Review: Vixen: Return of the Lion trade paperback (DC Comics)

[Guest review by Wayne Brooks; Wayne's local comics shop is AfterTime Comics in Alexandria, Virginia.  The review contains spoilers.]

I love a great super-hero trade, and that’s exactly what Vixen: Return of the Lion is.

The five-issue 2008 miniseries collected here came about after the character had prominent new appearances in Brad Meltzer’s, and later Dwayne McDuffie’s, Justice League of America. She debuted in Action Comics #521 in 1981, created by comics greats Gerry Conway and Bob Oskner.

Vixen was one of DC Comics’s first female African American super-hero. Vixen is model Mari McCabe, who, thanks to her Tantum Totum amulet, can mimics the abilities of any animal. After teaming with Superman twice, Vixen was seen sporadically throughout the DC Universe, becoming a member of Justice League Detroit and the Suicide Squad (with an unfortunate Wolverine hair-cut). Vixen also appeared prominently in McDuffie’s Justice League Unlimited cartoon, and when McDuffie took over Justice League of America, he crafted a long storyline (from The Injustice League to Second Coming) that had Vixen learning the true source of her powers and made her an even more powerful asset to the team.

Eisner Award nominee G. Willow Wilson writes Return of the Lion with art by CAFU and Josh Middleton on covers. The story begins with the JLA busting an Intergang cell; the team learns that Intergang plans to set up a foothold in Zambesi, Vixen’s birthplace. But, they also learn that Vixen’s mother was murdered by a Zambesian warlord with ties to Intergang, and thus our heroine is off to get the killer (followed by the JLA). Unfortunately for Vixen, as Black Canary says, she “may have bitten of more than she can chew.” And she’s right. The Intergang forces are led by Batman foe Whisper A’Dare [the Greg Rucka villain appears here? Who knew? — ed.], and the warlord himself possesses quite formidable super-abilities.

Return plays more like a JLA story with Vixen as the focus, and it works in that way. In Second Coming we learned the origin of Vixen’s powers, and in Return we have Vixen forced to confront her past and finding her place in the present. We also are privy to how Vixen sees herself among the world’s greatest super-heroes. This is where writer Wilson shows her skill at story and characterization; you really get inside Mari’s head as she learns to accept herself and her role as a member of the JLA. Wilson gives Mari doubt but not defeat, and independence, not isolation.

As for the Justice League, from Black Canary proving she’s a damn good leader to Black Lightning Jefferson Pierce working undercover, Wilson plays to each hero’s strengths. They function like a tightly-knit team that totally trusts one another (this is the Meltzer/McDuffie League from just before Final Crisis). Jeff’s faith in Mari was great to see, and even Batman functions as a team player. There are some great light moments, too, from Red Arrow and an exchange between Black Canary and Superman.

But it was the moments of honest friendship between Superman and Vixen — or rather Mari and Clark — that was an unexpected but pleasant surprise. Even though they worked together historically only twice, Wilson plays on the rapport they established. Superman is very protective of Mari but wise enough to respect her space. And I love how Mari sees Clark as “my friend, my brother in exile, carrying within himself, as I do, a longing for a home to which he can’t return.” A funny moment was Mari’s sisterly warning to not interfere in her final fight with her mother’s killer; Clark’s response to her (and his reaction during the fight) was pure Superman. 


CAFU does well here; with assist from inker Bit in the finale, the art has a lush feel. The action is fluid and on point (the JLA fights scenes are especially good). But it’s the scenes in the Zambesi outback where CAFU struts his stuff. Everything is rich and alive. No detail is overlooked and he draws the animals beautifully.

Vixen: Return of the Lion is not more complicated than “hero goes home to seek revenge only to find true self,” but it’s also a fun blend of friendship, self-discovery, and super-heroics.

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Review: Black Lightning: Year One trade paperback (DC Comics)

[This guest review comes from Wayne Brooks; Wayne's local comics shop is AfterTime Comics in Alexandria, Virginia.]

In this wonderful medium we cherish often there are comics that do not get the press they truly deserve and fly under the radar. Black Lightning: Year One is one of those gems. This book is great.

Black Lightning is one of DC Comics's best super-heroes. Created by comics great Tony Isabella and Trevor Von Eeden in 1977, Black Lightning was DC’s first African American super-hero to star in his own book. But maintaining a comic has not been easy. He was cancelled, twice, but the hero has a pretty good following and has moderate (solo outings in Detective and World's Finest) to great success (Batman and the Outsiders, Justice League) over the years.

Sure, with the name “Black Lightning,” sometimes the first thing that comes to mind is the “blaxploitation” of comics in the 1970s. Back then the criteria for being a “black hero” was either being mad at everybody, or having “Black” in your super-hero name (having a giant afro was also a necessity). Thankfully Black Lightning evolved beyond that.

Realistically, Black Lightning is more Alexander Scott (actor Bill Cosby’s character in the legendary TV show I Spy) than he ever was Luke Cage. Over the years superb writing from Tony Isabella (especially in Black Lightning's second series), Mike W. Barr in the pages of Batman and the Outsiders, and the much missed Dwayne McDuffie in Justice League, kept Black Lightning a fan favorite.

So now we come to Black Lightning: Year One, a six-issue miniseries published in 2009 and released in trade the same year. As the title implies, it tells the story of the first year of super-hero Black Lightning, aka teacher/principal Jefferson Pierce. We first see the Pierce family: Jeff, wife Lynn, and daughter Annisa, who return to Jeff's hometown of Southside, a section in the city of Metropolis (home to you-know-who). Jeff is the new principal at Garfield High School in Southside.

Unfortunately, Southside is now known as Suicide Slum, and is practically that. Thanks to a powerful criminal organization called The 100, hope is all but gone in Southside. All Jeff wanted was to teach school, but the brutal murder of one of his students by the 100 changed that. Now Jeff takes the fight to the 100, going by the name Black Lightning (using his latent bio-electrical powers and Olympic level fighting prowess). Along the way he gives the neighborhood the symbol of hope it desperately needed. This is Jeff’s story, and brother, it’s a good one.

Black Lightning: Year One was written by Jen Van Meter (JSA Classified, JSA All-Stars) and drawn by Cully Hamner (Green Lantern: Mosiac, Blue Beetle) Van Meter not only did her homework and respected Mr. Isabella’s treasured creation but she put her own contemporary spin on Lightning’s history. She has each chapter narrated by the cast. This was a nice touch as we see through the eyes of others the effect Black Lightning's actions have on the neighborhood and themselves.

The book’s excellent writing is only matched by the art. I became a fan of Cully Hamner’s art since his days on Green Lantern: Mosiac (now there’s a series that belongs in trade [seconded! -- ed]) and he has only improved. And the art is superbly colored by Laura Martin. It has a slick, polished feel that never sacrifices the urban edge. Hamner even updates Black Lightning’s classic 1970s disco look with twenty-first century sensibilities. The update of Black Lightning's mask from the “afro cowl” he first wore to hide his identity, to a more practical rubber mask/hairpiece was a great idea. And Black Lightning's jacket is seriously cool.

One of the series’ strengths is the supporting cast, and it’s here Van Meter gives us some terrific characterization. From matriarch Mrs. Pierce, sister Constance, brother-in-law Frank, cute-as-a-button daughter Annisa, devoted wife Lynn, and family friend (and tech expert) Peter Gambi, Jeff’s family is loving, caring, and supportive. Instead of the clichéd “my loved ones must never know,” Jeff’s family knows about his super-heroics practically from the beginning. And we find out why Jeff chose the name “Black Lightning.” I loved seeing the family discuss Jeff’s extracurricular activities at the dinner table.

Since Suicide Slum is in Metropolis it was only a matter of time before a certain Man of Steel showed up. We first see reporter Clark Kent as he spends a day with Jeff at school (Clark using his powers to size up Jeff was a nice touch). Through the course of the series we see a true friendship form, not between Black Lightning and Superman, but Jeff Pierce and Clark Kent. In fact, Clark is more an ally to Black Lightning (and the Pierce family) than Superman. We even get a sweet take on “It’s a bird, it’s a plane” between Clark and Annisa.

I’m glad they addressed why Superman never shows up to help in Suicide Slum. From appearances it looks like Superman doesn’t want to deal with helping fight crime in a majority black neighborhood (something I would never believe). But we learn that his powers were impaired due to magic in the area. Along with Kent we see Lois Lane (channeling TV’s best Lois, Phyllis Coates) and Police Lieutenant Bill Henderson. Henderson was a stable in the 1940s Superman radio series and the 1950s The Adventures of Superman TV show. Isabella used Henderson in Lightning’s first series and I’m glad Van Meter decided to bring him back.

Black Lightning: Year One shows that one man can make a difference. From the classroom to the streets, we see the journey of a true hero. It tells the story of a man who re-energizes his students and neighborhood’s sense of pride within themselves.

“Justice… Like lightning… Should ever appear…

To some men hope. To other men…Fear!”

Isabella and Von Eeden created a hero. Van Meter and Hamner reminds us why.

What we have is a very enjoyable book. Well done.

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Review: Aquaman: Death of a Prince trade paperback (DC Comics)

[This guest review comes from dedicated Aquaman fan Wayne Brooks; Wayne's local comics shop is AfterTime Comics in Alexandria, Virginia.]

Aquaman: Death of a Prince has three things going for it. One, it’s a really great introduction to the Aquaman universe (it even has his origin in it). Two, it reprints for the first time the greatest, darkest, and important era of Aquaman’s history. Three, and most important, it totally entertains.

The death of Arthur Jr. was, and still is, one of the most profound moments in Aquaman’s life. At the time the original stories were published (circa 1974-1977) no DC hero had experienced this kind of heartache. In Death of a Prince you will see Aquaman the hero and Aquaman the king, but at the story’s heart we find Aquaman the father, who experiences a parent’s worst nightmare.

The irony is, to some, Aquaman’s adventures are not that interesting. They see him (thanks to Super Friends and comic writers with limited imagination) as a second-to-third tier character, if that much. Bottom line, Aquaman is not cool. But every so often the comic book stars align and an editor selects an excellent creative team and proceeds to show what many fans knew from day one: when crafted with care, Aquaman can definitely have some excellent adventures and carry a book. Starting in 1974 Adventure Comics editor Joe Orlando did exactly that! If you are expecting the fish yappin’ boy scout from Super Friends or the “outrageous” hero from Cartoon Network’s Brave and the Bold you are going to be disappointed. What you get is a story that presents all the sides of Aquaman; you also get one hell of a great trade.

Death of a Prince collects Adventure Comics #435-437, 441-455, Aquaman #57-63. The entire creative talent involved is top tier. Paul (Justice Society and Legion Of Super-Heroes) Levitz, David (Iron Man) Michelinie, Steve (Aquaman) Skeates, Martin (Superman) Pasko, Gerry Conway (creator of Firestorm and long-time Justice League of America writer), and Paul Kupperberg handle the writing, plotting, and scripting. And there’s the art -- pure gold! We start with Mike (Legion Of Super-Heroes and Warlord) Grell, and then proceed with Jim (The Brave and the Bold) Aparo, and close with Don (Batman and Marvel Family stories) Newton. Now that’s quality.

One of the interesting aspects of Death of a Prince is several of the stories show the many different roles Aquaman has to play. In “Day in the Life” we see Aquaman, the man, just trying to take a day off. In the story “H in for Holocaust,” we see the King of Atlantis protecting his people. A number of stories feature Aquaman as a traditional super-hero. This all comes to a head in “And Death Before Dishonor,” where Aquaman is torn between his kingship and his role as a superhero; in the “Sea King in Exile” storyline, the Atlanteans de-throne Aquaman, accusing him of being an absentee ruler

I also appreciated that we see the entire Aqua-family throughout this book, including Mera, Garth (Aqualad, and later Tempest) and Tula (Aquagirl, often unknown to post-Crisis on Infinite Earths readers), Dr. Vulko, and Aquababy (even before he was known as Arthur Jr.). In “H is for Holocaust," we're also (re)introduced to one of Aquaman’s best unsung supporting characters, NATO General “Hair Trigger” Horgan. I'd love to see Geoff Johns bring this character back; his "ends justify the means" approach (even if that means harming the seas) is a perfect foil for Aquaman, and could even involve Aquaman in stories involving the Navy and Coast Guard.

Beginning with “Dark Destiny, Deadly Dreams” we experience Aquaman’s greatest failure, the death of Arthur Jr. at the hands of Black Manta. I remember my reaction when I read this as a kid . . . it shocked the hell out of me! In 1977, killing off supporting cast was still somewhat rare for DC (I know Alfred and Steve Trevor each died, but both came back). But to kill a child? Believe me, nobody saw that coming! I don't blame Aquaman for his rage when he goes after Black Manta, but justice and mercy prevails and Aquaman turns Manta over to the Navy. We’re left with this exchange between Aquaman and the Navy Captain:

Navy Captain: “…So I guess your job is over!”

Aquaman: “No, Captain, not quite yet. You see, I took off after The Black Manta so fast that I left a bit of unfinished business behind . . . one that could well prove to be the hardest task I’ve ever faced!”

“Oh Yeah? And what’s that?”

“Telling a mother that her only child . . . is dead.”

Now that’s chilling.

While the stories in this book were first rate and contain some gorgeous art by Grell and Newton, the reason this trade is gold is because of the fabulous art work of penciler/inker/letterer extraordinaire, Jim Aparo. From Aquaman clocking The Fisherman with a haymaker (I would love a poster of the cover of Adventure Comics #447) to ordering a school of attacking Men-O-War, to depicting a whale slamming into a submarine, in Mr. Aparo’s hands the Aqua-world never looked better. When Aparo drew a hero throwing a punch, mister, you felt it. In one panel Aquaman even clocks two goons with a hammerhead shark!

Aparo also never let you forget we’re underwater. From Aquaman’s flowing hair to his swimming at super-speed (sorry Flash, Arthur could give you a “run” for your money), Aparo drew the briny deep for all it’s worth. His art gave Arthur the presence, strength, and dignity some artist miss. From the passionate embrace of husband and wife to the sight of Aquaman hold the lifeless body of his son with pure rage on his face, Aparo shows us why he is one of comicdom’s greats. Fortunately books like this help to remind us how truly lucky we are to enjoy his work.

With Aquaman: Death of a Prince, we have a hero and a king who endures triumph and tragedy, and a trade well worth owning. This book shows the unsung versatility of Aquaman, and why he's one of comicdom’s greatest heroes. I strongly recommend it.

Thanks Wayne! And a shout out too to one of my favorite blogs, The Aquaman Shrine -- have you seen the swag they brought back from NYCC? More reviews coming up!

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