Published: April 14th, 2015
Written by: Marv Wolfman
Art by: Will Blyberg, Steve Erwin
DC Comics, 264 Pages
I became a fan of Deathstroke back in the ’80s and early ’90s when I’d see him appear in The New Teen Titans comics. Deathstroke being in a story was a guaranteed sale for DC, as far as my wallet was concerned.
However, I never really read his original solo series from the beginning. I’d pick up issues, here and there, but for some reason I slept on it. That could also be due to it being a bit harder to find, as it wasn’t typically available in convenient stores and sometimes the comic book shops were out before I could get there on my bicycle on Saturday afternoons.
Being that this was written by Marv Wolfman, the character’s creator, is a really big selling point. I didn’t understand the importance of that in 1991, as I was more into artists over writers. Granted, that would shift, as I started recognizing names and then figuring out certain writers’ track records.
This series really starts off by portraying Deathstroke as an anti-hero trying to absolve the guilt he feels after having killed his son. This ties directly to those issues and showcases his rough relationship with his ex-wife, the mother of his dead son.
Beyond that, this shows that Deathstroke is developing a moral code where he’ll still do mercenary jobs and kill scumbags but he won’t just take any job or kill anyone. Early on, Deathstroke refuses a job and with that, he deals with the consequences of pissing off that potential customer.
Additionally, this features another big story arc that sees Deathstroke and Batman at odds but then finding common ground in order to stop the real threat that has descended upon Gotham City. In that story, we’re also introduced to Pat Trayce, who becomes a new version of the Vigilante character and teams up with Deathstroke.
Beyond the solid storytelling, the art in this is really good and frankly, it made me miss this era, as this came out in a time where I really started buying comic books on a weekly basis and was so inspired that some friends and I started our own comic book company to sell our characters’ stories to other middle school kids.
This was awesome and I’m glad that I hadn’t yet read it and get to experience it as something new. What’s really great about that is that I now have a deeper appreciation for this than I would have back in the day.
I can’t wait to jump into the other volumes.
Pairs well with: the other volumes in the original Deathstroke: The Terminator series from 1991 to 1996.
From Filmento’s YouTube description: We got a new teaser for Matt Reeves’ The Batman starring Robert Pattinson and it looks amazing. But more than great, it also looks and feels familiar — like Batman’s very own murder mystery detective thriller with The Riddler in vain of David Fincher’s Se7en. Plus, @The Film Theorists also made the same point in a great new video titled “Film Theory: This is NOT A Batman Movie! (The Batman Trailer 2021)”. And so, let’s take a look at 1995’s Seven starring Brad Pitt and Morgan Freeman to find out what makes it the greatest detective movie of all time and what the Batman needs to do to reach the same level. In this episode of Film Perfection, let’s see what makes a great detective thriller.
Published: October 8th, 2013
Written by: Grant Morrison
Art by: Tony S. Daniel, Lee Garbett
DC Comics, 213 Pages
I’m pretty sure I liked this when I read it back when it was current, about a decade and a half ago. However, I found it just weird and wonky this time around. But I’ve also aged quite a bit and in that time, read some truly incredible comics.
I was probably really into this, as it came out at the height of my Grant Morrison love. Plus, back then, I was more into weird shit and experimental storytelling. However, I don’t feel like any of that necessarily benefits the most mainstream of all mainstream comic book titles.
Having now recently read a good amount of Grant Morrison’s Batman run, my opinion on it has soured quite a bit. It’s stuck in this weird limbo where it’s too weird to feel like it fits within the top Batman title and it isn’t weird enough to truly feel like Grant Morrison, unrestrained.
This feels like watered down Morrison and by trying to sit on the fence between mainstream acceptance and Morrison’s typical narrative style, it’s really just a boring, baffling dud of a comic.
The art is good, damn good. However, that’s not enough to save it from how disappointing it is, overall. Besides, this is a story from the pages of the most popular comic book in the medium and if the art isn’t up to snuff, DC Comics should close up shop.
This kind of wore me ragged, honestly. I don’t want to read anymore of Morrison’s Batman work and I consider it to be overrated, at this point. I also say that as someone that once liked it.
In the end, Morrison shouldn’t have his hands creatively tied but he also shouldn’t be allowed to go into Batman with reckless abandon. That’s what DC’s Elseworld Tales are for and frankly, that’s where Morrison’s Batman work should be.
Pairs well with: the rest of Grant Morrison’s Batman run.
From The Critical Drinker’s YouTube description: Join me as I take a look at the trailer for the Snyder Cut of Justice League, and what it means for the relationship between fandoms and studios.
Published: August 28th, 2012
Written by: Grant Morrison, Paul Dini, Fabian Nicieza, Keith Champagne, Peter Milligan
Art by: Ryan Benjamin, Don Kramer, Adam Kubert, David Lopez, Jason Pearson
DC Comics, 248 Pages
Since I just read the first big collection of Grant Morrison’s Batman work, I also wanted to revisit this story, which tied to his larger body-of-work, and brought the characters to the Batman R.I.P. milestone event, which I will review in the very near future, as well.
This plot crossed over with several Batman titles, though, so it wasn’t just written by Morrison. It also features some work by the great Paul Dini, Fabian Nicieza, Keith Champagne and Peter Milligan.
Overall, it was a good story that built off of the Batman and Son arc, which brought Damian Wayne, a future Robin, into Bruce Wayne’s life.
This also brings back one of the more popular Batman villains, Ra’s al Ghul. I like how Ra’s pretty much just looks like a mummy in a green cloak the whole story. It kind of reminded me of Mumm-Ra, the primary villain of the ThunderCats franchise.
The art was also handled by multiple people due to this being spread out over several titles. Pretty much all of the art is really good and it reminded me of why I got back into reading comics in this era, when I had dipped out for nearly a decade around the mid-’90s.
This is a good, enthralling story that made some good, permanent changes to the mythos. It also shows that Morrison had a unique vision for the character and those around him.
Pairs well with: the other stories arcs within Grant Morrison’s Batman run.
Published: November 3rd, 2009
Written by: Grant Morrison
Art by: Andy Kubert, J.H. Williams III
DC Comics, 350 Pages
The Deluxe Edition of Batman and Son features all of Grant Morrison’s Batman run up to Batman R.I.P., although it excludes The Resurrection of Ra’s al Ghul, which I will also review shortly.
It’s a hefty but surprisingly quick read, as it has a good, quick pace and is mostly pretty good. I actually read it in one sitting and found it kind of refreshing, as I haven’t liked many Batman stories within the regular continuity since Morrison’s era. Granted, I did enjoy some of Scott Snyder’s work.
I also loved Andy Kubert’s artwork and I feel like he doesn’t get enough credit as one of the premiere Batman artists. It was this era of Batman that got me reading the comic again after a several year hiatus and Kubert’s art had a lot to do with that.
This edition features a couple of story arcs. I liked the first one the best, as it is the debut of Damian Wayne, Batman’s son. It had been a long time since I read these issues but it was fun to revisit.
All in all, this was the start of one of the best runs in the last few decades and it didn’t disappoint. While it might not be as strong as my memories of it, it was still much better than most of the stuff that came after it.
Pairs well with: the other stories in the Grant Morrison Batman run.
Published: May 5th, 2015
Written by: Tony Bernard, Peter Calloway
Art by: Andres Guinaldo, Jeremy Haun
DC Comics, 288 Pages
Well, losing Paul Dini as the series’ writer was a bit of a blow to Gotham City Sirens, as this second book doesn’t live up to the pretty solid first one.
Still, this is mostly a decent read and it carries on the story Dini started. Although, it does feel like it knew it was going to be wrapping up, as the bond between these three women seems to dissolve just as fast as it gelled.
I guess the most interesting parts within this are the ones dealing with Harley Quinn and how she’s processing her issues with The Joker and their very abusive, one-sided relationship.
But I’m glad that this presents Harley well unlike the more modern comics with her that have turned her into a one-dimensional joke character that has evolved into DC’s half-assed attempt at trying to make their own Deadpool.
Compared to the first book, this is almost forgettable other than the Harley stuff.
The art is really good, however, and it helps carry this series as it quickly loses steam and sort of just whimpers away because DC Comics had to reboot their universe for the umpteenth time.
Pairs well with: the first book in the Gotham City Sirens series.
Written by: Marv Wolfman, George Perez
Art by: Jim Aparo, Tom Grummett
DC Comics, 116 Pages
This story arc came out not too long after A Death In the Family and it serves as a sort of resolution to it, as it shows how Batman has been much harsher in the streets and how the possibility of a new Robin starts to help him overcome his grief after losing the second Robin, Jason Todd.
While this isn’t the first appearance of Tim Drake, that happened in the previous arc – Year 3, this is where he enters the lives of Bruce Wayne, Alfred Pennyworth and Dick Grayson.
This story also crossed over with The New Teen Titans and involved some of those characters as a minor supporting cast for Dick Grayson/Nightwing’s part in the story.
We also see Batman, Nightwing and Tim Drake unofficially playing Robin try to take down Two-Face, a villain with major ties to the deceased Jason Todd. We even get to see a brief appearance of The Joker, the person who murdered Jason, and how he’s involved with this story’s plot.
The action and the crime solving in this aren’t anything great but they serve as a good framework to tell the more important story here, which is pulling Batman out of the darkness and allowing him to love those around him once again. It also serves to establish who Tim Drake is and why he might be better suited for the Robin role than Jason Todd was.
The writing was solid and I also loved the art by Jim Aparo, who will always be one of my favorite Batman artists because he was one of the top guys drawing these books when I first started buying them regularly.
Pairs well with: Batman: A Death In the Family and Batman: Year 3.
Written by: Jim Starlin
Art by: Jim Aparo, Mike DeCarlo, Adrienne Roy
DC Comics, 142 Pages
A Death In the Family was one of the biggest Batman stories to happen around the time that I was getting into comics as a serious reader and not just a casual one, who just occasionally picked up stuff other than G.I. Joe: A Real American Hero.
When I was in elementary school, this is a story that all the kids talked about and I remember trading my hardcover copy of Arkham Asylum for this and The Killing Joke. I felt like I definitely won in that trade and it’s mainly because of this story.
I was the rare Jason Todd fan. Sure, nowadays other people like him because of how he came back as the Red Hood and carved out his own legacy. Before that, however, people pretty much hated Jason. I think I mainly liked him because he was Robin when I started paying attention and I saw through him being a prickish pain in the ass and knew that there was something deeper inside him that was needing to come out. The problems Jason presented Bruce/Batman with were different than Dick Grayson’s, the original Robin. He simply made things more interesting, as you knew his attitude and temperament would somehow come to a head in a big way.
While I love this story and I really liked how it altered the Batman series going forward, I always thought that Jason died too early and that they missed out on exploring him more. I guess that’s why I really gravitated towards his stories when he finally did return, nearly two decades later.
In regards to this story, it’s exceptionally well written and presented with great care and a respect for the character, even though the fans called a hotline and actually voted for Jason Todd to die.
This is still one of the best, all-time classic Batman stories ever written. It also has great art by Jim Aparo.
I liked that this takes things out of Gotham City and that the story is kicked off by Jason Todd discovering that his biological mother is out there, somewhere. He goes in search of her and while that’s happening, The Joker is off selling a missile to a Middle Eastern tyrant, which brings his story and Jason’s crashing together in a tragic and emotional way.
Jason does find his mother but what he finds with that costs him his life and turns Batman into someone that wants vengeance against The Joker for what he did to the child that Batman was supposed to raise and protect.
This is a pretty heartbreaking story that has stood the test of time and is still emotional, even if you are aware of what actually happens to Jason Todd after his death.
If you are a fan of the Caped Crusader and haven’t read this, you probably should.
Pairs well with: other Batman comics of the late ’80s/early ’90s, as well as the early Red Hood stories from the ’00s.