Injury to Eye Motif

Justice League: War (2014): The second animated film in the just-completed DC Animated Movie Universe (the first was The Flashpoint Paradox) reimagines the origin of the Justice League. War mostly adapts the somewhat clunky, post-Flashpoint reboot in the DC Comics universe, though it substitutes Shazam (aka the original Captain Marvel) for Aquaman. It's actually better than its Geoff Johns/Jim Lee source, though it's still burdened with some of Lee's fussy, busy superhero costume re-designs, none worse than on Superman's high-collared, no-red-trunks look.

It's also better than the live-action Justice League movie, which also adapted that Johns/Lee graphic novel/first six issues of the new Justice League. That it also explains both the origins of the heroes who  need one (Cyborg) better than the movie AND deploys Darkseid rather than his lieutenant Steppenwolf in the invasion of Earth -- well, maybe the DC Movie Universe needs to hire more people from the animation wing to work on the live-action movies.

Two somewhat perverse elements may amuse or freak out the casual viewer. For one, Alan Tudyk voices Superman, one of the most baffling voice-casting choices ever (Tudyk voices the Joker in Adult Swim's Harley Quinn series, as a point of comparison). Of course, the voice-casting here, as in the Young Justice series, deliberately establishes this as a different universe than the DC Animated shared universe of Batman: The Animated Series, Superman, Batman Beyond, and Justice League [Unlimited].

The second involves a lengthy climactic battle in which the heroes' goal is to poke out Darkseid's eyes. I shit you not!!!! In any event, recommended.

Superman and the Justice League of America (1992)

Superman and the Justice League of America Volume 1 (1992/ Collected 2016): written by Dan Jurgens and Gerard Jones; illustrated by Dan Jurgens, Rick Burchett, Ron Randall, and others: From the months before 1992's Death of Superman event comes this collection of Justice League stories. 

In the continuity of the time, Superman didn't help found the Justice League and had never really been a member. Until now! I have a feeling adding Superman to the roster was part of the set-up for the Death of Superman. And maybe an attempt to boost sales for the decidedly underpowered, underpopular Justice League of 1992.

After a double-sized special introducing the new Justice League (and reintroducing classic JLA foes The Royal Flush Gang!), the regular stories are written by Dan Jurgens and drawn by Jurgens and finisher Rick Burchett. Jurgens and Burchett deliver solid, meat-and-potatoes superhero storytelling. 

That can often look like genius 25 years on when compared to today's often over-rendered, over-coloured, and poorly coordinated superhero comics. One can actually follow the action from panel to panel and page to page in Jurgens' work. Wow!

Jurgens and company do a good job with an underwhelming group of Justice League members and a bunch of sketchy super-villains. They manage to create a good storyline around better-left-forgotten JLA foe Starkiller. They manage to make C-list heroes that include Fire, Ice, Maxima, Booster Gold, and Blue Beetle interesting. They manage to make a satisfying mystery out of new hero Bloodwynd. 

Through it all, Superman, also written in his own title by Jurgens at the time, is his usual decent, occasionally self-doubting self. You'd think he'd been a Justice League member before! Recommended.

Superman and the Justice League of America Volume 2 (1992-93/ Collected 2016): written by Dan Jurgens and Dan Mishkin; illustrated by Dan Jurgens, Dave Cockrum, Rick Burchett, Sal Velluto, and others: The Death of Superman arrives early in this volume, which reprints only the one issue of JLA that was part of that story arc. It's not like it's hard to find a copy of the Death of Superman story from 1992, so stop complaining!

Superman's brief leadership of the JLA comes to an end off-stage, then, after which we deal with the aftermath. Superman went into battle with his killer Doomsday after the mysterious juggernaut mopped the floor with the rest of the JLA. This reality has left the JLA feeling like a failure. Well, and Blue Beetle is in a coma after getting his head somewhat crushed by Doomsday. Booster Gold's power suit is also in dire, perhaps irreparable shape. Everyone is bummed.

Before the Death of Superman comes 1992's JLA Annual, a double-length story that's part of DC's title-wide Summer Crossover Event featuring Silver Age cult character Eclipso as the villain. While the story is obviously inconclusive and not really a standalone, it's notable for art by New X-Men great Dave Cockrum, who supplies some nifty visuals, especially of Superman.

In the issues After-Death, the JLA mopes a lot until being forced into what is a really strong four-parter dubbed Destiny's Hand. It's a great 'short-long' story arc that nods to the JLA's past without sacrificing sense or clarity to continuity. It really is a gem of a story. It also manages to nod to past JLA rosters that were in 1992 'out of continuity' without requiring the reader to be aware of this if that reader doesn't know those pre-1986 JLA rosters.

Destiny's Hand is sly. And it slyly uses long-time JLA villain Dr. Destiny. By 1992, Destiny was best-known by comic-book readers as the villain in the first arc of Neil Gaiman's Sandman. There's a nod to that as well in the storyline that doesn't require the reader to know Sandman. Does Destiny's time in the realm of Sandman allow him to remember JLA rosters that never 'existed' in this continuity? Good question!


As the collection ends, so too does Dan Jurgens' year-plus stint as writer and co-artist. It was a very good year. Well, really more like 18 months or so. Recommended.

Justice League (2017)

Justice League (2017): written by Joss Whedon, Chris Terrio, and Zack Snyder; directed by Zack Snyder and Joss Whedon; based story-wise on works by James Robinson, Gardner Fox, Nicola Scott, Mike Sekowsky, Geoff Johns, and Jim Lee; starring Ben Affleck (Batman), Gal Gadot (Wonder Woman), Amy Adams (Lois Lane), Ezra Miller (The Flash), Jason Momoa (Aquaman), Ray Fisher (Cyborg), Jeremy Irons (Alfred), Ciaran Hinds (Voice of Steppenwolf), Amber Heard (Mera), Diane Lane (Martha Kent), and Henry Cavill (Superman):

A partial list of mainstream superhero movies to which the hilariously maligned Justice League is clearly superior:

• Batman Forever
• Batman & Robin
• The Dark Knight Rises
• Hulk 
• The Incredible Hulk 
• Iron Man 2
• Avengers: Age of Ultron 
• Thor
• Thor: The Dark World 
• Dr. Strange 
• Man of Steel
• Suicide Squad
• Batman v. Superman: Dawn of Justice
• Superman III
• Superman IV 
• Superman Returns 
• X-Men: The Last Stand 
• X-Men: Apocalypse
• Wolverine: Origins 
• The Wolverine 
• Spider-man 3
• The Amazing Spider-man 2 
• Fantastic Four
• Fantastic Four: Rise of the Silver Surfer
• Fantastic Four reboot...

I liked Justice League more on re-watching on TV, where the humour stands out more than the CGI bombast. I'm guessing 95% of that humour comes from Joss Whedon's frantic work to make Zack Snyder's scenes lighter, funnier, and less Ayn-Randish. Would I have gone with Jack Kirby's least interesting New Gods villain as the big bad, especially given that he shares a name with both a cult novel and a 1970's rock band? Probably not. Recommended.

Justice League (2017)

Justice League (2017): written by Joss Whedon, Chris Terrio, and Zack Snyder; directed by Zack Snyder and Joss Whedon; based story-wise on works by James Robinson, Gardner Fox, Nicola Scott, Mike Sekowsky, Geoff Johns, and Jim Lee; starring Ben Affleck (Batman), Gal Gadot (Wonder Woman), Amy Adams (Lois Lane), Ezra Miller (The Flash), Jason Momoa (Aquaman), Ray Fisher (Cyborg), Jeremy Irons (Alfred), Ciaran Hinds (Voice of Steppenwolf), Amber Heard (Mera), Diane Lane (Martha Kent), and Henry Cavill (Superman):

Saw Justice League at the 12:45 p.m. show in Galleria on opening day. The 'print' arrived late so they hadn't done a sound-check before showing it. Oops! 

The first ten minutes played without any noticeable treble in the mix (seriously!), which made for an interesting audio experience. I wondered if Christopher Nolan had done the sound mix until they stopped the movie, fixed the sound, and started again from the beginning.

Then for another ten minutes or so, the theatre made almost inaudible announcements that it was seeking out the source of the fire alarm (which we couldn't hear) and not to panic. Friday was a PA Day for kids. Damn kids going to a superhero movie in the afternoon and pulling fire alarms! Rascals!

Also they never quite got the movie framed properly. But then we all got free passes at the end of the show, so really, who's complaining? Though it did all make me wonder if Disney is paying people to sabotage the film.

As to the film -- well, the stitches between the fairly light-hearted, earnest or snarky Whedon scenes and the glum, occasionally straining-to-be-funny Snyder scenes are pretty obvious. Whedon also turned up the Brightness, which means Superman is actually dressed in bright blue and red for the first time in the DCEU movies, so that's good. 

Whedon clearly also had the job of hacking and slashing the movie down to two hours, and having it be basically 'stand-alone' rather than Part One. So Darkseid gets only one mention, though it's clear that the big bad works for him (the villain is Steppenwolf, who is a Kirby New Gods character whom writer James Robinson promoted to Darkseid's world-conquering general in the Earth-2 comic series from 2012). 

The hacking and slashing results in some pretty funny 'infodumps' which end up feeling like homages to the crazily fast-paced, Gardner-Fox-scripted Silver Age Justice League comics from the 1960's. The explanation of what a Mother Box is is especially... compact... as is an exchange between Aquaman and Atlantean Mera (Amber Heard) which condenses Aquaman's back story into about 45 seconds of dialogue.

The acting is pretty solid. The Flash is genuinely funny and charming. Jason Momoa's Aquaman seems to have been written as a surly underwater hillbilly Wolderine by Snyder and as a jolly underwater stand-up comedian by Snyder. Cyborg is, well, a cipher.

Also, somebody (probably Snyder) basically restages the opening battle against Sauron from Fellowship of the Ring as part of the backstory of Steppenwolf's previous invasion of Earth, and even frames it in terms of it being the last time the various races of Earth (Atlanteans, Amazons and Greek Gods, and what seems to be King Arthur and his knights) united against a common foe. I kid you not. Wonder Woman narrates, per Galadriel in LOTR: TFOTR...

Bonus points for including parademons and getting a mention of Kirby's New Gods into the dialogue. Fun fact: the movie's 'Unity' seems to pretty clearly Jack Kirby's Anti-Life Equation restated euphemistically.

Though the only two rational explanations for Superman's unintentionally funny, late-movie line to Bruce Wayne ("How did you get the farm back from the bank ?!?!?") are that Superman doesn't understand how money works or that Lex Luthor owned the bank that foreclosed on the Kent farm.

Also, maybe it's swim-suit season on Themyscira, Snyder-haters! Did you ever think of that?

There are two end credits sequences, one early and one right at the end. Plan accordingly.

Hey, the movie is only 2 hours and one minute long. Kudos! My butt thanks you!

Far better than a lot of superhero movies, a list that includes Whedon's studio-garbled Avengers: Age of Ultron, The Dark Knight Rises, Superman III, Superman IV: The Quest for Peace, Spider-man 3, Amazing Spider-mans 1 and 2, X-Men: The Last Stand, Guardians of the Galaxy 2, the first two Thor movies, Dr. Strange, the two Hulk movies, Wolverine: Origins and The Wolverine, Batman Forever, Batman and Robin, X-Men: Apocalypse, Ant-man, Superman Returns, Man of Steel, Batman v. Superman, Suicide Squad, and many others. Recommended.

Mullet Time

Superman Vs. Aliens (1996): written and pencilled by Dan Jurgens; inked by Kevin Nowlan: 20 years ago, DC and Dark Horse put out this fairly nifty battle between Superman (still in his mullet phase) and the Alien film franchise. It was a time when the Kryptonian Supergirl was still gone from DC continuity. That fact explains much of the storyline, in which Superman responds to a distress signal from a domed city in space that appears to have once been part of Krypton. It comes complete with a spunky blonde girl named Kara who's pretty much the image, in appearance and name, of the pre-1987 Supergirl.

The story is a bit heavy on the then-continuity of the Superman comics, from the mullet to the absence of Lex Luthor from the storyline. Superman can't travel unaided through space for long at this point in his career, necessitating some technology help from LexCorp. Or LuthorCorp. Whatever. 

It's solid, unspectacular, and relatively unbloody fun. There's a bit too much harping on Superman's decision not to kill anything, including hordes of acid-blooded aliens. Is this a workable moral stance for the Man of Steel under the circumstances? Well, yes, but as written it relies an awful lot on other people killing aliens, which makes the moral stance seem awfully dubious, if not completely daft. A sin of omission rather than commission is still a sin.

Inker Kevin Nowlan makes the normally straightforward pencils of writer-penciller Dan Jurgens broody, moody, and intermittently menacing. It's a great job of inking in terms of establishing a tone a penciller isn't known for -- Nowlan did something similar with his inks on the sunny Jose Luis Garcia Lopez's Dr. Strangefate during the Marvel/DC crossover around the same time. Lightly recommended.

JLA: Justice League of America: Power and Glory (2015-2016): written by Bryan Hitch with Tony Bedard; illustrated by Bryan Hitch with Tom Derenick, Scott Hanna, Daniel Henriques, Wade von Grawbadger, Alex Sinclair, and others: Maybe getting the perennially late Bryan Hitch to both write and draw a new Justice League comic book way back in 2015 wasn't such a great idea because, well, perennially late. 

It took so long for the nine issues of his initial story arc to appear that DC had already rebooted Hitch's Justice League title (now known as Justice League and not JLA: Justice League of America) when the last issue of this title came out. And by rebooted, I mean, there were as many issues of the subsequent title on the stands as there were of this title when that last issue appeared. Whew!

Hitch writes the reboot, but the art has been left to others. That's too bad because of Hitch's strengths as an artist, strengths that outweigh his strengths as a relatively new writer. Hitch's art, a career-long riff on Neal Adams and Alan Davis, made him a superstar nearly 20 years ago in the pages of ultra-violent superhero book The Authority. And he does good work here -- 'widescreen,' as they say, cosmic though sometimes crowded.

His writing seems a bit padded at times. Nine issues seems like about two issues too much here, with about 40 pages too many of running back and forth without resolving anything plot-wise. Hitch's new Justice League has shorter story arcs so far, suggesting that something may have been learned.

Power and Glory pits Superman, Wonder Woman, Batman, and the usual gang of super-powered idiots against the Kryptonian Sun-god Rao, who arrives in near-Earth space with a whole lot of super-powered followers and an offer to bring peace, health, and long life to all the citizens of Earth -- and indeed, someday, everyone in the universe. He's initially greeted as a saviour. And of course there's a catch.

Hitch throws a lot of super-science and bombastic, epic battles around the nine issues. And time travel, strange visitors with hidden agendas, and weird standing stones waiting to fulfill some plot point or another. It's good, overlong fun. One caveat: in order to finally put a capper on this story (and this JLA title), DC elected to have other people write and draw the final issue, with only the plot by Hitch. Given how long readers had waited by this time, a few more months could probably have been survived if the end result was an all-Hitch writing-and-drawing issue. Oh, well. Recommended.

Crisis after Crisis

JLA: Tower of Babel (2000/ Collected 2001): written by Mark Waid, D. Curtis Johnson, John Ostrander, and Christopher Priest; illustrated by Howard Porter, Drew Geraci, Eric Battle, Ken Lashley, Prentis Rollins, Ron Boyd, Mark Pajarillo, Walden Wong, Steve Scott, and Mark Probst: Mark Waid began his run on JLA [Justice League of America] back in the year 2000 by pitting the League against its greatest enemy yet. 

Of course, that enemy was a founding member of the League itself who came up with secret contingency plans to take out every member of the League in the event of an emergency. Unfortunately, that founding member's security wasn't as secure as the member believed. A super-villain gets the information and uses it, crippling the world's mightiest heroes as part of a plan to wipe out as much of humanity as possible so as to save the Earth.

Who is that member? Well, technically it's a spoiler. All I'll say is that it isn't Aquaman.

Waid's contemporary Silver-Age grooviness and knack for superhero characterization and plausibly implausible super-scientific threats make this particular story arc sing. Departing JLA penciller Howard Porter handles most of the art duties in his usual craggy, energetic style. 

The fill-in issues and stand-alone stories by other hands collected here are all very enjoyable as well, especially the opening story penned by D. Curtis Johnson, which reads like a lost JLA story from the Denny O'Neil era of the 1970's. Highly recommended. 

JLA: Syndicate Rules (2004-2005/ Collected 2006): written by Kurt Busiek; illustrated by Ron Garney and Dan Green: Among other things, the Syndicate Rules arc is a sequel to JLA/Avengers, also written by Kurt Busiek. This is never stated completely outright because DC doesn't have the rights to actually name the Avengers in a DC-only book, but there it is regardless. And it's really a fine sequel to that gigantic, over-stuffed, bombastic, hyper-enjoyable DC/Marvel crossover. We even get two artists then mainly associated with Marvel, Ron Garney and Dan Green, on the art duties. 

This is also a follow-up to Grant Morrison and Frank Quitely's JLA: Earth-2 graphic novel, which introduced new versions of the evil, alternate-Earth Crime Syndicate of Amerika to the early-oughts DC Universe. They're evil, anti-matter versions of Superman, Wonder Woman and company first introduced way back in the 1960's when Gardner Fox and Mike Sekowsky did the Justice League of America.

Anyway, Busiek is one of the masters of extrapolating and expanding and expounding upon comic-book continuity without making that continuity ponderous or onerous. And he's an expert at the necessary short-hand of mainstream superhero characterization. Syndicate Rules rings some interesting variations on old JLA/CSA stories while also adding new dimensions to this inter-dimensional tussle. Busiek also manages to give Silver-Age Green-Lantern-foes The Weaponers of Qward an interesting back-story while also making them a real threat to villains and heroes alike.

Ron Garney and inker Dan Green do nice work on what for them were unfamiliar characters at the time. This is an extremely action-packed saga, and Garney and Green render the action in convincing, epic fashion throughout. An enjoyably rousing, clever, and beautifully plotted story arc. Highly recommended.

Dragons in Underpants

Nextwave: Agents of H.A.T.E. (2007-2008): written by Warren Ellis; illustrated by Stuart Immonen and Wade Von Grawbadger: Fast-paced, hilarious, and nasty. Warren Ellis takes a handful of minor Marvel heroes and uses them to parody pretty much everything about superhero comics past and present while also delivering plenty of high-speed, densely plotted thrills and chills and a certain number of spills. 

Nextwave only survived for 12 issues, which is a shame, though it ends at pretty much the right place. Along the way, Ellis and his brilliant cartooning collaborator Stuart Immonen take the piss out of S.H.I.E.L.D., Fin Fan Foom, Captain America, the United States of America, and boring comic books. This is one of the funniest, funnest things Ellis has ever written. Stuart Immonen's deft, uncluttered cartooning constantly pleases and thrills and elicits laughs at the appropriate places. Highly recommended.

JLA: A League of One (2000): written and illustrated by Christopher Moeller: Moeller was mainly known for his fantasy painting when this graphic novel came out. And it is a fantasy adventure of a sort. A typically oblique warning from the Oracle at Delphi causes Wonder Woman to figure out how to get the rest of the Justice League out of the picture so that she can go it alone against the newly reawakened last dragon. Yes, dragon. 

The Oracle claims that the Justice League will die if it confronts the dragon. The Justice League being the Justice League, Wonder Woman realizes that she'll have to trick them out of the fight -- there's no way otherwise they will let her fight alone against a 200-foot-long dragon. Moeller's painting is fine and often quite interesting -- the dragon looks great, and he gives the members of the Justice League recognizably human-type proportions. He also uses Wonder Woman's connection to Greek myth in effective ways, though having a dragon out of Northern European mythology as an antagonist really isn't Greek at all, is it? 

Like a lot of 'event' graphic novels of its time at the turn of the century, A League of One is embedded a bit too firmly in existing continuity, making it seem at times like a really long Annual rather than a special, standalone volume. Still, more fun than a lot of superhero stuff, and with some appeal to fans of fantasy and sword-and-sorcery. Recommended.

Jew Gangster (2005): written and illustrated by Joe Kubert: The art is typically great Joe Kubert, pared down after seven decades of cartooning (!!!) to an evocative, spare combination of lines and shadows. Kubert's writing isn't as good as his cartooning. The plot is a fairly rote fall-from-grace story of a young man's transformation into a gangster. It also seems to end about halfway through a narrative. But while the characters and situations are often only slightly reworked clichés, the art is finely observed and completely human-sized. Recommended.

We Must Imagine That Sisyphus Is Lex Luthor

What If? Classic Volume 7:  written by Peter Gillis, Alan Zelenetz, and Mark Gruenwald; illustrated by Butch Guice, Marc Silvestri, Ron Frenz, Sal Buscema, Ron Wilson, Kelley Jones, Dave Simons, Joe Sinnott, Sam Grainger, Mel Candido, Ian Akin, Brian Garvey, Sam de la Rosa, Mark Gruenwald, Jack Abel, and Bill Sienkiewicz (1983-84; Collected 2014): This collection of the final issues of Marvel's first run of What if? is a blast. Peter Gillis writes all but two of the stories included herein, and while he may have been a young writer at the time, he was already a very good one.

What if? spun stories off from (mostly) major events in the Marvel Universe while also serving as a showcase in many issues for up-and-coming artists. Early work from artists Butch Guice, Kelley Jones, Marc Silvestri, and Ron Frenz appears here, and it's generally quite good. Indeed, Guice's work really shines in a sometimes over-rendered way on the first (and best) story in the volume, "What if Doctor Strange never became Master of the Mystic Arts?", written by Gillis. This isn't just a great What if?, it's a great Doctor Strange story.

The other two stand-outs, also written by Gillis, involve Captain America not being thawed out until the (then) present day of the Marvel Universe, and the terrible effects of Sue 'Invisible Woman' Richards dying in childbirth. Both stories are quite grim without slipping into the occasional death-for-death's-sake nihilism that was always the Achilles Heel of the What if? series, as both end on a note of hope and redemption. Unfortunately, an overly complicated set-up for a story about the Hulk "going berserk" leads into just such a work of grim pointlessness, but it's the only real failure in this volume. Recommended.

JLA Deluxe Volume 4 : written by Grant Morrison; illustrated by Howard Porter, John Dell, Mark Pajarillo, Drew Garaci, Frank Quitely, Ed McGuinness, and Dexter Vines 4 (1999-2000, 2004-2005; collected 2010): Grant Morrison's late 1990's run on JLA (Justice League of America) ends in this over-sized volume which also includes Morrison and artist Frank Quitely's terrific JLA: Earth-2 graphic novel from the same time period and a JLA three-parter from 2005 that ties up a couple of loose ends from Morrison's JLA run while also serving as a prologue to his excellent and somewhat wiggy Seven Soldiers of Victory miniseries.

The JLA's final arc is World War Three, the culmination of a plot set in motion in the non-Morrison-penned JLA: Midsummer's Nightmare story that immediately preceded Morrison's relaunch of JLA in the mid-1990's. An ancient super-weapon capable of destroying the galaxy is on its way to Earth, and the super-heroes of Earth are the only people who can stop it. However, the weapon -- Mageddon, a "weapon created to kill gods!" -- sows chaos and war in advance of its arrival. It's also controlling a number of people on Earth who've been charged with destroying the JLA before Mageddon even arrives.

So we fight, on land, in the sea, in the air, and in space. Morrison's greatest contribution to the relaunched JLA was a commitment to epic menaces that only a group composed of Earth's greatest heroes (Superman, Wonder Woman, Martian Manhunter, Flash, Green Lantern, Aquaman, and Batman at the team's core and dozens of other heroes at various times during Morrison's run, from Catwoman to Plastic Man) could possibly defeat.

This time, even all the heroes of Earth may not be enough. But before it's all over Morrison and the pleasingly craggy regular JLA penciller Howard Porter will give readers an epic inversion of the usual 'small elite group of heroes saves poor old defenseless humanity' scene that almost always plays out at the end of any superhero story on the page or in the movies. 

Of the other two stories included here, JLA: Earth-2 is a delight. Frank Quitely's weirdly pleasing gallery of gods and grotesques is always fun to look at. Morrison riffs with obvious Silver Agey glee on long-time JLA foes The Crime Syndicate of Amerika, fun-house-mirror versions of the JLA from an alternate, anti-matter universe where Good is Evil and Evil is Good. It's far and away the most satisfying story about the Syndicate since writer Gardner Fox and artist Mike Sekowsky introduced them in Justice League of America back in the mid-1960's. It even spares a melancholy moment for an anti-matter Lex Luthor who is that alternate Earth's only hero as Wonder Woman contemplates his Sisyphean, never-ending failure against the forces of Evil.

Morrison's three-part story from 2005 with artist Ed McGuinness isn't the same sort of success: there's an unpleasantness about the Geoff-Johns-reimagined Gorilla Grodd, now a super-gorilla who actually eats brains rather than telepathically draining them, that pollutes every Grodd appearance since he became a carnivore. Oh Grodd, what have they done to you? Overall, though, highly recommended.

Calling All Super-villains

Forever Evil: written by Geoff Johns; illustrated by David Finch and Richard Friend (2013-2014; collected 2015): I guess if you ever wanted to see Bizarro-Superman kill Otis from Superman: The Movie, then this is the Event Series for you. The Crime Syndicate of an Earth parallel to that of the Justice League figures out how to take the Justice League off the board without actually fighting them. And then they invade and conquer the Earth. But they hadn't reckoned on Lex Luthor putting together a team of super-criminals to... save the world? Yep.

David Finch's artwork is suitably gloomy for this crossover event. Writer Geoff Johns does love the ultraviolence from time to time. Moreover, the seven issues collected here seem awfully padded in the middle, a classic case of gear-grinding so as to get the maximum number of crossovers from the entire DC line (there were about 200 Forever Evil issues of other comic books in addition to the core miniseries). Competent series but not all that much fun; the Crime Syndicate was a lot more interesting when introduced in the wacky Silver Age or re-introduced by Grant Morrison and Frank Quitely in a late 1990's Justice League graphic novel. Lightly recommended.

In Search of Galactus: written by Marv Wolfman; illustrated by Keith Pollard, John Byrne, Sal Buscema, Joe Sinnott, and others (1979-1980/collected 2010): From the sometimes fun, occasionally broody, and always wordy Marvel of the late 1970's (very late, given that we move into 1980 in the course of this collection) comes this collection of nearly a year's worth of Fantastic Four comics penned by Marv Wolfman.

Wolfman decided to wrap up the major plot-lines of his just-cancelled Nova series in the Fantastic Four comic, thus pairing the team with Nova and craptastic D-List superhero group New Champions for part of this adventure. The main adversary is the Sphinx, a super-powerful, immortal human with a yen to blow up the Earth. Outgunned, Reed Richards decides to find Galactus and get him to beat up the Sphinx. Why would Galactus do this? Because Reed will then waive the promise he received from Galactus to not eat the Earth. OK! This is a cunning plan.

There are also Skrulls, an aging virus that's going to kill all the members of the Fantastic Four not named the Human Torch in about three days, and a brief solo foray for the Human Torch with his buddy Spider-man at an evil college run by a forgotten FF villain from the later issues of the Stan Lee/Jack Kirby Fantastic Four. It's all enjoyably wordy, has some nice artwork -- especially from the John Byrne/Joe Sinnott team, who do a mean Galactus -- and goes down smoothly. 

Though why Galactus wants yet another Herald, given the 100% failure rate of the first three (beginning with the Silver Surfer, natch), is a great question. As we learn in this series that Galactus has a zoo on board his spaceship, perhaps his recurring need for a Herald is just an expression of his deep-seated but unacknowledged need for... a friend. Recommended.

Justice League of Amnesia

Justice League of America: The Greatest Stories Ever Told: written by Gardner Fox, Denny O'Neil, Martin Pasko, Gerry Conway, J.M. DeMatteis, Keith Giffen, Grant Morrison, Mark Millar, and Joe Casey; illustrated by Mike Sekowsky, Dick Dillin, Kevin Maguire, Doug Mahnke, Howard Porter, Terry Austin, and others (1962-2005; collected 2006): Brad Meltzer and Rags Morales' popular and controversial Justice League miniseries Identity Crisis had just come out when this volume was assembled. The selection criteria for this 'Best-of' collection thus became slanted to earlier Justice League stories that led somehow into Identity Crisis. It would have been a much better idea to create some sort of Justice League: Prelude to Identity Crisis volume, but no one ever accused DC of being sensible.

This assortment of Justice League stories is enjoyable, but very, very, very heavy on the Identity Swap trope that Identity Crisis would explore. And the first story seems to have been included because it introduces the handy element Amnesium to the Justice League (the memory-erasing substance had previously appeared several times in Superboy and Superman comics). Good old Amnesium. Lightly recommended.

Superboy: The Greatest Team-up Stories Ever Told: written by Leo Dorfman, Frank Robbins, Cary Bates, and others; illustrated by Kurt Schaffenberger, Dave Hunt, Bob Brown, Murphy Anderson, and others (1951-1981; collected 2011): Herein lies the template for Smallville and Arrow: early stories of a hero's career in which he meets pretty much everyone we thought he met much later. Aquaboy! Green Arrow, Green Lantern, and Batman before they were Green Arrow, Green Lantern, and Batman! Young Lex Luthor! Young Jor-El! Young Lori Lemaris! Time-travelling Jimmy Olsen!

The 1950's and 1960's material is especially breezy and occasionally very, very odd as it attempts to have its earlier meet-up cake and eat it too, or whatever. So teen-aged Jor-El gets his memory erased by Amnesium so that he doesn't remember meeting his own son on Earth. Superboy gets his memory erased so that he doesn't remember Supergirl's visit, a story which seems to also have a disquieting level of protosexual longing by Superboy for (first) cousin Supergirl. Lori Lemaris, Lana Lang, and Superboy all get their memories erased by Atlantean super-hypnosis so that none of them remember their earlier meeting. DC really should do a volume of the greatest memory-erasure stories ever told! Recommended.

Multiple Earths

Showcase Presents Justice League of America Volume 6: written by Len Wein, Martin Pasko, Elliot S! Maggin, Cary Bates, Denny O'Neil, and Gerry Conway; illustrated by Dick Dillin, Frank McLaughlin, Dick Giordano, Nick Cardy, and Ernie Chan (1973-1976; collected 2013): Fun collection of 1970's Justice League stories that synchronizes with my own first JLA comic books.

While editor Julius Schwartz used a lot of different writers at this point on the title, penciller Dick Dillin was a constant throughout. Indeed, JLA only had two different pencillers for the first 17 years or so of its existence, Mike Sekowsky and then Dillin. Dillin was solid, straightforward, and dependable -- so far as I know, he never missed a deadline, and he only left the book because he died (!).

He's "the" JLA artist for people of a certain age, an emblem of professionalism who knew how to tell a story, and could occasionally startle with some effects (here, he does some really interesting and memorable things with a wisp of smoke that gradually resolves itself into The Spectre over the course of an issue, as well as a fascinating couple of pages in which supervillain Libra expands while also losing all materiality). Also, Dillin's clean pencilling really looks good in the black-and-white Showcase format.

The stories are a lot of fun as well, with the post-Marvel psychology boom resulting in a certain amount of hand-wringing and soul-searching on the part of the Super Friends. Three unusual inter-universal crossovers appear, including a trip to Earth-X, where the Nazis won World War Two, and to Earth-2, the home of the Golden Age Justice Society which comes under attack by...a super-powered DC Comics writer named Cary Bates, previously of "our" Earth, Earth-Prime. Oh, Meta! All this, and Black Canary knits Red Tornado a new costume to replace the purple-and-red horror he'd been stuck with since his first appearance! Recommended.

Corporations are people, my friends!

The Boys Volume 4: We Gotta Go Now: written by Garth Ennis; illustrated by Darick Robertson (2008-2009; collected 2009): Black Ops group The Boys delve into the secret history of the G-Men, superhero-corporation Vought American's (very) thinly veiled version of the X-Men and all their X-books, X-teams, and X-merchandising. As superhero groups in the world of The Boys go, the G-Men may be the most awful of all when their secret origins are revealed. But how will The Boys fight several hundred angry, crazy superheroes with a bewilderingly wide array of superpowers? Excellent question. Recommended.


The Boys Volume 5: Herogasm: written by Garth Ennis; illustrated by Darick Robertson and John McCrea (2009; collected 2009): Corporate-owned superheroes. Just like the comic books themselves! CIA-affiliated Black Ops group The Boys continue their investigation of superhero corporation Vought American and the legion of super-heroes created, controlled, and owned by them as the heroes of the world have their annual team-up against a force too powerful for them to combat singly or in small groups. It's a crisis and a not-so-secret war!

Well, no. In reality, the heroes and some villains annually go to a tropical island where they debauch themselves for a week on the company dime: the company-wide team-up is all about sex and drugs, not saving the world. The greatest threat to the world is the superheroes themselves and the corporation that controls them. The Boys do learn a lot more about both the secret history of recent events and what the World's Greatest Hero, the Homelander, is really up to. None of it is pretty. Recommended.


The Boys Volume 8: Highland Laddie: written by Garth Ennis; illustrated by Darick Robertson and John McCrea (2010-2011; collected 2011): Depressed by recent personal events and by his work with The Boys, Scottish team-member Hughie (he whom artist Darick Robertson originally drew to look pretty much exactly like Simon Pegg) returns home to the north of Scotland for some soul-searching. Almost certainly the most Scottish superhero miniseries ever written. Recommended.

The Boys Volume 9: The Big Ride: written by Garth Ennis; illustrated by Darick Robertson and Russ Braun (2011; collected 2011): As things gradually move towards a series-ending climax (still three volumes to go, though), we learn terrible secrets about the first go-round for The Boys in their battle against Vought American and its corporate superheroes. We also learn about the first appearance of said superheroes during World War Two and the subsequent history of both the superheroes and the CIA's attempts to find out what Vought American is up to. We also learn even more about the insane sex lives of superheroes. And one of The Boys will not make it out of this volume alive! Recommended.

　

Justice League Volume 2: The Villain's Journey: written by Geoff Johns; illustrated by Jim Lee, Gene Ha, Gary Frank, and Ivan Reis (2012): The new Justice League battles a couple of new menaces, refuses Green Arrow's request to join the team, and ponders its role in today's fast-paced, modern society. The new Shazam's interminably long origin story also begins. People yell at Batman. And Superman and Wonder Woman kiss.

Jim Lee's new costume designs for DC's major heroes really are fussy and distracting. Superman needs his red shorts back. And everyone needs to stop wearing armor like the Avengers all did in that terrible 1990's Avengers cartoon that didn't feature any of the major Avengers (Iron Man, Captain America, and Thor). Most of the heroes here are pissy almost all the time, which in today's superhero comics is what substitutes for camaraderie and characterization. Lightly recommended.

 

Complicated without Complexity

Darkseid, fussy.

Justice League: Origin: written by Geoff Johns; illustrated by Jim Lee and Scott Williams and others (2011-2012): Fan favourites Johns and Lee seem to have turned the rebooted Justice League into DC's most popular monthly title, one that is still outselling every other title, DC or other, seven months after its launch.

The League has seemed to move through a set cycle, reboot or not, since the late 1970's: a line-up fronted by one or more of the 'Big Three' (Superman, Wonder Woman, and Batman) makes the book popular; some or all of them leave; the book becomes less popular as lesser-known heroes take over; the book gets cancelled and then relaunched with one or more of the Big Three; and so on, and so forth.

Johns and Lee certainly make this an event book again, as the League forms for the first time to combat a massive alien invasion. Along with the usual suspects (Superman, Batman, Wonder Woman, Aquaman, Flash, and Green Lantern) and without original founding member Martian Manhunter, the league's seventh founding member turns out to be Cyborg in this iteration.

Historically, Cyborg did appear on the 1980's version of Super Friends, and he is a founding member of the League on Smallville. And he's African-American, which make the League look a little less white.

A lot of things blow up. Much Marvel-style bickering and posturing occurs among the superheroes before they figure out how to work together. Humanity, afraid of these relatively new super-heroes, comes to embrace them after they see them battling aliens in defence of humanity.

Lee's often hilariously fussy costume redesigns are distracting and often far goofier than previous iterations. His Darkseid is especially ugly, fussy, and over-complicated. Not much of interest happens here, but it happens loudly and repeatedly for emphasis. Lightly recommended.