The citizens in a retro-futuristic vision of the world of tomorrow struggle to come to terms with a variety of bizarre characters and their unusual schemes. Written by Dean Motter with art by Michael Lark.
After the launch of the Superman/Batman comic book series, Executive Editor Dan DiDio had been looking for a way to simplify the Supergirl character from her convoluted post-crisis history; the simplest version of course, was Superman’s cousin. Jeph Loeb and editor Eddie Berganza found an opening to reintroduce the character following the conclusion of the first story arc of Superman/Batman.
The modern version of Kara Zor-El made her debut in Superman/Batman #8 (2004). Kara takes the mantle of Supergirl at the conclusion of the storyline. The Supergirl comic book series would later be relaunched, now starring Kara Zor-El as “The Girl of Steel”. The first arc of the new series was written by Jeph Loeb and illustrated by Ian Churchill.
The title’s 500th issue (March 1981) featured stories by several well-known creators including television writer Alan Brennert and Walter B. Gibson best known for his work on the pulp fiction character The Shadow. Also used during the 1980s was the use of serialization of the main Batman story, with stories from Detective Comics and Batman directly flowing from one book to another, with cliffhangers at the end of each book’s monthly story that would be resolved in the other title of that month. A single writer handled both books during that time beginning with Gerry Conway and followed up by Doug Moench. The supervillain Killer Croc made a shadowy cameo in issue #523 (Feb. 1983). Noted author Harlan Ellison wrote the Batman story in issue #567.
Writer Mike W. Barr and artists Alan Davis and Todd McFarlane crafted the “Batman: Year Two” storyline in Detective Comics #575-578 which followed up on Frank Miller’s “Batman: Year One“. Writer Alan Grant and artist Norm Breyfogle introduced the Ventriloquist in their first Batman story together and the Ratcatcher in their third (#585). Sam Hamm, who wrote the screenplay for Tim Burton‘s Batman, wrote the “Blind Justice” story in Detective Comics issues #598-600.
Edgar Wiggins, a disgraced former seminary student, is desperate to find a way to answer what he believes is his higher calling. He thinks he’s found it in a seminar hosted in a hotel conference room by the Soul Plumbers, who have a machine that could be the secret to delivering souls from Satan. Edgar’s too broke to buy in, but that’s not enough to stop this true devotee: he steals the blueprints and builds a pirated version with what components he can afford on his gas station attendant salary. Then he goes after a demon, misses… and ends up pulling out something much worse.
A former police officer known only as “S” operates as a private detective based in New York City, finding people and objects for a fee. S steals a quantity of a strange substance called “Heavy Liquid”. On its own, it is a metallic-liquid explosive, but it turns into “black milk” when cooked, and exhibits mind-altering, drug-like properties. A mysterious art collector who also has a quantity of Heavy Liquid wishes to hire S to find a missing artist named Rodan Esperella (coincidentally S’s ex-lover), whom he hopes will create a piece out of the Heavy Liquid for him. In the meantime, assassins are on S’s trail, looking to retrieve the stolen Heavy Liquid. S finally trails Esperella to Paris, and he tries to broker a deal between her and the art collector. Esperella promises to sculpt a masterpiece on the condition that she never see S again. His job done, S boards a train heading to Prague, where he is cornered by one of his pursuers. S then discovers from his pursuer that the Heavy Liquid is alien in origin, and may even possess some form of consciousness. Ingesting the drug himself, S escapes by jumping onto another train, his physical abilities dramatically increased by the Heavy Liquid. S comes to understand its nature as a medium containing an alien intelligence. Ultimately, on the European train, S experiences first contact with the being.
This Prestige format one-shot is an adaptation of Tim Burton’s 1992 Batman Returns feature film, which starred Michael Keaton as Bruce Wayne/Batman, Michelle Pfeiffer as Catwoman, Danny DeVito as the Penguin, and Michael Gough as Alfred.
This set was issued in 1995 and was limited to 5000 sets. It is easily one of the most sought after Vertigo Items ever produced. The cards, loosely based on characters from DCs Vertigo comic imprint, are among the most uneasily beautiful interpretations ever. This particular set is still factory sealed and in excellent condition.
This oversize super spectacular features work from some of the very best in the comic industry along with bright young stars ready to share the spotlight with Diana. You won’t want to miss these new stories that capture timeless messages of hope and empowerment presented together in this gorgeous keepsake issue!
In September, 2011, following the company-wide relaunch, Barbara Gordon stars in a new Batgirl series—one of The New 52 titles featuring the company’s most iconic characters. The conclusion of the limited series Flashpoint (2011) establishes a new continuity within the DC Universe, with all characters regressing to an earlier age and stage in their careers, while remaining in a modern timeline. DC Senior VP of Sales, Bob Wayne, explained that with each of their titles reverting to issue #1, “our creative teams have the ability to take a more modern approach—not only with each character, but with how the characters interact with one another and the universe as a whole, and focus on the earlier part of the careers of each of our iconic characters.” Wayne also stated that “The Killing Joke” still happened and she was Oracle. Now she will go through physical rehabilitation and become a more seasoned and nuanced character because she had these incredible and diverse experiences.
Death: The High Cost of Living is written by Neil Gaiman with art by Chris Bachalo and Mark Buckingham. It is a spin-off from Gaiman’s best-selling Vertigo Comics series The Sandman, featuring the Sandman (Dream)’s elder sister, Death of the Endless in a self-contained story based around the fable that Death takes human form once a century, to remain grounded and in touch with humanity, an idea touched upon in several other media, for example in the 1934 film Death Takes a Holiday and in the Terry Pratchett novel Reaper Man.
A movie based on this series has been in the works for several years in various stages of development and until recently was in the works at New Line Cinema. Gaiman had previously confirmed that this movie was in progress and that he was planning on writing the script and directing it, with Guillermo del Toro as executive producer. The film, which is currently on hold, was operating under the title Death and Me.
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