Streets of Gotham #19 review

Streets of Gotham #19
Written by Paul Dini
Art by Dustin Nguyen, Derek Fridolfs, and John Kalisz
Lettering by Steve Wands
Published by DC Comics
Review by Lan Pitts

"Remember what Aristotle says, 'a common enemy unites bitter enemies.'" -- Tom Elliot, aka Hush

For the past twenty years, Paul Dini has more than penned great Batman stories; he's added to the overall mythos of the character. His and Dustin Nguyen's Heart of Hush arc from three years ago, remains one of my favorite Bat-stories of the decade. Dini and Nguyen and company may have caught lightning in a jar once again with the ongoing House of Hush arc.

The thing about this particular issue is that there is so much character depth added, that it makes the overall story that much enjoyable and lively. From Hush's past, to his ties with the Wayne's and the rise of his criminal factions, to even a scene that ties Thomas Wayne and John Zatara together, it's more fleshed out than how most comic writers handle Batman and company. Batman just isn't Bruce Wayne, Prince of Gotham. Batman is also about the city he protects and how each denizen has a thread that weaves a bigger web.

Streets of Gotham #19 gives a good deal of insight to the Anthony Marchetti character as Dini establishes more of the character's past and tells the story of a one-time encounter with Gotham's favorite clown, the Joker. Truth be told, this issue is more of a character piece that explores a little-known character and expands what we should know, adding to the criminal underground, and also adds to what we already knew: the Joker is bat-nuts crazy. There is not a single fight scene or action sequence. Just a story of a child that grew up in the crime business in Gotham, but still somebody who Hush considers valuable to align himself with. Batman (Bruce Wayne) doesn't show up until almost at the end, where the Thomas Wayne/Zatara scene comes into play.

This creative team is one of the best working in comics today. Dini never disappoints, and Dustin Nguyen is a workhorse that knows no limits. His use of painted art-deco backgrounds adds that extra bit of beauty that certainly makes it stand out. Derk Fridolfs inks over Nguyen's pencils are superb. I've seen others try to handle Nguyen's style, but none quite capture the angular look that Nguyen brings without looking jagged or too sharp. John Kalisz adds the perfect color pallet that complements both Nguyen and Fridolfs, but that's exactly breaking news, as he's another colorist who is always on top of his game.

With Streets of Gotham coming to a close soon, I'm sure the finale will deliver the proper curtain call that this book has deserved.

a few reviews up in here: Zatanna #7 and Streets of Gotham #17

Streets of Gotham #17
Written by Paul Dini, Fabian Nicieza
Art by Dustin Nguyen, Derek Fridolfs, Szymon Kudranski, John Kalisz, and Nick Filardi
Lettering by Steve Wands
Published by DC Comics

"Selina. It's me."

Those three words tell the whole story.

I guess it's no surprise now that Bruce Wayne is back as Batman (or one of them at least) and trying to re-emerge himself in the daily aspects of being Batman. While I enjoyed Batman, Inc, Paul Dini's Batman is the one I favor the most of the past five years or so. He's collected, intelligent, cool, and always makes time for his favorite feline fatale. He just comes across as more human, than the almost quasi-deity I've seen him elsewhere.

The issue is split in half with Bruce having his moment with Selina and Tommy Elliot, aka Hush, on the loose. While Batman (Bruce) is on the case on who is causing people to sleepwalk via tiny insects. The villain, the Bedbug, is seen briefly, but I'm sure will be back. Elliot, who is still being mistaken for Bruce Wayne, gets taken hostage and his kidnapper retells a story about Bruce's father and Leslie Thompkins. There's quite the flashback on a failed assassination where we see an amazing Alfred scene that invokes his days in RAF. Of course, Elliot's kidnappers are dealt with pretty easily and he actually offers them a position to align themselves with him. Bruce has only been back a few days and already the cards are stacking up against him.

The Ragman story, who I always considered DC's answer to Ghost Rider, isn't all that bad. Fabian Nicieza is one of my all-time favorite comic writers because his style adapts to the situation, especially with this haunting dialogue. There's an interesting use of colors here that give it an anime-like look to it. It might turn some people off, but I think it works for the story.

It's no secret that I love the combination of Dini, Nguyen and Fridolfs. They are what made Detective Comics so incredibly good two years ago with the Heart of Hush arc (which I gave my Silver Medal to at our end of the year awards). It just always seems like when this team is good, they are the epitome of what I want in a Batman story. I have to admit, I've been slacking in picking this book up like I should since I've been overwhelmed by Bat-mania v.2.0. It's good to see Bruce back.

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Zatanna #7
Written by Adam Beechen
Art by Chad Hardin, Wayne Faucher, and John Kalisz
Lettering by Pat Brosseau
Cover by Jesus Saliz
Published by DC Comics

"Hollywood. Where the curtain never comes down."

My love for the character aside, I think Zatanna is one of the best ongoing that DC has to offer these days. The simplest reason for that is that it is self-contained. In the world of the market adapting a trade-ready format, this book is pretty easy to pick up, have a coherent idea of what is going on, and enjoy Zee fighting mystical forces. Ta da!

Now, Paul Dini is DC's, and probably the world's, biggest fan of Zatanna. It's no secret he married a stage magician, and just loves writing her, so I'm always a bit skeptical when there is somebody else's name in the writer credits. Though to Adam Beechen's credit, I've seen his name pop up around a lot more these days, even on a Mystery, Inc episode recently. The scenario is Zatanna is attending magical museum opening where a lot of artifacts from mystics from the DCU will be showcased. Of course, some of the artifacts take a life of their own and Zee is face to face (sort of) with an old rival of her father's. A quick fight with magical fisticuffs and problem resolved, with a little assistance from the spirits of the former bearers of the artifacts, including Zee's father, John Zatara.

The thing that is most notably different from the first few issues of the series is the art team. Stephane Roux and Karl Story made one hell of a team. Roux's sultry version of Zee is one I most harken back to, that and Adam Hughes'. So, not to belittle Chad Hardin here, but something about it hasn't clicked with me. This issue is far better than his previous ones. You can tell his improvements in panel construction and just how Zee moves. She has that grace she was lacking before. I love Faucher's inks. I think him and Hardwin make for a good comic team, but there is still room for improvement. It's not boring by any means. Just the bar was set a bit too high, I suppose. That happens from time to time.

If you're not already picking up Zatanna, I have to ask why not. It's fun storytelling that doesn't require purchasing eight tie-ins and whatnot. While I prefer Dini to Beechen's style, it's still worth a read through if not outright buy.

Zatanna #1! About time, right?

Zatanna #1
Written by Paul Dini
Pencils by Stephane Roux
Inks by Karl Story
Colors by John Kalisz
Letters by Pat Brosseau
Published by DC Comics
Review by Lan Pitts

"The world's a scary place. If I can show people a friendlier aspect of magic, it benefits everyone, mystic or mortal." -- Zatanna

Created over four decades ago by Gardner Fox and Murphy Anderson, Zatanna has been a somewhat A to B-list character, having a few mini-series and one-shots sporadicly through the years, but never has had her own ongoing series. I find that a bit odd, but thankfully Paul Dini has remedied the situation and brings us everyone's favorite sorceress to center stage with her first series, simply entitled Zatanna.

Having moved away from the dark shadows of Gotham City, Zatanna has found a new home in San Fransisco with a steady gig, but of course a normal day goes awry when she's confronted by Detective Dale Colton who needs her assistance in a mass murder investigation. A very particular investigation. Reading a witnesses mind, the culprits are revealed to be led by well-known mystic by the name of Brother Night (no relation to Mother Night). The horrific acts of violence and sorcery play out while we get a feel of the villains at large and who they are. Zatanna decides to take matters in her own hand and pay Brother Night a visit to confront him on the situation and she easily takes on his cronies. Dini has supplied some great dialog between Night and Zatanna, including a bit on why she aligns herself with teams like the Justice League and doesn't look down on the human world. Though we also see that Night may not be the big picture and something more sinister and darker lay in nightmares and shadows.

As a Zatanna fan, I loved how Dini presented Zatanna in this issue. It shows her life as a super-hero, a stage show performer, and a protector of the human realm. She's many things to the DC Universe and this series could be one to watch for with Dini penning a character he has adored for years. If anybody was going to bring Zatanna into an ongoing series, I'm glad it's him.

The art team assembled on this book is astonishing. When I heard Stephane Roux was on board on the art, I was a bit concerned since I had only been aware of his cover work and wonder how his style would transfer to actual page layouts. Yeah, no worry here. Roux's construction and flow make it a real page-turner and just fun to look at. Of course since Roux is aided by the incredible talent of Karl Story on inks, it's sharp, clean and dare I say flawless. John Kalisz's colors fit everything just right as well. From the opening page with the spotlight, to how Night's den appears. You get a real sense of the world right down to the feel of Zee's cape to Night's skin.

Dini has set up numerous things in this first issue, and I love how easily accessible it since because it doesn't bog down with continuity and we get an idea of who she is, as I mentioned earlier. It's a great start to what I hope will be a fantastic read for years to come. It's been a long time coming and it was worth the wait.

Heart of Hush conclusion: Detective Comics 850

Detective Comics #850
Written by Paul Dini
Art by Dustin Nguyen, Justin Fridolfs, and John Kalizs
Cover by Dustin Nguyen
Edited by Mike Marts
Published by DC
Review by Lan Pitts

"Heart of Hush" concludes in this anniversary double-sized issue, which I cannot suggest enough you go out and buy for yourself. Since the "R.I.P." event started, I've started reading only the main "R.I.P."-related stories from the main two Batman books: "Batman" and "Detective Comics". However, I slowly became less interested in the main story and became entranced by what the Dini/Nguyen team-up was bringing to the table. Dini's story is completely separate from Grant Morrison's, and luckily he managed to take one of the lamest villains in the history of Batman, Hush, and turned him into a formidable adversary for the Batman. Despite the odds, the "Heart of Hush" arc developed into a well thought-out chapter in the life of Bruce Wayne.

The action begins immediately and almost never stops. Even Alfred all have a skirmish with Hush before the issue is over, and one last flashback seals Dini's deal on just how demented Dr. Tommy Elliot really is. Dini then took what should have been an obvious story point for any past scribe who tinkered with the Hush character, and played upon the doctor drawn to evil element in Tommy Elliot's life. He's an accomplished surgeon and that should've been a major plot point when he first arrived in Gotham, or even when he was given a second go around. The double sized issue helped out with the story; the flashbacks, the final battle inside the Batcave, everything. Without it, it probably wouldn't be as better in terms of pacing and what Dini provided. In terms of Hush himself, what Dini did here was prove to us that Dr. Thomas Elliot was not a murderer at first, but someone who had reasons. How his mother treated him was enough for me to say "no wonder he hated his family, look at them". Obvious, Elliot's mother was spoiled and sees things right if under her rules and influence. And if Elliot doesn't do at least one or two things right, she does something horrible that wasn't needed like take away his money. No mother does that, and I found myself liking Hush and understanding him, but only from those flashbacks.

With the pencils by Nguyen, inks by Dustin Fridolfs, and colors by John Kalisz this art continues to be a winning combination. Nguyen's costumed heroes and villains have never looked cooler, nor have his women ever looked so beautiful. And, as always, he's equally adept at staging dynamic action and calmer moments both quiet and creepy. Kalisz brings a perfect palette of colors to the mix, and he knows when to let loose and when to hold back. Nothing seems out place, and as I mentioned Dini's pacing before, everything meshes well together. I loved the cameos by Dr. Mid-Nite, Mr. Terrific and Zatanna. Even though Bruce considers himself a lone ranger, he knows his limits and knows when he needs help.

When writing this review, I tried my best to remain spoiler-free. There's an endearing scene between Bruce and Selina near the end that will please all the hopeless romantics, while still playing entirely true to their relationship and where they both are at this specific point in their lives. It's just beautifully constructed. The ending is almost Shakespearean and the issue had several moments where I found myself either laughing or wanting to jump and down. It's that good. The double-sized format really assisted and gave the proper length for such a worthy conclusion. Also to add: the scene in the Batcave gave several nods to Bat-fans: the good-ole Batboat, "Whirly-Bat", and the Batmobiles from the '40s, Burton era, B:TAS, as well as the "Tumbler".

Heart of Hush ends with something worthy of Hollywood and a Greek drama, and with that, I give you an Aristotle quote that seems quite fitting to the Batman universe: "Great men are always of a nature originally melancholy."

Madame Mirage Vol 1 Trade & All Star Batman and Robin #10

Madame Mirage Vol. 1 Trade Paperback
Story by Paul Dini
Art by Kenneth Rocafort
Published by Top Cow

The story of murder, intrigue and revenge with superpowers, this is Madame Mirage. "Mirage" takes place in a world where superheroes are man-made creations through the advances in technology or bio-engineering to turn people into metahumans and metahumans into gods. Though when there are heroes, there must be villains. As people took advantage of the mega-tech for personal gain, the technology was banned, the superheroes became outlawed and the real outlaws went underground.

Aggressive Solutions Int. or A.S.I., is run by a cabal of villain groups. To the people, they are some kind of Los Angeles-based public relations firm or trouble-shooting agency. In reality, they are a front for a gang of powerful villains. All has gone well, until A.S.I. finds itself as a target of a relentless and violent vendetta by the mysterious woman calling herself Madame Mirage.
Paul Dini pitched the idea of Madame Mirage seven years prior to the first issue of the book. The early concept was pitched to an internet animation studio, where they wanted an action-driven femme fatale series. However, the studio had already gone out of business the weekend following the meeting. Following that, Dini put the Mirage pitch in the sketchbook where it remained for years until Jim McLauchlin came on board at Top Cow as an editor, and was interested in creating a new series about a tough new heroine and contacting Paul Dini. He brought back the Mirage concept, updated it because of how many years since the first pitch, and finally he started scripting the stories.

Dini compares Mirage to pulp hero The Shadow with a hint of Zatanna. Mirage employs various degrees of superpowers including mind control, "magic" and shape shifting in order to confound and destroy her enemies. To the point where she confronts an enemy, it is unknown what she will do or use to attack. It is worth noting that Madame Mirage and her visual appearance is based on his wife, Misty Lee, who is a magician and illusionist. The other thing about Mirage is that she has a younger sister named Harper, who acts as her backup on these missions against the A.S.I.

There is a plethora of twists and turns in this book that makes this title worthy to reckoned with. Some of which I don't care to mention because they would ruin a lot, including issue three in which we learn Mirage's origin. The action is superb and never dull. The book feels like a non-stop chase with Mirage just one step ahead of the bad guys. Dini weaves a tale of espionage and intrigue that we have not seen in comics in quite some time. Despite Dini's kid-friendly past with his DC superhero shows, Mirage is a book intended for mature readers with a climax that rivals "Kill Bill". Rocafort's art is simply ravishing. Madame Mirage will keep you guessing until the very end! The Volume 1 trade is the first story arc, but there will be another one coming out next year. Along with the issues, the extras are frosting on the cake. It has a cover gallery by Rocafort and variant covers by Greg Horn as well as initial sketch designs by Dini and Rocafort. It would be a crying shame for anybody to not pick up this collection if you missed out the first time around.



I'm the minority here when I claim I actually like this book. Sure, it's Sin City dialogue coming out of Gotham City's mouth, but I think the "All Star Batman" brand is merely misunderstood.
I have read quite a few interviews with authors, and being a aspiring writer myself I agree, some writers will sell rights to Hollywood for treatment of their material for the cash and for good reason. What do they care if Hollywood butchers it or not? It doesn't change the book, it will always be the same. If anything, it might generate more of an audience for the writer. And as for everyone stating that All Star Bats here isn't worth burning because it's not even worth a match, it's because its not Batman, well, its not suppose to be. If you want the Batman you know and love, just read that. Who wants to just see the same old? I compare it a lot to cover songs. I'm a sucker for a good cover song because I want to see someone else take on a song I may, or may not, already like. Its not the original, but I was never expecting the original in the first place. On that note, not all is lost as Jim Lee continues to give his all on this book. He's given multiple double-page spreads and splash pages to flex his artist muscle and, as always, nails them out of the park. Just like the best artists in the industry, Jim Lee delivers iconic images that pop off the page once his artist team of Scott Williams and Alex Sinclair get a hold of his work. It's just a shame that a Jim Lee and company drawn comic comes so rarely these days because I can never get enough of them. Some of my personal favorites from this month are the image of Batman holding a beaten Catwoman as well as Batman and Robin hitching a ride on a speeding train and to top it off, a touching moment between Jim Gordon and his daughter. That's just some "this is what comics are about" moments that this title is capable of.