Batman: Master of the Future (DC)
from 1991
Master of the Future is a sequel to
Batman: Gotham by Gaslight, a Victorian Age tale that has stood the test of time from the Elseworlds era, the unofficial multiverse that existed between
Crisis On Infinite Earths and
its sequel,
Infinite Crisis.
Gaslight was part of the 1989 barrage (along with
Batman, the movie, and
Arkham Asylum, the Grant Morrison tale). Like
Master it's written by Brian Augustyn, who otherwise is best known as editor of Mark Waid's
Flash, and the first guy who tried succeeding Waid in that series.
Gaslight was one of Mike Mignola's DC projects (other notable examples:
Cosmic Odyssey and the covers from "A Death in the Family"). The artist for
Master is Eduardo Barreto (other notable works:
Martian Manhunter: American Secrets and
Superman: Under A Yellow Sun, like
Master both prestige format projects). There's a DC animated film based on
Gaslight in production at the moment.
Master, as I've never actually read
Gaslight, doesn't particularly read as terribly noteworthy. I don't know if it reads better as a sequel. But it's still interesting, having finally read something
Gaslight related.
The Flash: Our Worlds At War (DC)
from 2001
Our Worlds At War was at the time intended to be a next-level Crisis event, redefining the concept in a modern, literate manner. Lead writer was Jeph Loeb, in-between
Batman: The Long Halloween and the one-two punch of "Hush" and
Superman/Batman, the three major works that still define his legacy (Marvel fans seem to remember him only for his later
Ultimatum, which is a huge shame). But the concept was overshadowed by the coincidental real-life catastrophe that was 9/11, which occurred in
Our Worlds' aftermath. The comic ended up looking like just another of the unfortunate reminders of that day. But it's always fascinated me, as I wasn't reading comics at the time. A couple years ago I read an omnibus of the event, so finally got caught up. I forget if it was in that or a Geoff Johns
Flash omnibus where I've read this particular extract previously. I don't think it's a great way to sample Johns except to see Cyborg pop up in another of his stories; later, Johns had him join the New 52
Justice League as a founding member, which is how he shows up in the upcoming movie, too. The dramatic heft of the story, actually, belongs to the New God known as the Black Racer, who is best known as the guy who inexplicably skis everywhere. But he's got a great, emotional story, being tied to a human trapped in a hospital bed. I'm not sure if Johns used him again in his "Darkseid War," but not as I remember or have read (haven't read that whole story yet, either).
Justice League of America #58 (DC)
from August 2011
This is from the Brad Meltzer relaunch era, but once James Robinson, post-
Cry for Justice, had taken over, in its final days before the New 52. Robinson had cobbled together his own League, including Congo Bill, whom he doesn't seem to have made relevant again (six years later and no additional Congo Bill, right?), but basically another B-League, which has always been curious to see even considered again post-
JLA. But Robinson certainly seems to have also used the opportunity to subtly promote his best-known work, the 90s
Starman, although not with lead character Jack Knight (alas). The Starman here is the blue alien, whom a letter writer (this is the brief era in which DC brought them back!) celebrates for helping make gays visible. And also the Shade, who is somewhat absurdly praised as being basically the most powerful dude around. But Robinson would later produce
The Shade, a fascinating maxi-series during the New 52 that curiously never really got much love (fickle fans!). I'd always wanted to sample this work, as Saint Walker, the Blue Lantern, is also a member of the team. And on the cover?
Seven Soldiers of Victory's Bulleteer! But...not so much in the issue. But Zauriel is! Also funny to see all the
Green Lantern movie hype in the issue. And...! Josh Williamson writing a Subway comic ad insert! After an...unfortunate formative interlude with Dark Horse where I may have questioned his ability to produce distinctive comics, he's now become one of my favorite writers of
The Flash...
Justice League of America #3 (DC)
from June 2013
...
This incarnation of the title started off with a bang (it's the Justice League's opposite number!), and was even written, in the beginning, by Geoff Johns, who of course was also writing the New 52's
Justice League at the time. (Yet another iteration of the title launched in the Rebirth era, where it looks like the curse may have finally broken; fingers crossed!) Anyway, so aside from reading another Johns issue (I had only read the first, previously, the one with covers for every state in the United States), I was eager to read it mostly for Vibe, who was hyped with his own ongoing series simultaneously launched with it. Vibe was previously known as a joke from the Justice League Detroit era. Thanks to this revival, he gained a
third chance at relevance, where as far as I'm concerned he's earned it, in the second TV
Flash series, where I think he may actually be the
best character, aside from maybe the many incarnations of Harrison Wells. Anyway, the art is by David Finch, who was brought in by DC with little clue, at first with what to do with him, so he was given his own New 52 series, at first,
Batman: The Dark Knight. Eventually, he did
Forever Evil with Johns,
Wonder Woman with his wife, and finally Tom King's Rebirth
Batman. Where, I think, the signing finally really paid off.
Superman Special #2 (DC)
from 1984
From classic creators Cary Bates (a legend at DC in the '70s) and Gil Kane (a classic Green Lantern artist), this one features Brainiac tricking an alien civilization into thinking Superman is the bad guy. It's the kind of storytelling that feels quaint today, but served as the backbone of comics for decades. Which is kind of way a lot of fans still have a problem with how comics read
today. They lament the British explosion in the same breath they celebrate it, without really realizing it. Alan Moore was credited with making superheroes perhaps
too mature, but he and his cohorts were really guilty of one thing and one thing only: making this stuff permanently more sophisticated. Fans still want to argue this alienated the inherent juvenile audience of the medium. But, again, comics were never actually intended for kids. Funny joke in hindsight, Wertham. You convinced the
fans...
It's worth noting that these comics are the first ones I bought as, once again, a resident of Florida, this time on an ongoing basis. I was last here two years ago. I haven't actually visited a comics shop yet. These came from a kind of vendor shop at a mall.
