DC's Terrors Through Time #1 [Part Four] - DC Comics

DC'S TERROR THROUGH TIME No. 1, December 2022

As penultimate parables go in graphic novels, Matthew Levine’s “Blood Lost And Found” is utterly enchanting as it initially delves into the melancholy past of Jason Blood during Medieval times, and ends on a modern-day moment of satisfying revenge some five hundred years later; “It’s about time. Gone, gone, the form of Man…” Indeed, it’s a pity the intriguing ten-pager isn’t somewhat longer as the immortal trouble-shooter demonstrates some of the magical tricks he’s learnt from Merlin the Wizard whilst tracking down a party of hapless children stolen by a hungry giant demon.

Just as enticing as the penmanship is Jorge Corona’s mesmerising layouts, which really help add an extra shiver or two to the creative team’s storytelling courtesy of a chilling snowstorm stinging a local village and this tale’s formidably sized monster from Hell. The Venezuelan sequential artist also does an incredible job of depicting the love between young Emil and his temporarily distraught mother, as well as the brave boy’s faith in his knight when Etrigan materialises in a rattle of rhymes to save the day.

Arguably much more grisly-looking, thanks largely to Kelley Jones pencilling a plethora of baleful eyes and writhing tentacles throughout, is “The Haunting Of Wayne Manor” by Tim Seeley, which quite enthralling depicts what happens to the souls of those criminals who Batman’s son killed whilst under the malign influence of the lad’s grandfather Ra's al Ghul. Determined to have his revenge in the Afterlife, Hazaz Saber’s corrupted spirit from the Underworld looks like something straight out of a H.P. Lovecraft novel, and certainly seems to readily penetrate Damian’s usually steel-hard psyche with disconcerting ease.

In fact, debatably this adventure’s sole weakness lies in how the American author turns “The Robin” into a cowering kid who actually repeatedly pleads with the restless shade for his life. Such a bemusing characterisation of a cold-blooded killer is difficult to accept, and proves something of a frustrating disappointment, especially when coupled with the “Lemure” suddenly silently slinking off unsated simply because Deadman convinces the dead member of the Moroccan Mafia that a much more powerful menace has mysteriously laid claim to the adolescent’s soul.

The regular cover art to "DC'S TERRORS THROUGH TIME" #1 by John McCrea & Mike Spicer

DC's Terrors Through Time #1 [Part Three] - DC Comics

DC'S TERROR THROUGH TIME No. 1, December 2022

For those readers who enjoy good old-fashioned Nazi-bashing by some of America’s most memorable super-heroes from the Golden Age of Comic Books, Charles Skaggs’ “The Midnight Hour” will definitely deliver a few minutes of vintage entertainment with its carousel of no-nonsense punches, kicks and ‘in the nick of time’ rescues. But for those bibliophiles who actually like an adventure’s narrative to actually make some sense, the notion of the JSA suddenly disappearing whilst scouring the University of Pennsylvania in 1944 for German agents probably isn’t going to flow all that well; “No, hang back for now. There’s no telling what we might find here or where they’re keeping the Skull of Zosimos.”

To begin with, the entire team are captured ‘off-screen’ by a gaggle of undead goose-stepping goons because Hawkman bemusingly decides that having the Flash “scout ahead” isn’t apparently a good idea. This bizarre evaluation then leads to artist Tom Mandrake having to pencil Carter Hall’s alter-ego suddenly being tied to a sacrificial altar without any explanation being given as to just how the winged protagonist was imprisoned in the first place. To make matters worse, similar befuddling incidents occur for all the other Justice Society’s members, and appear to have been simply manufactured so as to allow Doctor Fate to be the hero of the hour by mind-blasting a luminescent ancient cranium. 

Much more straightforward in its storytelling is “A New Darkness” by Jeremy Haun, which arguably does a first-rate job in depicting the genuinely touching demise of Kar-Von as the Red Lantern attempts to rescue a group of hapless aliens in the Ethow Sector. Crammed with some intriguing characterisation, such as “the legendary wielder of both green and red rings” having to mentor a female member of the Corps who has previously lost her temper, this ten-pager initially seems to have been penned as a foretaster for a future publication focusing upon the two intergalactic law enforcement officers.

However, this notion is shockingly thrown aside when Juan Doe surprisingly sketches Kar-Von stoically battling a giant tentacled extra-terrestrial to a standstill, so his aghast partner can close a dimensional portal behind him and keep the universe safe. So unexpected an ending proves particularly unsettling, and definitely elicits the desire within the audience to learn more about Jan and her new mission to shut the remaining six monster-infested gateways which her ring detects at the tale’s end.

The regular cover art to "DC'S TERRORS THROUGH TIME" #1 by John McCrea & Mike Spicer

DC's Terrors Through Time #1 [Part Two] - DC Comics

DC'S TERROR THROUGH TIME No. 1, December 2022

Supposedly depicting “the story of the Gotham City Sirens’ first sorta true meet-up”, Peter V. Nguyen’s "The Pueo Promise" possibly pleased some within this anthology’s audience with its abundance of “Scooby-Doo” flavoured antics and girl-powered high jinks. But considering that the Honolulu-born writer pens a story featuring the “fourth pillar” in “DC Comics” publishing line there arguably isn’t much for Harley Quinn to do except scowl from the side-lines whilst both Poison Ivy and Selina Kyle take the lion’s share of the tale’s limelight; “Pamela, wake up! We need you in this fight -- Catwoman won’t last long out there…”

Furthermore, due in part to the author’s lavish art style, many a bibliophile would debatably have been utterly bemused as to what is actually going on within this yarn’s narrative, especially towards the end of the adventure when there’s the distinct suggestion the three anti-heroines are battling an army of undead ‘somethings’ who are all under the thrall of some Greek-looking deity. Such a scenario probably made a lot of sense to Nguyen considering his background in Hawaiian folklore. But for those unfamiliar with the Owl Prince and just how the god somehow conjures up ghosts from one moment to the next, the premise of Kyle subsequently having to relocate “roughly two million cats” to Gotham City in order to save the day is a real head scratcher.

Similarly as bizarre, though much more followable, is “Half-Life” by Zac Thompson, which follows the exploits of two survivors eking out a living in a post-apocalyptic Washington Exclusion Zone. Wary of eating radioactive berries, the pair inadvertently wander into the lair of a truly-mutated Chimera and are only saved from a gruesome death by the Swamp Thing bravely allowing himself to be eaten instead.

Pencilled by Andy McDonald, this ten-pager’s artwork definitely provides the futuristic fable with some pulse-pounding pace, as the multi-headed crocodilian crashes through a man-made shelter in its eagerness to consume human flesh, and subsequently slices Alec Holland’s alter-ego to pieces using the aeroplane rotor engine it inexplicably has lodged in its chest. The design of so grotesque a creature really is highly memorable, so it’s something of a shame that the grisly brute is finally only laid low by getting old, and having its mechanical maw defeated by one too many entangling vines.

The regular cover art to "DC'S TERRORS THROUGH TIME" #1 by John McCrea & Mike Spicer

DC's Terrors Through Time #1 [Part One] - DC Comics

 DC'S TERROR THROUGH TIME No. 1, December 2022

Considering just how enjoyable this anthology’s opening tales are it is somewhat surprising that neither one is directly referred to in the Burbank-based publisher’s solicitation for Issue One of “DC’s Terrors Through Time”. Indeed, Paul Levitz’s “The Longest Night” sets a suitably dark, engrossingly grim tone for this hefty-sized “terrifying tour across the ages from some of comic’s top talent” by focusing upon the joyless solitude of the Phantom Stranger and his endless vigil guarding the innocent against the sinister desires of the undead; “Why does this night open the gate between life and death, and why give me the responsibility to watch over it..?”

In addition, this ten-pager is well-drawn by Raul Fernandez, who despite the drama's dialogue-driven wordiness, still manages to add plenty of “Blam” to its pulse-pounding proceedings as Carmine Infantino’s co-creation flitters through time during Halloween in an effort to thwart everything from early pilgrims, displaced Native Americans and Chinese demons from feasting upon the souls of the living. Coupled with a suitably sombre palette by colourist Santi Arcas, the illustrator’s panels depicting an attack upon a pair of adolescent brothers by the land’s ferocious-faced indigenous people is highly creditable, with the spooky “righteous spirits” being given an opportunity to air their grievances despite the brevity of the yarn.

Significantly lighter in its tenor, though ultimately just as engaging, is “Trick Or Treat” by Sholly Fisch. Admittedly, there will be some within this publication’s audience who will find this tale’s start somewhat slow, due to its focus upon the Super Sons and their series of unsuccessful visits to a plethora of super-hero’s homes so as to acquire sugar-filled candy bars. However, once Superboy and Robin arrive at the Grand Hall of Justice and inadvertently stumble into their parents’ battle against the formidably magical Demons Three, things definitely start to hot up plot-wise.

Indeed, along with Luciano Vecchio’s prodigious pencils and Wendy Broome’s marvellous purple-hued assault upon the senses, this part of the two boys’ adventure is arguably one of the highlights of the entire comic, as both protagonists employ wits over sheer strength to ultimately defeat the impish-looking Abnegazar, Rath and Ghast. Furthermore, the Argentinian illustrator’s sketches showing the Super Son’s bravely battling their demonic foes are packed full of dynamic action to the point where it is a real pity the fight scene wasn’t extended by at least another page or two.

The regular cover art to "DC'S TERRORS THROUGH TIME" #1 by John McCrea & Mike Spicer