Wednesday, October 26, 2016

The Great Batman: Brave and the Bold Rewatch: Mayhem of the Music Meister!



Season One, Episode Twenty-Five: Mayhem of the Music Meister!
Written by Michael Jelenic
Directed by Ben Jones

Plot Synopsis

Teaser: The Music Meister walks out in front of a curtain and starts to conduct an orchestra.

Episode:
(Song titles appear in italics as they appear in the episode)

The curtain parts and shows a military base, where Black Manta's walker fires on the soldiers, causing them to flee. Black Manta, Gorilla Grodd, and Clock King are inside, preparing to hijack the rocket that holds the United Nations new communications satellite, which they plan to use to cause chaos on global communications. But before they can get on the rocket, the are interrupted by Black Canary, Green Arrow, and Aquaman. But before they can start fighting, the begin... to sing.

As they sing in bewilderment, the mastermind behind the singing appears: The Music Meister, who instructs them to stop fighting him, which they do and he begins to details his plan and origin (I'm the Music Meister). The heroes and villains begin to dance and sing back-up as he explains he controls people by singing at them. Observing from a distance, Batman sees the singing and dancing as the heroes prepare the satellite to launch.

When Music Meister hears Black Canary sing, he becomes enchanted by her, but her Canary Cry knocks him off his feet as Batman drops from his Bat-gyro, having out in an earpiece to protect him from Music Meister's hypnosis. While Batman easily gets the upperhand on Music Meister, the villains sends his controlled heroes and villains to attack Batman. Batman is able to fight the others to a standstill until Music Meister sets off the rocket to launch, and commands the heroes and villains to do a kickline into the flames blasting from the rocket, as the curtains close again, ending Act One.

As Music Meister speeds away on a keyboard on wheels, Batman chooses to save his friends and enemies from being burned alive by using two Bat-grapnels to hold them in place and then fire a net from the Bat-gyro to hold them. With the rocket and Music Meister gone, the spell is broken, and the heroes knock out the villains. Batman knows there's more to Music Meister's plan, and Black Canary asks to join him in hunting down the new foe. He gives the heroes earplugs to protect them, and tells them to stay with the defeated villains until the police arrive, taking off alone, and Black Canary ignores Green Arrows attempts to court her affections.

At a concert hall, Music Meister plays the organ and talks to a cardboard audience, detailing his plan to use the satellite to spread his hypnotic power over the world, musing there's one thing that can stop him. And as he says it, Batman appears, and Music Meister hits keys in the organ which spews smoke to let him escape and begins to sing about Batman's ability to drive villains crazy an ruin their plans (Drives Us Bats).

Music Meister leads Batman on a chase through the city, getting people to randomly attack him, before arriving at Blackgate Prison and causing a mass breakout, which is foiled by Batman and his allies. As they fight, Black Canary watches Batman fight and sings about her wanting Batman to love her (If Only). Music Meister joins in, singing about his own feelings for Canary, making it a duet. He is able to blast Canary and Batman with an energy bolt, knocking them unconscious as the curtain falls on Act Two.

The curtains open on a closed club now filled with huge machinery chugging away, producing a beat that Music Mesiter sings to about his death trap (Death Trap). Batman and Canary are tied together, and as Music Meister leaves, acid and lasers begin moving towards the heroes, the walls start closing in, and a bomb starts ticking, but Batman is able to use his gadgets to get Canary and himself out.

Music Meister has set up in Gotham Square, with Aquaman and Green Arrow guarding him, preparing for the finale of his scheme, but Batman and Canary appear to stop him. But Music Meister's final costume change has speakers built in, allowing him to project his voice farther and create an army of innocent citizens to protect him (The World is Mine), while others begin to steal everything they can. And coupling the speakers and mic system with the satellite, all of Gotham begins to bring Music Meister everything they can get their hands on, not just in Gotham, but everywhere.

Under Music Meister's control, Aquaman grabs Black Canary, but Green Arrow is able to break the mind control long enough to free Canary before Aquaman starts and outrageous hero on hero fight. Batman and Canary again try to stop Music Meister, but his legion of thralls interfere. They are able to grab Canary and remove her earplugs, leaving Batman alone to fight. Canary turns on Batman, and begins fighting Batman, but Batman challenges Music Meister to have Canary match him in a singing contest, note for note, going higher and higher. Distracted by the singing, Music Meister doesn't see Batman loop a Batrope tied to a Batarang around his microphone. Batman pulls the mike in front of Canary as she hits the high note, her Canary Cry triggering and blowing out all the speakers and breaking Music Meister's spell, before Batman slugs the villain, knocking him unconscious and saving the world from musical mind control.

Canary goes to Batman, who explains he used a gadget to match her voice, and she asks him to dinner, but he refuses, because crime doesn't take breaks. before he swings off. Canary begins to sing again about her crush in Batman, but Green Arrow joins in about his feelings for her (If Only [Reprise]), and she is shocked by his singing voice, and the two join hands and sing in front of the sparkling lights of the damaged stage as a single spotlight shines on them, and the curtain closes on the heroes looking into each other's eyes.

Who's Who




Music Meister (Voiced by Neil Patrick Harris)
First Comic Book Appearance:  None
First Brave and the Bold Appearance: Season One, Episode Twenty-Five: Mayhem of the Music Meister!

As a young child, the Music Meister was bullied because he could sing beautifully in choir. But one day, when surrounded by bullies, he began to sing and they stopped. And soon he was controlling them. He realized he could control people with the sound of his voice, and so began his path to supervillainy. This is the Music Meister's only full appearance; he will cameo a few more times, but never speaks or sings in any of them. Music Meister can control anyone in the sound of his singing voice, and has many music related gadgets.


Black Canary (Voiced by Grey Griffin)
First Comic Book Appearance: Flash Comics #86 (August, 1947)
First Brave and the Bold Appearance: Season One, Episode Sixteen- Night of the Huntress!


Green Arrow (Voiced by James Arnold Taylor)
First Comic Book Appearance: More Fun Comics #73 (November, 1941)
First Brave and the Bold Appearance: Season One, Episode One- Rise of the Blue Beetle



Aquaman (voiced by John DiMaggio)
First comic book appearance: More Fun Comics #73 (November 1941)
First Brave and the Bold appearance: Season 1, Episode 3- Evil Under the Sea!


Gorilla Grodd (Voice by John DiMaggio)
First Comic Book Appearance: The Flash #106 (May, 1959)
First Brave and the Bold Appearance: Season One, Episode Two- Terror on Dinosaur Island!


Black Manta (voiced by Kevin Michael Richardson)
First comic book appearance: Aquaman #35 (September 1967)
First Brave and the Bold appearance: Season 1, Episode 3- Evil Under the Sea!


Clock King (Voice by Dee Bradley Baker)
First Comic Book Appearance: World's Finest Comics #111 (August, 1960)
First Brave and the Bold Appearance: Season One, Episode One- Rise of the Blue Beetle


Continuity, Comics Connections, and Notes


"Mayhem of the Music Meister" is one of the most popular episodes Batman: The Brave and the Bold. Seriously, I can't tell you how wonderful it is. The songs are whip smart and catchy, Neil Patrick Harris, star of stage and screen best known as the title character on Doogie Howser, M.D. and as the womanizing Barney Stinson on How I Met Your Mother, completely knocks his performance out of the park, and it's just delightful through and through. It's so popular that contributor Dan Grote included it as one of his picks for best animated episodes in last year's Advent Calendar.

If you watch the episode and love it, the soundtrack was released to download and on CD through Amazon.

Batman's singing voice is provided not by Diedrich Bader, who voices Batman in the series, but Jeff Bennett, who voices the Joker on the series.

Among the numerous references in this episode, there's a particularly fun one. As Music Meister sends the heroes and villains at the beginning to fight Batman, they start snapping their fingers, which is a nod to the classic musical West Side Story, where the two street gangs, the Jets and the Sharks, snap at the beginning of their dance based rumbles.

During the number "Drives Us Bats," the cuts to the villains singing in Arkham includes nearly every villain who has appeared in this series, not to mention most of the original villains from the Batman TV series from the '60s: King Tut, Psycho Pirate, Top, Crazy Quilt, Mad Hatter, Calendar Man, Mr. Freeze, Tweedles, Scarecrow, Two-Face, Joker, False Face, Shame, Cavalier, Egghead, Kiteman, Babyface, Louie the Lilac, Felix Faust, Fun Haus, Shark, Sportsmaster, Bookworm, The Archer, Grodd, Black Manta, Clock King

Music Meister makes numerous costume changes throughout the episode, hitting on various musical genres and musical influences including Phantom of the Opera, Liberace, Mozart, Marching Band, Disco King, Kiss, Behorned Opera Singer. Elvis, and Punk.

During "Death Trap" the walls of the room surrounding Batman and Black Cnaary are platered with what look like band stickers, and each of the stickers has the name of DC Universe team, both great and small. It would take forever to list them all, but if you pause your DVD or stream with the DC Wiki open, you'll see some amazing deep cuts in there.

Monday, October 24, 2016

Reviews of Comics from Wednesday 10/19


The Backstagers #3
Story: James Tynion IV
Art: Rian Sygh & Walter Baiamonte

I have find memories about both working backstage on student productions and high school theatricals, although not connected (I did most of my production work in college, while I acted in high school. I died on stage twice in one play!). So, because of this, I was drawn to The Backstagers, another of Boom Box's YA titles, along the same lines as Lumberjanes and Goldie Vance, and it is as delightful and charming as those titles, while being its own book. The Backstagers features a cast of five high school boys at an all boys school who are the stage crew on this year's production, a so-thinly-veiled-it's not-at-all-veiled production of Les Miserables. But what makes this more than just a behind-the-scenes of a play comic is that the backstage is full of tunnels, hallways, and passages full of monsters and creatures (which isn't too far off some of the back stages I've been in over the years. While the first two issues did a lot to set the tone and establish the characters through the eyes of new crew member Jory, issue three takes us to that most dreaded of times for a stage crew: Tech Week, the week where you run the show over and over and make sure everything works. This issue focuses on Beckett, one of the long time members of the crew, who has been the most, shall we say, standoffish member of the crew in those first couple of issue. Writer James Tynion IV does a great job of explaining why Beckett is the way he is in this issue, really fleshing out his character; not just establishing his crush on the play's leading lady, Bailey Brentwood, who is by no means the prima donna mean girl that one might expect from a high school drama star, but also exploring that Beckett is a classic introvert, someone who just needs his own time and space, something this introvert respects and understands with every part of his being.. Also, teaming the grumpy Beckett with the joyful little sprite that is other Backstager Sasha creates a classic duo who don't work. The issue has some great art from Rian Sygh, specifically a splash page of a scene from the play with cast members standing on a barricade, giving you an idea of just how weird this play is (it's Les Mis! Only they're clowns! And there's a bear!). And another two page spread that has small panels over a lighting plot where you get to see much of the crew and cast doing their work in little snippets is one of the best comic representations of what I picture as a TV or movie montage that I've ever seen. This issue is a great work in both character and craft, and just a ton of fun. And while this issue has very little of the supernatural aspects that the first couple have had, short of a magic crystal that powers the lights and lighting board, which is something every theater, high school, college, or professional, would love to have, the set up for what's coming next issue has the promise of all sorts of magic and monsters. Between Backstagers and Detective Comics, James Tynion IV is proving to be an amazing writer of ensemble, character based comics, and I'm looking forwar to where he takes this book next. And, yes, I swore after Goldie Vance that is Boom Box did another mini-series to ongoing transition I wouldn't get suckered in, but, well, if the folks at Boom read this and happen to make that decision, I'm in for the long haul.



Batman #9
Story: Tom King
Art: Mikel Janin & June Chung

Detective Comics has been the Bat book that has absorbed my love and attention since the beginning of the Rebirth era, which is not to say that Batman to this point hasn't been a good comic. It's been a solid, big screen action comics with some nice character beats and work establishing Duke Thomas's relationship with Batman and the new character of Gotham Girl. But the new arc that debuts this issue, "I Am Suicide" looks to be a story that is going to take a good book and push it to new heights. Batman has plans to go to Santa Prisca, home of Bane, to retrieve the villainous Psycho Pirate, who used his powers to infect Gotham Girl with a never ending cycle of fear, and to do it, he's going to need backup, and in this case, he's been offered it by Amanda Waller. Yes, Batman is leading a Suicide Squad. Before we get to Batman, though, the issue opens with Bane and Psycho Pirate, and a bit of a recap of some of Bane's formative years, which are horrifying, and why Bane has taken Psycho Pirate, which is interesting. Bane has been an odd character since the New 52 tossed away much of his later character development, returning him to the character he was in his earlier appearances, or worse to the more thuggish version from various media interpretations, but here it seems King is attempting to deepen the psychology of Bane, which makes for a truly creepy few pages. The majority of this issue a classic, "assembling the team," sequence, but it's not in a sunny happy place like the gathering of a new Justice League. Nope, we're in the bowels of Arkham Asylum. Batman walks out of the Asylum with five members for his team, each very different from the next, Firstly we get the original Ventriloquist, Arnold Wesker. Wesker was one of the characters resurrected by the continuity changes of Flashpoint, but has appeared only in cameos, and has been in many ways overshadowed by the new Ventriloquist created by Gail Simone for Batgirl and Secret Six. Here we get a half reformed Wesker who has broken away from Scarface, but still is seeking someone to pull his strings, which is an interesting view of the character. Bronze Tiger has also been a character who the New 52 continuity didn't treat well, turning him from noble fighter fighting his darker urges into just another member of the League of Assassins. This issue, though, returns him to the classic Suicide Squad member and gives him a great two page sparring session with Batman, one that ends with a smile and the two being revealed to share a history. Punch and Jewlee have been minor characters at the best of times, although they do have a history with the Squad as well, and I'm curious to see what King does to make them more than D-List Joker and Harley. And finally, well, here there be SPOILERS ... is Catwoman, awaiting execution for over two hundred counts of murder. When we last saw Catwoman, which was before Rebirth, she had given up leading Gotham's crime families and had returned to her old status quo, so this is a big, big shocker, and I'm curious to see exactly where King is taking this. On top of all of this, the art from Mikel Janin keeps getting better and better, Seriously, how this guy is not a star is beyond me, with a style reminiscent of early J.H. Williams III. The Bane flashback alone is chilling, and his take on Arkham is excellently creepy.This first issue sets up so much promise for this arc, I can't wait to see how it pays off.



Faith #4
Story: Jody Houser
Art: Pere Perez, Marguerite Sauvage, & Andrew Dalhouse

There are times when I feel like heroism in superhero comics are in short supply. DC is trying to course correct more in this direction with Rebirth, and the results are promising but still early. Marvel continues to have its heroes fighting other heroes more than villains, with some exceptions (like Squirrel Girl). But there's one comic you can always go to where heroism is front and center, and that is Valiant's Faith. At the end of last month a magical artifact created a duplicate Faith, and now both Faith's, along with Faith's boyfriend Obadiah Archer, are hunting down the villain who is using the magical duplication artifact to rob a comic con. It would be easy enough to make this an evil duplicate thing, but that's not where this story goes. Instead we have two heroic Faiths dealing with a legion of criminal doubles all cosplaying a character called Murderous Mouse. I again have to applaud Jody Houser for finding a way to make even the second part of a two-parter new reader friendly. You get a good explanation of Faith's status quo and you get to see all the best parts of her. There's a great exchange between the two Faiths about ysalamiri and how much they miss the Star Wars E.U., which touches on Faith's status as fangirl. You get to see her in action, showing her as a superhero. You get those delightful Marguerite Sauvage drawn daydreams, including a comment on how having two of her would make, "dating weird" (which reminds me of a hilarious moment from the Buffy the Vampire Slayer episode, "The Replacement," You know, the one with two Xanders, when Anya talks about keeping both of them around for a while. Hey, I'm reviewing Faith. Pop culture references are a must), which show that Faith has her head in the clouds at times. And at the end of the story, the duplicate Faith performs an amazingly heroic act, one I don't want to spoil, which shows that no matter which version of her you have, Faith is a hero at heart. And I have to say, while I want to see Faith on her own with her regular supporting cast, and Archer needs Armstrong, I would love a quarterly, "Archer & Faith," series where we just see them go on dates and get into crazy adventures because their dynamic is just adorable. Faith remains a book in classic superheroic tradition, where good wins, and good guys are good guys, and I will take that and relish it month in and month out.

Friday, October 21, 2016

A Very Ryan North Friday

Ryan North is a writer who has slowly but surely made his way into a position where, whenever his name is attached to a project, I have to have a look. Sure, I'd read Dinosaur Comics on-line and had a good laugh. But when he started writing the Adventure Time comic, and perfectly capturing the whimsy, wit, and occasional tragedy of Finn, Jake, and all their pals I really took notice. And with the Unbeatable Squirrel Girl from Marvel, one of the most joyful (and dense) comics on the racks, I moved from impressed to enamored. So, today, I'm going to focus on a couple of North's long form projects, things I've read recently that have been a real ray of sunshine.



Over the past few years, Marvel has developed a nice program of original graphic novels. Usually stand alone and new reader friendly, some, like Avengers: Rage of Ultron, wind up being important to main continuity, while others, like Jim Starlin's most recent Thanos trilogy, are delights for old fans who get to revisit old characters and creators that don't get as much play in the main MU anymore. But the most recent,released a couple weeks ago, is a giant, standalone Squirrel Girl story too big for the regular ongoing. From the regular creators of the monthly title, Ryan North and Erica Henderson, this hardcover is entitled: The Unbeatable Squirrel Girl Beats Up the Marvel Universe! And boy howdy does she ever.

For those of you who don't know Squirrel Girl from her appearances in Avengers comics, in her won series, or in my own reviews, well Squirrel Girl is Doreen Green, college computer programming student and superhero. Along with her friend and roommate  Nancy Whitehead, fellow superheroes Chipmunk Hunk and Koi Boi, and her best squirrel pal, Tippy Toe, Squirrel Girl fights crime, but often stops crime without violence by talking and reasoning with her foes. Which isn't to say she can't kick some butt when she wants to. Unbeatable Squirrel Girl is a fun, all-ages series, and this graphic novel provides everything you need to know about Squirrel Girl and her crew is you haven't read anything before, but is full of fun for longtime Squirrel Girl fans.

The core conceit of the graphic novel is a simple one: after winding up in a device created by the High Evolutionary that Tony Stark was puttering around with, Squirrel Girl winds up getting duplicated. The new Squirrel Girl, named Allene (Squirrel Girl's middle name), starts out as the perfect partner for Squirrel Girl, but after a couple days, takes a darker turn as she decides that the world would be better off run by squirrels. And so, while also fighting her better half, Allene decides that she needs to beat up all the other heroes and villains, as they could be a thorn in her side. And since Doreen is the unbeatable Squirrel Girl, you know she's going to win in the end, but she's never had a tougher fight than against her own doppelganger, and there are plenty of twists and turns along the way.

It's hard to review or discuss anything Squirrel Girl without just saying, over and over again, "Its just so much fun!" That's what defines this book, the pure unbridled joy of living in this big crazy superhero world. And even in what is possibly the most dire adventure in Squirrel Girl's series to date, that joy isn't lost. You still get quips, you still get adorable squirrels, and you still get more Marvel Universe Easter Eggs than any book I can remember in recent years. When it says that Squirrel Girl beats up the Marvel Universe, she does it, because there are more characters in here than you can shake a stick at. And not just big names like Iron Man (whose fault this all is), Spider-Man (who has a thing or two to say about clones), and Thor (whose hammer is super important to the story), but characters like Lady Octopus and Mysterion (knock off Spidey villains, unite!) and the newly created Johnny Fishlips, who... has fish lips, I guess. Oh, and Deadpool pops up, and while we all love Deadpool, Deadpool in an all ages sort of story usually wouldn't work, but it does here for a fun little gag. I should point out, though, that Deadpool is a regular presence in Unbeatable Squirrel Girl thanks to Doreen having a full set of "Deadpool's Guide to Supervillains" trading cards, which she uses for background info on various villains, and there are plenty of those in here too.

So, I've talked about the fun ad the excitement, but there's another thing that makes Squirrel Girl great, and that's that the character (and the book) has a huge heart. At the end of the book, a supporting character is near death's door, and instead of having a funeral for yet another supporting character in the Marvel Universe, Squirrel Girl gets the collected heroes, who have defeated Allene (I know you might think that's a spoiler, but guess what: the good guys win), to work together to save a life. With tears in her eyes, she says to Iron Man, "We have the best heroes on the planet gathered right here, and you're saying we can't save her? You shut up with that!" And then she talks to the heroes, gets them to work together, and they save a life. Because it's what heroes do. It's a noble, heart-warming moment, and in what feels like an increasingly cynical Marvel Universe, it's a breath of fresh air.

Oh, and two important things I want to point out bout reading a Squirrel Girl story by North and Henderson. There is no comic from either of the Big Two out there that is this dense, and I use that phrase in the best possible way. Most comics, I can sit down and breeze through in ten/fifteen minutes, and most original graphic novels or trades in an hour and change. A Squirrel Girl takes twice that, between how packed with dialogue and panels the pages are, and with the little text commentary at the bottom of most pages. And don't even think about skipping that text at the bottom of the pages! It's like the footnotes in a Discworld novel: a lot of the best jokes are down there.

I've talked a lot about story here, but this is a tour-de-force for artist Erica Henderson as much as for Ryan North. Henderson gets to draw everybody in her trademark style, and they all look great. Her pages are exciting and fluid, but never busy, and you can pick over them for ages looking for all the cameos she has in there. I also love how each character looks so different. It's so easy to get away with having a handful of standard faces/bodies in comic book art, but Henderson's characters are all very different and very distinct. And those different faces are all wonderfully emotive, with big eyes and open expressions that help tell the story as much as any word. It's also impressive to note that Henderson not only pencilled and inked (with an ink assist from Tom Fowler) the whole book (except for those Deadpool Villain Cards, those came from series regular colorist Rico Renzi), but she also colored it herself, and did a stellar job of it.

Oh, and before I move on, let me point out that the production backmatter is really enjoyable on this book, and you really should read to the end, even if you're usually the type of reader who isn't into that stuff. Trust me. If you've ever seen a Marvel movie, you know that things can happen after the credits.




Now speaking of Ryan North and fun, I also just finished my umpteenth journey through his choosable-path adventure book, To Be Or Not To Be. For those if us who were children of the 70s and 80s, you might remember this as Choose your Own Adventure (which is a phrase with a copyright, so to quote Groundskeeper Willy, "Shhhh, you wanna get sued?") story. But in this case, it's the story of Hamlet, the prince of Denmark, the greatest tragedy ever written, only you get to make the decisions!

Now, I know what many of you are thinking, "Aw, man, Hamlet was such a whiner. I don't want to get into his head." Well, you don't have to! First, you can make Hamlet into a man of action, which is awesome, but there are two other options as well. One you can play as Hamlet Sr., the ghost, who can go attempting to exact ghost vengeance on his crappy brother, Claudius. Or, and I can't recommend this highly enough, you can read through the path as Ophelia. And Ophelia is awesome! She's a scientist, she knows who she is and what she wants, and she's just badass. My favorite path/ending so far has been Ophelia decides that all this noise in Denmark is the pits, and so she goes off on vacation in England where she captures some terrorists and becomes this awesome spy! That's a way better ending than drowning herself!

And if all that isn't enough, there are plenty of one page illustrations that tie in to the endings form some really great comic book artists, including Noelle (Nimona, Lumberjanes) Stevenson, Becky (Demo) Cloonan, Chip (Sex Criminals, Jughead) Zdarsky, John (Bad Machinery, Giant Days) Allison, and a bunch more.

Seriously, folks, I can't recommend To Be Or Not To Be highly enough. I've written before about my love of Shakespeare (I'm going to an event in a week where I get to see an original First Folio and I'm giddy over it), and this is a great way to enjoy the world of Shakespeare even if you're not into him. It's fun, it's fresh, it's hilarious in places. You can follow along with Yorick's skull icons to follow the path of the play, or go off on whatever flights of fancy you can come up with within the book. Seriously, do yourself a favor, and go out and buy this book or get thee to a nunnery!

Both Unbeatable Squirrel Girl Beats Up the Marvel Universe and To Be Or Not To Be are available wherever books are sold, and at may finer comic book stores.

Wednesday, October 19, 2016

The Great Batman: Brave and the Bold Rewatch: Inside the Outsiders!



Season One, Episode Twenty-Four: Inside the Outsiders!
Written by Alex Van Dyne
Directed by Michael Chang

Plot Synopsis

Teaser:
Batman and Green Arrow are tied at the top a post that is slowly lowering as large jungle cats growl at them and try to reach them. Green Arrow is irritated that Batman didn't see the trap that got them into this situation coming, as Batman should know better having fought Catwoman numerous times. Batman and Catwoman talk, with batman trying to talk her out of her life of crime, and Green Arrow is shocked (and annoyed) when he realizes they're flirting. As they near the cats, Batman uses a Batarang to sever the ropes tying the heroes and they swing to safety. Green Arrow fights Catwoman's thugs, while Batman fights the villain herself. The heroes defeat Catwoman and her goons, and are preparing to take them in when Catwoman escapes, leaving Batman with a note including her phone number and a message that says, "Call Me."

Episode:
Batman runs through a hallway covered in creeoy golden masks that shoot blasts at him, but he makes it through, crashing into a room where the Psycho Pirate sits in a high tech throne. The Outsiders are in glass tubes that are feeding energy into Psycho Pirate, who is feeding on their emotions. Batman plans to open the chambers, but doing that will fry their brains, and the only way Batman has to save them is to enter the dream world of Psycho Pirate to pull them out, so he dons one of Psycho Pirate's helmets and heads in.

He appears in what appears to be a Japanese temple, and he sees a younger Katana and her old master. She has revealed the location of a sword, and an evil ronin has now arrived seeking it. Katana watches her memory play out, seeing her master die, as Batman tries to snap her out of it. Katana tells Batman this is her nightmare, but this time she will get revenge, and grabs the sword to fight Takeo, the ronin. Takeo tells her that it was her mouth that killed her master, and she prepares to strike down her foe.

At the last moment, Batman intercepts her blade with the energy sword from his utility belt, and the two of them commence dueling, Batman telling her this is now their way, or that of her master. Takeo again goads her on, saying she is now silent because she was responsible for her master's death and feels guilty, while Batman says that she is silent to honor him. This reminder snaps her out of it, and she stops fighting. Takeo transforms into Psycho Pirate, who had been playing on her guilt, who then disappears. Batman knows Psycho Pirate feeds off rage, and he thinks Black Lighting is the main course.

Appearing in an alleyway, Batman and Katana head out to find Black Lightning, prepared for the worst. What they find is a Black Lightning who is attacking people not for crimes but for little social infractions and anything that irritates him. Batman talks to him, trying to get him to calm down, and instead Black Lighting attacks, annoyed at Batman's cape. Katana saves a bystander who turns into Psycho Pirate who tries to get her to again attack, but she does not and he seems offput by it.

Black Lightning continues to attack Batman, Psycho Pirate growing more powerful, and then Black Lightning sees on TV... Uni the Unicorn (an homage to Barney the Dinosaur), and his anger grows. Black Lightning says hugs don't solve everything, and Batman tells him neither does rage, and that his anger was just making Psycho Pirate stronger. Psycho Pirate disappears in a flash, but as he does he causes Uni to leap from the screen and break through the glass. Black Lightning blasts him into confetti, but an army of Uni's come at him. Batman again tells him to channel his anger and energy into stopping Psycho Pirate, and this time Black Lightning listens. he embraces the possibility of happiness and the Uni's disappear. Again Psycho Pirate disappears, and Black Lightning is sure the worst is behind them, since Metamorpho is a happy guy. But as the clouds turn into a huge, angry Metamorpho, Batman knows that the worst is yet to come.

Now in what looks like the wreck of a city, Metamorpho transforms into more and more destructive forms, destroying everything. Batman realizes that Metamorpho's bottled up rage has been fueling Psycho Pirate all along. Psycho Pirate hovers near Metamorpho's ear like the devil on his shoulder, feeding his anger: anger that he is a freak who can't go out in public, anger that part of him believes his friends are laughing at him, not with him. and Metamorpho attacks.

Batman tells the Outsiders they can't harm Metamorpho, since he would be hurt in real life too, and so they have to reason with him. Black Lightning tells him they count on him, that he has the coolest powers in the world, but Psych Pirate counters that all they're doing is using him, and Metamorpho attacks again, saved only by Batman flying them away in his jetpack. He tells Black Lightning and Katana to keep reasoning with Metamorpho while he takes care of Psycho Pirate.

While the Outsiders dodge Metamorpho, Batman attacks Psycho Pirate. Black Lightning and Katana stand under the giant Metamorpho, and it's Katana speaking that stops him. They talk to him, telling him that they're a team, friends, and that they need him, and as he calms down, Batman begins to gain the upper hand on Psycho Pirate. Finally, Metamorpho shrinks down and hugs his friends, back to his normal self.

The dream world splits apart, and Batman awakens, but finds Psycho Pirate out of his throne, standing by a switch which the villain throws, obliterating the Outsiders. In a rage, Batman begins to pound on Psycho Pirate, who is feeding on the anger of the righteous, but Batman realizes this is still a dream, and Batman centers himself, feeding Psycho Pirate happy thoughts, which he can't take, and proceeds to happily knock out the villain.

With the Psycho Pirate finally defeated, Batman and the Outsiders stand over the defeated Psycho Pirate. As Batman walks off to call the authorities, the Outsiders wonder what are Batman's happiest thoughts.



Who's Who



Black Lightning (Voiced by Bumper Robinson)
First Comic Book Appearance:  Black Lightning #1 (April, 1977)
First Brave and the Bold Appearance: Season One, Episode Six- Enter the Outsiders!


Katana (Voiced by Vyvan Pham)
First Comic Book Appearance:  The Brave and the Bold #200 (July, 1983)
First Brave and the Bold Appearance: Season One, Episode Six- Enter the Outsiders!


Metamorpho (Voiced by Scott Menville)
First Comic Book Appearance:  The Brave and the Bold #57 (January, 1965)
First Brave and the Bold Appearance: Season One, Episode Six- Enter the Outsiders!


Psycho Pirate (Voiced by Armin Shimmerman)
First Comic Book Appearance:  Showcase #56 (May-June 1965)
First Brave and the Bold Appearance: Season One, Episode Twenty-Four: Inside the Outsiders!

The Psycho Pirate who appears in Brave and the Bold is the second character to use that name in the comics, Roger Hayden. He was a villain of Earth-2, the Justice Society's Earth, who received the Medusa Mask, a relic that allowed him to manipulate emotions, from the original Psycho Pirate. Psycho Pirate would be a thorn in the side of various members of the Justice Society, but would reach new prominence during DC's legendary crossover event, Crisis on Infinite Earths, where he would become an accomplice and agent of the Anti-Monitor. He would survive the Crisis, and would be the only person with a full memory of the existence of the Pre-Crisis multiverse, knowledge which drove him mad. He would appear very sporadically over the course of the next twenty years, most notably in Grant Morrison's Animal Man, before he was recruited by Alexander Luthor during Infinite Crisis, where he was killed by Black Adam. Psycho Pirate has recently reappeared in the Rebirth era Battman series, as a part of Task Force X, and is the mcguffin of the new arc of that series, which begins today. While Psycho Pirate has no innate abilities, the Medusa Mask which he possesses allows him to force emotional states on others and to enhance emotions they already feel.

Green Arrow (Voiced by James Arnold Taylor)
First Comic Book Appearance: More Fun Comics #73 (November, 1941)
First Brave and the Bold Appearance: Season One, Episode One- Rise of the Blue Beetle


Catwoman (Voiced by Nike Futterman)
First Comic Book Appearance:  Batman #1 (Spring, 1940)
First Full  Brave and the Bold Appearance: Season One, Episode Twenty-Four: Inside the Outsiders!

Selina Kyle is Batman's most persistent female foe. Her origins have changed and morphed over her more than seventy-five years of existence, but it always comes around to her being the world's best cat burglar and a lover of all things feline. In some versions she is abused wife, in others a prostitute, and other times simply a runaway kid. She and Batman spar, each often trying to win the other over to their side of the law, and in recent years, she has been as often an anti-hero as she has been a villain. She is probably Batman's greatest love interest (at least in my opinion), and in more than one universe in the multiverse or adaptation of Batman in other media, it is Catwoman who Batman winds up with. She is one of the greatest characters in comics, and one of the most visible female characters, bot defined by the male hero she is attached to, by clever, powerful, and often wickedly funny in her own right. Catwoman has no superhuman abilities, but is an expert thief, acrobat, escape artist, and hand-to-hand fighter. Her weapons of choice include a cat o'nine tails whip and claws built into her gloves.

Continuity, Comics Connections, and Notes

So, if you're watching along on DVDs, you will notice that this is not the next episode on the DVD. There care three orders in which the last three episodes of Season One  ("Inside the Outsiders", "Menace of the Music Meister", and The Fate of Equinox") can be looked. There is the DVD order, which places this episode last in the season, the order in which they were aired which puts Music Meister before this episode, or the episode numbers, which is the order I chose, meaning this episode is next, followed by Music Meister, and and ending with the Equinox episode, which feels like a season finale.

Catwoman gets her Who's Who entry this week, despite having cameoed twice before, in Legends of the Dark Mite! and Hail the Tornado Tyrant! However, both of those were silent cameos, and this being her first full appearance, I held off spotlighting her until now.

Armin Shimmerman, who voiced Psycho Pirate this episode, and is best known to genre TV fans as Quark on Star Trek: Deep Space Nine and Principal Snyder on Buffy the Vampire Slayer,  has appeared on Brave and the Bold once before, voicing Calculator in Night of the Huntress, and will appear one more time, but that's for the future.

I just want to call out a very cool visual in this episode. During the Black Lightning sequence, the whole world in in grey scale except for the people who are frustrating him, who appear in color.

Monday, October 17, 2016

Reviews of Comics from Wednesday 10/12


Darth Vader #25
Story: Kieron Gillen
Art: Salvador Larroca & Edgar Delgado and Max Fiumara & Dave Stewart 

Darth Vader has been a consistent high point of Marvel's new Star Wars line. It's been a slow burn of a series, where all twenty-four issues and an annual have built towards this final issue. Dr. Cylo, the mad scientist who has been Vader's adversary throughout the series, first attempting to replace Vader in Emperor Palpatine's eyes and then to take over the Empire itself, faces his final battle with Vader this issue, and its a testament to artist Salvador Larroca. Vader is a force of nature, silent and terrifying. I went through and counted, and Vader has no more than fifteen word balloons throughout not just the battle, but the entire issue, many of which are one or two words. And Vader's face is covered the entire time, so an artist can't even fall back on facial expressions. So Larroca uses body language to show the readers what is going through Vader's mind, much of which is, well, pretty much murder. Beyond the battle with Cylo, we get a scene between Vader and the Emperor which is one of my favorite scenes between the two in a long time. It shows the twisted relationship between the Sith, how manipulation and betrayal are so central to everything they represent, and makes the reader feel for Vader in a way, as the one mentor figure he has left applauds him for betrayal. The final scenes of the main story show Vader dealing with his underling Dr. Aphra, and shows that while Palpatine has embraced the ideal of betrayal as strength and rewards it, Vader most assuredly has not, and we see Vader deal, quite harshly, with his other Imperial nemesis, this one a political foe, Grand General Tagge, and while I don't want to give too much away there, well, if you've seen the original Star Wars trilogy, you know what happens when you screw up in front of Vader, something Admiral Ozzel, who stood there and watched maybe should have learned from before the events of The Empire Strikes Back. But the final two pages take Vader in a different direction, as we get a silent view into his mind, and see him considering a much less violent confrontation with his son, Luke. This issue shows all manner of aspects of Vader: warrior enforcer, apprentice, leader, and father, and through that shows just what an incredibly nuanced character he is, no matter what words he speaks. The two epilogues to the issue are interesting in their own right. One is a brief scene that sets up Dr. Aphra's upcoming series, and helps establish her new trajectory and her supporting cast (the Wookiee bounty hunter Black Krrsantan and the evil droids Triple Zero and Beetee-One ). The other is a silent piece, set on Tatooine, as we see the results of what Vader has done to the Tusken Raiders, the Sand People. It's a chilling little story, and is hard to write about without laying it out point by point, but needs to be seen. I'm going to miss the Darth Vader ongoing series, it's powerful narrative and dark turns, but I'm looking forward to see where Gillen takes the Doctor Aphra series.


The Fix #6
Story: Nick Spencer
Art: Steve Lieber & Ryan Hill

In most cases, I have a hard time with stories where there are no redeeming characters, Even stories starring anti-heroes or downright villains show a nuanced portrayal of those characters, like Darth Vader in the previous review or Walter White in Breaking Bad. However, The Fix, Nick Spencer and Steve Lieber, is the exception to this rule, as there is not a single character in this book who has a redeeming characteristic. When the principal character who is the least morally reprehensible is the crooked internal affairs cop (with the exception of Pretzels the dog. Pretzels is the best), you know you're in for a ride. This issue gives us a new one of lead character Roy's crooked side businesses, trafficking in stolen celebrity personal items. And frankly, this is far from the worst thing we've seen Roy do, but it's the fact that he's actively employing meth addicts to do it that makes it even more reprehensible. The story of how Roy met Matty, the chief meth addict, is one of the darkly comedic things that makes The Fix work so well. I mean, I honestly laughed out loud so hard I doubled over and got a very strange look from my wife, and when I tried to explain why it was funny, the look just got stranger. In theory, bum fight shouldn't be funny, and in real life practice they aren't, but in the twisted world that Spencer and Lieber have created, the whole sequence is utterly hilarious. And as we understand exactly what Roy has been up to, and exactly where this has gone, and exactly what Roy has planned for Matty's friends who he assumed are responsible for the death of the starlet he had them rob and he assumed killed, well the hole he dug just keeps getting bigger. And the big reveal of what this has all been about, what the killers were looking for, well, I don't know if it would work in any other comic, but it sure as heck works here. If all of that wasn't enough, we get two scenes away from Roy, and if you were hoping for characters you could empathize with and see as light in a corrupt world, you are in the wrong place. We get a scene that further develops the mayor of L.A., who has a... unique habit during press conferences, and one with Donovan, the movie producer, and his really interesting fantasy life. The thing that keeps me coming back to this book, aside from the twisty plot, the comedy, and the excellent Steve Lieber art, is the fact that these characters have to get their comeuppance sooner or later, and I just can't wait to see how big a hole they can dig before they fall into it. And after this issue, I can't wait to see them all get what's coming to them more than ever, in the best possible way.



Hard Case Crime: Peepland #1
Story: Christa Faust & Gary Phillips
Art: Andrea Camerini & Marco Lesko

The Hard Case Crime label is an impressive publishing initiative that has presented both reissues of classic noirs and new stories in the best noir and crime fiction styles, and I became familiar with their novels by the publication of two original works by Stephen King, The Colorado Kid and Joyland. And when I heard they were going to partner with Titan Comics to produce new crime comics, I was excited, and I'm pleased to say that Peepland, one of their inaugural offerings, is an excellent crime comic. I chose to try this series for a couple of reasons. Firstly, the writers. I'm familiar with Christa Faust only by reputation, but Gary Phillips has written some amazing crime comics over his career, most notably to me the Vertigo mini-series Angeltown and from Boom Studios The Rinse. The setting also appeals to me. The comic is set in New York City in the mid-80s, back before the city was sanitized. I was a kid back then, so it's not like I spent any time wandering those red light districts, but I know people who did, people who tell stories of Time Square before Disney rolled in, and so I get a sense of the city I love from bygone days. And this comic is set deep in those red light districts. Starring Roxy, a peepshow performer, the comic starts with a man running for his life from two thugs before hiding a video cassette (remember those?) in Roxy's booth. Pretty soon, the police are involved as the man, the producer of a Girls Gone Wild-esque series of pornographic videos, is dead and more than one group is looking for the tape. Roxy is a sympathetic protagonist, and presented in a real way: she's not the sex worker who's just doing it to pay her way through law school or some similar trope, but is someone who does what she does and has a life outside it, an uncle slowly dying of AIDS when AIDS was a short-term death sentence, an ex-boyfriend, and curiosity about that tape that is going to get her in trouble before the series is out, I have no doubt, especially when we see what's on the tape. Aside from our lead, we get plenty of other characters, all fitting into a classic crime/noir mold: other dancers and performers at Peepland, thugs and toughs, hardnose cops; this might be set in the 80s, and the events might only work in that particular era, but it's got a gritty feel right out of the best 40s noirs. In case the title didn't make it clear, by the way, this is a comic for mature audiences, with nudity and lots of bad language, but it's also for mature audiences because it's smart and complex, with characters and a mystery that will appeal to readers who are looking for something to really dig their teeth into.



And Dan Grote's back with a very special issue of Deadpool...


Deadpool #20
Story by Gerry Duggan
Art by Matteo Lolli and Guru-eFX

In which Deadpool stops someone from committing suicide through violence.

Let that sink in for a second.

We’ve all seen superheroes talk ordinary folks off the ledge, literally and figuratively. Superman arguably did it best in All-Star Superman.

Deadpool is not Superman. Hell, he’s barely a superhero. He’s a guy who often wants to be good but doesn’t know how because he’s lived a life of violence and insanity. Which is why he gloms onto other superheroes – Spider-Man, Captain America, etc. – and demands to become their new best friend whether they like it or not.

On this night, a young woman named Danielle is staring down at the street from the roof of the Schafer Theatre, formerly the home of the Avengers’ Unity Team, the Mercs for Money, and Deadpool. Wade leads with “Don’t jump!” and follows with “Parker Industries is just a few blocks down.”

Now, things have been pretty crappy – well, crappier, I guess – for Wade lately. His wife has been cheating on him, his team has abandoned him, his base was destroyed. Frankly, if this were the Joe Kelly era, he’d be in the depths of a sadomasochistic pity party and probably push her off the building himself.

Instead, Wade takes her to see Hamilton and lets her go on a ridealong while he beats up deadbeats as part of his pro bono work. Along the way, Danielle learns useful things like the best way to get bad guys to come to the door (Yell “Sexy maids!”) and when to kick or blow down said door and begin delivering beatings. Danielle even picks up a bat at one point and joins in the fun.

“Violence solves everything if you’re good at it,” Wade insists.

Their magical smashy-smashy tour ends at the emergency room, where Wade drops her off for pre-arranged help.

“I’m smart enough to know I’m dumb enough that I can’t help you,” he says. “But they can.”

This isn’t Wade doing the right thing to impress Spider-Man or Agent Preston or Cable or any of his usual over-the-shoulder angels. Nobody’s watching. This is Wade doing genuine good the best way he knows how, while remaining completely in character and recognizing his own flaws. This is Gerry Duggan once again teaching a master class on how to develop a chaotic-neutral quasihero.

After Danielle walks into the ER, Wade finally finds the perfect thing to say: “You gotta remember: No matter how bad things get … that life is fluid. There’s always the chance that something great is waiting around the next corner. (Steps in dog poop) You just have to find a way to keep rounding corners.”

In other words, “You’re much stronger than you think you are.”

Deadpool’s been teasing a showdown with Madcap for months now, but recent issues have had next to nothing to do with that. This issue is no exception, but it’s also probably one of the best standalone ‘Pool issues ever.

Monday, September 19, 2016

Reviews of comics from Wednesday 9/14


Detective Comics #940
Story: James Tynion IV
Art: Eddy Barrows, Eber Ferreira, & Adriano Lucas

And so ends the first arc of the new Detective Comics, and what an ending it is. I've been singing the praises of this title since it returned with its new Rebirth era creative team, and this finale doesn't disappoint. There will be SPOILERS for the issue in this review, more than I usually would put in one, but frankly the ending of this issue has been all over all the major comic news sites since Wednesday, so I feel I can address it. I want to start by talking about thee aspect of the issue that hasn't been discussed all over the place, which is James Tynion's handling of Batwoman and her confrontation with her father, Colonel Jake Kane. Kane has been the primary antagonist of this arc, him and his para-military Colony organization, and to see Batwoman stand up to her father is a bravura moment for that character. This is the strong, take no prisoners hero that was introduced all those years ago in 52, the character who should have been a star and was shunted to the side until all the buzz around her had died down. Kate Kane is a woman of principal, who stands by what she believes in, even if it means her imprisoning her own father. And Kane remains just this side of sympathetic, a man who truly believes that what he's doing is right, which makes him all the more interesting as a foe. But now I have to touch on is Tim Drake, Red Robin, and his fate. On Friday, I wrote about what makes Tim Drake such a great character. And his final showdown with the drones that the Colony were sending to kill suspected agents of the League of Shadows is a perfect indicator of what makes Tim great: he went down a hero. He knew that his chances were slim, that he might be sacrificing his own life when he set himself as the drones only target, and when he knew he couldn't win? He stood his ground and went out a hero. It was a marvelous moment, and would have been an excellent death, if that's what it was. Instead, we see him taken by the mysterious Mr. Oz. There are interesting new hints to what exactly Mr. Oz is doing, and what his plans are, which are all good for the overall progress of the DC Universe and for Tim's future, but it's also great to see Tim, the one person who kept the faith when Batman "died" in Final Crisis and was sure Bruce was alive, still having faith that his friends will find him despite his own seeming death. Add in a perfect scene of Batman showing real and true sadness at the apparent death of one of his charges, and you have an issue that is as emotionally resonant as it was action packed, a perfect superhero comic.



Faith #3
Story: Jody Houser
Art: Pere Perez and Andrew Dalhouse & Marguerite Sauvage

In case you haven't read any of my previous reviews of her series or any articles about the character, Valiant's breakout hit character Faith is a fangirl. A major league fangirl. And that part of her character is part of her charm. So it's probably not the least bit surprising that Faith would spend a story arc going to a comic con. And she's bringing her boyfriend, Archer of Archer and Armstrong along for his first con. The two head out, in cosplay naturally, and because this is a superhero comic, pretty soon they're getting involved investigating thefts at the convention and the theft turns out to be way more than just a simple fan who wants to make off with stuff he couldn't afford. The appeal of this issue comes from the interactions between Faith and Archer. We saw their first date in a recent issue of A+A, but now we're seeing them more deeply into their relationship, and on Faith's home turf. The two are so perfect together, Archer so naive and Faith so confident in this setting. And the reasons why Faith is so determined to see that justice is done at the con, and what cons mean to her, is something that I think all of us who live in a world of fandom should read, because it's something that is easily forgotten: about how cons are places where we meet and greet those we admire and more how we get to share the things we love with others who love them, and how no one has a right to interfere with that. I love how positive Faith is, how she is always looking for the best in others, but how she's also always willing to stand up for herself and others. The art for the issue by Pere Perez is especially good, with all sorts of wonderful Easter Eggs in the con scenes, and a great design for Faith's cosplay, something that still evokes her costume while having a different, piratical air. Faith is one of the best comics from Valiant, a fun superhero comic that embraces fandom and fans, with a great hero; it's also a comic that is easy to jump on to at pretty much any point, and this issue is especially good as a jumping on point, as everything you need to know is right here. Oh, and not just everything you need to know about Faith; there are con going tips throughout the issue that are well worth taking note of, even if you're an old hand at it. I mean, who knows when you're going to be called on to fight evil at your next con?


And Dan Grote is here with a review of a... Batman comic!




All-Star Batman #2
Story: Scott Snyder
Art: John Romita Jr., Danny Miki and Dean White (main story); Declan Shalvey and Jordie Bellaire (backup strip)

At the end of Season 2 of The Venture Bros., after the Sovereign has revealed himself as (a shapeshifter who takes the form of) David Bowie, Henchmen 21 and 24 remark on their favorite Bowie albums, and 21 harps on 24 for liking “ChangesOne” because “Changes is a best-of.”

All-Star Batman is, in many ways, a best-of. But it’s also something new.

Part of it is Batman barreling through a highlight reel of his enemies (roughly) two by two as he and Two-Face buddy-cop their way across the country. So we get appearances from requisite Bat-foes like the Penguin, Killer Croc and Victor Zsasz, in addition to deeper cuts like the KGBeast and Gentleman Ghost. We also get art from John Romita Jr., one of comics’ warmest blankets for more than 30 years.

But while Scott Snyder spent five years cementing himself as one of the all-time great Bat-writers, he’s not done leaving his mark.

Take, for example, his take on Two-Face. Snyder’s Two-Face is portrayed as much darker than in years past, explaining away his campier exploits as cries for help from the Harvey Dent side of his personality. This Two-Face isn’t just setting other villains on the Bat. Even allies like Jim Gordon have a vested interest in stopping Bruce from reaching the series’ MacGuffin, a purported cure for the Two-Face side of Dent. If successful, Two-Face has threatened to release the dirt he has on everyone in Gotham, and that’s a lot of dirt.

And yes, Bruce is training a new sidekick, but despite headlining a title called We Are Robin, Duke Thomas is not taking up the mantle, nor is he wearing the standard red, green and yellow. Just the yellow. The backup strips focus on Duke’s training, which isn’t so much about learning martial arts or how to win a melee fight but a study in psychology, both in Duke’s relationship with his psychotically altered parents and in learning how Batman’s never-ending parade of Arkham escapee foes thinks. Because let’s face it, working with Batman means exposing yourself to messed-up stuff every second of the day.

Oh, and Bats uses actual shark repellant against King Shark. Because if Grant Morrison’s Unified Theory of Batman has taught us anything, it’s that Batman done right should be grimdark and silly simultaneously.


So if Matt and I had the repartee of 21 and 24, he’d be doing his duty by calling me a poseur for liking the “ChangesOne” that is All-Star Batman. Also I’d be dead in a season. But whatever, my point is, as The Matt Signal’s resident “Not a DC guy” guy, I’m loving this book. And Bowie rules.

Friday, September 16, 2016

Why I Love Tim Drake


Tim Drake has been all over the comic book news sites this week. I'm not going to talk about the details of why right here, just to make sure everyone who doesn't want to be spoiled has a chance to read the issue that's causing the furor. I'm just going to make a short post today about who Tim Drake is as a character and why he's not only my favorite Robin, but one of my ten favorite comic characters ever.

I started reading comic officially (or as official as you can get) with Batman #445. Tim Drake made his first appearance in costume in Batman #442 (although he would be out of costume, simply training, and wouldn't get his own until issue 457). So first and foremost, I grew up with Tim. Now, Tim is lucky that he's perpetually stuck at an age between 16 and 18, while I have continued to grow sadly older, but I don't hold that against him. There's something about that character, a character who was new when you were just starting out as a fan, that you latch on to and connect with. That's, frankly, why sidekicks were created, to give readers and entry point for these stories about adults.

But more than just our relative newness, the thing that made Tim Drake great is he was a good kid who got into superheroing because it was the right thing to do. Ultimately, all of the many tragedies that Tim would encounter over the years took place after he took up the mantle of Robin (I'll discuss the changes made in the New 52 and why I feel they detract from Tim as a character later). Tim wasn't an orphan (although he was a rich kid with absentee parents which I doubt many readers had), he didn't have a reason to become Robin except he felt like Batman needed a Robin and Gotham and the world needed a Batman. Tim, like one of my other favorite sidekicks made good, Wally West, was basically a fanboy who got to live the dream: he got to partner with his favorite hero. And who amongst us in fandom wouldn't like that.



The other thing that made me love Tim Drake initially was that he was a brain. He had figured out Batman and Robin's identities using his natural deductive skills. Tim's first solo mission isn't a Robin mission, but is Tim trying to use his computer and detective skills to try to find a hacker called Moneyspider, who turns out to be the Batman villain Anarky, a teenage villain, who would go on to be one of Tim's nemeses. Tim was naturally more physically capable than most of the readers, but he wasn't a kid acrobat like Dick Grayson; there's a great moment in Robin #10, a Zero Hour crossover where Tim briefly meets a time displaced teenage Dick Grayson, where Tim marvels as Dick's acrobatic skills and doesn't think he'll ever be able to live up to them. And that was fine, because Tim was the smartest of the Robins, the best detective of the lot. And for readers who love Batman because he's the smartest guy in the room, that made Tim the ideal Robin.

After finally taking on the name of Robin, Tim would develop his own rogues gallery and supporting cast as he starred in first three mini-series and then an ongoing series that lasted for well over one hundred issues. Tim would fight the blind martial artist and gang leader King Snake,his lieutenant, Lynx, and their street gang, the Ghost Dragons; the aforementioned Anarky, the teen anarchist; Ulysses Hadrian Arstrong, the teen strategic genius known as The General. The characters around him included his dad, Jack Drake and step mom Dana, his geeky best friend Ives, his first girlfriend, Ariana, and his on again/off again main squeeze, Spoiler. That's not to mention his friendship with other heroes as a member of the teams Young Justice and Teen Titans, and of course his regular team-ups with Batman and the other members of the Batman family. There is a wonderful issue of Nightwing, issue twenty-five, "The Boys," that really looks into the brotherly relationship between Tim and Dick Grayson. This was a richer life as a character than either of the previous Robins had while they were Robin, and made Tim a much more interesting character,


Eventually, when a new Robin need to come along, in this case Bruce's son Damian, he was a very different character than Tim. While Tim was an everyman sort of sidekick, Damian was completely unique and uncommon: while Tim was a fanboy, Damian had been trained since birth to be a deadly assassin. And when the time came for Tim to take up his new identity as Red Robin, the first storyline in his series reaffirmed his status as the number one Batman fan: he was the only one who believed that Bruce Wayne had not died in battle with Darkseid in Final Crisis, and he went out to find him. There's a wonderful met-commentary there about how the hero who started out as a fan would be the one who  would persevere through apparent death to believe wholeheartedly that the hero he idolized would still be alive.

But with the introduction of Damian, Tim was a little at ends as a character. Dick Grayson was able to take up the Nightwing identity when Jason Todd came along and became Robin, but Tim had a second hand new identity; Red Robin was Dick Grayson from an alternate future, whose identity had been briefly co-opted by Jason Todd before Tim took it. His last ongoing series, the Red Robin ongoing, was cut short by the New 52 reboot of DC Comics, with Tim in a very dark place. And I was hopeful that the reboot would give Tim a fresh start and make him the fun, young hero he was at his beginning.



Alas, this was not to be. The Tim Drake of the Teen Titans series from the New 52 bore only a passing resemblance to his previous incarnation. He had never been Robin and wasn't even really named Tim Drake; that was a name he took when he came to work with Batman. He was suddenly a gymnastic savant, and had a tragic backstory, where his own carelessness had forced hi parents into witness protection. And mostly, he no longer had any real emotional ties to Batman and Nightwing. Batman had been a foster father to him, and Nightwing the coolest big brother you could imagine pre-New 52. Now, Tim kept them at arms length and always had, and while he was part of their family, he wasn't close with them. He did suddenly become close friends with Jason Todd, Red Hood, who had repeatedly tried to kill Tim in the old continuity, which did more to help further Jason's redemption than did anything for Tim as a character. And the greatest of indignities: while Time did still figure out Batman's identity, so did Dick Grayson, using pretty much the same methodology Tim did in the old continuity, taking away yet another thing that made Tim unique.

I don't necessarily lay all of this on the heads of the creators of those titles. Tim has been a historically difficult character to handle when taken out of his specific point of introduction. The Tim Drake in Batman: The Animated Series is much more Jason Todd than Tim Drake, as he has Jason's origin and doesn't have Tim's intellect; he basically has Tim's good nature grafted on to Jason to make him less of a jerk. The Tim in the Batman: Arkham games is a little better, but is still more of a roughneck than Tim is.  Young Justice got it closest to right; while it gave Tim's hacker skills to Diclk Grayson initially, when Tim himself appeared, he was the quiet, smart member of the younger generation of heroes.

So where did that leave Tim? Well, in the past year and change, thing have gotten better for him. Batman and Robin Eternal, the weekly Batman mini-series that focused on the various Robins and other Bat family members working together in a globetrotting adventure during the brief period of time where Bruce had no memory of being Batman, did a great job of re-establishing Tim's relationship with the other member of Batman's family, and the arc of Detective Comics that wrapped this week played on all of Tim's best traits: his intellect, how well he works with others, and how much he cares about people. It got everything right, and made Tim feel like Tim again, and that Tim is a character that readers will keep hoping to see more of.