9/17 Comic Reviews: The Good Ol’ Days

Jenny Sparks #2 written by Tom King with art by Jeff Spokes

“I think I’m God. And I’m patiently waiting for you to think that as well.”

Things are not going well in the second issue of Jenny Sparks, though it may be fitting as we start to get some insight into just what brought her back in the first place. Apparently, the “Spirit of the 20th Century” really did die on December 31 1999 at the turn of the century, but she found herself alive and well once again shortly after 9/11. At the moment, it seems the chaos of the 21st century is what’s called her back, but it’s still too early to say whether her purpose is to restore equilibrium or something different altogether. Based on her reaction to being resurrected, she certainly doesn’t know. There’s a line at the end of the book about “the ghosts of the past” not being finished with us and that may very well be the theme of this book. Centuries are not vacuums. Things don’t simply begin and end within the span of one hundred years. The branches of history continue to spread and actions reverberate throughout time until they’re fully addressed. Simply expecting things to change because of the date on the calendar is nothing but a foolish and irresponsible wish to avoid dealing with the issues permeating our society. As Captain Atom continues to hold a bar hostage while doubling down on his bizarre god-complex, the question that may need to be asked is “why”? Surely, a hero didn’t just wake up one day and decide he was an insane megalomaniac. There has to be a cause that’s led to this effect and figuring out what it is might be the only way to prevent further tragedies. Unfortunately, the clock is ticking and Atom isn’t exactly waiting to raise the body count. Jenny may not be able to die, but the isn’t true for the innocent captives. 

Throughout the issue, we’re given glimpses of Jenny right after her initial resurrection and her reckoning with the insane slew of events that happened in the first couple years of the 2000s. Are her self-destructive tendencies representative of the era she’s been reborn into? Another question to be answered in future issues. Personally, I’m also curious how it’s affected her relationship with the world’s superheroes. Since she died in 1999, she presumably knows them, but has she always filled the role of superhero internal affairs or is that dynamic related to the strange circumstances surrounding her return? In the first issue, we saw a tense encounter with Batman and in this issue she meets Superman during her smoke break. She cynically points out that the superheroes have been the ones letting tragedies like this happen, but Superman counters by arguing that they’re not gods and are doing their best to make the right choices as they struggle through life the same way as anyone else. Neither one’s words seem to have much effect on the other, but I appreciated that the book didn’t take either side and instead framed it as two people with their own life experiences and opinions formed based on said experiences. The book is heavy with dialogue and a number of opinions being floated about, so we’ll have to see which ones continue as threads throughout the story.

Jeff Spokes does a great job capturing both the grandeur and grittiness of these characters and playing them against each other. Jenny is a foul-mouthed chainsmoker dressed in casual clothes compared to Atom who looks like he walked right off of a WWII-era army recruitment poster. He’s stiff and formal, but also deeply unhinged. Superman adds a third point on the graph as he hovers in the air with his cape flowing majestically in the wind, but speaks in a gentle tone which gives him an air of approachability. The art gives each character their own tone which helps emphasize the multifaceted viewpoints of the book.

Much like the first issue, this one also provides more questions than answers while also adding additional context for Jenny’s status quo in a new century. Eras bleeding into one another and the continuous thread of history are interesting ideas and I’m looking forward to seeing how this team explores them in the issues to come. 

C.O.W.L 1964 #2 written by Kyle Higgins and Alec Siegel with art by Rod Reis

“...It’s amazing how much more difficult things are,”

The second chapter in the saga of the superhero labor union continues with its second issue. In the wake of last issue’s reveal, the media has been whipped into a frenzy and Geoffrey Warner is left doing damage control. No stranger to politics, Geoffrey deftly addresses questions while taking action behind the scenes to secure his position. Reginald Davis, on the other hand, isn’t holding up nearly as well. The last issue revealed that his days as Blaze were numbered and with this latest crisis his chance of building a legacy is in jeopardy. I don’t know how things ended in the last issue of the original series, but their guilt seems unquestionable. There may have been context that they’re not mentioning here, but neither seems capable of justifying it at the moment. It’s clear that I’ll need to finally go back and finish C.O.W.L to get the full picture, but for now I’m enjoying being in the same position as the public asking if they did it and if so, why? So far, Kathryn Mitchell is the one most fixated on motive. Her relationship with Warner is rocky at best, but she still argues that he’s not a killer and, more so, had no reason to kill a seemingly random mob boss. Privately, however, she doesn’t seem certain as her visit to the Warner residence later proves. With the thin ice Warner is on, her support may be the thing that makes or breaks him. 

The ending of the previous issue made it sound as if this reveal was the product of an unseen hand, but Geoffrey and Reginald both seem certain of who leaked the information. Geoffrey charges Reginald with the dirty work and sends him kicking down doors to tie up their last loose end. Reginald doesn’t find the person he’s looking for, but he does find... Paul. Who the heck is Paul? Is he a character from the previous run? I have no idea. What I do know is that Paul is very very cool. His design is dope and he has intense vigilante vibes which is a fun contrast with the generally colorful members of C.O.W.L. He and Reginald may be on first name basis, but it’s clear that Paul is not the least bit happy with what the C.O.W.L leadership has been up to and he seems determined to bust the whole case wide open. 

While all this is going on, there’s another narrative that’s been running through both issues about a retired hero seemingly turned villain. Again, I’m not sure how much of this is a thread established during the previous run, but it’s probably the part I’m most invested in right now. Higgins and Siegel are doing a great job fleshing out these characters. They may not be good people, but they’re believable people whom the audience can’t help but care about. 

Rod Reis is killing it on the art as always. His name is always a huge selling point for me and he just does not disappoint. There’s an ethereal quality to his work that makes it feel like he’s capturing a different era which makes him a perfect fit for this book. One thing that particularly stood out to me in this issue was the way he draws glares. A lot of these characters maintain professional relationships despite deeply resenting each other and the glares they give are the only insight we see into their true feelings beyond the polite words. Also, Paul... just Paul. He looks so cool and Reis’ really knocked it out of the park with his design. 

This book has such a unique tone and I am here for it. The superheroics melded with 60s era politics provides a field full of drama and this book is delivering on that drama perfectly. It’s always a blast to see a book breaking ground in such an interesting way and bringing this book into the Massive-verse line just further cements that lineup as some of the most innovative superhero books in comics. I highly recommend giving this one a read. 

Helen of Wyndhorn #4 written by Tom King with art by Bilquis Evely

After the last issue’s hard turn into the fantasy elements of this series, this issue brings the focus back to Lilith as she witnesses Helen’s growth in the face of recent events. She’s initially dismayed to see Helen’s studies fall almost entirely to the wayside as she begins physical training for further adventures. On the other hand, she can’t help but grudgingly admit that it’s also the happiest she’s ever seen Helen and that she’s completely forgotten the vices that had defined her stay in Wyndhorn manor up until that point. It doesn’t, however, do anything to reduce her reservations towards Barnabas Cole, Helen’s grandfather. She pleads with Barnabas not to encourage Helen’s adventures too much and as her patience wears thin, she goes as far as to say that Helen’s admiration towards him is unearned and he’s only taking advantage of it. Rather than insulted, Barnabas actually appears happy to hear how much he’s admired and only continues to push Helen to rise to his expectations. Seasons change and months go on as Helen continues to train and push herself further and further. It’s becoming increasingly clear that both she and Barnabas are desperately trying to fill the void left by the death of her father. Even the few moments of affection Barnabas gives Helen seem to be attempts to grasp at the memory of the son he lost while Helen’s determination to meet his expectations seems driven by the fear of abandonment brought on by the trauma of her father’s suicide. Lilith may not always have the right perspective, but she clearly recognizes the toxicity of this relationship and is rightly worried about the consequences when it inevitably falls apart. 

Unfortunately, one misadventure may be all it takes to shatter the mutual dream. Helen is grievously wounded and suddenly neither her nor Barnabas can keep pretending that they’re not terrified of losing another loved one again. Barnabas is too wrapped up in his hyper-masculine fantasy adventures to ever acknowledge his vulnerabilities which leaves him with no coping mechanisms beyond blocking Helen out again. Helen, hardly well-adjusted herself, does not respond to this positively to say the least. With only two issues left and the flashes to the present day leaving Helen’s fate up in the air, it’s hard to imagine these two sitting down and working through their issues. The fantasy world they’re both so eager to run off to seems to be a form of escapism from the complicated lives they find themselves living in the mundane world. Barnabas lives almost entirely in that world and does not have to deal with any problems he can’t simply run through with a sword. Fantasy as escapism may very well be the theme of this miniseries. Having a place one can go to escape their problems and see a world that’s bright and full of wonder can be a powerful tool to survive, but eventually one must return from that world and face their real problems head on. Tales of heroes have the power to inspire us and make us believe in the value of doing good in the world, arming us with the tools to overcome the challenges that come our way. But there is always the danger of being lost in the fantasy and becoming unwilling to return. We see Helen thriving as she balances the two worlds, but when given the choice it’d be hard to imagine she’d choose to live in a world that has done little more than made her suffer. Meanwhile, the present day mystery of just what happened to C.K. Cole and his family is discussed by a few of fans of his work that don’t even know who he is. Given how everyone who touches this work seems to mysteriously disappear, it may very well be the fantasy that needs to be escaped from.

At the end of this series, I hope Bilquis Evely releases an art book with a collection of her work on this book (and hopefully her Supergirl work too). She may very well be the best fantasy artist in comics and this book has been a showcase of how extensive her skillset is. As amazing as the fantasy world is, I think it’s truly worth commending that the parts of the book set in our world also look amazing enough that I’m not constantly waiting to return to the fantasy again. There is some truly breathtaking art in this book, both in the regular world and the fantasy one. 

Helen of Wyndhorn continues to be a standout each month. Both the art and the writing are top-tier and it’s unlike anything I’ve ever read. Each issue is densely packed with all the character and spectacle anyone could possibly want. The narrative voice is clear and distinct as it weaves us through this tale of gothic literature intertwined with sword and sorcery. This book is such a fascinating welding of genres that can only be done in comics. 

Batman: The Last Halloween - Prologue written by Jeph Loeb with art by Tim Sale

I must not be as keyed into comic book news as I used to be because I was shocked to see this book on this week’s releases. The last time I’d seen anything connected to The Long Halloween it had been a special released a few years back. Not too long after, Tim Sale passed away making it even more surprising to see his name on a book. Unsure of what to expect, I gave it a read. As I read, a feeling of familiarity bloomed into a realization. This was the special I’d read a few years back, reprinted as The Last Halloween - Prologue with an “Issue 0 of 10” printed in the corner. I was sure I’d have remembered if that special had been the beginning of a new sequel to The Long Halloween. Thankfully, there was an interview with writer Jeph Loeb at the end which explained just what this book was and what to expect going forward. He revealed that the special from years prior had always been meant to be the beginning of a new story, but Sale’s unfortunate passing had shut those plans down. However, in the time since, Loeb has taken the idea and modified it into something that would serve as a tribute to his longtime friend and collaborator. To that end, he has written ten issues of their planned series with each issue being drawn by a different artist. He’d even gone through Sale’s copious amounts of Batman art with his agent and selected ten pieces to serve as covers for each issue so the name Tim Sale would still be printed in the credits. He also shared some of the artists in the lineup and, woo boy, this is going to be something special. There were some longtime industry vets in that list who have done some tremendous Batman work in the past, so we are in for a treat in the coming months. Loeb also explained the decision to reprint the special as issue 0 was a way of making it clear that this is his and Sale’s story and so Sale’s signature style would set the tone going forward. 

The Long Halloween is easily my favorite Batman story. It’s a tale of the decline of organized crime in Gotham in the face of a new breed of costumed criminal. It’s the mystery of a serial killer who strikes once a month on a holiday, killing a member of the Falcone crime family each time. It’s about the rise and fall of D.A. Harvey Dent and the impact that it has on Batman and Jim Gordon, his two closest friends. It’s about one of Batman’s earliest years as a crimefighter, still trying to define his own mission. It’s about Selina Kyle as she reckons with her own mysterious past, her goals for the future, and her relationship with both Batman and Bruce Wayne. If someone said, “what is Batman about?” This is the book I would hand them. It was followed up with two sequels. The first was Dark Victory which takes place a year later and further examines the consequences of the first series. It also sees Bruce Wayne bringing a young ward named Dick Grayson into his household and Batman welcoming a Boy Wonder into his crusade. The other sequel is Catwoman: When in Rome, which details just what Selina got up to in between The Long Halloween and Dark Victory as she dives deeper into her own origins. All of these stories together weave one of the greatest Batman sagas ever written, exploring him as a detective (which is the best version of Batman!) and examining the toll his war on crime is taking on him. 

This prologue focuses on two key players of Loeb and Sale’s saga: Julien Day, the Calendar Man, whom this run turned from a goofy calendar themed villain to an almost Hannibal Lecter-esque criminal mastermind, and of course, one Harvey Dent aka Two-Face. Despite the significance of these characters throughout the story, they had very little interaction with one another. What brings them into each other’s crosshairs is the return of Gilda Dent, Harvey’s wife who disappeared shortly after his transformation into Two-Face. Day has a vendetta against Gilda and he intends to get his revenge. He abducts her and attempts to force Harvey into joining his calendar themed cult. Harvey, desperate to save his wife, has no choice but to call on his old friends Batman and Jim Gordon. Once again, a pact is formed between them, but Harvey has burned them before and faith is a luxury hard to come by in Gotham City. The consequences of this deal sets the gears in motion for the story to come. 

I appreciate the decision to reprint this issue again so we can have Tim Sale’s art set the stage for the coming story. His style is distinct and minimalistic in a way that harkens back to the silver age of comics while remaining something entirely unique. Despite the years between the release of this issue and The Long Halloween, it’s clear that his skills never faded in the least. Batman is imposing and wrapped in shadows, Two-Face is simultaneously handsome and grotesque, and Jim Gordon remains unchanged in day or night. The book is full of incredibly framed scenes from Harvey’s distorted Bat-signal to an epic fight in a church between Batman, Harvey and a bunch of calendar cultists. I’ve read The Long Halloween countless times and from the first page, I felt like I was back in that world. It was an incredibly nostalgic journey through one of my favorite Batman stories and it’s the perfect opener to the concluding tale of this decades-long story. 

There’s a lot of pressure on the upcoming series. Not only does it have to continue on of the greatest Batman tales, it also has to follow up on a fantastic opening chapter. So far though, I’d say it’s off to a great start. Jeph Loeb is still knocking it out of the park as a writer and this book offers us one of the last pieces of published work from Tim Sale. Another year-long mystery is brewing and to say I’m excited is the understatement of the year.