I have consistently loved Simon Spurrier’s run on The Dreaming. Of all the Sandman Universe titles, it’s the one that feels the most similar in tone to Neil Gaiman’s original Sandman run. Much like Gaiman, Spurrier has been using his run on the title to muse on the very nature of storytelling. His run has been as much about the art of storytelling as it has been about the Dreaming, and its inhabitants. It’s routinely been one of my favorite titles to return to and when I heard that this volume would be the final one in his run, I was a mixture of sad and excited. It would be sad to see him go, but I was excited to see how he’d wrap up this story he’s been telling since the very first issue. And here we are, at the end. And how is that ending? Well, it’s everything I could’ve hoped for. Spurrier has taken all the threads he’d left dangling and woven them into a wholly satisfying conclusion, ending this story while leaving the door wide open for future creative teams to tell new stories. It’s simply superb. (Mild spoilers follow.)
The Dreaming, Vol. 3: One Magic Moment (written by Simon Spurrier, illustrated by Bilquis Evely (issues 15, 17, 19-20), Marguerite Sauvage (Issues 16, 18) Dani Strips (Issue 13), and Matias Bergara (Issue 14)) As the second year of the Sandman Universe begins, the sentient algorithm known as Wan is now the acknowledged lord of Dream’s realm, and unquestioned ruler of all his subjects. It’s a huge problem that Wan is completely insane, and more than capable of wiping out all life in the Dreaming. What can Abel, the only one who knows Wan’s secret, do about it? And what must he do to poor Matthew the Raven to put his plan into action? Collects The Dreaming #13-20.
I really wish Doomsday Clock was better than it is. I love Alan Moore and Dave Gibbons’ Watchmen and I really enjoy the DC Universe; I even thought much of the lead up to this series was very good – or, at least, intriguing. But then the actual series came out and it was plagued by so many delays in its publication that it genuinely became difficult to follow the story as it went on. Unfortunately, rereading the whole series upon its completion didn’t really make it much easier to follow. But, I suppose, that’s in line with the original Watchmen graphic novel. (This review covers all twelve issues of Doomsday Clock and may contain mild spoilers.)
Doomsday Clock (written by Geoff Johns, illustrated by Gary Frank)
Seven years after the events of Watchmen, Adrian Veidt has been exposed as the murderer of millions. Now a fugitive, he has come up with a new plan to redeem himself in the eyes of the world. The first step? Finding Dr. Manhattan. Alongside a new Rorschach and the never-before-seen Mime and Marionette, he follows Manhattan’s trail to the DC Universe, which is on the brink of collapse as international tensions push the “doomsday clock” ever closer to midnight. Is this all Dr. Manhattan’s doing?
Spinning out of Watchmen, DC Universe: Rebirth, and Batman/The Flash: The Button, Doomsday Clock rewrites the past, present, and future of the DC Universe.
Man, I desperately wanted to like this. I will go to my grave defending Batman v Superman (particularly the Ultimate Edition, where the story actually made sense), but Justice League is, unfortunately, a bit of a mess. A fairly enjoyable – at times – mess, but a mess, nonetheless, and I’m not sure whose fault it is. Directed by Zack Snyder (with substantial reshoots and editing supervised by Joss Whedon) and written by Chris Terrio and Joss Whedon, Justice League is the DCEU’s equivalent of 2012’s The Avengers (also directed by Whedon). It brings the mightiest DC superheroes – Batman (Ben Affleck), Wonder Woman (Gal Gadot), The Flash (Ezra Miller), Aquaman (Jason Momoa), Cyborg (Ray Fisher), and Superman (Henry Cavill) – together for the first time as they team up to defend the earth from an intergalactic – and multi-dimensional? – threat: Steppenwolf (Ciarán Hinds). (Mild spoilers ahead)(more…)
Over the past month, DC Comics has been publishing a crossover between Tom King’s Batman run and Joshua Williamson’s The Flash entitled The Button. This crossover picks up from where the DC Rebirth One-Shot left off, with Batman and the Flash discovering the Comedian’s (from Alan Moore’s Watchmen) smiley-face button stuck in the wall of the Batcave. The crossover follows Batman and the Flash as they try to track down the source of the radiation being emitted by the button while facing off against a series of personal and emotional obstacles thrown their way, seemingly on purpose.
First off, I think it’s important to note that I have not been regularly following either of these comics. I read the first issue or two of Tom King’s Batman run, and it was enjoyable enough; I just got too busy and caught up with life to regularly read them and I have never really read any of the Flash’s solo titles. That being said, this crossover seems to stand apart from whatever ongoing storylines have been going on in the individual titles. As long as you’ve read the DC Rebirth One-Shot, you should be good to go with reading this crossover. (more…)