Batman: The Dark Knight 3 (May 1986)


I guess Miller liked having interior monologues so much, he gave them to everyone. Batman, Superman, Robin, the Joker, the new police commissioner. I don’t think anyone else. But there’s a lot of interior monologue. More than the media coverage.

Superman’s is actually the most revelatory. Miller writes him as scared, which is sort of funny considering he’s Superman. The best monologue, in terms of writing, is probably Robin’s. She only has it for a few pages, during an action scene, and Miller is terse. Terse works for it.

As for the Joker and Batman? Their monologues are about the other. Miller doesn’t actually have any great observations about the two of them. Their final battle isn’t even particularly iconic. Miller juxtaposes it against news commentators talking about Batman and killing. It works, but it’s obvious.

Miller opens with Superman; Bruce never really gets his comic back. Clark’s too big.


Hunt the Dark Knight; writer and penciller, Frank Miller; inkers, Klaus Janson and Miller; colorist, Lynn Varley; letterer, John Costanza; editors, Dick Giordano and Denny O’Neil; publisher, DC Comics.


Star Trek 7 (March 2012)


Johnson does a whole lot better when he’s not adapting episodes of the original “Star Trek.” Sure, it’s the whole point of this series, but this issue–the first original one–is leagues better than the previous ones.

Okay, Joe Phillips’s art is the same tepid, heavy on the likenesses, light on actual quality art the rest of this Trek series has had, but the story makes up for it.

This issue’s a sequel to the Trek revamp movie, with rogue Vulcans and Romulans in some kind of intrigue and the Enterprise getting involved. Johnson writes a really good scene for Kirk and Spock, something I can’t remember having happened before. Clearly the adaptations are too constrictive for his writing.

The other plus is the end reveal. It’s a great soft cliffhanger end reveal, feeling exactly like one before a commercial break.

It’s nice to actually enjoy reading this series.


Vulcan’s Vengeance, Part 1; writer, Mike Johnson; artist, Joe Phillips; colorist, John Rauch; letterer, Neil Uyetake; editor, Scott Dunbier; publisher, IDW Publishing.

The Boys 25 (December 2008)

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There have been insightful parodies of Superman and Batman before–Ennis has done them in The Boys–but his take on Professor X is something unexpected. This whole “G-Men” arc is unexpected, but Ennis has an observation about Professor G I didn’t see coming. X-Men keep resurrecting because Professor X is a nut. Obviously, that observation isn’t accurate (comic publishing realities), but it does say something about the end product.

Besides that moment–and some amusing stuff at the G-Mansion where Ennis gets to make fun of the X-Men a little–there’s not much to Hughie’s plot in this issue. Sure, it’s funny, but Ennis’s subplot with Mother’s Milk investigating is much better.

The Frenchman and the Female both get some page time, but neither has anything to do. Butcher’s barely around, but his moment’s a funny one.

It’s okay. Robertson’s a little lazy. It’s fine.


We Gotta Go Now, Part Three; writer, Garth Ennis; artist, Darick Robertson; colorist, Tony Avina; letterer, Simon Bowland; publisher, Dynamite Entertainment.

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