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Heroes in Crisis #1–9
Heroes in Crisis
There's a new kind of crisis threatening the heroes of the DC Universe, ripped from real-world headlines by CIA-operative turned comics writer Tom How does a superhero handle PTSD?
Welcome to Sanctuary, an ultra-secret hospital for superheroes who've been traumatized by crime-fighting and cosmic combat. But something goes inexplicably wrong when many patients wind up dead, with two well-known operators as the prime Harley Quinn and Booster Gold! It's up to the DC Trinity of Superman, Wonder Woman, and Batman to investigate--but can they get the job done in the face of overwhelming opposition?
Superstar comics writer and former CIA operative Tom King (Batman, Mister Miracle) examines the potential long-lasting effects of saving the world in this groundbreaking new graphic novel with jaw-dropping art from the team of Clay Mann and Lee Weeks!
Collects Heroes in Crisis #1-9.
Welcome to Sanctuary, an ultra-secret hospital for superheroes who've been traumatized by crime-fighting and cosmic combat. But something goes inexplicably wrong when many patients wind up dead, with two well-known operators as the prime Harley Quinn and Booster Gold! It's up to the DC Trinity of Superman, Wonder Woman, and Batman to investigate--but can they get the job done in the face of overwhelming opposition?
Superstar comics writer and former CIA operative Tom King (Batman, Mister Miracle) examines the potential long-lasting effects of saving the world in this groundbreaking new graphic novel with jaw-dropping art from the team of Clay Mann and Lee Weeks!
Collects Heroes in Crisis #1-9.
240 pages, Paperback
First published October 1, 2019
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910 people want to read
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Displaying 1 - 30 of 528 reviews
July 19, 2025
After reading some of the unflattering reviews, I thought this would be dogshit, but was pleasantly surprised to find it just meh.
It was (to me) a passable story. However, I can see why if you were expecting something a-mazing you might be a bit let down by this 'event'.
Then again, haven't we all learned our lesson by now? I can't honestly remember a recent event that didn't suck a teeny weiner. So take heart! This wasn't any worse than the normal crossover garbage. Perhaps, it was even a bit better simply because it didn't leach out years of my life.
The gist is that there's this (shhhh!) secretSanitorium Sanctuary for all the superheroes who are suffering from any sort of trauma caused by getting tossed into a demon dimension or tied to an ACME rocket by their villain of choice. Or really any sort of mental health issues they might have.
But. Someone (and I think we alllll know who it is) has a meltdown of sorts and kills a whole bunch of the patients. So whodunnit? Was it Booster Gold? Harley Quinn? Or some third individual?
Eh? Eh? Eh?
YOU KNOW WHO IT IS.
I don't know that any of this mattered one way or another, but it was a story. I liked the theme that everyone has bad times and everyone can use a bit of a helping hand or a shoulder to cry on. Or just someone to talk to. Or perhaps even a visit to a doctor and a few meds. It doesn't mean you're bonkers if you ask for help.
I was really hoping this would hit me in the feels, but it missed the mark somehow. I don't know. Lack of tension or something?
I'm still not really sure what happened there at the end. You're not making sense, sir. <--then again, really not much of this plot makes sense. I just explained it to my son, and it sounds incredibly stupid when you break it down into a just the facts, ma'am scenario. I suppose that means Tom King is really talented because I didn't notice what horseshit it was until I spoke the words out loud.
However, now that I know Superman doesn't say Hail Hydra or something else ridiculous, I think I'll probably go ahead and read the spin-off comics.
Recommended for the curious. You could do worse. Maybe.
It was (to me) a passable story. However, I can see why if you were expecting something a-mazing you might be a bit let down by this 'event'.
Then again, haven't we all learned our lesson by now? I can't honestly remember a recent event that didn't suck a teeny weiner. So take heart! This wasn't any worse than the normal crossover garbage. Perhaps, it was even a bit better simply because it didn't leach out years of my life.
The gist is that there's this (shhhh!) secret
But. Someone (and I think we alllll know who it is) has a meltdown of sorts and kills a whole bunch of the patients. So whodunnit? Was it Booster Gold? Harley Quinn? Or some third individual?
Eh? Eh? Eh?
YOU KNOW WHO IT IS.
I don't know that any of this mattered one way or another, but it was a story. I liked the theme that everyone has bad times and everyone can use a bit of a helping hand or a shoulder to cry on. Or just someone to talk to. Or perhaps even a visit to a doctor and a few meds. It doesn't mean you're bonkers if you ask for help.
I was really hoping this would hit me in the feels, but it missed the mark somehow. I don't know. Lack of tension or something?
I'm still not really sure what happened there at the end. You're not making sense, sir. <--then again, really not much of this plot makes sense. I just explained it to my son, and it sounds incredibly stupid when you break it down into a just the facts, ma'am scenario. I suppose that means Tom King is really talented because I didn't notice what horseshit it was until I spoke the words out loud.
However, now that I know Superman doesn't say Hail Hydra or something else ridiculous, I think I'll probably go ahead and read the spin-off comics.
Recommended for the curious. You could do worse. Maybe.
October 17, 2019
Tom King tries to replicate his incredible success in wrestling with mental health issues and the personal lives of superheroes on a small scale (see, for example, the excellent Mister Miracle) on a much grander stage, with nearly every major DC character popping up in HEROES IN CRISIS. Iconic heroes Batman, Superman, and Wonder Woman headline the book, though Booster Gold, Harley Quinn, and The Flash are the focus.
Does he succeed? Sort of. King brings his usual brand of sharp dialogue to a tale that attempts to get inside the heads of DC’s leading heroes, all of whom, understandably, seem to be suffering from PTSD as a result of the many violent encounters they experience every day. When many of them attempt to deal with those demons at a secret therapy center designed just for spandex-wearing types, however, tragedy strikes in the form of a mass murder. But, WHODUNNIT?!
On the one hand, I admire King for trying to tackle these issues in such a massive book; on the other, it just doesn’t feel like the right venue. Further complicating the picture is that it’s unclear whether this is an in-continuity tale. Given that prior “Crisis” books have all been canonical, one assumes the same here, but if that’s the case, then it’s tonally jarring to juxtapose this book with any number of other mainstream DC books that, like all comics, glorify the act of smacking down evildoers (you think Lobo suffers from anxiety?). I mean, going forward, how do you go back to enjoying superheroes pounding bad guys knowing that most of these specific characters are depressed, suicidal, or otherwise struggling with mental health issues?
King’s prior books worked because they focused on a sole hero or a family unit and deconstructed and dealt with issues on an individual level. They’re insightful and brilliant.
This, however…this feels like a reach. As an Elseworlds-type story, maybe. In continuity, though? Yikes.
Still, the execution is solid, so it feels like a three-star book. Why give it four, then?
Clay Mann. That’s why. Look, all the art in the book is great, but if I could make sweet, sweet love to Clay Mann’s art, I would be all over that like a cool dog on a warm leg on a hot day (and huge props to the colorist as well; absolutely stunning work). His work is so gorgeous, so rich and vibrant, so breathtaking…that’s an extra star right there, folks. It’s enough to make you forgive his parents for their ridiculous choice of given name, given his surname.
So, worth a look at the very least. If you read it, however, be prepared—you’re going to be hard-pressed to read a carefree DC superhero book again afterward.
(Okay, so that was a little heavy; here’s a joke to make you feel better: What is something giraffes can have that NO other animal can have? BABY GIRAFFES!)
Does he succeed? Sort of. King brings his usual brand of sharp dialogue to a tale that attempts to get inside the heads of DC’s leading heroes, all of whom, understandably, seem to be suffering from PTSD as a result of the many violent encounters they experience every day. When many of them attempt to deal with those demons at a secret therapy center designed just for spandex-wearing types, however, tragedy strikes in the form of a mass murder. But, WHODUNNIT?!
On the one hand, I admire King for trying to tackle these issues in such a massive book; on the other, it just doesn’t feel like the right venue. Further complicating the picture is that it’s unclear whether this is an in-continuity tale. Given that prior “Crisis” books have all been canonical, one assumes the same here, but if that’s the case, then it’s tonally jarring to juxtapose this book with any number of other mainstream DC books that, like all comics, glorify the act of smacking down evildoers (you think Lobo suffers from anxiety?). I mean, going forward, how do you go back to enjoying superheroes pounding bad guys knowing that most of these specific characters are depressed, suicidal, or otherwise struggling with mental health issues?
King’s prior books worked because they focused on a sole hero or a family unit and deconstructed and dealt with issues on an individual level. They’re insightful and brilliant.
This, however…this feels like a reach. As an Elseworlds-type story, maybe. In continuity, though? Yikes.
Still, the execution is solid, so it feels like a three-star book. Why give it four, then?
Clay Mann. That’s why. Look, all the art in the book is great, but if I could make sweet, sweet love to Clay Mann’s art, I would be all over that like a cool dog on a warm leg on a hot day (and huge props to the colorist as well; absolutely stunning work). His work is so gorgeous, so rich and vibrant, so breathtaking…that’s an extra star right there, folks. It’s enough to make you forgive his parents for their ridiculous choice of given name, given his surname.
So, worth a look at the very least. If you read it, however, be prepared—you’re going to be hard-pressed to read a carefree DC superhero book again afterward.
(Okay, so that was a little heavy; here’s a joke to make you feel better: What is something giraffes can have that NO other animal can have? BABY GIRAFFES!)
October 15, 2019
I loved Tom King and Mitch Gerad’s Mister Miracle, have enjoyed most of King’s Batman run, and his The Vision, all of which humanize superheroes. Heroes in Crisis extends that basic point to suggest that superheroes, just as many others in this day and age, must experience ptsd from all they have done and seen, and require healing. King, having worked in Iraq, has seen the trauma that violence can engender.
So Sanctuary is a secret treatment facility for heroes with PTSD and other illnesses. And a murderous rampage has taken place there. Ironic, much, to have a violent attack happen in a place where folks are trying to heal from violent attacks?
For some of the nine-issue volume, Harley Quinn and Booster Gold are chief suspects, and the chief investigators are Batman, Superman and Wonder Woman (that’s right, the big three!). I don’t have a stake in the issue of who finally dunnit, and I know a lot of fans are upset and hates this comic, but it makes sense to me with my limited background in so many of these (for me) relatively minor characters. I am sure I am missing something, so will read into it more. I’m just giving my first read response here.
I like:
--I love the 9-panel grids of various superheroes being interviewed by a therapist. Awesome.
--I love the artwork of Mitch Gerard and Clay Mann. Top notch.
--I know it’s not much of a plot, more about character, but you have to give King credit for never giving you anything you would expect. He’s one of the very best, rewriting how superhero comics work.
--I am reminded of another comic that emphasized what damage trauma can do to superheroes: Watchmen. (Okay, son, I’m old enough to know Watchmen and this hy’ar comick mebbe ain’t no Watchmen, but it plays in the same territory, and plays well, in my opinion).
A couple complaints:
--I would have liked more focus on the treatment center and less on the mass murder and the subsequent murder mystery that ensues, but trust me, all the slaughter and trauma is tied to the madness/mayhem theme, so it works on that level.
--I am one who has lauded King for his writing, and specifically his true-to-life dialogue, but I am reading so much of him that he seems like he is repeating himself. I like this approach to dialogue generally—sure, everyone is damaged, so they have a hard time being articulate, but it seems as if almost everyone he writes now talks very much the same way: Short sentences, some of them unfinished, single words. Try moving from Pinter back to Shakespeare, Tom, just to break things up?
I don't like this as much as some other King comix, and wanted to give it three stars to distinguish it from other, greater stuff, but the more I wrote, the closer it came to four stars for me.
So Sanctuary is a secret treatment facility for heroes with PTSD and other illnesses. And a murderous rampage has taken place there. Ironic, much, to have a violent attack happen in a place where folks are trying to heal from violent attacks?
For some of the nine-issue volume, Harley Quinn and Booster Gold are chief suspects, and the chief investigators are Batman, Superman and Wonder Woman (that’s right, the big three!). I don’t have a stake in the issue of who finally dunnit, and I know a lot of fans are upset and hates this comic, but it makes sense to me with my limited background in so many of these (for me) relatively minor characters. I am sure I am missing something, so will read into it more. I’m just giving my first read response here.
I like:
--I love the 9-panel grids of various superheroes being interviewed by a therapist. Awesome.
--I love the artwork of Mitch Gerard and Clay Mann. Top notch.
--I know it’s not much of a plot, more about character, but you have to give King credit for never giving you anything you would expect. He’s one of the very best, rewriting how superhero comics work.
--I am reminded of another comic that emphasized what damage trauma can do to superheroes: Watchmen. (Okay, son, I’m old enough to know Watchmen and this hy’ar comick mebbe ain’t no Watchmen, but it plays in the same territory, and plays well, in my opinion).
A couple complaints:
--I would have liked more focus on the treatment center and less on the mass murder and the subsequent murder mystery that ensues, but trust me, all the slaughter and trauma is tied to the madness/mayhem theme, so it works on that level.
--I am one who has lauded King for his writing, and specifically his true-to-life dialogue, but I am reading so much of him that he seems like he is repeating himself. I like this approach to dialogue generally—sure, everyone is damaged, so they have a hard time being articulate, but it seems as if almost everyone he writes now talks very much the same way: Short sentences, some of them unfinished, single words. Try moving from Pinter back to Shakespeare, Tom, just to break things up?
I don't like this as much as some other King comix, and wanted to give it three stars to distinguish it from other, greater stuff, but the more I wrote, the closer it came to four stars for me.
February 22, 2020
It’s not easy to superhero. All that stress - saving the world, occasionally losing lives, enduring injury after injury, day in, day out - it takes its toll. Hey guys - even heroes have the right to bleed. So there’s a secret location in the middle of rural America called Sanctuary, staffed by friendly robots, where heroes can work out PTSD and other issues troubling them. But oh no - someone’s killed a buncha D-listers right on its doorstep! Booster Gold saw Harley Quinn do the murdering, and Harley saw Booster do it! Whodunit? More importantly: who cares?!
Heroes in Crisis not good. I know, shocking - a crap DC comic? That’s unheard of! Unfortunately too, because I’ve quite enjoyed most of Tom King’s Batman run and was looking forward to this, hoping it’d be up there among his best work for DC. Instead we get an almost Bendisian effort at stretching a wafer-thin plot across nine, increasingly tedious, issues.
Issue one: establish premise.
Issues two to seven: nothing happens.
Issue eight: massive info dump on whodunit and why.
Issue nine: convoluted plan to sorta resolve things.
Boooo!
I hate that Harley has to be involved in bloody everything these days because she’s so popular. Even when it doesn’t make sense! She fights Booster Gold in the first issue and, even though I dislike that idiot, Booster could easily - easily! - defeat Harley if he wanted to. She’s just a skinny chick with a mallet! Then Harley gets the drop on Batman AND Superman AND Wonder Woman in the same scene! Not even on her best day could she take one of them by herself. It’s so stupid. But she’s popular so we’ve gotta pretend that she can do all that. And she’s even more annoying in this one than usual. Every single scene she’s in, she’s saying some dumb nursery rhyme - ugh!
Also taking centre stage with Harley is the most boring superhero character ever conceived, Booster Gold, and the next most boring superhero character ever conceived, the Flash (but not THE Flash, one of the loser ones). Tres horrible.
While we wait for the dull “mystery” to resolve itself there’s lots of heroes crying about whatever and Superman holds a press conference to tell everyone that heroes hurt too - as if anyone reasonable would suggest otherwise. I think a story involving superheroes and PTSD is an interesting one - conceptually at least - but Tom King clearly doesn’t have much to say about it beyond that it’s hard-going on superheroes’ psyches, if ya really think about it. Fascinating.
Thank heavens for Clay Mann’s sublime art. I was impressed with his work on King’s Batman series but he produces a career best here. The title splash pages are simply stunning and so imaginative. Gorgeously produced landscapes so full of space and dimension - they were the standout in a book that doesn’t really have any bad art at all. Every single Clay Mann page is incredible - he’s really produced something remarkable and impressive with his work on this book.
And I would recommend Heroes in Crisis purely for the art, which is among the best superhero art of the last ten years, if not more. It’s just a shame that it’s in service to such a dreary, plodding, pointless bore of a script. Heroically underwhelming, the “Crisis” books remain among the worst DC has to offer.
Heroes in Crisis not good. I know, shocking - a crap DC comic? That’s unheard of! Unfortunately too, because I’ve quite enjoyed most of Tom King’s Batman run and was looking forward to this, hoping it’d be up there among his best work for DC. Instead we get an almost Bendisian effort at stretching a wafer-thin plot across nine, increasingly tedious, issues.
Issue one: establish premise.
Issues two to seven: nothing happens.
Issue eight: massive info dump on whodunit and why.
Issue nine: convoluted plan to sorta resolve things.
Boooo!
I hate that Harley has to be involved in bloody everything these days because she’s so popular. Even when it doesn’t make sense! She fights Booster Gold in the first issue and, even though I dislike that idiot, Booster could easily - easily! - defeat Harley if he wanted to. She’s just a skinny chick with a mallet! Then Harley gets the drop on Batman AND Superman AND Wonder Woman in the same scene! Not even on her best day could she take one of them by herself. It’s so stupid. But she’s popular so we’ve gotta pretend that she can do all that. And she’s even more annoying in this one than usual. Every single scene she’s in, she’s saying some dumb nursery rhyme - ugh!
Also taking centre stage with Harley is the most boring superhero character ever conceived, Booster Gold, and the next most boring superhero character ever conceived, the Flash (but not THE Flash, one of the loser ones). Tres horrible.
While we wait for the dull “mystery” to resolve itself there’s lots of heroes crying about whatever and Superman holds a press conference to tell everyone that heroes hurt too - as if anyone reasonable would suggest otherwise. I think a story involving superheroes and PTSD is an interesting one - conceptually at least - but Tom King clearly doesn’t have much to say about it beyond that it’s hard-going on superheroes’ psyches, if ya really think about it. Fascinating.
Thank heavens for Clay Mann’s sublime art. I was impressed with his work on King’s Batman series but he produces a career best here. The title splash pages are simply stunning and so imaginative. Gorgeously produced landscapes so full of space and dimension - they were the standout in a book that doesn’t really have any bad art at all. Every single Clay Mann page is incredible - he’s really produced something remarkable and impressive with his work on this book.
And I would recommend Heroes in Crisis purely for the art, which is among the best superhero art of the last ten years, if not more. It’s just a shame that it’s in service to such a dreary, plodding, pointless bore of a script. Heroically underwhelming, the “Crisis” books remain among the worst DC has to offer.
May 29, 2019
The most hated comic of 2019? Quite possibly, but in 2019, what does it matter when pretty much any intellectual property big enough to have a fanbase is being viscerally hated by its own fans. Heroes in Crisis is definitely controversial, it does a lot of things to potentially aggravate its readers. It also says a lot of things that regular superhero comics don't usually say, and that's exactly the reason why I loved this book despite everything else. Yes, the surface plot of it is kind of confusing and convoluted, the final revelation is a bit baffling, but I also loved the things this book had to say on the hypocrisy of the Rebirth initiative, and I loved its deep dive into the modern superhero psyche that only Tom King could provide. And in a medium where every decision big or small is destined to be rewritten, retconned, cancelled or forgotten, it's these timeless observations that really matter in the long run. Oh, and Clay Mann and Mitch Gerads absolutely killed it on artwork, they're two of the best artists working in comics today and I am immensely happy that they're getting more work and recognition. People may hate Heroes in Crisis, and everybody's certainly entitled to their opinion, but no one was able to convince me why it's a bad book. It's not. I loved it.
September 30, 2019
Tom King's version of Identity Crisis. Sanctuary is a secret treatment facility for heroes with PTSD and other illnesses. (Arsenal is there because he's a drug addict / alcoholic depending on pre or post Nu 52 mythology.) Something goes down there and a whole bunch of heroes are killed. The big three of Batman, Superman, and Wonder Woman are left to figure out what happened. Who is ultimately behind it makes sense given their awful treatment since the Nu 52 dawned. I do have to say I'm really tired of said character getting shit on by DC all the time just because they've made some terrible editorial decisions. (and at this point, DC seems intent on murdering off all of the New Teen Titans if they can have their way.) I can't say I like how King went about it though. He had to bend and twist the storytelling in confusing ways to keep from giving us any hint of what happened until the very end. It, honestly, wasn't very good storytelling, just so he could get his big reveal. His humanizing of superheroes is where King excels. Those 9 panel grids of superheroes talking to a therapist are amazing.
Clay Mann and Mitch Gerard knock the art out of the park. The book looks fantastic. Clay Mann in particular needs more regular work. I'd like to see him stick on a monthly book.
Received a review copy from DC and Edelweiss. All thoughts are my own and in no way influenced by the aforementioned.
Clay Mann and Mitch Gerard knock the art out of the park. The book looks fantastic. Clay Mann in particular needs more regular work. I'd like to see him stick on a monthly book.
Received a review copy from DC and Edelweiss. All thoughts are my own and in no way influenced by the aforementioned.
November 20, 2020
3.5 stars
"Underneath, everyone's screaming." -- Martian Manhunter
Heroes in Crisis takes an exceptional and original plot idea - that the superheroes of this world could likely use some therapy and/or self-reflection with the stress in their lives - but it doesn't quite go the distance with it to become a truly great book. And that's a shame, as I enjoyed writer King's Mister Miracle just earlier this month. (Fortunately, King is teamed with artist Gerards again, and the illustrations here are uniformly excellent.) Still, this volume had little moments that were effective.
So in the story there's 'Sanctuary,' a sort of secret rest-and-relaxation facility (disguised as a humble farmhouse out on the Great Plains) for both the elite and lesser-known costumed folks affiliated with the Justice League. Although the storyline involves a mediocre murder mystery - anchored by the kooky investigative quartet of Booster Gold, Harley Quinn, Batgirl, and Blue Beetle - what I'll remember most about the book was something else that ran concurrently, pretty much as an aside to the plot. Dozens of nine-panel pages were interspersed throughout showing 40+ characters in a 'confessional'-like setting (i.e. a person alone and talking straight-on to the camera on a reality-TV show), providing a variety of responses that ranged from gently humorous (such as the past and present Batman sidekicks all sounding insecure) to some very serious or introspective moments (like the quote at the start of my review). Those scenes helped lift Heroes in Crisis to the next level.
"Underneath, everyone's screaming." -- Martian Manhunter
Heroes in Crisis takes an exceptional and original plot idea - that the superheroes of this world could likely use some therapy and/or self-reflection with the stress in their lives - but it doesn't quite go the distance with it to become a truly great book. And that's a shame, as I enjoyed writer King's Mister Miracle just earlier this month. (Fortunately, King is teamed with artist Gerards again, and the illustrations here are uniformly excellent.) Still, this volume had little moments that were effective.
So in the story there's 'Sanctuary,' a sort of secret rest-and-relaxation facility (disguised as a humble farmhouse out on the Great Plains) for both the elite and lesser-known costumed folks affiliated with the Justice League. Although the storyline involves a mediocre murder mystery - anchored by the kooky investigative quartet of Booster Gold, Harley Quinn, Batgirl, and Blue Beetle - what I'll remember most about the book was something else that ran concurrently, pretty much as an aside to the plot. Dozens of nine-panel pages were interspersed throughout showing 40+ characters in a 'confessional'-like setting (i.e. a person alone and talking straight-on to the camera on a reality-TV show), providing a variety of responses that ranged from gently humorous (such as the past and present Batman sidekicks all sounding insecure) to some very serious or introspective moments (like the quote at the start of my review). Those scenes helped lift Heroes in Crisis to the next level.
August 11, 2025
The only thing I liked about this book was the artwork. I am awarding the 2 stars solely based on that. The story is way too drawn out simply to give the "undercard" characters a chance to shine. For me, though, I have never been a fan of the "Batman won't think of this as it is too stupid and only I would do it" mentality.
The concept is sound but badly executed. The sanctuary is created for supers to gain mental help when they need it with no judgement or recording (something not even Batman breaks the trust of). There have been murders, with two suspects, each convinced the other did it.
Did not like the story. Apart from the great artwork, I would happily not know this book existed. The cover gallery contains all the variant covers. Regular covers at the beginning of every chapter/issue.
The concept is sound but badly executed. The sanctuary is created for supers to gain mental help when they need it with no judgement or recording (something not even Batman breaks the trust of). There have been murders, with two suspects, each convinced the other did it.
Did not like the story. Apart from the great artwork, I would happily not know this book existed. The cover gallery contains all the variant covers. Regular covers at the beginning of every chapter/issue.
February 28, 2024
ugh this was beyond terrible. I had such high hopes for my second Tom King book after his brilliant The Vision. hopes smashed. I wonder if I loved his prior book so much because The Vision is one of my favorite characters? I certainly appreciated that story's sensitivity towards the all-too-fallible robot. turns out that King's sensitivity as a writer is both strength and weakness.
the story here manages to be both incredibly pretentious and unbearably dumb, quite a feat. the cavalier way that King massacres a bunch of superheroes (who have all since been resurrected, of course), in service of a narrative that mistakenly assumes it has depth simply because it is tackling deep topics such as PTSD, depression, and isolation... I was constantly rolling my eyes at the shallow, tryhard execution of it all. my God, the facile pop psychology on display. my God, so much fucking hugging. and what a bizarre way to treat Wally West, a vibrant character with a fully established personality that King decides to turn into some kind of depressive, suicidal dullard. he does the same diminishing nonsense with nearly every other character, especially during the various portraits of brief, taped therapy sessions. the lauded art by Clay Mann is technically accomplished but soulless, forgettable, and anonymous. although there are some nice images of flowers, fields, and Flash in a field of flowers; he also knows how to draw some toned asses. LOL gotta enjoy the small things when dealing with this catastrophe of a book.
the story here manages to be both incredibly pretentious and unbearably dumb, quite a feat. the cavalier way that King massacres a bunch of superheroes (who have all since been resurrected, of course), in service of a narrative that mistakenly assumes it has depth simply because it is tackling deep topics such as PTSD, depression, and isolation... I was constantly rolling my eyes at the shallow, tryhard execution of it all. my God, the facile pop psychology on display. my God, so much fucking hugging. and what a bizarre way to treat Wally West, a vibrant character with a fully established personality that King decides to turn into some kind of depressive, suicidal dullard. he does the same diminishing nonsense with nearly every other character, especially during the various portraits of brief, taped therapy sessions. the lauded art by Clay Mann is technically accomplished but soulless, forgettable, and anonymous. although there are some nice images of flowers, fields, and Flash in a field of flowers; he also knows how to draw some toned asses. LOL gotta enjoy the small things when dealing with this catastrophe of a book.
February 28, 2022
Man this was one of the worst DC event books ever. Surprised I haven’t read it before, and blessed DC has moved on from most of this garbage, as Tom King basically does his own Identity Crisis that’s somehow worse than that already awful story. From dumb character moments, to a dumb murder mystery with an even dumber conclusion, Tom King’s obsession with PTSD and what it would do to superheroes is so fucking tiresome at this point. Like I get it bro, these are people who wear costumes to save people and fight bad guys, it doesn’t take a genius to infer most of these people are probably mentally ill and/or fucked in the head, and if you are going to point that out, at least do something interesting with it.
The story is a sanctuary has been built, where heroes can unload about all the trauma and stress of being a superhero. But one day, a group of members is murdered, and Booster Gold & Harley Quinn are the main suspects. That’s the gist and throughout, King tries to tell a tale of mental health that is bogged down by constantly unfunny jokes and the fact he never actually says anything worthwhile about PTSD or mental health in general. Characters seems to regress throughout, and there are no satisfying resolutions to the arcs set up. We also see the confessions of heroes, and weirdly, this is the parts where they use comedic relief. Straight up some shit you’d see in a MCU movie.
Just because a book talks PTSD, depression, and mental health issues, doesn’t automatically mean it’s good or has any merit whatsoever. This feels like something a know-it-all douchebag who took Pyschology 101 freshman year at my college would write, as for some reason he thinks he knows the answers to anything & everything. The best words to describe this is “prentenious as all fuck”. This was a super interesting concept with horrid exection leading to a dud of a story I can’t wait to never touch again. The only reason this book doesn’t annoy me as much as it could is because books like Speed Metal & Jeremy Adams latest Flash run have thankfully fixed Wally West from what King did to him here. Clay Mann’s art was also pretty good, but man that dude draws the same face on everyone.
I just despised every second of this. This was clearly an editorial mandated book, and I HATE those. Give me some creative shit at least or just let King do what he wants.
The story is a sanctuary has been built, where heroes can unload about all the trauma and stress of being a superhero. But one day, a group of members is murdered, and Booster Gold & Harley Quinn are the main suspects. That’s the gist and throughout, King tries to tell a tale of mental health that is bogged down by constantly unfunny jokes and the fact he never actually says anything worthwhile about PTSD or mental health in general. Characters seems to regress throughout, and there are no satisfying resolutions to the arcs set up. We also see the confessions of heroes, and weirdly, this is the parts where they use comedic relief. Straight up some shit you’d see in a MCU movie.
Just because a book talks PTSD, depression, and mental health issues, doesn’t automatically mean it’s good or has any merit whatsoever. This feels like something a know-it-all douchebag who took Pyschology 101 freshman year at my college would write, as for some reason he thinks he knows the answers to anything & everything. The best words to describe this is “prentenious as all fuck”. This was a super interesting concept with horrid exection leading to a dud of a story I can’t wait to never touch again. The only reason this book doesn’t annoy me as much as it could is because books like Speed Metal & Jeremy Adams latest Flash run have thankfully fixed Wally West from what King did to him here. Clay Mann’s art was also pretty good, but man that dude draws the same face on everyone.
I just despised every second of this. This was clearly an editorial mandated book, and I HATE those. Give me some creative shit at least or just let King do what he wants.
September 19, 2019
A very Tom Kingian Tom King book, where it's all about emotions and emotional vulnerability rather than punching and laser beams. I like Tom King's work, and so the tone and humor of the book worked for me. What didn't work:
The whole "We can't let people find out that some heroes get therapy" subplot. I feel like if you told people that some heroes get therapy most folks would be like "yeah, duh". Also, this subplot was dropped halfway through the story and really only seemed to be included so that Superman could give a speech about it; like King was just desperate to write a stirring speech for Superman to give. The whole thing felt VERY shoehorned in.
The last two issues where they sort out what really happened were totally ridiculous. No spoilers, but it was just so convoluted and dumb.
The whole "We can't let people find out that some heroes get therapy" subplot. I feel like if you told people that some heroes get therapy most folks would be like "yeah, duh". Also, this subplot was dropped halfway through the story and really only seemed to be included so that Superman could give a speech about it; like King was just desperate to write a stirring speech for Superman to give. The whole thing felt VERY shoehorned in.
The last two issues where they sort out what really happened were totally ridiculous. No spoilers, but it was just so convoluted and dumb.
September 29, 2019
There is a place, a place where heroes can go when life doesn't seem to want to give them a hand. Where they can stay for as long as they need, to sort out whatever problems they're dealing with, and go back out into the world a better, stronger person. This place is Sanctuary, and it is meant to be a secret. But when several brutal murders bust Sanctuary wide open and expose it to the world, the race is on to find the true culprit - and both Booster Gold and Harley Quinn are square in the sights of Batman, Superman, and Wonder Woman.
If you're reading this review, I expect you've probably read Heroes In Crisis, or at the very least read the spoilers as to how it works. It was too high profile to go in completely clean at this point. So I won't beat about the bush - this one's controversial. As a fan of all of the characters involved, it was sometimes hard to read. But, and this is a big butt - I get it. I understand what King was trying to do. Yes, he's put fan favourite character in an awkward position. Yes, he's killed off some characters (although I'd argue there's only really one that anyone would miss). And yes, it wasn't always very cleanly done. But overall, I think Heroes In Crisis works as a monument to mental health, and how people in bad situations are going to make bad decisions, and those snowball into worse and worse ones until they have to reach out and ask for help.
That's the story of Sanctuary, and I get it. Does that make this any easier to read? No, no it doesn't. Does it save me from the kneejerk 'THIS IS BAD I HATE IT' reaction? Yeah, it does, and I'm glad for it. Tom King's a polarizing writer, but you have to give him his due for telling stories you don't expect, in ways you don't expect them.
He also has great friends, because the art from Clay Mann (bar a few awkward Batgirl poses), Lee Weeks, and Mitch Gerads is gorgeous.
Heroes In Crisis isn't for everyone. But I think if you can peel back the layers of what King's story is trying to do, you'll see it offers much more under the surface than you might expect.
If you're reading this review, I expect you've probably read Heroes In Crisis, or at the very least read the spoilers as to how it works. It was too high profile to go in completely clean at this point. So I won't beat about the bush - this one's controversial. As a fan of all of the characters involved, it was sometimes hard to read. But, and this is a big butt - I get it. I understand what King was trying to do. Yes, he's put fan favourite character in an awkward position. Yes, he's killed off some characters (although I'd argue there's only really one that anyone would miss). And yes, it wasn't always very cleanly done. But overall, I think Heroes In Crisis works as a monument to mental health, and how people in bad situations are going to make bad decisions, and those snowball into worse and worse ones until they have to reach out and ask for help.
That's the story of Sanctuary, and I get it. Does that make this any easier to read? No, no it doesn't. Does it save me from the kneejerk 'THIS IS BAD I HATE IT' reaction? Yeah, it does, and I'm glad for it. Tom King's a polarizing writer, but you have to give him his due for telling stories you don't expect, in ways you don't expect them.
He also has great friends, because the art from Clay Mann (bar a few awkward Batgirl poses), Lee Weeks, and Mitch Gerads is gorgeous.
Heroes In Crisis isn't for everyone. But I think if you can peel back the layers of what King's story is trying to do, you'll see it offers much more under the surface than you might expect.
April 19, 2021
Tom King is becoming the master of psychological superhero drama, I thought Vision was a masterpiece while Mister Miracle was bit too tedious, but he found the right balance for Heroes in Crisis, I was about to rank it among the best DC books I ever read, but the convoluted time travel plot didn't made much sense to me, still a heck of a good read though, my favorite thing is how King made a popular character fail and make a tragic mistake, kinda the same thing Bendis did to Cyclops a couple years ago, I really dig these stories that end up changing the character's status quo, nothing like a good flawed superhero. Clay Mann knocked it out of the park as well, nice use of the six panel grid layout which seems to be Tom Kings favorite style as well.
A must-read for fans of superhero drama/mystery.
A must-read for fans of superhero drama/mystery.
March 12, 2022
"Heroes in Crisis" reminds me a lot of Brad Metzler's "Identity Crisis". Both are detective stories that revolve around superheroes.
This could also be looked at the PTSD volume. So superheroes have PTSD from doing what they do, Superman sets up some Kryptonian tech that help them to talk it over. But this "Sanctuary" comes under a strange assault that leaves some heroes dead. The possible culprits? Booster Gold and Harley Quinn. Or so it seems.
Batman, Superman and Wonder Woman must try to figure out who is the murderer. Interesting enough story, really good art make for a 3 star volume. I've read better, but this was pretty good. Am I nuts about it? No. But the art is stellar and the story good enough.
This could also be looked at the PTSD volume. So superheroes have PTSD from doing what they do, Superman sets up some Kryptonian tech that help them to talk it over. But this "Sanctuary" comes under a strange assault that leaves some heroes dead. The possible culprits? Booster Gold and Harley Quinn. Or so it seems.
Batman, Superman and Wonder Woman must try to figure out who is the murderer. Interesting enough story, really good art make for a 3 star volume. I've read better, but this was pretty good. Am I nuts about it? No. But the art is stellar and the story good enough.
November 19, 2021
Comics really aren't my thing.
It's not that I don't like the... form? Just, those heroes, or, those pretending to be heroes,
I hate them.
And the fact that they suffer too,
doesn't change that,
at all.
Because everybody suffers and everybody saves things and everybody may need a friend and happy smiles, but, some of us deserve it, "heroes" don't.
They get away with things. They should not.
My opinion.
My unpopular opinion.
It's not that I don't like the... form? Just, those heroes, or, those pretending to be heroes,
I hate them.
And the fact that they suffer too,
doesn't change that,
at all.
Because everybody suffers and everybody saves things and everybody may need a friend and happy smiles, but, some of us deserve it, "heroes" don't.
They get away with things. They should not.
My opinion.
My unpopular opinion.
December 25, 2024
I mostly enjoyed this up until the last issue, and then it completely lost me. It's not as great as it probably should be given the talent behind it, but I liked the idea of superheroes needing somewhere to go and unload their shit. And then it's only natural those secrets would get out, but then that plot line was mostly dropped?
January 6, 2021
If you've never read any books pre Rebirth, you probably read this and thought it was a brave choice. And honestly, had I not read heroes in therapy handled with a FUCK of a lot more empathy, understanding and research (ex: Tamaki's Hulk and Thompson's Silk series) I would've found this concept rather novel. A new DC comics reader might've enjoyed this story because they didn't have any pre Rebirth knowledge to realize that not a single person behaved in character. (And for some of them, their behavior wasn't even in line with their Rebirth personas?).
*Sighs* I love psychology. I have a degree in psychology. I read books and articles on psychology for fun. I'm passionate about the science because I grew up in a state that does not really pay attention to the mentally ill in a way that is conducive to helping those in need. It's a topic that's tremendously important to me and sometimes it's hard for me to read comics where characters go through trauma after trauma and it's never really addressed because most people don't want to read about Batman seeing a therapist. I get it. However, this book led with a discussion about heroes in therapy - so is it really too much for me to ask that they not feature that concept and proceed to continuously shit on it?
The tone of this book is all over the place. We start with a mass murder and it's a mystery as to who caused it. Harley Quinn, who won't stop singing in nursery rhymes or Booster Gold, who's rather unemotional in a way that made him seem like an anti social personality. The serious bits are Batman, Wonder Woman, Batgirl and Superman trying to figure out the mystery. Which (in the most baffling choices of all) leaves the therapy sessions for comic relief?
What the fuck?
They intersplice several bits of supers going to therapy and they're just cracking jokes. Characters who's lives were almost ruined by drug addiction are making jokes about it. Characters who've suffered years of grief and PTSD and helplessness, etc are giving one liners. Martian Manhunter has one line "Underneath, everyone's screaming" which is supposed to be serious (I think?) but was unintentionally funny. Why were these the chosen moments of levity?
Everyone's characterization felt regressive - save maybe Batman who's characterization has been all over the place since Rebirth started. Babs is Rebirth Babs which is Burnside Babs who just says things like "Batman, you rock" and appears 16 personality wise. Harley has been regressed to the caricature Hot Topic wants her to be, not the intelligent, fascinating, and dynamic character Stepan Seijic and the Birds of Prey film knows she can be. The batkids are all here for reasons (They don't really help in the investigation) and their confessionals just read like tumblr's one note interpretations of who the robins are. The best example of how regressive this is, was Cassandra Cain's panel featuring her sitting there silently. You know, like Rebirth regressed her character back to someone that never speaks.
Do I even need to mention that no character of color was present in any important way aside from the black guy who was introduced and murdered a page later?
There's no depth here. There's nothing you didn't already know going into this comic. Now, this leads me to the confessionals/therapy sessions that were meant to be serious:
You've got Wonder Woman saying she'd prefer to just not talk about her feelings... Diana is the character that constantly asks her fellow heroes about their feelings. Batman - the least trustful person in the world is the one that starts to speak but Superman's the one that won't because he doesn't trust the info won't be leaked. I am confused.
I couldn't take any of this seriously because King's writing has never worked for me. It's always simplistic statements that are meant to be powerful but come across as weak, juvenile and...bland. Simplistic can work. Jeph Loeb's color series for Marvel, his Dark Victory and Long Halloween works, Robin: Year One, Batgirl: Year One, these are all books that don't need to be wordy to be powerful. King's writing is mostly miss for me, but this style combined with characterization I don't recognize, combined with a plot that appeared to be a fuck you to therapy ... there was nothing for me to love here.
I feel like this could've worked as a concept if it'd focused on (1) character at a trial or something where they've taken the steps to atone for what they've done. Some explanation of their mental state at the time of the crime and their explanation is meant to show mitigating factors for leniency. Maybe the other supers share times in their past where they made mistakes due to their own personal issue. The story would've been more focused and not using character's therapy sessions as punchlines. And it would've been a hell of a lot more sympathetic when we're seeing the character took steps to atone for what they did.
I preface any Rebirth review with how I think someone new to DC comics would've perceived the story. Sometimes, that makes me feel even worse about the story because I keep thinking about this person going backwards through DC's history and being utterly confused because this Rebirth book showed a beloved character as a monster. I've never been Wally West's biggest fan but, opposite the way the Rebirth special made me feel for him, this book just made him look like a monster.
So, not a recommend from me - especially for a comic focused on mental health. The art (while pretty when not overly sexualized - looking at that Babs panel *sigh*) is not worth it. Somewhat interesting concept, horrible execution.
*Sighs* I love psychology. I have a degree in psychology. I read books and articles on psychology for fun. I'm passionate about the science because I grew up in a state that does not really pay attention to the mentally ill in a way that is conducive to helping those in need. It's a topic that's tremendously important to me and sometimes it's hard for me to read comics where characters go through trauma after trauma and it's never really addressed because most people don't want to read about Batman seeing a therapist. I get it. However, this book led with a discussion about heroes in therapy - so is it really too much for me to ask that they not feature that concept and proceed to continuously shit on it?
The tone of this book is all over the place. We start with a mass murder and it's a mystery as to who caused it. Harley Quinn, who won't stop singing in nursery rhymes or Booster Gold, who's rather unemotional in a way that made him seem like an anti social personality. The serious bits are Batman, Wonder Woman, Batgirl and Superman trying to figure out the mystery. Which (in the most baffling choices of all) leaves the therapy sessions for comic relief?
What the fuck?
They intersplice several bits of supers going to therapy and they're just cracking jokes. Characters who's lives were almost ruined by drug addiction are making jokes about it. Characters who've suffered years of grief and PTSD and helplessness, etc are giving one liners. Martian Manhunter has one line "Underneath, everyone's screaming" which is supposed to be serious (I think?) but was unintentionally funny. Why were these the chosen moments of levity?
Everyone's characterization felt regressive - save maybe Batman who's characterization has been all over the place since Rebirth started. Babs is Rebirth Babs which is Burnside Babs who just says things like "Batman, you rock" and appears 16 personality wise. Harley has been regressed to the caricature Hot Topic wants her to be, not the intelligent, fascinating, and dynamic character Stepan Seijic and the Birds of Prey film knows she can be. The batkids are all here for reasons (They don't really help in the investigation) and their confessionals just read like tumblr's one note interpretations of who the robins are. The best example of how regressive this is, was Cassandra Cain's panel featuring her sitting there silently. You know, like Rebirth regressed her character back to someone that never speaks.
Do I even need to mention that no character of color was present in any important way aside from the black guy who was introduced and murdered a page later?
There's no depth here. There's nothing you didn't already know going into this comic. Now, this leads me to the confessionals/therapy sessions that were meant to be serious:
You've got Wonder Woman saying she'd prefer to just not talk about her feelings... Diana is the character that constantly asks her fellow heroes about their feelings. Batman - the least trustful person in the world is the one that starts to speak but Superman's the one that won't because he doesn't trust the info won't be leaked. I am confused.
I couldn't take any of this seriously because King's writing has never worked for me. It's always simplistic statements that are meant to be powerful but come across as weak, juvenile and...bland. Simplistic can work. Jeph Loeb's color series for Marvel, his Dark Victory and Long Halloween works, Robin: Year One, Batgirl: Year One, these are all books that don't need to be wordy to be powerful. King's writing is mostly miss for me, but this style combined with characterization I don't recognize, combined with a plot that appeared to be a fuck you to therapy ... there was nothing for me to love here.
I feel like this could've worked as a concept if it'd focused on (1) character at a trial or something where they've taken the steps to atone for what they've done. Some explanation of their mental state at the time of the crime and their explanation is meant to show mitigating factors for leniency. Maybe the other supers share times in their past where they made mistakes due to their own personal issue. The story would've been more focused and not using character's therapy sessions as punchlines. And it would've been a hell of a lot more sympathetic when we're seeing the character took steps to atone for what they did.
I preface any Rebirth review with how I think someone new to DC comics would've perceived the story. Sometimes, that makes me feel even worse about the story because I keep thinking about this person going backwards through DC's history and being utterly confused because this Rebirth book showed a beloved character as a monster. I've never been Wally West's biggest fan but, opposite the way the Rebirth special made me feel for him, this book just made him look like a monster.
So, not a recommend from me - especially for a comic focused on mental health. The art (while pretty when not overly sexualized - looking at that Babs panel *sigh*) is not worth it. Somewhat interesting concept, horrible execution.
September 27, 2019
You can find my review on my blog by clicking here.
While vigilantism is always at the heart of juridical debates, with individuals breaking the law to serve a greater good, we’re often led to believe that their lives are void of adversity and that they represent the paragon of virtues as they dish out their own form of justice to those that escape the grasps of the law. Albeit partially true, these individuals are also subjugated to the same scale of emotions as everyone else and face some of the toughest decisions that humanity will ever have to face. Yet, how do they cope with these issues without breaking down and fully assuming those vulnerabilities that could destroy the image they represent for the people they protect? From the ex-CIA-operative who has given us The Sheriff of Babylon and Mister Miracle, Tom King, the same man who has been writing the ongoing Batman series since the beginning of DC Comics’ Rebirth era, now comes a stand-alone superhero story centered on the ability of these guardians to handle post-traumatic stress disorder (PTSD).
What is Heroes in Crisis about? Located in an ultra-secret farm lies Sanctuary, a therapy center for superheroes who, more often than not, voluntarily bite off more than they can ever chew in their crime-fighting lives, whether it concerns a simple bank robbery or a cosmic crisis. Through interviews with androids with artificial intelligence and an immersive virtual reality therapy, these heroes are invited to openly speak about the issues they have faced and the emotions they have been dealing with on a daily basis. A tragedy, nevertheless, strikes this location, where confidentiality is supposedly at its peak, when some of the heroes who presented themselves there as patients are found dead and only two very unusual suspects are identified: Harley Quinn and Booster Gold. It’s up to the DC Trinity (Superman, Wonder Woman and Batman) to demystify this tragedy while these heroes are put under extreme scrutiny.
This story arc happens to be one of the most controversial plotting schemes by Tom King so far, as he generated an outburst among fans with his daring characterization of certain heroes, notably Wally West (The Flash). What he accomplishes in this nine-part tale completely remolds a hero and leads to a dark, twisted, and unpredictable finale that is far from being pleasant to the eyes of certain fans. Told through three distinct narrative styles (nine-panel grid interviews with patients at Sanctuary, the Trinity’s search for answers and their management of public outrage, as well as the point of views of several characters, including the prime suspects), the story slowly builds on the suspense until the grand reveal in the final two issues. Although the story is configured as a whodunit, Tom King also does what he does best as he focuses on character development by highlighting trauma through hesitant, confused or perplexed dialogues. It is stories like these that make comics so fascinating as they go beyond the narrative and tackle ideas and themes that aren’t easy to fathom.
Although the story is slightly convoluted with segments that explore unmemorable heroes and their existential crises, as well as relatively-minor issues regarding plot holes, pacing and structure, the jaw-dropping and marvelous artwork elevates the quality of this graphic novel to incredible heights. It is to be noted that artist Clay Mann figures among my favourite talents in the comic book business and even gets a helping hand from the talented Travis Moore, Lee Weeks, Mitch Gerads and Jorge Fornes. Alongside the stunning colouring by Tomeu Morey, Arif Prianto and Mitch Gerads, this graphic novel provided an insightful look at the splendid collaboration between artists and colourists into delivering incredible splash pages with near-perfect character designs. The meticulous detail in the subtle body language and facial expressions are also magnificent, allowing the artwork to speak for itself.
Heroes in Crisis is an ambitious and daunting exploration of mental health issues amongst superheroes by breaking the status quo with heroes and villains alike, coupled with breath-taking artwork to deliver a controversial and daring crisis among heroes.
Yours truly,
Lashaan | Blogger and Book Reviewer
Official blog: https://bookidote.com/
May 31, 2019
Could you imagine being the guy who comes into the editor's office and goes "So I'm pitching an epic event about PTSD and friendship and emotions. And it's going to have dumb jokes all the time because neither I nor my intended fanbase can cope with genuine emotions without masking them in piles of punchlines. Also, the climax is going to have someone say "Bros before heroes" in the middle of a murder confession because that's not, like, palpably stupid, right? Also, time travel will be mixed in because I have to preserve the status quo as much as possible. Also, I'm not really planning to explore PTSD. Also also, please don't let me write this book because it's the most horrid thing DC has put out in a while. How about that?"
So, could you imagine being that guy? If you could, don't bother.
Instead, imagine yourself as the exec who goes "Wow, great idea. Let's get this done." Imagine being THAT GUY.
On a scale of 1 to 10, this is a big ol' mistake that should not have seen the light of day.
So, could you imagine being that guy? If you could, don't bother.
Instead, imagine yourself as the exec who goes "Wow, great idea. Let's get this done." Imagine being THAT GUY.
On a scale of 1 to 10, this is a big ol' mistake that should not have seen the light of day.
March 23, 2023
I have reread this book and written a full review and summary
Heroes in Crisis
Tom king does what he does best, takes superheros and grounds them in a way that no one else can. Heros in crisis is an exploration of PTSD and how even the strongest of us need help to deal with emotions such as grief and loneliness. Just because you are in a position of great power does not mean you are not vulnerable and you shouldn't have to suffer in silence. The raw emotion of the book is framed around a compelling mystery story that brings together the entire DC roster. This is a must read.
Heroes in Crisis
Tom king does what he does best, takes superheros and grounds them in a way that no one else can. Heros in crisis is an exploration of PTSD and how even the strongest of us need help to deal with emotions such as grief and loneliness. Just because you are in a position of great power does not mean you are not vulnerable and you shouldn't have to suffer in silence. The raw emotion of the book is framed around a compelling mystery story that brings together the entire DC roster. This is a must read.
July 22, 2019
I went into this thinking I wouldn't like it, based on some other reviews. And at first, that was true: I don't want to think about my heroes with real-life psychological problems and foibles. As the story progressed, it grew on me, surprisingly. I really liked the ending, but I won't say why so I don't spoil it for anyone. There are some laugh out loud moments, too.
Aside from the story, the artwork was fantastic.
Aside from the story, the artwork was fantastic.
January 1, 2020
SUPER FAST REVIEW:
A DC murder mystery. Well it is certainly suspenseful, it has some surprisingly great humorous moments and the art is awesome.
I will say that I didn’t care for the dialogue, it is sometimes a tad slow (though there are a few good action scenes) and I didn’t like the ending.
So yeah it’s enjoyable overall but nothing I would necessarily recommend. If you like Tom King’s work or think a DC murder mystery sounds cool it’s probably worth checking out.
3/5
A DC murder mystery. Well it is certainly suspenseful, it has some surprisingly great humorous moments and the art is awesome.
I will say that I didn’t care for the dialogue, it is sometimes a tad slow (though there are a few good action scenes) and I didn’t like the ending.
So yeah it’s enjoyable overall but nothing I would necessarily recommend. If you like Tom King’s work or think a DC murder mystery sounds cool it’s probably worth checking out.
3/5
September 12, 2020
This review contains spoilers.
The word “crisis” means something huge in the DC Universe, as it is often used for an event with potentially great consequences, often involving multiple universes and sometimes even threatening their existence. However, when it comes to titles like Identity Crisis, superheroes are facing their own psychological issues and instead of cosmic threats, it’s about domestic abuse and murder. This is more in line with what Tom King – a writer who is now known for pissing off readers – has done with Heroes in Crisis, which explores how a superhero copes with PTSD.
After being mentioned several times in King’s current run in the main Batman title, he finally introduces here “Sanctuary”, a secret rehabilitation centre for superheroes and reformed supervillains dealing with mental health issues. When a horrible massacre claims the lives of nearly all its patients, Harley Quinn and Booster Gold are targeted as the prime suspects, causing the trinity of Superman, Batman and Wonder Woman to investigate.
From The Vision to Mister Miracle, Tom King is clearly influenced by the works of Alan Moore, whose magnum opus Watchmen that is known for its exploration of the dark psychology of costumed vigilantes, inspired the many video confessions of the super-powered patients going through the rehabilitation of Sanctuary. Told in the nine-panel grid as drawn by Clay Mann, these pages are a real eye-opener in how these superheroes – even including the DC Trinity – speak how they really feel as their personas is not just to disguise themselves from the public, but also hiding their internal fears.
As bleak as the subject matter can be, King is a dark humorist as shown through the lens of the two prime suspects. Having been through a lot already as King’s Batman, Booster Gold and Harley Quinn bring out the laughs in the most unusual situations, beginning with the first issue where they are initially dining in a café to then attacking each other, due to accusing each other of the murders. Although the Trinity is important figures as they are the minds behind Sanctuary, the driving force of the narrative is Booster and Harley, who have to pair up along with Barbara Gordon/Batgirl and Ted Kord/Blue Beetle to solve the mystery.
With the presence of Sanctuary and the murders that are getting closer to being revealed to the public, it opens the idea of people starting to mistrust these powerful figures who are there to protect the innocent. If superheroes can feel the trauma that we all can experience, is our safety at risk? In issue five, Superman answers to the world by delivering a speech that not only explains the need for a facility like Sanctuary, but also being a humanising moment that cuts through to the essence of heroism and empowers. Showcasing the wide canvas of the DC Universe, from Ystin the Shining Knight to Adam Strange to Swamp Thing – with Clay Mann doing some of his best work – the speech brings out the best in King’s writing and states his idea about what superheroes should be, which is no matter what nightmares they face, they are able to climb out of the darkness.
Despite the inspirational speech from the Man of Steel that occurs halfway through the book, why do the final two issues make a complete U-turn? Issue #8 reveals that Wally West caused the massacre by accident. Still grappling with the trauma related to having his family erased in the New 52, Wally finds out about the other heroes being treated by Sanctuary, causing this emotional outbreak that unleashes an energy blast from the Speed Force that kills almost everyone. Although King is playing with the idea of the Flash being a key player in the numerous events from DC’s history, there are a lot of hoops that King have to achieve that feel convoluted, and how the heroes resolve this whole ordeal at the end tries to in some way redeem Wally.
Whatever your thoughts are on Mister Miracle, which may not give clear answers, but it was about self-improvement and its titular character finding some comfort amidst the ambiguity. Heroes in Crisis ends on a bleaker note where you can’t be helped and as much as Wally turns himself in, it is an outcome that contradicts a lot of the book had done. Although we do see what happens to Wally in the pages of Flash Forward, I feel like the damage has already been done. This is perhaps the most controversial comic book of the year, but despite the problematic conclusion, Tom King – along with his array of artists from Clay Mann to Mitch Gerads, etc. – presents a thoughtful spin on a wide range of DC characters going through the everyday fears that we experience.
On a side note, I do wish Clay Mann dials back on his butt fetish.
The word “crisis” means something huge in the DC Universe, as it is often used for an event with potentially great consequences, often involving multiple universes and sometimes even threatening their existence. However, when it comes to titles like Identity Crisis, superheroes are facing their own psychological issues and instead of cosmic threats, it’s about domestic abuse and murder. This is more in line with what Tom King – a writer who is now known for pissing off readers – has done with Heroes in Crisis, which explores how a superhero copes with PTSD.
After being mentioned several times in King’s current run in the main Batman title, he finally introduces here “Sanctuary”, a secret rehabilitation centre for superheroes and reformed supervillains dealing with mental health issues. When a horrible massacre claims the lives of nearly all its patients, Harley Quinn and Booster Gold are targeted as the prime suspects, causing the trinity of Superman, Batman and Wonder Woman to investigate.
From The Vision to Mister Miracle, Tom King is clearly influenced by the works of Alan Moore, whose magnum opus Watchmen that is known for its exploration of the dark psychology of costumed vigilantes, inspired the many video confessions of the super-powered patients going through the rehabilitation of Sanctuary. Told in the nine-panel grid as drawn by Clay Mann, these pages are a real eye-opener in how these superheroes – even including the DC Trinity – speak how they really feel as their personas is not just to disguise themselves from the public, but also hiding their internal fears.
As bleak as the subject matter can be, King is a dark humorist as shown through the lens of the two prime suspects. Having been through a lot already as King’s Batman, Booster Gold and Harley Quinn bring out the laughs in the most unusual situations, beginning with the first issue where they are initially dining in a café to then attacking each other, due to accusing each other of the murders. Although the Trinity is important figures as they are the minds behind Sanctuary, the driving force of the narrative is Booster and Harley, who have to pair up along with Barbara Gordon/Batgirl and Ted Kord/Blue Beetle to solve the mystery.
With the presence of Sanctuary and the murders that are getting closer to being revealed to the public, it opens the idea of people starting to mistrust these powerful figures who are there to protect the innocent. If superheroes can feel the trauma that we all can experience, is our safety at risk? In issue five, Superman answers to the world by delivering a speech that not only explains the need for a facility like Sanctuary, but also being a humanising moment that cuts through to the essence of heroism and empowers. Showcasing the wide canvas of the DC Universe, from Ystin the Shining Knight to Adam Strange to Swamp Thing – with Clay Mann doing some of his best work – the speech brings out the best in King’s writing and states his idea about what superheroes should be, which is no matter what nightmares they face, they are able to climb out of the darkness.
Despite the inspirational speech from the Man of Steel that occurs halfway through the book, why do the final two issues make a complete U-turn? Issue #8 reveals that Wally West caused the massacre by accident. Still grappling with the trauma related to having his family erased in the New 52, Wally finds out about the other heroes being treated by Sanctuary, causing this emotional outbreak that unleashes an energy blast from the Speed Force that kills almost everyone. Although King is playing with the idea of the Flash being a key player in the numerous events from DC’s history, there are a lot of hoops that King have to achieve that feel convoluted, and how the heroes resolve this whole ordeal at the end tries to in some way redeem Wally.
Whatever your thoughts are on Mister Miracle, which may not give clear answers, but it was about self-improvement and its titular character finding some comfort amidst the ambiguity. Heroes in Crisis ends on a bleaker note where you can’t be helped and as much as Wally turns himself in, it is an outcome that contradicts a lot of the book had done. Although we do see what happens to Wally in the pages of Flash Forward, I feel like the damage has already been done. This is perhaps the most controversial comic book of the year, but despite the problematic conclusion, Tom King – along with his array of artists from Clay Mann to Mitch Gerads, etc. – presents a thoughtful spin on a wide range of DC characters going through the everyday fears that we experience.
On a side note, I do wish Clay Mann dials back on his butt fetish.
June 2, 2019
Basic Plot: Sanctuary, a place for superheroes to go to recover from trauma and get help for mental problems, is attacked and the perpetrator must be brought to justice.
What a whirlwind of a plot. The mystery is crafted incredibly well and when the reader finally sees what happened it's pretty mindblowing. I love all the little panels of the heroes talking to Sanctuary and seeing what they say. I also love the resolution of the plot and what it does.
The mere concept of sanctuary is beautiful. The idea that PTSD and a host of other issues would logically plague superheroes is something I've thought about often, and this book deals with the idea brilliantly. It also takes a very important step towards the normalization of seeking help for these problems, and that is so important right now. So very very important.
What a whirlwind of a plot. The mystery is crafted incredibly well and when the reader finally sees what happened it's pretty mindblowing. I love all the little panels of the heroes talking to Sanctuary and seeing what they say. I also love the resolution of the plot and what it does.
The mere concept of sanctuary is beautiful. The idea that PTSD and a host of other issues would logically plague superheroes is something I've thought about often, and this book deals with the idea brilliantly. It also takes a very important step towards the normalization of seeking help for these problems, and that is so important right now. So very very important.
December 31, 2019
Thus all the goodness that was DC Rebirth has been damage by this monstrosity. The sad truth is that the artwork by Clay Mann is incredible. Also I collected this as it was released hoping it would turn out good in the end. This book is a character assassination of the DC universe. The story is dark and depressing and it leaves little hope in the end. I know this is going to stir up debate but I have to be honest about how I feel with the state of DC comics and how folks in charge have taken King and used him to destroy what heroes are all about. I like my heroes to be inspirational and it should come as no surprise that almost all of the original Titans are in a bad state currently in DC comics. This story turns Wally West who is one of the most hopeful characters into a coldhearted killer. That's right spoiler alert a good good good guy is the bad guy in this story. There is also something that happens in this book that is just impossible and stupid that concerns the characterization of Harley Quinn. I guest we are supposed to believe she could outwit the trinity of Wonder woman, Batman, and Superman. I am going to make this perfectly clear heroes do not always have to win in every issue but at the end of the day they should triumph over evil. The reason why I read superhero comics is to see good triumph in the face of evil. Wally was the central point of DC Universe: Rebirth #1. Now Wally is a criminal, Roy harper is dead, Nightwing has amnesia, & Donna Troy is going to be infected by the Batman who laughs. You get it! DC comics just doesn't like sidekicks anymore. King's writing in this story is a little too wordy and worse I didn't like the poetry either. Heroes in Crisis is just a poor man's Identity Crisis. It is just so disappointing because I really loved king's writing in Mister Miracle, The Omega Men: The End is Here and The Sheriff of Babylon, Volume 1: Bang. Bang. Bang. as well.
August 7, 2019
Якщо коротко, то задум у Кінґа блискучий: уявість собі таку місцину (що зветься Притулок), в якій збираються сурпегерої та супергероїні, щоб реабілітувати свої психічні травми. Оминути травму неминуче: хтось не врятував усіх, хтось відчуває свою провину перед батьками й друзями, а хтось і сам не може зрозуміти, чому почувається погано. Направду Кінґ не розкриває, не заглиблюється у психічні нетрі супергероїв та супергероїнь, а робить своєрідний репортаж у своєму фірмовому стилі коротких монологів-бульбашок, пунктирно позначаючи архетип того чи того героя/героїні. Але проблеми починаються тоді, коли на полі знаходять тіло одного, а потім друго й третього. Звідси має чи то детективний блокбастер розпочатись, чи то майже цілий івент, про який згадував Кінґ у своїх інтерв'ю, проте обидві спроби вийшли, м'яко кажучи, незрозумілими.
У пршому разі Кінґ так намудрував, що, здається, переплюнув самого Ґранта Моррісона. Закрутивши історію як стрічку Мьобіуса він взагалі поставив під сумнів увесь свій задум (не хочу спойлерити). Якщо так, то для чого тоді було варити всю цю кашу? Особливо дивним видається так зване викриття Притулку світовим медіа, а точніше - безспристране сприйняття Суперменом цієї звістки. Справді, тепер усі знатимуть, що супери страждають і взагалі мають слабкості. Які ж вони тоді супери? Та взагалі ось ця лінія із Суперменом і Лоїс Лейн, яка або кличе його у постіль, або вже з ним в ліжку, видається мені незбагненною, бо викриває незграбність і недалекоглядність насамперед людини зі сталі. У цьому всьому найбільш класними є парочка Бастера й Блакитного Жука (ну може ще Гарлі Квін та Отруйного Плюща), які розслідують історію, але насправді просто валяють дурня. І це дуже весело й живо виглядає. Місцями навіть сентиментально.
Що стосується івенту, то для цієї історії аж надто замало випусків. Вона потребує ширшого розмаху, із десяток тай-інів і ще стільки ліміток, але точно не дев'яти випусків (серед яких шостий взаг��лі як приший кобилі хвіст). На фоні цього можна було би зробити те, що зробив Бред Мельтцер у своєму Identity Crisis, обравши варіант внутрішнього, драматичного "розривання" суперів, а не їх зовнішнього зіткнення як це раніше було із кризами. У Кінґа, як відомо, психологічна драма виходить найкраще (можна брати відносно мейнстрімний Vision, що альтернативний, мій улюблений The Sheriff of Babylon), тому обрана стратегія була цілком виправданою і логічною. Однак, знову ж таки, все вийшло надто спірно, надто абстрактно, будучи подібним більше до чернетки, аніж до повноцінного івенту зі зміною правил всесвіту. Кінґ не тільки нічого не змінив, але й повернувся до статусу кво у своїй історії, що виглядає найбільш спірним і дивним рішенням. Напевно, не тільки для мене.
Проте це не настільки погана й провальна робота, як може видатись на перший погляд. Здається, що гірше «Бетмена» Кінґ вже нічого не напише. У цій роботі є чітке бачення, хороші моменти, цілком виправданні діалоги у стилі відбивання тенісного м’ячика. Також є хороше розуміння психології (але не завжди мотивації) героїв і героїнь, непогане розуміння контексту, ал�� погане його використання. Художня майстерність Клея Манна та Мітча Ґерадса на висоті, особливо якщо брати до уваги розвороти на перших сторінках кожного випуску. Обкладинки теж гідні, тому тут нема до чого придертись. Однак основний курс тримав Кінґ, але корабель – чи навіть лайнер – навіть не зрушив з берега, так і лишився для милування.
У пршому разі Кінґ так намудрував, що, здається, переплюнув самого Ґранта Моррісона. Закрутивши історію як стрічку Мьобіуса він взагалі поставив під сумнів увесь свій задум (не хочу спойлерити). Якщо так, то для чого тоді було варити всю цю кашу? Особливо дивним видається так зване викриття Притулку світовим медіа, а точніше - безспристране сприйняття Суперменом цієї звістки. Справді, тепер усі знатимуть, що супери страждають і взагалі мають слабкості. Які ж вони тоді супери? Та взагалі ось ця лінія із Суперменом і Лоїс Лейн, яка або кличе його у постіль, або вже з ним в ліжку, видається мені незбагненною, бо викриває незграбність і недалекоглядність насамперед людини зі сталі. У цьому всьому найбільш класними є парочка Бастера й Блакитного Жука (ну може ще Гарлі Квін та Отруйного Плюща), які розслідують історію, але насправді просто валяють дурня. І це дуже весело й живо виглядає. Місцями навіть сентиментально.
Що стосується івенту, то для цієї історії аж надто замало випусків. Вона потребує ширшого розмаху, із десяток тай-інів і ще стільки ліміток, але точно не дев'яти випусків (серед яких шостий взаг��лі як приший кобилі хвіст). На фоні цього можна було би зробити те, що зробив Бред Мельтцер у своєму Identity Crisis, обравши варіант внутрішнього, драматичного "розривання" суперів, а не їх зовнішнього зіткнення як це раніше було із кризами. У Кінґа, як відомо, психологічна драма виходить найкраще (можна брати відносно мейнстрімний Vision, що альтернативний, мій улюблений The Sheriff of Babylon), тому обрана стратегія була цілком виправданою і логічною. Однак, знову ж таки, все вийшло надто спірно, надто абстрактно, будучи подібним більше до чернетки, аніж до повноцінного івенту зі зміною правил всесвіту. Кінґ не тільки нічого не змінив, але й повернувся до статусу кво у своїй історії, що виглядає найбільш спірним і дивним рішенням. Напевно, не тільки для мене.
Проте це не настільки погана й провальна робота, як може видатись на перший погляд. Здається, що гірше «Бетмена» Кінґ вже нічого не напише. У цій роботі є чітке бачення, хороші моменти, цілком виправданні діалоги у стилі відбивання тенісного м’ячика. Також є хороше розуміння психології (але не завжди мотивації) героїв і героїнь, непогане розуміння контексту, ал�� погане його використання. Художня майстерність Клея Манна та Мітча Ґерадса на висоті, особливо якщо брати до уваги розвороти на перших сторінках кожного випуску. Обкладинки теж гідні, тому тут нема до чого придертись. Однак основний курс тримав Кінґ, але корабель – чи навіть лайнер – навіть не зрушив з берега, так і лишився для милування.
July 3, 2020
Heroes in Crisis is frustrating to read in a month to month basis. It's slow and plodding, deliberately so. But it reads better in a collection.
I read it as it was coming out and from that experience I'd probably give it a two to two and a half star because of how different the two halves of the story feel. You have everything going on in the interview sessions, there isn't an overarching plot going through them they are just character work. Very good character work most of the time I think. But the plot of the story is outside these interviews.
It's a murder mystery in the aftermath of a huge massacre at sanctuary. What is sanctuary? It's an ai that you talk to and it helps you to work things out after being a superhero. Because everybody has undergone trauma and you don't have to carry it alone, you aren't alone. You're only as alone as you make yourself. Built by Superman, Batman, and Wonder Woman sanctuary was supposed to help the heroes, to let them know they aren't alone.
But as the story opens up there have been a great many murders at sanctuary. Among those dead are Arsenal, Lagoon Boy, Hot spot, Poison Ivy, and Wally West. And it comes down to Booster Gold and Harley Quinn. Both of them think the other did it and Batman/Superman/Wonder Woman/ Barry Allen are left to find out which of them did it if either of them did.
The plot is laid out simply but shit gets fuckey towards the end in how convoluted the explanation as to how it happened gets.
So what does this suffer from? A few things I think that hold it back from being great. First off the explanation for how it happened is not as interesting nor worth the mystery the title creates.
Two, the book is more interested in the overarching point/theme/message then it is in being a compelling plot. Talking primarily about outside of the interviews because those were my favorite part of the book. HiC drops all pretenses in the last issue and has a character monologue what the story is about and by that point you didn't entirely need that.
Three at the same time HiC had too many issues (9) and not enough. It ends where there should have been another issue or the ramifications of this may be dealt with elsewhere but I have yet to hear about any of that. And the first four issues seem to be concerned with a different story then the rest of it, as they drop Batman/Superman/ Wonder Woman to focus more on Booster/Beetle/Quinn/Batgirl, not that that's a problem but they have more focus in the beginning and sort of become an inevitable force by the end instead of characters.
Those are the three things that I think drag HiC in a major sort of way. I have other nitpicks like the dialogue, or how certain characters act but they aren't entirely actual problems that drag the story down. (But those Robin interviews are weird)
The good of the story is the art which is exceptionally brilliant. Clay Mann and Mitch Gerads kill it with breathtaking images. It's almost worth reading for that alone.
And while the message is delivered very strongly I think it surely has something worth saying and has a strong reason for being. And despite my problems I enjoyed my time with it even if the confusion and frustration got to me sometimes.
3 stars, I don't think it's an all time great but it's worth a look if you read multiple titles in the DC universe or keep up on the events.
I read it as it was coming out and from that experience I'd probably give it a two to two and a half star because of how different the two halves of the story feel. You have everything going on in the interview sessions, there isn't an overarching plot going through them they are just character work. Very good character work most of the time I think. But the plot of the story is outside these interviews.
It's a murder mystery in the aftermath of a huge massacre at sanctuary. What is sanctuary? It's an ai that you talk to and it helps you to work things out after being a superhero. Because everybody has undergone trauma and you don't have to carry it alone, you aren't alone. You're only as alone as you make yourself. Built by Superman, Batman, and Wonder Woman sanctuary was supposed to help the heroes, to let them know they aren't alone.
But as the story opens up there have been a great many murders at sanctuary. Among those dead are Arsenal, Lagoon Boy, Hot spot, Poison Ivy, and Wally West. And it comes down to Booster Gold and Harley Quinn. Both of them think the other did it and Batman/Superman/Wonder Woman/ Barry Allen are left to find out which of them did it if either of them did.
The plot is laid out simply but shit gets fuckey towards the end in how convoluted the explanation as to how it happened gets.
So what does this suffer from? A few things I think that hold it back from being great. First off the explanation for how it happened is not as interesting nor worth the mystery the title creates.
Two, the book is more interested in the overarching point/theme/message then it is in being a compelling plot. Talking primarily about outside of the interviews because those were my favorite part of the book. HiC drops all pretenses in the last issue and has a character monologue what the story is about and by that point you didn't entirely need that.
Three at the same time HiC had too many issues (9) and not enough. It ends where there should have been another issue or the ramifications of this may be dealt with elsewhere but I have yet to hear about any of that. And the first four issues seem to be concerned with a different story then the rest of it, as they drop Batman/Superman/ Wonder Woman to focus more on Booster/Beetle/Quinn/Batgirl, not that that's a problem but they have more focus in the beginning and sort of become an inevitable force by the end instead of characters.
Those are the three things that I think drag HiC in a major sort of way. I have other nitpicks like the dialogue, or how certain characters act but they aren't entirely actual problems that drag the story down. (But those Robin interviews are weird)
The good of the story is the art which is exceptionally brilliant. Clay Mann and Mitch Gerads kill it with breathtaking images. It's almost worth reading for that alone.
And while the message is delivered very strongly I think it surely has something worth saying and has a strong reason for being. And despite my problems I enjoyed my time with it even if the confusion and frustration got to me sometimes.
3 stars, I don't think it's an all time great but it's worth a look if you read multiple titles in the DC universe or keep up on the events.
August 6, 2020
وقتی اسم ایونت میاد، بخصوص در سطح بحران همیشه باید به چیزهای بزرگ فکر کرد باید به یه عالمه جنگ خفن و درخشان و پر از شکست واسه قهرمانها و احتمالاً چند تا مرگ فکر کرد ولی در این مدت به لطف کم بودن صفحات و تعداد زیاد قهرمان ها هیچ وقت پرداخت صحیح به شخصیت ها در طی حادثه نمیشه
اما شاید این به اصطلاح ایونت قهرمانان در بحران شخصی ترین و عمیق ترین و تاریک ترین ایونتی باشه که تا الان خوندم
اما سوال اصلی اینه چطور میشه یه داستانی که بر روی یه عالمه شخصیت تمرکز داره تبدیل به یه داستان شخصی برای تک تک اون ها بشه و جواب فقط یک چیزه، نویسنده ی عنوان یعنی تام کینگ کسی که قبلا مامور CIA بوده و کاملاً با ptsd ( اختلال پس از حادثه) و عواقب بعد از جنگ آشنایی داره
چه ایده ای جالب تر از این که قهرمان ها بعد از اتفاقات بدی که واسشون میفته چه جور باهاش کنار میان اونم تو مرکزی که قراره دقیقا مثل مرکز بازپروری کهنه سربازای آمریکایی باشه، یه مرکز روانشناسی مخفی با هوش مصنوعی که باعث میشه اونا با ضایعهای روانی شون کنار بیان
و واسه همینه که من عاشق این عنوان شدم چون این انسانی ترین داستانی بود که طی این چند وقت خوندم و اونقدر زیبا پردازش شده بود مشکلات روانی شخصیت ها و دردی که همشون میکشن که اسم قهرمان رو حمل کنن و اینکه مردم عادی اکثراً قهرمان ها رو با لبخند و شادی ها و پیروزی هاشون میشناسن، ولی هیچ وقت فکر نمیکنن زندگی با این مقدار خشونت چه دردی برای قهرمان ها داره و بعد از اینکه صدمه میبینن یا یکی از یار هاشون دوست صمیمی شونه ممکنه کشته شه چه احساسی پیدا میکنن!
شاید یکی از بهترین قسمت های داستان همون جایی باشه که سوپرمن رو به مردم میگه که
و من من فکر می کنم تمام این داستان راجع به همین کمک باشه این کمکی که خیلی وقتا ما نمی گیریم و چقدر میتونه مفید واقع بشه واسه هممون این کمک گرفتن اینکه داستان دلمون واسه یه نفر بگیم و بدون اینکه قضاوت بشیم و توی پروسه بهبودی قرار بگیریم!
تنها مشکل من با داستان پایان بندیش بود که اتفاقا باعث جنجال خیلی زیادی شده بود، که بنظرم کسی که هدف داستانو درک کنه دیگه مشکلی خیلی بزرگی با پایان نخواهد داشت
اما شاید این به اصطلاح ایونت قهرمانان در بحران شخصی ترین و عمیق ترین و تاریک ترین ایونتی باشه که تا الان خوندم
اما سوال اصلی اینه چطور میشه یه داستانی که بر روی یه عالمه شخصیت تمرکز داره تبدیل به یه داستان شخصی برای تک تک اون ها بشه و جواب فقط یک چیزه، نویسنده ی عنوان یعنی تام کینگ کسی که قبلا مامور CIA بوده و کاملاً با ptsd ( اختلال پس از حادثه) و عواقب بعد از جنگ آشنایی داره
چه ایده ای جالب تر از این که قهرمان ها بعد از اتفاقات بدی که واسشون میفته چه جور باهاش کنار میان اونم تو مرکزی که قراره دقیقا مثل مرکز بازپروری کهنه سربازای آمریکایی باشه، یه مرکز روانشناسی مخفی با هوش مصنوعی که باعث میشه اونا با ضایعهای روانی شون کنار بیان
و واسه همینه که من عاشق این عنوان شدم چون این انسانی ترین داستانی بود که طی این چند وقت خوندم و اونقدر زیبا پردازش شده بود مشکلات روانی شخصیت ها و دردی که همشون میکشن که اسم قهرمان رو حمل کنن و اینکه مردم عادی اکثراً قهرمان ها رو با لبخند و شادی ها و پیروزی هاشون میشناسن، ولی هیچ وقت فکر نمیکنن زندگی با این مقدار خشونت چه دردی برای قهرمان ها داره و بعد از اینکه صدمه میبینن یا یکی از یار هاشون دوست صمیمی شونه ممکنه کشته شه چه احساسی پیدا میکنن!
شاید یکی از بهترین قسمت های داستان همون جایی باشه که سوپرمن رو به مردم میگه که
شما نباید از این بترسید که قهرمان هاتون دارن به جایی میرن که احساساتش رو بروز میدن و درباره شکست ها و شکستگی هاشون حرف میزنن این اونارو نالایق نمی کنه بلکه اونا رو از همیشه لایق تر میکنه چون که میدونید اونا هم دقیقاً مثل یه آدم عادی میشکنن ولی در این حین کمک میخوان و همین کمک خواستن که اونا رو به انسانهای بهتری تبدیل میکنه که میشه بشون اعتماد کرد
و من من فکر می کنم تمام این داستان راجع به همین کمک باشه این کمکی که خیلی وقتا ما نمی گیریم و چقدر میتونه مفید واقع بشه واسه هممون این کمک گرفتن اینکه داستان دلمون واسه یه نفر بگیم و بدون اینکه قضاوت بشیم و توی پروسه بهبودی قرار بگیریم!
تنها مشکل من با داستان پایان بندیش بود که اتفاقا باعث جنجال خیلی زیادی شده بود، که بنظرم کسی که هدف داستانو درک کنه دیگه مشکلی خیلی بزرگی با پایان نخواهد داشت
December 6, 2020
This feels like an intent to reinvent Identity Crisis: a kind of shocking, dark story that would get people talking, even if some portion of the audience hated it. I don't know how it went so terribly wrong: though Identity Crisis was controversial, Heroes in Crisis is just bad. Despite being written by one of comic's top talents.
The main problem is that it's decompressed within an inch of its life. There's at best two issues worth of plot here, strung out over eight issues. Most of the comic is then talking heads: various heroes (and a few villains) giving endless monologues to the camera. It gets old really quickly, then it gets ancient, then it goes on and on. The "investigation" is a joke: we're eventually just told an answer.
Then there's the central plot of a certain character losing control of his power (in a way totally unsupported by 65 years of comics), then going murder-suicidal afterward (in a way that's totally unsupported by this particular story, and that honestly doesn't make very much sense).
Then there's the sacrifice of all kinds of characters for no particular reason, in a way that's a pretty disgusting murder fest.
It feels like King came in with a clever idea, about how to characterize someone traumatized by the horrifically unknown state of DC continuity. And then fell, hit his head, and let this storyline bleed onto the paper. After finishing it, I feel like I need to go to Sanctuary.
(So glad I finally opted to read this on Hoopla rather than purchase this travesty, which would likely have gotten thrown in the trash afterward.)
The main problem is that it's decompressed within an inch of its life. There's at best two issues worth of plot here, strung out over eight issues. Most of the comic is then talking heads: various heroes (and a few villains) giving endless monologues to the camera. It gets old really quickly, then it gets ancient, then it goes on and on. The "investigation" is a joke: we're eventually just told an answer.
Then there's the central plot of a certain character losing control of his power (in a way totally unsupported by 65 years of comics), then going murder-suicidal afterward (in a way that's totally unsupported by this particular story, and that honestly doesn't make very much sense).
Then there's the sacrifice of all kinds of characters for no particular reason, in a way that's a pretty disgusting murder fest.
It feels like King came in with a clever idea, about how to characterize someone traumatized by the horrifically unknown state of DC continuity. And then fell, hit his head, and let this storyline bleed onto the paper. After finishing it, I feel like I need to go to Sanctuary.
(So glad I finally opted to read this on Hoopla rather than purchase this travesty, which would likely have gotten thrown in the trash afterward.)
October 15, 2019
This book is so interesting and strange, and really a thing to behold. At first glance, we are looking at a Crisis style event, featuring a Flash, time travel, and a crossover of several major (and minor) DC heroes. This would be run of the mill, except for the fact that it's not that at all, and instead uses the presumed context of a Crisis style event to explore the psychology of superheroism and super-trauma. The time travel stuff is barely functional, though it meets the standards of your usual DC fare, but at the end of the day, the fact that it feels like an afterthought is what matters most of all.
The focus of this series is the minds of our heroes. How in the age of DC's supertech, death is impermanent, time-travel is at the hands of simpletons, clones are blase, and a whole universal reboot is right around the corner. But what the fuck does that do to a person's mind?
Heroes in Crisis reads like Astro City. And if you haven't read early Astro City but loved this book, that needs to be next on your list. Tom remains King, and while this book may not click with people expecting something more action-oriented, be ready to see things in a way you may not have ever considered.
The focus of this series is the minds of our heroes. How in the age of DC's supertech, death is impermanent, time-travel is at the hands of simpletons, clones are blase, and a whole universal reboot is right around the corner. But what the fuck does that do to a person's mind?
Heroes in Crisis reads like Astro City. And if you haven't read early Astro City but loved this book, that needs to be next on your list. Tom remains King, and while this book may not click with people expecting something more action-oriented, be ready to see things in a way you may not have ever considered.
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