as a second batch of the ‘greatest’ Superman stories, unsurprisingly, is a subjective sales pitch.  These nine tales are occasionally intriguing (as far as searching for what exactly makes them ‘great’), but it’s still a mere sampling of DC’s thousands of Super-stories stretched out over nearly seventy years. 

Of interest is appreciating the contrast in Mr. Mxyztplk’s evolution from his wacky Golden Age debut (stealing the show from Superman’s stilted personality) to a contemporary, pre-parenting counseling session with Mr. & Mrs. Superman — arguably, this volume’s concluding tale proves its best.  Aside from the artwork offering four distinctive visual looks, the Fifth Dimension imp (of all possible choices) effectively acknowledges Lois & Clark’s potential as parents.  

Greg Rucka’s scripting, in that regard, will likely appeal to a wider fanbase than that of the present-day Superman Family (with their son, Jon Kent), or, for that matter, the Superman & Lois TV series.  As silly as elements of Rucka’s story deliberately are, his spelled-out message ages far better than anything the Silver Age had previously concocted: i.e. eye-rolling/page-filling 1950’s dreck where a domesticated Clark & Lois (or Lana) (or maybe Lori Lemaris, etc.) raise ‘super-children’ in various imaginary what-if scenarios.   

Volume 2 also offers an odd yet good-spirited homage to TV’s first Superman, George Reeves, and a compelling display of Jonathan Kent’s sub-conscious willpower determined to resurrect Clark (after that fateful first showdown vs. Doomsday).  Such stories are welcome reads, but, as diluted by similar DC stories over time, their degrees of greatness still remains debatable.        

DC Comics, at a minimum, should be commended for refreshening this volume’s archived material to keep it all looking as vivid as possible.  In that sense, for Supeman die-hards, Volume 2’s nostalgic value may be timeless, especially the allotment of rare Golden Age tales.  For more casual readers, these stories should be fun to peruse, even if the content isn’t likely to make someone want more. 

ADDITIONAL CONTENT:

Though no cover reprints are included, a table-of-contents is provided.  Former DC Comics editor Robert Greenberger pens a two-page introduction explaining how these selected tales represent Superman’s necessary evolution through changing times.  Prior to Rucka’s story, there’s an unused cover image utilized as a full-page Superman pin-up.  This page’s art squad consists of Scott McDaniel and Andy Owens, with coloring help from Richard & Tanya Horie

BRIAN’S ODD MOON RATING:                       6 Stars

Note: Another DC collection title worth considering is The Daily Planet.  Covering a similar gamut of time (i.e. mostly the Golden Age/Silver Age), Superman’s regular supporting cast joins him in the spotlight.

Written by Matt Wagner

Art by Matt Wagner; Dave Stewart; & Sean Konot

Cover Art by Matt Wagner

SUMMARY:

In 2004, DC Comics released this 208-page paperback reprinting 2003’s Trinity # 1-3, which depicts Wonder Woman’s first team-up with Superman & Batman.  From Metropolis to Gotham City and then, ultimately, the entire planet, uneasy allies Superman & Batman face a dire global threat once Ra’s al Ghul and his nefarious Purge terrorist cult steal nuclear missiles.  Further enhancing al Ghul’s heavily-armed forces are a thawed-out Bizarro and a punkish young Amazonian initially calling herself … ‘Diana.’ 

After a suspicious explosion occurs near Themyscira, Wonder Woman backtracks its source to the Man of Steel in Metropolis, only to learn of his Frankenstein-like replica: Bizarro.  Subsequent encounters with al Ghul, his Amazonian protégé, and Bizarro necessitate an alliance between Superman, Wonder Woman, and Batman (though he won’t bring in his fledging Robin on such a dangerous job).  Later, the World’s Finest Duo must rescue a mortally-wounded Wonder Woman from captivity before witnessing her supernatural resurrection.

When al Ghul’s Purge attempts to forcibly take Themyscira as its new base, Wonder Woman & Batman becomes the island’s primary defense.  It’s up to Superman to reach his friends in time, if they are going to thwart al Ghul’s insidious scheme to re-imagine Earth in his own warped image.  Yet, one potential wildcard in their midst may make all the difference.    

Appearing briefly are Lois Lane, Talia al Ghul, Alfred Pennyworth, and young Dick Grayson, along with a cameo from another future Justice Leaguer.

Notes: Wagner’s project is DC’s first modern attempt projecting this trio as the company’s definitive ‘Trinity.’  This title is also available digitally and as a ‘deluxe edition’ hardcover.

REVIEW:

Like fellow writer-artist John Byrne’s creativity, Matt Wagner exerts his own distinctive fingerprints.  In this instance, short of a few qualms, Wagner’s inspired plotting far exceeds his efforts at mustering Trinity’s visual quality.  Some occasional panels are terrific, but far too much of Trinity’s rudimentary artwork isn’t so much sloppy as it is consistently underwhelming.  There’s no realistic comparison here to, say, George Pérez, or even Byrne-caliber work; if anything, it’s closer to Howard Chaykin on an uninspired day. 

Wagner’s script, as fair compensation, pitting DC’s ‘Trinity’ against evil represented by their own ‘opposite numbers’ is remarkably well-played.  Not only imbuing (practically hyper-charging) the Trinity with their own iconic personality traits, Wagner takes the necessary time to build up their opposition towards a satisfyingly climatic showdown. 

Case in point: prior to its revelation in dialogue, the pink-haired, mystery Amazonian’s identity can be deduced by a subtle hairstyle in one scene (despite her punkish hairstyles often changing).  Similar kudos go to how Bizarro is coddled into al Ghul’s bidding, which makes Trinity one of Bizarro’s most formidable appearances (aside from his murderous Infinite Crisis incarnation).  As for al Ghul, Wagner finds consistently plausible ways making him a viable threat to Superman & Wonder Woman,  as well as his perpetual arch-nemesis. 

Still, Wagner’s plot twists aren’t not all perfect.  Deemed necessary to the storyline, Wonder Woman is subjected to being brutally beaten unconscious by Bizarro, the threat of future mind-controlled rape by Al Ghul, and a partial nudity scene later on Themyscira.  Yet, these debatable creative choices aren’t nearly as exploitative and appalling as one where Superman flies to intercept two remote-controlled airliners simultaneously targeting a Metropolis skyscraper. 

Wagner’s allusion to 9/11 can’t be missed,  but resorting to such a brief throwaway visual as part of Al Ghul’s scheme only two years after the horrific fact is just plain wrong.  Wagner could have easily conveyed some other ‘impossible’ save in Metropolis and still score the same effect on readers.  His choice showing Superman easily thwarting a 9/11-like catastrophe is totally unnecessary.

Taking Trinity’s viable elements into account, Wagner gains enough benefit of the doubt.  No matter if DC’s ever-muddled continuity has since overridden this tale’s events, Trinity solidly depicts how the World’s Finest Duo becomes, ultimately, the World’s Finest Trio.

ADDITIONAL CONTENT:

Author Brad Meltzer pens a persuasive, two-page introduction.  Wagner’s three covers are each presented in a full-page gallery format.  Shrunk down to fit a single page, Wagner’s three individual cover portraits: from Adventures of Superman # 628, Wonder Woman # 204, and Batman # 627 appear.  Suffice to say, the artistic quality of these cover portraits surpasses Wagner’s visuals for Trinity. 

Afterwards, there is Wagner’s three-page sketchbook.  The concluding page presents short bios on Wagner, Dave Stewart, and Sean Konot.         

BRIAN’S ODD MOON RATING:                          7 Stars

Written by Bill Willingham.

Art by Chrissie Zullo; Karl Kerschl; Renae De Liz; Ray Dillon; Fiona Meng; Mark Buckingham; Phil Noto; Meghan Hetrick; Eva De la Cruz; Russ Braun; Tony Akins; Gene Ha; Tula Lotay; Marley Zarcone; Ming Doyle; Chris Sprouse; Karl Story; Nimit Malavia; Deon Ormston; Kurt Huggins; Adam Hughes; Al Davison; Shawn McManus; Inaki Miranda; & Kevin Maguire.

Cover Art by Adam Hughes.

SUMMARY:

Released by DC Comics’ Vertigo imprint in 2013, this 160-page original graphic novel integrates characters from both of Bill Willingham’s ongoing interrelated titles: Fairest and Fables.  In somewhat satirical fashion, the mythical Magic Mirror provides both the prologue and epilogue of a serial murder mystery targeting Fabletown. 

With the reliable Bigby Wolf no longer available, Mayor King Cole calls upon a glamorous spy, Cinderella (aka “Cindy”), to sleuth a series of grisly double-murders, including Rose Red, Morgan Le Fey, and even Snow White.  Accessing an ominous list of future victims, it’s up to Cinderella, over the course of one ugly week, to save Fabletown’s greatest female legends from being slain by an vengeful predator.  

Notes: This title is also available as a paperback format.  Aside from the illustrated prose for the prologue and epilogue, the stories are broken down under days of the week.  Specifically, these stories comprise a total of thirty chapters, each with different artists.

REVIEW:

Given so many different visual looks, this book’s artistic stylishness is consistently intriguing and at times rockets off-the-charts.  Somewhat reminiscent of Honey West, Bill Willingham’s depiction of Cinderella as a tenacious rookie detective works most of the time.  Still, the shock value of occasional profanities and unrepentant gore risks negating much of Fairest’s demented charm.  If readers are previously acquainted with either Fables or Fairest, then In All the Land (i.e. necessary twists in the last few sequences) won’t likely disappoint them.  

For others first discovering Willingham’s darkly clever re-imagining of familiar fairy tale characters, Fairest: In All the Land may come off as just too macabre for its own good.  

ADDITIONAL CONTENT:

A table-of-contents is provided.  There’s also a two-page section acknowledging this book’s creative talents — after Bill Willingham, these credits appear in alphabetical order.

BRIAN’S ODD MOON RATING:               6½ Stars

Notes: Also exploring a murder-mystery, another title worth considering is Willingham’s Fables, Volume 1: Legends in Exile.  More so, to better grasp In All the Land’s intricacies, reading Legends in Exile first makes sense.

Written by Greg Rucka.

Art by Philip Tan; Jonathan Glapion; Jeff de los Santos; Walden Wong; Ian Hannin; Nei Rufino; & John J. Hill.

Final Crisis: Secret Files excerpt text by Greg Rucka.

Final Crisis Secret Files excerpt art by Steve Lieber & Eric S. Trautmann.

Collection Cover Art by Philip Tan; Walden Wong; & Ian Hannin.

SUMMARY:

Released in 2009 by DC Comics, this 168-page hardcover reprints 2008’s Final Crisis: Revelations # 1-5 and material from 2009’s Final Crisis: Secret Files # 1 one-shot.  Beginning with a single-page excerpt from the ‘Words of Lilith,’ the prophecy re: the Spear of Destiny is enigmatically revealed.  In the present-day, the catastrophic Final Crisis has been unleashed on Earth.  Quietly, there is the tragic passing of a terminally ill Sister Clarice in a Gotham City hospital.   

Dispatching the wrath of God, Crispus Allen’s Spectre sends the first Dr. Light (who is terrorizing young girls forced to dress like female Titans amidst his monstrous sexual pleasure), Effigy, and then The Hangmen to burn in Hell.  Allen’s conscience is already damning himself for having previously killed his elder son, Malcolm, at God’s behest – for fatally avenging his father’s own murder.  Hence, the Spectre is stunned that Libra easily defies him while now leaving God’s Spirit of Vengeance inexplicably vulnerable.

Note: Allen’s murderer was corrupted Gotham cop Jim Corrigan (whose name was lifted from the Spectre’s original alter ego).    

In a shipboard battle off the English coast, Renee Montoya’s Question tangles with the diabolical Wrack’s legion to obtain the Spear of Destiny.  Leaving the Spear behind, Allen’s Spectre abducts Montoya back to Gotham City to face her own eternal punishment for ‘leading’ Wrack’s sinister disciples.  Only God’s Angel of Mercy (now channeled through Sister Clarice’s form) saves Montoya from her ex-GCPD partner’s deadly retribution.  Elsewhere, Wrack and her forces use the Spear to channel the biblical Cain’s spirit through Vandal Savage as Darkseid’s harbinger of pure evil. 

Holed up in a Gotham City church, Allen, Sister Clarice, Helena Bertinelli’s Huntress, and a wounded Montoya make a seemingly futile last stand against Cain/Savage’s vast army of corrupted minions (now including Batwoman, Catwoman, Poison Ivy, & Commissioner Gordon) busily invading Earth.  Ultimately, two mortals must defy evil’s champion in hopes that God (or perhaps an spiritual emissary) can restore the world’s balance back to normal.

Note: This title is also available in paperback.

REVIEW:

Half of the equation for a potential masterpiece is easy here: this book’s slick visual quality is top-caliber from start to finish.  Final Crisis: Revelations frankly merits consideration among DC’s best-produced 21^st Century projects, in terms of its artwork.  Yet, trying to digest writer Greg Rucka’s biblically-inspired storyline is another matter. 

The good news is that Revelations, no matter how religiously convoluted it becomes, is still more coherent than Grant Morrison’s mind-numbing Final Crisis.  For instance, Revelations’ last page wisely spells out Rucka’s poignant endgame in bolstering the Crispus Allen Spectre’s presence in the DC Universe.  Though this final plot twist is almost predictable, it’s well-played making readers suspend their disbelief.

Yet, the bad news is that Rucka’s powerful/grandiose storytelling is excessive.  His eye-popping over-reliance on biblical allegories constantly bogs down the story’s overall flow — especially how the last pages all too conveniently resolve an apocalyptic nightmare.  Further, as heavy-handed as Rucka’s plotting becomes exploiting God, it doesn’t excuse the repulsive inferences made in the (Dr.) Arthur Light scene.  There was no need for such trash, as fans already know how despicable this particular villain is, without contributing another sickening new low.  DC’s judgment (and, by extension, Rucka’s) is exceedingly poor for depicting Light’s latest crimes, especially without any parental advisory whatsoever. 

Aside from scripting flippancy overkill from Montoya & the Huntress, Rucka ought to have reconsidered toning down Revelations from the get-go.  Without going into specifics, Paramount Pictures faced a similar dilemma in William Shatner’s original fire-and-brimstone vision for 1989’s Star Trek V: The Final Frontier.  Even though Shatner’s film still resulted in cinematic dreck, at least producer Harve Bennett and other Paramount executives tried righting the ship, so to speak, mitigating their star/director’s odd extremism. 

The same predicament applies here: evidently, DC Comics didn’t bother transforming this supernatural horror storyline into something less pretentious and more conducive to a wider adult audience.  Had DC done so, Revelations’ controversial entertainment value wouldn’t then be left as an utter gamble.   

ADDITIONAL CONTENT:

Included are all five covers and their ‘sliver’ variants.  Each issue’s art squad is also specifically credited.  The cover art teams are:

• Issue # 1 (Spectre): Philip Tan, Walden Wong, & Ian Hannin; Libra’s ‘sliver’ variant: Philip Tan & Jeff de los Santos;
• Issue # 2 (Question): Philip Tan, Jonathan Glapion, & Ian Hannin; Batwoman’s ‘sliver’ variant: Philip Tan & Ian Hannin;
• Issue # 3 (Batwoman): Philip Tan & Nei Rufino; Cain/Vandal Savage’s vs. Spectre ‘sliver’ variant: Philip Tan, Jonathan Glapion, & Nei Rufino.
• Issue # 4 (Cain/Vandal Savage) & Huntress’ ‘sliver’ variant: Philip Tan, Jonathan Glapion, & Nei Rufino.
• Issue # 5 (character montage) & Spectre’s ‘sliver’ variant: Philip Tan, Jonathan Glapion, & Nei Rufino.

BRIAN’S ODD MOON RATING:                    6½ Stars

Written by Greg Rucka.

Art by Liam Sharp; Renato Guedes (for “Angel Down” only); Bilquis Evely (additional art: “Perfect”); Laura Martin; Romulo Fajardo Jr.; Hi-Fi; & Jodi Wynne.

Collection Cover Art by Liam Sharp & Laura Martin

SUMMARY:

Released by DC Comics in 2017, this 176-page paperback compiles Wonder Woman # 13, 15, 17, 19, 21, 23, and 25 (all from 2016-2017).   Isolated in the Black Sea, on a barren rock of an island, Steve Trevor witnesses a devastated Wonder Woman’s mental collapse over the disappearance of Themyscira, as she knew it. 

With Veronica Cale’s Godwatch forces pursuing them, Trevor is forced to leave his beloved Diana in a London psychiatric hospital.  He then goes into hiding with Etta Candy & the repentant ex-Cheetah Dr. Barbara Ann Minerva.  Obsessed with reaching Themyscira herself, Cale has both Dr. Poison’s female commando squad and the wicked Dr. Cyber A.I. system tracking down Diana’s friends, with orders to kill, if necessary.

Slowing regaining her sanity, Diana quietly returns to normal upon her old friend, Ferdinand, visiting her.  Ultimately, it’s revealed that Wonder Woman and Cale suspect that each other is the key to accessing Themyscira.  To save her allies, Barbara Minerva resurrects her carnivorous Cheetah alter ego at Cale’s behest. 

In a Black Sea showdown, Cale’s entourage faces off vs. Wonder Woman & Steve Trevor.  Only Diana and Cale together can unlock Themyscira’s enigmatic fate, with Ares and his two vengeful sons standing in their way.  It’s up to Wonder Woman to face Ares’ shape-shifting heirs, as well as her own personal demons re: Themyscira.

A concerned Justice League worries about Wonder Woman’s obvious change in temperament.  Trevor makes a decision about helping Diana acclimate to her need for a private life.      

Notes: This volume is the follow-up to Volume 1: The Lies.  Diana’s mystical lasso is now referenced as ‘The Perfect.’

REVIEW:

Reminiscent of Walter Simonson’s epic approach to Thor, writer Greg Rucka emphasizes the mythology in Wonder Woman’s godlike heritage.  Hence, this sophisticated storyline isn’t an exercise in superhero thrills.  “The Truth” instead explores shades of obsession, as well as redemption, as a vulnerable Wonder Woman’s commitment to the mortal world comes full circle. 

The flip side is that this plot’s deep character arcs aren’t necessarily fun to read.  Case in point: there’s little resemblance to the familiar Wonder Woman persona that readers fondly recall from her iconic pre-New 52 incarnations.  Dr. Cyber’s summation describing DC Rebirth’s Wonder Woman to her face as a “self-righteous, arrogant, simplistic little airhead,” is more accurate (unfortunately) than the mighty and compassionate DC icon that Lynda Carter and Gal Gadot personify.  It comes down to what interpretation of Wonder Woman is a reader seeking; Rucka’s alien and somewhat naïve portrayal may not be what casuals fans expect, let alone want.

Visually, the art squad’s work is consistently high-caliber, and, in some panels, proves remarkably intricate depicting Themyscira.  The artwork, in this regard, most certainly brings Rucka’s scripting to life. 

If anything, one should first peruse Volume 2: Year One to get a better vibe for the Rucka reboot of Wonder Woman’s origin.  Such a recommendation also extends to his modernized depictions of Steve Trevor, Etta Candy, Veronica Cale, & Barbara Minerva’s Cheetah, among others.  Provided one likes Volume 2’s tweaking of Wonder Woman, then Volume 3: “The Truth” won’t likely be a disappointment.

ADDITIONAL CONTENT:

Appearing in full-page color followed by black-and-white are Liam Sharp & Laura Martin’s covers.  Also, in a full-page format, there’s a gallery of artist Jenny Frison’s stellar variant covers consisting of Issues # 13, 15, 17, 19, 21, 23, and 25.

BRIAN’S ODD MOON RATING:                      6 Stars

Written by Mark Waid; Dan Curtis Johnson; Christopher Priest; & John Ostrander.

Art by Howard Porter; Steve Scott; Mark Pajarillo; Pablo Raimondi; Eric Battle; Ken Lashley; Drew Geraci; Mark Propst; Walden Wong; Claude St. Aubin; David Meikis; Prentis Rollins; Ron Boyd; John Kalisz; Pat Garrahy; Tom McCraw; Ken Lopez; John Costanza; Kurt Hathaway; & Janice Chiang.

Collection Cover Art by Howard Porter & Moose Baumann.

SUMMARY:

Released by DC Comics in 2001, this 160-page paperback reprints JLA # 42-46 (from 2000); as well as select materials from JLA Secret Files and Origins # 3 (2000) and JLA 80-Page Giant (1998). 

First up is “Half a Mind to Save the World,” as the League (Superman; Wonder Woman; Kyle Rayner’s Green Lantern; Wally West’s Flash; and Ray Palmer’s Atom) miniaturizes themselves to enter a hospitalized boy’s brain tumor.  Existing inside the tumor is an advanced yet defiant civilization (in human terms, it’s bacteria) that the JLA seeks to transplant to save the terminally-ill child’s life.

Next up is the four-part “Tower of Babel.”  Bruce Wayne is stunned that someone has grave-robbed the corpses of his parents.  Meanwhile, Talia al Ghul and Ra’s al Ghul have plundered Batman’s secret anti-JLA strategy files from the JLA Watchtower and the Batcave to help them defeat the League’s roster, one by one.  With dissension rising, the JLA (Wonder Woman; Plastic Man; Superman; Wally West’s Flash; Kyle Rayner’s Green Lantern; Martian Manhunter; Aquaman; & Batman) must recover fast to thwart al Ghul’s nefarious mass bio-terrorism scheme in time.

Taking an unprecedented vote, the League expels its most enigmatic member for an ulterior motive tantamount to treason.  Suspicious ripples trickle down to the Titans and Young Justice, which Oracle subsequently relays to a defiant Batman.  Superman is perplexed as to what he must do to restore the League’s fragmented trust. 

Finally, there are a pair of ten-page short stories.  In “The Green Bullet,” Batman probes a Gotham City homicide case where, inexplicably, the Man of Steel is the logical prime suspect.  As it’s a flashback tale, Hal Jordan’s Green Lantern appears in a cameo, as does a photograph of the League’s then-original incarnation (Aquaman; Black Canary; Martian Manhunter; Jordan; & Barry Allen’s Flash).  “Revelations” then explores suppressed sexual tension festering between Wonder Woman & Aquaman amidst an undersea combat mission. 

Note: This storyline loosely inspired DC’s 2012 animated film entitled Justice League: Doom.

REVIEW:

As a whole, it’s a solid compilation.  The plotting is commendable, in terms of a pendulum weighing Batman’s intentions now revealed vs. the outrage amongst his own teammates.  The same applies to the welcome inclusion of some other stories, even if it’s glorified padding. 

Still, the “Tower of Babel” visuals are merely sufficient, as compared to the superbly-illustrated “Revelations” and, to a slightly lesser degree, “The Green Bullet.”   The artwork for Issue # 42 (guest-starring the Atom) also frankly surpasses “Babel.” 

Where this well-known four-part JLA storyline instead excels is in its story-telling depth … particularly, in the climatic League voting sequence.  Aware that a defiant Batman is in the next room, the Leaguers each spells out his/her rationale in the vote.  It’s inevitable that the World’s Greatest Detective would accurately deduce the vote’s outcome, let alone what his own telling reaction subsequently is. 

Hence, JLA: Tower of Babel offers solid (and kid-friendly) storytelling that holds up well twenty-plus years later. 

ADDITIONAL CONTENT:

Splitting a page, cover artists start with Howard Porter & Drew Geraci (Issue # 42), and then Porter & John Dell (Issue # 43).  Receiving full pages are cover artists Porter & Geraci again (Issues # 44-46).  

BRIAN’S ODD MOON RATING:                 7 Stars

“Countdown to Infinite Crisis”  Written by Geoff Johns; Greg Rucka; & Judd Winick. “Countdown to Infinite Crisis”  Art by Rags Morales, Michael Bair, & Moose Baumann (Chapter One); Ed Benes & Hi-Fi (Chapter Two); Jesus Saiz, Jimmy Palmiott, & Paul Mounts (Chapter Three); Ivan Reis, Marc Campos, & Guy Major (Chapter Four); Phil Jimenez, Andy Lanning, & Steve Firchlow (Chapter Five); Nick J. Napolitano [Project Letterer]; & Jim Lee and Alex Ross [Project Cover Artists].

“OMAC Project”  Written by Greg Rucka. “OMAC Project”  Art by Jesus Saiz; Bob Wiacek; Cliff Richards; Hi-Fi Design; Phil Balsman; & Jared K. Fletcher. Cover Artist: Ladrönn.

“Wonder Woman # 219 ” Written by Greg Rucka. “Wonder Woman # 219”  Art by Rags Morales; David Lopez; Tom Derenick; Georges Jeanty; Karl Kerschl; Mark Propst; Bit; Dexter Vines; Bob Petrecca; ‘Nelson;’ Richard Horie; Tonya Horie; & Todd Klein. Cover Artists: Ladrönn & J.G. Jones.

Collection Cover Art by Ladrönn

SUMMARY:

Released by DC Comics in 2005, this 256-page paperback assembles the Countdown to Infinite Crisis one-shot; the complete OMAC Project # 1-6; and the corresponding Wonder Woman # 219 (all from 2005)  The 80-page Countdown is divided into five chapters, jumping back and forth from present-time to the recent past few days. 

Feeling rejected by his allies, Ted Kord’s doomed Blue Beetle investigates alone the shadowy culprit that has been plundering his company’s resources.  With some help from Wonder Woman and an injured Booster Gold, Blue Beetle uncovers a Checkmate organization that has ruthlessly seized command of Batman’s vast Brother I (Brother Eye) satellite surveillance system. At the Batcave, Batman ominously realizes that an unknown adversary has locked him out of accessing Brother I.  

Tipped off by an insider re: Blue Beetle’s brutal homicide, Batman and the Justice League are startled by Checkmate’s ultimate A.I. weapon deciding to rid Earth of all metahuman interference.  Despite simmering dissension, it’s up to DC’s greatest heroes to thwart an army of seemingly unstoppable and armored OMAC drones manned primarily by innocent ‘sleeper cell’ civilians. 

Worse yet, a battered Wonder Woman takes drastic action to save a mind-controlled Superman from Checkmate’s nefarious Black King.  Fallout from all tiers of this complex storyline will subsequently play into Infinite Crisis # 1.

REVIEW:

Fans of DC’s controversial Infinite Crisis era will likely find The OMAC Project’s sophisticated storytelling a welcome read.  All creative facets are consistently high-caliber, including the storyline’s dark plot twists.  Still, depictions of sadistic, cold-blooded violence and occasional profanities makes The OMAC Project inappropriate for a potential pre-teen audience.  That’s the caveat: DC Comics deceptively doesn’t offer a parental advisory re: this adult-oriented plot that plays off kid-friendly, spoofy Justice League International tales from the 80’s and 90’s. 

Ultimately, The OMAC Project is recommended for those seeking out the complete Infinite Crisis saga.

ADDITIONAL CONTENT:

The cover for Wonder Woman # 219 is sized to a half-page, but the other cover reprints appear in a full-page format.

Entitled “Crisis Counseling,” a full page summarizes the build-up leading into Countdown to Infinite Crisis.  Later, including half-page cover images, there’s a two-page summary of Superman # 218, Action Comics, # 829, and Adventures of Superman # 642 (which comprise Parts 1-3 of the “Sacrifice” storyline), which concludes in the Wonder Woman # 219 crossover.  Lastly, there’s also a nine-page “Designing the OMAC Project” gallery consisting of imagery (in color and black-and-white) from artists Jesus Saiz & Ladrönn.

Note: Additional cover artists are: Ed Benes & Rod Reis (Superman # 219); Tony S. Daniel, Dexter Vines, & Guy Major (Action Comics # 829); and Karl Kerschl & Dave McCaig (Adventures of Superman # 642).

BRIAN’S ODD MOON RATING:                          8 Stars