Best Shots: GLC, Lockjaw, Young Avengers & More
Best Shots: GLC, Lockjaw & More
And the rest? Let’s go.
Action Comics #877
Written by Greg Rucka
Art by Sidney Teles & Sandro Ribeiro
Published by DC Comics
Review by THE Rev. O.J. Flow
I think you can count Action Comics as one of the Superman books succeeding without it's lead character in the mix -- a "World Without Superman," if you will. Greg Rucka and company are making the multi-part "The Sleepers" a compelling read, and the team of Nightwing and Flamebird are sufficiently interesting characters on their own merits who I'm all too happy to follow for the foreseeable future. How interesting, you ask? Well, one of the two characters is pretty much out of commission the whole time, yet this issue suffers in no way.
What also helps is found in the art, where Eddy Barrows has apparently moved on after having only logged in a couple issues, but the transition is quite seamless. Shoot, had the credits been left off the book, I would've assumed that it was still Barrows handling the pencils, but in fact it's the team of Sidney Teles and Sandro Ribeiro. Kid you not, I totally thought it was Barrows. Granted the art turned in here is perfectly serviceable, but three issues into this new direction for Action Comics and things are already in flux. A book this high profile really deserves some consistency.
The main story revolves around Nightwing and Flamebird and their recovery from a brutal encounter with Ursa at the Fortress of Solitude. Thara Ak-Var, Flamebird, took the brunt of the assault, and her partner Christopher Kent, Nightwing, gets her the treatment she needs thanks to reconnecting with Lois Lane, his foster mother when he first arrived on Earth (see "Last Son") their reunion is the money scene early on as she's all too happy to welcome him back home. I don't know that I've ever caught Rucka capturing something so warm and heartfelt as Chris Kent is taken back in by the woman he's most inclined to call "Mom." It's a genuinely touching scene, especially when you figure that she's had a hole in her heart since her husband relocated to New Krypton.
Thanks to guest star Dr. Light's aid, Thara is on the road to a quick recovery, and they'll need her at full strength since there are a lot of people conspiring to make sure that Earth is Kryptonian-free. General Lane, of course, has evil intentions for Nightwing and Flamebird and he's got mysterious and covert metahuman assistance. And the duo's mission to capture the Kryptonian sleeper agents running rampant across the world. Complicating this agenda is Ursa's continued interference. Her allegiance to the sleepers is anything but a given. Action Comics is currently living up to its title in spades, and while it's inevitable that the longtime star will take the reins sometime down the road, things are going well enough that I'm hardly clamoring for a hasty return. Take your time, Superman.
Creator: Bob Fingerman
Publisher: IDW Publishing
Review by David Pepose
In a world dominated by capes and tights, Bob Fingerman's From the Ashes gives a refreshing new direction for comic book genres, with a wry sense of humor and an original idea -- the "speculative memoir." While the book is marketed with a sci-fi bent, it's the humanity of the protagonists that makes this book "apocalypse wow."
With his first issue, Fingerman wisely avoids all the boring exposition, instead placing his characters -- himself and his wife Michele -- smack dab in the middle of their new status quo: in this case, the end of the world as we know it. This set-up could have followed the tired clichés of post-apocalyptia, but Fingerman's sense of humor shines from the very beginning: "I don't wanna sound like a dick, but I'm getting a real sense of vindication here," Fingerman tells Michele. "I mean how many years have I been saying the religious zanies would do this?"
Fingerman's neuroticism is very reminiscent to Art Spiegelman -- only in this case, his subject matter is taken with a bit of a lighter look. When one of Michele's first reactions is to pull out her Blackberry, Bob tweaks out about it a little bit -- but again, it's normalcy in the midst of abnormality, and it makes this series imminently readable. Of course, Fingerman doesn't completely avoid the kind of emotional fallout a nuclear apocalypse would lead: "If we think about all our dead friends and family we'll curl up in fetal positions never to rise again," Bob realizes -- and later on, he remarks in an aside, that's exactly what they did. It's these sorts of strategically placed captions that merge the strengths of comics with those of standard novels -- these words let you really conjure up the most emotional of scenes in your own personal way.
Now, there are a few things that stick out a bit in this particular issue. While the flashbacks drench the protagonists in characterization, they feel a bit on the longish side, due mainly because they lack the humor that tempered the first part of the book. Additionally, the inclusion of more traditional post-apocalyptic tropes toward the end of the issue -- as well as the promise of more political bits like right-wing commentator "Rile O'Biley" -- worries me a bit, only because I fear it will detract from the central premise: a wry, human love letter in the face of disaster. But this is a smart book with a distinctly indie feel, and I think it's a great book for people looking to branch outside of the Big Two. With From the Ashes, it's the end of the world as we know it -- and after you finish this first issue, you might be surprised to say... "And I feel fine."
Writer: Peter J. Tomasi
Artist: Patrick Gleason
Letterer: Peter J. Tomasi
Colorist: Randy Mayor
Review By: Jeff Marsick
As a long-time reader of Green Lantern with a collection that reaches back to the early 1960s, I’m of the opinion that this “Blackest Night” storyline is shaping up to be one of the most ridiculous and asinine plots Hal and the Corps have ever had the misfortune to suffer under. Now, don’t flame me. I fully realize that I’m probably only one of two people on the planet who thinks that this, what should be re-titled “The Rainbow Coalition of Ring Wearers”, is any adjective but ridiculous (Mike Sullivan is the other, however he’s not read a DC comic since they offed Superman in the ‘90s, so in essence, I guess I’m on my own), but each chapter of this prelude devolves further into fiasco and farther from convincing me that this is a logical or necessary new era in the Green Lantern mythology.
Green Lantern Corps has been a shaky title from the start, inconsistent in quality and always struggling to prove that it deserves a monthly production schedule. This new chapter doesn’t deviate from that norm, and starts off exploring the ironic and groan-inducing revelation from last issue, namely that Green Lantern Soranik Natu is actually Sinestro’s daughter. Why there’s this propensity to mitigate villainy by exploring a deeper goodness or seeking out a redeeming quality in figures like Sinestro is beyond me, and an annoyance that extends across all of mainstream comicdom, not just this title. What’s next, discovery that Mongul really isn’t all that bad, rather that he’s just in need of an intervention by family and friends, Party of Five style? Everything about this scene is agonizing and trite, all the way down to the origin of Soranik’s Left-Eye Lopes-ish tattoo. It’s nine pages that should never have seen the light of day.
It’s not that I think Peter Tomasi is a poor writer, rather I just don’t think he’s a very good storyteller. Exhibit A in my defense is how he cuts out the legs of Patrick Gleason in the book’s second act. Now, Mr. Gleason is probably the lone bright spot of the series, but when the riot breaks out on Oa and the sciencells are practically bursting villains into the fray, he’s not given a chance to flex his muscles to show us how bad the bad guys can be, how good the heroes can be, or how the battle is basically rewriting the Green Lantern code of battle. Mr. Tomasi conveniently drops in an automated archivist as a Lois Lane proxy to provide voice-over narrative and force-feed to us what we should be getting out of every panel (although I question just what “Fighting above and beyond the call of duty is the norm, not the exception” is supposed to mean. Apparently, up until this point, only a couple Lanterns were acting like heroes, and the majority of the Corps of Emerald Slackers were just phoning it in. Way to basically say the Green Lantern Corps is on the same level as worthless, Mr. Tomasi.). It’s actually four pages that would have been greater as six or eight, and even more powerful and emotional if Mr. Gleason had been running the show.
The issue doesn’t finish too terribly, although the whole Ion power disruption thing is another convenient contrivance to shove a plucking on the heartstrings. Did we lose a hero in this book? Did Mongul finally get taken care of? Maybe and don’t care are acceptable answers to both.
“Emerald Eclipse” is a mess. It’s the undercard that spends its time running in place until the “Blackest Night” (or as I call it, “DC Zombies”) main event descends upon the stage and really screws things up. Sinestro is becoming an anti-hero, a Punisher for the DC set, and Mongul will forever be the Timex villain, taking a licking and keeping on ticking as a thorn in all Lantern sides. My prediction is that when the great Garanimal pairing between colors happens in “Blackest Night”, Sinestro will redeem himself in the eleventh hour and when the smoke clears, he’ll be wearing a green ring once more. What’s come so far is hokey and cliché and the best thing that could come out of this is a complete wiping out of the Green Lantern Corps and the Guardians, with a hydrogen-bomb dropped into the center of Oa. Give it a couple years, call John Byrne, and reboot the whole franchise. If you’ve not sussed it out by now, I give this issue (and this whole “Emerald Eclipse” storyline) an emphatic Skip It.
Writer: Sergio Clavijo
Artist: Aleth Romanillos
Big Fly Creative Works
Review By: Jeff Marsick
Reading this magazine-sized comic is like slipping on a comfortable sweatshirt and sipping a mug of hot chocolate on a cold winter’s day. It’s a throwback to a time when Teenage Mutant Ninja Turtles was a required pull in my file, an anthropomorphic tale of a tree frog, Wallace Wallas, in his initial steps on the journey to become a bona fide New York City superhero. The creators, Sergio Clavijo and Aleth Romanillos, are graduates of (writer and former Marvel editor) Andy Schmidt’s Comics Experience courses, and what they’ve put together here as a self-published effort is more professional looking and enjoyable than most larger companies churn out.
When we first meet Wally, he’s foiling a bank robbery by a badger-led team of thugs, then subsequently relishing in his accomplishment. Unfortunately, his martial arts mentor (a ghi-wearing doppelganger of Kellogg’s rooster, Cornelius) doesn’t share Wally’s enthusiasm, and refuses to support or encourage his pupil’s hero quest. Irritated with his teacher yet undeterred, Wally once more answers the crusader’s call when the Humbaba (of “Gilgamesh” infamy) plays Godzilla in Central Park. Gun-toting thugs are one thing, but a Sumerian myth made real just might be outside this rookie’s weight class. The predominant message is that actions incur repercussions and consequences, and is an important theme that is often dropped by the wayside in the typical “newbie becomes a hero” tale. Seeing how Wally balances his own convictions and desires against the guidance of his sensei will be an interesting journey to tag along on.
This is a beautiful book, with bold colors and vibrant action that leaps off the page and isn’t obscured with distracting detritus littering the background. It’s simple and straightforward artwork, with great pacing and panel design. Mr. Clavijo’s restraint is refreshing, allowing the artist to show us the story and avoiding unnecessary voice over narrative or verbose monologuing to forcibly tell it to us (it is also a testament to an artist’s talent that the opening ten action-filled pages of a first issue can be carried off with a paucity of dialogue).
I am always on the hunt for books I can share with children, and this is an exceptional choice for the young comic reader as well as adults. You won’t find this at many comic book stores (if at all), so I highly recommend you order copies from their website, www.BigFlyCW.com.
From: Marvel Comics
Writer: Paul Cornell
Artist: Mark Brooks
Reviewed by: Richard Renteria
What Dark Reign: Young Avengers lacks in premise, young heroes banding to stand together against evil, Paul Cornell makes up for with some great characterization while Mark Brooks art ties the whole thing together with his distinct pencils. While the story focuses on a team of new Young Avengers Cornell goes out of his way this issue to establish not only the moral ambiguity that currently exists within the Marvel Universe but also to fill a vacuum left by the disappearance of the original Young Avengers after the Skrull battle in Central Park.
By intermingling a handful of established characters, albeit by name more so than character, Cornell is quick to establish the moral line this group of some of these heroes are willing to cross even while they are trying to do good. As good as the character development is within the pages it would have been nice to see a little more of the underlying tensions that brought this group together, but there really are only so many pages of story you can tell in 22 pages and there is a lot of story to absorb. Cornell definitely has a grasp on character development but the plot seemed to spin in place throughout most of the issue as the team is trying to come together and really becomes a hindrance to the story as you have a lot of great scenes tied together by a plot that seems to be missing in action.
On the art Mark Brooks provides a lot of exciting visuals. From the opening scene to the final moment Brooks utilizes all of his skills to present an emotionally charged array of interpersonal moment that really helps to establish the characters and give them an identity. From the moment when Big Zero is wiping the gunk from her shoe to the final page Brooks along with colorist Christina Strain provide some perfectly rendered visuals.
While the plot may be on the weak side, I can’t help but be hopeful for the future of the story with the appearance of a potential plot on the last page. Barring an actual plot unfolding at least Mark Brooks provides some of the best visuals of his career.
Writers: Keith Giffen and Dan Jurgens
Art: Pat Oliffe and Dan Jurgens
Review by Mike Mullins
This issue provides a done-in-one story that is easy for a new reader to pick up and enjoyable for a veteran reader. Pat Oliffe provides the art for main portion of the story (with Dan Jurgens supplying the opening and closing sequences of the issue), and while there are slight differences, the art flows smoothly with the exception of Rip Hunter’s clothing/costume at the end of the main story.
The primary story takes place in 1952 and both Giffen and Oliffe provide cues about that time period. Giffen captures the feel of the early stages of the cold war and provides an exchange between Booster and a gas station attendant about Las Vegas reminding the reader of how lost Michael can be without the aid of Skeets and how much Nevada has changed in the last half century. Oliffe takes his turn immersing the reader in 1952 through the visuals he provides of women’s hair, military uniforms, cars, rockets, and 35mm cameras and their flashes.
The story is well paced in the issue and provides some memorable visuals and a few Easter eggs. The scene with Booster Gold in costume underneath a suit blasting away fits in an era where costumed superheroes are not as accepted as they are after Superman’s arrival. In a move consistent with previous issues of Booster Gold, Michael’s actions seem to be intertwined with his friends and enemies as he affects the actions taken by Rocket Red’s father. Of course, the issue’s reference Rocket Red uses the wrong name but with a series about time travel we don’t know if that was a mistake or a clue about a future story (though a correction could always show up in the trade paperback). The last Easter egg is quite entertaining and involves a rather fantastic family of four.
All in all, this issue of Booster Gold maintains the title’s consistent enjoyment factor as one of the best titles being published today.
Writer: Chris Eliopoulos
Artists: Ig Guara, Colleen Coover
Review by David Pepose
It's funny -- a lot of the reviews I've been seeing for this book have either been overwhelmingly positive, or saying that this book is a completely flawed venture. Just to give your some background, I bought the book expecting to love it, in the same crazy vein as Marvel Adventures or Tiny Titans. But after reading Lockjaw and the Pet Avengers, all I could feel was... ambivalence.
This first issue is an introduction to the animal heroes of the Marvel Universe, as the Inhuman's teleporting dog Lockjaw assembles a team to collect the wayward Infinity Gems. But in many ways, this set-up kind of short-shrifts the fun that a bunch of superpowered animals could have. Certain characters you can tell Eliopoulos loves -- like Lockjaw, Frog Thor, and Hairball -- but other characters, like Redwing and Lockheed, kind of left me cold. I think Eliopoulos is still sort of getting a feel for some of these characters, and some of them are more compelling than others -- moments like Frog Thor saying "I must stop lifting strange objects" were just perfect.
Now, as I've been alluding to throughout this review, this book is surprisingly heavy. Frog Thor and Lockheed both have tragedy in their pasts, and Redwing's standoffishness felt very different than how I could have imagined him. But the moments of fun, when they occur, do shine: Eliopoulos's collaborator, Ig Guara (not to be confused with Iguana) gives Frog Thor a hilarious sort of grandeur. The best kind of comedy is based on people thinking their behavior is normal, so "Throg" with his googly eyes and heroic posing is just great. Guara also gives Lockjaw and Hairball some nice expressiveness -- although I wish Guara would go further with that. Much of the comedic elements of this book lies on his visuals, and occasionally this book sometimes goes a bit too realistic.
It's weird -- this isn't a book I hate, but I really can't say I love it either. You'd think having a writer like Eliopoulos on a book called Pet Avengers would be a sure thing -- but this issue focuses a little too hard on exposition, instead ignoring the comedy gold that only unfiltered, unsupervised animals with superpowers can find themselves. But the enthusiasm for parts of the project do successfully balance against some of the more throw-away elements of the book -- if Eliopoulos and company can focus on the Pet Avengers themselves rather than their quest after this origin story, this dog could certainly have its day in later adventures.
Written by Fred Van Lente
Art by Peter Vale & Michael Ryan (More Michael Ryan please! Love him!)
Plus a rarely seen classic back-up by Chris Claremont and Alan Davis!
Reviewed by Brian Andersen
Despite my inner nerd, and fervent wish otherwise, this All New “Savage” She-Hulk comic ain’t so bad. In fact, I rather enjoyed this issue. The battle between the original (and best) She-Hulk (a.k.a Jen Walters) and this new red-haired-She-Hulk-wannabe (Lyra) might have been slightly one-sided – the new She-Hulk kinda kicks the snooty-snoot out of Jen She-Hulk - but I suppose the star of the comic needs to come off looking like, well, the star of the book. So I’ll let this lopsided fight slide (this once).
Aside from the well written, and choreographed, original (and best) She-Hulk vs. new She-Hulk punch-out this issue really caught me off guard with its intriguing exploration of Lyra’s future. I loved how a corporation called “Origins Unlimited”, represented by a Jocasta-robo-look-a-like, provided the people of the future with their own choice of superpowers from the DNA gleamed from the archives of the Superhuman Registration Authority. Genius! For me, the best part of this future world is how, after the battle of the sexes seems to have nearly destroyed the Earth, the remaining men formed “Totem Clans.” These Totem Clan consisted of tribal-y dressed groups who dress themselves in the visage of Venom, Wolverine, the Sentry (WTF, like anyone would want to be part of this lame clan), the Green Goblin and Ares. Great, smart stuff! Also, because of the all the DNA manipulation and ensuing war in Lyra’s world the word “Hero” is an obscenity - a four letter word that no longer has the happy meaning we attach to it today. Such fun stuff! Most creative, Mr. Van Lente!
Leave it to this very talented writer to take what could have been a ridiculous new character (I still say we don’t need another Hulk character much less a second She-Hulk, but whatev) and giving her a clever, fresh, exciting take. Lyra, her future, ravaged world and her dealing in present time Marvel U strip away any of the “dorky” stigma her book might evoke from the causal comic reader. Also, there’s a super great and surprising twist to this newest Hulk family member: Lyra gets weaker, yeah weaker, the madder she gets! Marvelous! I’m looking forward to next issue (and I can’t believe I just typed that, someone slap me).
Extra bonus, the end of the book features a story that is well worth the extra $1.00 cover price everyone is complaining about as we are treated to a rarely seen Jen Walter She-Hulk story that originally appeared in the long defunct “Solo Avengers” title from the 80’s! This tale is classic She-Hulk; funny, light, totally winning, and features art by the unequaled Alan Davis. Just look at Davis’ amazing ability to tell a story with his pencils, to convey “acting” in the characters, and to just make every panel a dream! Love it!
Written & Illustrated by Adrian Tomine
Published by Drawn & Quarterly
Reviewed by Michael C Lorah
Cartoonist Adrian Tomine is well known these days for his work on books such as Shortcomings and his Optic Nerve series from Drawn & Quarterly. If you’ve ever wondered how young cartoonists hone their craft and eventually catch the attention of publishers, this new edition of 32 Stories is going to be a real eye-opener. Way, way back in 1991, Tomine was still in high school, and the first incarnation of Optic Nerve was a 12-page (including covers) folded and stapled pamphlet that Tomine printed himself at the local Kinkos. After six more mini-comics, Tomine received a call from D&Q’s publisher Chris Oliveros to bring his series under the D&Q publishing umbrella, and he’s been there ever since.
All of those early mini-comics had been available in a collected book titled 32 Stories, but when that book went out of print, Tomine suggested a revision for the new edition. Rather than going back to press on a new printing of the book, Tomine suggested that D&Q create a small brown box, inside of which are replica editions of each of the original seven mini-comics.
It’s a pretty great package. First, D&Q did a fine job crafting a sturdy box with a distinct cover image. There’s a new comic with introductory and explanatory material from Tomine and Oliveros, and there are seven individual mini-comics, printed on quality paper, but still featuring the same tentative cartoons and even the same early fan letters. Tomine, as he explains in the introductory comic, felt that these earliest of his comics shouldn’t be hidden, but they are more of an artifact from his past than a selection of fully realized comics. And he’s right.
The package suits the material perfectly – serving as a glimpse into the development of one of today’s more engaging and talented cartoonists. Several short stories in these comics are actually good. Some are trying too hard, pushing to be relevant or edgy at the expense of Tomine’s already clear gift for observation. And some of the shorts are simply under-developed, offering slight glimpses of the talent growing out of these early seeds.
The comics aren’t great. They’re not awful, though. The Optic Nerve mini-comics are a mish-mash of good ideas, inconsistent execution, sharp observations, and desperate-to-be-important over-reaching, but there’s a real voice coming through, and each successive mini-comic shows more of Tomine’s maturing. He’s a very good cartoonist today, and readers who want to see how he got there would be advised to check out this beautiful package of artifacts from his development.
Dark Reign: Hawkeye #2 (Marvel; review by David): This issue is one of those prime examples of someone writing themselves into a corner, with really no good way out. Diggle's script starts off with raw intensity, as Bullseye (or "Dark Hawkeye") has been caught by a TV camera crew in the middle of a killing spree. While Bullseye's headshots and sadistic brutality are met with enthusiasm, the rest of the issue suffers a bit, with awkward set-up for Issue 3, as well as Norman Osborn ultimately bailing Bullseye out of his own situation. It's a shame, because Tom Raney's art is pretty slick when it comes to Bullseye's action scenes -- but because we're not really treated to enough of Bullseye's electric personality in this issue, this book really robs us of the potential of the first issue.
Secret Six (DC Comics; Reviewed by Brian Andersen): Holy blood and gore, Batman! Wow, writer Gail Simone and the always incredible pencils by Nicola Scott deliver an issue ripped with fisticuffs, severed-heads, ripped arms, and all manner of bodily injury. Yet despite all the R-Rated action Simone delivers on a thoroughly engaging comic, giving Bane, Catman and Ragdoll some of the best characterization I’ve read in a comic in a long, long time. It would so easy to rely on all the carnage to carry the story, but Simone is able to use it as framework as she explores the minds of these “villains”, their motivations, and their respect for their fallen adversary: the Batman. Bravo! Not only is there a surprise cameo by a tough-as-nails Nightwing, but there are far more laugh-out-loud one-liners and naughty, off-the-cuff humor to sweeten an already excellent issue. I can’t recommend this comic enough! An excellent read!
The Best Shots TV Review
Best Shots TV Review
Batman: The Brave and the Bold
"Menace of the Conqueror Caveman"
Written by Matt Wayne
Directed by Brandon Vietti
Review by Lan Pitts
I'm aware we already have a review for this episode, but it was written before the episode aired. So now that it's been shown, you as a reader can see where I'm coming from with my review. First off, I don't get where the spite for this show comes from. People automatically compare it to the original Batman: The Animated Series (or B:TAS) and that's not right. Just like when "The Batman" came out, it was the same deal (I for one, actually liked that show's style and design). I don't think it's fair that a show that is blatantly not trying to be B:TAS be sometimes labeled as "lame" and other random 3rd Grade insults. Kids love it and the ratings were so good that Cartoon Network asked for another 13 episodes on top of the original 13 they had already ordered. So obviously, I can't be the only one out there who likes this cartoon.
This week's adventure starts with Ted Grant, aka Wildcat, and Batman chasing a hooded figure in a long jacket. Wildcat quickly dismisses the puny figure as a weakling. . . until the venom starts pumping and it turns out to be the one and only Bane. Now, there's a problem! First, the heroes seem to be overpowered by the South American behemoth, but Wildcat severs the Venom Tube to Bane's head, leaking all over the train track he happens to be standing on, which in turn electrocutes Bane. With a quip from Wildcat and a grin, the opening scene ends and opening credits roll.
I like these opening scenes for a few reasons. One being that they don't always have to do with the whole episode and it's a cool way to just add an extra DC character for the sake of educating viewers on the Batman universe. It may not always make sense either, such as that episode a while back with Jonah Hex in the intro. It's a cool way to introduce random characters so kids can be familiarized with them. The more you know, right? It's also an easy way to sell more toys, which I can't complain about. And sometimes it does expand on the story. The Plastic Man episode is a great example of this.
Anyway-- the Wildcat/Batman story ends there and the episode's main story begins with Booster Gold doing, what else, but trying to market himself. Action figures, sit-com, video games. . . typical Booster stuff. I love that Tom Everett Scott and Billy West reprise their roles from JLU as Booster and Skeets. Anyways, well the marketing team he's proposing to isn't buying what he's selling and tells him he should team up with somebody to get recognition. Somebody like Batman. Booster goes looking for Batman, who happens to be in the middle of stopping a robbery and he explains they should be partners "the brave and the Gold". Similar to the marketing reps, Batman rejects Booster.
Too bad Booster knows where the Batcave is (it's a tourist attraction in the future), and asks Batman again about teaming up. He is still hesitant, and doubts Booster's sincerity. Batman explains is hunting down a caveman villain named Kru'll the Eternal (voiced by Star Trek: TNG's Michael Dorn aka Worf), however when the skirmish actually goes down, Booster's ego gets in the way and both him and Batman are taken down. Next, we see Booster and Skeets in a particle accelerator, and Batman tied up. Batman cuts himself lose during one of Kru'll's monolouges and tries to fight him again. Booster escapes the accelerator, but has his powers used against him and Kru'll wins again. Kru'll now has Skeets wired up to the mysterious meteor that gave Kru'll his immortality (by the way, Kru'll is an obvious amalgam of Vandal Savage and King Kull.) and that is connected to some sort of ray blaster. Skeet's energy is transfered to the meteor, which is therefore blasted out of the ray blaster and Kru'll's "Eternity Warriors" become super-enhanced.
There's another fight scene in the museum and Booster fights the Eternity Warriors, while Batman goes after Kru'll himself. It's good to note that I loved this scene. It's old-fashioned Batman sword-fighting a guy who is dressed like Caesar, a Roman soldier, a knight, etc. This episode actually had the most fight scenes I remember seeing in the whole series. Batman uses a T-Rex skull to jail Kru'll while Skeets fries out his circuits and overloads Kru'll's minions. Booster frees Skeets, who says it knew Booster could do it all along. As the police take Kru値l away, Batman tries to point out that Booster has learned a lesson about the nature of heroism. However, Booster is too busy setting up a deal with his agent. Classic Booster stuff here. Kru値l tells Booster that they値l meet again and Kru値l will prove victorious.
Sure enough...jump to the 25the Century and Booster bumps into Kru'll, spilling his coffee. Kru'll recognizes Booster (who is working a security guard) and chases after him. This episode was very fun for me because I'm a huge fan of the Booster Gold character and was so thrilled to know that Scott and West were returning in. This episode was sort of tricky, in the fact that I'm not sure who they were writing it for. At one time, Wildcat calls Bane is no bigger "than one of his liverspots". I don't think 8-10 year olds exactly know what those are. I also wonder why they couldn't just use Vandal Savage, he's been animated before. Though this isn't the first time the show has had to create a villain. The character Fun Haus is a perfect example. Not quite Joker, not quite Toyman.
I'm sorry those of you who have passed on this series because it's too campy or kiddy. God forbid Batman has some fun now and then.