Batman: Legends of the Dark Knight #s 149-150, $2.25 US each, published by DC Comics
Writer: J.M. DeMatteis; Pencils: Trevor Von Eeden; Inks: Jose Luis Garcia-Lopez; Covers: John Cassaday
Rating 4 out of 5 stars
The pencils on Legends of the Dark Knight #s 149-150 are by Trevor Von Eeden, with inks by Jose Luis Garcia-Lopez. They are both very talented artists who seldom receive the attention they deserve.
I first discovered Von Eeden's work about ten years ago, when he was pencilling Black Canary for DC Comics. His work was incredibly striking, dynamic, stylish, and unique. Unfortunately, the book only lasted a year. Since then, Von Eeden's work has appeared only sporadically. And more often than not, it would be on material that I had no interest in. Most of the stories Von Eeden has illustrated in the last few years happened to feature the character of the Joker.
The Joker is an incredibly overused villain. In the past decade, DC Comics has featured him in countless stories. Whatever dramatic potential he once had is long gone. Nowadays, he typically shows up with a grandiose, morbid, supposedly humorous (and usually utterly contrived) scheme to murder dozens, if not hundreds, of innocent people. My dislike for the Joker has gotten to the point where I actively avoid buying anything he shows up in. As a result, I've ended up steering clear of the majority of Von Eeden's recent work, solely because the damnable Joker was in the stories he was drawing. A notable exception was the 1999 one-shot The Joker's Apprentice, written by talented mystery novelist CJ Henderson. I read that one because the Joker spends most of the story in the background. Von Eeden's work in that book was outstanding.
Bearing all that in mind, I'm glad to finally see a new project drawn by Von Eeden that isn't a Joker story.
As for Garcia-Lopez, it is my understanding that he has had an extensive career in the comic industry. The first time I heard of him was in a lettercol of John Byrne's series Next Men. Byrne cited Garcia-Lopez as a major artistic influence. Having only started reading comics regularly in 1989, I have not been exposed to much of Garcia-Lopez's work. But through a few back issues, and the handful of fill-in jobs he did in the 1990s, I can see that he is very talented. He drew about a year's worth of covers for Wonder Woman that were rich in detail.
Bearing in mind the paucity of these two talented artists' work, it is a pleasure to see them collaborating together on a project. Von Eeden's pencils and Garcia-Lopez's inks mesh perfectly. Garcia-Lopez succeeds in making Von Eeden's stylish work even more dramatic. The finished artwork is simultaneously moody and zany. It is an ideal match for J.M. DeMatteis' story.
Oh, yeah, regarding the story: LOTDK #s 149-150 are the first two chapters of a five-part arc entitled "Grimm." As with the majority of the stories that have been presented in this anthology series, "Grimm" is set early in Batman's career, in his third year of fighting crime as the cowled detective. It is only a couple of months since Batman took in the newly-orphaned Dick Grayson. The memory of his parents' murders fresh in his mind, the unsettled Grayson is attempting to ease into the role of Robin the Boy Wonder. It is a difficult task made all the more so by Bruce Wayne's own doubts. Wayne recognizes that he is a loner by nature. The traumatic past that led him to become Batman has also made him a brooding, anti-social recluse. Not only is Wayne uncertain that he will make a fit parent, he is also having second thoughts about having let Grayson become Robin. Does he have the right to bring a young orphan into the dark, lonely world of Batman?
Adding to the tension in Batman and Robin's relationship is the arrival of a new costumed criminal in Gotham City: the eccentric, charismatic, but nevertheless quite dangerous Mother Grimm, who robs from the rich to give to the homeless children of the city. Grimm, with her overwhelming affection for children, is a complete contrast to the morose Bruce Wayne. Robin, the loss of his parents fresh in his mind, uncertain that staying with Batman is the right thing to do, encounters Grimm and her followers. In Grimm, Robin finds an individual who is able to express love and affection. To Robin, it seems that Grimm might become the loving parent that he knows Batman could never be. Robin finds himself torn between Batman and Mother Grimm.
And so, having only just formed their partnership, Batman and Robin are already in danger of going their separate ways.
DeMatteis packs in a tremendous amount of characterization in this story, examining the motivations of both Batman and Robin. Each engages in a soul-searching introspection, a consideration of the reasoning behind their actions. It is, appropriately enough, a story with a grim atmosphere to it. The arc title "Grimm" as much refers to the mindset of the two protagonists as it does the escapades of Mother Grimm. And the name helps to underscore that, despite her cheery disposition and apparently benevolent motives, there is a sinister undercurrent to Mother Grimm.
DeMatteis has a long history of penning tales with a psychoanalytic bent, with varying degrees of success. "Grimm" appears to be one of his better efforts. I'll reserve judgment until the story concludes. But so far it is promising. I am a bit concerned about a subplot that is floating around in these issues which, aside from a thematic perspective, appears unrelated to the main story. Hopefully the disparate plot strands will dovetail naturally, rather than being brought together in a heavy-handed manner.
The cover to LOTDK #149 by John Cassaday is decent, albeit somewhat bland and undistinctive, with a crestfallen Robin placed in front of Batman's black cape. Issue #150 has a much more dynamic image. All the covers for DC's books in this month were worked out to incorporate the logo into the design and artwork. Cassaday's cover for #150 has a long shot of Batman gliding above a minimalist cityscape, with the logo worked into the surfaces and angles of the buildings. It's an incredibly striking cover.
Just Imagine Stan Lee's JLA, $5.95 US, published by DC Comics
Writers: Stan Lee & Michael Uslan; Pencils & Inks: Jerry Ordway
Rating 2.5 out of 5 stars
Jerry Ordway has been active in the industry for years. He is perhaps best known for a long run on various Superman-related titles, and for inking George Perez's pencils on the Crisis On Infinite Earths miniseries. But my favorite work by Da Ordster, as he's fondly called, is his seminal 48-issue run as writer, cover artist, and eventually penciller on DC Comics' Power Of Shazam book. I hadn't been a fan of the Marvel Family (Billy Batson and the rest of the supporting cast of the original Captain Marvel of the 1940s) or of Ordway's work before reading Power Of Shazam. But by the time the ongoing title concluded, I had developed a great fondness for both the characters and for the creator who brought them back to life.
After Power Of Shazam was canceled, I was fortunate enough to see Da Ordster's artwork appear in various specials and miniseries. Just Imagine Stan Lee's JLA is the latest of these.
The "Just Imagine" concept received a great deal of buzz when it was first announced. Stan Lee, the man who co-created much of the Marvel Comics universe in the 1960s, and who has acted as an energetic spokesperson for the company to the present day, was recruited by DC Comics to re-imagine some of their own classic characters. These reinterpretations would appear in a series of specials illustrated by a variety of artists in the comic book industry.
From the start, the whole "Just Imagine" concept came across first and foremost as a publicity stunt designed to re-ignite interest in a floundering industry. Nevertheless, the idea did have some potential to it. DC's classic heroes were for many years virtuous, altruistic, idealistic crimebusters with an unerring devotion to law & order. In contrast, most of the Marvel characters that Stan Lee helped to develop were emotional, prone to such failings as doubt, anxiety, and hate. They could be argumentative and temperamental. Despite their good deeds, they were often regarded with distrust and fear by both the public and law enforcement authorities. To have the icons of DC Comics re-envisioned by one of the main pioneers of the flawed, human hero was an idea that held some promise.
Now, I've never been a major enthusiast of Stan Lee's work. I've always found his carnival barker style of self-promotion to be annoying rather than humorous. And his unsubtle scripting style doesn't interest me. Yes, in Lee's heyday, his writing was cutting-edge and revolutionary in contrast to what was taking place in the rest of the superhero books. And it certainly had a great influence on subsequent writers throughout the industry. But by today's standards it is overblown and self-conscious.
I regard Lee's most significant accomplishments as an editor and an idea man. As editor-in-chief of Marvel in the 1960s, he brought a direction, work ethic, and cohesiveness to the company that resulted in a diverse line of titles. Collaborating with such artists as Jack Kirby, Steve Ditko, Don Heck, and John Romita, he helped bring into being some of the most popular superheroes. I used the phrase "idea man" because it now seems apparent that the aforementioned artists had a much greater role in plotting out the actual books than was previously assumed. I think that Lee's strength was that he had the ability to help spur these artists on, to suggest rough concepts and story ideas that led them to create specific visions, and, yes, to then provide solid scripts and distinctive dialogue to complete the narratives. Therefore, the premise of Lee collaborating with a group of the present day's most talented illustrators was noteworthy, as it would be interesting to see what they might accomplish working in tandem.
As far as tangible results go, Just Imagine Stan Lee's JLA is a mixed bag. Part of the problem is that the characters and concepts featured in the book were mostly developed in previous Just Imagine installments that introduced the heroes who now assemble to form the Justice League. This really doesn't give Jerry Ordway much material to have a hand in shaping. He and Lee do come up with a trio of death-row murderers turned supervillains, aptly given the name of the Doom Patrol. But the three characters themselves are bland and one-dimensional. It is quite obvious that they are throw-away characters Lee did not bother to spend time developing.
At least the book's artwork is very well rendered by Ordway. He does a superb job illustrating the various reinterpretations of DC's classic heroes working in tandem. The coloring by David Baron is vivid and exquisite, a fine match for Da Ordster's work.
Stan Lee, with co-plotter Michael Uslan, works his traditional team dynamics. Rather than working as a well-oiled machine as they did in the Silver Age, this Justice League is beset by interpersonal squabbles, disagreements on strategy, and clashes of egos, much like the Avengers and Fantastic Four would be when penned by Lee. This Justice League, interestingly enough, has a rather Avengers-like origin, with a villain gathering together a group of heroes to manipulate them to a certain end, only for the plan to backfire and the heroes forming a permanent team.
The thing is, a lot of Lee's team dynamics have become so standard in superhero books, including DC's regular, ongoing JLA series. From a modern perspective, it doesn't seem innovative. Yes, in the 1950s and 60s, the "real" Superman and Batman were fast friends. But nowadays, the two constantly clash over personalities and ideologies when they work together in the Justice League. So, seeing Lee's version of the pair sparring isn't as interesting. Still, Lee does turn the relationship around somewhat by making his Superman an arrogant hothead, in contrast to his version of Batman who, though a loner, is willing and able to work with others if the situation requires it.
The weakest element of the JLA book is Stan Lee's aforementioned characteristic scripting. A number of narrative passages and lines of dialogue are firmly in the style of 1960s writing. Rather than making the book read as charmingly nostalgic, instead it comes across as antiquated and overwrought.
I was also ready to climb the walls due to Lee's trademark use of alliterative names for characters. He's come up with several in the previous five Just Imagine specials. So teaming up the characters from all those books has brought together many of those oddly-named characters: Len Lewis, Maria Mendoza, Wayne Williams, Mary Maxwell, and so on.
Also, having only read a couple of the prior books (the Wonder Woman and Green Lantern ones) I was at a loss as to who the rest of the Justice League members were. It would have been helpful if Lee had provided at least some basic information on the five members' backgrounds and personalities in this story before having them join together. That is an even greater failing in the presentation of the villain, Dominic Darrk (another alliterative name!), who abruptly shows up without an introduction. All we are told in Just Imagine Stan Lee's JLA is that Green Lantern knows of Darrk. We aren't given any other information. If I had not read the Just Imagine book featuring Green Lantern, I wouldn't have had any clue as to who Darrk was supposed to be.
I probably would not be quite so focused on the various weaknesses of Just Imagine Stan Lee's JLA if it were not for the high price of the book. For $3.50 or $3.95, I can overlook certain failings. But when I shelve out nearly six dollars for a single comic, I expect it to be damn good. The Just Imagine books could easily have been published in a less-expensive format than as a bookshelf edition, with cardstock covers and glossy paper. But DC seems to make a habit of printing nearly all their special projects in that format, regardless of merit. I made that observation over a year ago, when I reviewed Neil Gaiman's Green Lantern/Superman special. And it remains true today.
If one can ignore the weaknesses in Lee's script, as well as the exorbitant price, than Just Imagine Stan Lee's JLA can be regarded as a somewhat entertaining story with high-quality artwork. I certainly would not recommend rushing out and buying it. But if in six months' time you see it at a comic book convention for half price (or, better yet, less) than it would then be worth picking up. That's what I plan to do if I decide to buy any of the other Just Imagine specials.