Young Justice Episode 8 – Review

By: Kevin Hopps (writer)

The Story: They say lost Atlantis holds many secrets.  No one says anything about Starros.

The Review: When the producers of Young Justice let on their show takes place on a parallel Earth, they opened up literally a whole new world of story possibilities.  They have the double-benefit of using DC canon for their source material, but molding it to their imagination.  It’s been fun exploring this universe little by little through the team’s missions, but the more you see, the more eager you get to really tramp about its locales to see what’s familiar and what’s all-new.

Aqualad’s sabbatical to Atlantis could not be a more ideal locale for seeing just how much creativity the writers will put into their world-building.  Hopps gives us everything you expect in Atlantis: the exotic, almost extraterrestrial marine life, the neo-classical architecture, the melding of ancient magic and advanced science, even its own Tolkienish language—the show’s brilliant animation brings it all to life, jumping an even higher bar of quality than it already has.

The reimagining of the Aqua-family is also stellar.  Some people wondered at the choice of Kaldur’ahm as Aqualad, but Hopps cleverly shows both Garth and Tula having chosen the Atlantean conservatory of magic as their vocations.  Guest stars include Aquaman’s wife Mera, half-brother Orm (kudos for making him actually look Inupiat), and royal science advisor Vulko.  Even Lagoon Boy and Letifos make cameos.  If you’re an Aqua-fan, this episode is practically catered to you.

Easter egg fun aside, Hopps writes an altogether sound episode, opening right in the middle of a mission gone awry, and Batman chalking it to Kaldur’s homesickness.  It’s not great we don’t see how Kaldur is supposedly responsible for the whole deal, but the scene itself works (note Bruce Greenwood’s excellent voice work as Batman) and the trade-off is we get to Atlantis that much sooner.  Kaldur’s interactions with his ocean friends and family give him some much needed personality, but I think we all just have to accept he’s the strong-and-silent type of the team.

Hopps also brings plenty of underwater action with Black Manta and his forces facing off against the Atlanteans and the Aqua-family (minus Arthur).  The melding of blaster guns, hydro-kinesis, and spell-slinging makes for visually and physically spectacular fight sequences.  It’s also good to see that writers are really embracing the tough broad Mera that’s popularized in Brightest Day. Manta comes off smart and formidable sparring versus both Aqualads, and his quest for Starro is marred only by the fact that we don’t get to see the alien starfish in action—not yet, anyway.

Batman: The Return #1 – Review

By: Grant Morrison (writer), David Finch (penciller), Batt and Ryan Winn (inker), Peter Steigerwald (colorist)

The Story: Bruce Wayne is back in Gotham and giving orders. It might be best to say that General Wayne is back, because he’s got a small army of people he can draw on for his new vision of crime-fighting.

The Review: This book wowed me pretty much from cover to cover. The production (paper and thickness) felt satisfying to sit back and open. David Finch’s art, ably interpreted by Batt, Winn and Steigerwald, was awesome. There were a few gratuitous poses here and there, but the evocative settings and dynamism of even the heroes standing about made the whole story seem to be in motion. As an example, take a look at some of the non-standard chores the art team really knocked out of the park. First, the three-page opening with the wounded bat, especially the background of the library. Then, check out the batcave in Batman’s first briefing. The level of detail in the backgrounds and in the characters (unfortunately posing like they came out of the 90s) was eye-catching. And, check out the overview of Yemen. Great stuff. Money’s worth it for the art.

On writing, Morrison was nearly tone-perfect. He caught all the characters at their best (with one exception that I’ll get to in a sec). Morrison writes a good Damian. He’s a hateful, spiteful little bastard you’d just like to shake some so he gets his head on straight, if you thought he wouldn’t bite you. His growth under Morrison (via Dick Grayson) was genuine and Dick earned Damian’s respect. Damian’s insecurities here under Bruce completely transform Damian’s axis of aggression as he realizes that Dick is his only hope to keep on being Robin and growing into what he and his father want of him. It was really fun to watch. At the same time, I loved the role Bruce carved out for Dick. It is appropriate, logical (given Bruce’s new vision), and promises to keep my favorite member of the Bat-family at the front of things for a while yet. The quiet moments between Alfred and Bruce were also great to watch. And finally, as a reader of Batgirl, I also like the direction here that will play out in a book that needed a shot in the arm.

Batman and Robin #8 – Review

By: Grant Morrison (writer), Cameron Stewart (artist), Tony Aviña (colorist)

The Story: Batman vs. Batman, Part Two: Bruce Wayne rises from the Lazarus Pit, but all doesn’t go according to plan. He’s confused and psycho and we get some tantalizing flashbacks that show us why. Problem is, he’s nearly unstoppable and not only drops the roof of the mine on Dick, Batwoman, Knight and Squire, but Batwoman is paralyzed! And then, things go from bad to worse.

What’s Good: This story could have been called “This isn’t the Batman you’re looking for.” It is a fun ride and benefits from Kate Kane’s guest-star role. The action is quick and forceful, with a raft of people trying to stop the newly-resurrected Bruce Wayne. The mystery deepens with great hints, and we get to see our favorite precocious 10-year-old out of critical care and under Alfred’s care as they both try to figure out how Dick has screwed this up.

Stewart’s art is moody and old-school. In fact, Stewart’s work reminds me a lot of Will Eisner’s original stuff on the Spirit: the thick, viscous drops running off resurrected-Batman’s cloak, the dynamic action poses when resurrected-Batman punches Dick and throws Batwoman and Knight off of him. The old school effect is strengthened by the lined shading on Dick’s legs on the first splash page – a style that was used a *loooong* time ago by Shuster in 1938. It’s a really cool feel and very different from most art that’s on offer on the comic stands right now. Aviña’s colors are also great, both the lurid green back-lighting around Batwoman’s flashback and the speckled colors of the cave wall to show texture where other artists might have used inked lines. Basically, Stewart and Aviña pass my art test: Did my appreciation of the art slow down my read? Yes.