Throwback Thursday – Justice League: The Flashpoint Paradox

On June 24, 2023 By The Unseen LibraryIn Animation, Comics/Manga, Extended Universe, Five-Star Books, Superhero, Throwback ThursdayLeave a comment

Studio: Warner Bros. Animation and DC Entertainment

Series: DC Universe Animated Original Movies – Film 18 / DC Animated Movie Universe – Film One

Director: Jay Oliva

Writer: Jim Krieg (Based on the comic by Geoff Johns and Andy Kubert)

Producer: James Tucker

Length: 81 minutes

My Rating: 5 out of 5 stars

Welcome back to my Throwback Thursday series, where I republish old reviews, review content I have enjoyed before or review older books I have only just had a chance to read. For this week’s Throwback Thursday, I dive into a pretty damn awesome DC Comics animated film that is highly relevant at the moment with the awesome Justice League: The Flashpoint Paradox.

Like many comic book fans in the world, I went out last weekend for the epic new film offering, The Flash, which ended up being pretty damn good. The film had a lot of great elements to it, including the return of Michael Keaton as Batman, the introduction of a great new Supergirl, and a fantastic examination of the Flash mythos. I was also very happy to see a fresh new take on the iconic Flashpoint comic, and it will be interesting to see how that impacts any upcoming live action DC films. While I liked what they did with the Flashpoint story, I don’t think that The Flash was the absolute best adaptation of the Flashpoint comic; instead that honour goes the focus of this article, the 2013 animated film, Justice League: The Flashpoint Paradox.

Before we talk about the film, I should give a little background about the Flashpoint comic. Flashpoint was a major 2011 comic event, written by Geoff Johns, whose work I have deeply enjoyed in comics like Rogues’ Revenge and Teen Titans, and pencilled by Andy Kubert. Flashpoint was a compelling alternate timeline story that ended up resetting the main DC Universe in a big way. While I honestly have very little love for the resulting changes it caused (I will never forgive DC for The New 52), the Flashpoint comic itself is pretty good, featuring some unique and stunning ideas within it.

Flashpoint has been adapted a few times in recent years, including in several seasons of The Flash television series, and the current The Flash film takes a lot from it. While these other adaptations are pretty good, I think that The Flashpoint Paradox did the most with it, mainly because it sticks a lot closer to the source material and provides a very gritty animated film with a brilliant cast behind it. Directed by veteran animated film director Jay Oliva (who has directed several of my favourite animated comic book films) and written by Jim Krieg, The Flashpoint Paradox is pretty damn awesome film and it is one that I have rewatched multiple times over the years.

Barry Allen is the Flash, founding member of the Justice League, the fastest man alive and the greatest hero Central City has ever known. However, despite all he has done and everyone he has saved, Barry still cannot shake the trauma of his mother’s murder, a tragedy that has haunted him since his childhood. After defeating several of his greatest foes, including his archenemy, the Reverse-Flash Eobard Thawne, Barry awakens to find himself in a new world, one where his mother is still alive and the Flash never existed. Despite the joy he feels about his mother, this new world is no paradise, instead it is on the brink of ruin. The Atlanteans, under the command of Aquaman, and the Amazons, led by Wonder Woman, are at war, and their relentless battling and disdain for humanity, has seen the destruction of much of Europe and the death of hundreds of millions of people.

Determined to find out what is happening and to stop the war between the Atlanteans and the Amazons before it destroys the world, Barry seeks out the one man who he thinks can help him, Batman. However, the Batman he encounters is far different from the one he knows and has very little desire to save the world. Worse, it soon becomes apparent that the changes to the world have been caused by Thawne, whose obsession with destroying the Flash could lead to unbelievable destruction. To save the day, Barry needs to find a way to regain his powers and unite the scattered heroes of this reality. But with all-out war in front of him, and his own trauma catching up behind, can the Flash stop Thawne before it’s too late? And even if he succeeds, is he truly ready for the revelations that await him?

The Flashpoint Paradox was a pretty epic film that I have a lot of love for, especially as it blends a compelling story with great aesthetics, slick animation and a brilliant cast to produce something pretty damn awesome and a lot of fun to check out.

The creative team behind The Flashpoint Paradox did an outstanding job bringing this film together and one of the main reasons it works is the fantastic and intense story behind it. The film itself is an exceptional adaptation of the original Flashpoint comic and much of it is a close and deliberate match to the source material. That being said, it’s not a straight adaption as they needed to make it more accessible and take the story out of the main comic universe. The film starts off with an exceptional sequence where the Flash faces off against the Rogues and the Reverse-Flash, who ambush him at the Flash Museum. This scene, which sees a series of bombs threaten Flash and Central City, manages to achieve a lot of essential story points, including introducing Flash, showcasing his bitter rivalry with the self-destructive Thawne, and presenting the established version of the various Justice League characters who will later appear in the alternate timeline. It’s also a very entertaining scene in several great ways, not only because the banter between Flash and Thawne is pretty brutal, but because it shows each member of the Justice League in action as they disarm a bomb in their own unique way. This great intro really sets up the rest of the film, especially thanks to the clever references to Barry’s mothers’ death, and while it does make it a little more obvious whose ultimately responsible for events, it was a pretty damn epic start.

The middle part of the film is where the meat of the story is developed, as Barry arrives in the alternate universe and attempts to find out what is going on. This part of the film resembles the source material the closest as they are pretty much doing a straight adaptation of the Flashpoint comic at this point. However, they manage to really show off the grim reality of this new timeline very effectively in a short amount of time, and you really get to appreciate just how murderous the Amazons and the Atlanteans are, as well as how dark a world without the Justice League can be. The creative team tell a very impactful story in this part of the film, and you must love the powerful interactions between Barry and the new Batman, as well as the emotional impacts of Barry realising just how much his universe has changed. Everything is well capped off by the infiltration into the lab holding Superman, which is honestly way darker than what they did in the recent Flash film, especially with the horrifying aesthetics around the captured Superman. At the same time, the growing sense of doom in the world is intensifying as the two superhuman armies prepare for war in London, and the tension is well and truly ratcheted up before the final phase of the film.

Everything leads up perfectly to the final act of The Flashpoint Paradox, which frankly is the best and most impactful part of this entire exceptional film. The final third of the film is essentially an all-out war sequence, as the various characters descend into a three-way battle in the ruins of London, with the Atlanteans, the Amazons, and the human resistance, which includes the protagonists, fighting to kill as many enemies as possible. This sequence is dominated by several excessively brutal fights between the heroes, and so many characters end up dead in some pretty horrible ways. Not only are these action scenes highly polished and exciting, but they are also emotionally powerful, as the various character arcs and elements come full circle. The best scenes are probably shared between Barry and Thawne, as they fight through the battle, debating what has happened to the world. There are some outstanding revelations here, especially if you aren’t familiar with the source material or the other Flashpoint adaptations, and the moment when Barry figures out what truly happened is just heartbreaking, especially with Thawne’s taunting. There is so much dramatic tension floating around, especially as Barry witnesses the full onslaught of the battle in front of him, and everything tilts on the edge of destruction. The final brutal moments of this fight are so damn epic, and it leads up to some painful farewells and some tough decisions from Barry that will shake him forever. This built-up emotion remains to the very end of the movie, especially as Flash manages to get closure for himself and others, and I really appreciated just how well the film ended.

On top of the epic plot and amazing concluding third, I also need to really highlight the impressive animation, stylistic choices, and fantastic musical score that accompanied it. The animation in particular is awesome, and I loved the brilliant and iconic character designs that it depicted, especially as there is a mixture of classic character depictions, and the alternate versions that appeared in the Flashpoint universe. The grim nature of the Flashpoint timeline serves as a powerful backdrop to the plot of The Flashpoint Paradox, and it was fantastic to see the DC universe in an even darker and more desperate light. The best animation is naturally saved for the multiple impressive fight sequences scattered throughout the film, especially in the big war sequence at the end, and the brutality and sheer ferocity of the fights and battles are quite distinctive. The animators honestly show no hesitation in showing blood, gore, death and even brains throughout this film, and it is even more brutal than The Flash film or the original comics, as there is barely a second in the final war where someone isn’t dying in some dramatic fashion. There is some outstanding attention to detail during these various battles, whether it be a brutal fight in the sky, an intense duel between Cyborg and Aquaman in the middle of a warzone, or a high-speed fight through the midst of over combatants, and these are expertly portrayed and guaranteed to keep your interest with its high concept impact. The cool time travel sequences are also a great highlight, and the clever animation around them really dial up the intensity of the film, especially during certain seminal scenes. I’m also a big fan of the way that the major characters are presented throughout this film, and I appreciated how their designs change at various points of the film depending on which timeline is being watched. The alternate costumes or depictions are well contrasted by the classic costumes shown at the start of the film, and I also love the subsequent subtle changes that appear at the end of the film to represent the further changes that have been created.

I also must talk about the fantastic use of music throughout this film, which works perfectly in concert with the animated sequences. There are some great orchestral scores and tunes that are featured throughout the film, often in the most impact scenes, and I really liked how well they were used to enhance emotion or drama in a very powerful way. Some of the very best scenes, including several particularly tense or pivotal sequences at the end come across as so much better thanks to the music that was overscoring it, and this really drew me further into the plot. Combined this great music with the excellent graphics and The Flashpoint Paradox turns out to be an exceptional watch that I cannot get away from.

While the adapted plot and amazing stylistic choices help to turn this film into something special, I cannot walk away from this review without talking about the incredible cast of actors who bring this elaborate story to life. The Flashpoint Paradox features a pretty hefty and impressive group of voice actors who each dive into their respective characters and bring forth some of the more iconic figures from the DC universe, as well as their alternate versions, in some pretty epic ways. There is a great combination of classic character depictions, as well as the more nuanced and, in many cases, evil versions from the alternate timeline, that are featured in The Flashpoint Paradox, and the creative team brilliantly balanced the two throughout the plot.

At the centre of The Flashpoint Paradox is the Barry Allen version of the Flash, who embarks upon one of the most important missions of his life. Expertly voiced by Justin Chambers (of Grey’s Anatomy fame), this version of the Flash is much more closely related to the classic comic portrayals (rather than Ezra Miller’s quirky version) and is an experienced and competent crime fighter. Despite being one of the more stable superheroes out there, Barry is still haunted by the murder of his mother and his failure to save her. Chambers really dives into this role and perfectly voices the full emotional spectrum out of Barry, showing all the deep inner pain, as well as his inherent hope, all of which really comes out throughout the film. There are so many powerful scenes featuring Barry in the film, from his initial confusion over the new timeline, the emotional meeting with his mother, the despair at how the world turned out, and his absolute shocked resignation at who is responsible. I also felt that the writers did an outstanding job of capturing the entire personality, key history and mythos of the Flash within this film, and you really understand his decisions and how he interacts with the other heroes. I particularly loved his shock and pain at seeing what his friends have become in this alternate timeline, and it is so damn compelling. Honestly, there are so many powerful moments here and I have a whole new level of respect for Chambers thanks to this film as he honestly was just magical here.

On top of the Flash, I really need to highlight two figures from the new timeline who perfectly mesh with the main character and show off just how dark events are. The most prominent of these is easily this universes Batman, who was voiced by another Grey’s Anatomy alumni, Kevin McKidd. Rather than being an older version of Bruce Wayne, this version of Batman is his father Thomas Wayne, who took on the cowl after Bruce was killed in Crime Alley and Martha became this universe’s Joker. McKidd goes full on growly here for Batman, and the result is a grizzled, violent, and very murderous Dark Knight who has given up on the world in many ways. I loved this fantastic and clever take on Batman in The Flashpoint Paradox, and it is so damn epic to watch Barry attempt to work with this very different Batman. The shared connection of knowing Bruce gives these characters a powerful emotional bond, and McKidd kills it in several emotionally charged scenes, showcasing this Batman’s hidden heart.

I also have a lot of love for the cool version of Cyborg that appears in The Flashpoint Paradox, and honestly this is probably the grimmest and most powerful portrayal you are likely to see. Voiced by a young Michael B. Jordan, this Cyborg is the only real superhero left in America and has been modded out into a massive tank figure who runs national security. Out of all the figures in the film, Cyborg has the most impressive change in characterisation between timelines, especially as he goes from teenage figure to actual adult, and this is one of the first animated films that really showed what he could offer the wider DC universe. Jordan provides a pretty good and slightly robotic voice for Cyborg here, and I loved how he was portrayed as a level-headed peacemaker, trying to save the world. While still a little naive and idealistic, he really lives up to all the hype surrounding him in his initial introductions, especially during the final bloody battle scenes. He honestly goes full out in this war, and it was so damn cool to see just how dangerous he could be.

While the more heroic (or anti-heroic for Batman) characters above were great, this film would be nothing without its villains. The most prominent of these is easily Flash’s archnemesis Eobard Thawne, better known as the Reverse Flash. Voiced by the very talented C. Thomas Howell, Thawne is a brilliant and powerful figure in The Flashpoint Paradox, mainly because he has such a tangible hatred for Barry and his legacy. While he is the main villain of the story, he only appears in a few short scenes, but Howell makes each and every one of them count. The sheer contempt and bile that drips from every sentence is so important for the performance, and you quickly understand just how much he wants to destroy him, even if that means losing his own life. Thawne’s best sequence occurs at the end of the film when he finally appears to mock Barry and reveal everything that has been done. The joy, satisfaction and mocking appreciation for Barry is just perfect, and he has such a great villain monologue here. Howell has one of the strongest performances in The Flashpoint Paradox and I deeply appreciated how he brought such a fun and compelling villain to life.

In addition to Thawne, The Flashpoint Paradox features two other outstanding and particularly unique antagonists in the form of militarised and anti-human versions of Aquaman and Wonder Woman. Both characters have been twisted by a failed romance and the hatred that followed Wonder Woman’s slaying of Aquaman’s wife, and they are now brutally engaged in war to kill each other and the rest of the world. I loved these darker and more murderous forms of these iconic characters, especially after they are shown in their more heroic guises at the start of the film, and their complex war is a destructive backdrop to the intense narrative. Like Reverse-Flash, both are consumed by hatred, and they are willing to destroy the world rather than lose. Despite that, there is still an obvious, if twisted, love between them, which makes their fight even more tragic. I loved how both characters are portrayed, although I especially like how badass they make Aquaman here, especially as this was released in the pre-Jason Momoa days when Aquaman was still a bit of a joke. Watching him destroy everyone in The Flashpoint Paradox really sets him up as a massive threat, and I deeply appreciated this fantastic change to the character. I also loved the great casting behind these characters as well. Aquaman is portrayed by legendary actor Cary Elwes, who honestly disappears into the role, providing a much more gruff and commanding voice than I have heard in his previous works. The voice of Wonder Woman is provided by veteran voice actor Vanessa Marshall (Hera Syndulla from Star Wars Rebels), who is reprising the role she previously portrayed in Justice League: Crisis on Two Earths. Both actors really get these iconic characters down perfectly, especially in their darker moments, and I loved how well they were utilised in the film, especially as they enhance the emotional power and looming threat of the narrative.

On top of the great performances above, I also must commend the use of several excellent supporting actors in smaller roles who did an outstanding job. I as particularly happy that several actors who had previously voiced certain characters in other films and shows revisited their roles here, including some big names. The most noticeable of these is the late great Kevin Conroy, who does an exceptional (as always) job of voicing the Bruce Wayne Batman at the beginning and end of the story. Conway has several amazing scenes, including a particularly emotional sequence at the end that will have you in tears. Other performers include Nathan Fillion providing a cocky voice to the Hal Jordan Green Lantern, Dana Delany once again voicing Lois Lane after voicing her the DC Animated Universe (Superman: The Animated Series, Justice League and Justice League Unlimited), and Ron Perlman revisiting his epic Teen Titans performance as Deathstroke for a short scene. Other notable actors and characters include Danny Huston doing a quick dash as General Sam Lane and Dee Bradley Baker (the voice of all the clones in Star Wars animation, as well as several hundred other credits) doing a fantastic Etrigan the Demon. However, my favourite of these side characters is Danny Jacobs’s portrayal of the Wildstorm Comics character Grifter. Grifter is a brutally effective figure in the final third of the film, and he has some outstanding interactions with other characters like Batman. This cast, and more, all add so much to the film with their brilliantly portrayed characters, and I am still blown away by the calibre of the cast that was brought together here.

I think it is pretty obvious from the lengthy rant above that I have a lot of love for Justice League: The Flashpoint Paradox, and it is one of those animated films that I have watched so many times. Thanks to its amazing cast, fantastically adapted story, intense animation and general darker vibe, The Flashpoint Paradox is a pretty spectacular animated film, and I honestly think it has the best execution of the Flashpoint comic. It also has an awesome legacy, especially as it sets up the DC Animated Movie Universe and has impacts that range all the way to the final film, Justice League Dark: Apokolips War. As such, I really must give this film a full five-star rating and it is a must-watch for all comic fans, especially those who like their animation a little more adult and emotionally charged.

Throwback Thursday – Identity Crisis by Brad Meltzer, Rags Morales and Michael Bair.

On March 31, 2022August 23, 2022 By The Unseen LibraryIn Comics/Manga, Five-Star Books, Superhero, Throwback ThursdayLeave a comment

Publisher: DC Comics (Paperback – 1 October 2005)

Series: Identity Crisis Limited Series

Writer: Brad Meltzer

Penciller: Rags Morales

Inker: Michael Bair

Letterer: Ken Lopez

Colorist: Alex Sinclair

Length: 288 pages

My Rating: 5 out 5 stars

Amazon Book Depository

Welcome back to my Throwback Thursday series, where I republish old reviews, review books I have read before or review older books I have only just had a chance to read. For this week’s Throwback Thursday I take a look at one of my absolute favourite comic book limited series, the epic 2004 DC Comics event, Identity Crisis. (Quick warning, there are spoilers ahead).

It is fair to say that the early to mid-2000s was one of my favourite periods of comic books, with some truly cool and epic ongoing and limited series being released. This was particularly true for DC Comics, who produced some of their best work during this time, many of which rank amongst my all-time favourite comic series. This easily includes the exceptional and brilliant crossover event, Identity Crisis, which to my mind is one of the best limited series ever written.

Made of seven issues, Identity Crisis combines the unique writing talent of thriller author Brad Meltzer with the artistic stylings of veteran DC Comics collaborators Rags Morales and Michael Bair. This ended up being a near perfect combination of talents and skill, and I have a lot of love for the exceptional story, which absolutely hooks me every time, and its outstanding associated artwork. I particularly impressed with the addition of Meltzer, who, despite his more literary background has written some of the absolute best and most human comics I have ever had the pleasure of reading, including Green Arrow: The Archer’s Quest and the two Justice League of America storylines, The Tornado’s Path and The Lightning Saga. However, his story in Identity Crisis is particularly powerful and thought-provoking, and it ends up being a comic that completely changes everything you knew about your favourite heroes.

For years the members of the Justice League of America have protected the world from all manner of evil and destruction, always prevailing no matter the odds. But who can protect them when someone goes after those closest to them? And what if they actually deserve the punishment being visited upon them?

On an unremarkable night, a mysterious attacker breaks into the home of long-serving Justice League associate, Ralph Dibny, the Elongated Man, and commits a terrible crime, the murder of Ralph’s beloved wife, Sue Dibny. With no evidence about who the killer is and no idea how they breached the Dibnys’ impressive security, the superhero community rallies behind their bereaved friend and seeks to find the killer by any means necessary.

As the rest of the heroes seek answers at any potential suspect within the supervillain community, the Elongated Man and a small group his closest friends hunt for a minor villain, Dr Light, whose secret connection to the League’s darkest moment may hold the answers they seek. However, when a second attack occurs on another publicly known relative of a superhero, Jean Loring, the former wife of the Atom, it soon becomes clear that someone else is targeting the heroes and their loved ones.

As Batman, Superman, Green Arrow and others attempt to get to the bottom of the case, cryptic threats to one hero’s relative reveal that whoever is targeting them knows all of the League’s secrets, including their hidden identities. As even more tragedies befall the superhero community, dark secrets from the League’s past are brought into the light and no-one will be prepared for the terrible truth behind these brutal murders. Can the League weather this latest attack, or is this the beginning of the end for the world’s greatest heroes?

Damn, no matter how many times I read this comic, the tragic and powerful events of Identity Crisis still really get to me. This exceptional comic contains one of the most impressive narratives I have ever seen in a limited series, taking the reader on a captivating and emotional dive into the world of your favourite heroes. Perfectly combing a dark, mysterious narrative with incredible character work and some truly amazing artistic inclusions, this comic gets an extremely easy five-star rating from me.

For Identity Crisis, Brad Meltzer really went to the well, producing an insanely compelling and moving story that relentless drags you in and introduces you to a completely new side of your favourite heroes. Utilising his experience as a crime thriller writer, he produces a powerful, character driven superhero narrative with detailed crime fiction elements to create an exceptional and unique story. Identity Crisis has an amazing start to it, which not only carefully introduces several key figures but also installs some dark tragedy, as the wife of a superhero is killed off. The subsequent investigation into her murder by the enraged superhero community is extremely compelling and intense, as the emotional heroes turn over every rock and stone, much to the horror of the villains. However, it is soon revealed that several members of the Justice League are harbouring a devastating secret, one that could reveal the identity of the killer. This secret becomes one of the most important parts of the first half of the series, and it leads to an epic, action-packed fight sequence against a particularly dangerous foe.

The story starts to go in a bit of a different direction at this point, with the above secret not really panning out regarding the investigation. However, other superhero relatives, both public and secret, are targeted, resulting in pandemonium around the characters. I loved the narrative’s move to a more classic investigation at this point, as the heroes start following every lead they can, while more character development and big moments are explored. This all leads up to the defining moment when another superhero loses a loved one and the identity of the killer is seemingly revealed. However, this turns out to be a bluff, as the real killer is still hidden. The reveal of who did it and why are revealed pretty suddenly towards the end, with some curious and clever motivations exposed. This leads to a tragic and heartbreaking conclusion, as more secrets are revealed, dangerous lies are uncovered, and several characters leave the story more broken and destroyed than ever before. You will be thrown through the emotional wringer as you check this comic out.

I deeply enjoyed the way that Meltzer told Identity Crisis’s excellent story, especially as it quickly and effectively engrosses the reader and ensures their undivided attention. The author utilises a mass-character narrative that follows a substantial collection of heroes and villains, many of whom have distinctive or semi-separate storylines. This works to tell an intriguing, rich narrative that not only has some clever dramatic components but also allows for some intriguing and compelling retcons and expansions to the already elaborate DC universe. It is very cool how the story developed into more of a murder mystery/thriller story as the comic progressed, and this really played to Meltzer’s strengths. The investigation is handled very well, and I liked how the superhero elements altered and enhanced it in some clever ways. The mystery itself is complex and clever, with Meltzer adding in some great twists, false leads and compelling surprises to keep the reader guessing. The twist about the actual killer is pretty good, and Meltzer did a great job layering in hints and clues throughout the rest of the story while also introducing a few good alternative suspects. While the motivations and complexities surrounding the killer’s actions are great, I did think that how the protagonists worked it out was a little abrupt, and it might have been a little better if they worked it out from some earlier clues. The use of female characters wasn’t the best either, especially as most of them are there simply to be victims in one shape or another. Having a long-established character getting both raped and murdered in a comic as a plot device is pretty unfortunate, and some stronger female figures might have helped balance this out. Still, this ended up being an awesome read and I deeply enjoyed how it turned out.

One of the things that I really enjoy about Identity Crisis is the interesting examinations that were included as part of the plot. Meltzer and the artistic team obviously had a lot of fun exploring or introducing some cool aspects of the DC Universe in this series, especially when it comes to the secret or hidden lives of superheroes and supervillains. I particularly loved the in-depth examination about how both groups are officially or unofficially organised, and there are some very intriguing views of them socialising or working together. The inclusion of a highly organised superhero death investigation squad, made up of a range of random heroes (the Ray, the Atom, Animal Man, Mister Miracle and two of the Metal Men) is particularly clever, as is the way the various heroes organise into a vengeful posse to question potential suspects. The deep dive into the importance of a superhero secret identity also becomes an important part of the story, especially as the loss of the secret brings pandemonium thanks to the killer stalking them. I also loved the counterbalance look at organised villainy, and there are some excellent scenes that see the villains gathering to socialise or talk shop. Having an organising force like the Calculator, as well as a secret space station hangout, is pretty elaborate, and the deeper look at the villains of this universe, definitely gave Identity Crisis a compelling and intricate edge.

However, easily the most groundbreaking and compelling new inclusion to the universe is the reveal about the unofficial league within the Justice League who have some dark secrets. Made up of heroes Green Arrow, Black Canary, Hawkman, Zatanna and Atom, as well as the Silver Age Green Lantern and Flash, this group of heroes apparently operated separately of the main Justice League during their classic Silver Age adventures, acting as their clean-up crew. This retcon by Meltzer provides an interesting explanation for why villains never remember the secret identities of the heroes they switch minds with or whose dreams they invade, namely they have their mind erased by Zatanna’s magic after being captured by this inner-League. While this is already a dark move by these established heroes, it gets even worse when they are forced to reveal that they intentionally destroyed Dr Light’s brain to make him less of a threat. This and other revelations, acts to make many of your favourite heroes appear much more morally grey and fallible, and it was a particularly impressive and monumental inclusion, that will have grave consequences down the line for the entire universe.

Unsurprisingly for something written by Meltzer, Identity Crisis contains some insanely complex and impressive characters who form the heart of the tale. Due to the way the story is told, Identity Crisis follows a massive cast of comic characters, including several obscure or underappreciated figures. Meltzer does a brilliant job of utilising all these established characters throughout his story, with nearly every major cast member getting a moment to shine in some way or another, and multiple figures who were underutilised or unappreciated before this comic were given brilliant and defining second chances here. While the use of multiple focus characters had the potential for a scattered narrative, Meltzer was able to direct the flow of the story around all these various protagonists and antagonists perfectly, and you still get a tight and concise story, which also takes the time to dive into each of these figures and showcase them to their greatest degree. As I mentioned before, there is a real focus on highlighting the darker side of the superhero characters throughout Identity Crisis, and you end up really seeing these fantastic figures in a whole new scary light.

Let’s start with Ralph and Sue Dibny. I must admit that the very first time I ever read Identity Crisis, many years ago, I honestly had no idea who Elongated Man and his wife were, as they were a little obscure. However, Meltzer really goes out of his way to feature them in this story (even adding in a few retcons) and you are given a great introduction to them at the start. In just a few panels, you understand who these characters are and what they mean to each other and the other superheroes, as well as some unique characteristics and relationship quirks. This excellent introduction makes you start to care about them just as Meltzer brings the hammer down and kills Sue. The subsequent grief, rage and despair from Elongated Man is just heartbreaking, and you go through the rest of the comic seeing him attempt to recover from these terrible events. This amazing use of characters at the start of the comic has a great flow-on effect to the rest of the story, and you become exceedingly invested in finding the killer as a result.

From there, a lot of the superhero focus goes to the surviving members of the Justice League who formed the league within the League I mentioned above. There is some exceptional character work around some of these team members, especially as they come to terms with the decisions they made in the past and how they are impacting them now. I loved seeing them attempt to justify their actions to the other heroes, even their darkest decisions, especially as you can understand why they did what they did, while also feeling disappointed in them. You really get a sense of determination and shame from them as the story continues, and you see all of them go through a lot in both the past in the present story. Despite multiple differences, this team are still friends and comrades, and watching them come together to brawl with some of the most dangerous characters is pretty heartwarming, even if darker elements lie just beneath the surface.

While there is a focus on these inner-Leaguers, some of them are utilised a lot more frequently than others, particularly the original Green Arrow, Oliver Queen. Green Arrow is an excellent figure in this comic and is probably the closest thing to a heroic narrator/central protagonist the story has. His unique perspective on the events acts as a good foil to many of the other characters, such as Batman and Superman, and he proves to be a calm, if potentially vengeful figure for much of the story, organising many of the League actions and forensic investigations. He also proves to be the voice of reason for the inner League, calmly justifying many of their actions and serving as a bridge between this existing group and the newer Flash and Green Lantern. Despite his belief that they are doing the right thing, you can see some real emotion and regret in his face, especially when the further revelations about Dr Light and Batman come out. I also appreciated the deeper look into his antagonistic relationship with Hawkman, which partially originated in the past events mentioned here, and it is interesting to see how the events of this comic impact future Green Arrow storylines.

Aside from Green Arrow, other members of this secret League who get an intriguing focus include the Atom, Ray Palmer, and his ex-wife, Jean Loring. Due to his status as another public hero, Atom and Jean are also targeted throughout the story, and you end up getting a rather intense and fascinating look at both. Watching their failed relationship rekindle is a nicer part of most of the comic, although eventual reveals and tragedies naturally ruin it and smash everything around. Still, their complicated emotions and issues surrounding their fractured relationship make for some of the best parts of the comic. I liked the interesting look at Zatanna throughout the comic, especially as she is largely responsible for some of the worst moments of this group of heroes, as she clearly feels guilty about her magic messing with the villain’s minds. I also need to highlight the younger Flash, Wally West, who finds out about the actions of the other characters during the current events of the comic. It is absolutely heartbreaking to see Wally learn that his mentor and predecessor, Barry Allen, was not as perfect as he imagined, and actually participated in some of the team’s worst events. The distress he exhibits with every subsequent reveal is showcased through the comic’s art extremely well, and his subsequent guilt as he is forced to keep it secret from other Leaguers like Batman is quite noticeable.

As you can expect from any major DC Comics crossover event, members of DC’s Big Three are strongly featured throughout Identity Crisis. While Wonder Woman only has a few intriguing scenes, in which you get to see both her ferocity and her kindness, there is much more of a focus on Superman and Batman. Superman gets some great sequences throughout Identity Crisis, especially as the creative team sinisterly focus on his family and friends, all of whom are potential targets. Watching Superman slowly get frustrated with the investigation, especially when Lois is threatened, helps to enhance the seriousness of the story, and he has some powerful moments here. I did appreciate the way in which Meltzer attempted to paint the big blue Boy Scout in a darker light, as it is revealed that even the supposedly righteous Superman is not as innocent as you’d believe. It is subtly implied that Superman always knew what the inner League was up to (yay for super hearing), and chose to ignore it for convenience. This brilliant and dark suggestion that even Superman isn’t infallible is a pretty weighty one that helps to enhance the weight and power of Identity Crisis’s narrative.

Batman is a lot more involved in the story and leads his own investigation into who is behind the killing. Even though he does not actually appear until halfway through the comic, he is a heavy presence throughout Identity Crisis, both because of his brusque, loner ways of trying to solve the crime, but because of the dark shadows of the past. There are multiple moments that revisit his childhood and the death of his parents, which parallels some of the other losses in Identity Crisis, and you get to see the human side of grief impacting this usually stoic character. Batman’s storyline gets even more intense when it is revealed that part of his memory was erased by his fellow Leaguers to cover up their actions surrounding Dr Light, which is a very haunting inclusion. Meltzer makes this even more intriguing by having Green Arrow suggest, mostly out of guilt, that Batman likely has done something similar in the past, while also acknowledging that he has likely already deduced that his memories were erased. This really makes you consider Batman’s relationship with the rest of his heroes, and it certainly has a big impact on future Batman storylines.

The Batman impact on this story is also felt through the great focus on the current Robin, Tim Drake, who plays a surprisingly big role in the events of Identity Crisis. At the start of the comic, Tim is one of the few members of the Bat-family who still has a father, which puts him at odds with Batman and the Robin predecessors. As his father has only just discovered his dual identity as Robin, he becomes one of the more interesting protagonists, as the comic explores the stress of the superhero lifestyle on family. Tim’s storyline ends up being extremely tragic when his father is murdered. Watching Robin talk to his father over the phone as he’s about to die is just damn horrific, and your heart can’t help but break during that epically drawn-out scene where he and Batman arrive too late. The subsequent parallel between him, Bruce Wayne and previous Robin Dick Grayson during this moment is particularly poignant, and it results in a whole new chapter of this amazing incarnation of Robin.

While there are a few other interestingly featured heroes in Identity Crisis, I’m going to start talking about the villains, as many of them have a brilliant role in this comic. Thanks to Meltzer’s fantastic writing, Identity Crisis proves to be just as much about the villains as the heroes, as many of them are deeply impacted by the events disclosed here. While I won’t reveal the identity of the killer here (I’m keeping some spoilers locked up), I will say that their motivations are pretty fascinating and provide a compelling insight into the super lifestyle. The rest of the villains in Identity Crisis are fair game for discussion, though, and I deeply loved the creative team’s excellent examination of them.

Easily the villain I need to talk about the most is Dr Light, an old school Justice League villain who had not been really utilised in recent years. Mostly known before this comic as the Teen Titans’ punching bag, Meltzer completely revitalised the character in Identity Crisis and, with a stroke, turned him onto one of the most deranged and dangerous figures in the entire universe. It is revealed throughout the comic that Dr Light used to be an extremely powerful villain, but after invading an empty Watch Tower and raping Sue Dibny, the League brutally took him down, erased his memory of the event and then magically lobotomised him. This resulted in him becoming the moronic and weakened villain who was routinely taken down by the teenage heroes and other embarrassing foes. This entire reveal is pretty damn epic and horrifying at the same time. Not only does Dr Light seem excessively evil and deranged in the flashback scenes, but the shocking revelations of his actions immediately make you hate him. Meltzer’s explanation for why he turned into such as pathetic creature (aside from the real reason of capricious authors) really hits home hard, and even though Dr Light is a terrible person, you can’t believe that members of the Justice League went so far. The subsequent scenes where Dr Light regains his memories and his powers feature some of the best artwork in the comic, and while he doesn’t do much here, the scenes with him brooding and plotting hit at his returned and future malevolence. I deeply appreciated how much Meltzer was able to morph this villain, and while the reliance on rape for antagonist purposes is a bit low, he succeeded in making him a very hateful and despicable figure.

Aside from the killer and Dr Light, several other villains hold interesting and significant roles in Identity Crisis, and I deeply enjoyed how they were portrayed. This includes Green Arrow villain Meryln, who serves as an interesting shadow to Oliver Queen throughout the comic (more so than usual). While Green Arrow provides the superhero community’s viewpoint on events, Merlyn’s narration examines the supervillain community and their various reactions. I loved his fun insights into his fellow villains, and he ends up being an interesting inclusion to the cast. The same can be said for the Calculator, a formerly silly figure who has turned himself into a non-costumed villain who acts as an anti-Oracle, providing the villain community with tech support and intelligence by charging them $1,000 per question. I loved this interesting revamp of this minor character, especially as this suave, behind-the-scenes information broker became his default look for years. Calculator’s conversations and business dealings offer some compelling insights into the superhero community, and I loved the occasional jokes about his old costume. Meltzer also makes exceptional use of one of my favourite villains, Deathstroke, who once again shows why he is the DC universe’s ultimate badass. Hired by Dr Light to protect himself from the League, Deathstroke takes on an entire team of heroes single handily and essentially spanks them. I love how the creative team not only showcase his insane physical abilities, but also his tactical knowhow, as he expertly takes down major heroes in brilliant ways (he takes down the Atom and Hawkman with a laser pointer, true story). His scene in the centre of the comic is the best action sequence in Identity Crisis, and it perfectly showcased this awesome villain (seriously, give this man a movie), while also hinting at some future grudges.

The final character I want to talk about is the lecherous and always entertaining Captain Boomerang, who has a major role in the plot. I absolutely loved the exceptional story that Meltzer wrote around this infamous villain, and it is easily one of his most defining depictions. Captain Boomerang has always been shown as a bit of a joke, but this comic shows him as a fat, washed up has-been, who leaches off his fellow villains and is generally looked down upon by them. However, he gets a very intense and emotional story in this comic, as he meets his long-lost son and starts to develop a relationship with him. The father/son moments add a rather interesting and nice edge to the main story and seem slightly disconnected from the rest of the plot. That is until the final killing, when it is revealed that Captain Boomerang has arrived to kill Robin’s father. The implied suggestion that Captain Boomerang of all people might be behind the killings is pretty iconic, and I loved the split panels that contrast his phone call to his son with the phone conversation between Robin and his father. The subsequent results of the attack, as well as the reveals in the aftermath are pretty awesome, and I really appreciated the fun second chance that Meltzer and the artistic team gave to this iconic, old-school villain.

While I have gone a lot about story elements and characters, I also really need to highlight the incredible artwork featured in Identity Crisis. The artistic team of Rags Morales and Michael Bair did an outstanding job in this limited series, producing some of the absolute best artwork from this era of DC Comics which perfectly enhances Meltzer’s epic storytelling. There are so many impressive and memorable artistic moments and sequences throughout Identity Crisis, and I loved the various ways in which the artists convey movement, action, and emotion in their detailed and captivating panels. There are so many brilliant action sequences in this comic, with my favourite being the Deathstroke vs Justice League fight I mentioned above, although a few others are also very cool to see. I also loved the character designs featured throughout Identity Crisis, especially as the creative team took the opportunity to seriously reinvent several heroes and villains. The streamlined look of the Calculator is particularly fun, and I also loved the balding and fat version of Captain Boomerang. While I didn’t love how a couple of characters looked (what was with the hair on Connor Hawke?), most of it was pretty exceptional, and I love how it was later reutilised by other artists.

There are multiple truly brilliant and eye-catching artistic highlights of Identity Crisis that I must highlight, including the massive and powerful funeral sequence that takes place in the early part of the series. There is an incredibly elaborate double-page public funeral spread that shows every single emotional superhero in attendance, with the various heroes organised by team or connection to the grieving family. The use of the multiple heroes and associates is pretty awesome, especially as there are a range of character-appropriate reactions, and I loved seeing the whole costume crowd surrounded by members of the press and public as they mourn. You also get also some excellent and heartfelt sequences in the subsequent scenes which show the eulogies, especially when Elongated Man starts to literally deteriorate due to his grief, which is just so powerful. Other great examples of the artist’s work include the fun flashback scenes that allowed them to draw events in various classic comic styles, that offer a little bit of simplicity compared to the darker modern spread.

I particularly loved some of the brilliant sequences that are set around Dr Light, as not only do you see him at his most dangerous in the past but you also have some outstanding scenes when he regains his memories and powers. The excellent parallels between the Justice League’s takedown of Dr Light and their attack on Deathstroke are incredible, and the subsequent massive panel of blinding light around Dr Light’s face is perfection. However, the absolute best-drawn sequence in Identity Crisis must be the panels leading up to the death of Robin’s father. Watching the insane amount of emotion on Batman and Robin as they realise that Robin’s father is about to die is so damn moving, especially the anguish on Robin. The most moving of these panels is the one that focuses on Batman’s face after Robin begs his mentor to save his father. The look of pure dread, fear and despair on Batman’s face takes my breath away every single time I look at it, and it perfectly conveys all of Batman’s repressed feelings as he realises that history is once again going to repeat itself. While there are some other great scenes, the above are easily the cream of the artistic crop and definitely make this comic stand out. I have so much love for the artistic work of Morales and Bair here, and it markedly enhances the already exceptional story, turning Identity Crisis into a true epic classic.

Well, that’s pretty much everything I have to say about Identity Crisis here. As you can no doubt guess from the excessive way I have waffled on, I have a lot of love for this exceptional comic and I’m not afraid to show it. The brilliant creative team behind Identity Crisis did an incredible job with this comic and they really turned out something special. Perfectly bringing together a deep and clever story with impressive artwork, amazing characters, and so much damn emotion, this comic has something for everyone and is so very highly recommended. I deeply enjoy everything about Identity Crisis, especially how it leads to some other epic comic books (the continuation of the mindwipe stuff in Justice League of America, Green Arrow, Teen Titans and more is particularly good). One of the most distinctive and amazing comics ever and a must read for all DC Comics fans.

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Throwback Thursday – Teen Titans Volume 1: A Kid’s Game

On February 28, 2019August 23, 2022 By The Unseen LibraryIn Comics/Manga, Extended Universe, Five-Star Books, Superhero, Throwback Thursday1 Comment

Publisher: DC Comics (Paperback Edition – 1 April 2004)

Series: Teen Titans (2003)

My Rating: 5 out of 5 stars

Writer: Geoff Johns

Artists: Mike McKone

Tom Grummett

Marlo Alquiza

Nelson

Jeromy Cox

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Reviewed as part of my Throwback Thursday series, where I republish old reviews, review books I have read before or review older books I have only just had a chance to read.

Ever since I mentioned Geoff Johns’ 2003 Teen Titans series in one of my Top Ten lists last week, I have wanted to revisit the series. I have always loved this run of Teen Titans the most. Something about the combination of storylines, characters and this version of the artwork always spoke to me. It was also one of the first comic series that I read and subsequently went out of my way to get every collected edition. Even years later I still love dusting this series off, so I figured this would be a good time to go back and have a try at reviewing parts of this series. That is why for this Throwback Thursday I will be looking at the first collected volume of the series, Teen Titans: A Kid’s Game.

The Teen Titans are a team of teenaged heroes in the DC universe, usually the sidekicks of the universe’s adult heroes, but also featuring several characters without mentors. The first formation of the Teen Titans occurred in 1964 and featured the original Kid Flash (Wally West), Robin (Dick Grayson) and Aqualad (Garth). After a short while the original Wonder Girl (Donna Troy) joined their ranks and the team started calling itself the Teen Titans before it was given its own series. Teen Titans was DC’s attempt to appeal to the younger generation of comic book fans, and it proved to be an extremely successful series, featuring a number of DC’s younger characters, including Green Arrow’s sidekick, the original Speedy (Roy Harper), who is considered a founding member of the team. Teen Titans went through a number of different relaunches, with probably their most famous one occurring in 1980 with the launch of the New Teen Titans series, which brought back most of the original Titans, revamped Changeling to Beast Boy and introduced a number of iconic characters, including Cyborg, Starfire and Raven. It also introduced several of the team’s most famous villains, including Deathstroke and Trigon. The Teen Titans are one of DC’s most iconic superhero teams and have been featured in a number of media platforms, including the amazing Teen Titans animated show, Teen Titans Go (the less said the better), the dark and surprisingly good live action Titans and a number of key story and character elements have been included in the awesome Young Justice animated show.

Teen Titans went through a number of relaunches throughout the 1980s and 1990s, but the one most relevant to the 2003 Teen Titans comic series is the 1999 Titans comic series, which followed the adventures of adult versions of the original Teen Titans, most of whom had new superhero personas. At the same time, DC launched the Young Justice comic book series (which I have talked about before) incorporating the younger generation of sidekicks (for example a new and younger Robin and Wonder Girl). Both these series ended after the 2003 crossover limited series, Titans/Young Justice: Graduation Day. Graduation Day featured a number of important events, including the sudden death of longstanding Titans member Omen; however, the most significant event was the death of the original Wonder Girl, Donna Troy. The resultant despair and guilt following the death of this significant character led to both the Titans and Young Justice dissolving in what was to be conclusion of both these series.

However, shortly after this, Geoff Johns started this specific run on Teen Titans, which combined elements of the cancelled Young Justice and Titans series, with the main four characters from Young Justice teaming up with some of the classic Teen Titans. Another new series of Outsiders started around the same time and was heavily linked to this run of Teen Titans and featured Dick Grayson and Roy Harper. This specific run of Teen Titans lasted until 2011, when DC initiated their New 52 relaunch (which I may or may not have some issues with). Geoff Johns was the principle writer of this series until the 2005-06 Infinite Crisis limited series, which was a significant story point for all of DC’s titles at that point. Due to the fact that Johns was the principle writer of the Infinite Crisis series, several of the younger Teen Titans (Superboy and Wonder Girl in particular) played a key part in this big crossover event, and several storylines from the 2003 Teen Titans turned out to be heavily linked to the crossover event.

Following the tragic events of Graduation Day, the young heroes that made up the superhero team Young Justice are lost. Tim Drake (Robin), Conner Kent (Superboy) Bart Allen (Impulse) and Cassandra Sandermark (Wonder Girl) dissolved the team in their grief over losing the original Wonder Girl, Donna Troy, and have been avoiding each other since her funeral. They may be the sidekicks of the greatest heroes in the world, but they are all missing their friends. Despite their reluctance to team up again, each of them accepts an invitation from Victor Stone (Cyborg) to form a new version of the Teen Titans. With a new base in San Francisco and other veteran Titans members Starfire and Beast Boy to help as mentors, Cyborg wants to bring these young heroes together again and forge an effective team.

However, before Cyborg can attempt to work with the four new Titans and convince them to stay on the team, a massive explosion rips through Alcatraz, endangering tourist lives. As the Teen Titans mount a rescue, one of them is ambushed by the team’s oldest and most dangerous adversary, the world’s best assassin, Deathstroke the Terminator. Deathstroke has long had a complicated relationship with the Teen Titans, but this time it looks like he wants to put the team down for good. Claiming that kids should not wear costumes, he attempts to take out each member of the team, but what is the real reason behind his attack? Can this new version of the Teen Titans survive the ruthless assassin? What role will recently reborn Titan Raven play? Moreover, what will happen when the Justice League arrives to shut them down?

As I mentioned above, I am a huge fan in general of this entire run of Teen Titans, but this has to be one of the best instalments in the entire series. Geoff Johns and his creative team came out of the gate swinging with this one and started the series off with a bang. Not only does A Kid’s Game feature a fantastic storyline and contain some excellent character work, but it also serves as an outstanding first instalment of what turned out to be one of DC’s most consistent and captivating comic book series between 2003 and 2011. The A Kids Games collected edition is made up of Teen Titans (2003) #1 – 7 and also features parts from Teen Titans/Outsiders Secret Files 2003, which can be useful for those readers unfamiliar with the characters, or at least that incarnation of them.

The storyline contained within A Kid’s Game has a lot of fantastic elements to enjoy within it. The initial formation of the team is handled very well, as each of them is shown to be lonely or unsatisfied with their lives without their friends, and despite their misgivings decide to join up. The follow-up battle between the team and Deathstroke is really good, and the team learning how to fight together while uncovering their antagonist’s motivations is very exciting. Deathstroke has a hell of an entrance in this volume when he kneecaps Impulse at the end of the second issue in what is a pretty shocking and memorable moment. I personally loved the storyline that occurred right after this in Teen Titans 2003 #6, when the Justice League, including the mentors of each of the younger Teen Titans’ members, show up and try to meddle with how the team is run. This results in some chaotic action and a huge amount of amazing comic book drama, as the sidekicks fight and vent their well-justified frustrations to their mentors while also coming to terms with the guilt they feel over Donna Troy’s death. I really cannot speak highly enough about this part of the volume, and I think this was what made me initially fall in love with the series. The final storyline shows each of the characters during the school week, when it really helps to highlight the issues that being a part of the Teen Titans is helping them face.

One of the things that I really like about this volume is that each issue contains a shocking reveal at the end. I know that some comics overuse this, but I felt that Johns and his team were pretty justified in doing this, as they were trying to up the stakes during these first comics in their new series. A lot of significant and surprising things are revealed during each of these issues, many of which would have ground-shaking impacts not just for the Teen Titan, but for the DC universe as a whole (Spoilers ahead). This happens right in the first issue, with the reveal that half of Superboy’s DNA comes from Lex Luthor. Other big events occurring at the end of each issue are the kneecapping of Impulse, the revelation that Jericho was still alive inside Deathstroke, Bart’s first appearance as Kid Flash, Wonder Woman showing up to start the brawl between the League and the team and the reveal that Lex Luthor is the person leaking information about Superboy’s genetics to Robin. Even the quiet, final issue of this volume has a big reveal at the end, with the revelation that Rose Wilson is now working with her father Deathstroke.

The creative team behind this original run obviously had a great appreciation for some of the preceding Teen Titans series, as they utilise a number of key characters from these earlier series. I personally thought that the issues contained with A Kid’s Game did a fantastic job of blending these old school Teen Titans storylines and character together with the former Young Justice characters, creating an excellent new dichotomy for the team. This blend of the old and new helped create an excellent new series and was one of the best features of John’s run, and I also enjoyed the respect he showed towards the old Young Justice series. I was also really impressed in hindsight with how well Johns and his team set up or hinted at a number of future storylines or character developments in these initial issues. Many of these storylines (such as Superboy being a mixture of Superman and Lex Luthor’s DNA, Wonder Girl being related to Ares, Rose Wilson joining with Deathstroke, the resurrection of Raven and Jericho and the new Brother Blood) would have impacts for years to come and some are even utilised in comic series, television shows and animated movies to this day. The creators of A Kid’s Game did an incredible job including them this early in the series, and they were really good introductions.

One of the best things about the entire 2003 run of Teen Titans is the focus on the characters and their development throughout the series. While other volumes of this series feature some great character moments, nowhere is this more prevalent than within the issues that make up A Kid’s Game. Most of the focus within this book is on the four characters, Robin, Superboy, Impulse and Wonder Girl, who are moving over from Young Justice to the Teen Titans. The creators take a significant look at each of them and really work to develop each of them as substantial characters and develop them deeper than what they were within Young Justice. With this impressive focus on developing and utilising these characters to their full potential, it is no wonder that they were utilised as such major characters during the Infinite Crisis storyline and beyond. I also like how the older members of the team had to step up and assume a leadership role that readers had not seen before. As a result, Cyborg and Starfire attempted to fill these leadership roles, while the slightly younger and less mature Beast Boy acts as the bridge between the two generations. I thought that these new roles were really clever and added some new dynamics to the team. I was also really impressed with how the creators focused on the trauma that all of the team members were feeling in the wake of Donna Troy’s death. Each of them was racked with guilt after they were unable to help stop her death, and the anger and grief that each of them was feeling was extremely evident throughout the volume.

Another incredible part of this initial volume was the strong look at the relationship between the sidekicks and their mentors. Despite the high regard each of their mentors holds in the superhero world, each of these sidekicks has issues that stem from how they perceive or are treated by their mentor. The creative team really go out of their way to highlight these issues, and many are quite clever. For example, Superboy, who is living as Conner Kent, appears to be frustrated at living a quiet life in Smallville, but as the story progresses it becomes clear that he is having trouble living up to the legacy of not only Superman but Clark Kent as well. Robin is stuck wondering what his future holds and it soon becomes clear that he is reluctant to become like Batman, despite the fact that his is more like him than any of the Robins that came before him. Wonder Girl is extremely angry and rebellious throughout this volume and is beginning to doubt her mentor Wonder Woman. This is revealed to be a side effect of her trauma at the death of Donna Troy, and it soon becomes clear that she is one most impacted by the former Wonder Girl’s death. Finally, Bart is sick of being considered not good enough to be part of the Flash legacy, as his own mentor does not think he is responsible enough to bear the Flash name (which is ironic, considering he is the only one of these young heroes whoever takes up their mentor’s mantle). As a result, he acts like he does not care, while deep down he craves approval and Flash’s respect. Bart easily shows the most growth within this volume, as he takes the Kid Flash mantle for himself, dedicates himself to learning all he needs to be a hero and vows to leave the Flash in his shadow. All of these character issues come to a head perfectly when the Justice League arrives unannounced at Titan’s Tower and they try to meddle with their sidekicks lives and there are some amazing and cathartic moments between the younger heroes and their mentors. His is comic book character work at its very best.

I have to note the great job the artistic team does throughout these first seven issues. There are some great new character designs, such as Superboy’s iconic new look of jeans and a superman t-shirt, something that is still utilised within the Young Justice television show. I also liked the way that Bart looked in the Kid Flash outfit. The artwork on the action sequences is also pretty awesome, and there are a huge number of eyepopping scenes throughout this volume. That shot of Kid Flash getting kneecapped is very impressive and really sticks with you. Overall, there is some fantastic artwork, which works really well with the outstanding story and character work to create an excellent first volume.

Teen Titans: A Kid’s Game is an amazing first volume in the 2003 Teen Titans series. I cannot speak highly enough about the storylines and the way that the creative team handle the complex young heroes. A spectacular start to an incredible run one of DC’s most iconic series. I fully intend to review some other volumes in this Teen Titans in the future so stay tuned for them.

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