Black Panther: World of Wakanda by Roxane Gay, Alitha E. Martinez, Roberto Poggi, et al.

Not only did 2016 see the return of a Black Panther series after an absence of four years, 2017 saw an unprecedented development in the world of Black Panther: multiple simultaneous series. While there would be just one Black Panther ongoing, from 2017 to 2023 there would be a number of mini- and maxi-series that ran alongside the parent title: Long Live the King, Rise of the Black Panther, Wakanda and Wakanda Forever, Shuri, Killmonger, Agents of Wakanda, Black Panther Legends, even a revival of The Crew. The first of these would be World of Wakanda, a six-issue miniseries mostly focused on setting up characters and concepts from Ta-Nehisi Coates's ongoing. (And though Coates gets co-writing credit on just one short story that makes up one-third of one of the six issues, he always gets cover credit, and is credited as "consultant" on all of the other stories.)

from Black Panther: World of Wakanda #2

The first five issues contain a serializes story called Dawn of the Midnight Angels. Though this was released along side the second half of A Nation under Our Feet, it mostly takes place before it, with its last issue ending during issue #1. Its main characters are Ayo and Aneka, two members of the Dora Milaje who in Nation went rogue and participated in the democratic uprising in Wakanda. Dawn shows us how they met and fell in love, and what drove them to the point of rebelling against their king. 

I've been doing this Black Panther project in publication order, but for the first time I found myself wishing I had read something in chronological order instead. Not so much because I got Ayo and Aneka's backstory—indeed, I'm not quite sure you'd care about them if you hadn't read Nation—but because Dawn fills in a lot of the Wakandan backstory missing from Nation itself. Though it's all filtered from the perspective of the Dora Milaje, we see what T'Challa and Shuri and their country and Namor went through prior to Coates's series, bits of backstory he didn't totally spell out but evidently occurred during Jonathan Hickman's Avengers. It's stuff that would have been good to know!

Unfortunately, though, I didn't find Roxane Gay's story terribly interesting on its own terms. I liked the idea of learning about Ayo and Aneka's romance, but found the writing a bit thin; quite why Aneka doesn't want to be involved with Ayo isn't very clear at first, meaning it seems like she's holding back for no real reason except to prolong the story to five issues. I also found the villain, a rogue Dora Milaje named Folami, pretty ham-handedly written; it seems like she goes evil pretty much just because. The last couple issues, as we see the events of Black Panther volume 6 #1 from their perspective, are a bit stronger in some ways, but a bit too unsubtle in others.

There are two other short stories here. One, "The People for the People," is a brief prequel about Zenzi, one of the villains of A Nation under Our Feet. Maybe I missed this piece of information in Nation, but I didn't like the idea that she was Nigandan. It seems to me that the potential drama of a democratic revolution in Wakanda is undermined when one of the revolutionaries is an outsider (Zenzi) and the other obviously "evil" (Tetu).

from Black Panther: World of Wakanda #6

Lastly, there's "Death of the White Tiger"—I had not expected the return of Kasper Cole! Cole took over as Black Panther for the last dozen issues of Priest's run, and then was reinvented as the White Tiger for The Crew. If you've read any of those stories, you've read this one. Can you believe that over a dozen years later, Cole is still trying to get a promotion and pay raise so he can care for his girlfriend (who hates him) and baby? Yikes, dude, get your life together. The ending of the story promises a role for Cole elsewhere in the Ta-Nehisi Coates Black Panther universe... I can't say I am excited. (It is nice that they brought back Joe Bennett, original penciler of The Crew, though.)

Dawn of the Midnight Angels originally appeared in issues #1-5 of Black Panther: World of Wakanda (Jan.-May 2017). The story was written by Roxane Gay, with consultant Ta-Nehisi Coates, penciled by Alitha E. Martinez, inked by Roberto Poggi (#2-5) and Alitha E. Martinez (#1-2), colored by Rachelle Rosenberg, lettered by Joe Sabino, and edited by Wil Moss.

"The People for the People" originally appeared in issue #1 of Black Panther: World of Wakanda (Jan. 2017). The story was written by Yona Harvey & Ta-Nehisi Coates, illustrated by Afua Richardson, colored by Tamra Bonvillain, lettered by Joe Sabino, and edited by Wil Moss. 

"Death of the White Tiger" originally appeared in issue #6 of Black Panther: World of Wakanda (June 2017). The story was written by Rembert Browne, with consultant Ta-Nehisi Coates, penciled by Joe Bennett, inked by Roberto Poggi, colored by Rachelle Rosenberg, lettered by Joe Sabino, and edited by Chris Robinson.

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The Crew: Big Trouble in Little Mogadishu by Christopher Priest, Joe Bennett, Danny Miki, et al.

After his run on Black Panther came to an end, Christopher Priest began a short-lived ongoing called The Crew, a team book that included one-time Black Panther Kasper Cole (now the White Tiger) among its members. I wasn't super into Kasper part of Priest's Black Panther run, but The Crew was included in the Christopher Priest Black Panther: The Complete Collection volumes, which you can read for free on Hoopla, so I figured why not read it?

from The Crew #2

It was kind of worth reading, kind of not. Certainly it wasn't worth it for Kasper, who continues to spin his wheels as a character, arguing with his girlfriend and expectant mother of his child, chasing promotion so he can afford to support his mother and girlfriend. The ongoing thing about his dad wasn't picked up at all, and by the end of these seven issues, Cole isn't really anywhere we haven't already seen him.

from The Crew #4

The other three members of the "Crew" (never called that in the story) are James "Rhodey" Rhodes, the one-time Iron Man and War Machine; Junta, a superpowered information broker whose mom is a robot who I think appeared in one issue of Black Panther vol. 3; and Josiah X, the son of a black man who was experimented on during World War II in an attempt to create super-soldier serum. The first few issues look at each man in turn; the "team" really only kind of comes together with issue #7, when of course the title was cancelled. Junta probably could have become fun with time, but the real standouts here are Rhodes and Josiah.

Rhodes I don't think I have ever actually read a comic about before, but I liked what Priest did with him here; a man who use to be on top but has found himself at the bottom trying to climb his way back up using his sense of justice as a guide. I don't know how the character is in actual Iron Man comics, but I would read more stories about him if they were like this.

from The Crew #6

Josiah X (called "Justice" in behind-the-scenes information but not in the actual book) is a really interesting character, a black Muslim community organizer who dons Captain America iconography. Can such a man reconcile the contradictions that led to his own existence? How can he wear the emblem of the country that treated him and his father so disposably? Priest and artist Joe Bennett do their best work with Josiah, and unfortunately only scratch the surface of the character. I gather he hasn't really appeared since, but I am curious to pick up the Captain America: The Truth miniseries where his father originally appeared.

As I've alluded to, it's a bit of a slow burn, which was probably a mistake for a book that bundled together a bunch of has-been and also-ran characters; I cannot imagine it sold well at all. I enjoyed it well enough, but by the end of seven issues, I wasn't convinced we needed seven issues to see the Crew take down some pretty ordinary gangsters. A decent read, but not really for Black Panther–related reasons. I gather the Crew returns during Ta-Nehisi Coates's run, but not with this line-up.

from Black Panther 2099 #1

I also read the 2004 Black Panther 2099 one-shot, set in (as always) a dystopian future. T'Challa is dead, his lineage has ended, and Wakanda is invaded by Latveria. A new Black Panther must step into the vacancy at long last. Not much of interest actually happens; the guy has basically no personality and no struggles. It ends with a twist, but it's a pointless twist if there's no more stories about this set-up, which of course there weren't.

Big Trouble in Little Mogadishu originally appeared in issues #1-7 of The Crew (July 2003–Jan. 2004). The story was written by Christopher Priest; penciled by Joe Bennett; inked by Danny Miki (#1-7) and Rich Perrotta (#7); lettered by Ken Lopez (#1-2), Rus Wooton (#3-5), and Dave Sharpe (#6-7); and edited by Tom Brevoort. It was reprinted in Black Panther: The Complete Collection, Volume 4 (2016), which was edited by Mark D. Beazley.

Black Panther 2099 was originally published in one issue (Nov. 2004). The story was written by Robert Kirkman, illustrated by Kyle Hotz, colored by Jose Villarubia, lettered by Dave Sharpe, and edited by Tom Brevoort.

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Faster than a DC Bullet: Project Crisis!, Part LVII: The World of Flashpoint featuring Batman

Comic trade paperback, n.pag.
Published 2012 (contents: 2011)
Borrowed from the library
Read August 2016

The World of Flashpoint featuring Batman

Writers: Brian Azzarello, J. T. Krul, Jimmy Palmiotti, Peter Milligan

Artists: Eduardo Risso, Fabrizio Fiorentino, Mikel Janin, Alejandro Giraldo, Joe Bennett, Tony Shasteen, Alex Massacci, John Dell, George Pérez, Fernando Blanco, Scott Koblish

Colorists: Patricia Mulvihill, Ulises Arreola, Kyle Ritter, Ander Zarate, the Hories, Tom Smith, Brian Buccellato
Letterers: Clem Robins, Patrick Brosseau, Dave Sharpe, Travis Lanham, Rob Leigh

I don't know if these World of Flashpoint books are getting better or if I'm just acclimating to their style and purpose, but I think this volume was the best of them so far. It doesn't have the best individual story in it (that's probably "Project Superman"), but it has three decently enjoyable tales and only one real dud. The reading sequence I devised/picked/was given continues to work well, too: the Booster Gold story in the previous volume alluded to the fact that there was something not right about this timeline's Batman, and in this volume we get to see what that is.

If you thought Batman was grumpy, wait until you see his alternate universe Batman dad.
from Flashpoint: Batman: Knight of Vengeance #1 (script by Brian Azzarello, art by Eduardo Risso)

"Knight of Vengeance" is a gritty noir tale from Brian Azzarello and Eduardo Risso. Azzarello excels as this kind of thing. I'm not sure there was really a story here, but it provides an effective series of snapshots of this universe's Batman and Joker, who manage to be even more broken than those of the primary timeline. We see Batman's crime-fighting empire and criminal(!) empire, his relationship with Jim Gordon (yay!), and the dark twisted night that changed everything for him. Batman alludes to the existence of the primary timeline in a conversation with the Joker; I suppose I'll get to see how he knows about it when I reach the main Flashpoint book. Eduardo Risso on art also impresses. I don't think I've ever seen any of his work before, but his simple style works really well for communicating the darkness of this story. Less a tale and more a demonstration of the need to change this world back, "Knight of Vengeance" leaves me more eager to get to the main event.

Faster than a DC Bullet: Project Crisis!, Part XXXI: 52 Omnibus

Comic hardcover, 1202 pages
Published 2012 (contents: 2006-07)
Acquired December 2012
Read August 2014

52 Omnibus

Writers: Geoff Johns, Grant Morrison, Greg Rucka, Mark Waid
Art Breakdowns: Keith Giffen

Pencillers: Eddy Barrows, Chris Batista, Joe Bennett, Giuseppe Camuncoli, Tom Derenick, Dale Eaglesham, Jamal Igle, Phil Jimenez, Drew Johnson, Justiniano, Dan Jurgers, Ken Lashley, Mike McKone, Shawn Moll, Todd Nacuk, Patrick Olliffe, Joe Prado, Darick Robertson, Andy Smith
Inkers: Marlo Alquiza, Eddy Barrows, Mariah Benes, Joe Bennett, Belardino Brabo, Keith Champagne, Draxhall, Drew Geraci, Dan Green, Jack Jason, Roy José, Andy Lanning, Jay Leisten, Dave Meikes, Nelson, Tom Nguyen, Jimmy Palmiotti, Rodney Ramos, Norm Rapmund, Darick Robertson, Prentis Rollins, Lorenzo Ruggiero, Rob Stull, Ray Snyder, Art Thibert, Walden Wong
Colorists: David Baron, Pete Pantazis, Alex Sinclair
Letterers: Phil Balsman, Pat Brosseau, Jared K. Fletcher, Travis Lanham, Rob Leigh, Ken Lopez, Nick J. Napolitano

At some point, I planned on doing something big for this book-- you know, "52 Reasons That I Loved 52." But then time got away from-- very away from me-- and as it is this review will go up a whole eleven months after I read this book, and a lot of my specific memories have faded, which is a shame, as I did write very specific reviews about a number of very unmemorable books taking place in and around 52.

But anyway, 52 covers the year after the Infinite Crisis on a week-by-week basis. It's a year where Superman is without his powers (he exerted them more than ever before to defeat Superboy-Prime during the Infinite Crisis), Batman is travelling the world trying to remember how not to be a dick, and Wonder Woman is on a spiritual retreat. So it falls to the true greats of the DC universe to watch over the Earth. You know, Booster Gold, Elongated Man, Steel, the Question, Batwoman, Lex Luthor. Those guys. The giants.

Of course, I was predisposed to like this. It's those also-rans of the DC universe that I love the most about it; I have a complete run of Justice League Europe, I have read every Green Arrow comic published between 1983 and 2011, and I believe that the 1992 Elongated Man miniseries is an unjustly overlooked highlight of the superhero genre. On the other hand, it's hard to deny that this has its problems-- some plots unnaturally spin their wheels for months, while others leap ahead between issues. Some of it is just boring; I really wanted to like the space heroes, but aside from their encounter with a newly peaceful Lobo, I never really connected to these adventures. There's a little too much of Black Adam punching people to death. And by "a little too much," I mean any. Some of it is confusing, like whatever Booster did to beat Mister Mind at the end. Some of it seems misguided, like Wonder Girl joining some kind of super-weird cult devoted to Superboy.

But then, there's the island of super-geniuses finally putting one over on the the one they see as the ultimate super-jock in Black Adam, there's Booster Gold's moment of final redemption, there's Renee Montoya losing everything and learning why it's important to do so, there's the Elongated Man revealing just how much he's worked out all along, there's Renee's desperate trek through the snow to save a life, there's Doctor Magnus (creator of the Metal Men) having monthly visits with the imprisoned T. O. Morrow (creator of the Red Tornado). And, in my favorite favorite moment, there's Clark Kent realizing he doesn't have to be Superman to be a great journalist-- and the amazing action he takes as a result.

I know that auteur television is all the rage these days, and certainly people really dig auteur comics a lot, too. But there's something to be said for really solid writer's room television (I think Ira Steven Behr on seasons 3-7 of Deep Space Nine was really great at this, and Ron Moore learned from him to repeat his success with seasons 1-2 of Battlestar Galactica, but that's another blog post), and 52 is basically writer's room comics. Johns, Morrison, Rucka, Waid, and Giffen are all really good comic book creators, but they all have completely different skillsets and interests. Each has done great comics on his own, but their work as a group blends their strengths in a way you'd never expect. One of the thrills of the DC universe for me is the diverse kind of storytelling it has. Who'd think that Superman: Last Son, Seven Soldiers of Victory, Gotham Central, The Brave and the Bold, and The Great Darkness Saga all take place in the same millieu? And yet all of those diverse perspectives take place in the same book. 52 is the definitive statement of what DC can be at its best.

Faster than a DC Bullet: Project Crisis!, Part XXIII: Rann-Thanagar War

Comic trade paperback, n.pag.
Published 2005 (contents: 2005)
Acquired and read May 2014

Rann-Thanagar War

Writer: Dave Gibbons

Pencillers: Ivan Reis, Joe Prado, Joe Bennett
Inkers: Marc Campos, Joe Prado, Oclair Albert, Jack Jadson
Colorists: John Kalisz, Richard & Tanya Horie
Letterer: Nick J. Napolitano

I like DC's space heroes a lot-- they combine two of my favorite genres into one, after all-- but I didn't like this. For some reason, whenever DC does a space hero story, they feel compelled to chuck in all the space heroes. Captain Comet, Adam Strange, Hawkman, Hawkgirl, Hawkwoman, Starman, Tigorr, multiple Green Lanterns are all here, and I challenge you to get a grasp on any of their characters or personalities. The story in particular wants you to care about Adam Strange and family, but I don't; I'm not even interested in Captain Comet or Starman, and I've read and enjoyed other stories featuring them. These are just a bunch of people shouting exposition loudly at one another, fighting against a villain I don't really care about to protect a group of people that aren't interesting. This is the kind of stuff I should love: desperate battles against deadly villains. But the plotting feels arbitrary (there are, like, twelve last stands) and when major characters die, it doesn't even seem to matter. God, I wanted to like this so so much, and that makes its failure all the more disappointing.

Faster than a DC Bullet: Birds of Prey, Part VIII: Perfect Pitch

Comic trade paperback, 223 pages
Published 2007 (contents: 2005-06)
Borrowed from the library
Read February 2013

Birds of Prey: Perfect Pitch

Writer: Gail Simone
Pencillers: Paulo Siqueira, Joe Bennett, Joe Prado, Eddy Barrows, Adriana Melo, Bruce Timm, David Lopez, Adam Dekraker
Inkers: Robin Riggs, Jack Jadson, Dick Giordano, Will Conrad, Fernando Blanco
Letterers: Jared K. Fletcher, Pat Brosseau

Perfect Pitch opens with a three-part celebratory story, which is possible one of the funnest Birds of Prey tales yet. The first part gives us a part for the recovered Dinah, with lots of fun moments for each of the characters, especially Zinda's attempts to flirt with Creote, Helena trying a new Italian restaurant's food, and Barbara making up with Dick. (Speaking of which, I feel like I only ever have half the story on that relationship-- was the other half happening in Nightwing comics I haven't read?) Then, there's a crazy story of a cultist attempt to sacrifice reporters in downtown Metropolis while Superman's away, which Dinah defeats with her usual aggressive approach. Bruce Timm's artwork for this tale is, of course, amazing. Finally, Helena gets to do some avenging. I'd say she was rapidly becoming my favorite Bird of Prey, except Barbara and Dinah are just as awesome.

The next story, the titular "Perfect Pitch," puts the Birds of Prey up against the Calculator (last seen by me being an anti-Oracle in Identity Crisis) as they continue their efforts to destroy Gotham's gangs by letting Huntress take over one of them. I didn't like this as much as some of the other recent stories: Batman is a jerk for unexplained reasons (if he previously told Oracle to stay out of Gotham, we never saw it happen in Birds of Prey itself), and Deathstroke the Terminator, possible my least favorite DC villain who is not Mongul, shows up. While him posing a threat to the Birds of Prey is more probable than him posing a threat to the Justice League, he's still completely overdone, and I was beyond pleased to see Dinah get him in the eye! Actually, there are a number of good moments in the story, such as Barbara revealing her new secret identity to her father, Huntress continuing to be badass, Dinah reconnecting with Oliver Queen for the first time since he cheated on her in Straight Shooter, Savant and Creote finally achieving real redemption, Dinah... "thanking" Batman, and Zinda learning the truth about Creote.

There's a year-long gap between "Pefect Pitch" and the next story, "Progeny." By the time of "Progeny," Dinah has left the team to switch positions with Shiva, who she wants to both learn from and redeem. I found that takeaway from Dinah being in the village where Shiva was raised kinda weak: she learns who she really is for the umpteenth time, I think. But I did like the subplot with Sin, even knowing how this will end up in Green Arrow and Black Canary.

On the other hand, Shiva serving with the Birds of Prey as "the Jade Canary" is every bit as delightful as you might imagine. But ugh, Prometheus shows up, and as long-time readers of my reviews might know, I hate him as much as Deathstroke and Mongul combined, probably. How did this many bad villains end up in the same collection? Also, Gypsy joins the Birds in this story... only you wouldn't even know that was her name were in not for the dramatis personae at the volume's beginning! Whoops.

Paulo Siequeira and Robin Riggs draw most of this volume, and they turn out to be Simone's most solid artistic partners yet. Good faces, solid linework. I was amused to notice that in this volume, Helena starts wearing purple lipstick that matches her Huntress costume's colors!

Faster than a DC Bullet: Birds of Prey, Part VII: The Battle Within

Comic trade paperback, 237 pages
Published 2006 (contents: 2005)
Borrowed from the library
Read February 2013

Birds of Prey: The Battle Within

Writer: Gail Simone
Pencillers: Joe Bennett, Ed Benes, Tom Derenick, Joe Prado, Eddy Barrows
Inkers: Jack Jadson, Ed Benes, Bob Petrecca, Robin Riggs
Letterers: Jared K. Fletcher, Phil Balsman

The fourth collection of Gail Simone's Birds of Prey run is where her take really clicked with me-- perhaps because this collects twelve issues, a full year of her run, rather than the usual 6 or so, allowing one to really dig into her interweaving plots. This is odd, as I found the first few stories pretty disposable: the Birds, in their new mobile home Aerie One, travel to Dayton, Kansas, and Metropolis to rein in overeager vigilantes. I'm not sure why Barbara decided this was their new purpose in life, but there you go.

We get a few done-in-one (or -two) stories that are strong in character for the regulars, which is nice, but little else. It's nice to see Helena actually doing educational stuff, and there's one of my favorite moments in the whole series thus far when she crossbows a guy in hospital and shrugs it off. Zinda turns out to be a fantastic addition to the Birds, rarely at the center of the plots, but always fun in how she changes the dynamic. On the other hand, Kansas is portrayed in an utterly condescending way, and Tom Derenick and Bob Petrecca's art is so off that when a mystical creature ages Dinah twenty years in the middle of combat, you can't even tell.

The plot in the book's second half, as the Birds of Prey being to disintegrate and also take on some gangs internationally, was much more consistent. Helena leaves the group to do things in a way that combines her original one with Barbara's, and in doing so, we get our best understanding of her character in the series so far: someone violent and brash, but dedicated to doing good in whatever way works best. Helena trying to infiltrate the Gotham underworld (and tussling with Dick "Nightwing" Grayson, who is doing the same) is one of the series' most interesting undertakings. Meanwhile, Barbara must undergo surgery and Dinah has to organize the defense of Gotham City with just hand-on-hand combat. The interweaving of plot and character has never been sharper in the title, and I have never liked all three characters more.

Unfortunately, the story is let down by the series's weakest art thus far: Joe Bennett and Jack Jadson's women all have plastic faces incapable of displaying emotions other than wide-mouthed; Ed Benes might be cheesecakey, but at least his characters have facial expressions. Worse is the creepy way he draws all Asians. Ugh. One wonders why DC was never able to supply Gail Simone with an artist who could match her writing talent. At least Huntress's costume has lost the belly window.