Best of DC: Week of March 4th, 2020

Best of this Week: Strange Adventures #1 – Tom King, Mitch Gerads, Evan “Doc” Shaner and Clayton Cowles

This is the Tom King I love.

The first book I read by Tom King was the awesome Grayson (2014) series post Forever Evil (2013) after Dick Grayson was “killed” by the Crime Syndicate. That book had a levity and coolness that no other book was really exhibiting at the time and King was kinda on my radar. Soon after, I’d heard that he was writing a solo Vision book and I was skeptical, but after a few issues I was sold and absorbed everything Tom King had written up to that point.

From Sheriff of Babylon to Mister Miracle, I was fully on board up until Batman got long in the tooth and Heroes in Crisis became a disaster. I have slung my fair share of mud, but Strange Adventures is an awesome return to form that blends the two amazing styles of Evan Shaner and King’s longtime collaborator Mitch Gerads. This book forms a tale of heroism and then overshadows it with horrific implications.

Adam Strange has always had something of a STRANGE presence within the DC Universe, mostly having stories in anthology books like Mystery in Space, miniseries or being part of various teams, he’s never quite been consistent. Adam Strange is a product of the sci-fi boom of the 50s and 60s, an archaeologist from the planet Earth whisked off to protect the spaceways and his beloved second home of Rann with his lover, Alanna. He’s always been kinda silly.

Tom King takes this silliness and turns Adam’s story on its head as we open to Strange doing a book signing of his memoir, Strange Adventures. At some point, he seems to have sold the story of whatever he did during some terrible war on Rann (that will definitely be expanded on later) and his name is on the lips of every American citizen, talk show host and politician as he and Alanna bask in their newfound fame.

In just the first few pages, Gerads and Shaner illustrate what kind of contrast we’ll be seeing throughout this series. During Gerads’ scenes, Adam is doing normal things, signing books, accepting awards, doing press and lying in bed (in more ways than one). King scripts the dialogue as being pretty casual in these scenes, the way that people talk when they’re alone or have a spotlight shone on them. Colors are striking, but the scenes aren’t dynamic, more somber with specific focuses.

Shaner, on the other hand, get’s splash pages of Adam flying through the skies and facing down hordes of his enemies with heroic poses, laser gun fire and explosions. It looks like a high action, pulp comic or Saturday morning cartoon and the dialogue is comparably cheesy. These scenes are meant to paint Strange as the persevering hero as he has to face down insurmountable odds and get by by the skin of his teeth and his very handsome smile. Almost immediately, there’s a pit made in the stomach because it’s almost too unbelievable.

The closest real life comparison I’m willing to draw, before the next few issues come out, would have to be that of “American Sniper” Chris Kyle. A few years after leaving the Navy, Chris Kyle published the book which detailed his time during the Iraq War and a lot of the media painted him as a hero for his actions. The book sold gangbusters. He went on to the big talk shows, did the magazine interviews, he even got a great movie made by Clint Eastwood and Bradley Cooper, but it didn’t come without controversy

Tom King seems to be channeling a little bit of that for Adam Strange and it works to great effect as in one scene, a pair of talk show hosts laud Strange as a hero before their interview. Gerads gives the scene a television like static as if we’re looking at it all like the rest of America. In the background we can get excited too as Adam emerges from the crowd with his jetpack and makes a grand entrance.

However, not everything is smiles and praising as, after a fan carrying volumes of Sheriff of Babylon and Mister Miracle thanks Adam for his service, we see a panel of Adam taking off his boots in the foreground while the focus is on a bloody picture frame in the background. The picture depicts Adam, Alanna and their daughter Aleena, who is conspicuously absent from the present day scenes. The blood on the picture speaks volumes more than could be said in these initial pages.

After another man screams at Strange, calling his depiction of events a lie, the pit in the stomach grows deeper as the first seeds of doubt are sown. Things are made even worse as we get a scene soon after with Shaner’s stellar art. The earlier scene made use of Cowles perfect letters with “BOOOOOOMs” and “PEW PEWs” to sell the sci-fi aspect of it and takes it to a higher level with even better balloons that placed comical emphasis on the more outworldly elements of Strange’s origins like Zeta Beam and Protector of Rann.

This comical heroism is emphasized as Adam screams about protecting his family while firing lasers at a mech created by Rann’s enemy, the Pykkts. Shaner draws Adam as being miniscule by comparison, but also nimble enough to dodge it’s blasts and taking it down with a few shots from his laser pistol. As he raises his hand in victory, one can’t help but wonder…was the event true?

The same can be said when Shaner draws Adam zipping past a giant lizard creature, flossing his teeth as he goes in and out of his mouth like a real action hero. Adam Strange has always been capable, but this has an air of embellishment to it. Things get even worse for Adam as the man who screamed at him is found dead with what appears to be an exploded head due to laser gun fire. It’s an absolutely horrific scene that only Gerads could pull off.

We get a number of awesome pages of both Adam and Alanna doing damage control. The symbolism of Adam’s jetpack being a focus with a reflection of both Alanna and the picture is powerful as the implication seems to be that whatever happened to Aleena was somehow his fault, but Alanna still carries the scars of Rann, but doesn’t blame him. During a press conference, we see Alanna crying before wiping away her tears as Adam denies killing the man.

Where King scripted and overused the nine panel grid in Heroes in Crisis, he has Gerads use the format twice with powerful effect.

Something about Strange’s denial of war crimes on Rann feels off, much like how people called Chris Kyle a war criminal during the movie’s release, we get that same feeling here. There are almost always horrors in war and Strange has to have left out some of the worst details of things he’s done or seen, especially since this is a Tom King story and he doesn’t shy away from the morbid.

As the pressure intensifies, Strange turns to Batman, the World’s Greatest Detective, as someone who can help clear his name. Adam is convinced that he didn’t commit the crime, nor anything else that he’s being accused of, but Batman refuses to accept the case. Batman cites their longtime friendship as a reason that he wouldn’t be able to stay impartial and that makes a lot of sense. You never want to show favoritism, especially when there’s a chance your buddy could be a murderer.

The book ends with another nine panel grid showing Adam flipping the bloody picture down, almost as if to avoid looking at his shame and guilt while he meets that man who’ll take his case. There will certainly be some “Fair Play” in his future.

This first issue of Strange Adventures was absolutely phenomenal. I think King does well with characters and stories like this. He did it with Mister Miracle and he did it with Kite Man in the pages of Batman. Adam Strange has always been that character who showed up in the background or the odd Hawkman story to show just how large the Universe was, but I’m glad he’s being given a focus like this.

Of course, with Tom King, there’s always a worry that as the issues go on, things will start to go off the tracks, but I have hope. Even the worst issues of Mister Miracle or Omega Men were fantastic reads.

Evan Shaner and Mitch Gerads absolutely smashed it with their art. I love the idea of having two contrasting visions of one’s life with one bright and wondrous and the other real and dark. Separately, these two are phenomenal, together they are AMAZING. I would look forward to every issue of this series for their art alone, and with King’s scripts, this is just perfect.

This one gets a high recommend from me!

Best of DC: Week of October 2nd, 2019

Runner Up: Batman #80 – Tom King, John Romita Jr., Klaus Janson, Tomeu Morey, Clayton Cowles

Batman is Broken no more.

For 79 issues, Bane has been orchestrating a convoluted plot in an effort to prove himself Batman’s most superior foe, the man who broke the Bat twice. He’s pulled Bruce’s father, Thomas Wayne, from another universe, caused Catwoman to leave Batman at the altar and has completely taken over Gotham City after Thomas defeated Bruce at Ra’s al Ghul most powerful Lazarus Pit.

Everything has been in an effort to leave Bruce broken, without help, unable to stop Bane. It would have worked too, if not for Catwoman. The last two issues have been mostly filler issues for Batman and Catwoman to rebuild their relationship by fighting crime together again. They’ve recontextualized their relationship with Bruce realizing that he can be happy and still be Batman and Catwoman realizes that she’s not taking anything away from Bruce by being with him.

They make each other better with Bruce taming her more criminal aspects and Selina taking away some of the more brutal rage that got him in trouble for beating the crap out of Mister Freeze several issues ago.

Tom King does very well with writing relationships like this even if sometimes it seems heavy handed on the part of it being a woman’s duty to fix her man. Catwoman and Batman ounce off of each other in the most adorable and loving ways, but when it’s time for business, no one can hold a candle to them. Batman #80 succeeds on the merits of their skills and the skills of the entire creative tem of this book.

Right off the bat, the book begins with a noir Batman feel as Bruce, in his beach disguise (or rather his Matches Malone guise) walks through the streets of Gotham on a rainy night before being stopped by Officers Pyg and Dent. The two criminals attempt to accost him, not knowing he’s Batman and they get the crap kicked out of them. Batman doesn’t even break a sweat before he’s punched them both in the throat and gives Harvey another to the face for good measure. Harvey shoots him in the chest twice, but Bruce slowly opens his shirt to reveal a Bat emblem before tossing the bullets away like a boss.

John Romita Jr. knows his way around a fight scene and conveys Batman’s strength and the terror of his presence in general by how Harvey reacts upon realizing it’s him. Tomeu Morey sets the scene with his amazing coloring by tinting these pages in yellow, DC’s general color for fear before it transitions into darker colors when Batman reveals himself. Klaus Janson’s inks set the tone for how unknown this mysterious stranger is before the ultimate reveal and in only a few pages, this book has me sold.

Opposite Batman who likes to be seen and feared, Catwoman strikes from the shadows. Mad Hatter is just patrolling Gotham when he spies a cat, musing about laws over strays and pulling the longest pistol ever recorded in comics out of his hat. I’m not kidding, this gun was comically large. While Batman’s scene was tinted in yellow, these pages are split between the cool blue of a street light and the seductive purple of the night sky in another, non-rainy, part of Gotham. It plays well into Selina’s finesse as she quickly and quietly takes down Mad Hatter, saving the cat.

Batman pretty much makes the rounds, letting his villains know that he’s returned to Gotham, Kite-Man gets an amazing scene as Batman drops him from a building while saying “Hell yeah” in response to Kite-Man asking if it’s actually him and later has a standoff with Officer Hush. The stand off has no reason to happen other than it’s badass visual as these perfect opposites just trade philosophic barbs as Batman disables Hush with a batarang. In all of it’s rainy, sepia toned glory, it’s a nice double page spread, made even better by Janson’s inks giving everything the perfect black shadows.

Throughout the issue is a thread for Thomas Wayne as well. Because he’s a father that lost his child, he treats Gotham Girl as if she’s his own, giving her a new costume and consoling her however he can. He’s gotten very close to her and as such when she’s in distress over not having any more of the serum that can keep her alive as she uses her powers, Thomas is there for her. He tells her that she doesn’t need powers and that she’s skilled enough without them. He tells her to just rest as Albert Wesker walks in to tell him that Bruce has arrived.

Bane gave a standing order that if any of the Batfamily were to reenter Gotham City, then someone close to them would die. Damian did it and got Alfred killed which left the child as the only prisoner. Batman had to know this as well as he monologues after defeating Hush that his father has to make a decision: will he kill his own Grandson?

Batman is getting very intense as Tom King is reaching the end of his run with this book. With only five issues left, I’m actually shaking in my boots with excitement.

In reflection, I’m also mostly glad with the entirety of this almost three year story and the leaps and bounds it’s made to cement Bane in a firm place at the top of Batman’s Rogues Gallery. Bane had always been one of Batman’s most deadly enemies, but this manipulation, the guile and deception, the audacity that he had to hatch such an amazing(ly insane and convoluted) plan just to ruin the life of his most hated enemy is insane.

Joker may always be Batman’s most popular villain… but Bane will always be his greatest.

Best of DC: Week of July 10th, 2019

Runner Up: Batman #74 – Tom King, Mikel Janin, Jordie Bellaire and Clayton Cowles

Tom King’s Batman can be hit or miss sometimes, but this one is definitely a hit.

For the entirety of his superhero career, Batman has been driven by one singular goal: to make sure what happened to him as a child didn’t happen to anyone else. He’s vowed to protect the streets of Gotham and to honor the memory of his parents and the city they loved.

This vow has become increasingly harder to honor over the course of this run; from being unable to save a possible replacement in the Superman-like Gotham, to being told to stop being Batman by his father from an alternate universe, and ultimately being left at the altar by the love of his life. One man is responsible for it all, Bane.

Part of the (admittedly) convoluted scheme to break the Batman was to somehow bring the Flashpoint Batman from his Universe to finally convince his son to stop. Thomas rationalizes that all Bruce needs is the love of his parents and his sickness, his broken need to be Batman will go away. As revealed in the last issue, Thomas’ goal is to resurrect Martha Wayne in Ra’s al Ghul’s most powerful Lazarus Pit and reunite the Wayne family.

Mikel Janín’s art remains amazing as always. I could gush for days about how he’s able to make Thomas and Bruce solemnly expressive through body language and only using the lower halves of their faces, but Jordie Bellaire, is the real star of this issue. She manages to color this story in a way that makes it seem like it takes place in three acts.

The first act takes place in the beautiful drawn and barren desert after Bruce and Thomas reconnect while fighting Ra’s ninjas. Everything is bright and the yellows, contrasted to the Blacks of the Bats give things a slightly warm feel. Thomas is happy for his son to join him and give up his crusade.

The second act shows Bruce and Thomas reaching the edge of the pit and is coated in the cool blue hues of night. The scene feels somber and intimate as Thomas tells Bruce how stubborn he was as a child, crying because he wanted to hear his favorite story over and over until he fell asleep. Thomas says that Bruce absolutely got that from his mother, who would constantly insist that Thomas read him that story, how she always had faith that Bruce would sleep. The two begin to climb down into the pit.

Throughout the issue the Russian Folk Tale, “Animals in the Pit” had been told and spoken about in the usual Tom King style. The tale involves a group of animals that get trapped in a pit and perform contests where the loser gets eaten. In the end, one of the two remaining animals tricks the other into ripping himself open and feasts on his flesh.

In the final act, in the dark of the pit, the book takes on a harsh red hue. Thomas is finally there, at the end of his journey to give his son the happiness and family he deserves. Saying that he couldn’t deny Bruce his childish wishes as a kid, but now he will deny him remaining Batman.

Bruce tells him that the reason he wanted to hear the story constantly was because, despite the horror, his father told him the story with a bit of levity. Bruce gained hope that one of the animals just might escape and even if he knew it was impossible, he never gave up hope. He then betrays his father with a right cross to the face.

Janín can draw a beautiful, flashy fight scene when he wants to, but this fight is anything but. It’s raw and brutal, it’s close quarters and every emotion is felt, accentuated by the excellent coloring. Bruce punches his father, Thomas punches his son right back. Even when the fight pivots away from them to focus on the coffin, the tension is still there. Their ideological struggle is felt through the shadows on the wall and when Thomas is thrown into the coffin, things spiral downward for him.

Right on the heels of the hopefully amazing “City of Bane” storyline, this two issue filler arc strengthens Batman’s resolve for what will be the final confrontation with one of his greatest enemies and all of his pawns in Tom King’s Batman run. While the issue does suffer from the usual King-isms (long winded diatribes taking up entire pages, lack of explanation for possibly crucial plot points, like how Thomas came to this world, and the general pretentiousness in dialogue structure) they don’t pull the issue down in a distracting way. While mildly annoying, they fit this story very well and continue to expand on Bruce’s reverence for his mother, introduced in the “I Am Suicide” arc and furthers him being resolute in his mission.

Bane’s going to have hell to pay when the Batman comes for him. High recommend.