Batman: Gotham Knights No. 22 fits what I understand to be the early remit of the book as far as telling a story during Joker’s Last Laugh but a ways away from the center of the event. Devin Grayson’s dynamic between The Dark Knight and Spoiler is fun and unique.
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Superman No. 175 is all about celebrating 100 issues since the Man of Steel’s landmark death with a massive rematch against Doomsday as only Ed McGuinness could depict it.
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Chuck Dixon and Scott Beatty demonstrate the storytelling ingenuity of seasoned pros on Joker’s Last Laugh, deftly sliding obscure characters and salient plot points like puzzle pieces. It’s a treat to see Marcos Martin doing his thing.
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Joker’s Last Laugh Secret Files & Origins has a bunch of interesting content, including a haunting short tale from the Chase creative team, but the lead story does a nice job filling in blanks on the crossover and fleshing out the principal characters.
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I typically enjoy issues of Azrael from these 90s/00s DC crossovers because Denny O’Neil’s writing usually has a timeless quality, but Agent of the Bat No. 83 doesn’t age as well. I like the Sergio Cariello art well enough, but Sister Lilhy as our Joker stand-in plays out awkwardly.
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Walter Simonson’s Orion really is the only true heir to Jack Kirby’s original Fourth World run in terms of tone and scope. The art by Simonson and Bob Wiacek is a revelation, and though it’s been said many times, nobody letters like John Workman.
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Young Justice is one of my very favorite comic books of all time because of the way Peter David marries sharp humor with heartfelt emotion perfectly and how Todd Nauck nails every aspect of the art. The Joker’s Last Laugh crossover issue exemplifies this balance.
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Joker’s Last Laugh is about as simple a gimmick as you can get for a crossover, but there’s also some high concept running underneath. The first issue looking at what happens what DC’s deadliest villain has his days numbered is well done.
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I don’t know how you could read Action Comics No. 840, or indeed all of Up, Up and Away and not be excited for Kurt Busiek and Geoff Johns to the new stewards of Superman. They have such clarity and confidence for the character and his world.
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Superman No. 653 is about not just the Man of Steel but contrasting Lex Luthor against his foe, something you know Kurt Busiek and Geoff Johns had to relish given their affinity for strong antagonists. Pete Woods and Brad Anderson create a beautiful backdrop for all the action.
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Renato Guedes’ work on the art of Action Comics No. 839 from pencils all the way to colors is spectacular. The story from Kurt Busiek and Geoff Johns is a thoughtful meditation on the power of Superman and what it takes to be the Man of Steel.
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Pete Woods tags out for Action Comics No. 838, but Renato Guedes, a longtime favorite of mine, steps in ably with Brad Anderson and Rob Leigh to back him up. Up, Up and Away continues to impressively showcase the virtue of plain old Clark Kent.
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Superman No. 651 actually boasts a modern age Prankster believably standing up to Green Lantern and Hawkgirl in large part because Pete Woods’ art is equal parts fun and dangerous. I’m here for the quiet moment where Lois and Clark affirm their partnership though.
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Up, Up and Away poses an interesting challenge for writers Kurt Busiek and Geoff Johns: a Superman story without Superman. Their brilliant way in is to show the depth and versatility we don’t always get to see from Clark Kent.
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Pete Woods is one of those comic book artists who has been consistently excellent for years but doesn’t get nearly his due. His work on Up, Up and Away is some of the tightest art and storytelling you’re going to see with perfect color accents by Brad Anderson.
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I honestly have never heard much about John Byrne’s Wonder Woman to recommend it, but issue No. 126, while in no way standalone, is dense in a good way and ambitious enough to make me curious. The art is also leagues ahead of other late era efforts I’ve seen from Byrne.
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As much as I enjoy Dan Jurgens’ Teen Titans, he has such a handle on the originals I wish he had gotten a run with them. You’re not going to experience art much prettier than Jurgens finished by George Perez with the excellent Gregory Wright and Digital Chameleon on colors.
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John Ostrander’s Spectre series is on another level—this book resembles something like Sandman in weaving huge metaphysical questions through complex mythology. Tom Mandrake’s art is so lush and majestic, with beautiful colors and letters by Carla Feeny and Todd Klein.
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Robin No. 46 is an argument for the Tim Drake version of the character as his status as a very human hero living in the real world sets him apart not just from Batman but the larger DC Universe. Cully Hamner with distinct Sal Buscema inks brings unique art to the issue.
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I fell in love with the Legion of Super-Heroes during its Zero Hour era, and issue No. 97 is a reminder why. The writing team of Tom Peyer and Tom McCraw captures but modernizes the innocent appeal but endless potential of the concept, and Lee Moder’s pencils provide the perfect fit.
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John Byrne’s operatic dialogue actually works for the crescendo of Genesis, but, like the event on the whole, issue No. 4 from the spine series is muddled and half-imagined. Ron Wagner’s pencils continue to be a solid saving grace as he provides bedrock storytelling.
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Mitch Shelley spends the bulk of Resurrection Man No. 6 locked in a trunk, which is fine as it gives Dan Abnett and Andy Lanning a chance to play with the quirky Body Doubles. Credit to artists Joe Phillips, Dexter Vines and Butch Guice who take us on a journey to Apokolips and back.
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I always forget that Lobo’s 90s ongoing ran so long, but if the Genesis tie-in is an indication of the work writer Alan Grant was doing, kudos for being prescient of future stuff like The Boys. Carl Critchlow gives off vibes of Darick Robertson—I like his work here.
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Aquaman No. 37 reminds me a lot of a vintage Jack Kirby Fourth World one off with Peter David giving some love to a random Parademon. I’ve always been a fan of J. Calafiore’s hyper detailed pencils and they serve the action really nicely here.
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I’m always taken aback by how the Triangle Era Superman crew took a one off Fantastic Four gag in Hank Henshaw and made him one of the Man of Steel’s most enduring foes. Tom Grummett is an all-time favorite and Genesis era may not be the peak of his powers, but it’s crisp, clean art.
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The technical aspects of John Byrne’s prose in Genesis is proficient, but most of the storytelling comes off clunky and uninspired. The best pieces of the comic definitely come from Ron Wagner’s efforts with Joe Rubinstein, Patricia Mulvihill and Clem Robins as the art has charm.
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The art from Ron Frenz, Joe Rubinstein and Glenn Whitmore on Superman No. 128 is a ton of fun—old school storytelling that does not feel anachronistic. I wish writer Dan Jurgens were quarterbacking this entire Genesis event as he demonstrates a keen grasp on the Fourth World mythos.
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I know the Linda Danvers version of Supergirl got a knock as convoluted, but Peter David in particular always made it work, emphasizing character over continuity. The Genesis tie-in shows off PAD’s ability to navigate crossovers and propel his story plus the art skill of Leonard Kirk.
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William Messner-Loebs is only credited as guest writer on Impulse No. 30, but the skill with which he jumps into what I presume are ongoing plots amidst Genesis illustrates one of comics’ all-time pros.
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Batman No. 547 is a damn near operatic look at what normal people can do in the face of Armageddon as Doug Moench looks at Genesis through the prism of Oracle and The Dark Knight, but also Alfred and Harvey Bullock. Moench nails it and the unparalleled Kelley Jones art seals the deal.
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