And there's a kind of cool patois to the dialogue that you might expect from an 80-year-old man who worked in a juvenile-oriented industry most of his life. The stakes are relatively low-it's really just a kind of intimate family drama-but the emotion is cranked up to 11. Neal Adams is pushing 80, but this feels like the work of a young man. And in the cliffhanger ending, Deadman is given the chance to not be dead any more-at the cost of the powers he needs to save his older brother and everyone else. So he wants to take vengeance on the LoA, but it turns out that his father did (or didn't!) get into a bind by signing Deadman's older brother over to them back when his mother was dying and the League cured her. The plot is breakneck: Deadman is trying to exact vengeance on the guy who killed him, but that guy is (or maybe isn't!) dead, and was just a pawn of the League of Assassins anyway. But what I found was, by the end of the book, I just didn't care about the things being objected to. You can read the other reviews for critical commentary I wouldn't disagree with a lot of what is said in those. This series makes Batman Odyessy look like Batman: Going Sane. But every character in this book: Deadman, Spectre, Etrigan and most especially Batman, Rhas Al Ghul and Zatanna have grown as characters since 1972. Much of the time, a lot of comic book writers coming back to characters they are known for writing try to pretend that nothing has happened with these characters since they last wrote them. (The League of Assassins, Rhas Al Ghul, Ramna Kushna, Nanda Parbat, etc.) But when your creator comes back with a story that fans would have called foul on almost 50 years ago that looks even more nonsensical half a century later, well, the editor should have the balls to not only protect the brand but the creator's reputation.ģ. It is even more intimidating when that writer/artist is the co-creator of so many of the characters involved and concepts involved. That's a problem with creators who are big and DC spent a $#*! ton of money to lure back into the fold in the first place.
As much as he needs a writer, he needs an editor willing to say no. He was almost always teamed with some very skilled writers. Look at all of Adams DC successes of the late 60s and early 70s. Time has shown us that that while many comic book artists can plot- and Adams can- few can write. I wish the same could be said for the story. This being Neal Adams the book looks great. Neal Adams original run in particular.īut sometimes, you can't go home again.
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