• Categories

  • Archives

  • Top 10 Most Read

The Unwritten: Apocalypse #4 – Review

By: Mike Carey (script), Peter Gross (art), Ryan Kelly (selected finishes), Chris Chuckry (colors) and Todd Klein (letters)

The Story: Tom goes into storyland to find a possible ally.

Review (with SPOILERS): Geez….I really don’t know what to make of this issue.  By that I mean, I literally don’t understand what happened.

The main focus of the issue was on Tom Taylor dreamwalking his way into a Tommy Taylor form and visiting Madam Rausch.  Of course, I understood the surface layer of things in that Tom was there to recruit Rausch as an ally in his war against Pullman and that she may or may not help them, but then things became murky for me.  Rausch has been a recurring character in The Unwritten for a very long time, but this issue made me reevaluate her character in a different way.  I’ve always thought of Rausch as being similar to Wilson Taylor in that she was a gifted storyteller who did her work with puppets whereas Wilson was a writer.

But to be honest, I never thought of Rausch that deeply before.  She was just always “there” in the story as a quasi-villain.  Whereas Pullman is obviously the embodiment of the “Original Sin” story and Leviathan (i.e. humanity’s collective consciousness) loves that story to the detriment of all else in the world, I always thought Rausch was just an antagonist.  Hmm… I’ll have to revisit her because it seems there is a LOT more to her character than I’ve appreciated before.
Continue reading

Batman #30 – Review

By: Scott Snyder (writer), Greg Capullo (pencils), Danny Miki (inks), FCO Plascencia (colors) and Steve Wands (letters)

The Story: Riddler pulls his final move as Gotham descends into chaos.

The Review (with minor SPOILERS): I could almost copy and past the preamble to these Batman reviews at this point: This is another very, very good issue of Batman from Snyder, Capullo & Co.

We’ve now entered the final chapter of this very long Zero Year story and it’s all come down to Batman versus Riddler in a post-apocalypse version of Gotham.  Even though we have a young Batman and a young(er) Gordon, by now we have characters that long-time Bat-readers will recognize with Gordon and Batman working together as a team.  All they have to do is figure out a way to solve the riddle of the Riddler.

What makes this issue special is how smartly Snyder was able to include a post-apocalypse theme into a cannonical Bat-story.  I think we’ve seen Batman in a destroyed Gotham before, but it’s usually some old Batman in an elseworlds-type story.  I guess there was No Man’s Land, but that felt very different – the snow, perhaps?  Still, it was very clever to see this Gotham that was destroyed by Pamela Isley’s botanical research.  The way Greg Capullo depicts Gotham, it looks like something out of The Last of Us or countless other post-apocalypse stories.  I love stories of the apocalypse because they smash enough rules of society that we can see new constructs arise…

Enter the Riddler.  I really enjoy the bigger picture question that he is putting to Batman and Gotham in this story.  He’s basically tackling the problems of the modern world (pollution, climate change, wealth inequality, food production, overpopulation, etc.) by turning Gotham into a microcosm of everything wrong in the world and challenging someone to solve the riddle.  My goodness, don’t you wish we could chuck some real life politicians into this fictional Gotham and tell them that they cannot come out until they have fixed everything?
Continue reading

American Vampire: Second Cycle #2 – Review

By: Scott Snyder (writer), Rafael Albuquerque (art), Dave McCaig (colors), Steve Wands (letters)

The Story: The Grey Trader is revealed.

Review (with SPOILERS): Bravo for pacing and layered storytelling!  Excellent comics like American Vampire really make me appreciate what is lacking in other, less imaginative stories.

Of course, I’m talking about the fact that we didn’t have to wait until issue #5-6 to have The Grey Trader revealed to us.  I’m would have been very easy to have an entire first cycle about the lead-up to the revelation of what TGT even looks like, much less who/what he is.  You know….the end of each issue would end with this very creepy looking man standing there in the distance with his top hat and cane?  Each final page he would be a little closer to the viewers perspective, so it seemed like he was coming closer and closer?  Until they showed his face at the end of issue #5?  I’m sure that Snyder and Albuquerque could have even made that a pretty hot story, and to be honest, that is the pacing I was expecting.

Then… bam! We get to see the true face of TGT in the middle of this issue.  I love that.  It wasn’t expected and I’m reading the issue and thinking, “OMG! I think they’re going to show what this dude looks like on the next page!”  Don’t you love those sorts of page-turns in comics?  We don’t get enough of them, in my opinion.

But, just to show what a sophisticated story AV is, the mystery doesn’t end with this reveal.  It’s really just beginning.  We still don’t really know what TGT is up to, what motivates him, what manner of creature he is, etc.?  Why does he attack other vampires?  Does TGT view all vampires the same way that the Carpathian vampires view the American Vampires (i.e. as a threat to be attacked)?  How does TGT connect with Dracula and the Lord of Nightmares storyline?  They call him “the Devil” at the end of the issue, but is TGT really the metaphorical embodiment of human evil (in the Biblical sense) or is TGT meant to be a some sort of inspiration for the Biblical “devil”?  I love a comic that begs such questions, especially when you trust the storytellers as much as I trust Snyder and Albuquerque.  They’ve got answers for all this stuff.  I guarantee you that there isn’t a question in this paragraph that hasn’t already been addressed in a story outline.  Readers just need to strap in and enjoy the rest of the story in confidence.
Continue reading

Manifest Destiny #6 – Review

By: Chris Dingess (writer), Matthew Roberts (art), Owen Gieni (colors) and Pat Brosseau (letters)

The Story: The resolution of the Plant Zombie storyline.

Review (with SPOILERS): A lot happened in this issue.  We got a good and exciting dose of Lewis & Clark (and men) fighting Plant Zombie Animals.  That was exciting and gave the art team a chance to stretch their legs a good bit.

Then the issue went totally sideways with this revelation that the Plant Zombies were being caused by some sort of underground Sarlacc-like creature.  I have to admit that this wasn’t something I saw coming at all.  I’ve consumed a lot of monster-fiction in my life and it takes quite something for a storyteller to throw me a complete curveball like this.  That alone isn’t enough to make the story wonderful or great – I’ll always contend that execution is more important to storytelling that a mere idea – but if you can be semi-original, more power to you.  I don’t mean to totally discount ideas, it’s just that there aren’t that many ideas that are actually all that new and novel.  But, this was at least “new” to me, so bravo!
Continue reading

The Walking Dead #125 – Review

By: Robert  (writer), Charlie Adlard (pencils), Stefano Gaudiano (inks), Cliff Rathburn (gray tones) and Rus Wooton (letters)

The Story: Is Rick dying or not?

Review (with SPOILERS): I hada lot of “mixed feelings” with this issue.  It’s honestly been a difficult one to even review.  It’s just not an issue that inspires a single, unified feeling, just lots of stray thoughts and disappointments. And that’s a fail for this issue.  The action is coming to a crescendo, and it should inspire a solid feeling rather than a bunch of stray thoughts.

Teasing death is cheap: This cliffhanger would be a million times more effective if Kirkman hadn’t just yanked the football from in front of us a few issues ago.  I mean, we just saw this BIG tease that Rick was going to die because of the zombie-goop bolt.  That turned out to be a total nothing, so why should we get excited that Rick has nicked Negan’s neck with a knife?  Charlie Adlard could have drawn that scene any way he wanted to (or any way Kirkman asked him to).  It looks like a nick for a reason.  If they wanted to kill Negan, that knife would be buried up to the hilt.  They could have used either of these implied death cliffhangers, but not both.

Too much talking!: My goodness did Rick go on and on before trying to stab Negan!  They were building a better place, they were working together, blah, blah…  It’s the same rhetoric we heard back at the Prison and countless times in Alexandria.  I get it and it’s a noble goal.  It’s what we would all strive for in the apocalypse, but farming and blacksmithing don’t make for a very compelling story.  I know that Rick was talking about that to distract Negan so he could stab him, but he could have talked about anything.  He could have talked about surrendering.  He could have talked smack.  But, instead he talked about a theme that has already been kinda played out from a storytelling standpoint.  We’ve seen TWD do a “Let’s re-establish society!” theme for 40+ issues.  It’s time to see something else.

Negan is great: I really hope Negan isn’t dying because he’s so much fun.  Honestly, when he started agreeing with Rick’s spiel, I thought he was just going along with it to pull Rick’s leg, and the next second he was going to say, “What?  Are you nuts?  Just listen to yourself, Rick?  You sound insane!”I thought we were going to see him try to whack Rick with Lucille.  Negan is such an outstanding character, so well-written and drawn, that thinking Negan was about to play his own little trick on Rick is a perfectly plausible explanation.  It’s a credit to the creators that we can even speculate about such things.  Comics are usually pretty literal, but Negan allows for subtext.

So, where does all this leave us? I’m afraid I can’t look forward to any of the major storytelling possibilities.  If either Rick or Negan dies next issue, I’ll feel like this story was too long.  It isn’t that we didn’t need the All Out War story, but twelve issues and making artistic compromises to achieve bi-weekly shipping probably wasn’t necessary.  On the other hand, if both of these guys walk away unscathed next issue, it will feel cheap that they’ve both had their deaths teased, keeping the story from moving forward.  What would be next?  All Out War II?
Continue reading

Black Science #5 – Review

By: Rick Remenber (writer), Matteo Scalera (art), Dean White (painted art) and Rus Wooton (letters)

The Story: Grant has to deal with a mysterious, masked assailant.

Review (with SPOILERS): Last issue of this series put it right back on the top of my reading stack.  It was fast and furious and ended in a really cool place with a nifty-looking villain (?) appearing to possibly menace Grant McKay and our heroes.

This issue wastes no time dragging out the mystery of this masked man, it’s Other Grant.  It would be wrong to think of him as Future Grant who is on a sort of Back to the Future mission to help out.  No, this is just Other Grant from another reality who somehow has knowledge about the normal sequence of events that takes place in alternate universes.  Except in Other Grant’s native reality, his Pillar exploded and killed his children and now he seems to be on a mission to stop Our Grant from killing his kids.
Continue reading

The Field #1 – Review

By: Ed Brisson (writer/letters), Simon Roy (art) and Simon Cough (colors)

The Story: A man wakes up in a Field and gets into the wrong passing car.

Review (with SPOILERS): This is a play on a classic hitchhiker story.  We quickly meet a man who wakes up naked in a field and can’t even remember his name, but he has his phone and immediately starts receiving ominous text messages like, “Watch out!  They’re after you.”  It’s a little like that scene in the Matrix where Morpheus tries to help Neo escape the Agents by giving him instructions on the cell phone.  Eventually, the guy doesn’t follow the instructions, gets into a strange car and ends up on the worst car-ride/road-trip EVER.

Basically, the guy he rides with is NUTS, drug-addicted, violent, random…..  Nice one second, shooting up a restaurant the next.  The whole thing is supposed to make you uncomfortable and it accomplishes that mission very nicely.  The antagonist, Christian, reminds me of every bad hitchhiker cliche, and since our protagonist has amnesia, he has little choice but to follow along with the dude even if it is against his better judgement.

On the positive side, this comic is a good illustration of how panels can be constructed to create a sense of unease.  Zoom in, zoom out, perspective changes galore… I’m sure there is a solid visual theory that they teach in art school about how to make the audience/reader feel unsettled; I don’t know how to explain it, but Simon Roy is all over it in this issue.  Very solid job.
Continue reading

The Walking Dead S04E16 – Review

Original air date: March 30, 2014

SPOILER ALERT

That was a largely decent finale for a show that missed badly at the end of Season 3. While I guess I am slightly disappointed that we didn’t get more of the story of Terminus this season, that’s more regret about what the show has stumbled around during this spring than any real misgivings about this episode.  It wasn’t perfect – and we’ll talk about the saggy parts – but it left us with a very nice sense of mystery for next season.  I’m really looking forward to Season 5 and that’s pretty amazing given how mediocre this show has been at times.

Let’s just get the bad parts out of the way first.  It seems fair since I generally liked the episode and it would be appropriate to end on a positive note…

Where this show keeps stepping in dog poop is when it gets into this whole issue of GOOD versus BAD.  It’s just highly insulting to have a show keep punching you in the face with this attitude about how Herschel was GOOD and he DIED.  Rick tried to be GOOD like Herschel, but he realized sometimes you have to be BAD to survive.  The little kid who plays with legos was GOOD and he DIED, whereas Carl is field-stripping weapons and he LIVES.  It’s just so in the face and clumsy that it’s insulting.  Any adult knows that the world is more simple than GOOD/BAD, BLACK/WHITE… Eespecially in an era of television where we have debated the morality of Tony Soprano, Don Draper, Walter White, Jack Bauer, etc.  There was a moment early in the episode when Rick and Gang were walking down the tracks and Carl asks, “Are we going to tell the people in Terminus what we did?  I mean, all of it?”  And my first thought was, “Did what?  When?”  I honestly couldn’t think of anything truly wretched that Rick and Gang had done.
Continue reading

Alex + Ada #5 – Review

By: Jonathan Luan (story/art/design) and Sarah Vaughn (story/script)

The Story: Having been freed from her restrictive programming, what will Ada do?

The Review (with SPOILERS): This has been a wonderful series so far and this issue mostly serves as the fulcrum from the beginning of the story toward its second chapter.

So far we have seen young Alex be given a super-fancy android named Ada.  The gift was from his wealthy grandmother who wanted him to have a friend/companion/sex-toy.  Alex never wanted Ada, but was too kind of a person to abuse her and he eventually became frustrated with her lack of self-determination and sought out a group that could remove the blocks in Ada’s programming allowing her to be fully aware.  That took us up through the last issue where Ada “woke up” and screamed her head off.
Continue reading

The Walking Dead S04E15 – Review

Original air date: March 23, 2014

Review (with SPOILERS): Geez! What a flat episode…  There wasn’t much great, but there wasn’t much to really hate on either.  I almost feel like I could end the review right now, by giving the episode a “B.”

Probably the best thing about this episode was the sense of forward momentum.  It reminded me of a car that is stuck in the mud that begins to inch forward before launching itself back onto the road.  Mind you, we didn’t get the full LAUNCH in this episode, but a story that had been swirling for weeks/months with everyone separated is finally headed in the right direction.  Things just started to snap together when Glen saw the touching notes Maggie had written in zombie goop.  Next thing you know, Glen’s group is united with Maggie’s group and they’re wandering into Terminus.  Ditto for Darryl’s band of rednecks as they are clearly right behind Rick/Carl/Michonne on the road to Terminus.  All roads lead to Rome– or Terminus.

This is important because the story has been a little stuck.  While I’m not exactly eager to see this entire band back in a fixed set for a half-season, the Terminus story has lingered a week or two longer than necessary.  Let’s just get there already!  It’s time to move onto whatever is next and this episode was a nice step in that direction.

Also interesting was the whole dynamic between Darryl and Joe the Redneck.  That’s mostly because both Norman Reedus and (especially) Joe Kober are both pretty charismatic actors.  They both have a presence about them where you just want to see what they’re doing next.  So, even if Joe rattled on a little more than was necessary about their stupid “CLAIMED!” system and the nature of man, it was at least entertaining.  That “claimed” system was a little stupid.  It wasn’t a very good way to show Darryl’s rejection or their methods; just because he won’t “claim” a place to sleep.  Or at the end when he “claimed” the roadside radishes?  I mean, was that the dumb guy who picked them up and forgot to say “claimed!” just the dumbest of the group?  Suddenly, Darryl is the fastest one to the magic word?  Or was it some joke where one of the guys ran ahead and peed on the radishes and they all let Darryl “claim” them?  But, here I am analyzing that silliness more than when I actually watched the episode.  It was only marginally dumb, so I’ll stop and move on since I generally enjoyed Darryl and the Rednecks.

There was a lot of “meh” in this episode too.  Probably the biggest downer was listening to Eugene talk.  This show just has a thing about getting actors to fake ridiculous southern accents.  We’ve already had the terrible accents from Shane and the Governor and the strange accents from Maggie and Rick, now we have this preposterous crap coming out of Eugene’s mouth.  I just don’t understand the fixation on forcing actors to affect these accents.  I mean, a southern accent isn’t important to the Eugene character in the comics and I doubt it is important to the TV version.  So why not just let the actor speak normally?  Furthermore, why would anyone believe that a guy who sounds like that (and looks like that) would have the solution to the zombie problem?

Continue reading

Lazarus #7 – Review

By: Greg Rucka (writer), Michael Lark (art and letters), Brian Level (art assists) and Santi Arcas (colors)

The Story: Forever continues trying to unravel a terrorist conspiracy.  Waste see different paths to being uplifted.

Review (with minor SPOILERS): Another very powerful issue of Lazarus.  This is just about the perfect series for me.  The art is great.  I like the characters.  I love the dystopian near-future setting.  And I LOVE the attention to detail.

This things that I like best in this issue are the subtle moments.  One is when we see poor little Forever being trained as a little girl by Marisol.  Little Forever is so much more composed and collected than a typical 12/13 year old, but there are the moments when you remember she is still just a little girl.  You can train her and beat her with a stick to teach her stoicism, but she’s still a little girl who needs a hug sometimes.  Anyone who has a child can’t help but be touched by the situation and the art.  Kids that age alternate between impressing us SO much that they are nearly adults: They can handle complex concepts, do physically challenging things and start to say things that don’t sound entirely foolish, then the next second, they are crying and after your initial “WTF?” reaction, you remember that they are only 12 years old.  Rucka and Lark (especially Lark) are capturing that age perfectly here.

The other aspect of the comic I really enjoyed were the two different paths to uplift presented to these waste.  On one hand, we continue following this group that is trying to do uplift the right way.  They’re trekking across the country, dealing with death and banditry and awfulness…..but they are going to Wallyworld and look forward to the wonderfulness.  Only they get there and see a line that runs 20-30 miles out of the city of similarly desperate people who want to be uplifted too.  Not many people are going to get their dream.  That’s what they get for trying to be uplifted via the standard procedure.

Continue reading

American Vampire: Second Cycle #1 – Review

By: Scott Snyder (writer), Rafael Albuquerque (art), Dave McCaig (colors) and Steve Wands (letters) 

The Story: After a hiatus, we get reacquainted with Pearl and Skinner.

Review: It’s lovely to have this comic back.  Even though creators Snyder and Albuquerque were always adamant that the hiatus was temporary, given Snyder’s new status of Master of the DC Universe and Albuquerque getting regular work on DC titles, there was always a fear that we might never see American Vampire again.  It’s such a relief to have it back because we don’t get comics as good as American Vampire that often.

This first issue back is part review of what came before and part set-up of what is to come.  The review is modest, but it’s just enough to give a new reader an introduction to who Pearl Jones and Skinner Sweet are.  It you want the whole story, you need to go read the back issues or collections, but if this is your first issue of AV, I’m sure you’ll be fine without the back material.  Scott Snyder is too inclusive of a writer to punish new customers with inside jokes that make new people feel unwelcome.

What we find in this issue is both Pearl and Skinner in a sort of Vampire Middle Age.  Pearl tried to basically live her early years as a vampire as if she was just a super-powered human.  She had human friends, a human husband and what-not, but they all got old and died while she is living forever.  So, now she is entering her hermit phase where she lives in an old farmhouse and appears to take in runaway vampire children.  It’s a neat concept and I like that Snyder is still playing with the idea that there are all these different races of vampires kinda like breeds of dog.  They look at her newest rescue project the way you’d look at a mutt at the dog park: “Hmmm…. He must have some chow because he has a partially black tongue and her snout is very terrier…”  We learn at the very end of the tale that one of these kids has had a run-in with The Gray Trader… Hmm…  I really like the idea of Pearl mothering to these kids who have been turned into a vampire.  I’d imagine that being a vampire is a difficult transition for a fully formed adult, but it would probably be really challenging for a child who hasn’t had time to develop the emotional strength to handle the transition.
Continue reading

Batman #29 – Review

By: Scott Snyder (writer), Greg Capullo (pencils), Danny Miki (inks), FCO Plascencia (colors) and Steve Wands (letters)

The Story: Batman tries to disrupt Riddlers plans for Gotham.

The Review (with SPOILERS): This story is really hitting all the high notes right now.  What strikes me the most is that it is great in spite of a few structural things that bug me.

  • Overall length of the story/Passage of time: If you read many Marvel titles or The Walking Dead right now, a comic like Batman that comes out every 4 weeks (like clockwork) seems a little slow.  But Zero Year has been cleverly broken into subcomponents so that no parts of the story seem elderly.  There is an art to a Scott Snyder story where you are rewarded if you remember details, but never punished if things slip from your brain.  It’s hard to put my finger on how he does it and I suspect that it isn’t easy or obvious even to other writers – or else everyone would do it.
  • Interruptions in the story: Those stand alone issues that have allowed Greg Capullo to maintain this incredible pace of storytelling have been perfectly placed.  They’ve broken the story into chapters and still been relevant enough to the overall tale to not feel like filler.  Last issue was one of those issues and here we are coming back without missing a beat.
  • Lots of words: I usually like my comics to have fewer words to an allow the artist to do their thing.  But Scott Snyder has this easy and flowing way of writing that makes wordiness work.  It amazes me.  I mean, I write a lot for this blog (and others) and I tend to write in a more conversational manner, and I’m an acceptable writer.  But when I proof-read my work, I find all of these clumsy sentences, weird phrases, run-on thoughts…  Snyder just flows.  It’s one of those things where I look at his writing and remind myself to keep my day job.  I’m not saying that Snyder doesn’t work his butt off to get the story right, but I think he also has an innate talent for words that few other people can approach.

The art is glorious.  So much good stuff from the Capullo/Miki/FCO team.  Earnest faces, glorious colors, a monstrous villain.  It’s wonderful.  There isn’t a better looking comic on the stands and they do it all without sacrificing the storytelling. Continue reading

The Walking Dead S04E14 – Review

Original air date: March 16, 2014

The Review (with SPOILERS): For a show that is generally bumbling when it tries to have BIG moments, The Walking Dead has had a few that stick with me.  The biggest was probably that moment when little Sophia came shambling out of that barn back in Season 2.  It was unexpected until that instant before she appeared, we got to see her and appreciate what happened… And then Rick shot her.  Thank goodness Rick didn’t talk, because that would have ruined that very cinematic scene.  I still remember it vividly all this time later.

So, in an episode that had a lot of other iffy stuff, the creators again pulled out a really special moment when Carol had to shoot crazy Lizzie in the back of the head.  It wasn’t quite Fredo going out in the boat, but it was effective, especially after all the build up over the season and this episode.  We’ve seen Carol trying to take care of these girls, trying to teach them how to live in the apocalypse, striving to protect them…  And then to see one of them murder the other and have to kill the crazy one.  Yeesh…  It was rough and Melissa McBride really powerhoused it through the episode as Carol.  Again, a lot of these moments work so much better when the actor has less to say.  Any decent person knows what she’s feeling. She found these girls, wanted to protect them because all life is precious in the apocalypse… Especially children; and then to realize that something is wrong with one of those girls and only you think you can fix her… Bbut you ignored the signs and not only did she not get better, she killed the other kid, the normal one.  Ugh!  That’s a pretty tough pill to swallow.  Given that Carol is the one who “does what needs to be done” (as show when she killed Karen and what’s-his-hame). It is a bitter irony that the time she didn’t act decisively, it came back on her in a big way.

I was also really glad that they just went ahead and dealt with the whole “Who killed Karen thing?” thing.  I’m not sure what the point of that whole exercise was with the exiling and the Tyreese rage and all that… So, let’s just put that behind us and move on.
Continue reading

The Walking Dead #123 – Review

By: Robert Kirkman (writer), Charlie Adlard (pencils), Stefano Gaudiano (inks), Cliff Rathburn (gray tones) and Rus Wooton (letters)

The Story: Negan attacks!

The Review (with SPOILERS): Pretty big event on the final page, huh?  Robert Kirkman has either done something very brave OR very eye-rolling.

The topic for discussion is – of course – the fact that Rick Grimes was shot with a bolt from a crossbow on the final page.  Negan’s plan of attack has been to smear all of his Saviors’ weapons with zombie gunk, so this would imply that Rick is infected with zombie goo and is going to die.  He isn’t shot anywhere that can be amputated either – right through the abdomen.

If Kirkman really and truly is killing Rick, that is a very brave decision.  He is the main character and it is his story that we’ve followed since issue #1 back in 2003.  Rick is also the central character of the highest rated drama on cable television.  Can you imagine telling your friends who watch TV, but don’t read the comic that, Rick is dead in the comics?  The thought of that might actually sell some comics…

However, it would make a lot of sense to kill Rick.  I personally think his story has been used up for some time.  It isn’t that we can’t keep having stories with Rick in them, but wouldn’t it be interesting to see how a survivors group of Michonne, Maggie, Andrea and Carl managed after Rick was gone?  We’ve never seen that dynamic.  It would be new and fresh and The Walking Dead could use a little freshening.  It isn’t so much that I want to see the group do any particular thing, it’s just that I feel like I’ve seen the story with Rick in charge.  I’d like to try something new.  Let’s see what ELSE this group of humans can do.
Continue reading

The Walking Dead S04E13 – Review

Original air date: March 9, 2013

The Review (with SPOILERS): Other than the first episode back, The Walking Dead has been entirely acceptable.  Within episodes, it has blips into the good and dips into the bad, but it has mostly been just fine.  I like sports analogies and TWD right now reminds me of a team that opened the season with a bunch of losses and has taken a very conservative approach just to steady the ship.  They’re not trying to hit home runs or make a spectacular pass, they’re just getting on base right now.

This episode was interesting in how it bounced back and forth between Darryl & Beth and Sasha/Bob/Maggie.  We’ve seen the show jump from segment to segment among the diaspora from the prison, but this was different.  This was alternating short scenes.  It was quick and snappy and gave this episode the feeling of more forward momentum than the story alone dictated.

The title for the episode was “Alone,” but I think it just as well could have been “Why can’t I have anything nice?”  I think I now understand why we had to watch Darryl retread his journey from nihilistic “white trash” (his words) to a nice guy who sees that there are still decent people in the world.  They had to show us that story again just so they could set-up what happened at the end of this episode when Darryl meets the rednecks who bothered Rick a few episodes ago (showing that my theory of them being hallucinations was dead wrong).  However, they are shoveling the story on us pretty thick here. Darryl and Beth find this nice mortician’s home, it has food, it’s clean, Darryl is carrying Beth around like a new bride, he likes her singing and he almost admitted that sweet, pure Beth had made him believe in humanity again.  They were totally going to kiss…  Then the white doggie of hope gets eaten by raging zombies, ruining any hope of sanctuary for Darryl and Beth.

Darryl is engaged in claustrophobic combat with the walkers, while Beth escapes and is eventually kidnapped by the mortician who you thought might be a nice guy based on his dusting skills.  God, does the works SUCK!  Then Darryl chases after Beth, before sitting down at a literal CROSSROADS with the reappearance of the redneck guys that Rick encountered in a previous episode… So the whole point of last episode was to make damn sure that the densest member of the audience understood where Darryl was as a character so they could appear to make him a bad guy again; or at least show Darryl struggle NOT to be the guy he used to be.  I’d rather see Darryl move onto something new since we’ve already seen Darryl tempted by Merle, but it seems like the creators enjoy this story a lot.
Continue reading

Starlight #1 – Review

By: Mark Millar (writer), Goran Parlov (art), Ive Svorcina (colors) and Marko Sunjic (letters)

The Story: An aging former space hero finds life on Earth to be depressing.

Review (with SPOILERS): This was a really touching first issue. Back in the old days, I used to actually go on comic message boards.  God, what a horrible experience.  Fun at the time, but…. Ugh!  Mark Millar was always an active discussion topic on those boards.  Saying that you actually liked Mark Millar comics on a comic message board was like admitting that you picked your nose and ate the boogars.  The intellectual minority of the minority of comic fans that go on message boards likes to deride Millar as being a hype-machine who is just interested in doing shocking things to get a reaction.   I actually see a lot of experimental brilliance in his edgier works like Wanted, Kick Ass and Nemesis.  Sure….Millar can be offensive sometimes, but I think he is just interested in exploring artistic boundaries – and when you rigorously explore the boundary, you will cross the line sometimes.

But, dismissing Millar as”hype-machine who writes exploitative comics” really discounts some of his other works.  Did you ready Superior?  There were some really touching moments in that story.  How about Secret Service?  All that stuff about how poor the main character grew up?  That was pretty affecting.  There are even some powerful moments in Kick Ass (the original series).  Millar really can do a touching and heart-felt comic if he wants to.

I think Starlight is one of those more touching works.  If you don’t enjoy the “extreme” Mark Millar…..you should definitely give Starlight a try because it is very different.

It tells the story of Captain Duke McQueen who once had a very John Carter-esque experience of being sucked through a wormhole to a very Barsoom-like place where he fought villains with swords, saved a kingdom, was honored by scantily clad princesses, rode dragons, etc……but gave it all away to go back home to Earth and be with his lady love.  Only, when he got back to Earth, nobody really believed his story and he lived a mundane life with his wife.  And he was happy because he loved his wife….

The issue picks up with a very sad story of how Duke’s wife dies.  We only see her in flashback, but I love how Parlov draws her.  Duke himself looks like an old American football player who has kept himself in shape: big, broad-shouldered, but still gray haired and wrinkled.  His wife (in contrast) looks like one of those ladies who you first assume Duke has a trophy wife who is 25 years old, then you realize she’s just one of those ladies who has held onto her youthful beauty by virtue of hard-work, lifestyle and good genes.  She’s like the idealized version of what you thought your mom looked like as a kid: beautiful, not sexy, just beautiful.  And, since this is just Duke’s flashback memory, who knows if she really looked like that, or if she just looked like that in his mind because he loved he so much?  It doesn’t really matter.  Duke loved her and we get to see the moment where she finds a lump under her breast after a lovely evening out to dinner.  It is really painful and touching because in just those few pages, you get the feeling that she was someone who was a special light in the world and didn’t deserve to die young.
Continue reading

Velvet #4 – Review

By: Ed Brubaker (writer), Steve Epting (art), Elizabeth Breitweiser (colors) and Chris Eliopoulos (letters)

The Story: Velvet tracks down a former KGB operative for assistance.

The Review (with SPOILERS): Another strong issue of Velvet.  That’s to be expected at this point.  You really wouldn’t expect this creative team to be tossing stinkers.  But having an issue like this allows you to appreciate some of the little things that make this such a special comic series.  You know how sometimes you see a comic from new(er) creators and it has some crazy-brilliant stuff, but also some things that just don’t work?    Not a problem here.  All of the creators on this series know what will/won’t work in a comic book.

Let’s look at some of the clever stuff that gives this comic a little more…

  • Clever lettering: I can’t even type it here easily, but Chris Eliopoulos does this clever thing of making the Russian assassin say “sorry” by reversing the two Rs in “SORRY”.  It’s just a little trick that makes the guy sound like a James Bond villain in your mind, or Ivan Drago.  It’s important because there is nothing visually distinctive about a “Russian Assassin” – they are just white guys in tuxedos.  It’s just a little thing that makes the comic more effective AND it keeps Steve Epting from being tempted to somehow make the guys look Russian (however you do that) or make them spout some expository dialog during the fight (“Capitalist dogs!!!”).
  • Older, more “mature” hero: I loved the scene of Velvet getting ready for the Carnival of Fools.  She is still undoubtedly attractive, but she’s also in her 40s and things aren’t quite as firm or as lean as they used to be.  She’s not Kate Upton anymore.  In fact, if this were a real life movie, there would be a misogynist article or two about how it was time for Velvet to keep her clothes on.  Here in this comic, it’s just a very effective reminder that she isn’t 22 anymore.  It’s amazing that Epting can capture the little subtleties of a mature woman.
  • Velvet casing the party: When she is in the party and looking for targets, Epting uses this trick of drawing a detailed image of a single person inside a little ~1 inch circle and then having the rest of the party be vague.  It’s just a nifty way of showing, “I am focused on YOU…”  It’s also pretty accurate; if anyone has ever been in a crowded room and scanned it for threats or pretty girls or your spouse, you know the feeling of being hyperfocused and the rest of the room being reduced to white noise.
  • Masks!: It is really hard to draw and color realistic masks.  Do it wrong and the depth gets all wonky and the mask looks like it is floating in space in front of the person’s face.  I’m not talking about a superhero mask either, those are just colored skin.  These are masks like you and I would WEAR that are sitting just off your face.  Super job by Epting and colorist Breitweiser.

Continue reading

The Manhattan Projects #18 – Review

By: Jonathan Hickman (writer), Nick Pitarra (art), Jordie Bellaire (colors) and Rus Wooton (letters)

The Story: Allegiances shift and new antagonists come to the fore….

Review (with SPOILERS): This issue of The Manhattan Projects was pretty interesting because it closed a chapter while opening a new set of possibilities.  I still think TMP is a little light on overall narrative, but the reshuffling in this issue will allow our oddball characters to be odd in new ways.

  • End of Oppenheimer?: Evil Oppenheimer has been a central character since TMP began and the prime antagonist for the last 6-7 issues.  Is he really dead?  Or did he just just download his brain into the Omni-President’s AI?  I did seem like Oppenheimer was “cured” of his dual personalities before he was shot….
  • Turncoat Einstein: As he says, he is “not a good man”.  All along, Einstein has never really been a team player.  He’s kinda done his own thing and it’s just so happened that his goals align with those of the team.  Now that the team is massively realigning, it’ll be interesting to see how Einstein fits into the new power structure.
  • McNamara is charge: What a great character he has been!  It’s tempting to call him a Rambo-wanna-be, except that he can really dish it out.  He kills the funny blue alien all by himself, takes the alien’s ear and now wants to carpet bomb the galaxy.  He’s kinda like a young version of how left-wing folks see neo-conservatives like Rumsfeld and Cheney.
  • Groves turncoat?: We’ve gotten used to the idea that Groves is somehow the ally of the scientists, but he’s really just been a man on a mission….and now we see that he’s still looking for dragons to slay.  Remember, he was pumped full of truth-serum when he joined McNamara.  He even got a promotion out of it!

The whole thing is a welcome shake-up for the series.  I’m not sure that TMP is ever supposed to really be about anything…..there is no massive storyline.  Or perhaps it would be more appropriate to say that TMP is a comic series where the plot exists to service the characters.  I enjoy TMP not so much to find out “What will happen next?” but just to see what these whackos are up to.  It’s the comic equivalent of people watching.  That makes it somewhat unique in my pull list and it’s why I try not to get too bothered when I can’t remember plot details like what is/was going on with the FDR A.I.  It doesn’t really matter….the cool thing is that there a FDR A.I. exists at all. Continue reading

Chew #40 – Review

By: John Layman (writer) and Rob Guillory (art)

The Story: Tony Chu is tripping…

Review (with SPOILERS): I felt a lot better after reading this issue.  For some time, the over-arching “big story” of Chew has been slipping from my grasp like a greasy rope.  With easy issue, I had less and less of a grasp on what was really going on.  I still laughed at all the jokes and still found Toni to be really a touching character, but I was missing a lot of the bigger picture.

This issue kinda locked things back down.  Now I understand why Toni was involved and why NASA was involved, what the alien sky-writing means, etc.  I wouldn’t say that I could write the entire Wikipedia article about Chew, but I feel a lot more secure.  Things make sense instead of being random – still FUNNY, but random.  Nice job by the creators.  It has to be really hard to manage the big story for these series because what is a nice reminder for one reader is boring and repetitive for another.  I honestly have no idea where I fall on the spectrum of readers in terms of remembering plot details, but *I* enjoyed the reminders and summaries in this issue.

Also, mega-bonus points for the glossary of food powers in the back!
Continue reading

The Walking Dead S03E12 – Review

Original air date: March 2, 2014

SPOILER ALERT

This episode of The Walking Dead was a blend of good, mediocre and acceptable.  That may sound like a back-handed compliment, but given some of the dreck that TWD has shoveled over the years, anything that isn’t “suck ass” – to steal a phrase from Beth – is a small victory.

Once again, the best parts of the episode are the horror elements.  I mean, that wordless opening with Beth and Darryl having to hide in the trunk of a Lincoln (just try to do this in a foreign car) was pretty tense stuff. The thumping of the zombies, the crack of light across their eyes, the need to be absolutely silent…  I was halfway excited at the prospect of them being trapped in there for the entire episode just to give us a different type of story.  But, that was not to be.  Eventually, they climbed out of the trunk, remarkably unstiff, and the episode began a steady decline into “acceptable.”

There were some other high notes as the duo scrounged the country club so that Beth could check “drinking” off her bucket list. There were also even a few good moments where the show used misdirection – like in the gift shop with the manikins.  I mean, if you see manikins in a horror movie, your sphincters immediately tighten… But the director just let the moment hang there and then dissipate…  That takes a lot of self-restraint and I love that they have enough horror ideas that they don’t feel the need to milk everything.

Where the show wasn’t as strong was with Darryl’s emotional journey.  All this speculation about Darryl’s past and it turns out he was just a derelict redneck up to no good, amounting to nothing with a lousy brother for his only companion: Trailer Trash.  The whole idea that Darryl has become someone better because of the apocalypse is very interesting and it would be affecting too, if it were not so clumsily and hastily handled.  The symbolism of Darryl pummeling a cashmere-clad golfer with a golf club was just a little too heavy-handed.  That zombie was basically Judge Smails from Caddyshack.  And it didn’t stop there.  The locker room where Darryl splattered those zombies is STILL nicer than anything that he lived in growing up… And the peach schnapps that Beth finds isn’t ironic just because it sucks, it’s ironic that the country clubbers camped out in their clubhouse and drank all the good booze.  They killed themselves because they’re not survivors like Darryl. Before even bothering to drink the schnapps, Darryl is left to get the mere scraps from a more affluent society that he was never a part of.  Even in death, they taunt him with discarded liquor and white cardigan sweaters and fine, wood-paneled locker rooms.  The only way the symbolism would have been stronger is if Darryl had gone out into the parking lot and started vandalizing the Porsches.

Of course, all along, Darryl is kinda being a jerk to Beth, which is way out of left-field because he wasn’t remotely upset with her until this episode.  Heck, it even seemed like you could see the two of them hooking up a few weeks ago.  Then Darryl goes on the worst and fakest angry drunk binge, before revealing his inner shame at being a loser and having let the group down with the Governor. Then they symbolically burn Old Darryl down (with stupid musical overlay)… Kinda like how Rick burned down his pig farming supplies.  Yeesh, I think I’d rather see what Tyreese was up to.
Continue reading

Black Science #4 – Review

By: Rick Remender (writer), Matteo Scalera (art), Dean White (colors) and Rus Wooton (letters)

The Story: The protagonists try to escape from an alt-WWI while their leader is wounded.

The Review (with SPOILERS): Honestly, I don’t know what to make of this silly comic series.  The first issue was lights-out great!  The second issue was good, but concerning.  The third issue was kinda mediocre.  And, now we’re back to lights-out great.

If I had to give an opinion on this series it is that it will be somewhat inconsistent, but capable of blowing your socks off.  That alone makes it worthy.  Life is too short to even bother with comics that don’t have the potential for greatness.  That’s why I don’t usually bother with 3rd-tier Avengers books anymore: no potential for greatness.

There are a whole raft of attributes that make this a sharper issue than last:

  • WOW-level art: I took some stick last month for saying the art is issue #3 wasn’t quite as good as the previous issues.  I stand by that assessment.  This issue (like issue #1) is just loaded with images that will melt your eyes.  For me, there are two levels of good art.  One is just having the basic storytelling correct and not succumbing to weak panels.  That is a harder task that you might think with so much frenzied action – but Scalera is up to the task.  The second level is: Are there images that just have that singular quality where you go, “WOW!”?  I started to make a list of the panels that made me double-take, but it would probably be easier to list the panels that didn’t cause that reaction.  There are original pages in this issue that I want and I’m irritated that Matteo Scalera’s art rep doesn’t have them up on the site yet.  I won’t tell you which ones because I can’t take the chance that other people might buy them.  It’s inspirational art.  So, what sets this art apart?  It’s just got that little bit of extra energy to the whole sequence when Ward is fighting his way through the Techno Native Americas.  The art looks incredibly like that of Sean Murphy.  Everything is energetic, well-framed and detailed.  Then, we shift gears totally and see that Scalera can draw an incredibly soft-looking pretty woman AND imagine a world that is straight out of Star Wars.  Who knows why the art wasn’t quite to this standard in the last two issues?  Maybe Sclera had something going on in his personal life that knocked him off schedule, maybe the subject matter didn’t excite him as much…Who knows?  And who cares, because any series that can look like THIS is worth reading.
  • Shift away from Grant McKay: I have a feeling that Grant McKay is going to be the Rick Grimes of this series.  By that I mean, central character who I don’t like as much as the supporting cast. Continue reading

Sheltered #7 – Review

By: Ed Brisson (writer/creator/letters), Johnnie Christmas (art/creator), Shari Chankhamma (colors)

The Story: Things are coming apart at the seams as the murderous kids have to deal with outside intervention.

The Review (with SPOILERS): This was another really strong issue for this series.  It starts out kinda slow, but about 2/3 through the issue, it “gets real” when the remaining adult from the last issue is forced to kill one of the murderous little kids as they’re chasing him through the woods.

What I liked about the scene (and the series) is how unflinching it is.  The creators do perform the proper set-up for this fleeing adult: He has seen his friends murdered, he’s running through the snowy woods in the middle of the night (in the middle of nowhere), he’s been shot in the leg, and he STILL has three kids with guns chasing him.  So, the comic does go to great lengths to demonstrate that he really has no choice but to fight back and they demonstrate his remorse afterwards – even though he knew he had no choice.  But, the way they depict the shooting of a kid is pretty blunt.

The whole scene is surreal.  One moment they’re just kids running through the woods after an adult; they are KIDS and don’t really understand life and death and consequences.  They’re chasing the adult just because that’s what the other kids are doing.  The next moment one of these kids is shot through the chest- dying – and the other kids really don’t know what to do.  Their only prior experience with injury has been when friends skin their knees and you call for a parent, except they cannot do that because they killed all the parents.  Now they’re just kids lost in the forest who need help….but can’t get any help.
Continue reading

The Walking Dead #122 – Review

By: Robert Kirkman (writer), Charlie Adlard (pencils), Stefano Gaudiano (inks), Cliff Rathburn (gray tones) and Rus Wooton (letters)

The Story: After Alexandria is abandoned, both Rick and Negan prepare for the final battle.

The Review (with SPOILERS): This issue is mostly set-up for whatever comes next.  Judging by the letters page, we have four more issues left in the “All Out War” storyline, so the pacing really makes sense: Rick and Gang are bracing for the final battle, Negan is preparing a special type of weapon and Dwight might have some help on the inside.

Starting with Rick & Gang, it’s all pretty standard stuff: Rick knows they need to attack, Andrea is vigilant, Ezekiel is pulling himself back together, Maggie is dealing with her new leadership role, Health deals with only having one leg, Jesus is having a moment of quiet…  The only real call to action is that they don’t have enough food for the entire group.  That fact tells us that everyone hiding inside Hilltop is not an option: The people in there NEED to fan back out into the countryside again, and that isn’t an option until Negan has been dealt with.

It’s all fine build-up inside of Hilltop; nice little character moments.  I’m not sure that I care that much about character-building at this point in the story – I’d rather get onto the climax – but there’s nothing obnoxious and offensive about seeing this stuff.  And hey, Jesus is gay!  Who knew?  Subversion is awesome…

Meanwhile over in Negan-land, things are getting decidedly weird.  Negan has the great plan to smear zombie goop all over the Saviors weapons, and while I do think this foreshadows a sad death or two for Rick’s team (as they waste away from a scratch), it also seems really dangerous for Negan’s men.  I mean, he has thoroughly coated the barbed wire on Lucille with zombie goop, would you want to ride down the road holding onto that thing?  Oop! Hit a pothole and scratch your hand on the barbed wire.  Seems like it would make more sense to just stop on the way to Rick’s compound and get some zombie goop on the way.  And wouldn’t all of their weapons already have zombie goop all over them already?  I mean, it isn’t like we’ve seen the Saviors pouring peroxide all over their weapons before.
Continue reading

The Walking Dead S04E11 – Review

Original air date: February 23, 2014

The Review (with SPOILERS): Not bad…  This wasn’t a great episode by any stretch, but with TWD, it’s nice to see mere competence rather than this weird oscillation between good and terrible.

Once again, we didn’t get to see all of our characters this week with the action being split between Rick/Carl/Michonne and Glen/Tara/New People.  At some point, the storytelling technique needs to stop because they have too many storylines going on at once.  I say they have one more week to see how Darryl/Beth and Tyreese/Carol/Girls are doing, and then they need to tighten things up a little bit.

  • Third wheel: big problem for TWD writers is how horribly Rick and Carl interact.  They have NO chemistry.  It’s almost like when they read for the roles, they picked an 8 year old and then stuck with him.  Obviously, for people who follow TWD lore, the Rick/Carl dynamic is pretty important, so a TV-solution must be found.  They can’t just keep flinging Carl and Rick into these two-hander scenes and expect the results to improve.  Enter Michonne.  She proved last season in “Clear” that she could fix this troublesome dynamic and she fills that same role here.  Part of the problem with Carl is that he just sounds like a stupid kid when he’s talking about anything important.  So, why not play him off Michonne and her whole “missing her son” thing?  You have to love children to be interested in their stories of barfing when their friend brought soy milk to school, because honestly, it’s kind of a crummy story.  If you love the little kid, you sit there and humor them and know that telling stupid stories is part of growing up.  If you don’t love that child,  you have to be very kind to listen to the story, much less make the television viewers watch it instead of switching channels to whatever Darryl is doing.  Putting Michonne in the same room with Carl allows us to see him more as kid and less of this proto-MAN that the show has been obsessing over.
  • Michonne’s family: So, she had a little kid named Andre.  I can’t say that I’m too affected by this because I’m not that interested in the pasts of these characters.  The cool thing about apocalypse fiction– and probably why we love it so much, is that amidst all the horror and carnage, you get a chance to be someone new.  It’s like a reset button for everyone.  So, past = boring.  But, if Michonne’s lost son is the motivation to keeping her around Carl, then Bravo! Carl isn’t going anywhere, so we need him to be as tolerable as possible and that only happens when Michonne is in the room.
  • Continue reading

Follow

Get every new post delivered to your Inbox.

Join 689 other followers