Reviews of Comics from Wednesday 5/27

Batman '66 #23
Story: Jeff Parker
Art: Brent Schoonover and Giancarlo Caracuzzo

Nearly two years into its run as a print comic, it's nice to see Batman '66 take a few chances. While the early issues focused on established villains in the universe created by the TV show, since the publication of the lost episode that introduced Two-Face into the universe, we've begun to see other Batman villains from the comics who never appeared on the show, including Harley Quinn and Lord Death Man. This issue is two short stories, both written bu series regular writer Jeff Parker, with two of Batman's more monstrous foes. The first story, drawn by Brent Schoonover, introduces Solomon Grundy, whose origin is tied to that of Marsha, Queen of Diamonds, one of the series's original villains. It's weird to see this universe and actual magic tied together, as so much of the classic series was tied up in funky 60s, but it's hard to do the walking dead and use science. Still, it's a scientific solution Batman comes up with to stop Grundy, even if it's as pseudo-scientific as Bat shark repellent. A highlight of the story is that Schoonover works homages to classic covers and Batman images into panels, one especially cool one being to an old Aurora Batman model I remember assembling as a kid (a reproduction from the 80s, mind, not the original). The second story introduces Clayface, and does a very cool thing of tying him into False Face, a TV villain. It establishes that False Face was Basil Karlo, who was also the original Clayface, and he is given an origin that has echoes of the Clayface origin from Batman: The Animated Series. Artist Giancarlo Caracuzzo draws a monstrous Clayface who never could have existed on the budget of the TV show, or looked good in the effects of the era. And again, as was often the case, for all the biff bam pow action, Batman defeats Clayface using his brain more than his brawn. I'm looking forward to seeing some more Batman villains introduced (we've been teased with Killer Croc and Poison Ivy, so they're on  the horizon), as it adds some nice flavor to a book that's already a lot of fun.

Convergence: Booster Gold #2
Story: Dan Jurgens
Art: Alvaro Martinez

Convergence has ended, and sadly it was more a whimper than a bang. But there were some real high points to the tie-ins, love letters to older versions of characters and their fans. One of those love letters was the Booster Gold series, written by Booster's creator, Dan Jurgens.This issue not only features two Boosters, but his son, Rip Hunter, his sister, Goldstar, his robot buddy, Skeets, and his best buddy, Blue Beetle. While it's still serious, with the older, original Booster dying of an overdose of chronal energy, we still get some fun moments as the other Booster, Rip, and Goldtsra fight the Legion of Super-Heroes, and post-Flashpoint Booster is still as much a goof as classic Booster pretended to be to hide his more serious duties. But it's the scenes between a rapidly aging Booster and Blue Beetle that warmed my heart. We've seen Booster try to save Beetle using time travel, both in the comics and in an episode of Batman: The Brave and the Bold, but here it's a resigned Booster who's meeting his friend when Beetle was in his prime, and Booster treats it as a gift. The two get to talk, and joke, and even though Booster tries to warn Beetle a little about his oncoming fate, he doesn't spoil the time together with portent. In the end, Booster gets to say his goodbyes to those he loves before he goes through a startling metamorphosis that makes absolutely perfect sense if you're familiar with a couple of DC's previous events. It's a bittersweet farewell, but with hints that the new Booster has an important place in upcoming events and the old time travel crew still out there guarding time, there's a glimmer of hope, and hopefully a hearty Bwah-ha-ha to come.

Divinity #4
Story: Matt Kindt
Art: Trevor Hairsine

Divinity has been the most experimental series I've read from Valiant, and it's been a resounding success with me. Matt Kindt talks in the production notes in the back about creating an overpowered character and the importance of knowing how to defeat them, and this issue is about the fall of Abram Adams, the godlike being called Divinity by his followers. Interestingly (and smartly) there is very little combat between the titular character and Unity, Valiant's premier superhero team (although there is a gorgeous two page spread of them assaulting him). Mostly, Unity fights Divinity's followers, who are trying to stop them from interfering with their god while trying a hail Mary to contain Divinity. Meanwhile, with all his power, Divinity has resurrected his girlfriend and daughter, and is talking to them. But it's not the conversation he wants to have. It's a tragedy, as Eve, the woman he loves, tells him that she lived a full life and she wants to stay where she is. it's not a great energy weapon, or brilliant tactics that defeats Divinity. It's his remaining humanity. The series ends on a few different notes, leaving the fate of the character and the world in the air. Unity is unsure what to do with a contained super being who could defeat them with barely a thought, Divinity's followers are ready to declare a holy war to retrieve their savior, and Divinity himself? Divinity has realized exactly how much has changed, both in the world and in himself, but still has some hope in a very human form. This level of introspection is uncommon in superhero comics; so much of post-Watchmen superhero comics plays at seriousness, but doesn't really talk about anything beyond brooding. Divinity explores what it's like to become a being of power in a very thoughtful and human way, something that impressed me greatly, and I'm looking forward to the sequel to see where Abram Adams's journey takes him next.

Ivar, Timewalker #5
Story: Fred Van Lente
Art: Francis Portela

Fred Van Lente can cram more into a comic than pretty much anyone I can think of. In one issue of Ivar, Timewalker, you get a science fiction assault in a space station, a discussion of time travel physics, a fight on a post-apocalyptic world, a conversation at a bar, and all of it is done with humor and character development. The issue opens as a space fleet attacks Oblivi-1, the time/space station that is the headquarter of the villains Ivar has been dealing with in the first arc of the series, only to meet an unfortunate fate. While we do see Neela Sethi, the scientist who has been the... target? Goal? Of everything Ivar, our titular time traveler has done over the course of the series so far, and we see her talking to another version of herself about their scientific goal, the majority of the issue is set in the year 9999, with Ivar trying to recruit his youngest brother, Gilad the Eternal Warrior, to storm Oblivi-1 to rescue Neela. It's pretty standard infiltration and save humanity from monsters, in this case the Nergal Horde, but it's elevated by Van Lente's dialogue. It's not only very funny, but it's staggeringly real. I have two little brothers, and I know how brothers talk and bicker, and Van Lente has it down. Despite Ivar being the eldest brother, it's Gilad who has always been the serious one, the one who takes his responsibilities to heart, but here, at the end of Earth, Gilad is ready to lay his arms down, for once Earth is gone, his responsibility as its guardian is gone too and he can rest. But Ivar's interference lights a spark under Gilad one more time, and he agrees as long as Ivar promises that Aram, the middle brother, better known as Armstrong, isn't coming, something Ivar agrees to without a blink. Cut back to a bar in 2015, where Ivar is talking to Armstrong shortly before he left for 9999 to find Gilad, and we see a familiar scene with a familiar promise. The issue ends with a scene involving the former captives of the Nergal Horde that I don't want to spoil, but it's interesting how both this plot and Ivar's own operate in a circle in this issue. Saying anything more would spoil the fun, and with this title, that's the last thing I would want to do.

Sandman: Overture #5
Story: Neil Gaiman
Art: J.H. Williams III

What more can I say about Sandman: Overture? This is the comic that I most look forward to whenever it happens to come out. It's Neil Gaiman and J.H. Williams working together seamlessly, producing a vision of beauty and a story that is enchanting in the literal sense of the word; I find myself unable to look away from the pages as I read the issue, quietly mouthing the words along with the comic. After being trapped in the previous issue, Dream finds himself in the court of his mother, Night, brought to her by a servant named Dusk. Dusk's "d" name makes me curious is she is another relative of the "d" named Endless, but that is not addressed here. Instead, we see Dream having a family squabble with his mother. Night makes some very valid points about Dream and his relationship with his siblings, but we also see where Dream and Desire get their tempers from. While within the blackhole, Dream deals with family issues, outside it, the Dream of Cats wanders the battlefields of the universe, the ones growing worse due to the machinations of the mad star, and begins to save people, as well as retrieving the lost girl Hope from the afterlife. What exactly the Dream of Cats's plan is remains mysterious, but he's still a cat, so that's pretty much par for the course. Dream escapes the blackhole, naturally, saved by Destiny, his elder brother. The reasoning for this particular rescue us cleverly presented, as it not only works with already established Sandman mythos in a way that it didn't occur to me it could, but gives some personality to Destiny, who has always been the dustiest member of the Endless; he's like Marvel's Uatu the Watcher, bound only to observe, only he actually does only observe. It kind of shows why Uatu was always doing stuff, since it makes him much more interesting. The final scene of the issue takes place on a boat, and here's where I want to call out Williams for his astounding work. Any page is a masterwork, but there's a great moment as Dream boards the boat and his clothes change from the usual flowing regalia he wears into a sailor's outfit that is done with such grace. It's a tiny detail, but those are what makes Williams amazing, he doesn't miss a beat. The designs of the boat and it's crew are similarly astounding. There's only one issue left now, one issue for Dream to bring about the downfall of the mad star that he inadvertently created, and to receive answers to as many of the questions as Gaiman is willing to answer. Because really, this comic is as ethereal as a dream, and whoever gets all the answers they want out of a dream?

Reviews of Comics from Wednesday 5/20 & Greetings from Battleworld

Convergence: Justice League of America #2
Story: Fabian Nicieza
Art: ChrisCross

The highlight of Convergence for me, and I think for most, has been revisiting old characters that have been changed tremendously or forgotten in the most recent DC reboot.While the Justice League Detroit was a little before my time, this series is narrated by Sue Dibny, wife of the Elongated Man, Ralph Dibny. They are my favorite married couple in comics history, and it's great to see them back. This issue, with the drastically underpowered Justice League facing down the Secret Six of the Tangent Universe (a favorite alternate reality from DC history), a group comprising the most powerful superbeings of its world, is a classic underdog story. With Ralph leading the inexperienced team while it's most powerful members have already been taken out, we get to see characters like Vibe and Vixen using their powers as best they can and fighting with guts and smarts. Superhero comics are at their best when the heroes don't just use their brawn, but their brains and hearts to deal with their problems, and Ralph Dibny has always has always been a character who relies on brains over brawn. We also see Sue working with the GCPD to free the trapped members of the League, and we get the sense that they are true partners. Fabian Nicieza shows he understands all these characters and liked them, giving them a story that allows the B-list to shine. With versions of two of these characters currently appearing or set to appear in the DC TV universe (the new Vibe on Flash and Vixen on her own animated web series), it makes sense to give them a spotlight where they aren't being used as a punchline. And now that Convergence is wrapping up, it would be nice to see some of these characters pop up again in the prime DC Universe; I'd love to see the Dibnys show up in Flash comics again, for instance.

Ghosted #20
Story: Joshua Williamson
Art: Goran Sudzuka and Laci

Sometimes the end of a series creeps up on you. I probably should have realized that after the last issue ended with the death of series protagonist Jackson Winters that this would be the final issue of Ghosted, but I didn't until I reached the very end of the issue. And it was a pleasant surprise in its way, since it was a great send off to the title. The issue opens with original series artist Goran Sudzuka returning to draw the confrontation that has been brewing since the series began: Jackson Winters meets Death. And Jackson takes about as much crap from the Grim Reaper as he took from anyone else in the series. He's glib, sarcastic, and we finally get to understand exactly what Death's fascination with the thief is. And after that winds down, we slip back into the land of the dead from the past few issues, where the confrontation between Jackson's friends and his nemesis, Schrecken, has reached it's conclusion. But leave it to Jackson to steal the scene in the end, popping up as Death's newest employee and turning the tables on Schrecken, who gets his wish of eternal life, but not in the way that he was hoping for. Ghosted has played on a lot of classic horror story and movie cliches in its run, so ending on a classic Twilight Zone/ Monkey's Paw note seems appropriate for the villain. And the series last page, focused on Nina, the young woman Jackson saved and would up being his protege of sorts over the last half of the series, shows that while Jackson might be gone, he's not forgotten. With two other series coming out from Image regularly (Birthright and Nailbiter), it's not like I'll be wanting for Joshua Williamson, but Ghosted was an exciting supernatural caper comic, combining two of my favorite genres, one with great characters. If you never picked it up, well, there are four trades out with a fifth on the way. What are you waiting for?

Sparks Nevada, Marshal on Mars #3
Story: Ben Acker & Ben Blacker
Art: J. Bone

It would have been easy to translate the Thrilling Adventure Hour podcast over to comic form and just make it a wacky humor comic. But series creators Acker & Blacker instead fully embraced the medium, giving us a story that wouldn't work as well in the radio format. This issue of Sparks Nevada features an extended fight scene between Sparks and bounty hunter Orna Peganu on top of a space stage coach. While we could have easily heard the witty repartee over the radio (including Sparks discussing how that whole we only use ten percent of our brain thing is hogwash), and it would have been delightful. But since we have the full visual medium, it allows artist J. Bone to really go to town, drawing a great background in the lava fields of Mars, and creating an excellent alien design for Orna. The main story also ties into the flashbacks we've been seeing, with a character other than Sparks now showing up in both. I also love the parallels drawn between Sparks and James T. Kirk in those flashbacks, and I'm curious to see how Sparks's no-win situation turns out next issue. We also get to see more of Croach the Tracker interacting with the Johnsons; it's interesting to see how different Croach was in these stories set early in continuity versus how he appears on the show now; here he does seem to be unemotional and detached, versus how he is in the show now, where he claims to be but clearly has emotional ties. With one issue to go, we now know that someone is a deadly outlaw, and Sparks is about to come face-to-face with someone he fears (so it must have to do with intimacy, since everyone knows Sparks has intimacy issues). It's all the highlights of a Sparks Nevada story, with some great art. So, go and ride the plains of the Red Planet with everyone's favorite Martian lawman who's... from Earth.


Dan Grote now brings you the first full installment of Greetings from Battleworld, our Secret Wars feature, that will have this Tuesday spot on its own starting next week

A-Force #1

Story: Marguerite Bennett & G. Willow Wilson

Art: Jorge Molina, Craig Yeung, Laura Martin and Matt Milla

“In the vast oceans of our planet, isolated from the forbidden domains of Battleworld, there is an island. … Welcome to Arcadia. It’s pretty tight.”

Yeah, it is.

The domain of A-Force, the all-female superhero team, is essentially the suburbs for superheroes. Where the main Secret Wars book gives us decapitations and God Emperor Doom casting those who oppose him into a pit of zombies, A-Force shows a peaceful fiefdom where the Cage family can go for a stroll without fear of attack by the Wrecking Crew, where even the female-form Loki of J. Michael Straczynski’s Thor run is a force for good.

Until a prehistoric shark attacks the island.

A-Force promptly kicks the megalodon’s butt and, in a continued effort to shame the movie Man of Steel, prioritizes civilian safety as much as they do punching a sea-kaiju. (If you haven’t read Michael Calia’s Wall Street Journal piece on civilian casualties in superhero movies, click that last link. We’ll be here when you get back.)

These are some of Marvel’s greatest heroines as their best selves. Why else would we get Dazzler in her disco jumper and roller skates or Carol Danvers in her Captain Marvel outfit or Jubilee back in the yellow trenchcoat and pink shades, fireworks shooting out her fingers on the cover? And artist Jorge Molina draws each and every one of these women as beautiful and powerful as they are, as they should be.

But in defeating a thing that shouldn’t be, A-Force runs afoul of Doom’s laws, requiring one of their own to be thrown to the zombies and leading some team members to question the leadership of She-Hulk, who is one of Doom’s barons.

The book ends with She-Hulk asking Namor and his kin to investigate the appearance of the megalodon and the arrival of a new character, Singularity, who was teased in images soliciting the series, including the cover of the first issue.

As much as I enjoyed this book, I have lots of questions. The following are not meant to be taken as criticisms of the book or its creators, but as things I don’t yet understand about Secret Wars as a whole:

A-Force works out of the Hall of Justice. Is that really not trademarked?

Was flight always part of Dazzler’s skill set? Either way, she’s fabulous.

A-Force features a Meggan who is not pregnant, as opposed to the one shown in Secret Wars #2 whom Baron Sinister kept calling a cow. Is this meant to be the same woman, or do multiple versions of people exist on Battleworld? Same question applies to Namor.

Considering what we know about the makeup of Battleworld, is it weird that characters like Captain Britain and Ms. America Chavez can exist in this world, as symbols of lands that don’t technically exist?

Ms. America at one point references “Sharknado.” It made me laugh. It made my wife laugh. It’s a good line. BUT, if this is Doom’s world, and he’s got Dr. Strange basically mandating everyone believe Doom’s creation myth, is a 2013 cable TV movie something anyone should remember?

Also, if Doom is God, is there a chance this island is just some creepy Doom spandex fantasy? It might explain why this team wears fan-favorite uniforms as opposed to matching ones.

How has no one thought to make Sam Wilson a Thor before this? That man is Worthy as all get-out. Certainly worthier than Eric Masterson. (On behalf of my generation, I apologize that Thunderstrike a) is still around and b) has a cameo in this book).

I’m 100 percent willing to believe I may be overthinking some things.

Deadpool’s Secret Secret Wars #1

Story: Cullen Bunn

Art: Matteo Lolli and Ruth Redmond

Part of Team Deadpool’s schtick the past few years has been retroactively inserting him into stories set before the character’s first appearance in 1991. And so we’ve had Deadpool stealing the Infinity Gauntlet from Thanos or teaming up with Power Man and Iron Fist against an alabaster villain called the White Man.

In the Merc with a Mouth’s latest retro romp, we find out what role he played in the original Secret Wars from 1984.

Deadpool gets zapped to Battleworld alongside Earth’s heroes, including Spider-Man, Hulk and members of the Avengers, X-Men, and Fantastic Four. And Magneto, whom DP promptly villain-shames. As usual, no one recognizes him, despite his now-established history in the MU. By the end of the issue, it appears the heroes have all been killed, save Deadpool, who now looks like … nope, not gonna spoil it.

Cullen Bunn’s Deadpool minis have always been madcap romps where continuity takes a backseat to fun and ultraviolence, so it’s great to see him giving this revisionist history lesson, and pointing out inconsistencies such as the state of Charles Xavier’s paralysis at the time. Artist Matteo Lolli perfectly captures the heroes’ 1984 fashions, re-creating Mike Zeck’s original panels where warranted as Bunn re-creates Jim Shooter’s original (cornball) dialogue. Not only that, fans of Gerry Duggan and Brian Posehn’s run on the book will recognize the 1980s version of DP’s costume – complete with the letters DP on the chest – from artist Scott Koblish’s throwback issues.

The award for most Deadpool moment in this issue goes to when he shoots at the Absorbing Man to the tune of Scandal’s “The Warrior.” Honorable mention goes to DP mule-kicking Kang the Conqueror in the nards.

In a bonus strip, Deadpool is inserted into 1982’s Contest of Champions, teaming up with Howard the Duck, Doop, She-Man-Thing, Rocket Racer, and other Z-list heroes at the whim of cosmic beings.

Reviews of Comics from Wednesday 5/6

Afterlife with Archie #8
Story: Roberto Aguirre-Sacasa
Art: Francesco Francavilla

A lot of the horror of Archie Comics's recent horror revival have been placing their usually peaceful characters in violent and shocking positions. The new issue of Afterlife with Archie is actually quite quiet. There is a minimum of action in any physical sense, but it is one of the more chilling comics I've read in quite some time.The remaining Riverdale refugees have settled at the Bradbury Hotel to rest for Christmas, and the issue opens with a modified quote from Charles Dickens's A Christmas Carol. This opening pastiche is the first of many in an issue that is a love letter to classic haunted house stories. Archie narrates much of the story to Jughead, the human patient zero for the zombie outbreak, who appears as a ghostly bartender and is making ghostly sodas for Archie in the first of many homages to Stanley Kubric's adaptation of Stephen King's The Shining. We get caught up on the fallout from the previous issue's death of Jason Blossom, both the vote to decide whether his suspected murderer, his sister Cheryl, would stay with the group and her eventual revelation to the ladies her motives. Reggie rides through the Bradbury on a skateboard and encounters his own ghosts like Danny on his tricycle. But much of what Archie talks about is Betty and the loss of her hope and innocence, something that we starting in the previous issue which she narrated. Roberto Aguirre-Sacasa has crafted a great character-based horror comic here, really delving into what makes these characters tick and where they're going. There's also a tale from Archie's mom, told to her by her grandmother, that might explain a lot about Riverdale, but also one that reminds us that nothing comes without a cost. The issue ends with Archie making a decision, one that I feel can only lead to more heartache, more death, but I can't be sure exactly where this will lead, which is another quality of good horror: it keeps you guessing. And Afterlife with Archie does exactly that.

Bodie Troll: Fuzzy Memories #1
Story & Art: Jay P. Fosgitt

I was able to track down a FCBD Bodie Troll issue, which whet my appetite for the first issue of the new Bodie mini-series, Fuzzy Memories. The issue opens with a great little scene that sets up all of the principles' personalities if you've never read Bodie's adventures before: Bodie is chasing bunnies, thinking he's scary, when the bunnies in fact think he's playing. Bodie's friend Cholly is writing her latest play. And Miz Bijou, the fairy who employs Cholly at her pub (and Bodie to a lesser degree) us being sardonic and egging Bodie on. Bodie and Miz Bijou wind up making a bet that Bodie can't eat something living, and he ups the ante by saying he'll find something in the monster forest. Cholly and Bodie wander through the forest, where Bodie once again is sure he's scary when the really scary thing is Hokun of the Kooghun, a member of a monster hunting tribe, who winds up chasing Bodie home. There's some pretty complex plotting here, not confusing but layered, where things are set up early that pay off at the end of the story. Bodie eats some Butt-Truffles, mushrooms that only grow in monster poop, and what seems like a simple gross out joke winds up having an important part in the story's end. One of the fun things about Bodie Troll is the mix of poop jokes with cute characters and the other humor; it's still all ages, frankly, if my six year old niece's sense of humor is any indication of the tolerance of little kids for poop jokes. Jay P. Fosgitt's art is wonderful as ever, with his great monster designs, adorable Bodie and bunnies, and his people who have a distinct look; Bodie dressed up in his best suit, waiting to be killed joyfully because he thinks it's because he's really scary was a delightful visual. This issue serves as a great reintroduction to Bodie's world if you've been here before, and perfect jumping on point if you're new, both letting you know who these characters are and establishing a mystery or two to keep readers coming back.

Convergence: Nightwing and Oracle #2
Story: Gail Simone
Art: Jan Duursema

Ok, I'm a sucker for a happy ending. Call me a rank sentimentalist, but I saw this cover and I smiled pretty damn wide. After last issue left the future of Nightwing and Oracle up in the air, both their relationship future and their lives in general as they had to fight the Flashpoint universe Hawkwoman and Hawkman, the stakes were pretty high here. But while Nightwing goes in with escrima sticks swinging, Oracle does what she does best: she thinks. With a little help from her friends, she sets off to do battle herself. The Hawks proudly boasted that they hear everything using their Thangarian robots, but when your best friend has a sonic scream, well, you can use that to your advantage. Yes, Gail Simone gets to not only bid goodbye to this version of Barbara Gordon as Oracle, but she also gets to work in some great scenes with Black Canary, and we get to see Barbara's rapport with her fellow Bird of Prey. And when the chips are down again, it's Barbara who once again saves the day. It's not that Nightwing is portrayed poorly; he's still a hero, still tough and strong, and willing to sacrifice anything to save people. But this is Barbara's show from page one. Jan Duursema once again blew me away with her Nightwing, one who moves with such perfect grace, the same kind she instilled in her Jedi in her years of Star Wars work. I ended the review of last issue saying that if this was the end of these versions of these characters, I'm happy Simone got in the last word. I don't think I have anything else to say than that. If you ever loved Barbara Gordon as Oracle, or the Bludhaven era, happy-go-lucky Nightwing, this is a perfect send off for those characters.

Convergence: The Question #2
Story: Greg Rucka
Art: Cully Hamner

Greg Rucka's last hurrah with Renee Montoya, a character he redefined entirely, is as satisfying as Gail Simone's with Oracle; Rucka turned Renee from another Gotham cop into a down on her luck drunk and then into the Question, a feat in itself. Rucka knows Renee inside and out, and after being knocked out by Two-Face last issue, she teams up with her roommate, Huntress, and her ex, Batwoman, to try to stop Harvey from committing a bizarre form of suicide, going to fight an alternate universe version of himself and letting that version kill him. While the heroes are jumping across rooftops and storming the Gotham Courthouse where Two-Face is, we get some great character bits; the awkwardness between Question and Batwoman, Batwoman being jealous of Huntress and Question, and Huntress putting Batwoman in her place since she and Question are just friends. It's never catty, never over the top, but Rucka knows his characters, and knows how to make them sing, metaphorically. He also knows Two-Face, and presents a great scene where our disfigured Harvey Dent talks to a whole version of himself, one with everything our Harvey lost. The story is naturally narrated by our title character, with Renee talking about loss and regret, and there's a one moment where she remembers Charlie, her friend, who was the original question, who died on cancer, and she gets a final moment to see her estranged father, who is also dying of cancer, and gets to have the moment where they share their love one more time. It's a touching scene, and it's nice to see Renee get her own kind of happy ending. In an interesting tonal mismatch, the preview of a new DC title in the back of this issue is for Starfire, from Harley Quinn writing team of Amanda Conner and Jimmy Palmiotti, a much lighter title. Starfire is trying to find a new home, and we get a view into her head as she meets with various allies and frenemies for help her in her decision. Finally, with some help from Superman, Starfire settles on a place, a place with no superheroic history to it. It's a cute eight pager, and it sets up this new series well.


After weeks of talking about everything that led to it, Dan Grote looks at the beginning of the new Marvel event...

Secret Wars #1

Story: Jonathan Hickman

Art:  Esad Ribic and Ive Svorcina

In the beginning, there was Reed Richards …

… I mean, I guess if you completely ignore the Golden Age and start with the Silver Age, when Marvel Comics actually started calling itself Marvel Comics.

The first issue of Marvel’s big end-of-the-worlds event is very much a tale of two Reeds: The 616 Reed and the Reed of the so-called Ultimate Universe. One is a super-scientist and a father making a last-ditch effort to save whatever he can of his world. The other is, to quote Ultimate Nick Fury (aka MCU Nick Fury): “a thousand-year-old megalomaniacal boy genius who wiped out most of Europe on a whim.”

616 Reed has built a ship full of scientists and superheroes to flee Earth and find a way to rebuild. While our Reed is clearly depicted as the nobler of the two, it bears noting that at least half the ship’s passengers are members of his immediate family and the Future Foundation, the science enclave created during Hickman’s run on FF. The rest are random heroes not given the luxury of escaping with their loved ones.

1610 Reed, on the other hand, has isolated himself in a temporal dome called the City, from which he  manipulates his Nick Fury into attacking 616 Earth, launches a doomsday weapon and hangs out with the 616’s scariest villains, including Thanos and Maximus the Mad Inhuman.

In the end, one Reed loses everything. I mean, I guess everyone loses everything when two Earths smash into each other, but the reader only gets to see one man’s heart break.

The book boasts a large cast, but everyone who isn't named Reed Richards is basically there just to punch each other as if that would somehow save the world. How that doesn't result in a single hero meeting his or her 1610 counterpart is beyond me. Only Ultimate Iron Man gets a meeting with a 616 hero – Captain Marvel – and he dutifully hits on her.

The award for Best Scene, however, goes to the 616’s villains, who throw an end-of-the-world party at the Bar with No Name only for it to be broken up by an uninvited guest with a skull on his shirt and a desire to unload a surplus of bullets.

Reviews of Comics from Wednesday 4/8

Birthright #6
Story: Joshua Williamson
Art: Andrei Brissan

After a brief hiatus, Birthright is back and picking up right where it left off, both in story and quality. Brother Mikey and Brennan are now on the run together, and Mikey is using all the skills he learned spending years in the fantasy otherworld of Terrenos. There's some nice binding moments, as the two brothers act brotherly, playing and teasing in the way siblings do. But there's the darkness in Mikey, not just the fact that some aspect of the evil God King Lore is driving him, but what seems like PTSD from his years of adventuring. The jumping up from nightmares, the callous way he kills, it's clear that there's a darkness driving him. While the two brothers are off having this adventure, their parents are once again left to pick up the pieces of "real life." Aaron, the boys' father, is once again being interrogated by Det. Brooks, the officer who has been investigating the case form the start, and just as Wendy, the boys' mother, is getting through to Aaron, the NSA arrives in the form of the pompous Agent Kylen. As Kylen immediately says that Aaron's son is a threat, he seems to have less of problem with the idea that Mikey has aged twenty-plus years in the space of a year, so I'm wondering if he's just playing Aaron or if the government has some idea of what exactly is happening with Terrenos. Artist Andrei Brissan seems to have stepped up over the course of the short hiatus; while his art was excellent before, it's on a new level. The two pages spread that shows Lore and his realm is creepy and disgusting in the way you'd want the domain of a dark lord to be. There's a scene with a bear coming across the boys in the woods that really stands out, not just because the bear is gorgeously rendered (which it is), but also for the way Mikey acts towards it. The last couple of pages introduce who look to be Mikey's new nemeses, and while we know Mikey's the "bad guy" in this situation, we know him and care about him enough to want him to defeat them, which is a sign of how well written he is. Joshua Williamson amazes me; some writer have a hard time getting one book out in a month, and he writes three very strong creator owned titles, each with a different flavor. Birthright is one of most original books on the racks, mixing fantasy with modern family drama. The first trade is out now, so grab it and this first issue of the second arc now.

Convergence: Nightwing/Oracle #1
Story: Gail Simone
Art: Jan Duursema

As Convergence starts is earnest this week, we got the first week of mini-series set in old worlds, this week focusing on the pre-Flashpoint world. They were kind of a mixed bag, but shockingly, one of the really strong ones was Nightwing/Oracle from Gail Simone, who wrote Oracle longer than nearly anyone, and Jan Duursema, whose return to DC after years at Dark Horse doing some of the best Star Wars art ever is welcome. After a year under the mysterious dome, Barbara Gordon, better known as Oracle in this world, is starting to lose hope. She's been partnering with Dick Grayson, Nightwing, and they've been keeping Gotham safe. The issue is narrated form Barbara's point of view, and we see just how close she is to sinking into despair. It's hard to see Barbara, who is such a string character and been through so much, at this point, but it does make the situation seem all the more dire. Meanwhile, Nightwing is still full of so much joy and energy; Simone writes a Nightwing who is a big, grinning kid, not dumb, but as Barbara says, living every moment in the now. Duursema's kinetic style works perfectly with the acrobatic Grayson. As the issue progresses, we get the standard Convergence set-up, the gladiatorial conflict between heroes of two cities, and after seeing them wipe out the Justice Riders at the beginning of the issue, it's not a shock that our heroes will be facing the dark versions of Hawkman and Hawkwoman from the Flashpoint reality. But the deal that is offered isn't like anything else going on, and it leaves Dick and Barbara in a bad place. Barbara has just turned down Dick's marriage proposal and now tells him she's not going to fight the Hawks. But after Dick leaves, the last panel of the issue is one of those knock you off your feet ones, not for action or shock, but because it's so perfectly Oracle. Gail Simone writes a better Barbara Gordon as Oracle than pretty much anyone, and if these are the last two issues we're ever going to get, well, that last panel sums up what I want from an Oracle story and makes me even more excited for the next issue.

Convergence: The Quesion #1
Story: Greg Rucka
Art: Cully Hamner

And equally not shocking, the second Convergence title that really blew me away was The Question from Greg Rucka and Cully Hamner, who wrote the excellent backup stories featuring the character on Detective Comics. And as you'd expect from Rucka writing the Question, this is a very personal and human story about Renee Montoya. Most of the characters who formed Renee's supporting cast are all here: Huntress, Two-Face, Batwoman, and while they don't physically appear, her family's presence is felt. Renee's relationship with Two-Face has always been complicated, and while the two are working together at the beginning of the issue to find morphine to her father, who is dying, Two-Face doesn't realize Renee is the Question and they have a very different relationship. Rucka's Two-Face is one of the most sympathetic and well-rounded presentations of that character, and his time in the dome has clearly not been going well. Meanwhile, the easy camaraderie between Renee and the Huntress makes for some great interplay between the two. I don't think I'd realized how much I've missed either character more than when they were simply bantering in the apartment they share. But Huntress warms Renee not to trust Two-Face, but Renee still has faith in him. But when the dome falls, Two-Face decides it's time to leave the dome and finally act on the death wish he has by finding another Harvey Dent to finally kill him. Renee does care about Two-Face, just not in the way he cares for her, and so she does try to stop him, to not much effect, and the issue ends with Renee once again meeting the one that got away, Batwoman, another character I can't wait to see Rucka write some more. I have one minor quibble/question that if either of the creators happen to see this, maybe they can answer: historically, Two-Face has a two headed coin, one side scarred, that he flips. That's part of the shtick: Two-Face with a two-faced coin, and it's an important part of his origin. The coin he has here clearly has heads and tails, as he both says it and we see the scarred side is a tails side. Did I miss something? Is this not the original coin? Other than that, which is at best a minor quibble, this was a great character piece featuring one of the characters who has been lost to the sands of time. No one writes these characters better than Rucka, and as with Simone and Oracle, I'm glad to see one more go around for this combination of writer and character.

Copperhead #6
Story: Jay Faerber
Art: Scott Godlewski

Another Image series returned from its between arcs hiatus this week, and it's return was also strong and impressive. Copperhead, the frontier Western in space, is back, and the events on the mining colony aren't getting any easier for Sheriff Clara Bronson. After a very cool action opening where Bronson and her alien deputy Budroxifinicus (Boo for short) stop someone from robbing secrets from the local mine, she finds herself stymied as local land baron and mine owner Mr. Hickory refuses to press charges. Hickory proved at the end of the last arc that he is no fan of Bronson's, and while she warns him not to take justice into his own hands when the man goes free, it's clear that Hickory is not pleased. This becomes more clear when he later goes to talk to Boo about a... change in regime. It's nice to see more of Boo's home life, meeting his mate, seeing another of his flashbacks to the war between his people and humanity. We don't get Meanwhile, Bronson's son Zeke sneaks away from home to talk to Ismael, the artificial human who saved him in the first arc; since this is a good jumping on issue, despite this being a brief scene, it's nice that all the principle characters show up. Bronson's night is a little more action filled, as she goes to local saloon "undercover" since it's pay day for the miners and that usually means things get rowdy in town. She stops a particularly sleazy specimen named Nestor from beating one of the local ladies of negotiable affection (a phrase from Terry Pratchett I've always loved), and meets a new character, Madame Vega, the local, well, madame, who appreciates another strong woman in town, and I find myself wondering if Vega will be a friend in whatever is coming between the sheriff and Hickory. We also see local school teacher Thaddeus Luken, a purple skinned near human, talk to Barton at the bar and ask her out, something that is interrupted by Nestor, but an invitation she accepts later at the schoolhouse. One of things that Jay Faerber is doing with this book is playing on a lot of the classic Western tropes, and so having the school marm and the sheriff as a couple works as one of those tropes, but here the genders are reversed. Copperhead is a great genre mash-up with strong characters and great designs for its world; if you ever enjoyed a Western or a sci-fi series set out on strange new worlds it's a great book, and this is a perfect time to jump on.

Descender #2
Story: Jeff Lemire
Art: Dustin Nguyen

After last month's strong start, Descender returns with a powerful second issue. The first issue ended with a group of robot scavengers arriving at the moon where boy robot Tim-21 had just awakened. This issue begins with a single page that has narration boxes talking about a memory download. The story then moves in alternating pages. One page is in the present, where we see Tim and Bandit (his robo dog, fleeing the robot hunters, while the opposing page is a differently colored page showing Tim's memories, from the moment he awakened for the first time to when he went to sleep ten years prior. we get to see his creator, Dr. Jin Quon, who we met last month, from his point of view, and then we see him meet the family he was sent to, Ms. Travers and her son, Andy. It's heartwarming to see how Tim becomes part of this family, and it's juxtaposed against the hunt for Tim and the violence that is perpetrated both by the hunters and by Tim in defense of Bandit and himself. The story winds up looping back around to the first page in a clever narrative device, and gives a view of the scene from that first page pulled further back to show the full, painful scene. The issue ends with Tim in mortal danger and a new possible friend entering his life. For a story about a robot, Tim is one of the most human characters, and his heartbreak as he finds the body of one of the victims of the catastrophe that killed most of the moon's residents is palpable. Dustin Nguyen puts in some of the best work of his career on this title; it works perfectly with Jeff Lemire's script. With two issues down, it looks like Descender is another strong title from Image.



And Dan Grote bids a fond farewell (temporary as it might be) to Deadpool...

Deadpool #250/45

Story: Gerry Duggan and Brian Posehn

Art: Mike Hawthorne, Terry Pallot, Jordie Bellaire and Joe Sabino

Backup strips: Ben Acker, Ben Blacker, Scott Aukerman, Mike Drucker, Jason Mantzoukas, Paul Scheer, Nick Giovannetti, Matt Selman, Mirko Colak, Todd Nauck, Ty Templeton, Jacob Chabot, Natalie Nourigat, J.J. Kirby, Scott Koblish, Val Staples, Veronica Gandini, Ruth Redmond and Irene Y. Lee.

Well, as promised, Deadpool’s dead. But so’s everybody else. Without spoiling things too much, there’s a reason this is happening right before Secret Wars.

That said, the main story of Deadpool #250/45 (gotta love Marvel’s selective numbering) is actually a happy ending for Wade Wilson. The last few pages find DP surrounded by the supporting cast of the Duggan/Posehn/Hawthorne/Koblish era, the closest thing he’s ever had to family, from his illegitimate daughter to the Life Model Decoy of his SHIELD handler to the ghost of Benjamin Franklin. When the end comes, Wilson loves and is loved – a far cry from the psychopath who used to keep a blind old lady prisoner. Matt went into greater detail on this last week, but for my money, the Marvel NOW volume of Deadpool is easily the best since the original Joe Kelly run in the late ’90s.

And now, backup strips galore! Duggan and Posehn’s comedy-writer friends fill half of this supersized issue, with mini tales by Thrilling Adventure Hour’s Ben Acker and Ben Blacker, Comedy Bang Bang’s Scott Aukerman, The League’s Paul Scheer and Jason Mantzoukas, and more. Deadpool’s demon wife, Shiklah, catches up on ’80s pop culture! The Prestons get a talking dog (my favorite strip)! Kid Apocalypse tries to be bad but fails! Agent Adsit takes wisecracking lessons from Spider-Man! The Thing and Ghost Franklin team up (favorite single panel)! And Michael the Necromancer goes on a date!

Finally, we come to the last of the Scott Koblish-drawn flashback stories, in which Deadpool steals the Infinity Gauntlet from Thanos and throws himself a roast guest-starring the entire Marvel Universe, which subjects him to a merciless barrage of jokes, many of which are fart-based. After he’s had enough, Wade freezes the scene and turns to camera, calling the reader out for making his life so miserable, reminding us once again that he is the ultimate self-aware sad clown. To which emcee Howard the Duck replies, “Kid, I was you before you came along,” bringing the curtain down on a money’s-worth read.

The Skies are Red: A History of the Crossover Event in DC Comics Part 1

Convergence is coming. DC Comics new event starts in two weeks, a story that blends worlds from all across DC history into one massive story. And the beginning of that story has me thinking about all the crossovers that have come before. So today begins a multi-part article tracing the history of event comics at DC Comics. I'll be touching on the tent-pole events in parts one and two, and the events and themes of Annuals in the third. This is meant as an overview, but going back for a quick look at these made me want to do a deeper dive into some of them again, so there might be an upcoming longer piece or two spinning out of this.

In 1985, continuity for DC Comics had become muddled, with an infinite number of Earths and multiple versions of each hero interacting with each other through different stories. And so it was decided a stream-lining needed to occur. And Marv Wolfman and George Perez, creators of DC's biggest hit of the time, New Teen Titans, were the guys to do it. And so the stage was set for DC's first mega-crossover: Crisis on Infinite Earths. This is the crossover that all DC crossovers have been measured against since. Worlds lived, worlds died, and the DCU was quite literally never the same.

The Anti-Monitor, a godlike being from the anti-matter universe, decided that it was time to bring the curtain down on the positive matter universe, and the only thing standing between him and his goal was his opposite number, The Monitor, and the collective heroes of the DC Universe, gathered by the Monitor's herald, Harbinger. Groups of mismatched heroes were sent to stop different realities from collapsing... and they failed.

Yeah, the good guys basically lose in Crisis. Sure, they save the one remaining Earth, but their goal to save the Multiverse was a miserable failure. Along the way, countless heroes and villains die, most notably the Flash (Barry Allen) and the Silver Age Supergirl. The heroes do eventually stop the Anti-Monitor, and no one except D-lister Psycho-Pirate winds up remembering the history of the Multiverse, as the final heroes, Superman of Earth-2, Superboy-Prime, and Alexander Luthor of Earth-3, go off to their eternal reward. But more on them later.

Crisis works on a lot of the levels a crossover should. It's exciting, and brings in characters from across DC history. It presents unusual matches, and spotlights various heroes. It has a threat that logically would be something that would require all these heroes to team up. It even has legions of villains teaming up to stop Anti-Monitor. It's sweeping and epic. It also served the important purpose of unifying the continuity of DC Comics history into one Earth. There might be multiple Flashes, but they are three different guys from three different walks of life. There's only one Batman, one Superman, one Wonder Woman. There's one Hawkman. Or maybe two. No more than three! OK, so not everything was perfect. But the birth pains spawned a new universe with new potential. And the different generations of heroes set up the concept of legacy that was a key aspect of the DC Universe from Crisis up through Flashpoint.

The one real problem that Crisis has rests in its crossovers into other titles. I feel like a good crossover allows the universe to feel cohesive, to allow other books to tie into it without impeding their progress, but adding an important story element to their progress that shows a wider world. With Crisis, the element that tied most books into it were the Red Skies. As the Anti-Monitor's antimatter waves approached a world, the skies would turn red. Many Crisis crossovers were simply a mention of the Red Skies, and then business as usual. While it didn't impede the progress of the books, it certainly didn't do anything to explore the event as it effected a series lead. And since then, a "Red Skies Crossover" has been a book that ties into something in only the most tangential way.

Legends, written by Len Wein and John Ostrander with art by John Byrne, released in 1986, was the first crossover and test of the new DC Universe. It seemed to have two purposes. Purpose one was to set up various new and revised concepts that would springboard out of it and define this new DC Universe. The second purpose was to set-up Darkseid as the preeminent villain of not just a corner of the DC Universe, but of the Universe as a whole. And it succeeded on both fronts.

The main plot of the series had Glorious Godfrey, one of Darkseid's Elite, posing as a news pundit on Earth, to stir up anti-hero sentiment, allowing Earth to be an easy target for Darkseid's eventual conquest. But Dr. Fate gathers a new Justice League (including Captain Marvel, now a part of the main DCU), Amanda Waller secretly debuts the Suicide Squad to destroy Darkseid's monster, Brimstone, and a new heroine (new to this universe anyway) Wonder Woman, appears, all allowing the heroes to prevail.

Legends succeeds not only as a good story, but as the crossover springboard for three of the most successful DC titles of the late 80s/early 90s: Wally West's series as The Flash, the "Bwah-ha-ha" Giffen/DeMatteis Justice League, and John Ostrander's Suicide Squad, all have their seeds planted right in the midst of this event. If for not any other reason than that, Legends is a winner.

1988 saw Millennium debut, written by Steve Englehart and with art by Joe Staton. The Guardians of the Universe, the alien race that created the Green Lantern Corps, have decided to leave this plain of existence, and before leaving arrive on Earth, saying a new generation of Guardians will be come this world, and asking its heroes to gather these new Guardians. What should be an easy task is complicated by the Manhunters, the robots who served as the Guardians' first intergalactic police force, who have learned of this and wish to stop the creation. As part of this plan, the Manhunters revealed they knew the identities of Earth's heroes and had spent years planting sleeper agents, some robots, some mind-controlled humans, and some willing collaborators, in the personal lives of all the heroes. Even with this, the heroes bested the Manhunters and saved the New Guardians.

Millennium's structure was much more strict than previous crossovers. The series ran eight weekly issues, and each book was flagged with Week 1, Week 2, etc. The accompanying week's crossovers were flagged with the similar weeks, and the story depended on the reader buying many of the accompanying crossover. The main mini-series was littered with footnotes to that week's crossover, making reading just the event mini-series frustrating.

And while this couldn't be known at the time, it had no discernible long term effects on the DC Universe. The New Guardians series folded after twelve issues, and most of the characters faded into obscurity, and those who had established pasts returned to them. Many of the Manhunters puppets who were important characters (Lana Lang, Jim Gordon) never really mentioned it again, and while Wally West was broken up by his father being one of their willing agents, it was eventually ignored as well.

Invasion!, written by Bill Mantlo and Keith Giffen and with art from Todd McFarlane and Bart Sears, was a different form than any of DC's previous crossovers. Instead of longer monthly stories, six to twelve issues, or weekly stories, 1989's Invasion! was three months in three massive, 80-page issues with no ads. The plot of the series is pretty self-explanatory from the title. A coalition of alien races invades Earth. The reasoning is that humans have the metagene, allowing them to develop powers and possibly become a dominant species in the galaxy. One of the cool aspects of the story is that it takes many of the alien races that were prominent in the Legion of Super-Heroes lore of the 30th century, like the Khunds and the Dominators (who instigated the invasion as a pretense to examine metahumans so they could breed them as soldiers for galactic domination), and introduces them into the modern DCU.

While the well known heroes of the DC Universe do figure into this event, a lot of time is spent with minor characters and with establishing the new cosmic status quo of the DCU. We meet the characters who will form L.E.G.I.O.N., the cosmic police force for hire fronted by Vril Dox II, Brainiac's son, we get some time with Adam Strange, and we meet the Blasters, a team of metahumans captured by the Dominators, including Snapper Carr, former sidekick to the Justice League, DC's answer to Rick Jones.

One of the most important aspects of the series was the dropping of a Gene Bomb, a bomb meant to effect anyone with the metagene and eventually kill them. Alien and non-methuman heroes were able to find the Dominators cure, but not before the bomb effected many heroes. Animal Man and Fire both had their powers effected, and many new metahumans had their powers awakened, including Maxwell Lord, then the Justice League International's manager/leader/manipulator. This allowed for ramifications that spilled out of the series, and while many were the longest of term, did play a part in the canvas of the DC Universe.

Now, I have done my best to always keep to my creed about only writing about comics I like, and not bashing comics. But this is a historical piece, and I'm trying to not leave anything out. I already made it clear that I thought Millennium was lackluster, but it has nothing on War of the Gods. Published in 1991 as part of a celebration of Wonder Woman's 50th anniversary that never really materialized like Superman or Batman's, War of the Gods had a decent core concept: Circe instigates a war between the Greek and Roman gods, and encourages other pantheons to attack, so she can claim the powers of the gods and do something nebulous with it, partially kill the Earth goddess, Gaea, partially become the greatest goddess ever. It's not really clear. This is partially because of  arguments between editorial and series creator George Perez, and partially because of the format of the series.

War of the Gods actually was a more intense reading experience than Millennium because it wasn't just crossovers week by week, but all 20+ crossovers and the core mini were individually numbered, so you were supposed to read the whole crossover in specific order. Unfortunately, due to delays, the parts were often released out of order, and the mini-series stands poorly on its own, with no lasting ramifications at all, and remains only one of two of these events never collected in trade. Of course, it had one great crossover, Suicide Squad #58, where a Black Adam led Squad attacks Circe's fortress. Having recruited everyone who would join, the team includes The Writer, Grant Morrison's in comic avatar who became trapped in the comic world after writing himself in at the end of his Animal Man run, and who has a typewriter strapped to him that allows him to affect reality as he writes. Unfortunately, he suffers writers block during the invasion and is torn apart by Circe's beast men. It's pretty great.

DC took the first of its multi-year breaks in between crossovers after War of the Gods, and it wasn't for three years in 1994 until another happened. Zero Hour saw time collapsing, with nothingness moving from the beginning and end of time towards today. Dan Jurgens held the reigns as writer and artist, and put out some of the best art of his career in a sprawling tale that was designed to clean up some of the messes that were created by Crisis, problems like the Justice Society's age or the weird inconsistencies with Hawkman's background. It also established the new big bad of the DC Universe: Parallax, the corrupted and maddened version of Hal Jordan, the Silver Age Green Lantern, who had taken the powers of the Guardians after killing them and was trying to rewrite time to suit his will. He did wind up destroying everything (another big win for the heroes), but a new Big Bang was caused by the hero Damage and time restarted. This allowed streamlining of backstories again, and setting up a firm timeline that lasted for about as long as firm timelines in comics ever do.

Zero Hour was the first of these DC event minis I read as it came out, and I have some find recollections of it. It was a bit awkward at times, like any story involving time travel and similar things are, but it did flow. The crossovers featured heroes running into alternate timeline versions of themselves and versions from the past, and some of these crossovers were excellent. The issue of Batman had him meet a Batgirl never shot by the Joker, Kon-El Superboy met the pre-Crisis Clark Kent Superboy, and Tim Drake Robin met a young Dick Grayson Robin, for instance. The rewritten timeline did make some serious changes, including the first complete reboot of the Legion of Super-Heroes, which alienated some older Legion fans but streamlined some very very messy continuity involving multiple version of the Legion.

Spinning out of the end of Zero Hour was DC's first Zero Month, where all titles were numbered zero. Some of the books (Batman, Superman, Flash) retold origins with minor changes. Others (Hawkman, Green Lantern) established new status quos. Six new series launched with these zero issues, and while five didn't amount to much, the sixth, one with some of the most direct fallout from Zero Hour, was Starman, which I have written about at length, and was a resounding success. This also marks the first of three crossovers that form the spine of Hal Jordan's corruption and resurrection arc, and arc that would eventually lead to Geoff Johns's hit Green Lantern franchise.

Underworld Unleashed, from 1995 with writer Mark Waid and artist Howard Porter, was another story that was a great idea in theory. A new demonic character, Neron, appeared offering supervillains augmented and improved powers at the cost of their souls. Many took it, thus creating new versions of many B- and C-list villains. The heroes eventually travel to Hell to stop Neron, and it's only through the innocence and nobility of Captain Marvel, and the cleverness of the Trickster, James Jesse, who Neron had taken on as his adviser and who betrayed him, that Neron did not win,

Waid has said in interviews and the afterward to the trade of the series that he doesn't like Underworld. He thinks it was a hamfisted attempt to gussy up villains from an earlier time. Right or wrong, next to none of the augmented villains stayed augmented. With the exception of Blockbuster and Charaxes (who was once Killer Moth), all the Batman villains reverted shortly to classic forms. Neron, who seemed poised to become a major villain across the DCU, would pop up only occasionally, and never as more than a demonic footnote, never earning the cred of his Marvel counterpart, Mephisto. James Robinson did use the fallout of Underworld in Starman, not just the villain he revitalized in his crossover, Dr. Phosphorus,  but revealing a couple of deals undisclosed at the time that played a major part in the series' climax. But with that notable exception, Underworld remains one of the forgotten crossovers.

Final Night, from writer Karl Kesel and with art by Stuart Immonen in 1996, was the second of the crossovers featuring Hal Jordan.  The Sun Eater, this big traveling cloud of gas (picture any evil entity from the original Star Trek series and you’ll get the picture) comes along and, well, eats the sun.  With Earth dying, the heroes do their best to destroy the Sun Eater and reignite the sun.  In the end, it is Hal Jordan, in what was to be his last redemptive gesture, who sacrificed himself and brought the sun back.

The series would be worth it alone for Immonen's gorgeous art, and seeing him draw the entire DC Universe, along with the amazing climax, where Jordan ignites the sun while reciting the Green Lantern oath. The crossovers were mostly small, showing the heroes dealing with the effects of the missing sun. Some writers were able to even easily fit that aspect into their existing story, weaving the tapestry of the event into the series. An especially good one was Hitman #8, where hitman Tommy Monaghan and his fellow hitters gather at their local bar, Nonnan's, and reflect on their brushes with death. It's a very small story, and shows Garth Ennis's strength with those little character beats after a series of issues that were just tons of mindless, and fun, violence.

With the exception of Hal Jordan's death, the ramifications to the DCU were small on this one. A squad of Legionnaires, displaced in time, met the post-Zero Hour version of Ferro Lad, a longtime pre-Crisis member, who survived where his pre-Crisis counterpart died fighting a Sun Eater. The loss of the sun also caused the solar powered Superman to lose his powers, which led to a reconciliation with the currently estranged Lois Lane and their marriage, and the eventual debut of the electric blue Superman. So from that we see that not all crossover effects are good.

Back into confession mode: If War of the Gods was bad, it was at least not as bad as Genesis, the next year's (1997) crossover from writer John Byrne and artist Ron Wagner. In all truth, I have no idea what exactly was going on in Genesis.  I’ve read it twice now, and I still don’t quite get it.  The energy wave that created everything is collapsing back on itself and all the energy in the universe is stopping and everything is going to end.  And the New Gods are involved.  Maybe some of the issues it tied into made the totality of the story make more sense, but I guess I don’t have those, so it all seemed more than a bit of a muddle, and the less said about it, the better. By the end, Highfather died and was replaced by Takion as ruler of New Genesis, but he got better. Beside that, it had no ramifications and its crossovers effected no book aside from the New Gods related ones. genesis is the other of the event never released as a trade.

One Million, written by Grant Morrison and with art by Val Semeiks (1998),  is one of my favorites of all the crossovers. Heroes from the 853^rd century (when, if they still are being published, DC comics will hit issue one million) arrive to celebrate the return of  the original Superman and the heroes old and new get caught up in the machinations of Vandal Savage and the sentient artificial sun, Solaris. 

It’s one of those crazy ideas that only Grant Morrison could come up with and execute, and as he was involved in plotting nearly every issue the series tied into (with the exception of the particularly funny issue of Hitman), it created a great cohesion of you read every issue.  Beautifully, though, you don’t feel like you have to read everything either, as seems to be a concern when EVERYTHING is written by the same guy.  There are some excellent moments in both the core mini and the tie-ins, these wild, high concept ideas that Grant Morrison is the master of. It ties in with a lot of the concepts he was exploring in Justice League at the time.

The Justice Legion A of the 853rd Century are characters that have popped up occasionally since then, including in Morrison's seminal All Star Superman, along with Solaris, who is a purely Morrison character. There's a great amount of design work, creating all these new versions of classic heroes and concepts. But it's really a story about heroism and inspiration, themes that Morrison loves, and are at the heart of superhero comics. It's also nice that, while the ramifications aren't major, it's such a good story that it doesn't matter. That love letter to the self-contained tales of the Silver Age stands on its own, and works best that way.

And that's it for this first part. Next Friday starts with a mostly forgotten crossover written by a guy who would later become the man who defined the DCU of the 00s, and the crossovers of the 21st century. See you then.