Sunday, October 13, 2024

Say, does anyone want any of these old DC Comics promotional materials...?

 As I mentioned a few posts ago, I'll be moving at the end of the month, which means I've been going through the dark, dusty, forgotten corners of my apartment, looking for things that I'll be taking with me and things that can maybe be recycled and thrown away.

I recently found a pile of DC Comics promotional stuff, originally sent to me in big envelopes along with review copies, which I used to get when I was writing for Comic Book ResourcesRobot 6 blog and/or ComicsAlliance (Neither of which, sadly, exist anymore). 

I'm not really a poster guy, so they never went up on my walls, but I didn't feel right just tossing them in the garbage either, so they ended up in the corner of my closet, next to dusty boxes of my mini-comics My Pet Halfling, Mothman Comics and The Ghost in the Bathroom

Now that I have to vacate these premises though, I have to make a decision as to what to do with them. So! If anyone reading this post (and residing in the United States) has any desire for any of the below, please mail me $1 (for postage, although I will readily accept more than a $1 if you want to, like, treat me to a cup of coffee or help defray the cost of the DC Vs. Marvel Omnibus). 

Oh, and if you want to help lighten the weight of those boxes of mini-comics, send me three dollars and specify which one you want (To contact me to see if the item in question is still available and for my postal address, my email address is to the right.)

Okay, here's what I've got...


•A poster for Scott Snyder and Greg Capullo's 2019 miniseries Batman: Last Knight on Earth, with an image by Capullo that is taken from the cover of the first issue in the series. 


•A "Year of the Villain" poster, apparently advertising the many 2019 DC comics that shared that branding, featuring The Batman Who Laughs, Bane, Lex Luthor and The Cheetah, with new cosmic entity Perpetua (I think that's who that is; that storyline didn't really grip me), also drawn by Capullo.


•A poster announcing Grant Morrison and Liam Sharp's 2019 limited series The Green Lantern, featuring art by Sharp, taken from the cover of the first issue in the series. 


•This admittedly rather cool Wonder Woman-through-the-ages poster, showing how the heroine has visually evolved over the course of her first 75 years. I wouldn't have minded framing this one and hanging it on my wall, had I had the money to get it framed and the wall space to hang it from. Not sure who the artist is, but it looks like the various Wonder Women were all drawn by the same hand in the styles of various artists, rather than using original images by those artists. 


•A "campaign" bumper sticker for the 2015 Prez mini-series by Mark Russell and Ben Caldwell, featuring Caldwell's image of Beth Ross version of the character. (UPDATE: Taken!)


•A Daily Planet front page featuring a story by Lois Lane and an image by John Romita Jr, apparently tied to the events of Brian Michael Bendis' run on the franchise, wherein Superman's secret identity as Clark Kent was made public again. I'm...genuinely not sure if this has been rebooted away yet or not. (UPDATE: Actually, I've been informed that this is actually tied to an earlier run in which Superman's secret identity as Clark Kent was also made public; see the comments for the correct info.)


•And, finally, Richard "Dick" Grayson's very own wallet-sized Spyral ID Card, from the brief time in which the character was a secret agent rather than a superhero, circa the 2014-2016 Grayson series. (UPDATE: Spoken for!)

I had a few more posters, but I recycled one before I thought to do this, and the others looked too dusty and time-worn to sell to anyone, even for the low, low price of $1.

Anyway, let me know if any of this interests you. Offer good through the end of the month!

Sunday, October 06, 2024

A Month of Wednesdays: September 2024

 BORROWED:

The eXtra Files: The Humor Is Out There (Hyperion Avenue) After reading my first book from cartoonist Jeffrey Brown in a while (Batman and Robin and Howard: Summer Breakdown, below), I consulted his recent-ish output and saw there were a handful of works I hadn't yet read. Given that I've been following his work for about as long as he's been working, I figured I should rectify that. This is the first of two books in this month's column on previous works from Brown, having been released in November of last year.

It is, of course, a slim, hardcover, gift book-like collection of mostly one-panel gag cartoons and occasional 2-6 panel comic strips poking gentle, affectionate fun at The X-Files, the popular drama about FBI agents investigating paranormal phenomena that ran from 1993-2002.

In other words, this is basically the creator of the Vader and Son line of books shifting his attention to another popular nerd media touchstone that he is apparently a fan of.

While I did see a handful of episodes of the X-Files when they originally aired on Fox and I did go see the1998 film (and, in the last few years, I watched the fifth season episode "Detour," a monster-of-the-week installment that references the Mothman, as part of my research into the increasingly-popular cryptid), I was not a fan or even a regular viewer of the show. During the time of its original run, I wasn't really a regular viewer of any TV at all, really. Additionally, as I've outlined elsewhere, I used to have an intense fear of aliens bordering on a phobia, and I understood they figured rather heavily in the show's mythology.

As a Jeffrey Brown guy rather than an X-Files guy, then, it's pretty safe to say that this book wasn't exactly for me, and I didn't "get" a lot of it, though I could feel many of the references and jokes as they sailed over my head. That is, I could recognize them as references to and jokes about particular elements of the show, while not being able to make exact sense of them myself.

Many of the jokes are tied to specific events from specific episodes, so much so that the majority of the entries have the name of a particular episode written at the bottom of the page in Brown's instantly recognizable handwriting (Sadly, there is no joke for "Detour," the only episode still fresh in my mind.)

A handful of others are more general, free-standing X-Files jokes that I suppose many readers will know enough about the show through pop culture osmosis to get as long as they know, for example, the basic premise of the show, and that Fox Mulder is a believer while Dana Scully is a sceptic. Or, for another, that there was obvious sexual tension between the two incredibly attractive people who played the leads (Gillian Anderson and David Duchovny, who, some 20 years after the show ended are still both incredibly attractive, and somehow seem to be getting only more so as they age...? There's an unworldly phenomenon someone should maybe investigate!), leading to fans speculating on their potential romantic entanglement.

As for an example of the standalone gags unmoored to a specific event or episode, there's the cartoon that is repeated on the back cover of the book, featuring a flying saucer lifting a cow up in some sort of tractor beam while a few diminutive gray aliens stand around looking up at it. "Now do you believe, Scully?!" Fox gestures to the scene, while Scully, her arms crossed and an eyebrow raised, responds, "I'm sure there's a plausible explanation, Mulder." 

Others include Mulder earnestly investigating what is clearly a cat's hairball, or speculating that they are both trapped in a simulation, "our lives determined by the whims of some godlike writer..."
 
Even some of the jokes explicitly tied to the show work well enough to be enjoyed by any reader, regardless of their experience with the subject matter, as in a strip labeled "The Host", wherein law enforcement officers load some kind of bizarre monster into the back of a van while commenting how they would hate to be alone with the thing, and then the driver announces, "Welp, almost midnight! About time for me to drive this thing through some poorly-lit rural backroads all by myself!"

The artwork is clearly that of Brown, although it is somewhat unusual for the artist in that he's drawing what amounts to celebrity likenesses throughout the work, something he would seem to have very little experience with. Though his various Star Wars gag books were also based on a live-action media property and thus included "real" settings, vehicles, props and live human actors playing the characters, the Vader and Son premise meant Brown was mostly drawing Vader's expressionless masked face and little kid versions of the other characters, so, for the most part, rather than having to draw likenesses of, say, Mark Hamill or Carrie Fisher, he was instead drawing blank-faced little kid characters with hair and costuming similar to those the actors wore in those films.

Brown therefore does what I would consider a fairly remarkable job of capturing Anderson and Duchovny as they looked in the show in the '90s, doing a particularly impressive job with their moods and emotions, usually conveyed with their glancing, rolling, narrowing eyes and raised eyebrows. The other characters, like The Lone Gunmen, Robert Patrick, some FBI administrators and even all the walk-ons, look like pretty solid likeness work too. Especially from someone whose simple style wouldn't seem flexible enough to accommodate such accurate work. 

For example, I've never thought Jeffrey Brown's version of Jeffrey Brown, which starred in his early "girlfriend" books and which he generally draws in the "About the Author" section of his recent work (as he also does so here), looks much of anything at all like the real Jeffrey Brown of photographs and comics convention appearances. (But then, I'm clearly not one to talk. My Caleb character is basically just my generic human character wearing the beard, glasses and clothes that the real Caleb wears.)

Anyway, I imagine this is a pretty great book for actual X-Files fans, given how much I enjoyed it while recognizing so relatively little of it. 


Scrooge McDuck: The Dragon of Glasgow (Fantagraphics Books) I'm not used to having to deal with continuity issues when it comes to Disney comics, but it turns out that this new tale of Scrooge McDuck's childhood—originally created in France, and published in English for the first time by Fanta last summer—turns on a bit of trivia that will be familiar to readers of Don Rosa's seminal Life and Times of Scrooge McDuck, but caught me off-guard, given that I assumed this would be a standalone work in the way that most of the Disney comics I've read from the publisher have been (While it's not noted in the text of the back cover of the book, the solicitation copy found online does indeed call the book "an all-new saga set in the world of Don Rosa's Life and Times of Scrooge McDuck series"). 

To be fair, while the appearance of a plot point referencing Rosa's work surprised me, one's understanding or enjoyment of The Dragon of Glasgow doesn't absolutely hinge on having already read another comic, and it's easy enough to roll with (After all, I'm an experienced super-comics reader; it takes more than an allusion to unfamiliar continuity to throw me!). 

The book, by French writer Joris Chamblain and Italian artist Fabrizio Petrossi, opens in the present, with Huey, Dewey and Louis putting on a play for their uncle Scrooge McDuck in his money bin. The subject? The legend of the Glasgow Dragon, some sort of sea monster sighted in Scrooge's own hometown in 1880, a good half-century before the first appearances of that more famous Scottish cryptid, the Loch Ness Monster.

After (barely) humoring the boys, Scrooge loses his temper when they start to ask him about the dragon and the little girl that reported it, seeing as how he was in Glasgow at the time, and he throws them out. It's Unca, er, Uncle Donald who suggests they go around Scrooge and write his sister, Aunt Matilda, and get the story from her.

The bulk of the rest of the book is devoted to dramatizing her letter back to the boys, telling them the story of the Glasgow Dragon.

That term, by the way, is used variously in the story. Not only is it the name assigned to the strange sea monster that appeared back in the day, but, as children, Scrooge and Matilda used to refer to the city's big coal mine by that name. Matilda used to fear it would one day gobble them up. 

The story features a very young Scrooge, who Petrossi draws to resemble the nephews, save for his even-then prominent sideburns, as he and his sister and their friends run around Glasgow, often going to play in the mine (against the wishes of their parents, the mine owner, and adults in general). 

One day the pair make the acquaintance of a new girl in town named Erin, who performs onstage at the local theater, and Scrooge and Erin show one another their worlds, each of which is fairly foreign to the other. Scrooge, his imagination fired by the theater, even secretly begins to rehearse with her, making his own debut as the lead in a version of "Romeo and Juliet."

The play, as a character points out, is almost too perfect for the pair, given that they end up belonging to warring families (This reveal, by the way, is the reference to continuity I mentioned). 

Will Scrooge be able to patch-up his forbidden friendship with Erin, and, perhaps more urgently, save his poor mother and sister from having to resort to the mine when the family's poverty reaches a crisis point? And can he do so before he catches a boat to America, as the year in which this tale is set is also the year we learn—through his nephews—that he did so...?

Well, one can probably guess the outcome easily enough, although I must say I felt surprisingly moved by the ending, in which we return to the present and see how Scrooge ultimately reacts to the memories his nephews stirred up during their little play and their barrage of questions.

At just 56 pages, it's a rather quick read, but Chamblain gives it the overall structure and scope to make it feel like a satisfying, complete...well, graphic novel, I guess, although unlike many of the times we use that generic term, The Dragon of Glasgow truly earns it. 

Petrossi's art, which is beautifully presented on huge 9.6-by-12.6-inch page format that flatters it nicely, is highly animated, the pen-and-ink characters seeming to easily glide from panel to panel, one's eyes practically chasing them around the pages. Though the basic character designs are fairly close to the standard ones for all of the characters, there's a more dynamic and stylized feel to them here, and Petrossi does a particularly impressive job of drawing a child version of Scrooge that nevertheless scans as the same person as the elderly character we're used to; though the "present" Scrooge only gets a few panels versus that of the "past" Scrooge, it's clear in their facial expressions and general attitude they are the same character with the same spirit. 

The art also rewards a reader who spends time poring over the deep and detailed backgrounds, as there is often action of some sort by various animals built into it, as in the case of the cat chasing the mouse that can be seen on the cover. 

The Dragon of Glasgow is a worthwhile read, not just for Disney fans or Duck comics fans, but for anyone who enjoys well-made comics. It should fit quite nicely on one's bookshelf, right next to similarly-sized imports Mickey's Craziest Adventures and Donald's Happiest Adventures.


Thor and Loki: Midgard Family Mayhem (Chronicle Books) Much of what I said of Jeffrey Brown's The eXtra Files above holds true for this book as well. It's a slim, hardcover, gift book-like collection of cartoons and comics in which Brown shifts his attention from the Star Wars franchise to another nerd-friendly media property to give it the Vader and Son treatment (Here, Jack Kirby's Thor characters in particular, and the wider Marvel Cinematic Universe in general). 

Also like The eXtra Files, this was released last year (in April, to be exact), originally missed by me, and now sought out to fill in some of the gaps in my reading of Brown's body of comics work. 

It hews a lot closer to the Vader and Son series' model than The eXtra Files does, though, focusing as it does on recasting the protagonists as kid versions of themselves to accentuate the family dynamic that results. Here, then, the titular brothers' parents Odin and Frigga are grown-ups (as are Heimdall, Nick Fury and Skurge, each of whom appear in a single entry apiece), while Thor and Loki are little kids (as are the various Avengers characters who show up, and Thor's peers, like Sif, The Warriors Three, Jane Foster and The Enchantress).

There's a stone tablet on the first page, carved with the premise: Odin and Frigga travel across the Ten Realms to their favorite world, Midgard, with their two sons, the god of thunder and the god of mischief. The exact setting isn't necessarily important, though. Some jokes take place in Asgard, most take place on Earth, and there are even a few in other realms, but basically the "where" of a particular entry seems chosen just to serve the joke in question.

Most of these jokes involve Thor's storm powers and the abilities of, or his affection for, his magic hammer. That, or Loki causing mischief, sometimes through the use of magic powers, other times through more earthly means (Drawing a smiley face on Mjolnir with a Sharpie, for example, or tossing plastic rings around li'l Hela's elaborate head-dress).

Brown doesn't limit himself to the Thor lore of the Marvel Cinematic Universe, though, also telling comics-specific jokes (Beta Ray Bill, Neil Gaiman's Angela, Thor-as-a-frog and The Unbeatable Squirrel Girl's Ratatoskr all make appearances, though, in most instances, one need not be familiar with them to "get" the joke of the particular entry they appear in). 

Curiously, Brown never seems to entirely settle on whether to take his inspiration from the Marvel Comics Universe or the Marvel Cinematic Universe, at least in terms of his design work. It's evident in the costuming of the two leads, which you can see on the cover; Brown's Thor wears his original, Jack Kirby-designed comics costume, while Loki's dressed as he was in his first few filmic appearances (He does try on the comics' Loki's longer-horned hat at one point, however).

Similarly, the costuming of the other characters appears to be chosen pretty much at random. Captain America is wearing a comics-accurate costume, as are Sif and Volstagg, while the rest of the Avengers-related characters are all wearing their Cinematic Universe duds.

This set of jokes, which are either full-page one-panel gags or short strips (and, in once, case, a two-page splash), aren't generally as strong as Brown's better Star Wars gags from previous books, perhaps because Vader and Luke's father-and-son relationship is such a potent part of those films, whereas the family dynamic of the Thor and Avengers movies aren't given as much emphasis. (Or perhaps the Star Wars material is just more cemented in my imagination, given that I grew up with those movies and their spin-offs, whereas the Thor/Avengers stuff is so much "newer" to me, the first Thor movie arriving in 2011, long after I became a grown-up...? I don't know).

It's definitely worthy of a flip-through, but it's hardly Brown's most heroic effort, even among the gags-about-pop culture-touchstones genre he's built for himself of late. 


Titans: Beast World (DC Comics) I noted on social media site Bluesky* the other day that for some reason neither my local library nor any of the 39 other northeast Ohio libraries that it is in a consortium with and shares books with seem to have ordered a copy of Tom Taylor, Ivan Reis and company's Titans: Beast World for their patrons, despite the fact that several had copies of the first volume of Taylor's Titans run (Of which this is essentially the second volume, even if it's not labeled thusly), and despite the fact that Taylor-written books and DC super-comics seem to always end up on one of those libraries shelves. 

In fact, this is the first time that I can remember not being able to find a particular DC trade I wanted to read anywhere in the consortium. I'm not sure why this is. Maybe they're just slower to order this book than I was to look for it (it was just released in August), or maybe it fell through the cracks for some other reason.

Anyway, I just found that noteworthy. Luckily, the Hoopla app, which I have access to through my library card, did carry it, which meant I was able to borrow and read it, even if I had to do so on the screen of my laptop, which is not my ideal way to read a comic book. 

As for the book itself, it collects the six-issue Beast World mini-series and two tie-in issues of Titans, all written by Taylor, with pencil art by Ivan Reis, Lucas Meyer, Travis Moore and Eduardo Pansica, embellished by four different inkers and three different colorists (Despite all the chefs in the kitchen, it's remarkably visually consistent book, with everyone's individual styles hanging together well enough that, were it not for the changing credits, one might not always notice exactly when a new artists would tag in). 

Though the story ended up under a different title (and an un-numbered collection) this is, as I said, basically just the next volume of Taylor's Titans run, directly following up on various plot points from the first handful of issues of the series: The Titans taking the disbanded Justice League's place as the world's premiere team of superhero protectors, Amanda Waller and her lieutenant Peacemaker rankling at this turn of events, Brother Blood now going by "Brother Eternity" and working to move humanity from the Earth it screwed-up so badly to a new world...and his possession of some sort of weird, alien parasites that mind-controls their hosts, including former Titan Garth/Tempest. 

It also realizes some of the unique potential of the current iteration of the Titans that I was most eager to explore, the idea of the Titans inheriting the League's role, something I was hoping to see from the first pages of Taylor's Titans. This is their first world-threatening, gather-all-the-heroes-for-a-big-meeting-to-discuss crisis, with Nightwing universally looked to as the leader (Batman gets taken off the board fairly early in the proceedings), the various Titans getting the most focus and all the best scenes (along with a few guest-stars, most notably Batgirl/Oracle Barbara Gordon, Superman Jon Kent and Detective Chimp), and the rest of DC's currently-active heroes—Superman, Wonder Woman, Green Lanterns Alan Scott and Hal Jordan, Martian Manhunter, Captain Marvel—mostly appearing in group shots, being moved around like chess pieces by Nightwing and Oracle.

It makes for a pretty effective demonstration of the Titans as grown-ups, ready to not just join the ranks of the world's greatest heroes, but to lead them. Given that they save the day, not just from the immediate threat, but the threats that cascade from its resolution, it also serves as something of a statement that the world doesn't necessarily need a Justice League, at least as long as the various super-people are willing to pitch in when they're asked to by the Titans (I understand DC's very next big crossover story, the currently being released miniseries Absolute Power, will make the opposite statement, and lead directly to Mark Waid and Dan Mora's promising looking new Justice League series, Justice League Unlimited). 

I was particularly enamored by the first act or so of the book, which scans like it could have simply been an issue or two of Titans, if Taylor wanted to follow the Grant Morrison playbook of super-team comics, and presented a big, crazy threat solved by the imaginative application of super-powers.

Itt turns out that the mind-control parasites seen in Titans are the spores of the "The Necrostar," a continent-sized entity that once threatened ancient Tamaran millennium ago and ended up being imprisoned in one of Saturn's moons (Titan, naturally). If it sounds like Taylor and Reis are riffing on original Justice League enemy Starro with a creepier and more realistic take, well, they most certainly are. The Necrostar seems to be some kind of relative of Starro's and, in fact, it was Starro himself who ultimately defeated the Necrostar all those tens of millions of years ago, allowing the Tamaraneans to imprison it.

Now the Necrostar is free and headed towards earth, and Batman hatches a plan: Try to find Starro and get him to engage with his old foe again. Beast Boy has a better, though wilder plan. The shape-shifting character, who has just been demonstrated in the pages of Titans to be able to turn into giant alien monsters and to be able to spread his consciousness through multiple animals by turning into swarms of insects, will attempt his biggest transformation ever, and become a giant green star conqueror, complete with little green, face-hugging, cycloptic star-fish spores, to take on The Necrostar hand-to-hand...to-hand-to-hand-to-hand.

"LET'S GO WITH... ...GARRO," the successfully transformed Bast Boy says as he tackles the Necrostar in space, ultimately pushing it into a gigantic Boom Tube opened by Cyborg into a freezing cold part of the universe (Meanwhile, Garro's spores dive into the mouths of those infected with the Necrostar's spores and kick them out, un-possessing them. This sort of works for the purposes of keeping the fact that victims like Tempest were being mind-controlled secret, as was necessary for the earlier parts of Taylor's Titans story, but it does lack the cool visual of the one-eyed starfishes affixed to their victims' faces).

(I confess that here I missed the way Beast Boy's co-creator Bob Brown and Bruno Premiani drew him in his earliest appearances in Doom Patrol, wherein his animal transformations would all have his haircut.)

And thus the Earth is saved...but Beast World is just getting started. 

A surprise attack by a "Dr. Hate," who resembles an evil version of Dr. Fate and, indeed, seems to serve the Lords of Chaos rather than Fate's Lords of Order, leaves Garro mindless, drifting in space as a huge, green Starro, while his millions of spores continue to fly around Earth, now flying into the mouths of victims and, somehow, turning them into half-human, half-animal hybrids that then go on rampages, a never-really-explained result of Beast Boy's powers and those of a star conqueror mixing, apparently. 

And so the Titans and their fellow superheroes find themselves facing a new crisis: Millions of people turning into animal people, including Batman and, more troublingly, Black Adam and Power Girl, who are, of course, super-powered animal people. 

While they try to find a way to stem the chaos and hopefully reverse the, um, animalification of their peers and some million more innocent victims, Amanda Waller (here in full-on supervillain mode, rather than the good-if-Machiavellian character she was originally introduced as) wants to use the crisis to take over the world from the superheroes, her plans including killing Beast Boy-as-Starro and rounding up and exterminating all of the infected animal people. (How bad is Waller here? Well, not only is she working with Peacemaker, distractingly drawn to look like John Cena on many of the pages featuring him, but she also allies herself with villains Lex Luthor and Dr. Hate, and her plans to take out Beast Boy also involve killing off an old supporting character from Mike Baron's run on The Flash in the late 1980s. It's been getting gradually harder to reconcile the modern Waller with that of the original volume of Suicide Squad).

Obviously the day will ultimately be saved, the events of this miniseries, which, again, is really just the next arc of Taylor's Titans story, seemingly leading rather directly into the next issues of Titans (Thanks, in large part, to the surprise revelation of who is under Dr. Hate's helmet), and, one imagines, the next crossover event series, Absolute Power (The very last panel of the story contains the blurbs "To Be Continued in the Pages of Titans!" and "And Amanda Waller's Quest For Order Is Just Beginning...")

I liked it well enough. 

As I said, it featured the realization of what was potentially unique about this particular iteration of the Titans vs. the many others that preceded it (that is, the Titans finally coming into their own as the heirs of the Justice League), presenting them with a credible worldwide crisis story and showing how they would handle it, and how their being in control differs from the League being in charge, with the powers that be not yet ready to accept them (Here that means Waller, who speaks for the President of the United States through much of the storyline). That's something I was particularly interested in, and the opening chapter at least was the exact kind of super-comics I like: Big and crazy. 

There were a few questions I had about elements of the proceedings, however, mostly stemming from my own not being up to date with the goings-on of the DC Comics line.

I didn't understand where Jon Kent's new "Electric Superman" powers came from and how they worked, for example, nor did I get why Power Girl turned into a phoenix-like firebird when she became infected with a beast spore, rather than just a regular animal-person. 

Also, Roy Harper continues to be conspicuously absent from Titans comics, especially given the all-hands-on-deck nature of this particular story.  In fact, Team Arrow wasn't represented in this story at all, with neither Green Arrow nor Black Canary showing up even in the biggest crowd scenes. 

I guess that's what the Beast World Tour: Star City #1 tie-in, which features both Green Arrows on the cover, was for, though. 

It's collected, along with the other four Beast World Tour one-shots and some other material, in the companion book Titans: Beast World Tour, which, like this book, no local library seems to have, but Hoopla does. 

Maybe I'll check that out in the future to see if it answers some of my questions...


Titans: Beast World Tour (DC) Curiosity got the best of me, and I decided to check out this companion collection to Tom Taylor, Ivan Reis and company's Titans: Beast World.

The 200-ish page book includes the five city-specific Titans: Beast World Tour one-shot anthologies—Metropolis, Gotham, Central City, Atlantis and Star City—each featuring the "family" of heroes that are based in that particular city, as well as stories from Nightwing #109 and #110 and Action Comics #1060, plus Titans: Beast World—Waller Rising #1. So that's everything with Beast World in the title, save for Titans: Beast World—Evolution #1, which simply reprints some key Beast Boy/Changeling stories from throughout Titans history, from 1966, 1982 and 2003, plus the 1985 Who's Who page for Changeling.

Titans: Beast World Tour is hardly essential reading and doesn't add anything necessary to the main story as it played out in the pages of the Titans: Beast World collection, not even in terms of depth or texture. Not even the Taylor-written story, in which Robin Damian Wayne goes missing and turns into a cat-person, necessitating a rescue from Nightwing and Superman Jon Kent, seems to offer anything of great value to the already quite tightly written main storyline. (In fact, some of these stories only complicate or actually detract from the main story).

Given the city/family set-up of most of the tie-ins, one might expect the book to be full of stories in which we see how the various heroes are dealing with the fallout of Beast Boy's plan to tackle the Starro-like Necrostar by turning into a Starro himself, an act which resulted in Earth being bombarded with green Beast Boy/Starro spores that fly into their victims' mouths and turn them into human-animal hybrids. (As to why no one ever just, like, covers their mouths throughout the crisis, none of the stories herein address that, but it seems that, like the coronavirus pandemic, masks would have gone a long way towards staving off the ill effects of this particular plague). 

And to be sure there are quite a few stories that amount to little more than Character A fighting an infected Character B for a few pages, among my favorite being the Kelley Jones-drawn one in which Spoiler fights Killer Moth, who has been turned into...not a moth-man, but a cockroach-man, and the Sam Maggs and P.J. Holden story in which Batgirl Cassandra Cain stumbles upon a unique way to defeat the panther-woman that used to be The Huntress (The Gotham-based Huntress from the present, that is, not the Huntress from the future who is currently in the JSA; apparently there are two Huntresses now and they are both featured in the pages of this collection). 

There are several stories that try to do different things with the premise, resulting in some odd digressions. Like, for example, the fact that the spores can apparently occasionally turn their victims into giant animal monsters, as happens to Jimmy Olsen (who naturally turns into a giant turtle man), Black Manta (a giant manta) and Black Canary (a giant black canary...wearing fishnets). Or, for another, some more plot-heavy stories, like one villain setting up an animal-person fight club for bloodthirsty audience-members to gamble on, or a set of villains experimenting on the spores and human corpses to make zombie animal-people.

The biggest departures seem to be Waller Rising one-shot by writer Chuck Brown and artist Keron Grant, and one of the two Dreamer-starring stories. 

The former has very little to do with Beast World, and simply involves Waller recruiting her nephew, a psychic tracker codenamed "Deadeye", to track down and stop an extremely nebulous plan by Dr. Hate, who apparently goes rogue and temporarily pursues his own agenda during the course of the events of Beast World, attempting to sacrifice an otherwordly space called The Kingdom to the Lords of Chaos (There's no indication that this occurs at all if you just read Beast World; Dr. Hate and Waller just seem to be allies). 

Along the way, Deadeye teams up with Vixen and Batwing David Zambive, while Dr. Hate makes a deal with Black Manta, and kidnaps various heroes, from the likes of Nubia to more minor characters like Dr. Mist and Freedom Beast. Even alternate Earth Suprman Val-Zod is roped in from where he was found in the Phantom Zone.

Brown never articulates exactly what he's doing through any dialogue or narration, and it's all done naturally enough that it's not at first obvious, but he assembles an all-black cast, eventually suggesting the formation of some kind of all-black DC super-team. 

On the very last page of the story, Deadeye, Batwing and Vixen are talking in what is apparently Batwing's base, and there are holographic projections of what appear to be the rest of DC's black heroes; many of them are hard to make out in Grant's style, especially because they are only sketchily detailed and drawn as all electric-blue and translucent, but the likes of Steel John Henry Irons and Green Lanterns John Stewart and Joe Mullein are apparent among some of the characters from this story and some characters that might be...a Firestorm, Black Lightning's daughters, Bumblebee and maybe...is that Icon....or Bloodwynd...?

"Is it a team?" Deadeye asks, facing the collection of indistinct heroes, while Batwing chimes in, "A network?" Vixen replies with the last words of the story, "A beginning."

A later story, a semi-Jaws parody by Frank Tieri and Valentine De Landro, has Vixen and Deadeye looking to save the now-mutated Black Manta because, they say, they want him for a team they're putting together to further tick off Amanda Waller. It will be interesting to see if anything ever actually comes from this. 

As for The Dreamer stories, there are two of these, both written by Nicole Maines and Steve Orlando and drawn by Fico Ossio. In the first, Dreamer's pre-cognitive powers alert her to a terrible disaster in Metropolis, which turns out to be a mutated Livewire setting off explosions through a portion of the city, and Dreamer fights and defeats her using vague, never-explained energy powers (I guess...?) while Superman Jon Kent evacuates people. It's nothing special, but it fits with the basic premise of Beast World, at least.  

The follow-up? Not so much. Another Dreamer story featuring Jon Kent, it has Amanda Waller showing up on the relatively new heroine's doorstep to recruit her to tackle another precog, who seems to be an expert fighter and a former soldier of Waller's who is now threatening revenge; Waller says only Dreamer's powers can counteract his (Why she doesn't simply detonate his head if he used to be a Squad member, I don't know, really; it goes unmentioned). 

The only thing this story seems to have to do with Beast World is that Waller is in it, I guess.

Although most of the stories are relatively short, and there is a much wider-than-usual variety of art styles on display, keeping things interesting, there are so many riffs on the animal hybrid fighting scenario that I thought the book really started to drag at one point (During Atlantis, specifically).  

It did answer some of my questions about Beast World though, specifically what Green Arrow and Black Canary were up to during the event, and where Roy Harper was (Oliver Queen narrates that he's gone missing, likely since the events of Green Arrow Vol. 1: Reunion, reviewed in this column, events which also involved Amanda Waller, who is apparently becoming the new Darkseid, given how often she's used as the villain in recent DC stories).

No clue why Power Girl, who is on the cover in her mutated state, turned into a firebird rather than a regular bird-woman, though; maybe it would make sense if I read the recent Power Girl series...?

Anyway, if you're a fan of any of the particular families of DC heroes represented here, chances are you will find something to like in their particular section, and God knows there's enough variety in the art that there's sure to be a style you'll find particularly engaging somewhere between the covers. 

Otherwise, this is a pretty skippable companion to what is actually a fairly compelling superhero crossover story.



Walt Disney's Mickey and Donald Fantastic Futures: Classic Tales with a 22nd Century Twist (Fantagraphics) I'm unsure of the exact provenance of this book, which was apparently released back in February, although I had obviously missed it at the time. (I only discovered it belatedly when I saw it listed in the back of the latest edition in Fanta's Carl Bark's Library, Walt Disney's Donald Duck: Mystery of the Swamp, covered in the previous column). 

Though a few minutes of Googling didn't reveal its backstory, the fine print between the title pages says, "The stories in this volume were originally published in Italy," which would certainly explain all the Italian-sounding names in the table of contents. Additionally, there's a note on the same table of contents stating, "The content of this volume is presented in its entirety as first created in 2023", when I am assuming it was originally published by a Disney affiliate in Italy.

That year was a significant one for the Walt Disney Company, as that was when they celebrated their centennial, and it presumably explains the premise of this anthology's eight stories. Each is based on a classic Disney animated short, from 1935's Mickey's Fire Brigade to 1950's Trailer Horn, but the resultant homage is set a century in the future. 

Though each is written by Francesco Artibani, either credited with "story" or "plot" (in the case of the latter, another writer gets a "script" credit), they are all completely independent of one another, set in a variety of different future cities (Mouseton-Mars, Mouseton-2-2, the Duckspace 1 Station, and so on). 

The vision of the future offered in each is a fairly generic one...generic enough, one imagines, that it's probably not that unlike what Walt Disney and his peers probably imagined the twenty-first century to be like. You know, people in tight-fitting jumpsuits, flying cars, space stations, a colony on Mars, interplanetary travel and so on. 

Each of the stories is preceded by a page labeled as "The Inspiration," which details the original cartoon short it will be loosely based on. These pages contain a few paragraphs explaining the plot of the short and often some of the historical background of its creation, including considered but discarded aspects, as well as a few stills and/or related artwork.

These prove important to the proper enjoyment of Artibani and company's reimaginings, as not only do these pages make some sense of the basic premise of each, some of which seem...odd for stories set in the far-flung future (ghost-busting in a vintage haunted house in the case of "Lonesome Ghosts in the Machine", for example, or classic fire-fighting in "Firefighters of Tomorrow"), but they also clue readers into why certain creative choices were made, like including Pete in the aforementioned ghost story or reversing Pete and Pluto's roles in "Mr. Mouse Takes a Space Trip" (a feat accomplished in part by giving Pluto a special device that translates his barking into English). 

I certainly appreciated these "Inspiration" pages, as I am certainly not familiar with all of the shorts referenced, and in the case of those I have any memory at all of seeing—Trailer Horn, Thru the Mirror—that memory is fragmented and vague at best.

And so Mickey, Donald and Goofy leave for a vacation in a state-of-the-art trailer as in "Mickey's Trailer", but here it is pulled by a rover across the surface of Mars, as they leave the safety of their domed city. And instead of cleaning the insides of a giant clock tower as in "Clock Cleaners", they are tasked with cleaning a giant mecha robot. And so on.

Most of the stories star these characters as a trio—Goofy, usually used as a Mickey Mouse supporting character in the comics, doesn't get cover billing like his two pals. There are only two exceptions to the rule: "Exoplanet Trailer," in which Donald Duck seeks a relaxing vacation on a sparsely populated, forest-like planet only to be annoyed by cyborg chipmunks Chip-Y and Dale-X, and the previously mentioned "Mr. Mouse Takes a Space Trip", in which Mickey takes the space train to Jupiter, only to become entangled in an adventure that involves a pick-pocketing Pete and canine train conductor Pluto.

By far the most fun part of the book is the high quality and great variety of the art, all of which is highly stylized by its creators, which will seem quite dramatic to readers who are now used to the faithful styles of the likes of Floyd Gottfredson, Carl Barks, Don Rosa and the various "Disney Masters" Fanta has been publishing over the course of the last 13 years or so (As much variety as there is within the styles of those various creators, they all tended to stick pretty faithfully to the approved and predominant designs of the Disney characters during the time in which they were working on the books.)

Though the most essential elements of the basic designs are kept pretty much intact—the characters are all recognizable as themselves throughout—there is quite a wide variety of takes. Giovanni Rigano and Ivan  Bigarella offer lush, almost painterly art that straddles the worlds of animation and classic storybook illustration, while Donald Soffriti offers what looks like a sharper, more jagged take on the 2013-2019 Mickey Mouse shorts and Palo De Lorenzi gives us a flat, modern style that looks a little like individual animation cels and a little like comics art drawn on a computer.

The characters, as mentioned, are pretty elastic from story to story, none more so than Donald, who, tends to sport a pointier, more elongated beak and more duck-like build than his more classic interpretation in some of the stories, particularly in "The Lonesome Ghosts in the Machine," where his design looks more like that of his first appearances than later ones, and "Thru The Betaverse," wherein he looks even more like the Donald of 1934 than that.

The book's cover, apparently by artist Mirka Andolfo (whose work I first saw in DC Comics: Bombshells, but who has since gone on to draw Wonder Woman, Harley Quinn, Ms. Marvel and her own creation, Sweet Paprika), doesn't really give one a sense of the contents of the book. Whether you come across it in a comics shop or in a library, I'd definitely recommend at least picking it up and flipping through it, if only to marvel at the art. (My personal favorite was Francesco D'Ippolito and Lucio De Giuseppe's "Thru the Betaverse," which finds Mickey as an anti-hacker who jumps into various virtual reality-like worlds to protect them, and then spends most of the story trying to stop a revolution in the Wonderland setting; it's drawn in a style that hearkens to the earliest animated and comics looks of the characters.)

Ardent Disney fans, particularly those who know and admire the classic animation as well as the comics interpretations, will, of course, get the most out of the book, but I'd suggest it to any fan of comics-making as a great example of visually reinterpreting classic stories and characters—and are there any more classic characters in our culture than Mickey Mouse and Donald Duck?—in one's own design an story-telling style. 


REVIEWED:

Archie: The Decision #1 (Archie Comics) This is the first comic book I bought specifically so I could write a review of it in many, many years now, so I guess I also could have put it under the "BOUGHT" section of last month's column, but as I knew the review I'd be writing would be for Good Comics for Kids, I figured it makes more sense to include it in this section of this month's column. 

This book is, of course, the one-shot special created by the unlikely pairing of writer Tom King and artist Dan Parent. Unlike other such instances of big-name creators from the world of super-comics visiting Riverdale, this isn't an exciting new take on the storied Archie franchise, but simply King offering a 20-page gag story, in the mode of the Archie Comics you may have grown up reading. 

The collaboration is, I think, big enough news to warrant attention—and so I read and reviewed it—but it's not too terribly fruitful, thanks in large part to the flatness of the central joke upon which the entire story hinges. (Although I did admire King and Parent for diligently trying to fit as many Archie Comics characters into a coherent Archie story as possible; at one point while reading it I had the thought that it just might be the Batman: Hush of Archie comics.) 

You can find a better structured review of the book here


Batman and Robin and Howard: Summer Breakdown (DC Comics) If you would have told me in the early years of the new century that Chicago-based cartoonist Jeffrey Brown, whose personal, funny graphic novels Clumsy and Unlikely I read at the emphatic recommendation of a friend, would, within the next 20-25 years, create a large body of Star Wars-related comics and not one but two Batman graphic novels, I'm not sure I would have believed you. I definitely wouldn't have had you stipulated that not only would Brown write these works, but he would also draw them in his own signature style, and the results would read more like Jeffrey Brown comics than Star Wars or Batman comics. 

And yet here we are, with Brown releasing a sequel to his fun, funny, all-ages 2001 Batman and Robin and Howard comic which, unlike most comics featuring the current Dynamic Duo, focused on their dynamic as regular kid and single dad trying his best.

In the sequel, Howard is no longer Damian's number one rival, but his best friend, and a valued member of the crime-fighting team. The new conflicts involve the presence of Damian's mom Talia al Ghul, a whole bunch of her ninjas, and a circuitous anti-Superman plot by Lex Luthor. (Oh, um, I shoulda said "Spoilers" before that last sentence, huh? Sorry. But the book has been out for over a month now; you really should have read it by now!)

As with all of DC's kid-focused original graphic novels, this is, of course, set in its own distinct continuity, one separate from that of the main line of DC Comics (These are, essentially, all Elseworlds or Imaginary stories). Which can sometimes be kinda too bad, given how strong some of them are, or what great new characters they might introduce (I could certainly imagine a version of Howard in the DCU, for example). 

Despite some minor differences—Batman and Robin's costumes, Damian having a little dog named Dribble rather than big dogs Titus and Ace—most of the Batman and Robin and Howard comics have felt perfectly in-keeping with the portrayal and relationships of the "real" Batman and Robin.  Still, even as I was aware of the separation between the various takes, it struck me as odd to have Damian meeting Lois Lane for the first time (Oops, spoiler again!), given his relationship with the Kents as his other best friend Jon's parents in the Super Sons and Batman and Superman books. 

Anyway, if you would prefer to read an actual review of Brown's Summer Breakdown, rather than reading me babbling about it as I am doing here, you can click over to Good Comics for Kids



Lion Dancers (Simon & Schuster Books for Young Readers) This original graphic novel from cartoonist Cai Tse was quite an interesting read. It has elements of your basic sports narrative and your basic coming-of-age story, but the specific subject matter makes it unlike any of those I've ever experienced before: Chinese lion dancing. More here




*Oh, I'm on Bluesky now, by the way. If you follow or followed me on Twitter—sorry, I'm not calling it "X"—then you may have noticed I stopped posting there a few months back. I couldn't in good conscience continue to participate in the site anymore, not given the politics and general grossness of the man who now owns and operates it (and seems to spend a lot of time on it, mostly boosting untrue stories). If you would like (slightly) more content from me than you get here at EDILW and GC4K, you can follow me there, where you can find me at @jcaleb.bsky.social. I'm hardly a prolific poster there either, so you haven't missed much, just some talk of a few prose books I've read, in addition to the usual links to my work. 

Tuesday, October 01, 2024

A post about a fantasy Wonder Woman movie that I guess I planned to write a decade or so ago

I'll be moving soon. I've been in the same apartment in Mentor, Ohio, just down the street from the James A. Garfield National Historic site (where our 20th president once lived) and a little further down the street from the public library where I work, for 12 years now, but the time has come to head back to my hometown of Ashtabula, Ohio to take care of my ancestral home.

This, of course, means I've been doing a lot of digging through closets and corners, finding things I had forgotten about and wondering what to do with them (Do I, for example, really need this folded-up poster heralding the debut of Scott Snyder's 2018 Justice League run that the publisher must have sent along with some review copies back then? What about this cardboard box from a Kickstarter I kept, just because it had Jim Lawson's handwriting on it? How about that pile of mini-comics from a past Gehngis Con that I still haven't gotten around to reading yet?).

The other night I tackled one of the drawers in my desk. It was full of the expected junk drawer components of buttons, nails and tacks, paperclips, mysterious keys and pencils and pens (at least half of which didn't work), along with business cards gathered from artists at comic conventions or art shows, corners torn from the lefthand side of envelopes with friends' addresses written on them, phone numbers and email address from past co-workers, a slip of paper with a woman's name and phone number on it I was happy to get (The woman in question? Long since married) and scraps of paper containing the writing of my late grandfather.

There was also a little penguin finger puppet holding a sign that read "Keep Cool, Uncle Caleb," that my young niece had made and mailed to me when I was suffering from a particularly bad bout of anxiety. And a list of women's names—Clothilde Ellinboe, Pansy Hammer and so on—that I couldn't quite make sense of, until I remembered it was a list of all of the love interests that appeared in the original prose short stories of Max Shulman that were collected into his 1951 book The Many Loves of Dobie Gillis. (As to why I decided to make and keep a list of them, I can't remember; they are some great names, though!).

The vast majority of the mess was made of little horizontal pastel scraps of paper, each with a few words hastily scribbled on them, that were clearly from sticky notes at work. While there are a few notes about sources or ideas for books I wanted to write someday, most of them were the titles of books or DVDs that I had come across at the library, was interested in reading or watching someday but not right that moment, and so I wrote them down for Future Me to get back to someday, then put them in my desk drawer upon returning home, and then forgot about for years. 

Reading them as I cleared out the drawer, I recognized the titles of only four or five that I actually ever got around to reading or watching; most I had no memory of, although Past Me helpfully usually wrote the word "book" or "DVD" next to the titles, so I at least know what form of media they were. 

Among all these scraps of paper was a square of thin paper—the blank side of a receipt that would be tucked into a book on hold to let staff know where it was going—with particularly small and scribbly writing on it. 

It took me a bit to figure out what it was, but it appears to be my fan cast for a Wonder Woman movie, something that has been in some form of development or other since I was in college, but really started to ramp up in the second decade of the 21st century. 

I'm assuming I jotted these notes down at work one day, planning to do a blog post about it that night or that weekend, this being back when I still did blog posts on a daily-ish basis, but, like all the other scraps of paper I brought home from work, I just stuck it in my desk drawer and then forgot about it.

According to the date on the other side of the receipt I was using for scrap paper, this would have been in October of 2014, so just about ten years ago now. I'm not sure what exactly prompted my thinking about it at all, but there must have been some renewed conversation online about the Wonder Woman movie (Director Patty Jenkins wouldn't be officially attached until 2015, and, of course, the movie eventually saw release in 2017, following Wondy's debut in the terrible 2016 Batman V. Superman: Dawn of Justice.)

Anyways, as I am stuck at home with Covid at the moment with little else to distract me from just lying around and feeling miserable, I figured I might as well get around to writing this post I planned all those years ago.

This, then, is how I would have cast a live-action Wonder Woman movie if I were in charge of casting a live-action Wonder Woman movie, a decade ago...


Wonder Woman/Diana: Jessica Lowndes. There's a pretty good chance you don't know who Jessica Lowndes is; she's probably the least famous actor or actress mentioned in this post. (Here, familiarize yourself!)

She played Adrianna Tate-Duncan in the 2008-2013 90210 series, which is where I first encountered her (I am tempted to say she was the most beautiful and charismatic actress on the show, but then, the 90210 reboot also featured Jessica Stroup, who played Erin Silver, so Lowndes had some serious competition). By 2014, Londes had also appeared in a couple of horror movies (2008's Autopsy and The Haunting of Molly Hartley and 2010's Altitude, which, fun fact, was directed by comics artist Kaare Andrews). 

Incredibly beautiful, with dark hair and big, blue eyes, she would have made a striking Diana. She is only 5'4, which many might think is too small to be Wonder Woman, but my vision of the character has always been aligned with that of the original William Moulton Marston/H.G. Peter version of the character, which was more girlish than the imposing warrior figure she would eventually evolve into. I think the dissonance between the more daintily designed Wonder Woman and her great strength and martial ability is more compelling than either the big and muscular warrior or Barbie doll like designs that have tended to dominate the character's post-Marston/Peter history.

Obviously, Lowndes did not get the gig, which went instead to Israeli model-turned-actress Gal Gadot, who I thought both looked the part and did a fine job of playing it in Batman V. Superman, Wonder Woman and Justice League (I never saw Wonder Woman 1984, though).

After 90210, Lowndes embarked on a music career (Confession: I've never heard a single song of hers) and has since made a career out of made-for-TV romcoms for Lifetime, the Hallmark Channel and other such venues, some of which also feature Lowndes' music. 

Of course, now that what used to be called the DC Extended Universe is being rebooted by James Gunn, I suppose they will need a new actress to play Wonder Woman on the big screen, so maybe Lowndes will get her chance yet...!


Steve Trevor: Channing Tatum. Very handsome, a convincing action hero and adept at playing somewhat dim characters, I think Tatum would have made a consummate Steve Trevor. 

The role went instead to Chris Pine, who I thought was quite good in the film. Tatum's career obviously didn't suffer from not being in Wonder Woman, though. 

It occurs to me now that another potentially good Steve Trevor would be Ryan Gosling, who is also handsome, a fine serious and comic actor, and pretty good at playing characters that aren't necessarily the brightest.


Etta Candy: Rebel Wilson. This was pretty lazy fan-casting on my part, to be honest. Trying to think of an actress to play a plus-sized comedic character, I landed on one of the few plus-sized comedic actresses I could think of, Wilson, from 2011's Bridesmaids and 2012's Pitch Perfect.

The eventual Wonder Woman movie would cast British actress Lucy Davis of the original, British version of The Office and 2004's Shaun of the Dead as Etta Candy.


Hippolyta: Claire Danes. On my little sheet of paper, I see I wrote "Liv Tyler" after the colon following Hippolyta, then crossed it out and wrote "Claire Danes." 

I am assuming I was thinking of Tyler based on the fact that she is also dark-haired and blue-eyed, and thus would resemble her daughter Diana. The post-Crisis Hippolyta does indeed look fairly similar to her daughter, as did the Golden Age version of the character, although there was a period where the character was depicted as blonde for a while.

I'm not sure why I changed my mind and wrote in Danes...I am assuming because I decided to cast Tyler elsewhere (as you'll see below). A fine actress in addition to a timeless beauty, Danes would have certainly made for a good Queen of the Amazons.

Connie Nielsen played the character in the actual film.


Aphrodite: Liv Tyler. Another instance where I apparently changed my mind, I at first wrote "Olivia Wilde" and then crossed it off, writing Tyler's name instead. 

This choice seems pretty self-explanatory. Aphrodite is the goddess of beauty, and Tyler is maybe the most beautiful woman in the world...? Or at least one of them. I was an avid follower of her film career in the '90s but haven't seen all that much of her much since The Lord of the Rings trilogy wrapped (just 2004's Jersey Girl and 2008's The Incredible Hulk I see, consulting her IMDb page.) The last film I would have seen her in before taking these notes would have been the quirky little 2014 comedy Space Station 76. 

I am sure I had originally written Wilde's name down because she always struck me as disconcertingly beautiful. I first noticed her in 2011's Cowboys & Aliens, where she seemed distractingly attractive; like, she was so pretty that she looked out of place in the movie and seemed miscast...like, she was clearly too beautiful to be playing that particular role, and every time she appeared on screen I would get bumped out of the necessary suspension of disbelief one needs to maintain to watch a film....even a film like Cowboys & Aliens.)

Tyler ultimately seemed a better choice, though, for the same reason I at first considered her for Hippolyta: She sort of resembles Diana (and/or Jessica Lowndes) a bit in terms of her basic features, and Diana is supposed to have the beauty of Aphrodite, so it makes sense to cast an actress who sort of resembles her a bit. (Giving it some more thought, I wonder if the character who plays Wonder Woman/Diana should also play Aphrodite, given that Diana's looks come from Aphrodite...?)


Athena: Keira Knightley. This one seems a bit obvious. Who should be cast to play a goddess? How about actual goddess Keira Knightley?

Neither Aphrodite nor Athena were used in the eventual film. In fact, if I'm remembering it correctly, it was quite light on Olympian deities, ultimately only featuring a single one, and a god at that, rather than a goddess.


The Cheetah: Kristen Bell. I have no idea what I thought the plot of this film I was pretending to cast would have been, other than that it would take place during World War II and be inspired by the Marston/Peter comics. Because I wrote down casting for like five villains and, in general, I've always been a proponent of having only one villain per comic book superhero movie, given how many of the superhero movies I've seen with two villains seem to go off the rails. 

Anyway, the first villain I wrote down was The Cheetah, and I was of course envisioning the Golden Age Priscilla Rich version, a woman in a cheetah costume, rather than the Barbara Ann Minerva were-cheetah version that was introduced during George Perez's post-Crisis run on Wonder Woman.  

I have no idea why I thought this would be a good role for Bell; perhaps I had just seen her in something (most likely 2013's The Lifeguard) and she was on my mind the day I was scribbling these notes? 

Anyway, The Cheetah would indeed make it into a Wonder Woman film, although not the first one; she appeared in the 2020 sequel Wonder Woman 1984, played by Kristen Wiig. Wiig played the Barbara Ann Minerva version, rather than the Priscilla Rich version.


Baroness Paula von Gunther: Carice van Houten. Although The Cheetah is probably Wondy's best-known recurring villain (the result, I'd guess, of appearing in the Super Friends series of cartoons), she's not the first. That honor goes to Paula von Gunther, a ruthless Nazi spy and saboteur who first appeared in 1942 and was another creation of Marston and Peter's.

Though somewhat generic for a villain of the time, what made her interesting to me was the fact that she eventually became a sympathetic character and, with Wonder Woman's help, ultimately reformed and joined the Amazons on Paradise Island. She was therefore a very early example of Wonder Woman not simply killing or locking up her foes, but actually striving to reform and redeem them into better people.

As to why I picked Carice van Houten, it was almost certainly on the strength of her role in the somewhat silly but all-around awesome 2001 film Miss Minoes, where she played a cat that gets turned into a human girl. (I think I also probably assumed she was German, although it turns out she's Dutch.)

Since then van Houten has appeared in plenty of films, although looking at her IMDb page now, I think the only one I actually saw was 2006's Black Book. I suppose she's now best known for playing a character on Game of Thrones...?

As for Von Gunther, she never made it into onto the Silver Screen but she did appear in an episode of Batman: The Brave and The Bold which, like all episodes of Batman: The Brave and The Bold, was awesome (Oh, and Wikipedia says she was on the original 1970s Wonder Woman TV show, which was obviously well before my time.)


Doctor Psycho: Peter Dinklage. Another rather lazy choice on my part. For the part of Wonder Woman's diminutive, woman-hating villain, a hypnotist and occultist with a hardly subtle name, I of course thought of Dinklage, the best-known actor of a certain size. Dinklage has obviously played a villain to great acclaim before, but, to my knowledge, not one as straight-up over-the-top as the wild-eyed, wild-haired Psycho. 

The character never made it into a film adaptation yet, although Dinklage has had roles in two superhero films, playing Dr. Trask in 2014's X-Men: Days of Future Past and a giant of Norse mythology in 2018's Avengers: Infinity War


Marva Psycho: Lucy Collins or Haley Bennett. Doctor Psycho's fiancée-turned-wife plays heavily in the drama of his origin and becomes necessary to him when he starts exhibiting occult powers, Psycho having used her as a medium from which he pulled ectoplasm...which probably didn't seem as weird in the 1940s, so much closer to the age of spiritualism, than it does now.

I'm not entirely sure what my thinking on this casting was, aside from the fact that I had then just-recently seen both actresses for the first time (in 2012's Mirror Mirror and 2009's The Hole, respectively) and liked them both a lot. 

Both actresses seem to have been working pretty regularly since my first exposure to them, and on some fairly sizable project, especially Collins, who has gone on to success in television with Emily in Paris


Hercules: The Rock or John Cena. Ha ha, maybe my least imaginative choice yet! For the part of Hercules, I narrowed it down to two charismatic, extremely muscular professional wrestlers-turned-actors, one of whom I had just seen playing Hercules a few months prior...! (That would be The Rock, er, Dwayne Johnson, in the 2014 Hercules movie, based on the short-lived Radical Comics Hercules series by Steve Moore and Admira Wijaya...I remember liking the film quite a bit at the time, although now I haven't many specific memories of it.)

Both actors would of course go on to play DC super-people, with Cena playing Peacemaker in 2021's The Suicide Squad and a TV show that followed it to great acclaim, and Johnson playing starring in 2022's Black Adam to...less so. 


Ares/Mars: Ian McShane. That Hercules movie must have made an impression on me, as Ian McShane was also in that, and here it seems I cast him as the god of war, using either the Greek or Roman name (I remember reading about Mars in the Golden Age Wonder Woman comics, although obviously Ares would become one of her biggest recurring villains, especially during the Perez era.) 


There are then two lines of writing that I can't read at all; while it looks like there may be some names among them, I don't recognize those names, and they don't appear to be English...?

Anyway, thus ends the post I thought about writing ten years ago. 

Stop back on October 6th for the next installment of "A Month of Wednesdays".

Friday, September 06, 2024

(Two) Month(s) of Wednesdays: July and August 2024

BOUGHT:

Dracula Book 1: The Impaler (Orlok Press) I'll be the first to admit that I don't understand Kickstarter, and how it works in today's comic book publishing field. I mean, the concept of creators crowd-funding directly from their would-be readers and thus negating the need to sell a book to a traditional publisher makes sense to me...even though it sometimes boggles my mind that some of the most talented, most revered and most reliable comics creators need to forgo working with a publisher. This was certainly the case with two of the last projects I personally backed, Jeff Smith's Thorn: The Complete Proto-Bone College Strips 1982-1986 and, of course, the subject of this review, the veritable slam dunk pairing of Matt Wagner and Kelley Jones on a Dracula comic book, Dracula Book 1: The Impaler (the first of a planned four-book cycle). 

I'm further confused by the fact that both projects would, after being successfully Kickstarter-ed, go on to be published in the direct market by publishers anyway; in the case of Thorn, it was Smith's own Cartoon Books, and in the case of Dracula, it is Dark Horse. Since Cartoon Books is basically just Smith and his partner/wife, I guess needing to secure a large amount of upfront funding makes a certain amount of sense, but why didn't Dark Horse handle that for Wagner and Jones, two artists they have worked with extensively—and, I believe, successfully—in the past? (Again: Matt Wagner + Kelley Jones + Dracula is about as perfect as a pitch for a comic book as one could want.) 

Even more confusing than either of those examples is that of Boom Studio's Kickstarter campaign for the miniseries Mighty Morphin Power Rangers: The Return by writers Amy Jo Johnson (the original Pink Power Ranger and a crush of teenage Caleb's) and Matt Hoston and artist Nico Leon. It, of course, wasn't exclusive to Kickstarter patrons, but was later released in comic shops and then, eventually, wherever books are sold in its collected format. And again, it confuses me as to why they would need a Kickstarter; doesn't Boom regularly publish Power Ranger comics? Isn't one with Johnson's name attached more, rather than less, likely to sell a lot of copies...? (Despite my long-ago fondness for Johnson and the presence of variant covers by EDILW favorites Kevin Eastman and Jim Lawson, this is the one of these examples that I did not contribute to...maybe I'll borrow the collection from the library eventually...)

Like I said, I don't understand it, but it does fill me with a vague sense of worry, that big direct market publishers like Dark Horse and Boom need to rely on crowd-funding rather than handling all such expenses themselves.

Anyway, I got the Orlok Press, hardcover version of Dracula Book 1 directly from Wagner and Jones in August for $51 (including shipping). I guess if I would have just waited a bit, I could have pre-ordered the Dark Horse, trade paperback version, which will be released in late October, for just $29.99. 

This makes me wonder how I should proceed for the next three books in the series; if they're also Kickstarter-ed, should I support them thusly, ensuring the books can indeed be made, or should I just assume Dark Horse will indeed be publishing them as they did the first book...? 

I suppose that's a worry for another day, and not exactly why you're reading this column, which is ostensibly devoted to the reviews of the comics I've read in a given month (or, here, months), and not my babbling about how I am confused by the current comics marketplace. The pertinent question at the moment is, of course, is this comic good or not?

It will likely come as no surprise to you that I did indeed find it to be a good comic. In fact, a very good comic. 

I obviously had rather high hopes for it, given that it was written by the great Matt Wagner (whose 1992 Legends of the Dark Knight arc "Faces" and 1993 Batman/Grendel were among my earliest and favorite Batman comics) and drawn by one of my favorite comics artists, Kelley Jones (whose work I often end up just scanning panels of and ranting about when I attempt to discuss it here on my blog). 

These hopes weren't just met but exceeded. 

The 94-page comic story, presented at a bigger-than-usual 8.5-by-11-inch format, opens with a huge, detailed moon, fanged teeth seemingly projected upon it, hanging over a tall castle. In the lower righthand corner of the splash page we see a right hand holding a pen above a book. This is, letterer Rob Leigh's narration boxes assure us, "the Son of the Dragon...DRACULA."

This, then, is Dracula telling his own story in his own words and, importantly, he is the protagonist and main character in a way he very much is not in most of the more famous versions of his story, including, as Wagner alludes to in his introduction to the book, the story that introduced him, Bram Stoker's 1897 novel (Although, by presenting the story as one that Dracula himself is writing, it does appear to be in keeping with the epistolary format of Stoker's novel, at least to the degree in which it's possible within the comics medium.)

The character will intermittently narrate throughout, when appropriate. When we first meet him, he is still Vlad Tepes, "The Voivode...Warlord of all Wallachia!", perhaps better known to history as Vlad the Impaler, a name which Jones quite vividly shows he deserves when a turn of the page confronts the reader with a double-page spread depicting a group of bloody corpses rotting on the stakes they were impaled upon, men, women and children. 

I've read almost everything Jones has drawn before, and this book will include some of the more violent imagery I've seen from him, which I suppose is appropriate, given the subject matter. And there is also more nudity than I've seen him draw before. Compared to his work for DC Comics, which I suppose most of his readers are the most familiar with, this reads very much like Kelley Jones unleashed...which is kind of a weird thing to say, I know, given how incredibly over-the-top his presentation always is, almost regardless of what he's drawing. 

(And it is over-the-top here, including some incredibly bizarre, sinister and, of course, clever architecture in the setting most of the book occurs in. I mean, there's no real reason that an artist has to interpret something from the script like, "The two characters walk down the stairs together" into a panel in which the characters descend a series of poles jutting from a smooth tower, each of which is tipped with a horrible, anguished-looking face carved into it, but Jones, to his credit, does so.)

In a pitched battle with the invading Turkish army, things go poorly for Vlad, forcing him to result to a contingency plan that allows him to escape the battlefield and, with one loyal servant, embark on a fairly bizarre journey. Seeking the guidance of a witch, Vlad eventually makes his way to the legendary "Scholomance," where he and nine other applicants embark on a seven-year study of black magic, under the tutelage of Satan himself.

The ever-ruthless, ever-ambitious Vlad excels, far surpassing the progress of his peers, to the point that they begin to think of him as Satan's own teacher's pet, and all but one of them plan to ally themselves against him. Getting wind of the plot through magical means, Vlad preempts them and kills them all, displaying their bodies in his preferred manner (The deed is prefaced by a scene of Vlad in the forest, selecting and chopping down trees to make pole-length stakes).

As the last student standing, he is selected for special honor by Satan, who usually appears to Vlad (and the reader) as a small child with black eyes wearing an ornate, trailing red robe (The other students see him in other forms, each matching their own beliefs about him). But Vlad doesn't wish to serve anyone, not even Satan himself, and he stabs Satan in the heart with a silver crucifix, having previously researched how to kill him.

It doesn't work, and Satan takes a new, scarier form, and delivers a punishment of sorts to Vlad, making him into what we would consider the first "real" vampire, one that must adhere to the several rules about vampires that Stoker's own Dracula and media that followed have taught us. (Satan makes a point of saying, "No mere mindless revenant, strigoi or wurdulac...you are the first of a new breed of undead." Indeed, quite early in the proceedings Vlad and his servant are menaced by the last of these, a wurdulac, which appears as a pointy-toothed, glowing-eyed walking corpse, a monster that they drive away from their camp with fire.)

This first book then, reads as a complete origin story, to use the parlance of super-comics, telling the tale of how Vlad became Dracula, going from the warlord of history to the monster of pop culture, a journey only hinted at and alluded to in Stoker's novel, but here made into a compelling narrative of its own (And, as far as I can remember—it having been quite a long time since I've read the novel—not contradicting those intimations made by Stoker. In fact, on the page facing the first page of the comic, there's a paragraph from Stoker that reads as if it were the source from which Wagner extrapolated this entire narrative for this volume.) 

As satisfyingly constructed as it is, with a complete beginning, middle and end, with rising tension and drama throughout, this is but the first of a series of books. The next volume, The Brides, being teased on the last page (I suppose it will remain to be seen if that is Kickstarter-ed through Wagner and Jones' Orlok Press as well or published directly by Dark Horse.) 

As much as I admire the work of Wagner, who has demonstrated a particular affinity for pulp characters and pop culture figures f the past, it was ultimately the presence of Jones that convinced me to drop $50 on this affair. 

Jones is in rare form throughout, with Wagner feeding him plenty of opportunities to design scary, surreal statuary and architecture, plenty of corpses, ghosts and the faces of suffering souls and a sinister, forbidding nature, all subjects he's indulged upon in his most mainstream work featuring the likes of Deadman, Batman, Swamp Thing and various Vertigo outings for DC, but also supplying him with such figures as the aforementioned walking, predatory corpse, an ancient crone, packs of wolves, a bizarre guardian demon (the design of which, the back matter tells us, was left entirely up to Jones), a man whose own beard is transformed into attacking serpents, a leopard woman, a terrifying humanoid bat (who a flock of bats happens to appear behind at just the right moment for dramatic effect), and even a fucking dragon, which is not something I've ever seen drawn by Jones, nor expected to ever see. 

If you're a fan of Jones', or of Wagner's, or of Dracula's, or of horror comics in general, The Impaler is a satisfying feast. And if you happen to be a fan of all four, then you should be in heaven reading this...as abhorrent as that metaphor may be to the star of this book. 

In addition to the comic itself, the package includes a three-page introduction by Wagner in which he offers a sort of defense for presenting another Dracula story and discusses what makes this one unique, and, after the story ends, there are three examples of Wagner's original script facing a page of Jones' pencils and black-and-white inked art. 

There were two choices for cover, one by Jones and one by Wagner (who, let's not forget, in addition to being a hell of a comics writer is also a great artist). I chose the Wagner one, as you can see above, in part because Jones' cover is just a close-up of Dracula's fanged mouth, framed by a bushy moustache and what looks like a goatee of blood, and in part because I knew the insides would be full of Jones' Dracula, and I also wanted to have Wagner's version of the character. 

If you missed the Kickstarter, I would highly recommend picking up Dark Horse's version this fall.


Walt Disney's Donald Duck: Mystery of the Swamp (Fantagraphics Books) Is there anything in less need of a review than a collection of Carl Barks' Disney comics...? Is there really anyone out there thinking to themselves, "Gee, I wonder if this work from one of the greatest cartoonists in comics history is any good or not?" 

Even the questions of presentation are, with Fantagraphics' The Complete Carl Barks Library, essentially moot, as they've been publishing these books for years now, their series now totaling...well, I don't know exactly how many books, at this point. I count 15 on my bookshelf, but I know I've missed a number of them. 

Additionally, each volume contains extensive "story notes" by various Disney scholars on each and every individual strip collected within, and most of these function as well-written reviews of the stories. It's as if the books come with their own reviews already built in, in some regards. 

Still, the format of this column demands I write up each comic I've read in a given month (or, here, months), so I'll sally forth to the best of my ability. (This, by the way, is why I don't review each and every new volume of the series at Good Comics for Kids; I could probably get away with it, given what good comics for kids they are, and Lord knows the money I make would make reviewing them would help subsidize buying them, but I've already said pretty much all I have to say about them there.)

This volume—which is actually volume three in the library, Fanta releasing the installments out of order—collects Barks stories from 1945 and 1946, beginning with the title story. 

In that, Donald and his nephews, goaded by a fellow fisherman in Florida, decide to explore the Everglades, in the process finding (and, at the conclusion, forgetting) a lost civilization known as The Gneezles. This would be the first of what would become a storytelling staple for Barks, as the exploring Ducks discover lost civilizations (Usually with Uncle Scrooge in tow, but this story prefigures Scrooge, who wouldn't be introduced until 1948). Similarly, in a later story the Ducks discover cavemen during an unwanted trip down the Colorado River in the Grand Canyon, though here the lost tribe is simply a part of a wider story, rather than its focus.

Most of the book consists of more domestic stories, usually with Donald in conflict with his nephews, conflicts most often primed by his anger, hubris or mere spite (Exceptions include a short story wherein he tries his hand at captaining a tramp steamer, and a pair of stories set at a Western ranch). 

Perhaps the weirdest story in the book is the last Donald Duck one, in which our hero takes a blow to his head and develops sudden onset pyromania...an unlikely affliction that occurs just as another, more dangerous firebug is trying to burn down large swathes of the city. How weird is this story? Weird enough that when it was originally published in 1946, the editors of the comic it appeared in changed the final panel to imply that the entire story was merely a bad dream of Donald's. Here it is printed with a restored version of Barks' original ending, with the one that appeared in print showing up in the backmatter.

In addition to the 18 stories starring Donald and his nephews, this volume also includes an unexpected bonus, a Mickey Mouse strip drawn by Barks, which is, according to Italian writer Stefanio Priarone, who provides the story notes for it, the artist's only Mickey Mouse story. Priarone calls the Barks-drawing-Mickey story "a pleasant trip to a different land of fantasy," adding, "More or less like when Milo Manara, European comics maestro, in 2008 drew an X-Girls one-shot for Marvel."

Um...maybe. (If you read the book he's referring to, you likely did so when Marvel republished it stateside as X-Women #1 in 2010.)

The volume includes an introduction by cartoonist Freddy Milton. who has drawn Donald Duck and other Disney comics, as well as his own creation, Nuft and the Last Dragons, which Fantagraphics has published in the U.S, as well as the usual back matter: Extensive story notes, Kim Weston's restoration notes, and Donald Ault's two-page "Life Among the Ducks" biography of Barks. 


Zero Hour 30th Anniversary Special #1 (DC Comics) I was excited about this 80-page giant since it was first announced: A tie-in to the 1994 crossover event series, starring best Green Lantern Kyle Rayner, co-written by Rayner's co-creator Ron Marz and Zero Hour writer Dan Jurgens, and illustrated by nine artists whose work I enjoyed back then...and continue to enjoy today (These are Darryl Banks, Kelley Jones, Tom Grummet, Norm Rapmund, Jerry Ordway, Paul Pelletier, Howard Porter, Brett Breeding and Jurgens himself), all under wrap-around cover by Jurgens and Ordway, featuring favorite characters of yesteryear like The Ray and Green Arrow Connor Hawke.

How excited was I for it? Well, excited enough to visit a comic shop for the first time in...years, I guess it's been now. (As I explained previously, given the size of the one-shot, which is big enough to have its own spine, and the standalone nature of the book, it seemed unlikely DC would be publishing a later, more book market friendly version of it, so it didn't seem like I would be able to trade-wait it.) 

Because the premise of the original Zero Hour involved the nigh-omnipotent, cosmic powered bad guy Parallax ending the universe by unleashing waves of reality-eating nothingness that began sweeping through the timestream from both its beginning and its end, and attendant time-travel related chaos happening throughout the publisher's line (Many of the tie-in books at the time revolved around the simple but fruitful premise of "time goes crazy"), it seemed easy enough to imagine Marz and Jurgens setting a story starring Kyle within the events of the original mini-series, something of a side-quest for the hero that would involve elements of the original series without changing its trajectory in any way.

As easy as it may be to imagine, however, that's not what we get here. 

In fact, despite some call-backs and leftover plot points from the original series, the 30th Anniversary Special is not set during the events of the original Zero Hour miniseries, or during the point in DC continuity that occurred in the 1990s at all (although Kyle's music tastes do seem stuck in the '90s, with the character narrating at one point "Ears ringing... ...and not in the good Nine Inch Nails sort of way...").

Instead, this seems to be the modern-day Kyle, or perhaps some Kyle of the near future. I'm...out of things with the DCU of late, obviously, and a thin strip of a narration box preceding the first panels of the story presents us with the status quo, stating that Kyle is now part of the rebuilt Green Lantern Corps, "thousands of heroes strong," but, for "reasons not yet understood," he is prevented from entering Sector 2814, which, of course, includes his home planet of Earth. (Is this addressed in one of the current or recent Green Lantern books...? This Kyle seems to be a pretty modern one, at least, as when he's trying to explain the GL Corps to an alternate world where no one has ever heard of a Green Lantern, artist Jerry Ordway draws little constructs of Simon Baz, Jessica Cruz and Joe Mullein flying alongside those of Hal, John, Guy and Kyle himself). 

Kyle is investigating a strange portal on an alien planet when out of it runs what appears to be an alternate version of The Flash Wally West (based on his costume and the fact that he doesn't recognize Kyle or know what a Green Lantern is); Kyle tries to pull him out of the portal but ends up getting dragged into it himself. 

And thus begins Kyle's adventures on a familiar but strange world, one in which he sees plenty of familiar faces, but no one recognizes him. 

Kyle visits a Kelley Jones-drawn Gotham City looking for Batman, only to find Batgirl Barbara Gordon, a time-lost version of whom played a fairly big role in the original Zero Hour, defending the city for a Bruce Wayne who never recovered from the broken back that Bane had dealt him (This being Jones' section, we see a bearded Bruce tooling around in a high-tech wheelchair with a typically Jones ornate, over-the-top design, complete with one giant wheel with deep treads like a construction vehicle, arcing bat-wings forming a sort of halo around the contraption, and a huge bat-head like that of the Golden Age Batmobile on its front.)

Kyle visits a Tom Grummett and Norm Rapmund-drawn Metropolis looking Superman and is there met by a black-clad version of Supergirl, who took over for Superman after he died at the hands of Doomsday...and, apparently, never came back to life. (Personally, I think it would have made more sense to use Superboy Conner Kent/Kon-El as the Superman replacement here, as that guy is just...so '90s, whereas Supergirl isn't really as associated with a particular decade of comics. Steel John Henry Irons might also have made sense, and, at least, would have put someone other than Connor in the narrative who isn't white. Both Superboy and Steel do appear briefly in the background of a panel during a montage in which Obsidian describes the waves of oblivion he's seen washing over the past and future.) 

By the time Kyle's confronted by a Jerry Ordway-drawn Donna Troy, now wearing a new, blue version of her old red Wonder Girl costume and having assumed the lasso and code-name of her dead mentor Wonder Woman, Kyle finally accepts what will have been clear to readers for many pages now— that he must be in an alternate reality of some kind ("Time-travel, different realities, that kind of stuff isn't unknown to us," he says to this world's Donna). 

Kyle spends much of the comic fighting, either members of The Fatal Five, who have retreated from the future they come from and are now working for Parallax Hal Jordan in the present, or alternate versions of '90s heroes, who, using superhero team-up logic, at first assume Kyle is responsible for the strange phenomenon and the white nothing-ness poised to wipe out their universe.

So, what is going on? 

All is explained after the appearance of an unexpected guest-star (not shown on the cover, like most of the others), and that character's stumbling upon the deus ex machina of the story, Jurgens' own creation Waverider, who was introduced in an even earlier line-wide crossover story (1991's Armageddon 2001... although Waverider naturally played a part in Zero Hour, too). 

Waverider explains that, during the climax of Zero Hour, just before Superman, Damage and company re-created the Big Bang and "time reconstructed itself," Parallax created a "splinter aspect" of himself, which went off to create "a splinterverse", a much smaller, more modest version of Hal's original goal of a recreated a perfect universe. 

This alternate world is the result of that, "a place where the strongest wouldn't challenge him." (Thus there's no Superman, no Batman, no Wonder Woman...heck, not even an Oliver Queen). As to why it seems to be endangered in the exact same way the "real" DCU was during the events of Zero Hour, with unstoppable waves of blank-page white deleting history from both ends and meeting in the present, well, the explanation given, such that it is, is that this splinter Parallax has run out of the energy he needs to keep his splinterverse going. 

Make sense...?

It...doesn't sit well with me, personally, although I kind of love the idea of Jurgens and Marz showing us at least a watered-down version of Hal/Parallax's ideal DC Universe might have looked like. Even if, somewhat unfortunately, it just ends up being a universe in which his peers weren't there to try and challenge him, and thus it doesn't really end up being what Parallax tempted his fellow heroes with in 1994...or what Hal himself would have seemed to have wanted. 

That's mainly because of how it all ends, of course. Parallax wants to use Kyle's Green Lantern ring to super-charge himself and thus will the oncoming oblivion to Kyle's universe, the current DC multiverse, sparing the splinterverse but dooming the "real" DCU. Kyle explains it all as a numbers game, noting the multiverse contains billions more lives than that of the splinterverse, so in order to do the most good for the most people, the splinterverse heroes have to sacrifice themselves and their whole world...although surely there's some way both universes can survive (This, by the way, is the correct strategy; if presented with a scenario in which one of two universes must be destroyed, a true superhero like Superman, for example, would find a seemingly impossible third choice to save them both).

For his part Waverider, who seemingly has the power and authority to deal with these sorts of things, is just like Lol, fuck these guys, and time-surfs away with Kyle in tow, offering an aside about how he currently doesn't have the energy to save the splinterverse even if he wanted to.

It's not a very satisfactory ending, one that reveals a rather impotent Kyle unable to find that impossible solution that his JLA colleagues would have...but then, maybe we're meant to be left feeling disappointed, and that things didn't go the way they should have.  

After all, the last lines of the book are spoken by the Parallax fear entity. As much as this may be a celebration of Zero Hour and the mid-'90s DCU, Jurgens and Marz honor Geoff Johns' retcon that a  primal fear god named Parallax had possessed Hal Jordan, excusing his villainous behavior (For the record, I always liked Hal Jordan as a bad guy better than the victim of an alien parasite controlling his actions, despite how much work Johns did to try to rehabilitate the character and endear him to 21st century fans...hell, not even Grant Morrison himself was able to get me to like Hal Jordan better than Kyle Rayner...or any of the other human Green Lanterns). 

"You might think you put reality in its proper place," the yellow bug monster says in the final panels, apparently addressing an unhearing Waverider and Kyle, "What you've really done, however... ...IS FREE ME!"

The final splash page ends with the words "ONLY THE BEGINNING!" 

So there is apparently more to this story. (My guess? This splinter version of the Parallax entity either possesses Kyle, whose mourning for the lost world seems to be the sort of opening in the wall of a Lantern's willpower it would need to take him over, or perhaps Waverider, and then uses the powers of whichever one he gets to recreate the seemingly lost splinterverse). 

I guess we'll see in some sequel somewhere, perhaps a new Kyle Rayner miniseries DC will announce soon...if they haven't already.

So I guess I perhaps could have waited for a trade after all, as surely this 80-page special will eventually get collected along with...whatever comic book story that this is apparently "ONLY THE BEGINNING!" of...

Not that I'm entirely disappointed with what we got here, of course.

It wase great seeing so many of these characters again, many of whom either haven't appeared in a while, or, at least, haven't appeared in quite so similar a form to that I remember as they do here. And it was especially great to see so many great artists working on DC heroes again. 

Jones is, of course, a favorite artist of mine, and though he's been working pretty consistently for DC over the years—this comic isn't even the only new Kelley Jones comic I bought this month, after all—it was fun to see him in Gotham again, and to draw characters he's not as associated with as the Dark Knight (That is, Kyle Rayner and Batgirl...although his Two-Face also makes a brief appearance). 

I haven't seen the work of Porter, Jurgens, Grummett or Pelletier for a while, so I was quite happy to see them cranking out new pages here, although it is perhaps Ordway who gets the most bravura sequence to draw, as in addition to Kyle and various heroes from the splinterverse, his sequence includes a mournful Obsidian explaining what he has seen in his own journey through time, and thus Ordway gets a montage that includes Viking Prince, The Shining Knight, Jonah Hex, Enemy Ace, the original Justice Society, what looked like three distinct versions of the Legion of Super-Heroes to me, the New Gods, Lobo, J'onn J'onnz  and a half-dozen more-or-less random heroes (that last is the panel that Steel and Superboy appear in).

As much as it wasn't what I expected, it still gave me exactly what I wanted: A brand-new story starring Kyle Rayner and Parallax that echoed the Zero Hour event, drawn by some of my favorite living artists in DC Comics history. 

Because the story isn't quite 80 pages long—I counted 76 pages—there are a couple of pin-ups, of Azrael and some Gotham villains by Denys Cowan, of a wheelchair-bound Bruce Wayne before a Superman statue by Jon Bogdanove, of Starman by Tony Harris, of Parallax by Rick Leonardi, of the Fatal Five (and the Legion founders) by Chris Sprouse and Karl Story and of this book's version of Supergirl, Batgirl and Wonder Woman by Nicola Scott.

There's also a "Zero Hour Roll Call" featuring ten characters of various degrees of import who appeared within the book on the inside back cover—which likely would have been more useful on the inside front cover—for anyone unfamiliar with the players. 

I guess that would mean readers who haven't been reading DC Comics over the course of the last 30 years now, or who at least haven't caught up in trades and back issues (Most of these characters have either shown up a lot since the '90s, or else, like Starman Jack Knight, had their adventures collected in trade paperback form. I think only Waverider and The Ray, the latter of whom doesn't get featured in the "roll call", might be less-known to modern DC readers, as Armageddon 2001 and the excellent 1994-1996 The Ray have never been collected...even though the latter kicks off with a mini-series drawn by Joe Quesada, before leading to an ongoing written by Christopher Priest! The former is probably logistically difficult to collect and publish, as it took place in 1991's annuals, and thus has an astronomical page-count. There's no excuse not to publish the latter, though!).

As a middle-aged man who has been reading DC Comics since I was a teenager, though, I had no problem following along; your mileage may vary. 



BORROWED:

Justice League Vs. Godzilla Vs. Kong (DC Comics) A Godzilla vs. The Justice League comic is, like a Batman vs. the Teenage Mutant Ninja Turtles one, something that I used to quite literally dream about—or, more specifically, daydream about—all while assuming it was the sort of thing that would never actually happen. 

That means that, as with the eventual realization of a series Batman/TMNT crossovers starting in 2016, I was practically guaranteed to be disappointed in the results, having devoted too many hours of my personal imagination to such an encounter* (That, and the fact creators almost never actually treat these sorts of crossovers as once-in-a-lifetime opportunities I tend to see them as, and therefore never try to make them incredibly big and to include everything a reader could possibly want to see in them, as I wish they would**). 

And so it comes as no surprise that I was, indeed, quite disappointed with writer Brian Buccellato and artists Christian Duce and Tom Derenick's awkwardly titled Justice League Vs. Godzilla Vs. Kong, a title that reminded me of the even more cumbersomely titled Superman and Batman Vs. Aliens and Predator or Superman and Batman Vs. Werewolves and Vampires

I was, however, fairly surprised at just how poor a production it actually was though, given DC's status as a premiere comics publisher and the relatively good reputations of the creators (Derenick, who seems to have been a late, necessitated-by-deadlines addition and doesn't even get a byline on the cover, is the only one of the three I personally have much experience with). 

Three things worth noting about the project that would inevitably doom it to not being the one I personally most wanted to read, all of which—or perhaps almost all of which—were completely beyond Buccellato's control.

First, this isn't the "real" Godzilla of Toho Studio's fame, the one with the 70-year career of battling humanity and other monsters across almost 40 films. This is the Warner Bros./Legendary Pictures Godzilla from the so-called "MonsterVerse", a Marvel Cinematic Universe-inspired shared-setting that first appeared in the 2014 American remake of Godzilla and then went on to host an extremely, sometimes surprisingly successful five-film series, a handful of comics and a few TV shows. (The front cover bears a Legendary Comics logo). 

That means the giant monsters available aren't the famous Toho menagerie that regularly shows up in the pages of various IDW Godzilla comics, but the two title monsters and the usually-only-glimpsed Legendary stable of giant beasts. The back cover namechecks Behemoth, Scylla and Camazotz; I've seen all the MonsterVerse films, but I couldn't name most of the monsters, even those that appear in this comic, but I recognize two that Godzilla killed in the latest film, Godzilla x Kong: The New Empire (As for the Toho monsters who have appeared in the MonsterVerse—Mothra, Rodan and King Ghidorah—they are all MIA here.)

Second, this isn't the "real" Justice League, by which I don't simply mean the League I used to imagine fighting Godzilla (the Morrison/Porter/Dell League of the late-90's), or what one might think of as a "default" League line-up (that of the Satellite Era, for example, or that of Super Friends or the millennial Justice League cartoon).  In fact, it's not any extant Justice League line-up—remember there is no Justice League in the current DCU, the team having disbanded—but an ad hoc team that Buccellato seems to have created specifically for this story. The official roll call seems to be Superman, Batman, Wonder Woman, Flash Barry Allen, Green Lantern Hal Jordan, Hawkgirl, Cyborg and Green Arrow (So maybe it' s closest to the Geoff Johns' New 52 League...? Or Scott Snyder's short-lived team...?). 

Very early on in the proceedings, however, once the MonsterVerse's Titans start invading ("Titans" being what they call their giant monsters, not to be confused with DC's superhero Titans), Cyborg says, "I've put calls out to all available heroes. Auxiliary Leaguers...associates...everyone." So, regardless of the specific make-up of the team in the title, this is basically the Legendary MonsterVerse Vs. the DCU, with Supergirl and Captain Marvel playing especially large roles, but heroes and villains from throughout the publisher's line making guest-appearances and cameos. 

Third, and most surprising to me, this story isn't set in the "real" DC Universe (which might explain both why there is a Justice League there to meet Godzilla and friends, and why it's not an exact line-up we've seen before).  This is established immediately in the very first pages, as Clark Kent proposes to Lois Lane, a would-be romantic moment spoiled by the arrival of Godzilla in Metropolis.

I'm not entirely sure why this is the case, as the plot revolves around the fact that Godzilla and the Titans are from an entirely different universe/dimension and are brought to the Justice League's universe/dimension to fight them (If this was to be the standalone story that it ended up being, Buccellato could have just created a shared world involving both universes' characters), but it does at least allow him to a free hand to kill off characters, as he does with (spoilers, I guess?) Atom-Smasher, Toyman and Guy Gardener, only the last of which is kinda sorta necessary to provide a big crossover "moment", one that you might already have been spoiled regarding if you've seen Christian Duce's final cover for the series. 

So with all that preface out of the way, what have we got here...?

Well, the plot is a fairly simple one. After the big opening scene in which Godzilla confronts Superman in Metropolis within the first few pages and then introduces us to this version of the Justice League, we meet the League's opposite numbers, The Legion of Doom (This line-up seems to hew pretty closely to that used by Scott Snyder during his 2018-2020 Justice League run, with a few notable additions to the roster).

Luthor has a plan to take out Superman and the League once and for all, a plan that revolves around the fact that he finally pinpointed the exact location of Superman's Fortress of Solitude. There in the trophy room they will find the tools they need to trap the League in the Phantom Zone. These tools? A Mother Box and Orion's "sled". (Um, I would have just used the Phantom Zone Projector, myself, as that seems more direct.).

The plan is spoiled when Toyman sets off an alarm by smashing a case to get at a big red gemstone, and Supergirl and the Justice League—she's filling in for Superman, who took some time off to propose—arrive at the Fortress. During the scuffle, the Mother Box is set off, and the Legion is teleported to another world. Specifically, they land on Skull Island in the MonsterVerse, and find a Monarch outpost with Godzilla and the other Titans up on various surveillance screens. 

While marveling at these new "toys" and being berated by his fellow Legionnaires, Toyman clutches the gemstone in his hand and makes a wish...which ends up being granted, given that this gemstone is actually Doctor Destiny's reality-altering Dreamstone.

Immediately, the Legion, all of Skull Island, Kong, Godzilla and the rest of the Titans are transported back to this version of the DCU, with the various monsters attacking various locales. Godzilla himself heads directly towards this world's "alpha," Superman. In a relatively short, silly-even-by-comics-standards fight (I'm not scientist, but I'm pretty sure that's not how heat actually works), the King of the Monster's seemingly kills Superman with his atomic breath. 

This turn of events is mostly the result of Captain Marvel (here still called "Shazam" rather than the recently adopted codename "The Captain" or, you know, his actual name), doing something pretty dumb and Superman moving to save him. (This is the first of two demonstrably stupid decisions Captain Marvel makes, the latter in defiance of several people trying to talk him out of it. It's kind of weird, given that he is the only superhero in this book whose superpowers literally include super-wisdom.)

While Superman lies on his deathbed in the satellite Watchtower, the other heroes split into teams to tackle various Titans, the conflict coming to a head in a huge battle involving Godzilla, Kong, all the heroes, an army of super-villains and a few surprises, like a giant Batman mech, Luthor's reconstruction of Mechagodzilla, a Ra's al Ghul resurrected Skullcrawler king (and other skullcrawlers) and a five-Green Lantern construct of a giant robot (Lame; Kyle Rayner, who is not included among their number, coulda built that himself).

So what's wrong with all that? I mean, as a basic plot, nothing really. 

The execution leaves a lot wanting, however. 

The main problem, as far as I would diagnose it, lies with primary artist Christian Duce's rendering of the title monsters...and other Titans. While the "Justice League" art is all fine, allowing for a few nitpicky mistakes (Aquaman seemingly flying in group shots, Wally West appearing both in his adult Flash identity and his teenage Kid Flash identity...or is the latter meant to be Bart, just drawn really Wally-like...?), all of the giant monsters, especially Godzilla, don't look like they were drawn at all, but rather were imported directly from film stills and incorporated into the art. 

They are highly photorealistic, and stand out if fairly sharp contrast to the superheroes they are meant to be interacting with, and the settings they are supposedly standing in. 

A generous reading might be that they are literally creatures of another world, and "drawing" them thus emphasizes the gulf between the comics world of the Justice League and the filmic world of the Titans, but it just reads like an off-putting, awkward juxtaposition, a cheap shortcut in the artwork that spoils the fun of seeing these iconic characters sharing space together, which is, after all, the whole damn point of the crossover. 

And so what should be cool moments, like Superman delivering a haymaker to Godzilla, or a gigantic Atom-Smasher wrestling with the King of the Monsters in downtown Metropolis don't sing but instead look weirdly bolted-together. 

Contrast the appearance of Godzilla and Kong with that of Titano, a homegrown giant monster of DC Comics who appears briefly at the beginning of the story, and it's clear that Duce is treating the movie monsters differently in his art, importing them in and apparently hamstrung in how to depict them, rather than creating them organically as he does the "Justice League" side of the crossover equation. 

It does occur to me, after reading this, that perhaps Duce didn't have much choice in the matter, but it was a stipulation of Legendary that the "likeness" of Godzilla, Kong and the monsters had to be so exact as to be film-perfect. In which case, we need not blame Duce for the awkward-looking art so much as the decision-makers instructing him. I don't know; I can only respond to what I'm reading in the finished product. 

The covers, of which there are of course many, may be instructive here. They run a pretty wide gamut between looking like they were traced over film-stills to looking drawn from reference in the artist's own style. The Dan Mora cover that adorns this collection is a good example of Mora's version of Kong and Godzilla, looking, to use a musical term, more like cover versions than samples (Is it weird that Mora chose to draw his World's Finest Batman though, complete with yellow circle around his bat-symbol and a blue-tinted cape?).

I also really liked James Stokoe's cover; the artist has drawn Godzilla comics for IDW and covers for DC super-comics, so it was nice to see him get to do one for this; his Legendary Godzilla, like the tiny figures of a trio of superheroes confronting him in a demolished-looking Metropolis, are all clearly his

(I do wish they would have commissioned one from Sophie Campbell, who has similarly worked for both IDW and DC in recent years and is a huge kaiju fan who has done some professional Godzilla work before. Also, no Arthur Adams, a one-time superhero artist who specializes in giant monsters, and somewhat recently drew covers for both a 2020 issue of Justice League and for Legendary Comics' 2014 Godzilla: Awakening graphic novel...? Surely DC has Arthur Adams-hiring money!)

Anyway, you can basically go page by page through the variant gallery at the end of the book and see different artists taking different approaches, between "covering" the monster designs and "sampling" them, and to various degrees. Aside from those previously mentioned, I thought Jim Lee's cover (the one featuring Kong; he contributed two) particularly interesting, given how incredibly off-model his version of Legendary's Kong is, looking more like a huge chimp). 

Story-wise, I wasn't too terribly impressed either. It is, of course, difficult to focus too much attention on the giant monsters themselves (hence their films, be they American-made or Japanese, always focusing on human stars and their dramas over the monsters), but, given that this is a crossover, it feels oddly like it's just a DC Comic with some new, name-brand antagonists. Tellingly, it would be very easy to imagine this very story without Godzilla or Kong or the MonsterVerse's Titans, but any old generic giant monsters a super-comics writer and artist team could cook up (And certainly Superman and his peers have tackled plenty of off-brand, analogue versions of King Kong and Godzilla over the years, including the aforementioned Titano). 

The Godzilla-est aspect of Godzilla is that he fights other threats to maintain a sense of order in the world, which here means he fights Superman and other superheroes, as his world doesn't have them, and they are thus seen as a threat to world balance, I guess. 

Kong seems to get short shrift in the proceedings, as he's barely involved through much of the story, and doesn't seem to be given enough emphasis to have his name in the title (Contrast this with Godzilla Vs. Kong and Godzilla x Kong, where the giant ape is clearly the more focused-on, "heroic" monster). And as for the other Titans, while they get more "on-screen" time here than they generally get in the movies, they are more or less character-less cyphers, big, scary obstacles for the heroes to confront and defeat. 

Less importantly, there just seem to be a lot of little mistakes and question marks in the proceedings, things it seems like editorial should have caught. 

Some of these I've already mentioned in passing, but others include a scene in which Robin Damian Wayne is sitting in the cockpit of a Batplane with his father in one panel and then, later in the scene, the plane explodes, and only Batman is drawn escaping in a parachute, and then striding away from the burning wreckage solo (Surely Robin didn't die uncommented upon there...? No, he shows up later piloting an admittedly very cool-looking Batplane that Cyborg and Flash apparently upgraded to sprout legs, arms and a giant gun, much like a Robotech space-plane in its half-transformed state).

Or Wonder Woman telling other characters that she was going to meet "Wonder Girl" and "Cassie" on Themyscrica, and then meeting Donna Troy instead (Who she does, at least, refer to correctly as "Donna"). 

There are, of course, some admittedly fun sequences (the various Leaguers all talking to Superman about his plans to marry, for example) and ideas at play, and plenty of potentially big superhero moments. It's just that too many of those moments don't land like they should, given the weird artwork, and the distracting number of mistakes. 

A different artist—or a different approach to the monster art, perhaps I should say—would have gone a long way in improving the comic, as would a sharper editorial eye and, honestly, perhaps a more focused storyline (That is, for example, Godzilla Vs. The Justice League, rather than The Justice League Vs. Godzilla Vs. Kong...plus some other Titans). 

Rather than the final word on the two franchises temporarily mixing, or an ultimate comic book saga crossing them over like this, the sort of inter-IP adventure I personally prefer, this just makes me want to see the suits in charge try again at some point. Maybe going around Legendary and doing a DC/IDW crossover comic featuring DC's heroes, Toho's monsters and the more successful Godzilla publisher utilizing its stable of experienced monster artists...


Komi Can't Communicate Vol. 30 (Viz Media) The latest volume of Tomohito Oda's charming high school dramedy picks up right where the last one left off, with Komi and Kawai, her new rival for Tadano, having a heart-to-heart after the latter lost a challenge to win him. The over-achieving Kawai comes up with an over-the-top solution to try to salvage victory from the jaws of defeat: She'll just marry Tadano and Komi!

This volume also includes a few chapters in which progress seems to be made in the budding relationship between former rival for Tadano's affection Manbagi and an awkward-with-girls soccer star, and a particularly tedious-to-read chapter in which the Riverside Dirty-Mag Hunters Club engages in a complicated game to win the prize of a dirty magazine. As much as I enjoy Oda's series, I'm not a fan of when he builds games into the narrative like this, as he (luckily only very) occasionally does. 


Zom 100: Bucket List of the Dead Vol. 14 (Viz) Picking up where the last volume left off, writer Haro Aso and artist Kotaro Takata still have Tadano and the gang fighting the Resident Evil-style monstrosities created by the "Umbriel" Corporation in an abandoned facility, the latest of which is an oversized, regenerating one that gamer girl-turned-group leader Izuna refers to as "a boss battle." 

They survive, naturally, but a survivor of the black ops team Umbriel sent to recover something also escapes with a case he refers to as "the sample," so perhaps this chapter of the ongoing series will come into play later on...? That actually seems pretty probably, of course, given that the scientist they just recently et, Yudai Tsurumi, is hard at work on a vaccine for the zombie virus.

This seems like a natural ending point for the series, in some regards, as they have finally found somewhere safe that can sustain them all long-term while working on the goal of saving the world from the zombie apocalypse apparently currently ravaging it, but then, what fun would that be for the series? There are, after all, many more items on the characters' collective bucket list.

As so Tadano and the gang, now including Izuna, decide to head off and travel for a month before checking back in. Their renewed travels include "a quest line" by Kencho to look for his family and visit his grandfather's grave, and then an attempt to pole fish a marlin, which is on the bucket list, but here is done in the prospect of feeding hungry school students, who have taken refuge from the zombies on a fleet of boats. 



REVIEWED: 

Godzilla: Monster Island Summer Camp (IDW Publishing) An extremely rare original graphic novel from IDW featuring one of their licensed properties, this all-ages story is the work of writer Rosie Knight and artist Oliver Ono, who previously tackled the King of the Monsters in 2022's one-shot comic Godzilla Rivals Vs. Battra (which I read in collected form in Godzilla Rivals: Round One). Of all the teams to work on Godzilla comics for the publisher, this is perhaps the best one with a distinct enough, look, feel and outlook to give such a showcase. Starring Minilla and a trio of girls who can journey to Monster Island via a portal in a cave near their summer camp, the book tackles environmental degradation, while featuring Godzilla in one prominent, climactic scene, plus some appearances by other Toho regulars (Kamacuras, Ebirah, King Caesar and Mothra). It's a fine comic for younger readers—I personally preferred it to IDW's more monster fight-focused, kid-targeted series Godzilla: Monsters & Protectors, which just got released in a complete, collected form in late August,—and, interestingly enough, the book isn't only a good launchpad for young readers to explore the world of Godzilla, it also introduces readers to a trio of legendary female comics creators: Jackie Ormes, Louise Simonson and Rumiko Takahashi. More here


Save Our Forest! (Hippo Park) This graphic novel from Norwegian cartoonist Nora DÃ¥snes features middle-school characters she introduced in her previous work, last year's Cross My Heart and Never Lie (Don't worry, I never read it either), involved with a campaign to save the small woods adjacent to their school from development into a parking lot. The kids, and DÃ¥snes, treat the battle as a sort of microcosm for humanity tackling the climate crisis. At the risk of spoiling the story, it all works out for the best here; hopefully the struggle to maintain a livable environment in the coming generations will too. If there are enough kids out there like  DÃ¥snes' Bao and her friends, just maybe we've got a chance. More here

Shepherdess Warriors Vol. 1 (Ablaze) Johnathan Garnier and Amélie Fléchais' Angouleme Prize-winning adventure comic about an order of women warriors who ride rams into battle. If the art style looks familiar, that may be because you've seen 2014 animated film Song of the Sea, which Fléchais did concept art for (She also worked on Onward and Trolls). The experience in animation is apparent in the look, feel and flow of Shepherdess Warriors, which is a rather winning comic...although I think Ablaze might have served it better by reproducing it at a larger size (It's only six-inches by nine-inches). More here


Spider-Man: Cosmic Chaos! (Amulet Books) The third and final (for now?) installment of Mike Maihack's trilogy of Spider-Man team-up comics for younger readers finds his particularly friendly and neighborly version of the character in Marvel's outer space, where he hangs out with the Guardians of Galaxy (not to mention Jeff the Land Shark, The Silver Surfer and plenty of other guest-stars). Though created with kids in mind, it should prove a blast for Marvel comics fans of any age. More here


Unico: Awakening (Scholastic) The collection of Osamu Tezuka's 1976-1979 Unico that sits on my bookshelf was published by Digital Manga Publishing in 2012, the result of a successful Kickstarter campaign. Samuel Sattin and Gurihiru's new remix of Tezuka's Unico comics (based on the character's origin story and the arc "The Cat on the Broomstick") began its life as a Kickstarter campaign initiated by Tezuka Productions and the creators...although Scholastic eventually picked it up and published it. What's with Tezuka-related projects needing to be Kickstarter-ed...? (Looking at the Tezuka section on my shelf, I see that Triton of the Sea was also funded by a Kickstarter and published by Digital Manga Publishing, while Princess Knight was published by Vertical and The Mysterious Underground Men by PictureBox. As for the Dark Horse Astro Boy trades, they're all kept at my ancestral home).  Well, regardless, it's here now, and despite some misgivings about re-telling Tezuka comics for a modern audience, the creators do an admirable job, and I've yet to encounter a project that the Gurihiru team worked on that I haven't been perfectly charmed by. More here



*Aquaman, Mera, Neptune Perkins and Tsunami using their powers to stop Godzilla's path through the sea towards Japan, the Atlantean Ace's psychic powers no match for the monster's vast brain! The superheroes of Japan—Rising Sun, Batman of Japan Jiro Osamu and The Super Young Team watching helplessly from Tokyo rooftops as Godzilla approaches the city! Martian Manhunter in his "Jade Warrior identity from 1999's Martian Manhunter #2 growing to giant size to confront Godzilla! Godzilla Vs. Titano! Godzilla Vs. Starro! Plastic Man assuming giant size to wrestle with Godzilla, only to fall like J'onn did! Batman in his Kelley Jones-designed giant punching machine from 2008's Gotham After Midnight #3...or any variation of a giant Bat-mech, I guess! Kyle Rayner building a giant robot construct to take his turn against Godzilla! The Spectre wrestling with Godzilla! So on! And so forth!

**The best example I can think of being, of course, 2003's JLA/Avengers by Kurt Busiek and George Perez. That was a perfect feast of a crossover that treated the meeting of the two teams, and the two universes, meeting as a significant, historical event, a true you've-got-one-shot-at-this adventure. The other model I often think of is Devin Grayson and Phil Jimenez's 1999 JLA/Titans, which wasn't, of course, and inter-company crossover, but still felt big and huge and historic and complete, featuring, as it did, every single Justice Leaguer and every Titan ever.