Comic Book Friday: Batman ’89

Comic book movies have always cited original source material, but it wasn’t until the advent of the MCU that said movies attempted to be interconnected as some of the most memorable storylines in comic books have been. So, while Tim Burton’s Batman may have introduced some possible story threads for future use, there wasn’t always a guarantee there was a plan in place or a long-term payoff.

One example is the inclusion of Billy Dee Williams as Harvey Dent. Fans of the comics would get the Easter Egg and hope for an eventual payoff of Williams’ character becoming Two-Face. Alas, creative differences between Burton and the studio over Batman Returns meant this thread was jettisoned and we got Tommy Lee Jones chewing scenery as Two-Face instead of Williams.

This brings us to Batman ’89, a six-part story that imagines what could have been had the original outline for a third Burton-directed Batman installment seen the light of day.

The six issues here feel very episodic and only tangentially connected by a running thread of Dent’s campaign to clean up Gotham and his evolution into Two-Face. The big problem is that Christopher Nolan and company gave us this story on the big-screen and the story that unfolds here feels like it’s borrowing some of the bigger stories beats from that version. I get there are only so many Two-Face stories out there, but I was hoping for a different take on this than what we got.

More interesting is the lurking presence of Michelle Pfeiffer’s Catwoman and the emergence of Marlin Wayans’ Robin to this niche of the Batman universe. Seeing Keaton’s Bruce Wayne/Batman conflicted about his relationship with each of them is a nice touch, even if the whole Catwoman thread kind of goes off the rails in the final installment.

There are a few other gems in here, but overall, the story doesn’t necessarily live up to its full potential. That said, it’s still a fascinating “what if” exercise into a universe that it appears we may not see on-screen again (despite Keaton filming some cameos) in the near future.

Comic Book Review:Spider-Man: The Spider’s Shadow

After enjoying Spider-Man: Life Story, I was optimistic to see what Chip Zdarsky might do for an encore. The result is the fairly disappointing extended “what if” story The Spider’s Shadow.

What if instead of giving up the symbiotic black costume when Reed Richards warned him about it, Peter Parker kept it and gave himself over to its dark nature?

Well, according to this collection of five issues, Peter Parker would become public enemy number one, slaughtering multiple members of his rogue’s gallery along the way because the Hobgoblin kills Aunt May. There’s always been a bit of a dark undercurrent to the story of Spider-Man, though many writers haven’t really explored that side of things. Zdarsky did that over the course of Peter’s life in Life Story and maybe part of my issue here is that the timeline is simply too compressed to make for a satisfying story like the original collection was. Seeing Peter slowly descend into darkness makes sense and the question of “what if” Spidey had a really bad day and was pushed too far is an intriguing one.

But this could be one of those stories where it goes too dark and possibly too far. I get that Venom is a violent, dark mirror of Spider-Man — a creature that is the bonding of two entities that hate Peter Parker. And the idea the alien costume might feed into some of Peter’s internal self-doubt and loathing is an intriguing one. But honesty, the concept of Peter going dark was better realized in the animated series from the 90’s when the dark suit was brought into the story. I guess I wanted to see Peter do more than just become a violent sociopath who kills or hurts everyone around him before getting a bit of redemption and an obligatory happy ending.

Like a lot of modern comics, this feels like a story that was expanded a bit too much for its running time. Life Story had each issue focus on a decade of Peter’s life. This one just seems to run along from violent point to horrifying cliffhanger.

I wanted to enjoy this a lot more than I did. A bit of a disappointment.

Comic Book Friday: Symbiote Spider-Man

I’m guessing this limited series hit shelves when Spider-Man: Far From Home was hitting theaters to tie-in to Mysterio featuring in that movie.

Set during the time when I was really into Spider-Man comic books and written by one of my favorite authors, Peter David, Symbiote Spider-Man should be right up my alley. And yet, I can’t help but come away from it feeling that it was good, but not necessarily great.

Set in the time before Spidey knew his alien costume was a symbiote looking to bond with him for life, this five-part storyline has Spidey squaring off with Mysterio and the Kingpin. Mysterio is determined to find out as much as he can about Spidey’s alien costume and to be seen as a bigger foe of our web-slinger than maybe many (including the reader) believe he actually is.

It’s a decent enough little story arc, slipped into the main storyline of the time. I will admit that the part that intrigued me the most was Felicia Hardy and Aunt May meeting and discussing Peter at the cemetery with Uncle Ben is buried. David makes these scenes alone worth the price of admission.

But the rest with Mysterio blackmailing Black Cat to get a sample of the suit and becoming symbiote Mysterio — I could take or leave. It was intriguing but you know it’s not going to all go anywhere in the long run.

Comic Book Review: Spider-Man: Bloodline by J.J. & Henry Abrams, Sara Pichelli, Dave Stewart

Well, it appears that J.J. Abrams’ son Henry has inherited his father’s ability to start off a story well but has no idea how to stick the landing.

This five-issue mini-series event is a bit of a disappointment on the writing side. A new villain called Cadaverous kills Mary Jane and a bunch of other superheroes, sending Peter Parker into exile. A decade or so later, Peter is estranged from his fifteen-year-old son Ben and has left Ben in the hands of Aunt May as he travels the globe for the Bugle. But Ben is starting to have strange occurrences in his life, like sticking to walls and the ability to take out bullies with a single punch. Before you know it, Ben has discovered he’s got Spidey powers and Cadaverous is alerted that Spider-Man is back on the scene and can be used to complete whatever the hell plan it is that Cadaverous has dreamed up.

Bloodline feels like an extended mini-series based on the MCU more than the comic-book storylines surrounding Spider-Man — and that’s not a bad thing, per se. If there’s one thing Into the Spider-Verse showed us, it’s there can be multiple variations of Spider-Man without necessarily wrecking things.

But as I started out saying, the big issue here is Henry Abrams’ writing. It’s all over the place, pulling in things like Tony Stark, the Avengers, and other MCU items without necessarily thinking things through. If you’re all about a big reveal that doesn’t require much thought or internal continuity, this is the mini-series for you. However, Spider-Man has always been about something more than just big reveal after big reveal for me — it’s about investing in the character of Peter Parker — or whoever is taking up the Spider-Man mantle. And that’s where this mini-series ultimately fails. Yes, Ben Parker is Peter and MJ’s son, but beyond that, there is little or any character arc in play to give us a reason to care about. And since Peter turns into a distant father, there’s little, if any reason, to invest much in him either.

The story does try to go for a huge emotional twist in the final issue with mixed results. Again, I hadn’t invested enough in the characters to really feel anything more than a shoulder-shrug when said reveal takes place.

And the ending is all over the place. So, maybe J.J. wrote this with his son.

Putting the plot aside, the artwork for this miniseries is superbly done. I grew up reading reprints of the Steve Ditko and John Romita eras, and those will always be my favorites when it comes to Spider-Man. But the art by Sara Pichelli for this mini-series event evokes the best of Ditko and Romita. It’s colorful and easy to distinguish each character over the course of the five issues. There are a few striking panels in here that made me pause to just enjoy them before turning the page and continuing to roll my eyes at the plotline.

Comic Book Friday: The Amazing Spider-Man Volumes 5 & 6 by Nick Spencer

I loved Spider-Man comics growing up. I still do, but I’m not quite devoted enough to keep up with the comics on a regular basis. Hence, I love the opportunity to check in on my favorite superhero when my library gets the latest collect editions of The Amazing Spider-Man.

Recently, I picked up three new collections featuring Nick Spencer as the head Spidey writer and featuring cover blurbs about how great his work was on Marvel’s flagship title. And after reading “Hunted,” I could see what the positive buzz was about.

Then there came the next two collections.

Review: The Amazing Spider-Man, Volume 4: Hunted by Nick Spencer

While reading through the Marvel Masterworks reprints of The Amazing Spider-Man, I encountered the first appearance of a lesser-known Spidey foe, the Gibbon. The Gibbon wasn’t exactly what you’d call even a B-list or C-list level of villain for Spider-Man. Beyond the hook of the Gibbon wanting to be an ally to Spider-Man (mirroring a bit Spidey’s attempts to join the Fantastic Four back in the day), I’d argue there wasn’t much memorable about the character.

So, imagine my surprise when reading this story arc, “Hunted,” when I found myself getting a lump in my throat when the Gibbon is killed off in the issue focusing on him. Somehow Nick Spencer took what was a minor villain in the Spidey-verse and not only made me connect with and care about him, but he actually made me get a bit weepy when he died.

That alone has to be worth an extra star when it comes to rating this arc in the current run of The Amazing Spider-Man.

Comic Book Friday: Star Trek: Year Five: Odyssey, Volume 1

The final two years of the starship Enterprise‘s five-year mission have proved a fertile ground for storytelling and examination over the past several decades. Pocket Books has multiple tie-in novels from the era and then a hit-or-miss series about the “Lost Years” between the end of the five-year mission and the start of the motion picture series.

Now, IDW attempts to give fans the final year of Captain James T. Kirk and company’s tenure on the starship Enterprise with Star Trek: Year Five. This collection of the first six issues of the series contains three complete “episodes” that attempt to blend the stand-alone storytelling of the original Star Trek with the season-long arcs that are prevalent today. The hybrid works well enough, giving us some interesting character exploration as Kirk faces the prospect of becoming an admiral coupled with regrets about his past (his relationship with Carol and David Marcus serves as a launching point for the middle installment of the arc). There’s even an apparent rift developing between Kirk and Spock (which interestingly plays into Pocket Books’ “The Lost Years” saga) and the crew potentially becoming involved in some squabbling between the Tholians (last seen trapping our crew in their web).

The storytelling and artwork for these six collected issues is spot-on an feels like they came right out of a potential fifth season of the classic series. It’s interesting to see the crew go back to “A Piece of the Action” to examine the implications of McCoy leaving his communicator behind (this is also explored by Peter David in his comic arc “The Trial of James T. Kirk” for D.C. years ago). The characters are well represented and some of the crew that aren’t Kirk, Spock, or McCoy get a moment or two to shine as well.

In short, this is a diverting and entertaining collection of stories that Star Trek fans will enjoy.

Review: The Amazing Spider-Man Epic Collection, Volume 7: The Goblin’s Last Stand

Like classic Doctor Who, comic books published during the Silver Age don’t necessarily hold up well to being binged.

Collecting two years of issues from the run of The Amazing Spider-Man, this volume has some of some series highs and some series moments that may leave you scratching your head a bit. Of course this collection includes the pivotal and comics changing “The Night Gwen Stacy Died” arc, seeing us lose not only Peter Parker’s love interest but also the original Green Goblin over the course of two pivotal issues. This story and the one after it stand out as some of the most intriguing from this influential run, as does a multi-issue run with Doc Ock battling Hammerhead to become the crime boss of New York, all with Aunt May caught in the middle.

There’s also a sojourn to Canada to battle the Hulk and track down and trace down an old family mystery to add to the intrigue.

But then there’s a couple of forgettable enough stories in there as well. While the return of Flash Thompson from the Vietnam War and the implications this has for the character and his friendship with Peter Parker still echo today, there are a few moments that haven’t aged as well and are less than politically correct today.

And then there’s the Gibbon. This multi-issue arc sees a character who wants to be Spidey’s partner in crime fighting only to be humiliated by Spider-Man and then taken under the wing of Kraven the Hunter. It sounds silly and it doesn’t come across much better on the printed page. Odds are they won’t be raiding this arc for future Spider-Man movies. And there’s probably a reason that the Gibbon doesn’t make the upper pantheon of great or even so-so Spider-Man villains.

Comic Book Friday: Batman Volume 7: The Wedding

As Kevin Smith has often pointed out, comic books are mainly concerned with the middle part of the story. This explains why certain plot points are introduced in one issue only to see them nullified a few issues later. Such is the case with superhero relationships and potential romantic pairings.

So it is with Batman and this collection of issues leading up to the big marriage of Batman to Catwoman. Either the series was getting ready to have a major change to the status quo of Batman or else there would be a big reset button hit before Bruce Wayne and Selina Kyle got to the altar.

SPOILER ALERT: It’s the reset button.

But even before we get to the altar, there are about a hundred pages of treading water to get us there. Putting aside the double sized issue that is the wedding issue with splash pages by some of the most influential names in Batman lore, there are two collected arcs here leading up to the wedding. One is Booster Gold trying to make Batman happy and failing miserably at doing so (which should be a warning as to where all this is going) and the other is Joker and Catwoman battling it out, becoming mortally wounded and then discussing their history together for what feels like an eon.

I was beginning to get frustrated with both stories without having to wait a month or so between issues. Whether I would have enjoyed them more in single installments spread out over time is up for debate, but I have a feeling I’d be left feeling frustrated.

I’ve heard some good things about Tom King’s run on the Dark Knight. And I suppose he had some big shoes to fill when Scott Snyder left. But from what I’ve read here, I’m not in a huge hurry to pick up more of his collected editions. I may at some point out of curiosity. But I am not exactly in a hurry.

Comic Book Friday: Batman: White Knight

DC’s Black Label line of comics has caught a bit of flack lately for a recent installment that brought Batman’s genitalia to light (or in the case of said panel, in shadowy highlight that somehow slipped past the censors at DC and has ensured that issues with the panel in tact will go for a high dollar value on the collector’s market). This isn’t exactly what I had in mind when I heard that DC was publishing a line of comics that were intended for adult audiences.

So, it was refreshing to find that the eight issues making up Batman: White Knight did what I wanted a comic book aimed at adult to do — namely, not just rely on flashes of nudity and swearing in order to be “adult.”

The premise is a fairly intriguing one. What if Batman and the Joker switched places in how the citizens of Gotham viewed them? Both are vigilantes who operate outside the law, but Batman has always done so with the tacit endorsement of Jim Gordon and the police while the Joker hasn’t. As this series so intriguingly points out, it’s Batman who causes just as much destruction in his wake taking down the various villains who show up to take on the Caped Crusader. Exactly where the millions of dollars needed each year to rebuild Gotham and how those funds are allocated is just one of the intriguing questions delved into over the course of these eight issues.

The early issue finds Batman and Joker’s battle of wills reaching a new height. After nearly beating the Joker to death with his fists, Gordon and some members of the police force begin to question their loyalty to and endorsement of Batman. When the Joker starts taking a medication that slowly reduces his more manic side and he decides to run for city government, public sentiment begins to turn from the Caped Crusader to the Crowned Prince of Crime. Seems all he needed was the love of a good woman in the first Harley Quinn (the series gives us two women who play Harley to the Joker, thus ticking off a few continuity boxes from how we saw Harley in the animated series and how she was in the big-screen Suicide Squad and the right medication.

But how effective is the medication really? And is the Joker playing some sort of long game to slowly undermine the Batman’s support mechanisms and destroy him once and for all? Could it be that the Joker would rather see his adversary in ruins rather than dead?

It makes for a fascinating story and one that it feels like Batman comics could or should have delved into before now.

If there’s one complaint I have about this collection, it’s that the final issue feels like it’s too quick to wrap things up. I understand there is a follow-up coming our way in the near future and I suppose they had to leave room for more stories to tell, but I couldn’t help but feel that the final installment didn’t stick the landing as effectively as it could or should have.