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God of Comics: Regression #1

God Of Comics, Reviews

May 9, 2017

Regression #1 (Image Comics)

And we’re ending things where they began this week, which is kind of fitting given this title: this is a comic about past life regression therapy, a thing that some people do where they try and remember things from previous lives. It’s a fun challenge if your faith includes reincarnation and a bit of witchcraft if you’re faith tells you that you’re going to face eternal reward or punishment for the things you do over, generally, fifty to seventy years.

It’s also being written by horror maestro Cullen Bunn, who knows a thing or two about this sort of story. He’s the guy what wrote the Sixth Gun and Hellbreak and the Damned and all of this leads me to believe that Cullen Bunn must be seeking something and is using his talent to try and find it.

The story here follows Adrian, a modern man in the modern world who is harrowed by waking nightmares that haunt him even in his waking hours. Someone mentions the past life thing to him and he decides to go through it because, hey, why not? Valerian root is doing nothing for him. He settles in for the hypnosis and gets a full view of some scene his soul was caught in before, a monstrous moment that he comes back screaming from.

Problem being, something followed him back to our time from that era.

Cullen guides us into a terror-filled world from which there is no escape – a place where the occult lurks just out of sight, where reincarnation is just as real as insanity and mysteries man was never meant to unravel tease half-seen in the twilight shadows. This comic is a Hasturian whisper, an invitation to try a tale that will seduce you with horror and leave you shivering, trapped in tendrils of intrigue that will never let you go.

Danny Luckert and Marie Enger provide shade and depth to life and death and life again, pulling forth color from darkness but letting the dark linger like a half-remembered dream lover. This is horror at its very best, a story invested in a sense of inescapable dread, here to pick up where titles like the Clean Room and Nailbiter and Coffin Hill left off. Get in now and know that you will never leave.

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422

God of Comics: Medisin #1

God Of Comics, Reviews

May 9, 2017

Medisin #1 (Action Lab)

Action Lab keeps putting out comics I really like – not classic superhero stuff, but weird mixtures that shouldn’t work but then do; Awake, Herald, Miraculous, Princeless, and especially Tomboy are all really good stuff that play with genre and have interesting takes on familiar tropes. It’s why I tend to scour the releases from Action Labs, looking for some new favorite thing to sink my teeth into, and Medisin looks like the sort of thing I’m going to love.

The set up is simple enough – health care for super villains. Sure, the company that’s publishing Nazi America: Nazi Empire flirted with this on the heroic side of things with Night Nurse, but Night Nurse never got an ongoing and this is dealing with the darker end of the spectrum. When villains get beat up they need someone they can trust to handle their hurts and sow them back together for round two, and it’s not like villains can just go in to a hospital and get treatment without being arrested.

One criminal mastermind has channeled his inner Rick Sanchez and decided that he can make a buck off this by being less scrupulous than a Republican Healthcare Plan: his plan is to kidnap and blackmail down-on-their-luck doctors into providing health care for his contemporaries and then charge those contemporaries. It’s kind of brilliant.

Told from the perspective of those doctors, we get to watch as these professionals handle injuries that no one could ever imagine being possible while struggling with their own ethical codes and/or lack thereof. They’re led by a brilliant physician named Ethan Sharp, whose genius will be put to the test by every patient that shambles through the door of his facility.

Issue one promises to show us the consequences of listening to conscience when you’re working for super villains. Sounds like the sort of thing that should feel familiar for some of us…

The writing comes from Jeff Dyer and Mark McKeon, who’ve done some writering over at Boom Studios and Dynamite Entertainment when they’re not writing for Action Lab, so we’ll see what they bring to the operating table. Artist David Brame has a proven track record for a dirty sketchy style that should work perfectly here, and colorist Joaquin Pereyra has done awesome work in the past for political titles like Fake Empire and Liberator. His presence speaks highly as to the quality of this book, and I can’t wait to cut in and get into the guts of this thing.

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339

God of Comics: Eternal Warrior – Awakening #1

God Of Comics, Reviews

May 9, 2017

Eternal Warrior: Awakening #1 (Valiant Comics)

… Robert Venditti is returning to Valiant with the Eternal Warrior.

I’m continuing writing this directly from our article on Dragon Age: Knight Errant #1, which you can find here. So, yes, this, this comic right here, this is the comic I’m most looking forward to reading this week and that can be laid at the feet of Robert Venditti. The man wrote the initial fifty-issue run of X-O Manowar, the comic that Valiant used to relaunch itself and a comic we still talk about being the best of all comics.

Wanna know why? Click here~!

This is, sadly, a one-shot. It’s the second of four comics that Valiant is publishing to celebrate the 25th anniversary of the character. That’s not the sad part – the Eternal Warrior is a great concept, a man tied to the earth, kept alive by the life force of the planet to be both fist and steel. The sad part is that this isn’t an ongoing, and Robert Venditti is so good at getting to the core of Valiant’s characters.

Here’s the set-up: a man was born the youngest of three brothers, all princes in the ancient world: the first was intelligent, the second was strong, and the third was skilled. The skilled one died in some long-forgotten war but his brothers would not let him pass; the intelligent one discovered a means of bringing the skilled one back from the dead, and the strong one helped make it possible.

They succeeded in doing what they set out to do, but they destroyed their whole civilization in the process. Wiped it and every person in it from existence so that only the three of them remain. The intelligent one became lost in time, a phantom haunting different eras as he tried to chart when he was. The strong one, alone, became a drunk and would eventually become Armstrong over in Archer & Armstrong. And the skilled one…

His name is Gilad Anni-Padda, and the rite that brought him back from the dead tied him to the living earth forever, made him the champion of the biosphere as a whole. When forces gather that would destroy our world, destroy life, he is called to do battle once again. You can kill him but the killing never takes, and this is a tale from the ancient world when he’s just getting started, when he was forgotten who he is due to a vicious head wound and a single man’s pride is in danger of destroying humanity as it emerges from civilization’s cradle.

It’s pretty cool stuff that’s limited only by the single-issue format and it makes me hunger for more. The Eternal Warrior is such an interesting concept that needs to be expanded upon, its mythology given the respect that it deserves – especially in our modern world, where the pride of a few is going to destroy us all. Gilad is essentially the Lorax with axe and sword, someone who will make you listen, someone who will save humanity in spite of the pride or greed of our species. There’s something to be said about that.

Artist Renato Guedes and colorist Ulises Arreola capture a breadth of human emotion and create a world that feels real, that feels lived in and give life to Robert Venditti’s words. This comic is awesome and if you’re looking for an easy way to into Valiant or an alternative to Marvel, this is it.

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337

God of Comics: Dragon Age – Knight Errant #1

God Of Comics, Reviews

May 9, 2017

Dragon Age: Knight Errant #1 (Dark Horse Comics)

So, I do this thing where I assign totemic analogs of my closest friends in pop culture and I’m lucky enough that they’re willing to play along. I have a friend who we refer to as the Hero of Time, for example, and every time a new Legend of Zelda game comes out we ask him what he remembers about that incarnation. It’s ridiculous and kinda fun and a practice I exempted myself from for a long time due to depression and the like.

A big kick of trauma made me re-evaluate some things as I was playing Dragon Age II and as a result, I ended up applying Hawke to myself. It’s, again, a weird totemic thing, a pop culture analog that makes games more interesting and gives the people involved something to draw upon in unexpected ways: going back to the Hero of Time, he got weirdly good at archery for no real reason. It was kinda cool. One of the things I’ve learned over the years is it helps if the games involved have a story or mythology as in-depth as the Legend of Zelda…. or Dragon Age II.

I’m told that Bioware games lend themselves very well to this process and am, of course, inclined to agree. We build head-canons around the characters we travel with, and I have yet to meet someone who doesn’t have a preferred party build in Dragon Age: Origins (Alistair, Morrigan, Leliana), Dragon Age II (Varric, Anders, Fenris), and Dragon Age Inquisition (Blackwall, Sera or Iron Bull, and the bald elf-god that broke my heart). We build moments between them that have nothing to do with the game, and…

Well.

The comics are canon explanations of stuff that happens in the world of those games, but doesn’t fit into the games themselves. In this case, Hawke’s best friend, Varric Tethras, is a beardless dwarf who is sometimes a spy master and sometimes a drunk and is always an exile from the Dwarven kingdoms, an odd Dwarf out, but that’s changing due to his heroics around Thedas in general and Kirkwall in particular and he’s about to be made a viscount.

Should be cool, but there’s an Elf girl-squire named Vaea and her knight is dragging her to Kirkwall for the ceremony and she’s got a bit of a shady past. When she finds what looks like an easy job she’s going to take it because of course she is, not understanding how dangerous Kirkwall can be and how things that look simple in Kirkwall always end up changing on the fly.

It sounds like a fun little tale and it’s being told by the duo of Christina Weir and Nunzio DeFilippis. The two of them have a knack for this sort of thing (see Amazing Agent Jennifer, Bad Medicine, and Dracula Everlasting for proof of concept), with art by Stitch’s Heinz Furukawa and colors by Michael Atiyah, who does a lot of video game comics and always does an excellent job of making inks pop.

This would be the comic I’m looking most forward to this week, but…

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236

God of Comics: Black Cloud #2

God Of Comics, Reviews

May 9, 2017

Black Cloud #2 (Image Comics)

Of course, it’s Jason Latour.

He’s the guy that invented and continues to write Spider-Gwen over at that company that shall remain nameless. He also does art and co-created Southern Bastards with Jason Aaron, and you can see snippets of both here – the unbridled creative drive of Gwen mingled with the seedy underbelly of Bastards, and it makes for a heady trip.

The story here is that stories are real and come from an overlapping reality that interacts with our own. There’s history here but we only see hints of it, as main character Zelda tells us what she feels like sharing and hordes the rest of her secrets like a wisdom miser, using what she must to do what she can.

She’s human, sure, but it looks like her people went into that other world, but circumstances have landed her in our world and she’s not happy about it. She understands our world and how things work and she’s got advantages when it comes to narrative manipulation, but she’s lacking any sort of identification or proof of existence. She has no contacts, no prospects, nothing she can do and no safety net.

You get the sense she royalty wherever she was from, but she’s turned hard and cynical from doing what she must to survive. She’s grifting her way through the world, all-too-aware that she’s a parasite but just wanting to survive. She moves from targeting people that can’t handle loss to those who can, the selfish upper-crust affluenza-sufferers, selling them on the idea that her power to move through reality is drug induced.

And this is where things get interesting: she manages to snag a politician’s son during an election year. The politician loves his son but recognizes there’s some flaws there, so when both his son and his son’s girlfriend confirm that something happened with Zelda he contacts her.

It is an election year, and the politician would really like his son out of the way where he can’t draw attention and complicate things. He sees Zelda as a happy solution and offers her anything she wants to take his son away, at least until he’s re-elected. She agrees and he thinks he’s getting the better end of the deal, but neither he nor his son know Zelda’s circumstances… or that her flexible morality will let her abandon the son in that other place to save herself.

All that? That was issue one. That’s the sort of powerhouse writing that Jason Latour can pack into twenty-two pages when he’s on his game, and he very much is here; he’s working with Ivan Brandon, too, who you might know from Viking and the Cross Bronx and NYC Mech, and if you don’t know those comics you should look them up. The two of them have Greg Hinkle on art and Matt Wilson on colors, and those two are doing some impressive things with the layout of the book and shifting nature of two different worlds and Zelda’s influence on both.

If you’re looking for something that’s strange and new and going to take you to unexpected places, a faerie-tale con-job set in the urban political arena, then you need to pick this up with the same urgency that you need oxygen to breath. It’s awesome.

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408

God of Comics: Injustice 2 #1 (DC Comics)

God Of Comics, Reviews

May 2, 2017

Speaking of video games with epic stories…

The previous Injustice game featured a world where Superman went insane after the Joker killed Lois Lane. Clark ripped out the Joker’s heart and then decided to go after all the villains, causing a massive amount of infighting and shuffling of alliances and some of the best comics DC published during the nu52 era. Some of the character development – especially with Black Canary and Harley Quinn – is stuff so good that it should be carried over into Rebirth.

It took a lot of cues from the game but ended differently than the game: with one of the most gut-wrenching sacrifices you’re likely to read in a DC Comic, and then veered towards another ending where things lined up with the video game because a sequel was coming out.

The sequel is here.

I pre-ordered this game months ago. I love fighting games.

The new story focuses on new threats and concepts in the world of the old one. Batman eventually took Superman down and was busy trying to rebuild the world. He’s got a good thing going when Supergirl shows up – but she doesn’t know who to trust, whose side to be on, or anything that’s gone on. She knows that Clark is her cousin, though, and so she’s going to side with him… at least for a bit.

Meanwhile, there’s some serious bad juju going down. Darkseid is out there. Brainiac, too. Scarecrow looks properly terrifying. And Bruce…? Well, Clark’s old regime destroyed a lot of good people, so he doesn’t have a lot of allies left to call upon. The game is on. The game is afoot. This is going to be awesome.

Tom Taylor wrote the first few years of the original Injustice comics, and he’s back to write the start of this series. That’s awesome, because he nailed a lot of these characters in a way that the nu52 didn’t, even in this strange world of extremes. Joining his are artists Bruno Redondo and Juan Albarran, both of whom had a lot to do with the success of the original series.

DC Comics has been pretty great since Rebirth, and the Injustice comics were among the best to come out of the nu52. As Rebirth is better than the nu52, so we expect this series to be better than the last.

Fingers crossed.

Now, if you’ll excuse me, I need to go play the original game again and get myself all warmed up for the second.

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402

God of Comics: Tekken #1 (Titan Books)

God Of Comics, Reviews

May 2, 2017

I’ve mentioned this before, but fighting games all have these weirdly detailed plotlines that go in all sorts of weird directions and have supremely strange character arcs. The bad guy in Street Fighter is a death-powered demi-god who pushes drugs and whose ultimate form is a cloned woman who escaped his grasp and now works for British Intelligence. Darkstalkers features a vampire god stalking a succubus who is also a god and her younger sister, who is actually a repository of her full power that was taken away from her and became sentient. Mortal Kombat is a mish-mash of classic martial arts tropes taken to their logical extreme.

Even given all of that, Tekken is fucking batshit lunacy.

The CEO of a multinational corporation that pretty much rules the world holds a one-on-one fighting tournament every year where he puts control of his company on the line. His son, who he threw off a cliff to try and toughen up, shows up one year and throws him off the cliff because apparently the devil is in his genes. The CEO returns to depose his son, but not before his evil son has a child with someone who is wholly good, so now there’s a grandkid running around who sometimes grows wings and shoots lasers out of his eyes.

Did we mention there’s a Bruce Lee stand-in? Or one for Jackie Chan? How about the street boxer whose kick buttons are replaced by dodges? That’s all fairly standard… okay, how about the cyborg bounty-hunting samurai who fights with a laser sword that he sometimes uses as a pogo stick or helicopter and who might be immortal?

We haven’t touched the insane military cyborg on the run, the luchador who died and whose guilt-stricken rival trained his replacement, either of the rich deletants who’re dancing their way through a murder investigation, the Aztec Demon who sometimes shows up for shits and giggles… it’s all kind of insane.

Handling the insanity is writer Cavan Scott, who has worked on much simpler fare in the past… things like Doctor Who and Vikings, so when we say simpler we do not mean by very much. Titan Books has also put Andie Tong on art, and he’s very much the sort of artist who can bring the technical skill that these fighters display to life while capturing the odd mosaic of emotions and motivations that drive everyone here.

There’s more than enough material and character here for this to be something truly special. We’ll see if Titan can pull it off… fingers crossed.

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354

God of Comics: Secret Empire #0 (Marvel Comics)

God Of Comics, Reviews

May 2, 2017

Secret Empire #0 (Marvel Comics)

I was going to review this, but Captain America is still a Nazi. He betrays everyone and don’t trust symbols and whatever. So. There’s your story. Nick Spencer writes a good yarn that’s based on pissing people off and I’m not angry so much as tired. So. No review. 

Instead, I offer this: a link to an article that talks about Marvel’s declining comic sales in more detail and in more interesting fashion than I could. Just click anywhere in this paragraph.

And then, from back when Marvel first decided to turn Captain America into a Nazi:

I had a friend who claimed to be Jewish. He wasn’t, and isn’t, and never will be. For him, it was a fashionable alienation, a thing that he could use to make himself an outlier without actually putting himself at risk. I tolerated this because there’s a certain amount of smiling and thinking this too shall pass when you’re Jewish.

Sometimes, it surprises people to learn that anti-Semitism is alive and well. It flies under the radar. We don’t like to think about it, as a society: there’s a very real sense of “we’re sorry we used you as our scapegoat and murdered tens of thousands of your people per year for two thousand years, and then let a madman wipe out one-third of your population, but that’s in the past. Why aren’t you smiling? You’re rich, right? You control all the money and banks and movies…”

Back in the Medieval Ages, Europe took that whole Christian thing pretty seriously. Jesus was against lending money and charging interest, so royalty lent their money to Jewish communities and had them charge interest, then took it all. Jews were given the worst land to live on and forced to be tax collectors, and if the nobility charged people too much and they rebelled? “Well, it’s the fault of the Jews. Blame them. Kill them. They’re only Jews.”

I disagree with the Zionists and what they’ve done to the Palestinians, but I understand their fervor. A large reason why all these atrocities happened was because there was no Jewish homeland – if you were, say, a Frenchman visiting Spain and the Spanish were mean to you, France would step up to protect you. The Jews had no homeland. No one stood for us, and for two thousand years, people took advantage of that.

Have you heard of Yiddish? Of course, you have. It’s that funny sounding language that Jews sometimes speak in sitcoms or movies. It’s a real language, a sort of ‘pig-Hebrew’ that was developed in the East Roman Empire. There was another language just like it spoken by Jews living in Western Europe called Sephardic. No one speaks it anymore. Everyone that did was burned to ashes to satisfy the misplaced religious bloodlust of a death cult.

I’ve had pennies thrown at my feet. I try and talk about it and people say that doesn’t happen or you don’t look Jewish, or any one of a dozen other things. I explain that most Jewish holidays boil down to they tried to kill us and failed… let’s get drunk.

Smile.

Laugh.

It’s funny.

1941 was before Pearl Harbor. The United States was still very isolationist. When Hitler put Jews on boats and told the world what he wanted to do to them the United States didn’t take them. Neither did Canada. Neither did anyone else. Jews in the United States at that point were allowed to do one of two things by the people that, for two thousand years, had done little more than murder and kill them whenever they felt like it.

In 1941, two Jews invented the character of Captain America. The concept was two-fold; on one hand, Steve Rogers was to be the Aryan Ideal turned in on itself, the Superman made someone who was inherently decent, the conscience of his world. The second was a plea; by calling the character Captain America, these two Jews were asking America to remember its dream and live up to that ideal.

The creators of Captain America had family that the Nazis murdered. They went and fought in that war to save the Jews that the world left to die.

Jokingly, I’ve written a column called God of Comics. I know how comics work, and in regards to this, there will be a separate article about how this storyline is a symptom of a larger problem that is choking that industry. So, yes: the Captain America that is now a Nazi will be explained away as being a Skrull, or a clone, or from a different timeline, or any one of a hundred different outs. It will be retconned; the company that has allowed this to happen will hope that it will be forgotten.

It won’t be.

It took Marvel ten years to salvage something of Iron Man from Civil War. Without the movies, I do not think they would have had any idea of where to start. Now, we’re hollowing out an icon that was meant to stand against a thing by making him a part of that thing.

Yes, this too shall pass. It’s comics, another form of fiction, and people that don’t understand the power of fiction will dismiss it as such. It will be fixed, you think, when it gets retconned out of existence for being the idiot idea that it is.

And it is an idiot idea. It’s click-bait built on the deaths of eleven million people, over half of which were just the latest atrocity committed against the Jewish people.

And that’s just the ones that were systematically murdered. Over sixty million people died in that war.

I don’t know how to end this. I try not to quote other people, mostly, as I think that as a writer I should be able to speak for myself. Yet, in this instance, I’m bowing out to Sigrid Ellis, the Jew that does the panels for a comic called Pretty Deadly:

And knowing that this wound is temporary, that it’s for the sake of sales and money and a story beat, that just makes it hurt more, not less. How little we must matter, the people who needed Steve to be the defender of the underdog and the weak, how little we must matter if betraying us for a story beat is so easy.

How little must we matter. The people who created Captain America, and Superman, and countless other heroes like them. The people who need him. The people whose history and suffering and hope, as we stood on the brink of annihilation, gave you your weekly entertainment and your fun thought experiment, 75 years later.

“I hope it was worth it, Marvel.”

Smile, everyone. This too shall pass

Enjoy the comic. It’s written on the ashes of six million dead Jews.

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260

God of Comics: Faith #11 (Valiant Entertainment)

God Of Comics, Reviews

May 2, 2017

I love Faith. It’s hard not to. The character is designed to be loved; she’s the best part of any serious fandom, hope and dignity and compassion given flesh and superpowers. She was literally a fanfic writer and geek girl who got the power to fly and carry others and has stood toe-to-toe with some of the biggest scariest players in the Valiant-verse.

That list includes people like the Eternal Warrior, Peter Stanchek, Toyo Harada, X-O Manowar, Obidiah Archer… hell, she dated that last one. She was even recruited by Unity, the Valiant-equivalent of the Avengers, but left because those people couldn’t live up to her standards – and they felt bad for letting her down.

She’s awesome, is what I’m saying.

But there’s this weird thing where people view any sort of kindness or compassion as a personal attack. I think it comes from Ayn Rand’s Objectivism and the weird Mammon-cult that’s taken hold in the heart of America, but I know those are more recent faces of a much larger problem. It’s crab-bucket mentality taken to its logical extreme: how dare you be kind? How dare you be compassionate? A response born of knowing that an action is bad and doing it anyway.

Those are the sorts of enemies that Faith has managed to attract, and they are as ridiculous and selfish and horrifying as you’d expect. They’re terrible not for their power but for their reality. We know these villains. We meet them every day. And, yes, Faith has managed to beat them one at a time because they are awful and evil and self-destructive, but their hatred of her is greater than their hatred of one another – though perhaps not as great as their hatred of themselves.

See, their selfishness sees the pain they cause as part of a game. The people that they hurt and kill aren’t real, not for them. They’re tearing someone down because they think it’s fun and because they’re nihilists (even if they couldn’t spell it or understand what it means). They want to wear her down and destroy her identity and think that will make her like them and that will somehow make them okay people.

It won’t. It never does.

Cruelty solves nothing.

Jody Houser continues to write one of the best and most thoughtful superhero books on the shelves. Joe Eisma and Marguerite Sauvage illustrate everything beautifully, giving Faith presence and making the ugliness of her villains all the more apparent for their physical attractiveness. This comic is always a good conversation starter, and I urge you to pick it up and find out why.

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270

God of Comics: Bane – Conquest #1 (DC Comics)

God Of Comics, Reviews

May 2, 2017

Bane is a weird character.

No, wait, scratch that. Bane isn’t a weird character, but the treatment of him is. Bane is an important character that can and should be a major player in the DC Comics world and maybe not for the reasons you think.

See, the thing with Bane is that people think that the Venom is what makes him interesting. This is a failure to understand who Bane is; this is a man born into a prison sentence for crimes he never committed, who watched his mother being eaten by sharks and was victimized by a cruel warden of a third world country. He taught himself several languages and a series of arts and histories while imprisoned, honing his mind and his body in circumstances that should have killed him.

If this sounds like the beginning of a hero’s story, it’s because it could be. He freed the other inmates in his prison, was captured and subjected to medical experiments by his country’s military, destroyed them all and escaped. He’d grown up hearing stories of Batman and attacked him not out of obsession but out of a sense of rivalry: Batman was the bar against which he measured himself. He broke the Bat, was beaten by Azrael, kicked his Venom habit over a couple of months – a task that took Bruce most of a year.

Yes, the Venom makes his already incredible athleticism superhuman, but it’s his mind that makes him dangerous. He’s a detective of a skill that nearly matches that of Bruce himself, a scholar and strategist of enough talent that he was able to take down the Batman, a man who can kick his addiction to one of the most addictive substances in the DCU seemingly at will. He’s informed by the trauma of who he is and has no secret identity: Bane is his actual name, the only one he knows.

He’s fascinating. He’s incredible. Most writers use him as simple muscle and miss the subtlety and subtext of the character; he’s just as complex as the Batman that he’s come so close to destroying. Bruce’s reaction to Bane tends to be panic because he knows Bane is the one person who can maybe out-think him.

This series sees the people that originally created him – Chuck Dixon, Doug Moench, and Graham Nolan – back to take him beyond Gotham. Bane has put his original band back together, a trio of criminals known as Bird, Trogg, and Zombie, and the four of them are setting out to build a worldwide criminal empire. This might be the scariest thing that could happen to the criminal underworld in the DCU, a man who gives Batman nightmares coming to rule them all.

And he should. He’s intelligent, ambitious, and ruthless in a way that no one else in the DCU can really match. This is a twelve issue maxi-series, too, meaning that our creative team has a beginning, middle, and end in mind, and if that end doesn’t lead to every hero in the DCU suddenly having to deal with a much more dangerous criminal element I’m going to be very surprised.

See, here’s the thing: the only character I can see that’s gone on this journey before was TAO over in Sleeper (and if you haven’t read Sleeper go to your comic shop and buy Sleeper). Bane is just as dangerous and driven as TAO was, and Bane could make his organization work in a world where DC Superheroes operate (unlike TAO, who could operate in the Wildstorm universe but never the DCU).

This is going to be awesome and you really should get in on the fun now.

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