Reviews of Comics from Wednesday 8/31

Deadpool V Gambit #4
Story: Ben Acker & Ben Blacker
Art: Danilo Beyruth & Cris Peter

There have been a lot of groups of mutant villain henchmen over the years (if you want to learn more about them, check out Dan Grote's posts here and here). And when there are that many members of a team whose main purpose is to hench for some big bad, there's a good chance that those characters are one note characters. So it's interesting when writers Ben Acker and Ben Blacker pull back from the comedic caper that has been the first three issues of Deadpool V Gambit to spend pretty much the entire fourth issue not focusing on either of their leads, but instead telling the story of Scrambler. Scrambler is a member of the Marauders, the group that works for Mr. Sinister, but that isn't even important to know for this issue. Acker & Blacker start the story off by establishing the basics, that Scramber was a bad guy who fought the X-Men and who has tried to go straight. Acker and Blacker make us care about Kim Il Sung, a villain who has had very little development before this. Not only do they logically update his power set, which is trickier than you'd think, but they also give him a love interest, a family, and a logical desire to be a better person for them. I encountered Acker & Blacker through The Thrilling Adventure Hour, which is one of the funniest things, well, ever, and the earlier issues of this series have been lighter in tone. Even their Thunderbolts work, which had something of a darker tone, had a large portion of humor to it. And while this issue isn't grim (the reason Scrambler has it in for Gambit and Deadpool spins out of a scene that is actually pretty darn funny), this issue is much more a character study. We see Scrambler at his lowest, then his best, ans then dragged down back to the lowest by situations beyond his control. It's a really solid single issue in the middle of a mini-series, and while the series' two leads are pretty much incidental, it doesn't feel like something completely outside the scope of the series. There's a big reveal at the end of the issue, actually, that casts the events of the series in a completely different light. If you've been suffering from Gambit withdrawal since he hasn't been a regular in a series in a while, you just need some more Deadpool, or you like to see the other side of villains, you should really check out Deadpool V Gambit.

Gotham Academy Annual #1
Story: Brenden Fletcher & Becky Cloonan
Art: Adam Archer, Msassyk, Michael Dialynas, Chris Wildgoose, Sandra Hope, Serge Lapointe, & Rob Haynes

We've been away from Gotham Academy for a few months now (unless you've been checking out the very fun Lumberjanes/Gotham Academy, which you all should be), so the choice to do a one off annual to refresh current readers and introduce new ones before the new Gotham Academy: Second Semester starts was a good one, and this issue is a great jumping on point for new readers. A mysterious ailment is sweeping Gotham Academy, and our leads, the members of Detective Club, are split down the middle on what they think is responsible: Pomeline, always looking for a magical explanation, thinks it's a vampire, while Colton believes visiting professor Derek Powers is behind this. So Colton takes Kyle, and Pomeline takes Tristan, and Maps is left trapped in the middle. We get to see Olive, who is usually in the center of everything, on the sidelines in this issue, which allows the other characters to really stand out. What this issue does, which is a great example of what Gotham Academy does best, is balance the character work with the mystery and the macabre, while also tying into the deep mythology of Batman as a character. Note I didn't say the history of Batman, as what this issue ties into is actually the future of Batman. If you're at all familiar with Batman Beyond, either the animated series or the comics that have been released to tie into it, you know the name Derek Powers and know that no good will come of it. Also returning this issue is Warren McGinnis, introduced back in issue four of the series, who also has ties to the Batman Beyond universe. There's ealso an appearance from a supernatural one-off Bat villain, a character I never thought would pop up again, which is something that just fills me with joy; no other series from either of the Big Two embraces the crazy history of comics like Gotham Academy does. But what's even better is that if you're unfamiliar with any and all of that, nothing of the issue is lost on you. Instead you get two interlocking mysteries featuring two sets of likable protagonists. Pomeline is at her most demanding, and Colton at his most slick, but we get hints that there's more to Colton than we've seen before; of all the regular cast, he's the one who's gotten the least development so far, more or less being the campus ne'er-do-well, so it's nice that we're beginning to see more of his personality and his backstory come out. There are multiples artists across this issue, but fortunately Rob Haynes did breakdowns across the whole issue so the art has a consistent feel, but each plotline has a distinct look. Gotham Academy Annual #1 is an exciting romp across the grounds of the titular Academy and a treat for Batman fans of all ages and knowledge.

Suicide Squad: War Crimes Special
Story John Ostrander
Art: Gus Vazquez, Carlos Rodriguez, & Gabe Eltaeb

Now THIS is the Suicide Squad. I haven't written as much about the Suicide Squad as I feel like is deserved for how much I love the concept and the characters on this blog, mostly because the series as it's been running since I started writing here has rarely been a book I really loved. But this one-shot, written by the man who redefined the Squad in the '80s and a writer I have written a lot about, John Ostrander, hits every note that makes a good Suicide Squad story. Let's count them down, shall we?

1) It has great characters and character moments: The Squad in this issue is mostly made up of staples of the Squad: Deadshot, Captain Boomerang, and Rick Flag from the original series; Harley Quinn and El Diable from the New 52 era; and a new member, Mad Dog, who you know is not long for the team right out front. Flag and Deadshot have a great rapport in the issue, working together, and Ostrander writes one truly funny Harley moment. But it's Boomerang who Ostrander really captures. The arrogant, smarmy, easy to anger, quick to seek revenge Boomerang of those classic books is on display here, to the point that he is responsible for Mag Dog's death just because the bounty hunter rubbed him the wrong way. Boomerang is often played as comic relief or the team punching bag, but Ostrander remembers that he is a nasty piece of work at heart.

2) Interesting foes: Ostrander gave the Suicide Squad some really interesting enemies in his original run. The international mercenaries known as the Jihad (changed to Onslaught after their first appearance) were a great collection of characters with interesting powers and looks. The Loa was another fascinating nemesis. This story introduces Strikeforce Europa, a team of European mercenaries. And while they don't exactly walk out of this unscathed, they don't feel like characters who were created simply to be disposed of; they have a backstory and work as characters who have potential.

3) Real world events effect comic book stories: There was an interview I read somewhere once that I wasn't able to find to get the exact quote where Ostrander said he stopped writing stories for Suicide Squad set in real places because it seemed like every time he did it seemed that place popped up on the news. And while recent Suicide Squad stories have taken place in real countries, they are often just using those places as a setting and not discussing the political realities. This issue takes something very real and while changing the names to protect the innocent (or to protect the publisher from libel suits), there is a reality to this story. The Secretary of Defense from the "previous administration" has been kidnapped by Strikeforce Europa to stand trial for war crimes, for starting the last "Gulf action" to benefit "Black Mountain" the private military security contractor he has worked for an with. If you have any notion of modern American politics, none of this is particularly veiled commentary on politics, and it creates an interesting mission, as the Squad must rescue him.

4) Action action and more action: Much of this issue is an elaborate heist type story, only with what the team is trying to take is a human being. We get the Squad in battle with Strikeforce Europa, with the assassin Shado, who was sent by Black Mountain to silence the Secretary of Defense before he spilled their secrets at the World Court, not to mention your standard issue security forces. You get car chases, super powered fights, and a really cool scene with Deadshot on a motorcycle. It has an excellent balance of action and character, which was the hallmark of the best Suicide Squad stories.

5) The Wall: John Ostrander created Amanda Waller, and there are very few, if any, writers who get her better than Ostrander. Whether it's giving the team a briefing with her patented hardass attitude and biting humor, or debriefing when the team gets back, and all her contact in between, this is the Waller I hear in my head when I think of best Waller moments.And I've seen people of two minds on how coldly homicidal Waller was in the recent Suicide Squad movie, but anyone with any familiarity with the character would see that her actions at the end of this issue, and the reasoning behind them, are so perfectly logical that it's one of my favorite Waller moments of all time.

Seriously folks, whether you miss the old Squad stories or are a fan of the new ones, this is a perfect gem of a Suicide Squad story that everyone should check out.

And look! Dan Grote is back, with a review featuring two of his great fan passions: the X-Men and '90s music...

X-Men ’92 #6

Story by Chris Sims & Chad Bowers

Art by Alti Firmansyah & Matt Milla

Matt often writes about how sometimes a book is so consistently good, he sometimes passes on reviewing it because there are only so many ways to say “This book is consistently good” month after month.

The same can be said for Marvel’s X-Men ’92, which is if nothing else a love letter to the 1990s animated series and the comics of the time period.

Except this issue ups the ante considerably by working in the music of the Extreme Era as well. Coming of age in the ’90s as I did, I spent my teen years a) devouring X-Men comics and b) listening to alternative radio. So to read a comic in which the X-Men work as bodyguards for Lila Cheney at a music festival that includes the Flaming Lips and the Toadies is to relive those years in their purest, most crystalized form. The only thing missing is all those Sunday afternoons I killed playing The Sims and Final Fantasy VI on the Super Nintendo.

After a prologue that brings Joss Whedon creation SWORD into the ’92-niverse, the comic opens with intergalactic rockstar Cheney joining the Lips on stage for “Race for the Prize,” complete with lettered lyrics that sent me combing through my CDs to see if I still had a copy of “The Soft Bulletin.” Even Beast is singing along, and let’s face it, he would like an up-tempo song about two scientists competing to save a dying sun.

And seriously, the Toadies? The Toadies?! Raise your hand if you’ve thought about the Toadies at any point after 1996. They’re about as ’90s as Adam X the X-Treme.

Anyway, it turns out Lila’s on Earth because there’s a bounty on her head, and she’s being hunted down by British-import robot space bounty hunter Death’s Head. Hence her asking the X-Men to act as security.

Also lurking around disguised as a be-ponytailed roadie is none other than Acolyte-slash-Upstart Fabian Cortez, whom a narration box accurately describes as having “the power to make mutants mutant harder.” Cortez amps up Cheney’s already-considerable teleportation powers amid the fight with Death’s Head, transporting herself, the X-Men, Death’s Head and SWORD’s Abigail Brand to an alienated planet populated by [spoilers].

I can’t say enough how much of this book is sold on the strength of Alti Firmansyah’s art. Chris Sims and Chad Bowers get the cheesiness of the era and what characters will make fans wistful, but Firmansyah nails the fashion, the facial expressions and the fun of what, at its worst, was a melodramatically angsty time. It doesn’t mimic the animation style of the cartoon – if anything, she seems to take her cues from “Voltron” and the Joe Madureira style of manga-light art that took hold mid-decade – but you can see that she’s having fun, and I’d love to read more of her work.

Five Comic Book Members of the Suicide Squad for the Inevitable Sequel

DC's next major motion picture opens today: Suicide Squad. One of my favorite properties from the 80s, the Suicide Squad is a team of villains forced to do covert ops for the US government. I haven't seen the movie yet, so I'm not here to comment on it, but instead to talk about the comics, and casting. You see, the reason why the team is called the Suicide Squad is because there's a good chance that team members aren't going to make it back from these missions, which means high team turnover. So that means there are plenty of other options for team members, and I'm hear to talk about five possible characters who could join the Squad ion the sequel that will probably be coming.

It's important to note that, while the Suicide Squad has had many incarnations, both before and after, I'm drawing all of my choices from what I view as THE Suicide Squad comic, the 1980s series written by John Ostrander and Kim Yale. It is easily one of the best series DC published at a point of high creativity, filled with topical politics, all out action, and tremendous character depth.

Before I start, I just want to call out three squad members who didn't make it on this list not because they're not awesome and I would love to see them on the big screen, but because of some of the weird silos that DC has on many of its character, these three feature prominently as heroes or villains on the CW DC TV series, and so will be featured there: Vixen, who has been added to the cast of Legends of Tomorrow for next season, Count Vertigo, who is one of Green Arrow's principal foes and has appeared in various iterations on Arrow,  and the one non-Ostrander/Yale character I considered, King Shark, who first joined the team in the pages of Superboy and became a regular in the New 52, who has been a featured villain on Flash. I'd be thrilled to see any of those characters make the movies though, DC, so keep them in mind!

Now without further ado, five members of the Suicide Squad I'd like to see in the sequel, in mostly alphabetical order:

Bronze Tiger
Ben Turner was a skilled martial artist who was taken and brain washed to serve as a member of the League of Assassins. After the conditioning was broken, he willingly joined the Suicide Squad to atone for all the deaths he caused as a member of the League. He did appear on Arrow as a member of the Squad, but disappeared around the same time the fiat came from on high from Warners to remove the team, so I don't see any problem in him being used here. I'm picking Bronze Tiger for a couple reasons. He was one of the staples of the original '80s Squad, along with Deadshot, Boomerang, and Amanda Waller. He's got a great backstory, and his nobility makes him stand apart from the more sociopathic members of the team, while he still struggles with rage and doubt caused by years of mind control. Also, while I have to give the movie credit for having more diversity than a lot of superhero teams, it never hurts to add another actor of color to your roster. I also like the connection to the League of Assassins. Again, while used on Arrow, the League is primarily a Batman related property, and I think it would be interesting to do a Suicide Squad vs. ninjas movie, with a more comic book traditional Ra's al Ghul as the big bad, and adding in Bronze Tiger gives a connection to the League.

Duchess
We already known that Darkseid and his minions are the big bad in this first phase of DC Universe movies, and it would make sense to have someone tied to that become a member of the Suicide Squad. Duchess was in reality Lashina, a member of Granny Goodness's Female Furies, who was betrayed by another Fury, Bernadeth, and left behind on a mission. She joined the Suicide Squad, claiming amnesia, but secretly spent her time on the Squad looking for a way back to Apokolips, and when it arrived she took it, bringing most of the Squad along with her and costing the lives of more than one member. I like the idea of adding to the cohesive nature of the shared universe in a less forced way then it seems DC has been doing, by naturally working a survivor from what I assume is the Apokoliptian invasion coming in the Justice League films into the roster. It would also be cool to get another physically imposing female figure in movies in general, and her particularly, since it would give the Squad a character who could go toe-to-toe with the Justice League's heavy hitters.

Nemesis
I have a soft spot for Tom Tresser, the spy code named Nemesis, first from his tme on the Suicide Squad, then his appearances in Gail Simone's run on Wonder Woman, and the two really trppy mini-series he starred in that spun out of Final Crisis. Nemesis worked with the Squad not as a convict but because he owed Amanda Waller and Rick Flag for saving his life. Since the Squad is theoretically a covert ops team, having a master of disguise on the roster always made sense to me. It's also interesting to have him on the team because, even though Rick Flag and Bronze Tiger are mostly good guys, they both are men who know how to make hard choices. Nemesis was a softer touch, and had more problems with the ruthless way the Squad was run; he provided a different angle on the Squad missions.

Poison Ivy
While Harley Quinn has become a staple of the Suicide Squad in recent years, her BFF/girlfriend Poison Ivy was a long standing member in the original series. Back when the series was written, Ivy had not been remade into the eco-terrorist/sympathetic villain she is now, but was instead mostly a master manipulator of men; she spent a good part of the run with Count Vertigo held in her thrall. I would expect a Suicide Squad movie to use the current, more well regarded version of Ivy. It would be fun to see the Harley and Ivy dynamic played out in live action and on screen, helping to bring some levity to things.

Oracle
I went back and forth on this as a choice. One of John Ostrander and Kim Yale's principal achievements on Suicide Squad was taking the mess that was The Killing Joke and crafting Oracle, the Barbara Gordon who I grew up reading. I know that, now that Barbara is back being Batgirl again, many readers sort of want to move completely beyond Oracle since it brings up the somewhat ugly spectre that Killing Joke casts on the character, but I love Oracle. I love the concept that even when the use of her legs are taken away, Barbara Gordon is such a hero that she finds a way to still do good. I love the perseverance and strength of character that this demonstrates for Barbara. And I think it gives an opportunity for all sorts of stories and a different sort of representation, once we see even less of in movies. And there are ways to create Oracle that aren't as ugly as Joker's sadistic attack on her; there are enough differences between the DCEU and the DCU that the filmmakers could come up with a new story that still has the same effect. And after all the teasing of a possible Barbara Gordon in the BvS extended cut, wouldn't it be nice to get a real appearance in the DCEU?


The Supporting Cast
OK, so this takes me beyond the five I said I'd pick, but this is something that was really important in the original Suicide Squad series that has been missing in pretty much all the versions since. Ostrander and Yale built a sizable network of character who operated around the main Squad as support staff, and spent time making them all fully realized characters. I know this would be hard to do in a movie, or even a series of movies, but it would be great to try, or at least to give some nods to them. Characters like Flow Crawley, the daughter of Amanda Waller's cousin who worked in the administration of Belle Reve, and who gave Waller of less cold, more human side. Or Father Craemer, the prison chaplain, who Ostrander would go on to do amazing things with in The Spectre. Doctors Simon LaGrieve and Marnie Herrs could be put to excellent use, who would often try to convince Waller that members of the team weren't ready for these missions to no effect, giving a voice of compassion in a series filled with characters who are not compassionate at all. And finally there was Mitch Sekofsky, the mechanic for the Squad's transports, who was one of the first openly gay characters in DC history. The Marvel franchises have proven that you can build these kind of networks of supporting characters so we can hope that DC can move forward with a wide array of background characters.

Up Against the Wall: Who is Amanda Waller?

Every comic fan has a few characters they love that aren't the marquee names. Sure, Batman's my favorite, always has been and will be. But I have a special place in my heart for the likes of Pete Wisdom, The Shade, Lucifer Morningstar, and Graimjack. And Amanda Waller. I have been waiting for the confirmation on her casting in the upcoming Suicide Squad movie before I did this post, about the history of one of the greatest characters introduced in the past 30 years, and now that Viola Davis has been confirmed, I thought this was a great time to talk about what makes The Wall so great.

Amanda Waller was introduced in Legends #1, written by Len Wein and John Ostrander, the first major DC Comics crossover after the universe restructuring Crisis on Infinite Earths. She was presented as the person organizing the new Suicide Squad, in this case a team of supervillains who had been offered reduced sentences if they took part in risky, probably lethal, missions.

Waller became one of the central figures in the Suicide Squad monthly that spun out of Legends, a book that many fans consider one of the great mainstream comics of the 80s. And for me, one of the main reasons for that is Amanda Waller. Waller was a completely new character, and one who wasn't like anyone else is comics. She was a short, stocky, dark skinned African American woman. And she clearly was tough as nails. And she only got tougher the more you got to know her. John Ostrander, who with his wife Kim Yale wrote the entire series, had created a character who just grabbed your attention. She had no powers, but was willing to stand up to the lunatics who were working for her, to gods, and most impressively, to Batman. If there's one image that sums up Waller to me, it's the cover to Suicide Squad #10.

Super heroes and villains of height and muscle are cowed by one look from Batman. And this woman who stands a head and change shorter than him is standing up to him and telling him off! How awesome is that?!?

But Waller was a much deeper character than just a shouting, grumbling harridan. She was deeply loyal to family and those few who she considered friends. She came from Chicago (native city of creator Ostrander), having gone from living in the Cabrini-Green Projects to serving as a congressional aide before finding out about the Squad and reforming it. Under Waller, the Squad sent missions into the Middle East and the Soviet Union, as well as other political hotspots. She never had a problem watching the members of the team die in the process, although the slipping sanity and eventual death of team leader Rick Flag Jr., not a convict but a volunteer, weighed on her. She was even willing to serve prison time for her convictions, when she used the squad for an unsanctioned mission to eradicate a drug cartel in New Orleans.

After leaving prison, Waller took the Squad freelance, working closer with them as they served as mercenaries. Suicide Squad ended with Waller retiring, but she remained a supporting character, popping up occasionally in the DCU in books like Eclipso (where she led a group of heroes against the God of Vengeance Eclipso), and in various crossovers. She even served as Secretary of Metahuman Affairs under Lex Luthor during his presidency.

After the Luthor Administration folded, Waller once again organized the Suicide Squad under the US government, and then graduated to being the White Queen of the UN sanctioned superhuman response organization, Checkmate (as an aside, I think Waller might be the only White Queen who could show Emma Frost a thing or two about being in charge). This was during the excellent Greg Rucka run on the Checkmate series, the first time Waller felt right as a character since Ostrander stopped writing her. This was a Waller again who was ruthless and cunning, running her own missions behind the back of the rest of Checkmate. She is eventually dethroned when her secrets are revealed, but she goes on to run the Suicide Squad again, and to secretly manipulate the Secret Six, a team featuring former Suicde Squad mainstay Deadshot.

But like most characters in the DC Universe, the New 52 deeply effected Waller. The new Waller is still the head of the Suicide Squad and is still a force to be reckoned with. But the new Waller is both model thin and has a lighter complexion. I don't want to talk about the specific connotations of this too much, partly because I don't feel qualified and partly because, when the casting rumors started, Jospeh Phillip Illidge did a better job of it than I ever could in his piece on Comic Book Resources, but I miss the original Waller. She was a character was diverse, and not just on race but on something ever rarer in superhero comics: body type. She had a very distinct visual, something that made her stand out. And again, look that that cover! I'm sure current Waller could fight Granny Goodness too, but the classic just looks totally badass doing it!

I also think the new Waller loses a little something in her changed background. Instead of being a political manipulator and operative, this Waller is a soldier, having been a member of Team 7 and working her way up through the ranks. She's still a schemer, and still as tough as before, but again, I have a preference for the Waller who was willing to fight gods without the formal training. Still, new Waller has been the head of the Squad, head of A.R.G.U.S. (the New 52's US government metahuman liaison organization) and former her own Justice League to counterbalance the classic League in case they went rogue. That's not a bad list of credentials.

Viola Davis is an incredible casting choice, one I think is excellent, but she's far from the first Waller on screen. For a character who is less than thirty tears old, she has appeared in more TV and movies than you would expect, and I think with Davis, she is now the second most portrayed female DC character, second only to Catwoman. Yes, there have been more Amanda Waller's on screen than Wonder Womans. That's a testament to how great the character is. Pam Grier played her on Smallville, where she was a queen of Checkmate. Angela Bassett's performance was one of the better aspects of the lackluster Green Lantern movie, despite the odd choice of making her a government scientist instead of a government agent. And Cynthia Addai-Robinson plays Waller as a recurring character on Arrow; she much more resembles to current Waller, but does retain the hardness that makes Waller such an impressive character.

But my favorite Waller outside of comics is, probably not shockingly, an animated version, the one from Justice League Unlimited. When I was dream casting in my head back in the day, the actress who I pictured playing Waller was CCH Pounder, late of The Shield and Warehouse 13. And wouldn't you know it, but CCH Pounder voiced this version of Waller, as well as other animated DC projects, and she's perfect. Her voice immediately commands respect. And the portrayal was spot on. From Batman appearing in her bathroom while she showered and her not even blinking when she finds him in the bathroom, demanding a towel, to her touching scenes with Batman Beyond Terry McGinnis in the brilliant episode, "Epilogue" this was exactly how I pictured Waller. And since she was on JLU, I got an Amanda Waller action figure, which might have just ended my need for any other action figure ever.

As a final note, another reason to be glad for the casting of Viola Davis is the fact that she's an impressive actress who can hold her own. So much of what we're hearing about the new Suicide Squad movie makes me worried that it's going to be "Joker and Harley and their wacky friends." The Joker is a force of nature as a presence on screen, and I feel like the person standing up against him needs to rise to the occasion. I think Davis is an actress strong enough to make the Joker step back and cringe, to hit all the right notes to be the best Amanda Waller we've had on screen yet.

With Amanda Waller's profile only raising with the upcoming Suicide Squad film, there will be plenty of new material and hopefully collections of classic material. Right now there are trades available of all the New 52 Suicide Squad. The classic Squad run had one trade, which may or may not still be in print, and sadly the Checkmate material is out of print. But Gail Simone's Secret Six is coming back in print in new volumes, and Waller's turn there is another great appearance. And there's always new episodes of Arrow and classic Justice League Unlimited if you want to get to know the first lady of comic book espionage better.

5 Reasons You Should Care about... Vixen

The CW recently announced it was developing an animated series about the DC superhero Vixen for its Web-content hub, CW Seed. The series would be in the same continuity as its live-action Arrow and Flash series. In related news, the CW is considering adding a third live-action DC show, possibly starring Brandon Routh (Superman Returns, Zack & Miri Make a Porno) as the Atom. Which means my hopes for an Ambush Bug show remain a dream deferred.

Anyway, in the pantheon of DC’s super friends, Vixen isn’t exactly Big 7. So here’s a few fun facts and some recommended media consumption.

She’s kinda like Shazam for animals: When Billy Batson yells Shazam, he inherits the powers of the ancient gods. When Mari Jiwe McCabe touches the Tantu totem around her neck, she channels the powers of any number of animals, from the mass of an elephant to the speed of a cheetah to the regenerative abilities of lizards and worms.

Her first appearance was shelved for three years: Vixen, created by Gerry Conway and Bob Oskner, was to be DC’s first major black female superhero and was to start off in her own series in 1978. Her title and many others fell victim to a wave of cancellations known as the DC Implosion, and that series never saw the rusty metal of a spinner rack. So her first appearance became 1981’s Action Comics #521.

She’s been a member of the Justice League: Vixen joined the league in the mid-1980s, when the team featured an obscure lineup that included Aquaman, Martian Manhunter, Zatanna, the Elongated Man, Gypsy, Vibe and Steel. Conway, Vixen’s creator, was responsible for this era. She also featured in a post-Infinite Crisis league that included Superman, Batman, Wonder Woman, Green Lantern (Hal Jordan), Black Canary, Red Arrow, Red Tornado, Hawkgirl and Black Lightning. Vixen would at one point lead the team. In the New 52, Vixen was a starter member of the since-canceled Justice League International.

She’s been a member of the Suicide Squad: Thanks to the upcoming movie no longer starring Tom Hardy, the Suicide Squad is like Hansel – so hot right now. Vixen joined the team of mostly villains during the original John Ostrander run after some of her modeling colleagues were killed by drug smugglers. She briefly dated one of the squad’s members, Bronze Tiger.

She’s dated Green Lantern: In Justice League Unlimited, Mari was involved with Green Lantern John Stewart. One of the show’s running subplots was a love triangle among Vixen, Stewart and Hawkgirl, Stewart’s previous girlfriend. That triangle became a square when Hawkman arrived on the scene.

Read this: Vixen: Return of the Lion, a five-issue 2008 miniseries written by G. Willow Wilson (Ms. Marvel).

Watch that: Justice League Unlimited. Vixen appeared in five episodes of the 2004-06 series, voiced by Gina Torres (Firefly). Episodes include “Grudge Match,” in which female superheroes including Vixen, Hawkgirl, Huntress, Black Canary and Wonder Woman are mind-controlled into doing battle for the delight of supervillains; and “Ancient History,” in which the Shadow Thief reveals Hawkman and Hawkgirl to have been lovers in a past life, only for past-Hawkgirl to have had an affair with past-Stewart.

Dan Grote has been a Matt Signal contributor since 2014 and friends with Matt since there were four Supermen and two Psylockes. His two novels, My Evil Twin and I and Of Robots, God and Government, are available on Amazon.

Lost Legends: The Uncollected John Ostrander

This week's issue of Aquaman sees the return of John Ostrander to DC Comics. I've talked about Ostrander before, mostly in reference to his brilliant runs on many Star Wars titles, but he's a writer with a tremendous body of work. He's one of the great comic book writers, and one of my all time favorites. But sadly, the majority of his seminal works are not readily available in printed form (they may be digitally, but digital ain't my bag). I am planning some serious dissection of a lot of these works, in a John Ostrander week here on the Matt Signal, but since I didn't get through the reread on this week's recommended reading, I thought I'd do a dry run on the Ostrander pieces, giving a sneak preview of some of the titles I'll be talking about in much more depth there. This is by no means a full rundown of all of Ostrander's catalog, as I'll be mostly discussing his 80s and 90s DC works, with his creator owned opus thrown into the mix as well. So, without further ado...

Suicide Squad

Pretty much everyone who reads comics knows the concept behind Suicide Squad, but in case you don't, it's this: Supervillains go on covert missions for the government to earn time off their sentences, but there's a good chance they won't make it back. It's a great concept, and it's been rebooted twice since (three times if you count Warren Ellis's run on Marvel's Thunderbolts), but it's never worked as well as it did under John Ostrander. Why do you ask? Well, for one the plots were smart, intricate, and had a feeling of authenticity; some took place in real world locales that were politically troubled, something Ostrander has jokingly said he stopped doing when real political trouble flared up in those places when the issues were released. The series not only dealt with supervillains fighting terrorists or worse supervillains, but is one of the first comics to really delve into the darker side of the governement, the political backbiting and blackmail; this is a post-Watergate America, where government uses its power not necessarily to help the people. But what really made this series was the characters. Ostrander took a bunch of B-,C-, and D-list characters, and made them into major players. Before this series, Deadshot was just a marksman who shot at Batman; after this he was a layered, complex, haunted character. Captain Boomerang became a nasty, vindictive, petty little man with all sorts of issues, instead of just another Flash Rogue. Ostrander, with his wife and writing partner Kim Yale, also introduced Barbara Gordon as Oracle, dealing with the fallout from The Killing Joke and building Barbara up in a way that lasted over twenty years (on a side not, if you like this, you should check out Ostrander & Yale's story from Batman Chronicles #5, "Oracle- Year One: Born of Hope" a wonderful story that directly bridges the gap between Killing Joke and Suicide Squad). And of course, Ostrander also introduced the inimitable Amanda Waller, a character still used regularly to this day, and who is unique in comics: no super powers, no secret spy training, just a tough woman who knows her duty, does what she must, and who can stand toe-to-toe with Batman and tell him off. The Wall is one of Ostrander's great creations, and one of my favorite characters in comics. Without this series, I feel like a lot of villain-centric comics we've seen since, including Secret Six, Thunderbolts, and Geoff Johns's run on Flash, would have been very different, or not existed at all, and we owe a debt of gratitude to the Squad for that alone.

Deadshot

When Comic Book Resources did their list of the greatest John Ostrander stories ever, this mini-series was number one, and it was my vote for number one as well, so I think it's richly deserved. While it ties into Suicide Squad, it's so good I wanted to give it a little room of its own so I could really discuss it some. This mini-series gives the details of Deadshot's past. Not his origin story, necessarily, not the story of how he became a supervillain, but the why of it. After you've read the series, you can't help feeling a bit sorry for Deadshot. This is a guy whose family are nightmarish, parents who use their children as chess pieces in a war against each other, and who have no qualms about it. The series begins with the kidnapping of Deadshot's son, and leads down into a well of darkness so deep that it's hard to believe there's any light again. I am shocked that this series wasn't published with a suggested for mature readers on it. It is a very mature story, never flinching at the darkest sides of human nature and going places that most writers would never take their characters. It is never graphic though, which makes it all the more chilling. As a warning, if you are not someone who likes a story that is bleak, and that ends without a happy note, or who is uncomfortable with children in real peril, this is not the series for you. If you can get past those things though, it's worth reading to see Ostrander craft Deadshot into a character who has real dimension and depth, who might be a villain, but has humanity underneath all his snark, cigarette smoke, and violence.

Firestorm

When Ostrander took over Firestorm, the title was a fun book about two unlikely people, a college professor and a student, who merged together to form a superhero. It was as if Spider-Man and Professor X had to become one guy to use their powers. Ostrander took the book and went somewhere very different with it. His first two issues alone, tying into the Legends crossover event he was co-writing, feature Ronnie Raymond forcing the Firestorm merge on Professor Stein, and Stein reacting in a way that is a thinly veiled (and eventually not even veiled) analogy to rape, a subject rarely dealt with in mainstream comics at the time, and never dealt with anywhere near this tastefully. When Stein found out he was dying of cancer, his final wish became to force the USA and USSR to disarm their nuclear weapons, a story that is very much of its time, but works well in a world where tin pot dictators and religious zealots now control nuclear weapons. With Stein removed from the equation, Raymond found a new partner, a Soviet, and Ostrander spent time letting readers get to know him, playing a card about how we are all really people, no matter our government. And the last couple years of the series dealt with Firestorm discovering he was Earth's fire elemental, and a lot of stories involving environmentalism. While it sounds like a lot of topical tales, they were all told using superhero tropes, with lots of cool villains and combat, and the series never got preachy. Ronnie grows up, trying to really find his way in an adult world he has a hard time understanding. Ostrander did a great job of gradually altering the Firestorm formula, making something different than the traditional superhero title it was, without losing readers by respecting the past and having his own strong vision for what the book could be.

Detective Comics #622-624

This isn't a long form, sprawling epic like most of the other things on this list, but I had to toss in on here. First, a shout out to Brandon, a friend of mine and regular reader here, who mentioned this story as one of his favorite Batman stories when I did my list of favorites, and it reminded me just how great it is. In the duel narrative, Batman hunts a serial killer murdering people in his name in the "real" Gotham, while an unauthorized comic is being released in Gotham telling the origins of Batman, only this Batman is a demonically powered killer. Half of each issue is the comic within a comic, with different art. It's a great detective story, with some gorgeous art from Mike McKone on the real world pages, and Flint Henry on the macabre comic within a comic pages.If you're a Batman fan and have never read out this story, it's a self-contained, three issue arc with a lot going for it.

The Spectre

I don't know if it was Ostrander who decided the Spectre was more than just a vengeful ghost, but instead was the embodiment of the wrath of God bonded to a mortal, but if it wasn't him, he sure took the idea and ran with it. The Spectre becomes a series about justice, vengeance, and redemption. While there is plenty of magic and monsters, heroes and villains, the main struggle of the series is one internal to the Spectre, of Jim Corrigan, the hard boiled 40s cop who serves as the Spectre's host, in conflict with both himself and the Spectre itself. Reverend Richard Craemer, a supporting character who served as a chaplain and confidant to some of the Squad, came with Ostrander to this title, serving as a sounding board, and at times a conscience, for Corrigan. The Spectre quests to save a woman he has scene prophesied to die, to find the heart of America, to determine exactly what kind of man Corrigan himself was, and eventually to find God himself. The series watches Corrigan eventually find his grace, his own forgiveness for a life lead in anger, and when Ostrander left the book, Corrigan left the plain of the living, a major change to a classic character that DC stuck to until the New 52; it's a testament to Ostrander's strength as a writer and the strength of this run that DC left this change in. Two particular issues of note: Issue #54 featured the first appearance of the current Mister Terrific, Michael Holt, who still exists in the current DC regime. Issue #51 is a great issue featuring Batman and the Joker, where the Joker briefly has possession of the Spectre's power. The series is drawn nearly entirely by Tom Mandrake, one of Ostrander's constant collaborators (along with Jan Dursema, Flint Henry, and Tim Truman), who by the end of this list will have worked on more than half of the titles.

Martian Manhunter

While he had a couple of mini-series, J'onn J'onzz never had an ongoing series until the late 90s when Ostrander and Mandrake, fresh off The Spectre, took the Manhunter from Mars and ran with him. By far the most traditionally superheroic of the series I'm talking about today, it's still a fascinating character study. Martian Manhunter had spent much of his existence as the rock the Justice League rested on, but very little time had been spent revealing what he did when he wasn't with the League. So, Ostrander took the fact that J'onn was a shapeshifter, and decided that Martian Manhunter had different identities all over the world. He would switch race, gender, and species to live among humans and learn more about humanity. A good amount of time was spent investigating J'onn's past. Not only was his life on Mars more fleshed out, along with the introduction of his evil brother, Malefick, and conflicts with Darkseid and his minions while a Manhunter on Mars, but his time on Earth was expanded. Since J'onn was brought to Earth in the 50s, why couldn't he have met Clark Kent in Smallville, had an adventure with the Spectre earlier in his career, or was a part of the 70s superhero team, the Justice Experience, under another identity? That last one brought the DEO, and their most famous agent, Cameron Chase, into the mix, as Chase's father was another member of the Justice Experience, and had some resolution for Chase, whose series had been tragically cut short, when J'onn had to face down Doctor Trap, the villain who killed her father. All-in-all, it was an excellent superhero series, with great character beats, and had an issue where Martian Manhunter went nuts from Oreo (or Chocko, I assume due to rights issues) withdrawal and smacked around Booster Gold and Blue Beetle. It was pretty awesome.

Grimjack

If there is one magnum opus in Ostrander's work, something that you could hand to anyone to give them a great sample of what he can do as a writer, Grimjack would be it. Grimjack was created by John Ostrander and Tim Truman in the late 80s as a back-up in Starslayer before spinning off into his own title. The title character is John Gaunt, called Grimjack or the Grinner, an aging mercenary living in the city of Cynosure. Cynosure is the nexus of all realities, where different blocks phase in and out of reality; you can be on a block that is high tech, wander into a neighborhood that is all magic, and never find your way back to the science block. Gaunt owns Munden's Bar, a pub where people come to him to hire him to solve their problems, problems that usually wind up with him killing someone. Ostrander built a vibrant supporting cast around Gaunt, including his old running buddy Blackjackmac and Mac's paramour Goddess (who is actually a goddess), his old partner in the Transdemensional Police, Roscoe Schumacher, Gordon Munden the bartender, Bob the watchlizard, and various villains, including The Dancer, a former arena combatant turned revolutionary, and Major Lash, and immortal with a series hatred for Gaunt. The world and the characters are Ostrander's to play with, and he uses that freedom to tell stories you couldn't do with most superheroes. Gaunt is a pure anti-hero, often doing the right thing for the wrong reason, or the wrong thing for all the right reasons, and you can see shades of Grimjack in many of Ostrander's other leads, characters like Jim Corrigan, Quinlan Vos, and Cade Skywalker. What is especially cool, is about two-thirds of the way through the series, it is revealed that Gaunt has been cursed, that he will never know peace until Cynosure is destroyed, and that he will be reincarnated over and over until then. The last third of the series takes place long after John Gaunt is dead, and focuses on Jim Twilley, the new incarnation of Grimjack. Ostrander builds a whole new cast and ends the series, with the promise of an original graphic novel called Grimjack in Hell and then further incarnations. These projects didn't occur, but Ostrander and Truman returned to tell a couple tales of Gaunt before the series began. The art throughout the series is also outstanding, starting with Truman, followed by Tom Mandrake, and then Flint Henry, with some fill ins along the way. IDW, who published the two new Grimjack stories, Killer Instinct and The Manx Cat, also reprinted much of the early Grimjack, but stopped before the Twilley arc, and never finished it.

Since this is a Lost Legends piece, all of this work is uncollected or out of print in its whole form. While there was one volume each of Suicide Squad and The Spectre, and the first 54 issues of Grimjack were collected, none of it is currently in print. I have over time, been able to collect all these runs in the totality in single issue at conventions and comic shops, and they were all well worth it. This is also by no means the entirety of Ostrander's work. From DC there's also Hawkworld, JLA: Incarnations, the late 80s-early 90s Manhunter, and The Kents (a great Western focusing on the ancestors of Superman's adopted family). From Marvel there's Heroes for Hire, three mini-series starring the time displaced X-Man Bishop one in the present, and two set in the future he came from, two Westerns featuring Marvel's stable of Western heroes, Blaze of Glory and Apache Skies, and a run on Punisher (of which I am still trying to find issue 10). And that's just what I'm coming up with off the top of my head. Ostrander is one of the great writers currently working in comics, and going out and checking out some of his classic work as you wait for the next arc of Dawn of the Jedi or Agent of the Empire is really worth your time.

Reviews of Comics from Wednesday 5/8

Archer & Armstrong #0
Story: Fred Van Lente
Art: Clayton Henry

Archer & Armstrong has been one of the most consistently enjoyable titles out there since its debut, and after two very solid arcs, including the return of my favorite Valiant character, the Eternal Warrior, we take a step back and get to see a story of the Anni-Padda brothers in ancient Ur. Armstrong is telling Archer the epic of Gilgamesh, only this is the real version, where Gilgamesh and Enkidu are the Anni-Paddas. We get a really good feeling about who each of these men were, and how they interacted as brothers. It's especially important to really spend time with Ivar, the eldest brother, and the one who we've seen the least of. It's a fun, action story, with hints of the Valiant universe, including a cameo from Spider Aliens, and more about the origin of The Boo, the mystical artifact that was the maguffin on the first arc, but nothing that detracts from this as a perfect one off. Van Lente has done an excellent job of making the first issue of each arc a perfect jumping on point, and this issue works just as well, with a framing sequence featuring our title characters, as well as the main story. Clayton Henry returns to the series with this issue, and while I enjoyed Emanuela Lupacchino's work, it's great to see him back. His Armstrong especially has such vitality, radiates such joy (and melancholy), that it seems to jump right off the page. If you've never tried a Valiant Comic before, this is a great place for you to start.

Batman #20
Story: Scott Snyder/ James Tynion IV
Art: Greg Capullo/ Alex Maleev

The two part reinvention of Clayface for the New 52 wraps up in this second part of this Batman story, and it's as exciting as the first. It feels perfectly like an episode of Batman: The Animated Series, with a great action piece to it, as well as a simple, smart solution to the problem at hand. The new version of Clayface is interesting, with his slightly modified powers, and adds a little pathos to the character without taking away anything from him (a problem I've had with a few of the new 52 reinventions). There's a wonderful nod to the  DC Animated Universe, with the appearance of prototype armor that won't be financially feasible for twenty years, a time when a young man named Terry McGinnis might become a Batman beyond what Bruce has been able to do. It was interesting to see Bruce and Lucius Fox tossed into a deadly situation together, and see Lucius look like he has no idea of Bruce's other identity. I believe Lucius (like Jim Gordon) knows Batman's identity, and just keeps it to himself on principle that if Bruce wants to tell him, he will. It seems Lucius here really doesn't know; whether that is a New 52 continuity tweak or just Lucius being very coy it up to the reader. The final scene, of Bruce and Alfred viewing recordings of Damian together, is touching and heartbreaking; there is no way this Batman is the cold and unfeeling man that so many writers portray him as. In the back up, Batman and Superman fight a magic creature, and Bruce talks to a spirit about how he fells about Superman, and I really like the fact that the current writers do view the two as real friends, not Miller-esque adversaries with a common cause. The final panels are especially fun, as Superman gets a little taste of what Jim Gordon is used to getting.

Batman and Red Hood #20
Story: Peter J. Tomasi
Art: Patrick Gleason & Cliff Richards

Batman continues his quest through the five stage of grief, and who better to accompany him through rage than the Batman family with the most anger issues of his own, Red Hood. What starts out as Bruce inviting Jason along on a raid of a camp of assassins turns into a much darker fight as Bruce bring Jason back to the site of his death to try to determine the secrets of his resurrection to use it to revive Damian. What begins as the two of them bonding and talking about trust turns into a fist fight, as they both let vent the anger they hold inside on each other. In Gotham, we also get to see a little bit more of Carrie Kelly, who again shows her pluck by standing up to the taciturn Bruce. Both Alfred and Titus, Damian's dog, take a liking to her, and it looks like Carrie is here to stay, which is a good thing, as she is one of the best additions to the Batman cast in many years (or re-addition, I suppose, if you count her appearances in Dark Knight Returns). Patrick Gleason does his usual excellent job on art, with a little pinch hit from Cliff Richards. I've been a fan of Richards since his long run on Dark Horse's original Buffy: The Vampire Slayer title, and I like seeing his work on more high profile titles. I want to team of Tomasi and Gleason on this book as long as possible, but if they need any more fill in work, I hope Richards is at the top of the speed dial.

Suicide Squad #20
Story: Ales Kot
Art: Patrick Zircher

Wow. The Suicide Squad series from the 80s is one of my favorite series ever, with the brilliant John Ostrander, Kim Yale, and a series of amazing artists crafting some of the best, most human stories I've ever read. Since it's return in the New 52, it has been a series I have wanted to like far more than one I actually have. But the difference one issue can make! New writer Ales Kot comes in and spends the issue reintroducing readers to the cast, getting into their heads. Amanda Waller sits with a mysterious figure who is analyzing each of the current members of the Squad, giving her the keys to their psychologies. Some of the things hinted at in the early parts of the run are finally paid off. While I'm not in love with the idea that Waller can resurrect members of the Squad at will (I feel it takes away the feeling of danger and the unexpected that was central to the original run), I like how Kot handles it here. And the big reveal of who Waller's new Squad member is? Well, I was worried this character was going to be overused, especially after how heavily he was used in another title for some time, but this new life he's been given is perfect. I don't want to spoil the end, but needless to say, I'm intrigued. Patrick Zircher's art is the best on this title so far, and I hope he sticks around for a while; inconsistent art has been another thing that has seriously hurt Suicide Squad since its return. This is a great jumping on point for new readers, and I would suggest everyone who's been tempted before to give it a shot.