Entitled “Batman .. King of the World,” DC Comics released this issue for February 1971. Including guest star Zatanna Zatara, the League’s roster consists of Superman; Batman; Flash; Green Lantern; Hawkman; & the Atom.
Batman & Hawkman have ominously fallen to a towering robotic menace. Along with Flash, Zatanna, Green Lantern & the Atom, Superman is lured into a ruse by their metallic adversary in Peru. Batman’s strange behavior precedes his command for the mysterious Corporation’s robot to destroy his fellow Leaguers.
Only improvised teamwork might save the team from a deadly fate and the Earth from imminent plunder. Journeying to the planet known as Cam-Nam-Lao, Green Lantern, Flash, Atom, & Zatanna face alien opposition they never encountered before. Ultimately, realizing the fallacy of war will be sparked by one hero’s compassion.
Note: The issue presents the obscure debut of the Champions of Angor: Jack B. Quick; Blue Jay; Silver Sorceress; & Wandjina – an analogue to Marvel’s Avengers.
REVIEW:
No matter this issue’s simplicity, Justice League of America # 87 is a welcome treat, as compared to some of the glorified trash the comics industry has peddled in the 21st Century. Writer Mike Friedrich smartly deploys formulaic JLA storytelling where the team members all contribute something meaningful. Even better is that Friedrich allots the story’s best twist to one of the issue’s guest stars.
Bolstered by the art squad’s likable visuals, this issue delivers all-ages DC entertainment worth keeping. If anything, this issue’s conclusion offers a welcome message to children.
ADDITIONAL CONTENT:
The “JLA Mail Room” column allots two full pages. There’s a checklist of other DC issues released in December 1970. Also included is a single of random scientific facts entitled “It’s Hard to Believe, But ..”
In tribute to the James Bond movie franchise, Odd Moon Media Reviews offers its own candid assessment. Ignoring box office numbers, we will consider each Bond film’s watchability. The twenty-six movies will be ranked in reverse order.
Note: 1967’s spoofy Casino Royale has been excluded. Ranking it against other Bond films would be the equivalent of comparing Airplane! to the disaster genre it parodies.
ANALYSIS:
26. A View to a Kill 130 Min. (1985). Oozing wasted potential, View confirms seven Bonds wasn’t a lucky number for Roger Moore, who was nearing sixty at the time. Unfortunately, Moore’s Bond conveys to hapless View-ers that they’re getting an aging playboy actor instead of the timeless British secret agent playing out this misfired adventure.
Marred by sloppily edited (and logic-defying) stunt sequences, not to mention, the phoniest-looking ‘spy submarine disguised as an iceberg’ in movie history, View’s quality control is too often dreadful. Case in point: with Moore unconvincingly filming his close-ups from a studio, the eye-rolling pre-credits sequence set in Siberia is the worst-produced in franchise history.
Between hidden explosive charges detonating exactly on cue, as Moore’s stunt double passes by on a makeshift snowboard (this visual looks so movie set-fake), let alone the cringe-worthy presence of The Beach Boys’ “California Girls” narrating part of the chase, Bond’s ultra-campy Siberian getaway foretells how crummy Moore’s last Bond caper will really be.
Then again, does anyone really care to watch Bond’s icky romance play out with the far-younger Tanya Roberts (sporting a mid-80’s peroxide blonde dye job)? Or rationalize that the villain’s blimp could actually sneak up behind Roberts’ hapless damsel-in-distress to abduct her?
Boasting a superior premise to either Moonraker or DiamondsAre Forever (think Goldfinger for a mid-80’s audience), View’s ineptitude insists on squandering this welcome advantage. Keeping Christopher Walken & Grace Jones as the villains, View’s great ‘what-if’ would have been refurbishing the same script for Timothy Dalton vs. weakly accommodating Moore’s long-overdue exit. Consistent with a franchise trend, Duran Duran’s dynamite title song far exceeds this dreck impersonating a Bond film.
25. Diamonds Are Forever 120 Min. (1971). Big-budget producers best take heed: watch Diamonds (and/or 1983’s Superman III) to grasp why crummy camp humor ruins sequels. After the somber On Her Majesty’s Secret Service, this half-hearted overreach at making Bond fun again instantly falls flat. Returning from a four-year hiatus, Sean Connery appears to have aged at least a decade since 1967’s You Only Live Twice.
Saddled with an insipid script, the worst-ever Bond Girl (Jill St. John), and the weakest Blofeld (Charles Gray), Connery’s indifference only exacerbates this snooze-fest’s shortcomings. As with Moonraker, a classy Shirley Bassey tune can’t hide a dismal Bond adventure.
24. Moonraker 126 Min. (1979). Lazily exploiting Star Wars mania, the recycled script merely rockets 1977’s The Spy Who Loved Me‘s premise into orbit. Among the fatalities of this ludicrous ‘Bond in Space’ plot is reducing Spy’s formidable ‘Jaws’ (Richard Kiel) to a kiddie favorite worthy of The Addams Family’s Lurch. As Bond’s rival spy, frosty scientist/astronaut ‘Dr. Holly Goodhead’ (Lois Chiles) is a dull Americanized clone of Spy’s alluring ‘Agent Triple-X’ (Barbara Bach).
An excess of derivative sci-fi cheese (i.e. the laser gun shootout) becomes as inevitable as the Roger Moore era’s stale assortment of quips and gimmicks. Still, this movie’s most cringe-worthy mistake is the demise of Corrine Cléry’s effervescent Bond Girl — as Moore’s irritatingly smug Bond couldn’t care less abandoning her to a grisly fate. The film doesn’t even bother to mention her again — had the plot carefully done so, perhaps seeing Bond’s conscience flinch over failing to save his temporary accomplice/love interest would have imbued this movie with a welcome touch of humanity.
Aside from Moonraker’s scenic locales, only Shirley Bassey’s dreamy title song is salvageable. To Bassey’s credit, she somehow projects a poignant analogy between finding one’s ideal soulmate in marriage with, of all things, a space shuttle.
23. Die Another Day 133 Min. (2002). Concurring with other reviewers, the film’s sole plus is Halle Berry’s spinoff-worthy ‘Jinx.’ As for Pierce Brosnan, by condoning the plot’s preposterous excesses (i.e. the invisible car), he unwittingly makes himself Die Another Day’s fall guy. Desperately upping the big-screen ante to surpass The Bourne Identity and Mission Impossible, several tone-deaf gambles (i.e. Madonna’s unnecessary cameo; the villain’s racial identity swapping) sabotage Brosnan’s fourth Bond past the point of no return.
Unlike Roger Moore (with 1981’s For Your Eyes Only following Moonraker), Brosnan wouldn’t be afforded the same opportunity he deserved to redeem the franchise’s dignity. Blame for this high-concept mess should square land on the director, the misguided screenwriters, and, of course, the producers. As proof of Die Another Day’s awfulness, just subject yourself to Madonna’s title song. And the less said about John Cleese’s scene as the new ‘Q’ the better.
22. The Man With the Golden Gun 125 Min. (1974). Aside from its weak, disco-flavored title song, Golden Gun’s ultra-contrived, comic book plot is the least remarkable in franchise history. The corkscrew car stunt is still astonishing, but such obvious choreography doesn’t improve Golden Gun’s clunker script. Case in point: why must the lame plot insist upon supposed comic relief per Clifton James’ dim-witted Louisiana bayou sheriff from Live and Let Die?
Still, it’s amusing to see guest baddies Christopher Lee & Hervé Villechaize resembling a sinister precursor to Mr. Roarke and Tattoo on Fantasy Island. In the end, the sole practical benefit coming out of Golden Gun is that it effectively cures insomnia.
21. Live and Let Die 121 Min. (1973). The franchise’s first rock song, courtesy of Paul McCartney & Wings, is the one enduring asset of Roger Moore’s first Bond. Otherwise, Let Die is a schlock-fest overloaded with cringe-worthy gags meant to cash in on the era’s African American exploitation films. Aside from an overlong boat chase, only Yaphet Kotto’s intriguing effort as ‘Kanaga/Mr. Big’ proves notable. Kotto frankly deserved a better film, along with Moore coming aboard as Connery’s long-term successor.
20. Octopussy 131 Min. (1983). Gorgeously produced in India, this congenial caper should have made an ideal exit for Moore’s Bond – mostly, due to his chemistry with co-star Maud Adams. Yet, Octopussy’s sluggish pacing and its general absence of thrills makes watching this sleep-inducing film too much of a chore. The lifeless pre-credits teaser is proof itself.
19. Spectre 148 Min. (2015). For all its excesses, Spectre mistakes intense violence as a substitute for coherent storytelling. Worse yet, rebooting the Bond vs. Blofeld feud into a glorified sibling rivalry makes zero sense. Ultimately, Spectre’srunning time prolongs the weakest plot of Daniel Craig’s five Bonds by at least fifteen minutes.
18. Licence to Kill 133 Min. (1989). Imbued with an edgy Miami Vice-like vibe, Timothy Dalton’s second-and-last Bond film is a precursor to Daniel Craig’s gritty style launched by 2006’s Casino Royale. Though well-produced, even its terrific stunt work doesn’t make the humorless Licence fun to watch. Notes:Licence to Kill was the first Bond film with a PG-13-rating. Another first was that this film went with an original title, as opposed to reusing one of Ian Fleming’s story titles. The film’s British title is License Revoked.
17. Never Say Never Again 134 Min. (1983). Aided by a likable supporting cast, this breezy caper exploring Sean Connery’s Bond as a middle-aged relic is campy enough without being stupid. Rebooting Thunderball, Connery’s reliable charisma compensates for Never Again’s lack of franchise polish (i.e. the gun barrel walk; a first-class title song; the presence of Lois Maxwell & Desmond Llewelyn; etc.).
Despite its troubled production history (i.e. lawsuits and on-set turmoil), Never Again re-establishes that, when Connery was on his game, he was still the definitive Bond.
16. Tomorrow Never Dies 119 Min. (1997). Even its original title sounds disappointingly routine. Though Michelle Yeoh is a welcome presence, Tomorrow is a master class in paint-by-the-numbers, formulaic Bond storytelling. Brosnan’s comfort zone as Bond (plus a classy visit from Desmond Llewelyn’s ‘Q’) helps compensate for routine paycheck efforts from the supporting cast, particularly Jonathan Pryce & Teri Hatcher.
Other than the ultra-choreographed motorcycle stunt work, the disappointing Tomorrow takes too few risks to energize viewers. It’s a decidedly lukewarm encore to Brosnan’s exciting debut in GoldenEye.
15. You Only Live Twice 117 Min. (1967). Though he is hardly inspired, Twice is still the best of Connery’s three Bond exits. The allure of its exotic Japanese setting is probably the movie’s best asset. Growing more outlandish closer to the end, Twice’s SPECTRE-themed plot succeeds in establishing the Bond vs. Blofeld feud.
Note: Long predating Twice, Agatha Poirot’s pulpy 1927 Hercule Poirot novel, The Big Four, curiously sports some similarities of a worldwide terrorist organization like Blofeld’s SPECTRE.
14. The World is Not Enough 125 Min. (1999). Denise Richards’ ridiculous miscasting as a nuclear physicist is the primary reason why World falls well short of this list’s Top Ten. Brosnan’s third Bond is far better than Die Another Day, but it doesn’t ever surpass 1995’s GoldenEye. The inspired pre-credits sequence and Desmond Llewelyn’s final scene as ‘Q’ stand out as this movie’s best.
13. The Living Daylights 131 Min. (1987). Overcoming a convoluted Cold War-flavored plot, Timothy Dalton’s debut is satisfying entertainment bringing his no-nonsense Bond to life. For purists, The Living Daylights is far more traditionally Bond-like than Licence to Kill.
12. Thunderball130 Min. (1965). Even more than Goldfinger, Connery’s Bond goes into full comic-strip mode (i.e. the jet-pack sequence). Though the underwater sequences bog down its pacing, Thunderball is plenty good to inspire its 1983 remake.
11. No Time to Die 163 Min. (2021). Unmistakably, this one concocts the franchise’s worst title. Far more overindulgent and self-involved than Spectre, its sequel, at least, succeeds in completing Daniel Craig’s epic five-film run. In particular, classy homages to On Her Majesty’s Secret Service is a welcome aura linking Craig’s Bond to the comparatively modest Connery-Lazenby era.
10. Dr. No 109 Min. (1962). Making every penny of its million-dollar budget count, Dr. No holds up well. Hungry for a hit, a young Connery’s star power is worth the price of admission alone. The only flinch-worthy element is the racially stereotypical way Bond’s Cayman Islander ally, Quarrel, is portrayed.
9. Quantum of Solace 106 Min. (2008). In a direct sequel to 2006’s Casino Royale, this underrated film gets lost in the shuffle preceding Skyfall and Spectre. Even if it doesn’t possess as much octane as Craig’s other Bonds, Quantum of Solace easily surpasses the second Bond efforts from Brosnan, Moore, and Dalton.
8. Skyfall 143 Min. (2012). As much acclaim as this film merits, the climax is surprisingly formulaic, in terms of relying upon action-genre clichés. Still, Craig’s Skyfall delivers all the necessary goods, including Adele’s top-caliber title song and introducing most of Daniel Craig’s new MI-6 supporting cast.
7. On Her Majesty’s Secret Service 142 Min. (1969). Overcoming its new lead actor’s inexperience and a leisurely running time, George Lazenby’s sole Bond is the franchise’s classiest entry. With Diana Rigg as the most respected Bond Girl ever, Majesty is a mature spy film any adult can appreciate – especially, if one isn’t a fan of either Connery or Moore.
6. From Russia With Love 115 Min. (1963). Featuring Connery’s best-ever Bond performance, From Russia With Love is exquisite entertainment. It works as both a first-class 60’s spy movie and a wistful Cold War romance.
5. For Your Eyes Only 127 Min. (1981). As gritty as Roger Moore’s Bond would ever get, this scenic film delivers stunts of nearly every stripe: helicopters, car chases, skiing, underwater action, and mountaineering. Even its camp humor somehow works, no matter how cheesy it gets. Moore’s second-best Bond film makes for ideal entertainment.
4. GoldenEye 130 Min. (1995). A six-year hiatus following Licence to Kill makes a world of difference. Director Martin Campbell transforms Pierce Brosnan’s first Bond into a dazzling upgrade for the mid-90’s. Brosnan’s instant credibility as a seasoned Agent 007 is arguably the most spectacular debut in franchise history. Justifying a considerable budget (it’s at least double that of Licence), GoldenEye’s every penny goes to impressive use. Hugely entertaining!
3. Goldfinger 110 Min. (1964). Goldfinger risks being overrated considering Sean Connery’s Bond is held prisoner on a Kentucky horse farm for much of the movie’s mid-section. Still, as most of the franchise’s best gimmicks originate here, Connery’s presence selling them to viewers makes Goldfinger top-caliber fun among the 60’s spy thrillers.
2. Casino Royale 144 Min. (2006). Martin Campbell strikes again. Glamorizing brutally fast-paced, Bourne Identity-style violence, Casino Royale confirms that Campbell can stir two totally different Bond cocktails with equal aplomb. Daniel Craig’s raw intensity is impressive in this muscle-heavy makeover of Bond’s first 00-mission. Casino Royale readily earns its reputation as one of the most pivotal Bonds.
and winning the Number # 1 spot:
The Spy Who Loved Me 125 Min. (1977). Partially lifting You Only Live Twice’s Cold War plot, this Roger Moore caper often goes can-you-top-this? in becoming the franchise’s all-time crowd-pleaser. With Moore’s playboy Bond in peak form, every creative element – the stunts (including the iconic pre-credits teaser finish), the set pieces, the villains, Carly Simon’s theme song, campy humor, you name it, etc., falls perfectly into place. Highly recommended!
Note: For ideal Cold War comedy relief, double-feature options could include either 1976’s The Pink Panther Strikes Again or 1980’s Hopscotch.
Art by Olivier Coipel; Justin Ponsor; & VC’s Clayton Cowles
Cover Art by Olivier Coipel & Justin Ponsor
SUMMARY:
Marvel Comics released this untitled 36-page one-shot for July 2016. In a New York City courtroom, Jen “She-Hulk” Walters articulately conveys her closing argument in defense of Jonathan Powers (formerly the criminal Jester). Having viewed footage of War Machine’s intervention in Latveria, the U.S. President privately offers Col. James Rhodes a stunning promotion. At the Ultimates’ Triskelion headquarters, Col. Carol “Captain Marvel” Danvers confides in Doc Samson. Students at Ohio State University are ominously affected by the Inhumans’ Terrigen Mists.
Aboard a S.H.I.E.L.D. heli-carrier, Director Maria Hill shares disturbing news with She-Hulk. Amidst high-profile media coverage of the mutated college students, an inner-city catastrophe occurs.
Note: Evidently, there’s a staggering nineteen variant covers (images aren’t available here). Credited variant cover artists include Esad Ribic; Kim Jung Gi; & Phil Noto.
REVIEW:
Most notably, the art squad’s visuals are top-caliber. Considering this issue is meant as a glorified teaser, writer Brian Michael Bendis’ script is unsurprisingly disjointed. Still, his assortment of sub-plots are relatively well-played. In particular, his approach to three long-time Avengers who aren’t Spider-Man, Captain America, or Iron Man is a welcome change of pace.
Speaking of which, Bendis’ depiction of the U.S. President’s skeptical view on Tony Stark’s ambitions carries a surprising sense of realism. Civil War II # 0, overall, is a worthy prelude to Marvel’s next mega-epic.
ADDITIONAL CONTENT:
The first page briefly introduces the issue’s pivotal players: Captain Marvel; War Machine; & She-Hulk. There’s a full-page cover reveal for Civil War II # 1. There’s also cover reveals for Invincible Iron Man # 9; All-New Wolverine # 8; Ms. Marvel # 7; and The Ultimates # 7.
Art by Luke McDonnell; Bill Wray; Gene D’Angelo; & Albert DeGuzman
Cover Art by Luke McDonnell
SUMMARY:
Entitled “The Return of the Justice League of America,” DC Comics released this 48-page milestone for May 1986. The League’s extended roster consists of: Batman; Green Lantern (Hal Jordan); Superman; Vixen; Gypsy; Martian Manhunter (J’onn J’onzz); Elongated Man & Sue Dibny; Vibe; Steel II; Black Canary (Dinah Lance); Green Arrow; & Zatanna Zatara. Hawkman, Hawkwoman, the Atom, & Aquaman make brief cameos. Firestorm’s inexplicable absence isn’t explained.
Mysteriously summoned by a JLA alert, Batman; Superman; Hal Jordan’s Green Lantern; Black Canary; & Green Arrow converge on the team’s former Secret Sanctuary outside Metropolis. They’re the last hope for Justice League Detroit that has been accelerated into severe old age.
The veteran Leaguers must now face off against a telepathic predator known as ‘Junior,’ if there’s any chance of restoring their dying friends to normal. Assuming they survive, the League recruits a new chairperson with ulterior motives. In deep space, one of the League’s oldest foes awaits a vengeful rematch.
Elsewhere, Zatanna Zatara’s search for her missing renter, Sheri Stanley, unknowingly puts the sorceress into contact with the ominous Adam and his cultists.
Notes: Due to recent plot twists in Crisis on Infinite Earths, both Wonder Woman & Barry Allen’s Flash are excluded from this ‘class reunion.’ There’s also a continuity glitch, as Dinah Lance/Black Canary is erroneously referred to as ‘Dinah Drake’ – her late mother’s maiden name.
REVIEW:
Courtesy of writer Gerry Conway and a talented art squad, the Justice League’s landmark 250th issue is a welcome gem. Integrating both of the the team’s 80’s incarnations thus far, Conway’s terrific script (no matter how formulaic) confirms that DC could revive the classic JLA anytime the company chose to. Saving such a high-profile adventure for this occasion makes excellent creative sense.
ADDITIONAL CONTENT:
There’s a two-page “JLA Mail Room” column. Paul Kupperberg’s guest “Meanwhile …” column includes a “DC Checklist” for February 6, 1986.
Art by George Tuska; Mike Machlan; Gene D’Angelo; & Albert DeGuzman
Cover Art by Chuck Patton
SUMMARY:
Entitled “Storm Clouds,” DC Comics released this issue for October 1985. Including guest star Mera, the League’s roster consists of: Martian Manhunter (J’onn J’onzz); Elongated Man; Vixen; Zatanna Zatara; Vibe; Steel II; & Gypsy.
A reunited Aquaman & Mera take off for Western Canada to search for the missing JLA. It’s up to an exhausted Vixen to save her injured teammates from perishing after Amazo buries them alive in the Canadian wilderness. At Superman’s Fortress of Solitude, the Martian Manhunter (J’onn J’onzz) and Dale Gunn search for answers explaining Amazo’s unexpected return. The mystery soon takes them to the town of St. Jude in the Yukon.
In Vancouver, British Columbia, the final showdown commences as Amazo faces a depleted JLA. Aquaman makes a fateful decision re: his future with the team. An ominous cameo serves as the precursor to the League’s last crossover with Earth-Two’s Justice Society & Infinity, Inc., which ties into Crisis on Infinite Earths.
REVIEW:
Supported by the art squad’s sufficient visuals, writer Gerry Conway offers a readable (and kid-friendly) tale where the inexperienced Justice League Detroit has a trial-by-fire against an erratic Amazo. Notably, Vixen earns Issue # 253’s MVP award. There’s nothing special about this issue, but its mid-80’s nostalgia value might earn a spot in any DC comics collection.
ADDITIONAL CONTENT:
There’s a two-page “JLA Mail Room” column. Including a brief “DC Checklist” for the week of July 4, 1985, Dick Giordano’s “Meanwhile …” column appears on the inside back cover.
Art by Dick Dillin; Frank McLaughlin; Ben Oda; & Jerry Serpe
Cover Art by Dick Dillin
SUMMARY:
Entitled “The Last Great Switcheroo,” DC Comics released this issue for July 1979. The League’s roster consists of: Batman; Superman; Wonder Woman: Zatanna Zatara; Black Canary II; Green Arrow; Red Tornado; Hawkman; Flash; & the Elongated Man.
Having mind-swapped with five of the JLA’s mightiest heroes, the Secret Society of Super-Villains press their advantage by sending their biggest threats (trapped in the villains’ bodies) seemingly out of the universe forever.
Green Arrow is the first Leaguer to suspect a rat, as Superman insists the entire team guard the formidable Nova jewels at a museum. Even if the remaining Leaguers finally confirm this deadly ruse, what chance do they stand against desperate villains possessing the powers of Superman, Green Lantern, Wonder Woman, Batman, & Zatanna? The only glimmer of hope may be Red Tornado’s encounter with an injured Star Sapphire.
Note: DC Comics relied upon this storyline as partial backstory for 2004’s Identity Crisis and 2005’s JLA: Crisis of Conscience.
REVIEW:
Reminiscent of the JLA’s best Silver Age epics, writer Gerry Conway conjures up an entertaining adventure giving most of nearly a dozen Leaguers something meaningful to do. The only ones seemingly left out are Wonder Woman & Batman, but Conway’s scripting of the second-tier members easily makes up that difference. Bolstered by the art squad’s competent visuals, Justice League of America # 168 proves a relic worth re-discovery.
ADDITIONAL CONTENT:
There’s a single-page “JLA Mail Room” column, as well as a “Daily Planet” news-and-notes column.
The 1993-2005 ABC TV opening credits theme was composed by Mike Post. Covering the theme in an extended version is The Daniel Caine Orchestra for its 1999 instrumental tribute album, NYPD Blue: The Best of Mike Post. It has subsequently appeared on other compilations, i.e. digital lists online.
REVIEW:
Its faithful instrumental sound should please NYPD Blue fans. For enthusiasts seeking this TV series theme, this Daniel Caine Orchestra cover is an excellent option.
BRIAN’S ODD MOON RATING: 7 Stars
Note: Post’s original TV credits version appears on 1996’s Television’s Greatest Hits, Vol. 7: Cable Ready album, which was released in CD and cassette formats.
Art by Mauro Cascioli; Scott Clark; Ibraim Roberson; David Beatty; Siya Dunn; & Giovani Kososki
Cover Art by Mauro Cascioli & Steve Wands
SUMMARY:
Simply entitled “Justice,” DC Comics released this 40-page mini-series finale for April 2010. The captive Prometheus refuses to turn over the denotation codes for explosive devices targeting multiple cities.
The combined firepower of the Justice League, Justice Society, and the Titans/Teen Titans are racing the clock to save as many lives as possible. Decimated by team injuries, the League desperately misses their two best detectives: Batman (Bruce Wayne) and the Martian Manhunter (J’onn J’onzz), who are recently deceased.
Amidst a devastated Star City, Green Arrow’s family suffers another heartbreaking loss. With one last masterstroke, Prometheus accomplishes his endgame in a mass extortion scheme the DC Universe has never seen before. Has a gloating super-villain finally defeated the Justice League?
REVIEW:
This issue’s bleak plot twists exemplify DC’s post-Identity Crisis/Infinite Crisis/Blackest Night era where gratuitous violence became a shocking norm rather than the exception. Though the art squad’s visuals are often superb, writer James Robinson’s edgy storytelling revels in the idea of letting evil win for a change.
As intriguing as this shameless premise might be to some readers, Justice League: Cry for Justice # 7, no matter its huge all-star cast, isn’t for kids. More so, it’s disturbing that DC Comics once again doesn’t bother with even an T+ advisory label. Ultimately, like the divisive Identity Crisis, Robinson’s Cry for Justice pursues what ex-WCW promoter Eric Bischoff titled his self-serving memoir: Controversy Creates Cash. No kidding …
ADDITIONAL CONTENT:
Including a full-page cover (in color), there’s a four-page, black-and-white teaser for the Batman/Doc Savage/Spirit crossover: First Wave. In the “DC Nation” column, DC’s Rickey Purdin hypes a website for the Blackest Night saga.
Art by Rags Morales; Michael Bair; Alex Sinclair; & Ken Lopez
Cover Art by Aspen Studios’ Michael Turner & Peter Stiegerwald
SUMMARY:
Entitled “Chapter Seven: The Hero’s Life,” DC Comics released this 44-page mini-series finale for February 2005. Based on microscopic forensic evidence, Batman & members of the Justice Society simultaneously deduce who Sue Dibny’s murderer is. The Atom (Ray Palmer) also realizes the horrifying truth, as this same culprit manipulated the tragic outcome pitting Tim Drake’s late father vs. the mercenary Captain Boomerang.
Fallout poignantly continues amongst the DC Universe’s heroes, as a depleted Justice League assesses its present options. While the Atom’s whereabouts are now unknown, a lonely Elongated Man (Ralph Dibny) initiates an emotional coping technique re: his beloved wife’s death.
Note: Multiple printings of this issue were produced with variants of this same cover (including a textless version).
REVIEW:
Exemplified by the somber cover, Issue # 7’s art squad delivers top-caliber visuals. In terms of Brad Meltzer’s scripting, it’s fair to say, however, the second half far outclasses the finale’s opening pages. Without divulging spoilers, it makes logical sense that, after six issues teasing potential culprits and red herrings, the villain is indeed a Justice League insider.
Meltzer’s choice of culprit, however, resorts to that perpetual mystery cliché where the ingenious solution comes out of seemingly nowhere, given the character’s limited ‘screen time.’ Worse yet, the culprit’s convenient psychotic break exploits another genre cop-out that Meltzer relies too much upon.
Setting up a future villain, Meltzer’s plotting at least makes the culprit’s pre-Infinite Crisis transformation into the new Eclipso seem even more unpredictably horrific for the Justice League. Meltzer, in this sense, smartly deploys Ray’s insights rather than having Batman to rush in and make ghastly accusations.
Curiously, this issue’s script splits itself resolving Sue’s murder before transitioning into a classy epilogue impacting the Justice League. Yet, clearly more could have been inferred. While Tim Drake’s heartbreak over his father is readily evident, yet only Firehawk is shown grieving the loss of Firestorm (Ronnie Raymond). Hence, shouldn’t there have been an informal JLA wake where Sue and Ronnie would have been honored?
In terms of Meltzer’s scripting, Identity Crisis delivers, overall, a mixed bag, though the last scene is poignant. As for this issue’s artwork, the visuals (including Michael Turner’s stellar cover image) are exceptional.
ADDITIONAL CONTENT:
Written by a supposed ‘mole,’ the “DC in Demand” column presents cover reveals Hawkman # 35; Batman: Gotham Knights # 60; the unnecessary Identity Crisis # 7; and a partial look at Seven Soldiers # 0.
Art by Mikel Janin; Ulies Arreola; Kyle Ritter; & Rob Leigh
Cover Art by Ryan Sook
SUMMARY:
Released by DC Comics for September 2012, the issue is entitled “The Black Room, Part Three.” A demonic corpse-like Felix Faust and his ghouls forcibly seek to access the ominous ‘Black Room’ hidden deep inside A.R.G.U.S. Steve Trevor summons Justice League Dark (Deadman; Zatanna Zatara; John Constance; Dr. Mist; & Black Orchid) to defend his HQ.
As Zatanna & Deadman cover for them, Trevor & the JLD must access the weapons archived inside the ‘Black Room.’ With the seemingly omnipotent Books of Magic at stake, there may well be a traitor lurking among them.
In London, Madame Xanadu reluctantly seeks teenager Tim Hunter to prevent Constantine from being fatefully corrupted by the Books of Magic. She is stunned by Hunter’s unexpected admission.
REVIEW:
It’s an excellent read! For this crossover reviving DC/Vertigo’s Books of Magic franchise, writer Jeff Lemire conjures up an assortment of plot twists exuding unpredictability. Lemire’s storytelling is further enhanced by the art squad’s high-caliber visuals. Issue # 11 readily confirms this series’ reputation as one of the industry’s best supernatural thrillers.
ADDITIONAL CONTENT:
A two-page spread reveals twenty-eight of DC’s Issue # 0 covers. In the “DC All Access” column, staffer Ian Sattler hypes that year’s San Diego Comic Con.
