Published: November 1st, 2016 Written by: Chuck Dixon Art by: Greg Land, Scott McDaniel, Karl Story
DC Comics, 331 Pages
I took a bit of a break, as I had reached the middle of the collected editions of Chuck Dixon’s classic Nightwing run. But now I’m ready to jump back in with this installment, which I thought was pretty good and full of action and multiple story arcs, which were mostly entertaining.
The two best stories are the ones that are essentially the bookends of this volume.
The first is about Nightwing breaking into prison to take down the supervillains that have taken it over. It features a lot of villains and some of them actually help Nightwing, as they’re not happy with the conditions they’ve been provided with under the new tyrannical rule of Lockup and his right hand, KGBeast.
The last story is about Barbara Gordon a.k.a. Oracle and the former Batgirl, being abducted with Nightwing and his allies trying desperately to find her. I don’t want to spoil what happens, as there is a cliffhanger that sets up the next volume.
As for the art, the earlier issues here continued to have a very ’90s style, which hasn’t aged all that well, even though I liked it at the time. After the first third or so of this volume, Greg Land took over and the book looked more refined and polished.
Overall, this is a good chapter in the larger Dixon run. It also progressed the stories of Blockbuster and Nite-Wing, the ripoff wannabe sidekick, in ways that kept their stories interesting.
Published: December 9th, 2014 Written by: Dennis O’Neil, Chuck Dixon Art by: Greg Land, Scott McDaniel
DC Comics, 286 Pages
As big of a fan of Nightwing, as I am, I had never read his earliest solo comics. I wanted to right that injustice and I probably should’ve done it a long time ago, as the stories, here, are written by two greats: Dennis O’Neil and Chuck Dixon.
This collection of issues starts with the original Nightwing miniseries. In that story, we see our hero travel to a foreign land to topple a sadistic dictator that may have had a hand in his parents’ deaths. This story was damn good and I liked how gritty and hard it was. Dennis O’Neil kind of gave the series a similar tone to the ’90s Deathstroke comics, which I’m a huge fan of.
Beyond that, we get the first few story arcs in the regular Nightwing series. In this stretch of issues, we get the work of Chuck Dixon, who was coming off of writing some of the best Batman stories of the era. And with that, he knew a lot about the Dick Grayson character and Batman, which he utilized really well in establishing Nightwing’s motivations and while exploring his relationship with his mentor as well as Tim Drake, his mentor’s new sidekick a.k.a. the third Robin.
In the Dixon stories, we learn about Black Mask and Blockbuster’s criminal dealings in Nightwing’s new home, Blüdhaven. We also get a major fight between Nightwing and Blockbuster, which serves to really setup this series going forward.
This isn’t just a collection of solid stories, it also boasts some incredible art. This book looks very ’90s but it looks like the best of the ’90s and isn’t overloaded with over-the-top cheese like some of the comics from the first half of the decade.
This was just a hell of a fun and cool comic. It definitely has me hyped to read the volumes that follow.
Rating: 7.5/10 Pairs well with: other ’90s Nightwing and Batman comics.
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.
Rating: 7/10 Pairs well with: the first book in the Gotham City Sirens series.
From Filmento’s YouTube description: Margot Robbie’s Harley Quinn Birds of Prey movie is the first DC film of the new decade, and by the quality of it it seems DC is up to its old habits a’la Suicide Squad/Batman v Supeman/Justice League. But the interesting thing about Birds of Prey’s failure is that its pretty much a copy paste of other successful movies: Pirates of the Caribbean and Deadpool. The character of Harley Quinn is a straight ripoff of Johnny Depp’s Captain Jack Sparrow, whereas the narrative and the wonky world of Birds of Prey is a straight ripoff of Ryan Reynolds’ Deadpool. But despite copying cinematic greats, Birds of Prey still manages to fail, because it completely misses the point of what makes Pirates and Deadpool great. So, in today’s episode of Anatomy of a Failure, lets see how that happened and how DC/DCEU looks once again to be taking a backseat to Marvel/MCU.
Also known as: Birds of Prey (unofficial title), Harley Quinn: Birds of Prey (re-branded title) Release Date: January 25th, 2020 (Mexico City premiere) Directed by: Cathy Yan Written by: Christina Hodson Based on: characters by DC Comics Music by: Daniel Pemberton Cast: Margot Robbie, Mary Elizabeth Winstead, Jurnee Smollett-Bell, Rosie Perez, Chris Messina, Ella Jay Basco, Ali Wong, Ewan McGregor, Steven Williams
Clubhouse Pictures, LuckyChap Entertainment, DC Entertainment, Kroll & Co. Entertainment, Warner Bros., 109 Minutes
“Here’s the thing, Romy baby: your protection is based on the fact that people are scared of you. Just like they’re scared of Mr. J. But I’m the one they should be scared of! Not you, not Mr.J! Because I’m Harley Fucking Quinn!” – Harley Quinn
This movie’s title was so bad that they actually changed it after it was in theaters for only a week, where it didn’t perform up to expectations. But I don’t think that the stupid, pretentious, cutesy pie title was the only problem with the movie.
To start, I’ve never seen a motion picture be so self unaware. It tries so hard to be edgy, cool and original all while being a poor attempt at making a Deadpool movie for girls. It’s pretty obvious how blatantly this is trying to channel the Deadpool mojo that it deflates anything good within the picture.
Additionally, while this is visually stunning, overly vivid with a giallo style color palate, the choppy editing and amateur shot framing makes this feel like a 109 minute music video. And like all big studio movies that are trying to be cool, the music isn’t even that good, as it recycles exactly the same type of tunes you’d expect from yesteryear while also sprinkling in awful modern covers of classic hits that don’t really work. In short, it’s predictable as fuck.
When it comes to the characters, other than Harley Quinn, this film doesn’t really understand any of them. Who the fuck wrote this? Have they read a comic about any of these characters? I’m supposed to believe that this Cassandra Cain will eventually become a Batgirl? Not to be an asshole but they made her look like Rose Tico cosplaying as Short Round. That’s not the actresses fault, just like it wasn’t Kelly Marie-Tran’s fault that Rose Tico looked like a frumpy baked potato with the dumbest, most unappealing haircut in Star Wars history.
But look at this film’s version of Roman Sionis a.k.a. Black Mask, a villain I have always loved. This is absolutely not who that character is. Granted, I enjoyed Ewan McGregor in this, as well as the character, but he didn’t need to be Black Mask, he could’ve just been an eccentric Gotham City mob boss. There is nothing about him that even resembles Black Mask, other than he puts on a Black Mask for about ten minutes before taking it off again.
Ewan McGregor was the best thing in this film, which is funny when you think about it, as this had a very clear agenda. But I’ll get to that further into this review.
On top of that, Victor Zsasz wasn’t Zsasv, Black Canary wasn’t Black Canary, Renee Montoya was only about halfway there and the Huntress was sort of accurate but completely unlikable and awkward.
Beyond that, this is a movie that doesn’t seem to know what it wants to say. Well, it is very clear that it wants to communicate that all men are pieces of shit, as every single man in this movie are portrayed as pieces of shit, even the fatherly old Asian guy that lets Harley live upstairs.
So the man hate is clear, which is odd because no matter how hard this movie tries to appeal to women, it’s audience was still mostly men. But this is typical of the agenda-driven Hollywood nowadays. But hey, maybe this COVID-19 shit will be a wake up call for studios to actually give a shit about what their audiences want. Probably not, though, as their heads are so far up their ass that they are on a steady diet of their own shit.
The part of the message that isn’t clear is that this can’t decide between whether or not women should stick together or fuck each other over and go solo. I guess teaming up is all fun when you’re sticking it to the patriarchy but once the men are out of the way, they just act like the men they were trying to beat. It’s childish, boring, predictable and lame.
And like all things in entertainment that have this sort of pro-feminist agenda, the story wants to preach self-confidence and self-reliance but then it constantly has its characters telling each other that they’re cool and how much they are all each other’s besties. Is this what women are? Not in my experience but what do I know, I have a penis.
Anyway, confident, self-sufficient and badass women don’t need constant reassurance that they’re cool and likable. That’s not what confident, self-sufficient and badass is. But that’s what this movie is teaching the young girls who may see this picture.
For the first third of this film, I was really happy with its pacing and thought that it was flying by. But then, once you get to the part where the story starts jumping around in the timeline (another way it was trying to be Deadpool), things just went off the rails and the film became sloppy. There was no reason to do this and frankly, it’s one of the things I didn’t like about Deadpool. After this whole section of the film, the pacing didn’t pick up or recover and everything became a slog to get through.
I think that a lot of the problem with this movie is that it hired an inexperienced director. This is something that had the potential to be a massive franchise, featuring a big star playing a character that is one of the most popular in all of pop culture. But the studio didn’t take this seriously enough, so why should any of us?
It also didn’t help that the director, before this came out, was bragging about the heroes not using guns (they do) and just kicking the patriarchy’s ass. She also admitted to not being a fan of comics.
Maybe it’s time for these companies to start hiring creatives that know the material, are passionate about it and thus, want to make the best representation of what these characters and stories should be.
And they wonder why box office numbers were already decreasing before COVID-19.
Rating: 4.5/10 Pairs well with: the other lackluster DC Comics movies of recent memory.
Published: 2004-2005 Written by: various Art by: various
DC Comics, 628 Pages
While this does read better than the first volume in this two part epic series, it is still kind of a mess in that it jumps all over the place and doesn’t seem to follow any sort of logical narrative path. In short, it’s hard to follow and it’s not all that exciting to begin with.
I’m not sure why some people have made a big deal about the War Games epic. Sure, most of the art is solid and I mostly like the parts written by Ed Brubaker but this is such a mixed bag as a total package that the low points and drastically different art styles just pull you right out of the story.
This is overloaded with characters, which typically isn’t a bad thing for a large Batman story. However, this reads more like a massive DC mega event in that it’s so overloaded that there isn’t anything that one can fully connect to. Even if you’re interested in a certain plot thread, sometimes you get distracted for a really long period of time before coming back to it.
This was pretty poorly organized and executed.
Rating: 6.25/10 Pairs well with: other Batman stories of the late ’90s and early ’00s.
Published: August 7th, 1985 Written by: Doug Moench Art by: Tom Mandrake, Adrienne Roy
DC Comics, 24 Pages
While I’m a fan of Doug Moench’s writing, especially on Batman, as well as being a fan of the Black Mask character, I had never read his first appearance, which also serves as his origin story.
Recently, I bought the comic, graded and slabbed to add to my collection, but I wasn’t able to read it due to it being near mint and inaccessible in its sealed case. So I bought the issue digitally, so I could at least enjoy the story inside.
While I know the gist of Black Mask’s origin, I was glad to see it fleshed out. While his backstory is pretty unique, it’s also overly complex and it’s kind of strange.
This shows how he has ties to Bruce Wayne and in some ways, Black Mask’s childhood association reminded me of Hush’s even though this came out nearly two decades before Hush’s debut. And Black Mask also doesn’t know that Bruce Wayne is Batman.
The story here is a multi-part arc, which is continued in Detective Comics before bouncing back to the following issue of Batman.
I didn’t read the whole arc, as I mostly just wanted to read his debut issue. Plus, all of this will most likely be collected in Black Mask’s Batman Arkham collection, which is slated to be released in a few months. And since I plan to buy that and review it, I’ll read the whole story there.
In the meantime, this was a pretty impactful debut, enhanced by the art of Tom Mandrake and Adrienne Roy.
Rating: 6.5/10 Pairs well with: other Batman stories by Doug Moench.
Published: June 28th, 2016 Written by: various Art by: various
DC Comics, 291 Pages
Killer Croc is a Batman villain that I have dug since I first read a story with him in it in the late ’80s. I’m glad that he has had staying power and is now pretty close to being an B+ level villain in the Batman and larger DC mythos.
This collection, like the other Batman Arkham villain compilations features a dozen or so stories focused on this specific character, all from different eras with a slew of different writers and artists.
But in the case of this book, that kind of hurts the overall compilation.
Now most of the writing is good with stories by Chuck Dixon, Doug Moench, Gerry Conway, Tim Seeley and others. It’s the big style variance in art that damages the overall presentation.
The problem is that most of the stories featured here are from the ’90s. At the time, DC Comics had a lot of artists that experimented with a lot of different art styles. Most of the stuff here looks like ’90s indie stuff that is trying way too hard to be edgy and extreme. A lot of it comes off like massive eye sores and the strong contrast in style from chapter to chapter is kind of jarring. But this is a compilation and these things happen when you’re wedging a dozen or so stories into the same book.
However, this collection also brings to light one of my biggest gripes about the Killer Croc character and that’s that everyone draws him differently. Sometimes he’s just a jacked dude with scaly skin and other times he’s the size of the Hulk with an actual crocodile looking head, snout and all. I’ve never been a fan of his inconsistent look and some of these artists go too wild with it.
Being mostly a product of the ’90s we also get some over the top violence in one story in particular, which sees Killer Croc literally chomp a woman in half. While that stuff doesn’t bother me, it seemed out of place in the book and just reminded me of a time when DC Comics seemed like they were trying too hard to fit within what they thought were the times.
I did enjoy this collection, despite my gripes about it. They could only work with what they had in their library but I can’t believe that some of these are considered the best Killer Croc tales. Maybe someone needs to step up and do the character some justice, treat him with care and give us something with more meat.
I also found it odd that none of his Suicide Squad stuff was here, as some of those stories really build up the character in interesting ways.
Rating: 7/10 Pairs well with: Other Batman Arkham collections.
Published: August 21st, 2019 Written by: Tom Taylor Art by: Cully Hamner, Dave Stewart, Mitch Gerads (cover)
DC Comics, 37 Pages
I’m not really into this Year of the Villain megaevent that DC is doing right now but I am a fan of Black Mask, so I figured I’d pick up this one-shot and see if it peaked my interest in the larger event itself.
And this was mostly a mediocre read.
I guess I needed more backstory to the event itself to grasp some of what was going on but that’s not a great approach, creatively, if you’re trying to get people invested into the thing.
Black Mask is doing typical Black Mask things but then Lex Luthor shows up and tries to convince him to think bigger and to become a more prominent criminal, as opposed to some third tier Batman baddie.
That’s really the gist of the story.
So in the end, I still don’t give a shit about Year of the Villain but at least the art in this one-shot was good.
Rating: 5.5/10 Pairs well with: other Year of the Villain tie-ins.
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