Published: October 17th, 2017 Written by: Marv Wolfman Art by: Steve Erwin, Will Blyberg, Art Nichols
DC Comics, 257 Pages
I was really high up on this series after reading the first two volumes. Sadly, this one was a big step down and I’m hoping it was just a minor hiccup, as I continue to read on beyond this one.
I think the big issue with this was that Marv Wolfman felt the need to crossover Deathstroke with the Teen Titans, as the anti-hero has had a deep connection with those characters since he debuted in their comic a decade before this.
However, in this era, the Teen Titans title had gotten really weird and the team was full of a bunch of D-team noobs undeserving of their spots, at least in my opinion.
That being said, this collection of issues was a clusterfuck and that mainly has to do with this just collecting the Deathstroke issues within a larger crossover story. Additionally, this tacks on a completely unrelated story at the end, which was just chapters taken from the Showcase anthology series.
Overall, this just felt like a bunch of random ass shit thrown into one beefy, double-sized trade paperback because they needed to dump it all somewhere.
Hopefully, volume four doesn’t do this and it gets back to kicking proper ass.
Rating: 7/10 Pairs well with: the other volumes in the original Deathstroke: The Terminator series from 1991 to 1996.
Published: 1989 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.
Rating: 8/10 Pairs well with:Batman: A Death In the Family and Batman: Year 3.
Published: 2005-2006 Written by: Geoff Johns Art by: Phil Jimenez
DC Comics, 241 Pages
I hated Crisis On Infinite Earths but I had hoped that this more modern version of it would’ve been more to my liking. I guess it is better but not by much because it falls victim to the same bullshit.
It’s overloaded with characters to the point that it’s difficult to follow and it just becomes a mega clusterfuck, trying to be larger than life while wedging a fuck ton of characters into double splash pages.
DC likes doing these big events that try to “reset” the multiverse and all they do is become overly complicated messes that ignore their own established rules because new writers don’t have time to read the old stuff or pay attention to it. In Geoff Johns’ defense, the event this is a spiritual sequel to was a convoluted shitstorm, so I don’t blame him for paying it no real mind.
If I’m going to try and look at the positives, there is really only one: the art by Phil Jimenez. It’s spectacular and it is lively and even if I don’t enjoy the story, it’s hard not to get caught up in the absolute beauty of Jimenez’s work. It’s stunning and even on those overcrowded splash pages, he fills the space magnificently and dynamically.
Apart from that, there’s not much to say. This isn’t as messy as its predecessor but it is still an over-sized shit meatball.
Rating: 5/10 – because of the art more than anything else. Pairs well with: other massive DC Comics events that are overloaded with characters.
Published: 1985-1986 Written by: Marv Wolfman Art by: George Perez
DC Comics, 359 Pages
Crisis On Infinite Earths is one of DC Comics’ sacred cows. Yet, I’ve never had much urge to read it because my experience reading massive DC Comics crossovers has never been that great.
But now I have read it because I felt like it was long overdue and because this is a storyline that is referenced a lot, still to this day, thirty-five years later.
The first problem with this story might be apparent by the number of tags at the top of this post. It’s overloaded with so many characters that it is mostly a convoluted clusterfuck of biblical proportions.
In fact, this post may be the record holder for the number of tags I had to add to it. And frankly, that’s not all the characters, just the ones I know because two-thirds of the characters here are generic one-offs or so minute to the DC universe that they aren’t worth noting.
Now I know that some people love the splash pages from this series, as they showcase dozens (if not over a hundred) different characters all in one giant image. If I’m being honest, I’ve always disliked them and they are why I never really wanted to read this. Most of the action is minimal and many of these scenes are just characters standing around. They lack the energy that a splash page needs and look more like they belong in a Where’s Waldo? book. And I don’t say that to come off as a dick because I almost always love George Perez’s art. This just seems like DC management telling Perez to squeeze in as many characters as artistically possible. It’s hard on the eyes and it’s shit.
Another big problem with this twelve issue story arc is that every moment feels larger than life. Well, when everything is so big and grandiose, that becomes normal and status quo. You can’t possibly go bigger and with everything being so big from start to finish, none of it is memorable. It’s just a busy, stressful read without allowing the reader to catch their breath and reflect on what’s happened. It’s kind of like a Michael Bay movie. Throw so much intense shit at the audience, don’t let them stop and think and they’ll just move from point A to point B to point C and so on, forgetting everything that happened two points prior.
This event was made in an effort to sort of reset the DC universe. Honestly, all it does is make a giant fucking mess of things and splatters the mess all over everything it touches.
The plot doesn’t make sense, I’m not sure what exactly changed and with so many universes crashing together into one, it’s not properly organized and then re-established in any sort of way that a reader can follow. If this was supposed to be a jumping on point for readers in 1986, I don’t know how they made sense out of any of it and then knew which characters to follow.
The main reason for the previous sentence is that this is so overloaded with people that you don’t get to really know any of them. There is no character development and this is written in a way that it assumes the reader knows all about every character in the story. For a seasoned comic book reader like myself, who has been reading comics for three and a half decades, I was lost and didn’t know who half of the low tier characters were.
Crisis On Infinite Earths should have been written as a Justice League story with some inclusion of the Fawcett Comics characters and the Golden Age DC heroes. All the third tier and lower characters could have made cameos but even then, they don’t really need to.
I really hoped that this was going to pleasantly surprise me but it hurt my head.
It was too much, too big and too long.
Rating: 4/10 Pairs well with: mid-’80s DC Comics titles, as well as all the other massive DC crossover events.
Published: November 14th, 2017 Written by: Christopher Priest, Benjamin Percy, Dan Abnett Art by: Brett Booth, Larry Hama, Phil Hester, Carlo Pagulayan, Paul Pelletier, Khoi Pham, Norm Rapmund
DC Comics, 132 Pages
I’ve read the entirety of Christopher Priest’s fifty-issue run on Deathstroke, which just finished, actually. So I did read his two issues that were part of this larger crossover arc but I missed the Titans and Teen Titans parts, as I wasn’t pulling those titles at my local comic shop. So this is the first time I’ve read this story in its entirety, which I should’ve done earlier as it would’ve added more context to the Deathstroke series, as a whole.
This is sort of a spiritual sequel to the famous The Judas Contract storyline from the Teen Titans comics in the ’80s while also connecting to the events of Deathstroke’s first appearance in The New Teen Titans issue 2 from 1980.
Here, Deathstroke wants to go back in time to save his son Ravager a.k.a. Grant Wilson. He blames the Titans for the death due to their involvement in the event, even though they’re not really responsible. So after learning about the Speed Force and its ability to send speedsters through time, he harvests that power from Kid Flash after winning over his trust.
That being said, we get a speedster Deathstroke, which is just really f’n cool!
Anyway, the story starts off with a bang and it brings in both the Teen Titans and adult Titans teams to deal with the threat. While it focuses mainly on a close knit group of main characters, all the others do get involved but mostly stay in the background, only adding their two cents when its needed to advance the plot or give a larger perspective.
However, even though the management of characters is well handled initially, this does become more of a convoluted mess as it gets towards the end. It just feels like there is too much going on and despite this having a lot of characters, it starts out feeling like a smaller, personal story.
Overall, this is still pretty good and all three writers (Christopher Priest, Dan Abnett and Benjamin Percy) did a good job working together.
Rating: 7.5/10 Pairs well with: the old Teen Titans story The Judas Contract, as well as Deathstroke/Teen Titans: The Terminus Agenda.
Published: December 26th, 2017 Written by: various Art by: various
DC Comics, 219 Pages
Out of all the Batman Arkham collections, this was the one I was least enthused about reading and I was kind of confused as to why Joker’s Daughter even got a greatest hits trade paperback when there were other more deserving Bat-villains worthy of a collection first. Hell, this came out before the Penguin one!
Anyway, she’s never been a major villain and I wouldn’t even rank her as a C-list character. She had an interesting run in the ’70s, disappeared, then reappeared more recently because… well, I don’t know. She’s just not that interesting.
While I feel like she could be made interesting, she just hasn’t been given anything worthwhile to do since her ’70s run where she had the schtick of playing the daughter of all the main Bat-villains. She’s also not actually the Joker’s daughter, she’s Duela Dent, the daughter of Two-Face.
This collection features just about every story with the character, as there aren’t that many to begin with. The only thing from memory that this was missing was her appearances in the Red Hood/Arsenal series.
It was kind of cool, however, seeing her earliest stories because it was very much a product of its time. None of this was great or all that good but if you have a thing for really obscure characters, it’s worth checking out, I guess. But there are so many other volumes in this collection that really make this one seem unnecessary.
Rating: 5.5/10 Pairs well with: Other Batman Arkham collections.
Published: March 6th, 2019 – May 15th, 2019 Written by: Christopher Priest, Adam Glass Art by: various
DC Comics, 160 Pages
I really enjoyed the Batman Vs. Deathstroke story arc from last year, which was really a plot that tied Damian Wayne a.k.a. the current Robin together with Deathstroke, as there was the question as to who was Damian’s real father: Batman or Deathstroke.
This story builds off of Damian and Deathstroke’s relationship and issues from that previous plot but it also pulls in the rest of Damian’s Teen Titans teammates in a way that vilifies Damian in their eyes.
Here, Deathstroke gets captured by Damian but you soon learn that it’s all part of Deathstroke’s plan, as it exposes Damian’s fascist nature and his secret prison that he is keeping to hold other supervillains. The other Teen Titans don’t know about it but this blows the door wide open, making them distrust Damian and splintering the team.
What’s best about the story is that this isn’t resolved and Deathstroke succeeds in his plan.
Additionally, people may remember the recent Civil War II event by Marvel where the young Ms. Marvel was unconstitutionally imprisoning people and how there was backlash because her tyranny was never properly examined and certainly didn’t come at a cost to her.
This storyline is similar but it looks at the truth of the matter and there are actual repercussions here. I’m not sure if this was done intentionally to screw with Marvel or not but Christopher Priest and Adam Glass penned a much better story than Civil War II and it also shows that DC cares about their characters… or at least these two writers do. But having read Priest’s entire run on Deathstroke, I’m already convinced that he is, by far, one of the best comic book writers in the business today.
I dug the hell out of this story. It actually even made me interested in the Teen Titans title, which I haven’t read in years. But then this is followed up with a Lobo story and I’m not too keen on Lobo.
Rating: 7.75/10 Pairs well with: other recent Deathstroke and Teen Titans arcs, especially Deathstroke Vs. Batman.
Published: November 20th, 2018 Written by: Dan Abnett Art by: Stjepan Sejic
DC Comics, 156 Pages
I’ve been a fan of Dan Abnett’s run on Aquaman. But this story didn’t hit the mark for me like the first few arcs did. Strangely, a lot of people told me that this story was a real highpoint.
This just seemed like an episode of Game of Thrones, a show that I’m not much of a fan of. What I mean by that is this features a lot of talking and plotting and conspiracies about thrones and whatnot. There isn’t enough action and the antagonists just seem like throwaway generic Aqua-villains who will never be seen again, at least not in a meaningful way that gives weight to their characters.
I respect that Abnett tried to add to the mythology with his own creations and by bringing in long forgotten characters like Dolphin, as well as the rarely used former Aqualad, Tempest.
However, it gets too far away from the great work that Abnett was doing with the three volumes before this one. This series started off with a hell of a bang and this chapter in the saga pretty much lulled me to sleep.
The final issue in this arc gave us some action but by that point, I was just ready to wrap this thing up.
It’s not that this is a bad comic story or that it isn’t necessary, it just felt like an arc that could have been whittled down to one or two filler issues. It really disrupted the energetic pace of the series and while sometimes a breather is needed, if done too soon, it can bring things to a halt.
Rating: 6.25/10 Pairs well with: anything from Dan Abnett’s glorious run on Aquaman, as well as the Drowned Earth crossover event.
Published: October 3rd, 2018 – February 6th, 2019 Written by: Christopher Priest Art by: various
DC Comics, 134 Pages
Christopher Priest’s run on Deathstroke has been legendary but I also feel that it doesn’t get enough credit and seems to barely get any fanfare. Priest just understands Slade Wilson, his dynamic with other characters in the DC Universe and really gives the character more depth and complexity.
Following the Deathstroke Vs. Batman storyline, this arc sees Deathstroke sent to Arkham Asylum. While there, a lot of strange things start happening. I don’t want to give away too much but this does feature a ton of classic Batman villains with a lot of time given to Two-Face and Dr. Hugo Strange.
This was a fun story arc that continues to build off of the work that Priest has given us on this title. While there are different artists working on the five issues that make up this plot, everything felt consistent and matches the tone of the series thus far.
There isn’t much else I can say that I haven’t already said in reviews of other installments of Priest’s Deathstroke run. This continues to be good; Priest hasn’t lost a step or slipped into a state of redundancy, which is common when a writer works on a comic book for more than a few years.
Deathstroke: Arkham continues the title character’s journey in such a rich and interesting way that fans of him should truly enjoy this series. It’s been my favorite lengthy run on the character since his original title Deathstroke, The Terminator. In fact, I want to go back and revisit that series to see how it compares to this one.
Sure, I have my own personal bias towards Deathstroke but this is one of the best comic books being written today. More people should be picking this up monthly.
Rating: 7.75/10 Pairs well with: other story arcs in the current Deathstroke title, as well as The Silencer and Suicide Squad.
Published: 1983-1984 (original single issues run) Written by: Marv Wolfman Art by: Keith Polland, George Perez, various
DC Comics, 318 Pages
I remember seeing copies of the Vigilante on shelves and in long boxes back in the day when I used to spend every dollar of my allowance on comics. I never knew much about the character other than he always had comics with striking covers. At the time, I think I just assumed he was one of a million Punisher or Deathstroke ripoffs and never really gave him a shot. But now that I am an adult with some disposable income, I wanted to see what was beyond the great covers that always adorned this comic book series.
Seeing that Marv Wolfman created the character and wrote this series was a big selling point, as this came out when Wolfman was writing some of his best work. I’m primarily talking about his run on The New Teen Titans, which is also where Vigilante debuted – in the second annual, to be exact.
This collection starts with that first appearance and then collects the first 11 issues of the Vigilante comic.
I guess the thing that’s most cool about Vigilante is that while the hero is a gun carrying vigilante out for justice in an effort to correct a flawed system, his backstory certainly isn’t cookie cutter. While he loses his family in a similar way to Frank Castle a.k.a. The Punisher, it’s almost as if he is a cross between Castle and Harvey Dent. Although, he luckily avoids getting half of his face melted off with acid.
The Vigilante is Adrian Chase, an attorney that has tried to stop the mob for years but constantly sees a corrupt legal system fail, again and again. The murder of his family is the final straw. But his origin, once you get to that issue, is really weird and even has some mystical elements to it.
The Vigilante is probably the best good guy out of all the other characters that embody the “vigilante” trope. While he breaks the law, trying to uphold the law, he is often times at odds with himself and second guessing his tactics. After the first 11 issues of his series, he’s still not settled on what way is the right way or if he’s even doing what’s best for society.
There are a lot of layers and Marv Wolfman gave us a really dynamic series here. Frankly, this is vastly underappreciated and sadly, mostly forgotten.
Adrian Chase got new life in modern times as a character on the TV show Arrow but that incarnation was called Prometheus and he was a straight up villain out to make Green Arrow suffer.
If you like these type of characters, this will most assuredly be a refreshing read for you. It is not a retread of dozens of similar characters. It’s a unique take on the genre and it’s much more intelligent than most of the titles you can compare it to.
Plus, the art is strikingly beautiful and the Vigilante has a really cool costume that’s one part retro and two parts badass.
Rating: 8.5/10 Pairs well with: Marv Wolfman’s run on The New Teen Titans, as well as ’80s stories featuring Deathstroke.