From creators Tim Seeley and Corin Howell, via AfterShock Comics, comes a story that focuses on the life of a vampire on the other side of the fence, in a brand new series titled, Dark Red.
The story is centered on Charles ‘Chip’ Ipswich, a vampire, who is one of the ‘forgotten men’ in the United States. He has a dead end job, with no prospects, in the middle of the country, until a mysterious and special woman comes to town.
Seeley uses his main character for the series as a metaphor, having grown up in a rural town, himself. Knowing that vampires have been portrayed as glamorous phenomenons, he wanted to give readers a new take on the genre.
“He has to make sure his shift is over before the sun comes up,” Seeley told The Hollywood Reporter. “It’s a pretty miserable existence, because he doesn’t have access to any of the flourishes and community urban vampires do. It’s a story influenced by current events, but told with a down-on-his-luck vampire and a cast of some of the best characters I’ve ever managed to make up.”
Dark Red #1 hits shelves on March 20, 2019, both in comic shops and on digital.
Click HERE for the official interview with the creative team by THR, which broke the story, including a few of Howell’s character pencils.
What do you think, is the world ready for a down-on-his-luck vampire? Are you going to add this book to your pull? Let us know in the comments section below.
DC Comics announced Tuesday morning details surrounding the 1,000th issue of DETECTIVE COMICS hitting your local comic book store on March 27, 2019. The issue includes 11 all-new stories with a wraparound cover by artist Jim Lee, inker Scott Williams, and colorist Alex Sinclair.
“Batman is one of the most enduring characters in popular culture, and his debut in DETECTIVE COMICS represented a pivotal moment in comics and pioneered a new type of superhero that would appeal to every generation. Batman continues to have an impact on entertainment worldwide and the 1,000th issue of DETECTIVE COMICS is a testament to the creative genius of Bob Kane and Bill Finger and is a fitting tribute to Batman on his 80th anniversary,” said DC Publisher Dan DiDio.
According to DC Comics, DETECTIVE COMICS #1000 is highlighted by an original story from the team of writer Peter J. Tomasi and artist Doug Mahnke that not only launches a new story arc but introduces a new version of the Arkham Knight to DC comics canon. The issue also features a two-page spread spotlighting the current state of the Batman universe by Jason Fabok. Listed below are the creative teams involved on the book.
Kevin Smith and Jim Lee
Brian Michael Bendis and Alex Maleev
Warren Ellis and Becky Cloonan
Paul Dini and Dustin Nguyen
Denny O’Neil and Steve Epting (a sequel to O’Neil’s 1976 DETECTIVE COMICS story “There’s No Hope in Crime Alley”)
Christopher Priest and Neal Adams
Geoff Johns and Kelley Jones
Tom King, Tony Daniel and Joëlle Jones
Scott Snyder and Greg Capullo
James Tynion IV and Alvaro Martinez
DC Comics has a plethora of variant covers for the issue too, check the cover out below by Steve Rude, Michael Cho, Jim Steranko, Bernie Wrightson, Frank Miller, Tim Sale, Jock, and Greg Capullo. Bruce Timm’s variant will feature an homage to Jerry Robinson’s cover of November 1942’s DETECTIVE COMICS #69.
Are you excited for DETECTIVE COMICS #1000? Comment below with your thoughts.
Grant Morrison’s mind-bending, alternative take on Santa Claus returns this week with Klaus and the Crying Snowman, with art by Dan Mora and letters by Ed Dukeshire.
About the issue: Klaus (Santa) teams up with Father Frost and Master Yule-Goat to stop the Nightborn, giants who defeated the Norse Gods and brought about Ragnarok 1500 years ago. Along the way, he also picks up an amnesiac man-turned-snowman and helps him learn an important Christmas lesson.
BOOM! Studios is billing this series as “the best holiday tradition in comics,” and they’re not wrong. Morrison’s Klaus stories are epic tales of magic and action, and the fact that they only come once a year makes them all the more special. They’re Christmas treats, like the TV specials you wait all year for. But where Rudolph and Frosty are going to tell you the same stories every December, Klaus has new ones for you.
Think of Klaus as the story of Santa Claus on acid. It’s exactly the kind of Santa story you would expect from Grant Morrison’s mind, complete with aliens, time travel, dragons, and more. And while all of that is badass and cool, what truly makes these stories special is the spirit of Christmas that’s injected into each one.
Dan Mora’s art is a huge reason why Klaus is so wonderful. That’s not “wonderful” in the simple, cliched way either; these comics are literally full of wonder. Mora’s colors are bright, vibrant, and at times trippy, creating the series’ otherworldly, magical atmosphere. His line work is more cartoony – which makes the story more fun and lighthearted – and yet incredibly detailed. The action scenes are full of explosive energy, and the emotional moments only land because Mora is able to execute them so well. Morrison may get top billing and the “created by” credit on Klaus, but Mora is the reason it’s worth the purchase.
Crying Snowman is admittedly pretty light on plot. Santa has to stave off Surtr’s forces and save Christmas. The way he does it is through some pretty convenient dues ex machina means, and even Klaus himself agrees, calling it “cheating.”
That’s not the point, though. It’s more about the journey, and the lessons learned than the actual plot. Heck, Morrison basically tells you how the story ends on the first page so that you can focus on the deeper parts. The ultimate message is beautiful and heartwarming. This is a story about kindness, understanding, and second chances. The holiday season is a time to reflect on what’s important in life, and Klaus and the Crying Snowman allows you to do just that.
Plus, the premise is absolute gold, even if the plot itself is somewhat basic. Santa Claus fighting back Surtr to prevent another Ragnarok? Ideas like this are why Klaus is one of the most fresh and original titles out there, despite only coming once a year.
Moon Knight Epic Collection Volume 3 is out this week, entitled “Final Rest”, and it concludes Doug Moench and Bill Sienkiewicz’s run on the Fist of Khonshu.
The paperback includes issues #24-38 of Moon Knight’s first ongoing solo series, originally published between 1982 and 1984. In addition to Moench and Sienkiewcz, other writers/pencillers featured in this volume include Steven Grant, Alan Zelentz, Tony Isabella, Denny O’Neil, Steve Ringgenberg, Joe Brozowski, Kevin Nowlan, (takes deep breath), Bo Hampton, Keith Pollard, Michael Bair, Marc Silvestri, Richard Howell, and Bob McLeod, along with a slew of inkers, colorists, and letterers.
Now, although this is volume 3, feel free to pick it up and jump right in, even if you haven’t read volumes 1 and 2. Marvel designs their Epic Collections to each stand on their own as an accessible, easily digestible book. The company doesn’t even publish them in consecutive order! Completionists may cringe at the thought of this, but nonetheless it makes for a fun, carefree reading experience.
Moon Knight is the definition of a cult character, but he’s also a fan-favorite. Marc Spector is an interesting, complex character, and his dissociative identity disorder makes him all the more unique. If you’re looking to get into the character, Moench and Sienkiewicz is a great place to start. This volume is a great primer for what Moon Knight has to offer: you get a good look at his rogues gallery, including a rematch with Werewolf by Night (whose title Moony first appeared in), as well as appearances by Marvel icons like Doctor Strange. But perhaps the best thing you get is the art clinic by Sienkiewicz and company.
This book holds some of the best comics art that the 80s had to offer. Moon Knight is a street level hero, akin to Daredevil or Luke Cage, and his stories are dark and gritty. The art perfectly reflects that. Sienkiewicz is famous for his rough, edgy style, and his successors on Moon Knight carry that feeling over. There’s a raw, unsettling atmosphere that permeates this book from start to finish, which is great because Moon Knight is – in many ways – a horror comic. Final Rest feels like old-school, late 80s/early 90s Vertigo; open to any page and you’ll see.
The 80s were a big decade for change in comics. Stories were getting darker, more adult, and if you’re looking for a snapshot of the period, definitely check out Moon Knight Epic Collection Volume 3: Final Rest.
The Sentry: Man of Two Worlds is out Wednesday, and it balances epic superhero action with a complex, philosophical look at the nature of man.
The trade paperback collects issues #1-5 of the series, and is written by Jeff Lemire with art by Kim Jacinto (#1-4) and Joshua Cassara (#2-5). Rain Beredo did the colors, and Travis Lanham did letters.
Bob Reynolds is the Sentry, one of the most powerful heroes the world has ever seen. Bob is also the Void, his own archnemesis and an unstoppable destructive force. Long story short, Doctor Strange helped Bob lock both personas away in the recesses of his mind, but it left Bob wondering, “who am I?”
When it was announced Lemire would be writing a Sentry series, fans roared with excitement. Who better to take on the Golden Guardian of Good than the man whose work has been defined by rich, flawed characters searching for identity and their place in the world?
“How do you measure a man’s life?”
These words kick off The Sentry, setting the tone for the story that follows. It’s going to be heavy.
Bob feels like half man, or even less. He’s no longer the hero he once was, and he’s struggling to figure out who he is now. This feels real. Superheroes aren’t real, but everyone loses track of themselves at some point in their life. And everyone wonders how they can get back to the place where they were before. Bob, like many people, feels like if he bides his time, he’ll figure out a way to return to his former glory.
In a particularly poignant moment from issue one, he thinks,
“This is just the way it is for now. I have to believe I’ll eventually find a way to come to peace with this. Eventually I’ll find a way to bring these two lives together and be whole again. Until then, I just stick to the routine.”
But is he right?
It feels like Bob is living in the past, pining for the return of his glory days instead of embracing his reality. He could be forging a new path for himself, living in the now, but instead he’s lying in wait for something that may never come.
Again, this feels like a very real struggle, and the question of “is Bob right?” will haunt the reader throughout the whole story. Reynolds is our protagonist – our hero – so we expect him to be right. He’s the titular character. But, as with most Lemire titles, things are never so black and white.
With the villains of the story, things are a little more clear-cut (because they’re the villains, duh). Like Bob, they too yearn to return to their past glory days. They’re jealous of Bob and the power he once held, and want to reclaim it for themselves. But the big red flag here is that their motivations mirror our supposed hero’s.
Pyeong Jun Park’s variant cover to THE SENTRY #1, conveying Bob’s dual nature.
To defeat his enemies, Bob ultimately reconciles his two identities. He joins the Void with the Sentry and becomes something entirely new. In doing so, he’s able to save the day. The message, according to Bob, seems to be that the only way to become whole is to embrace our inner darkness.
But. Is. He. Right?
Sure, Bob claims this is for the better. Suddenly he believes he deserves this power, something he was denying just a few pages prior. But at the same time, he battles the Avengers. He throws She-Hulk at Captain America. Now, the Avengers are not always correct. But how many characters have you seen attack Captain America and be in the right?
Bob’s “goodness” is left up in the air by the end of the story, but it feels like he pushed so hard to return to his past that he took a sinister turn. He could have just enjoyed the memories he had, accepted they were gone, and moved on. Instead he became this dark version of his former self.
This seems to be the true message in The Sentry: we must accept the nature of time, lest we become a corruption of what we once were. We don’t need to embrace the darkness within to become whole; we just need to embrace who we are.
That’s one of the messages, anyway. Part of what makes this miniseries so great is how many layers there are to it. You can spend hours dissecting these five issues.
Lemire subverts the typical superhero story with his Sentry. He’s teaching a lesson through the titular hero’s failure instead of his success, even though Bob does technically defeat his enemies. And the writer had the perfect team to do it with. Jacinto and Cassara’s art, coupled with Beredo’s muted colors, give the Marvel Universe a grittier, real world atmosphere. There’s true pain in the characters’ faces, pain the reader can relate to. Then there’s such explosive energy and motion in the action sequences, because this is a superhero book after all, and it all gels. Wherever the Sentry ends up now that this series is over, hopefully this creative team is there.
If you like superhero books that try to break the mold, deal with real world complicated problems, and play in the gray area of morality, definitely grab The Sentry this Wednesday.
AfterShock Comics has learned from the Image Comics model, and is using the medium of comics to tell great stories. One of those tales is The Lost City Explorers, an homage to the big screen youthful explorers of the 80s. Written by Zack Kaplan with art by Alvaro Sarraseca, the first story arc wrapped up in October with the trade paperback hitting your local comic book store on January 16. FOC (Final Order Cut-off) is this Monday, December 17th, so be sure to call your local comic shop ASAP and tell them you want it!
Kaplan talked with Monkeys Fighting Robots about life, music, storytelling, and influences, as we reflected on the first five issues of the series.
MFR: Zack, I loved your introduction to your The Lost City Explorers trade. Turning the mirror yourself, who encouraged you to explore? Did you listen?
Kaplan: Wow, we’re going deep right off the bat. The honest truth, I don’t know that I’m an explorer at heart. I love exploring ideas, worlds, and stories, in the safety of my office chair, and many teachers and writing mentors have helped to cultivate that intellectual exploration, but if I found the beginnings of a real-life adventure like this, the chance to go looking for a lost city underground by dodging subway trains, slugging through sewers, running from mercenaries, well, I would probably respond more like the cautious Homer Coates than his brave, wanderlust sister Hel. I’ve always struggled with taking risks and doing the dangerous thing, and so I think if anything, this story is a wish fulfillment for me, the chance to vicariously live out the desire to go exploring down the road less traveled. I think we all get wrapped up in that same daily routine and responsibilities, and we forget to look around us, and find more meaning, more depth and just explore life. Maybe our little graphic novel will allow others to enjoy a little adventure and exploration.
MFR: In the first issue, you have the main characters doing pretty mundane stuff while having a conversion. Why are these elements essential in storytelling?
Kaplan: Yes, early on we see Hel and Maddi as they enjoy a night out at the rock show, in the bathroom, grabbing a late night snack from a food truck, riding the subway, and making their way home. Other times, we see them eating churros at the museum. I think it’s important in an adventure story, especially an adventure story about taking a risky, dangerous journey into an uncharted world, it’s important to establish a mundane, boring atmosphere. That’s why we meet Hel behind the railing, behind bars, and despite being at a super fun rock show, she feels trapped and unfulfilled. I think those early scenes are important to establish the ordinary status quo of our character, the pacing creates the staccato rhythm of routine and sets up how even a rather incredible night out can be quite void of meaning to our heroine.
MFR: Also, in the first issue, you start the series with “I Wanna Get Better” by the Bleachers. What song would play for the last page of the trade, and why?
Kaplan: Well, Hel’s a teenage girl, she’s tough, edgy, a still bit pissed off, and at the end, she’s motivated now, so she needs an anthem. A girl anthem. And since I already went with Jack Antonoff from Bleachers, I’ll go with Lorde (music fans will get that connection) and pick Green Light.
MFR: From our previous conversation, I know you did a ton research about Atlantis – What was the coolest fact or myth you found out about the lost city?
Kaplan: The coolest things were the details about Manhattan. This island is the most strategical location on the entire American seaboard, which is why the Dutch settled there and why it became such a powerful location throughout our country’s history. Manhattan was originally very hilly and had streams and ponds. There were even wooly mammoths that roamed the area. The entire area actually suffered a lot of tectonic activity. All of this lent itself perfectly to supposing that the city of Atlantis was in fact actually located on the island of Manhattan. Because Atlantis was actually located on Manhattan!
MFR: The first trade of The Lost City Explorers is an origin story. How far do you have the series outlined?
Kaplan: Oh man, just wait! If we get a chance to do more, I’ve got a killer second arc planned out that definitely takes the volume one and goes ten times harder. The first volume was always meant to be a fun, fulfilling adventure and an introduction to the characters, the truth about Atlantis and the beginnings of this adventure, but it simply was not enough room to do everything I wanted to do. So I definitely saw the first trade as a chapter one, an origin story for Hel and her friends, but there’s enough left unresolved at the end, that we definitely need to rejoin our heroes and go a bit deeper with them both into Atlantis and into some other lost cities as well. There’s just so much more here to explore.
MFR: What is your favorite panel or page from the trade and why?
Kaplan: That’s a tough one. I’ll give two. One of my favorite pages is the funeral in Issue #1. It’s silent — no dialogue. All amazing visual storytelling by Alvaro Sarraseca, and he just captures Hel’s pain so beautiful, and that close up really does it for me. And the final moment of three panels all getting closer and closer to Hel when she finally discovers the truth about her father in the end. It’s a heart-breaking moment, and I just love those close-ups. It’s funny, but despite all of the amazing underground locations and fun thrilling set pieces and supernatural phenomenons, it’s the quiet emotional character moments, especially with Hel, that means the most. I never wanted this to be an easy journey for her, and to be honest, I think it’s a very bittersweet ending for her, but even though she doesn’t find fulfillment the way she wanted, I think she finds it in a way she needed, and that’s the most important. Hel Coates is just one of my favorite characters of all time. I love her close-ups.
MFR: You mentioned that the GOONIES was a huge influence on The Lost City Explorers. Mikey has his epic “This is our time” speech. Does your main character, Hel Coates have that type of speech in her?
Kaplan: Early on, Hel gives us a pretty good explanation as to why Atlantis might be under New York City, why her father’s research might actually hold water, but I think the entire adventure she’s advocating for why they should do this. I decided actually to flip it. There’s a moment in our journey where the teenagers have to choose whether they are essentially going all the way or not, and it’s a pivotal moment. But rather than having Hel give them one more “this is our time” argument, that felt repetitive, and that this had to be the moment where she owned her pain, she took responsibility for her actions, and instead her friends rallied, and the whole group comes together. A bit of a flip, but this story is about rescuing a missing father, not recovering pirate treasure. But maybe I’ll write that speech in the next arc!
MFR: Is there any update on the television adaption of the series?
Kaplan: We’re just getting started, but we should have more news next year!
What did you think of the Kaplan interview? Comment below with your thoughts.
About the series
THE LOST CITY EXPLORERS, Vol 1: Odyssey
Writer: Zack Kaplan
Artist: Alvaro Sarraseca
Colorists: Dee Cunniffe & Chris Blythe
Letters: Marshall Dillon
Cover: Rafael De LaTorre & Marcelo Maiolo
Lost cities aren’t the stuff of myth! They exist right under our feet. When her archaeologist father goes missing, teenager Hel Coates rallies her friends and brother to find him. They’ll have to dodge a shady corporation, mercenaries, and speeding subway trains while they follow the trail deep into the tunnels under Manhattan—and what they find down there will change their lives forever. Follow Hel and her friends on a coming-of-age journey through subterranean tunnels, and ultimately to the holy grail of lost cities: Atlantis!
Zack Kaplan (Eclipse, Port of Earth) and Alvaro Sarraseca (Magnus, Turok) bring you an adventure story unlike any other, collecting the whole series (issues 1-5)
TPB / $14.99 / Full Color/ 120 pages / ON SALE 1.16.2019 / FOC 12.17.2018
Wonder Woman is looking for Steve Trevor in the midst of a civil war. Amongst the fighting, a reborn Ares goes on a crusade to bring his brand of justice to the world. Diana is a bit skeptical about this but allows him to help as a jet approaches. The pair can remove the missiles it was carrying, but Ares throws it into a village. With this mass killing, Wonder Woman attacks the God of War. Was Ares’ new goal of justice all a lie?
Story:
Ares faces off against Diana, claiming his way is right. Wonder Woman retorts by explaining what Ares did to the village was not justice but revenge, something they have to be above. Before their fight can continue; however, the cries of a child distract them both. The pair works together to find a baby left alone in the rubble. This shakes Ares to his core, and he realizes his way doesn’t work after all. He decides it’s time for him to stop interfering and flies off. Meanwhile, Steve is being led along to meet the mythological creatures’ leader. It turns out Ares isn’t the only Greek god in this civil war as Aphrodite has appeared.
Despite all the interesting pieces on the board, this story just doesn’t impress. The pacing is all over the place, going quickly during the fights but slow in the pity party of Ares. While I do like to see guilt building in the God of War, it doesn’t make for an exciting read. Even the action doesn’t feel exciting, and we see Wonder Woman redirect lightning! This story needs to pick up the pace and keep it if it wants readers hooked.
Art:
I don’t like this art. It doesn’t fit Wonder Woman or the story at all. It continues to look like Frank Miller’s Dark Knight universe. It has moments that look amazing, but the rest of the time it looks blocky and generally unrealistic. Now while I don’t expect realism in a fantasy comic, I expect it to give us something visual to connect with. This style of illustration is better suited for a surreal adventure in the Sandman universe. What else can be said other than I hope it changes soon.
Conclusion:
I can see the story’s pieces laid out and while good separately, they just can’t fit together. It’s a shame because I was really excited about this story and the talent behind it. While I am losing hope in the art team, I am clinging on to the belief the story will work in the end. As it stands, however, I cannot recommend picking up this issue.
If you’ve been following the events of Spider-Geddon, you’re aware Morlun of the Inheritors escaped from his prison and tracked down Peter Parker to exact revenge. PETER PARKER: THE SPECTACULAR SPIDER-MAN #313 gives us a conclusion to this tie-in that shows us why Peter and Morlun are an awesome match-up.
***SPOILERS LIE AHEAD***
STORY
Sean Ryan’s story takes us to Central Park Zoo, where both Peter and Morlun have landed after fighting a bloody battle for the previous two issues. The scene is tense with each combatant’s anger at the other: Morlun pulses with rage at the spider totem that has escaped his grasp so many times, and Peter is maddened by the fact Morlun has continued to wreak havoc after being imprisoned.
The issue gives us a surprising new update to Peter’s wardrobe, styling him as a quasi-ninja with a mask covering only the lower half of his face. But the biggest surprise is the rifle locked and ready in his hands. Granted, we can see that his ammo belt is full of tranquilizer darts, but the sheer fact of seeing Spider-Man holding a gun is enough to immediately grab anyone’s attention.
There were also some pieces of the story that did seem a bit out of place at times. At one point during the fight, J. Jonah Jameson attempts to assist Peter in the fight with the help of the NYPD, which awkwardly distracts Peter and requires him to explain why they must flee.
One of the most engaging parts of the story lies in Peter’s continual dialogue with Morlun. He’s able to poke fun at Morlun’s obsession with him while retaining the seriousness of the battle.
ART
Jeff Dekal’s cover art serves as an homage to classic iterations of Spider-Man’s suit, adding to the nostalgic factor of so much of Marvel’s current stories.
The artwork within this issue is a marvel to behold. Jason Keith’s colors of Peter’s suit stand out brightly across each page, and the paleness of Morlun’s skin serves as a clear contrast to the green hues of the park around him. We also get to see Juan Frigeri’s beautifully sketched action scenes, contrasting the graceful fighting style of Peter with the rough-and-tumble style of Morlun. Getting to see Peter’s eyes and hair change in each scene also adds a sense of realism to such a fantastical fight.
Travis Lanham’s lettering throughout the issue was placed nicely and made a clear differentiation between each character’s piece of dialogue.
Conclusion
I love how this issue gets straight to the point. The grittiness it adds to Peter is balanced with his witty banter, even if it seems slightly out-of-place at times. It’s exciting to see Peter gain the upper hand in such a graceful way after a long history of setbacks with Morlun.
What did you think of this story? Let us what you thought of this tie-in conclusion in the comments below.
Detective Comics #994 reintroduces Peter Tomasi on writing duties for the Dark Knight, a role he clearly loves. And if this first issue is any indicator, the run-up to issue #1,000 should be a great ride.
Batman is confronted by one of his strangest mysteries in recent memory when the bodies of Martha and Thomas Wayne show up at the Gotham Aquarium. The killer ensured the bodies are perfect recreations of the Waynes the night they were gunned down. But, that intriguing mystery gets pushed to back burner when a powerful monster starts rampaging through Gotham.
The Writing
The story within Detective Comics #994 can essentially be split into two halves. We get the opening scene of a methodical, classic detective story in the first half, before a jump-cut to an action-filled monster fight. You’d think this would cause some tonal whiplash, but the issue actually comes together extremely well.
The first half of the book unfolds slowly, allowing for a controlled building of tension. We see Bruce grapple with the emotional weight of finding his parents’ bodies just as they were on the night that transformed him, plus the need to keep his emotions in check to protect his identity.
Tomasi is a seasoned Batman writer, having provided writing duties for all of Volume 2 of Batman & Robin. His love for the character shines through in Detective Comics #994, but it doesn’t overshadow his skill as a writer.
The Artwork
The artwork is great throughout. It feels a bit lighter than in our last story arc, but is plenty-dark enough to match the tone of the story.
Doug Mahnke really comes across as a visual storyteller in Detective Comics #994. He provides a lot of interesting, and in some places even striking imagery. At the same time, you could clearly follow the story even without the need for dialog. It’s a fine line to walk, and he pulls it off exceedingly well.
Of course, the colors provided by David Baron really help bring Mahnke’s pencils and Jaime Mendoza’s inks to life. The aquarium scene feels appropriately clinical and cold, in contrast to the fiery tones in the book’s second half. You get a real sense of life in the faces of Bruce and Jim Gordon, as well as its absence in the corpses they’re examining.
Final Thoughts
Detective Comics #994 is a great start to Tomasi’s run on the series. I’m glad we’re in capable hands in the build-up to issue #1,000. I recommend you pick it up.
In my review of the first issue in this new series, I mentioned creators Azzarello and Bermejo delivered an intriguing premise, but didn’t offer much in the way of answers. After delving into Batman: Damned #2, the broader story begins to take shape, while leaving other questions to linger.
Batman is convinced the Joker’s alive. And, following Constantine’s tip, he heads to a local nightclub looking for someone with information about The Joker’s location. The person in question is none other than the demon Etrigan. And, as sinister as the story began, it takes a notably darker turn in the issue’s second half.
The Writing
Bruce delves deeper into the occult in Batman: Damned #2, and plenty of weirdness abounds as a result. To be honest, I found it a little hard to follow the first time through, but on a second reading, the book felt much more straightforward. Adult Bruce feels much more controlled here, compared to the desperate animal of the last issue. However, you get the impression that it’s a rather thin façade, and you really feel the weight of the situation closing in on him.
The subplot introduced in book one about Bruce’s childhood is further developed here, too. It’s an interesting take on the Wayne family dynamic, which is portrayed as idyllic in just about every other interpretation.
I take issue with some of the writing, though. First, I feel like Azzarello might have tried a little too hard in service of a darker tone. It’s like every character is going out of their way to be grim, and it comes across as overly-edgy at several points. Compare it to the Dark Nights: Metal event, which had a deliberately grim and dark tone as well, but it didn’t feel as forced.
Then there’s Constantine who, as in the previous issue, is more a narrator than an active player in the plot. He rambles throughout most of Batman: Damned #2, providing color commentary, but little of actual substance. The narration wafts back and forth between psychoanalysis of Batman and philosophical musings, some of which…simply doesn’t work (“Focus on the task…at fist”).
The Artwork
As with the previous issue, Lee Bermejo’s artwork shines in Batman: Damned #2. Bermejo has a mastery of balancing the beautiful and the grotesque. In fact, just about any panel in the book could stand on its own as a grotesque work of art.
I found the facial detailing in this volume especially striking. It really gives you a sense that just about everyone in Gotham has gone off the deep end.
The colors tread that same fine line between beautiful and horrific (or maybe even both). Bermejo employs a wide palette, from intense, fiery tones to dark grime, helping envelop you in the work.
Final Thoughts
Batman: Damned #2 is a solid second chapter of the story. We’re piling darkness upon darkness, to the point I’m worried that Azzarello may get lost in the weeds. Either way, Bermejo’s artwork is a treat.
