Published: April 5th, 2016 Written by: Dan Jurgens Art by: Brett Breeding, Dan Jurgens, Norm Rapmund
DC Comics, 332 Pages
Well, Superman is already alive and we’ve reached the fifth and final part of the Death/Return of Superman saga. With that, this story takes care of the last thing that needs to be dealt with and that’s Superman finally defeating Doomsday without dying and thus, restoring balance the the DC universe.
Generally, I like Dan Jurgens writing but overall, I wasn’t blown away by this saga. However, I did find this to be better than all the big DC Comics Crisis events, which always read like overloaded, convoluted messes to me.
While these stories had a lot of characters in them, Superman was always really the focus and for the most part, this stayed on that thread, even if there were some distractions with new “Supermen” and with checking in on individuals after Superman’s death.
I felt like the art, here, was a bit more fine-tuned and better than the rest of the chapters in this massive saga.
Additionally, the writing felt tighter and more focused, as Jurgens pretty much handled it all and the work wasn’t spread out over a handful of people.
The highlights of this are that Superman is definitely back, we get to see Darkseid mix it up with Doomsday, Cyborg Superman cements his place as a major villain, and Doomsday finally gets some receipts cashed in on his ass.
In the end, I’m glad that I finally experienced this saga in its entirety. It was long but by the end, the total body of work made all of the smaller parts come together, giving them deeper meaning and relevance to the overall DC universe.
Published: April 5th, 2016 Written by: Gerard Jones, Dan Jurgens, Karl Kesel, Louise Simonson, Roger Stern Art by: Jon Bogdanove, M.D. Bright, Tom Grummett, Jackson Guice
DC Comics, 464 Pages
Well, this is a step up from the previous two volumes in the larger The Death/Return of Superman saga. This is also the fourth of the five big chapters but now that Superman is back, we can stop spending time on mediocre replacements and get back to business.
The four replacements are still here, however, but now they have to find their place in the world with Superman reclaiming his mantle.
Two of these replacements remain heroes and two let their villain flags finally fly for all to see. Where these characters would end up wasn’t a surprise, though.
I think that the most impactful thing about this story isn’t simply Superman’s return, as much as it was seeing him return to Lois after all she had been through in the previous three chapters of this multi-year saga.
Once Superman actually returns, you’re not totally sure it’s him but as a reader, you hope it is and it’s really a breath of fresh air, as the replacements just didn’t cut it. I also think that DC Comics knew this and brought the famed hero back earlier than they probably wanted to.
Regardless, it’s good that he did return, as it was like a shot in the arm to this story, which I found myself losing interest in. Had I been buying these and reading them back when they were current, I know that I would’ve stopped before we even got to the return.
In the end, I’m not super keen on these books, beyond the pretty emotional battle that ended with Superman’s death. Although, this did make up for some of the lower points a bit and it sets up the next showdown between Supes and Doomsday, the jerk that killed him.
Published: July 26th, 2016 Written by: Kevin Smith Art by: Phil Hester, Ande Parks
DC Comics, 367 Pages
I wasn’t sure if I was going to like this as much as I remembered liking it back when it was new. However, it was pretty good and I found it to be much better than my opinion of Kevin Smith’s Daredevil run, which people seem to hold in higher regard.
This story starts with Green Arrow being alive after he had died years earlier. The thing is, he doesn’t know he died and in his mind, no time has passed and the world he finds himself in is now strange and foreign. In fact, at first, he is a bit crazy and looks like a barbaric hobo playing Robin Hood.
As the story progresses, we learn that he’s being cared for by a nice old guy. We also learn about what happened to Oliver Queen and the DC universe in his absence. If you hadn’t read the Green Arrow stories where his son took over for awhile, this does a good job of filling in that void. We also see Oliver discover the truth about himself and his best friend Hal Jordan, a Green Lantern who ended up falling to the darkside pretty hard.
Towards the end of this lengthy collection of issues, we learn the sinister secrets of the nice old man who has taken Oliver in and we also get to see a young girl step up to the plate in an effort to become Green Arrow’s new sidekick, a female version of Speedy.
I wasn’t a massive fan of the art in this run, though. It’s not bad but I don’t feel like it was up to the quality of what was common at the time. Coming out of the ’90s, mainstream comic book art was evolving pretty quickly but this looks more like an early-to-mid ’90s book. I feel like they really could’ve paired Kevin Smith up with one of the top artists and turned this into a massive hit.
The art doesn’t wreck the story but I think this would’ve had more oomph had it looked more realistic and less cartoony.
In the end, I feel like this was a much better effort by Smith than his Daredevil run and maybe that’s because he learned from his missteps on that one or he simply had more mileage by the time he picked up his pen for DC.
Rating: 7.25/10 Pairs well with: the ongoing Green Arrow stories that followed Smith’s run, as well as his work on Daredevil for Marvel.
Release Date: March 18th, 2021 Directed by: Zack Snyder Written by: Chris Terrio, Zack Snyder, Will Beall Based on: Characters from DC Comics Music by: Tom Holkenborg Cast: Ben Affleck, Henry Cavill, Gal Gadot, Amy Adams, Diane Lane, Jeremy Irons, Ezra Miller, Jason Momoa, Ray Fisher, Connie Nielsen, J.K. Simmons, Jesse Eisenberg, Joe Manganiello (uncredited), Willem Dafoe, Amber Heard, Joe Morton, Jared Leto, Robin Wright, David Thewlis, Russell Crowe, Marc McClure, Carla Gugino (voice), Billy Crudup (uncredited)
DC Entertainment, The Stone Quarry, Atlas Entertainment, Warner Bros., HBO Max, 242 Minutes
“How do you know your team’s strong enough? If you can’t bring down the charging bull, then don’t wave the red cape at it.” – Alfred Pennyworth
For years, fans of Zack Snyder demanded that Warner Bros. release The Snyder Cut of 2017’s Justice League movie. For those who have read my review of it, you already know about how much I disliked that terrible film, which was taken over and finished by Joss Whedon after Snyder left the production due to a family emergency.
Needless to say, I never wanted this movie. However, it’s release seems like a real victory for fans in a time when they’re being labeled “toxic” by Hollywood and the media outlets that suck the shit straight out of the big studios’ assholes. So despite my feelings on the theatrical version of this movie, I am happy for the fans that demanded this version of it.
That being said, this is, indeed, a much better version of the film. Granted, it’s four fucking hours long, which is way too long. This probably should’ve been cut into two parts or released as an episodic miniseries. There’s just so much material but honestly, a lot of what’s here is also unnecessary. There are so many slow motion scenes that those parts really put an exclamation point on how dragged out this movie is.
It’s also got its fair share of cringe.
The biggest instance of cringe that pops into my mind is the scene that introduces Wonder Woman. She fights some terrorists with hostages but they do this weird thing where they speed up and slow down the film for dramatic effect. It’s weird, hokey and shitty. Also, she blocks every bullet fired from a machine gun with her bracelets like she has the speed and accuracy of the Flash. They’ve basically made her a female Superman with bracelets and a lasso and it’s just sort of confusing. I get that she fits this mold in the comics but in this already established film canon, it’s like her powers have increased to that of a literal god in a very short span of time compared to the length of her life. But I can also look beyond it and sort of accept it within the framework of this movie, which wasn’t supposed to exist.
Regarding other cringe, there’s the dialogue, which often times is horrendous.
There’s also Ezra Miller, who brings down the entire production every time he shows up on screen and tries to be cute and funny but just comes off like that asshole millennial barista that thinks he’s smarter than you but you can see the cat food stains on his shirt from last night’s dinner. Ezra Miller as The Flash may be the worst casting decision in the history of mainstream superhero films.
There is some good with this picture, though.
For one, every time I see Ben Affleck as Batman, he grows on me. Affleck deserves his own Batman movie but he never got one and was instead wasted in multiple shitty DCEU movies. He could be three solo Batman pictures deep now but we’ve got to see him parade around with Ezra Miller and other superheroes that appear lame in his really cool orbit.
I also thought that Steppenwolf, the film’s primary villain was much, much better in this. He feels like a real character with a real story arc. In the theatrical version, he came across as some generic miniboss whose dungeon you could skip in Skyrim. Plus, he looks so much fucking cooler in this version.
Additionally, this film gives me what I’ve always wanted to see and that’s Darkseid on the big screen. Granted, this wasn’t released in theaters so the “big screen” was a combination of a 50 inch television and my tablet screen.
There are also some great new action sequences. I kind of liked the big battle between Steppenwolf and the Amazons, as well as the big war between Darkseid, his minions and the armies of Greek gods, Amazons and Atlanteans. It was a flashback scene but it was still damn cool. Especially, the Green Lantern stuff they added in. In a lot of ways, it reminded me of the intro to The Lord of the Rings trilogy.
I also liked that Cyborg was much more developed and didn’t just seem like a last minute addition added in to pad out the team.
The first act of the film is the worst and I felt like it moved too slow and didn’t really make me care about the movie too much. The second act, however, switched into high gear and that’s where it grabbed me as well as it could and I started to feel like I was finally getting a better, more fleshed out and worthwhile movie.
I also generally liked the third act but I thought a lot of the epilogue was unnecessary and didn’t need to be in the film. It also spends a lot of time establishing future storylines but it’s very damn likely that this will never get a sequel, as Warner Bros. were really determined not to allow this version of the film to be completed in the first place, as they want Zack Snyder to just go away now.
For those who don’t know, it was their parent company, AT&T, that forced their hand, as they needed something huge to help drive potential subscribers to their new HBO Max streaming service. This is also why this probably didn’t get a proper theatrical release.
In the end, this was still far from great and it was too damn long. However, I’d say that it’s the best DC Comics related film that Snyder has done apart from Watchmen.
Rating: 6.5/10 Pairs well with: Zack Snyder’s other DCEU films.
Published: October 8th, 2013 Written by: Geoff Johns, Richard Donner Art by: Adam Kubert
DC Comics, 252 Pages
I wanted to read this because it was the first official comic book appearance of General Zod, the made-for-the-big-screen villain from the first two Superman movies by Richard Donner.
What makes this even cooler is that Donner worked on this story with Geoff Johns.
This collection is actually two separate stories. However, they both feature Zod with the first one being primarily about the character and his introduction into DC Comics canon. The second story primarily features Brainiac as the antagonist.
Ultimately, this was a really good read and one of my favorite Superman trade paperbacks of recent memory. Both stories were solid and they actually connect in a way that makes wedging both of them together, a more enjoyable, overall narrative.
I thought that Donner and Johns came up with a pretty satisfying story to introduce Zod and his family. I also thought that the Adam Kubert art was top notch but I’ve also always loved all the Kuberts.
If you grew up with the two Donner Superman films like I did, this should definitely peak your interest. It’s a worthwhile story that was both engaging and entertaining while also being a great homage to Donner’s Superman film work.
Rating: 7.75/10 Pairs well with: other Superman comics featuring General Zod.
Published: 1984-1985 Written by: Jack Kirby, Joey Cavalieri, Paul Kupperberg Art by: Jack Kirby, Mike Royer, Greg Theakston, Mike Thibodeaux
DC Comics, 268 Pages
When I was a kid and super into G.I. Joe and Transformers, my cousin Billy was super into Super Powers and Marvel’s Secret Wars action figures. In a lot of ways, those two toylines were my introduction to many of the comic book heroes and villains outside of what a six year-old would know.
Playing with Billy’s toys and playsets, I was pretty captivated by them and it is probably a major factor in what got me to read superhero comics, as opposed to just G.I. Joe, Transformers and Star Wars.
I never read either of the two Super Powers miniseries, however, so I was pretty excited to pick this up. Also, since this was primarily done by the legendary Jack Kirby, I thought that reading this was long overdue and that not having read this sooner was a major crime against my own soul.
This edition collects both of the miniseries, the first being five issues and the second being six.
Overall, this is a really fun time and other than Mister Miracle, it’s my favorite stuff that Kirby has done for DC. Essentially, this is Kirby writing and drawing the Justice League. It features many of the core League members while also using some of their main villains.
I really like what Kirby did with these characters and I really would’ve liked to have seen this spin off into a Kirbyverse for DC, as his style and charm worked well with these characters. This feels very ’60sish but it works even though this is an ’80s comic.
While Frank Miller and Alan Moore would drastically alter the tone at DC, just after Kirby’s Super Powers, this is a nice contrast to what DC became synonymous with in that decade.
Rating: 8.5/10 Pairs well with: Jack Kirby’s other work at DC Comics, as well as ’80s Justice League comics.
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 22nd, 2017 – December 18th, 2019 Written by: Geoff Johns Art by: Gary Frank, Brad Anderson Based on:Watchmen by Alan Moore
DC Comics, 456 Pages
Well, Doomsday Clock has finally ended! This twelve issue series wasn’t supposed to stretch out for over two years but it did. I’m glad that I didn’t start reading it until it was over, as I would’ve forgotten all the details due to the delays and the dozens of other comics I would’ve read between each issue.
Now that it’s all out, I finally read it: binging through it in two days.
I guess my first thoughts on it are that it is underwhelming and that it doesn’t justify its need to exist.
I had always been against new Watchmen stories without the involvement of Alan Moore. My mind changed, however, when I read some of the Before Watchmen stories from a couple years ago.
They made me see Watchmen the same way I see other comic book properties and that’s as a sort of modern mythology that is told and retold by countless others, each bringing something new and unique to the table. Superman and Batman have had countless writers and many of them have evolved and grown the character in great ways beyond their original concept. Granted, some writers have gravely failed too.
Generally, I like Geoff Johns’ work, so I wan’t against the idea of him tackling the Watchmen property.
Ultimately, though, this took too long to come out, especially with how sloppily put together it feels.
This is one of those stories where it feels like a lot happened but also like nothing happened.
It tries to merge the Watchmen universe with the DC universe but it doesn’t work. But I’m also over the crossover trope of using inter-dimensional portals or a superbeing that basically acts as a super-dimensional portal. That being said, I don’t know how else to bring these universes together but that also makes me ask why they had to try it in the first place?
Watchmen is very much its own thing, as is DC. Hell, Marvel is also its own thing in that same regard and whenever they tried to crossover Marvel and DC, which happened multiple times, it always felt forced, clunky and weird.
The only real highlight of this was seeing how certain characters from different universes would interact with one another but honestly, none of it was as cool as I felt it should have been and it all felt pretty pointless and made me realize how bad the Rebirth era of DC Comics has been – well, for the most part, as I liked some titles in the last few years.
In the end, this doesn’t feel any different than one of any of the dozen indie publisher crossovers that pit Green Lanterns against Ghostbusters, Ninja Turtles, Transformers, Star Trek crews or the apes from Planet of the Apes. While those crazy crossovers are neat to a point, they’ve been done to death in recent years. And despite this being better written and having better art than the other franchise mashups, it feels like DC Comics were really late to the party and didn’t even realize that it was over.
Rating: 6/10 Pairs well with:Watchmen and the Before Watchmen stuff, as well as just about everything under the DC Rebirth banner.
Published: October 25th, 2016 Written by: various Art by: various
DC Comics, 394 Pages
I love when DC Comics puts out massive compilations like this that celebrate big moments from the entire history of a character. Being that I never really read a lot of really old Aquaman stuff made this a big treat.
This goes all the way back to the earliest stories and gives us a good selection of tales from just about every era and decade since.
There are modern stories here but this focuses mostly on the old stuff. Especially first appearances (or very early appearances) of key characters from the Aquaman mythos. We see the debuts of the original Aquagirl, Aqualad, Ocean Master, Mera and some very early encounters with Oceanus and Black Manta.
We also get a lot of cameos from Aquaman’s Justice League allies from different eras. This has lots of cameos but all the stories are very Aquaman-centric, as opposed to wedging in Justice League stories where Arthur Curry isn’t the primary focus.
This is a thick, solid volume. It’s a bit pricey but I got the digital version of it really cheap during an Aquaman sale on Comixology. I think I paid less than $5, which to me, was an absolute steal.
If you want to know more about the Aquaman character’s history, this is a great starting point.
Rating: 9/10 Pairs well with: other recent DC Comics compilations celebrating milestone anniversaries.
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