Showing posts with label creator: steve mitchell. Show all posts
Showing posts with label creator: steve mitchell. Show all posts

26 June 2020

Review: The Huntress: Origins by Paul Levitz, Joe Staton, et al.

Comic trade paperback, 224 pages
Published 2020 (contents: 1977-82)

Acquired January 2020
Read February 2020
The Huntress: Origins

Writer: Paul Levitz
Penciller: Joe Staton
Inkers: Steve Mitchell, Bob Layton, Bruce Patterson, Jerry Ordway, Bob Smith, Mike DeCarlo
Colorists: Adrienne Roy, Anthony Tollin, Gene D'Angelo
Letterers: Todd Klein, John Costanza, Ben Oda, Janice Chiang, Bruce Patterson, Jean Simek, Milt Snapinn

The Huntress was, I think, the first concept original to Earth-Two to receive an ongoing feature since Earth-Two became Earth-Two, i.e., since the end of the Golden Age and the return of its characters as alternate reality denizens in the Silver Age. It demonstrates the potential of the concept: the Huntress is a character who could only exist on Earth-Two, a young woman trying to find her own way in the world while living up to the legacies of her superhero father and supervillain mother. You couldn't tell this story on Earth-One, but this kind of thing would become the backbone of Earth-Two stories, and then with the integration of Earth-Two, into DC's approach to its superheroes in general.

This story, where she has to defend a retired Alfred, was one my favorites, I think.
from Wonder Woman vol. 1 #294 (art by Joe Staton & Jerry Ordway)

The individual stories here are probably nothing special, but they work. Helena works at a public-interest law firm by day and fights crime by night. There's a nice sense that this is all grounded in the social realities of Gotham; you've read much more fanciful Batman-adjacent stories. The Huntress was always a feature in an anthology title, so the stories are typically serialized across installments of about eight pages, which keeps them moving briskly. I couldn't single any one story out, but I know that as I read them, I was always interested and engaged.

Nice eyebrows.
from Wonder Woman vol. 1 #271 (art by Joe Staton & Steve Mitchell)

Part of that is because of Joe Staton. Staton, I think, is a now-neglected heavyweight of 1980s comics, an era where he did good work on Legion of Super-Heroes, Green Lantern, Action Comics, and Millennium (among, I'm sure, others). I always like his atmospheric style, but it's particularly suited to adventures in Gotham City at night, sometimes blocky, but with Helena's athleticism and attractiveness always clear.

A very helpful torturer.
from Wonder Woman vol. 1 #289 (art by Joe Staton & Bruce D. Patterson)

This volume collects the first five years of Huntress solo adventures, all of the ones written by Paul Levitz. Joey Cavalieri took over writing the character after that, with Staton continuing on art at first, up until the point the character was obliterated by the Crisis,* but none of that material has been collected. Unfortunately, as I'm willing to track down some pretty random stuff, but buying a ton of issues of Wonder Woman because of a back-up feature doesn't really appeal.

* Well, beyond, actually, as Cavalieri also wrote the 1989-90 ongoing series that introduced the post-Crisis Huntress, who had no relationship to Bruce Wayne or Selina Kyle.

This post is the second in a series about the Justice Society and Earth-Two. The next installment covers All-Star Squadron. Previous installments are listed below:
  1. All Star Comics: Only Legends Live Forever (1976-79)

11 May 2018

Review: Sun Devils by Dan Jurgens, Gerry Conway, Steve Mitchell, et al.

 
DC was really pumping out its Star Wars-inspired space-opera limited series in the 1980s. Spanner's Galaxy's six parts were entirely published during the twelve parts of Sun Devils, an epic series that sadly remains uncollected. Sun Devils begins with daredevil pilot Rik Sunn, inhabitant of a human colony, who's about to begin his career as a diplomat. Rik believes a diplomatic solution to the expansionist Sauroids of the Triad Confederacy can be found, but is quickly proven wrong when his family and their entire planet are obliterated by the Sauroids. Rik travels to Earth to enlist and fight the Sauroids, but the Earth government is as complacent as he was.

Misadventures eventually take him to Centauri, where he becomes the leader of a crack team of fighter pilots / commandos called the Sun Devils, consisting of Anomie Zitar, a sexy gene-edited human escaped slave; Scyla, a sexy Belter smuggler; Shikon, a Sauroid slave who fights to free his caste; One, Two, and Three, cloned mechanics; and Myste, a sexy scientist turned into a noncorporeal being. The Sun Devils wear matching uniforms and work directly for the Prime Speaker of Centauri, trying to stop the Sauroids, especially when it becomes clear the Sauroids are developing a superweapon capable of exploding suns.


Sun Devils was originally developed by Gerry Conway and Roy Thomas, who brought aboard a young Dan Jurgens as artist. Thomas didn't have time to contribute, so the series was written by Conway, but as time went on, Jurgens's role increased; eventually he was doing the dialogue for Conway's plots, and by the end of it all he was writing and illustrating. Jurgens went on to a highly successful career, and this was his first big break-- some of his earliest comics art, and his earliest published writing.

It's easy to see why. Jurgens is easy to dismiss as workmanlike at times if you're ungenerous, but here he's clearly already a master craftsman. His layouts are dynamic, the action is clear, and the characters expressive. Big and small moments alike land perfectly. The art is aided by the fact that this is one of the 1980s' so-called "Baxter books," printed on high-quality paper that really make the colors pop, particularly the black inks. (To be honest, I think this is my favorite kind of comic coloring. Superior to the Silver Age stuff in quality and clarity, but not taken over by the more subdued "realism" computer coloring enabled in the 1990s.)


The twelve issues are divided up into four stories-- The Gathering (#1-3), The Rescue (#4-6), To Steal a Sun (#7-9), and The Last Battle (#10-12)-- each having its own beginning and end, but with a larger story running through it all. It's a nice structure, like maybe watching a four-part tv miniseries. In The Gathering, the team comes together; in The Rescue, they go to the Sauroid homeworld to rescue an imprisoned scientist; in To Steal a Sun, they try to build a superweapon; and in The Last Battle, they try to stop a Sauroid superweapon. There are some surprisingly complex and adult moments, but also it's a fun, action-driven series about a colorful group of characters.

Occasionally the plotting is a bit wonky (there's a bad guy introduced in the final three parts who doesn't really go anywhere, or there's one issue where the opening four pages are spent showing Scyla in a barfight-- a thing we've seen already!), and I found the last issue unsatisfying (the characters have an unrealistic level of trust in a bad guy, because they bizarrely overestimate the leverage they hold over him), but I enjoyed the story on the whole, and it's a shame there wasn't a sequel. I think the ending is setting one up, though I suppose it might be an "...and the adventure continues..."-type ending.


Dan Jurgens did continue the story, kind of, in a 1994 issue of Superman (vol. 2 #86). Even though Sun Devils clearly takes place in the future, a lost-in-space Superman runs into a spaceship piloted by an aged Rik and the daughter of Scyla, chasing down a surprise-not-dead Sauroid ruler. (There's a throwaway line where Scyla's daughter says she doesn't know what century they're in anymore.) I found it a dissatisfying conclusion, a bit too downbeat, and not really an organic outgrowth of where we left the characters in Sun Devils #12.

Sun Devils was originally published in twelve issues (July 1984–June 1985). The series was created by Gerry Conway, Roy Thomas, and Dan Jurgens; plotted by Gerry Conway (#1-9) and Dan Jurgens (#10-12); dialogued by Gerry Conway (#1-6), Paul Kupperberg (#7), and Dan Jurgens (#8-12); pencilled by Dan Jurgens; inked by Rick Magyar (#1), Romeo Tanghal (#2-4), and Steve Mitchell (#5-12); lettered by John Costanza (#1-6, 8, 12) and David Cody Weiss (#7, 9-11); colored by Tom Ziuko; and edited by Gerry Conway.

14 December 2010

Faster than a DC Bullet: Gotham Central, Part II: Half a Life

Comic trade paperback, 160 pages
Published 2005 (contents: 1999-2003)

Borrowed from the library
Read November 2010
Gotham Central: Half a Life

Writer: Greg Rucka
Artists: Michael Lark, Jason Pearson & Cam Smith, William Rosado & Steve Mitchell
Colorist: Matt Hollingsworth
Letterers: Willie Schubert, Rich Parker, Todd Klein

The focus of this book is Renee Montoya, a member of the G.C.P.D.'s Major Crimes Unit, and her relationship with Two-Face. To add to the depiction of this relationship, there are a couple pre-Gotham Central stories from Batman comics showing Montoya. The first of these, "Two Down," is neat enough, with a premise of what would happen if Two-Face's coin just kept on coming up heads, and he kept on doing good. Two-Face helps Montoya in rebuilding the city after it's been ravaged by an earthquake, and she even intervenes against Batman to stop him from taking Two-Face down, pleading that she knows Two-Face can do good if she wants. A good story, but it's brought down by Jason Pearson & Cam Smith's overly cartoony art, which doesn't really fit the tone of the story. The other one is "Happy Birthday Two You...", set about a year later, on Montoya's birthday. It's a day in Montoya's life, a day where she's gone unappreciated by any one other than... Two-Face and Bruce Wayne? It's a solid little story on its own (there are only two colors, and that works fantastically), but it also sets up what's to come...

The bulk of Half a Life is taken up by a story called, appropriately enough, "Half a Life." This story is pretty famous-- it got all kinds of awards-- because it is the story that revealed Renee Montoya was a lesbian. Now, mind you her superior officer Maggie Sawyer had been revealed as one some time prior, but Montoya's was kind of a shocker reveal, and the whole story is about her forced coming-out. Two-Face reveals her in an elaborate plot to destroy her entire life so that he's all she has left. I like Montoya as a character: she feels real, a woman struggling not only to be a cop in Gotham City (which is tough enough), but to hide a second life from her colleagues-- not exactly the most tolerant bunch-- and her very conservative, Catholic family. The story draws some parallels between Montoya and Two-Face that work well. I also like the subplot about Montoya's partner, Crispus Allen, coming to terms with the fact that Montoya's been hiding all this from him. The art is great as per usual-- if anything, Michael Lark is better here than in In the Line of Duty, with his inks not quite as thick as in the first.

However, I have some reservations. Or rather, I think the story's pretty good. Above average, even. But great? Not quite. It's on the whole a competently executed cop story, with some nice Batman bits thrown in. (He once again saves the day. You could accuse it of being a deus ex machina, but that's the whole point of the series.) If you subtracted the lesbian component, I'm not convinced there's be anything memorable about. But that means my problem's not so much with the story as the way it's been represented. I liked it; I just don't know that I'd give it any awards. But in the often-homophobic world of superhero comics, this thing was ground-breaking in 2003, and that's kinda sad when you think about it.