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Review: Nocterra #2

Nocterra #2

Nocterra #1 was a solid start to the series. It introduced us to a world plunged in darkness and a compelling lead in Val, aka Sundog. It also gave us a solid supporting cast and a unique villain. Nocterra #2 continues the tense action as we learn the truth about Val’s passengers and hints as to what’s going on in the world.

Val’s on the run, pursued by Blacktop Bill for unknown reasons. Writer Scott Snyder uses the opportunity to dive further into the world, showing us more of Val’s past as well as the present. The issue does a solid job of fleshing out the world of Nocterra. We get a better sense of what the early days were like as well as what the world is currently like. But, Snyder also keeps things familiar.

The concept of a driver hauling passengers for money to get dragged into something bigger isn’t anything new. It’s a story that’s been done before. What Snyder does is gives us details and specifics that are unique and interesting. The idea of individuals who slowly change and unknown reasons for the darkness are two concepts that suck the reader in. The specifics as to how this society functions and generates light too are details that create depth to a familiar story. It’s the quality of the details that really suck the reader in.

The visuals help too.

Tony S. Daniel along with colorist Tomeu Morey give us images that pop from the page. For a world of darkness there’s so much color and light. Things jump from page in a bright, almost neon, look. In Blacktop Bill, we also have a unique villain that’s something I’ve never seen. And that feels like a lot of the comic. This is a world I haven’t seen before. It’s concepts and visuals pop on the page. There’s such a simplicity to it all in ideas but it’s done so well and to a level that really stands out.

Nocterra #2 is a great second issue that delivers more depth to the world and some exciting reveals. It’s an issue that continues to expand upon the first building an exciting story in an intriguing world. This is some top-notch work and an action comic that begs you to get lost in the darkness.

Story: Scott Snyder Art: Tony S. Daniel
Color: Tomeu Morey Letterer: Andworld Design
Story: 8.25 Art: 8.25 Overall: 8.25 Recommendation: Buy

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Review: Batman #107

Batman #107

I’ve been down on the latest run of Batman. The first few arcs just felt like slivers of a story whose entire purpose was to just set something else up down the road. Neither really felt like a contained experience. Then came “Future State” with its vision of a neon fascist future Gotham. Batman has taken that depressing future and ran with it, giving us the seeds of what might come. Batman #107 really picks things up as Scarecrow’s new wave of terror begins and Batman must figure out what’s going on with the Unsanity Collective.

Written by James Tynion IV, Batman #107 balances a bunch of different plot points moving things along with Scarecrow’s plan as well as seeding what’s to come. Scarecrow, Jonathan Crane, we know plays a major role in the future to come. From villain to working with the Magistrate, it’s a switch we’re waiting to see fully explored. We get some of that here with Scarecrow and the founder of the Magistrate in cahoots. It’s an interesting concept that dances around the idea of corporate America manipulating the people for their own enrichment.

But, there’s also the Unsanity Collective, an organization imploring the people of Gotham to not fall into the fear. It too is an interesting plot. It feels a bit like those in denial of COVID-19 and proclaim that those who wear masks or stay home “live in fear”. There’s a nugget to what’s being claimed but the majority is also void of the reality as to where things stand. There is a danger and by ignoring it, the body count will surely rise.

We also know a major plotline involving Poison Ivy is coming. Harley Quinn gets a bit of time in the comic as hints are dropped and danced around as to what might come. There’s talk about the ground and a jungle, clearly hints towards whatever is coming with Ivy. The fact that Harley is the center of that makes it all a bit clearer and obvious.

The art by Jorge Jimenez is fantastic. Jimenez and colorist Tomeu Morey deliver steps towards the neon future that’s coming. The style is an incremental step towards the look of future Gotham as opposed to the Gotham of the past. The big difference is in the colors. Gone are dark and brooding colors and instead we get hints of bright colors and neon with bright pinks, blues, reds, and yellow. Clayton Cowles‘ lettering is also top-notch. There are pages that are very dialogue-heavy but it flows and most importantly, doesn’t overwhelm the art at all.

And there’s more. Ghost-Maker gets the spotlight in his own back-up story that’s also written by Tynion but with art by Ricardo Lopez. We get to learn more about the character such as his sexuality (it’s not hetero) and more about the myth around him. It’s an interesting story where we get to learn more about the character and see hints of his ability and style. Lopez is joined by Morey on colors and Cowles handles the lettering. The art style reminds me of Tradd Moore a bit. It works and works well. When the action really gets going it should be really great visuals. As a first chapter, the opening feels a bit like the 15 minutes before the credits roll of an action film.

Batman #107 is a solid comic that really feels like it moves the series forward. It balances the current story while setting up what’s to come. It doesn’t feel like it’s just focused on the future. More impressively, it takes the concepts that we know are coming and teases them out. It dances around what’s to come hinting at the future and doing so in a way that makes it all the more exciting.

Story: James Tynion IV Art: Jorge Jimenez, Ricardo Lopez
Color: Tomeu Morey Letterer: Clayton Cowles
Story: 8.5 Art: 8.5 Overall: 8.5 Recommendation: Buy

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Preview: Nocterra #2

Nocterra #2

(W) Scott Snyder (A/CA) Tony S. Daniel, Tomeu Morey
In Shops: Apr 07, 2021
SRP: $3.99

“FULL THROTTLE DARK,” Part Two-Val brings her passengers to their first truckstop – the Neon Grove! But with her brother getting worse by the minute, and dark forces in hot pursuit, our ferryman finds herself faced with a grave decision.

Nocterra #2

Review: Batman/Catwoman #4

Batman/Catwoman #4

There’s a lot to like about Batman/Catwoman. The concept of exploring Batman and Catwoman through three eras has a lot of promise. Bringing Phantasm into DC continuity also has promise. But, the execution of the series has been frustrating at times and during others outright confusing. Batman/Catwoman #4 bounces around its storylines to the point I’ve forgotten what’s going on when. It also features one of the strangest moments of Catwoman just walking into Phantasm’s lair.

Tom King continues to try to explore Batman and Catwoman’s complicated relationship but delivers so little in the issue. There are some rough emotional moments like Batman realizing Catwoman has been holding information back. There’s also a solid moment where Catwoman lashes out for what is her mistake. But a plot involving their daughter and Catwoman and Phantasm just goes nowhere and delivers nothing. Any of these stories could have been solid on their own and fleshed out. But, as presented, Batman/Catwoman #4 continues a series that’s too choppy for its own good. It’s attempting to play with the various time periods and delivers little beyond frustrations as it’s presented.

Clay Mann‘s art is the draw. Along with Tomeu Morey‘s colors and lettering by Clayton Cowles, it’s the visuals that are the highlight. There’s a tension that’s delivered in the art that’s fantastic as Batman and Catwoman, Bruce and Selina, must balance their dual lives. There’s also a sexiness to it all that is used often but not overused per issue. The team also delivers a fantastic emphasis on key moments such as an older Selina confronting an older Penguin. A particular scene is delivered in a page when it could have been done off panel with characters looking on. The choice is an interesting one visually that changes the scene.

Batman/Catwoman #4 isn’t a bad comic. It’s just a frustrating one. It feels like two of the three plotlines don’t really go anywhere and at least one will have you asking what the point is. Any of the three stories would be solid on their own as a trilogy of comics. But, as presented, they’re chopped up too much never delivering enough to really satisfy.

Story: Tom King Art: Clay Mann
Color: Tomeu Morey Letterer: Clayton Cowles
Story: 7.0 Art: 8.5 Overall: 7.0 Recommendation: Read

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Review: Nocterra #1

Nocterra #1

When Nocterra came to Kickstarter, I happily backed it. I have the full over-sized black and white version on my shelf. I haven’t cracked it open yet because I wanted to experience the comic monthly, issue by issue and in color, like so many others. Reading it in one go is for down the road. After reading Nocterra #1, I had to crack open my Kickstarter version as I wanted to linger on and soak in the artwork even more. The comic delivers an intriguing premise that feels familiar in a world that feels foreign, strange, and fascinating.

The world has gone dark. Enveloped in a pitch black, the surviving bits of humanity must cling to the artificial light because if they don’t, they begin to turn into monsters. There’s constant danger and a rather bleak existance. Enter Valentina “Val” Riggs, a skilled ferryman who transports people and goods along deadly unlit roads with her heavily illuminated eighteen wheeler. Riggs is hired to ferry two mysterious individuals who promise hope.

Written by Scott Snyder, Nocterra #1 feels familiar. The darkness delivers thoughts of Pitch Black while being surrounded by monsters and the focus on a courier has a bit of I Am Legend and The Wilds, among other things. Despite that familiarity, the debut issue is engaging and sucks the reader in. The presentation of the world and build up to the final pages creates a world you become enveloped in.

Riggs being the center of the story, we’re provided a personal experience in this world and her view on it. Snyder gives Riggs some depth, taking us from her childhood to the current situation, ten years after the world has gone dark. We get Val’s perspective on it with a calm acceptance for reasons explained. And we get action, lots of action. Nocterra #1 delivers a hell of a sequence that’s full of entertainment.

That action is delivered by Tony S. Daniel. His visuals, along with Tomeu Morey on color and Andworld Design‘s lettering, get the blood pumping while the action gets going. But, the visuals help flesh out this world telling so much of the story. When Val gets to her town, we’re presented with a new world that packs in details that tell so much more than Snyder’s dialogue provides. You get a good sense of things through Daniel’s art, it’s the small details of the comic. Nocterra #1 also delivers one of the most interesting villains in a long time with a design that sucks you into the void.

Nocterra #1 is a solid start. Though it feels like an amalgam of other stories, it’s entertaining and packed with stunning visuals. We get an interesting world, solid protagonist, and the focus on details that flesh out its characters and world. It’s an amazing start and we’re all in for the ride.

Story: Scott Snyder Art: Tony S. Daniel
Color: Tomeu Morey Letterer: Andworld Design
Story: 9.5 Art: 9.5 Overall: 9.5 Recommendation: Buy

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Review: Infinite Frontier #0

Infinite Frontier #0

Dark Knights: Death Metal is over and we’ve seen a possible future timeline in “Future State”. Now, DC begins to chart its path with the first crumbs teased in Infinite Frontier #0. The issue serves as a guide as to the various series and status-quo that awaits them. With a new omniverse to explore, anything is possible and the comic does its job to remind us of that.

The comic’s story is delivered in a narrative driven by two characters as our guide. It’s a spin on the classic Christmas Carol and It’s a Wonderful Life. Wonder Woman believes a threat is looming and wants to witness the state of things before making a major decision about her role in the DC Universe.

With Wonder Woman and Spectre as our guide, we’re taken on a tour of the characters highlighting the comics to come. The Justice League, Batman, Wonder Girl, Alan Scott, Teen Titans Academy, Superman, Green Arrow and Black Canary, Star Girl, Green Lanterns, and the Flash all get a moment to show off where things stand. All of it is good and interesting though few of what’s presented really excites. It feels like an extended teaser and preview. It takes its concept as a guidebook almost too seriously. The comic feels a bit more like the extension of the ending of Dark Knights: Death Metal where we saw many of these ideas initially teased.

Infinite Frontier #0 credits

But, what’s intriguing is what’s presented and doesn’t have a comic attached to them. Infinite Frontier #0 teases more than what’s already announced giving hope as to what we’ll see in July and beyond. There’s also teases through artwork of the various series DC teased at the recent ComicsPro. It’s interesting in that way that the stories feel less like the exciting first 15 minutes before the credits to get you pumped. Instead, the stories are a bit dry and more to lay out where things stand with the concepts thrown out being the hooks. The action isn’t the hook, the ideas are.

The art of the comic is solid. Each segment flows into the next and with a few exceptions, the styles work well together. There are some fantastic spreads with Wonder Woman as she talks to Spectre about what she’s witnessing. There’s a few panels and pages that’ll leave you lingering to stare at. The colors really pop on pages delivering a sense of energy that really fits the new status of the DC Universe.

Infinite Frontier #0 isn’t bad but it doesn’t quite excite. By the end of the issue I found myself more excited about concepts than the comics themselves. Very few of the segments left me wanting to immediately find out what happens next. Instead, it the comic feels like a short ashcan, teasing what’s to come with a few pages and back material to fill things out. It shows what’s to come but it never quite puts things over. Instead, it nails its role as a guide, a way to browse what DC has to offer.

Story: Brian Michael Bendis, James Tynion IV, Becky Cloonan, Michael W. Conrad, Joëlle Jones, Tim Sheridan, Phillip Kennedy Johnson, Joshua Williamson, Geoff Johns, Geoffrey Thorne
Art: David Marquez, Jorge Jimeez, Alitha Martinez, Mark Morales, Joëlle Jones, Stephen Byrne, Rafa Sandoval, Jordi Tarragona, Jamal Igle, Alex Maleev, Todd Nauck, Dexter Soy, Howard Porter, John Romita, Jr., Klaus Janson
Color: Tamra Bonvillain, Tomeu Morey, Emilio Lopez, Jordie Bellaire, Stephen Byrne, Alejandro Sanchez, Hi-Fi, Alex Sinclair, Brad Anderson
Letterer: Troy Peteri
Story: 7.0 Art: 7.75 Overall: 7.0 Recommendation: Read

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Review: Batman/Catwoman #1

Batman/Catwoman #1

After a lot of anticipation, Batman/Catwoman #1 kicks off off writer Tom King‘s next chapter in his Batman saga that began so many years ago. Spinning out of his Batman run, the series focuses on three eras in Batman and Catwoman’s lives. The past deals with Bruce Wayne and a previous love interest. The present has that love interest return as Bruce and Selina are now an item. And in the future, the two have found a sort of happiness in their lives. We’ve seen glimpses of the future King has envisioned before but this series expands upon that while reflecting on the past.

King is a solid writer, but Batman/Catwoman #1 falls into an issue that King’s work has run into in recent years. King has found a niche in maxi-series events where the whole is the piece of entertainment. But, the whole is made up of individual parts. That can work at times but it often leads to weaker individual issues compared to reading through the story in one go. That can result in a frustrating reading experience and that’s on display here.

Each era King takes us to is interesting and each could be a series by themselves. Batman/Catwoman #1 attempts to juggle its trio of stories resulting in at times confusing mess of a narrative. The shifts between eras aren’t clear such as in King’s Strange Adventures and too little time is spent with scenes. Things come off more as teases than an actual story. Yes, comics are serialized storytelling. They need to be judged by the individual chapter along with the whole. As a beginning chapter, the issue is a bit unsatisfying.

There are some great moments within Batman/Catwoman #1 but the issue as a whole is a tease of what’s to come. There doesn’t feel like an arc within the issue, instead it’s short segments setting up what’s to come. With the comic balancing it’s three story arcs, those setups are shortened and in the end choppy. That’s partially due to the art.

Clay Mann handles the art with colors by Tomeu Morey. The art is great, that’s not the issue. The problem comes with an unclear transition between the eras at times. Only in the future is it really clear when things shift. The present and past blend a bit too well. If that was part of the narrative, it’d be great but that doesn’t seem to be the case here. The breaks aren’t clear enough resulting in at times a confusing reading where it’s not clear “when” the segment takes place. The character designs, colors, and inks look fantastic though. There are some great pages and panels and there’s strength there. It’s just a transition issue. The lettering by Clayton Cowles is solid as well. The lettering and speech bubbles let the art shine, even when a page is dialogue-heavy. The bubbles add to the flow of the visuals.

Batman/Catwoman #1 is a bad start, it’s just not as engaging as it thinks it is. There’s some great ideas and each era could be a hell of a story by itself. The issue is that there’s too much attempted in the first issue with not enough time spent on each. It makes for a beginning that sets things up but doesn’t feel satisfying by itself. It’s the teaser before a film’s credit. It can catch your attention but rarely is it good by itself.

Story: Tom King Art: Clay Mann
Color: Tomeu Morey Letterer: Clayton Cowles
Story: 7.0 Art: 7.85 Overall: 7.0 Recommendation: Read

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Review: Batman #101

Batman #101

With the first two story arcs of the new direction over, Batman #101 wraps things up reiterating writer James Tynion IV‘s vision for the character and charting a new direction. While “Joker War” had its ups and downs what it clearly laid out is that Batman has failed in his mission. Gotham is really no better off and his tactics haven’t worked to have the city progress from its crime-infested corrupt roots. Batman #101 lays that all out with an exclamation point and begins to lay the groundwork as to where Gotham, and Batman, goes from here.

Tynion reiterates his vision for where he’s taking Batman. Gone will be the fancy toys that solved all his problems. In is a grittier, back to his roots take. There’s no more Alfred to fix things. There’s no more Wayne Enterprises to funnel projects through. The spotlight is on Bruce Wayne and his finances forcing him to think differently and change his operation. With Lucius Fox now in control of the Wayne fortune, Bruce and Batman need to make decisions in their future.

That goes beyond Batman, it extends to his relationships as well. Catwoman is center stage for the issue as the Bat and Cat discuss their future after the marriage that didn’t happen. There’s a lot of reflection from Bruce on multiple fronts that’ll have some interesting ramifications for the future. And there’s downright hints as what’s to come as the classic WildC.A.T.s character Grifter is introduced as Fox’s new security. What’s said and what happens will have readers excited.

The art by Guillem March is solid. Featuring color from Tomeu Morey and lettering from Clayton Cowles, there’s a lack of the destruction we’ve seen through previous arcs. Instead, there’s a dirty calm about everything. Things haven’t recovered and you can see the scars remain in the art. That’s everything from the status of the city to how Lucius looks. The art tells you the damage is still there and it’s a city recovering. Tynion sets the internal thoughts but the art team sets how Gotham and the characters are in every other way.

Batman #101 sets the stage for the next direction of Batman and Gotham. It also feels like the start of a commentary on the state of our world. Corruption is underpinning society. Those who have, or have supported, heinous acts are hiding their masks from their neighbors. It’s something we’ll likely see happen depending on who wins the November election and starting to see now. There’s a new status-quo in Gotham and Batman #101 begins our journey into that world.

Story: James Tynion IV Art: Guillem March
Color: Tomeu Morey Letterer: Clayton Cowles
Story: 8.25 Art: 8.25 Overall: 8.25 Recommendation: Buy

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Review: Batman #100

Batman #100

Joker War” ends here with the monumental Batman #100 that has Batman taking on the Joker for Gotham. Much like the issues leading up to this finale, the issue feels like a statement as to where Batman is going in the continued shift from the previous writer Tom King’s epic run. “Joker War,” much like the previous arc, is more of a statement as to the vision of the character and a transition as to the direction for the new creative team.

Written by James Tynion IV, Batman #100 is broken down into various segments each with an important role to play. The main of course is Batman and his allies taking on the Joker and his. Each character feels like they have their moment and there’s a lot of “hell yeah” for so many of them. Barbara Gordon is front and center as she steps back into her role as Oracle, something that will make numerous fans of the character happy. Her banter with characters like Nightwing feels like fanservice that re-centers the relationship between the two and reestablishing their playful flirting. Nightwing two steps back in with Dick Grayson in his classic black and blue and tasked with taking on Punchline. After months of the character’s journey, that should also make fans happy.

But, the main focus is really Batman taking on the Joker within a chemical plant as the two do their usual dance. What’s interesting out of it is a couple of things. The Joker is obsessed with his role not as just the Clown Prince of Crime but the connection he has with Batman. With Harley Quinn’s inclusions, the entire part of the comic is a look at the abusive relationship the Joker has with the two characters. It also stresses that maybe Batman and Harley aren’t so different and might have a lot in common. It’s a scene of empowerment as Batman stands up against the Joker.

But, the Joker takes it in another direction focused on how Batman hasn’t been good for Gotham. The city and system is broken as is and what the Joker has done and accomplished is evidence of that. Batman is disconnected from the reality of his city as he has been disconnected from so much of his family. And that’s been part of the point of “Joker War”. It recenters Bruce and Batman and gives them a new direction and outlook at it all.

What Harley does and Batman’s reaction is most interesting signaling where the series might be going and a slightly different take on Batman. But, we’ll all see as much is teased about what’s to come including a new nemesis to focus on.

All of the above is beautifully drawn by Jorge Jimenez with color by Tomeu Morey and lettering by Clayton Cowles. The art is amazing with so much packed in and energy that pops from the page. Each fight is brutal and you can feel the daggers being dug into Batman by the Joker. Joker has rarely looked better and just each segment pops with excitement. Batman has had some fantastic art in years but this is some of the best artwork that has graced the series.

And there’s so much more packed in…

Tynion continues his focus on Clownhunter where we learn his motivation and his name in the appropriately named story “Intervention.” With art by Carlo Pagulayan, the story has Batman confronting the new character-revealing everything we need to know about him and teasing a possible direction. It’s an interesting back and forth and there’s a lot of potential here for the character. Clownhunter is a failure of the system Batman has created. He’s a product of Batman’s inability and unwillingness to truly deal with evil and injustice. It’s everything that the Joker talks about in his battle with Batman personified. With the right direction and creative team, we potentially have an exploration of Batman’s failures in an intriguing character.

Wrapping up the issue is “Dead Ringer” which is an epilogue to the event and story. We get a bit more about Punchline and what happens to her, it sets up more that I’d rather not spoilt. Guillem March handles the art from the story by Tynion and both make a discussion in a diner and recorded video being watched interesting. It too has some potential with exploring the ideas and themes that the Joker goes on about in his battle.

Batman #100 is what I’ve wanted from “Joker War” since the beginning. Yes, it does feel a bit like a transition to what’s next, it’s also a statement as to Batman’s failures. This issue lays out the Joker’s motivations and viewpoints and forces us to question Batman’s effectiveness in multiple ways. We see how Batman’s inaction has impacted a citizen of Gotham and perpetuated the violence. We also see that failure of definitive action being explored again perpetuating the cycle. This is the highlight of an uneven event and finally delivers meat on the bones.

Story: James Tynion IV Art: Jorge Jimenez, Carlo Pagulayan, Guillem March
Color: Tomeu Morey Letterer: Clayton Cowles
Story: 9.0 Art: 9.0 Overall: 9.0 Recommendation: Buy

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Review: Batman: The Joker Warzone #1

Batman: The Joker Warzone #1

DC’s “Joker War” has been a bit of a mixed bag for me as an event. Some of it feels like we’ve seen it before. While it has some good moments, it also feels like it never quite commits to the chaos. What bothers me the most is that the story feels like it’s just a bridge to what comes next. It’s not a story I feel like I can pick up on its own to enjoy. Through the issues of Batman, it never quite feels like a story that is a stand-alone adventure to enjoy. That might be even more pronounced in Batman: The Joker Warzone #1. It’s a tie-in comic filled with creative talent, solid stories, art, and a few “continued in 2021”. It’s also very good.

A Serious House” opens the comic. Written by James Tynion IV with art by Guillem March, color by Tomeu Morey, and lettering by Clayton Cowles it focuses on a confrontation between the Joker and Bane. The story is fantastic with a fascinating back and forth as Joker goes over his issues with Bane and contemplates ending his life. There’s a “play” like quality about the segment and with amazing art it’s the highlight of the issue. It sets up something for 2021 which feels a bit frustrating in that it telegraphs more to come instead of surprising and hints that the Joker survives “Joker War” for that to happen.

Family Ties” features writer John Ridley, art by Olivier Coipel, color by Matt Hollingsworth, and lettering by Deron Bennett. Focused on the Fox family, the story focuses on their receiving information to unlock Bruce Wayne’s fortune. But, Ridley takes that concept and adds so much to it giving us a mini-debate about what good Bruce, and thus Batman, are doing with all of this money. Could they use the money in a better way to help people? Should it go back to Bruce. With an ending that feels ripped from the headlines, Ridley shows why he’s one of the best storytellers in any medium today.

The Symbol” is by writer Joshua Williamson, art by David LaFuente, color by Hi-Fi, and lettering by Gabriela Downie. Orphan and Spoiler are on a mission to get a Bat-symbol where they wind up fighting Hench Master. Hench Master feels like a new character whose job it is to “train” henchmen for various villains. It’s a fun story that feels like it’d fit in any Batman anthology and an entertaining fun distraction that’s a bit cheerier with some good action sequences.

Ashes of Eden” is by writer Sam Johns, art by Laura Braga, color by Antonio Fabela, and lettering by Tom Napolitano. Ivy is dealing with the destruction of Eden. The entire segment is a declaration from Ivy about where her head is at and what’s to come. It’s also another story arc that we’ll see in 2021. What’s interesting, and possibly the most controversial, is Ivy seems to reject all humans and that might include Harley. Whether I’m reading too much into it, I have no idea but the Ivy/Harley stans may get a bit angry about what’s to come for these two.

Wrapping up the comic is “Clown Hunt” by writer James Tynion IV, art by James Stokoe, and lettering by Clayton Cowles. This is our first real story about Clownhunter who has stalked the Joker’s henchman and delivered brutal justice. We don’t know much about the character but we get our first good look at Clownhunter without the mask and better sense of what the citizens of Gotham thinks about him. There’s a lot of potential for a long-term interesting addition to the world of Batman and where this one goes is exciting.

Overall, Batman: The Joker Warzone #1 is a solid one-shot. It adds some stories within “Joker War” without making them vital. There’s a bit too much left to be experienced in 2021 which emphasizes my issues with “Joker War” overall. It doesn’t feel self-contained enough. If you took those segments and left out the “too be continued,” these would be really solid on their own. Even if you’re not reading “Joker War,” there’s enough here to enjoy and worth checking out. It’s the rare event one-shot where you can ignore the actual event.

Story: James Tynion IV, John Ridley, Joshua Williamson, Sam Johns
Art: Guillem March, Olivier Coipel, David LaFuente, Laura Braga, James Stokoe
Color: Tomeu Morey, Matt Hollingsworth, Hi-Fi, Antonio Fabela
Letterer: Clayton Cowles, Deron Bennett, Gabriela Downie, Tom Napolitano
Story: 8.25 Art: 8.25 Overall: 8.25 Recommendation: Buy

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