Secret Origins Special (1989)

Secret Origins Special

I always forget how much Neil Gaiman threw himself into the DC Universe when he’d write in it. This Secret Origins Special is all about Batman’s villains; a TV investigative journalist has come to Gotham to do a special. Gaiman seems to enjoy writing those scenes–the ones with the behind the scenes, the Batman cameo, the anecdotes about living in Gotham City and the DC Universe in general. He doesn’t do well with the characters though, not the TV reporter and his crew. These framing scenes have art by Mike Hoffman and Kevin Nowlan. They do better at the start than they do the finish. By the finish, they’re getting tired and the detail from the opening isn’t there anymore.

Alan Grant writes the Penguin’s origin story, which isn’t a straight origin. There’s something modern to all of the Secret Origins here. Penguin’s grabbed a childhood nemesis–who just happened to grow up to be a gangster too–and Batman’s trying to find the guy while the Penguin’s torturing him. It’s an okay script, not great, but the Sam Kieth artwork is gorgeous. Kieth does action, he does Batman, he does Penguin, he does gangsters–he does kids. The best part of it is the tenderness Kieth shows when he’s doing the kids. I always forget Kieth really does know what he’s doing.

A self-reflected Riddler. Art by Bernie Mireault and Matt Wagner.
A self-reflected Riddler. Art by Bernie Mireault and Matt Wagner.

Gaiman handles the Riddler’s origin, which ties in a lot to the framing plot. The TV crew goes to interview him. Bernie Mireault on pencils, Matt Wagner on inks. Gaiman’s enthusiastic but misguided. Lots of monologue from the Riddler, but never particularly interesting. The details about the giant objects used in Gotham’s advertising in the past is more interesting than the Riddler teasing the TV crew with the truth. The art’s solid though and gets it over the bumps.

Then there’s the Two-Face story. Mark Verheiden writing it, Pat Broderick and Dick Giordano on the art. Broderick’s pencils are full of energy and light on restraint. It’s a messy story and a fairly cool one, focusing on Grace Dent (Harvey’s wife) and her side of the story. Verheiden doesn’t write the TV crew well and Grace Dent’s a little too slight, but it’s a solid enough story. The art is brutally violent and full of anger. Everyone looks miserable and angry about it.

Harvey Two-Face and Batman graphically wail on each other. Art by Pat Broderick and Dick Giordano.
Harvey Two-Face and Batman graphically wail on each other. Art by Pat Broderick and Dick Giordano.

The issue would’ve been better with stronger art throughout from Hoffman and Nowlan and either more or less from Gaiman. The TV crew ceases to be characters after the introduction, like one of the stories came in a page or two short and Gaiman was padding it out. But the Penguin story is good, the Riddler story could be a lot worse and is technically strong, the Two-Face story is super-solid mainstream DC eighties stuff. It’s good stuff.

CREDITS

Writer, Neil Gaiman, Alan Grant and Mark Verheiden; pencillers, Mike Hoffman, Bernie Mireault and Pat Broderick; inkers, Kevin Nowlan, Matt Wagner and Dick Giordano; artist, Sam Kieth; colorists, Tom McCraw and Joe Matt; letterers, Todd Klein, Albert DeGuzman, Mireault and Agustin Mas; editor, Mark Waid; publisher, DC Comics.

Superman and Batman: World’s Funnest (November 2000)

Superman and Batman: World's Funnest

Dave Gibbons does the most art on World’s Funnest. It’s not exactly the standard Dave Gibbons art, either, it’s Dave Gibbons doing Silver Age and it’s awesome. What writer Evan Dorkin taps into with World’s Funnest is the experience of being a Batman and Superman fan in the late eighties and early nineties; it’s practically a companion piece for those Greatest [insert DC character here] Stories Ever Told. The hardcover ones with beautiful reprints of the old stories, which weren’t cool in any modern sense, but you had to do the work to appreciate them because you want to be a good fan. You want to understand. And Dorkin’s trip through the DC multiverse is all about understanding, both the multiverse and the way it presents to the reader. Even though the first eighteen or so pages are all set in the Silver Age, Dorkin’s observations about the tropes make it all very modern. It never feels wrong to the characters, but it’s rather self-aware, from injured villains to Robin’s constant need for approval; Dorkin could’ve stopped World’s Funnest with a Silver Age riff and done something awesome, but then he keeps going.

Mxy and Bat-Mite battle for Infinite Earths; art by Dave Gibbons.
Mxy and Bat-Mite battle for Infinite Earths; art by Dave Gibbons.

I didn’t know what to expect from World’s Funnest. I missed it when it first came out, but I definitely wasn’t expecting to open it to discover an impressive list of creators. Unfortunately, it’s an alphabetical list of creators. So I sorted them out in order of their contributions.

First up after Gibbons is Mike Allred, who also comes first alphabetically, so he’s a terrible example. Oh, wait, I probably need to at least acknowledge the premise of the comic, which I wasn’t familiar with either. Mr. Mxyzptlk and Bat-Mite battle across the DC multiverse and its various time periods and dimensions within universes. Dorkin doesn’t get into the science, which is both awesome and surprising. I can’t believe they got away with some of this stuff.

Allred handles the Phantom Zone, but an Earth–2 Phantom Zone? Like pre-Crisis Earth–2 Phantom Zone. Or maybe just a Silver Age Phantom Zone. Again, Dorkin’s not interested in the locations for narrative purposes, just for homage. It’s a violent, pseudo-cynical homage, but it’s never mean-spirited. World’s Funnest is enamored with the comics it comments on. With the possible exception of some nineties references.

Mxy isn't sure what to make of the Marvel Family, art by Jaime Hernandez.
Mxy isn’t sure what to make of the Marvel Family, art by Jaime Hernandez.

Then Sheldon Moldoff handles the actual Earth-Two visit, Stuart Immomen and Joe Giella on Earth-Three. Frank Cho’s got some lovely art for the Quality Comics universe. Jaime Hernandez does Captain Marvel’s universe, which is a hilarious visit for the battling imps. Dorkin never directly contrasts the different universes, but lining them up and inspecting each does reveal a lot of amusing details. Scott Shaw gets Captain Carrot, Stephen DeStefano does some fumetti, then Jim Woodring gets to do the trip to the Fifth Dimension.

Now, it’s hard to imagine not being familiar with Mr. Mxyzptlk and Bat-Mite as a DC Comics reader, but it gets more possible with each passing year and each rebranding and each reboot. Dorkin approaches the story with just the right mix of nostalgia and commentary; there isn’t time for introducing the various worlds though–which might actually make World’s Funnest a great primer for DC Comics history. There’s a familiarity curve to the comic book. A daunting one.

Not even Darkseid can keep a straight face during WORLD'S FUNNEST; art by David Mazzucchelli!
Not even Darkseid can keep a straight face during WORLD’S FUNNEST; art by David Mazzucchelli!

After Woodring, David Mazzucchelli does an amazing Jack Kirby trip to Apokolips. I didn’t think it was Mazzucchelli when I was reading it. I’m even more impressed now and I was rather impressed while reading it. Dorkin and Mazzucchelli match Kirby’s enthusiasm and outlandishness without letting it go absurd. Darkseid’s one of the best supporting players in the comic.

Jay Stephens does “Super Friends,” Glen Murakami and Bruce Timm do a storyboard for the animated series, then along comes Frank Miller to do a Dark Knight bit. It’s freaking amazing. And really good art from Frank too; I think the good art from Frank Miller in 2000 was what surprised me the most about it. Doug Mahnke and Norm Rapmund do the nineties flashback, which is the closest the comic gets towards being nasty about its reference points. Then Phil Jimenez does an awesome Crisis section, very Perez. Ty Templeton does a few pages of general universe transporting before the Alex Ross finale. It’s only a few pages, a few panels, but it’s awesome to see what a “Batman: The TV Show” Bat-Mite would’ve looked like (albeit in superior lighting to the show).

It's Bat-Mite by Alex Ross. Really.
It’s Bat-Mite by Alex Ross. Really.

And it’s funny. All of it’s really funny and really smart about how it’s being funny. Dorkin doesn’t have one joke not connect, even the handful I might not have fully appreciated. It’s a lovely tribute to a lot of comics and a lot of comic creators. I’m embarrassed not to have read it until now.

CREDITS

Last Imp Standing!; writer, Evan Dorkin; artists, Dave Gibbons, Mike Allred, Sheldon Moldoff, Frank Cho, Jaime Hernandez, Scott Shaw, Stephen DeStefano, Jim Woodring, David Mazzucchelli, Jay Stephens, Frank Miller, Phil Jimenez, Ty Templeton and Alex Ross; pencillers, Stuart Immomen, Glen Murakami and Doug Mahnke; inkers, Joe Giella, Bruce Timm and Norm Rapmund; colorist, Chris Chuckry and Mazzucchelli; letterer, Tom Orzechowski; editor, Joey Cavalieri; publisher, DC Comics.

I Hate Fairyland 9 (September 2016)

I Hate Fairyland #9

I Hate Fairyland continues on its demented way, with Young throwing Gert into her next misadventure. The recap text actually made me think there might be some kind of followup to the previous issue’s events, but no, instead Young’s full steam ahead.

This issue has Gert going into Larry’s magic hat to try to find a captured beast to pay off a gambling debt. She tries to sweet talk her way out of trouble. Doesn’t work, beautifully so. Instead, she’s got to go into Larry’s hat–Larry’s a bug of some sort, in case you don’t read Fairyland, which you should–and fight lice in order to save herself both in miniature form and big form.

Young’s new plotting for the comic–done-in-ones–is going beautifully. There’s just a solid, hilarious, maybe grotesque adventure every issue. It doesn’t get much better. Or, if it could, I can’t imagine how.

CREDITS

Writer and artist, Skottie Young; colorist, Jean-Francois Bealieu; letterer, Nate Piekos; publisher, Image Comics.

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