Eduardo Barreto (1954–2011)

Lex Luthor: The Unauthorized Biography features writing from James D. Hudnall, art by Eduardo Barreto, color from Adam Kubert, and letters by Bill Oakley. As a graphic novel, the book could go beyond the weakened limits of the Comic Code in 1989, focusing on Peter Sands, a washed-up drunk of a reporter who sets out to write a sleazy biography of Luthor in order to raise some funds. Hudnall tells the story in flashback, with Clark Kent relaying what he knows of these events to police since he stands accused of Sands’s murder. As the story unwinds, Hudnall portrays a Luthor who tormented those around him from a young age, figuring out how to wield power over others and scheming to control them. Hudnall portrays Luthor having his parents killed for insurance money and then parleying that windfall into a front company that enabled him to develop and distribute designer drugs, filling the gap left when the CIA’s Air America program ended. Barreto’s portrayal of Metropolis’ slums differs from the usual clean, well-lit city of Superman, recalling instead David Mazzucchelli’s portrayal of Gotham in Batman: Year One with its grime and vice. Kubert’s colors add to this effect, with more muted colors and washes bringing out the grittiness of Barreto’s linework.

When Sands pitches the book to Ellen Fisher at Tinsel Town Press, she responds, “That sounds great! Could do better than Trump’s book.” The reference to Trump: The Art of the Deal doesn’t end there as Eric Peterson’s cover illustration directly references the cover to Tony Schwartz and Trump’s book, especially in the font choice and layout. This works particularly well, coming as it does three years after Marv Wolfman and John Byrne’s post-Crisis revamping of Lex Luthor as a wealthy businessman in 1986. While the story takes place in Superman’s world, the Man of Steel only makes a brief blur of an appearance. Most of the story is grounded, taking place in the human world even as Luthor’s power and influence begin to border on classic supervillainy. Hudnall builds on Luthor’s identity as a businessman when he depicts Sands getting the opportunity to ask Lex why he did what he did. Luthor responds, “Life is short. I could have become like my parents, had I chose to wallow in cheap emotion and self loathing, as did they. Instead I chose to become a god. I control human lives, instead of being controlled. I can destroy someone with a phone call. Which is why I cannot abide Superman! There is only room for one god on this planet!” Though no longer canon, Lex Luthor: The Unauthorized Biography offers an interesting take on Superman nemesis that feels all-too-relevant today.… (meer)

In Batman: Master of the Future, Brian Augustyn and Eduardo Barreto continue the story begun in Gotham by Gaslight in which the Victorian-era Bat-Man continues the fight for justice. Having beaten Jack the Ripper, Bat-Man must again don the cape and cowl to defend Gotham's World's Fair at the turn of the century from Alexandre LeRoi, the Man of Tomorrow, who feels the increasing pace of modernization will destroy society. This story has even more steampunk elements than Augustyn's first Elseworlds tale, with LeRoi using an airship as his base of attack. Fans of the first will likely enjoy this, although Eduardo Barreto's art is markedly different from that of Mike Mignola in the original volume.… (meer)