Tuesday, 28 February 2023

Justice Society of America #2 - Comic Review

 

Originally published on Patreon


The first issue of Justice Society of America introduced readers to a new version of the Society featuring some familiar villains turned heroes; led by the daughter of Batman and Catwoman. This future team was an interesting idea, and it looked like the series might be about to take some established characters in a new direction. However, all the team, bar Huntress, as killed, and Helena is sent backwards in time to the 1940's.

This series, much like Flashpoint Beyond and Stargirl: The Lost Children is playing around with the timeline, having characters removed from continuity being returned (allowing for the intro of 'forgotten' new characters) and is muddling things around. The result is interesting; but also somewhat confusing.

For example, this issue takes place mostly in one time period, but doesn't stick there, jumping backwards and forwards a bit between two dates in the 40's; before finally bringing Helena into the present. And at the moment it kind of feels disjointed and, dare I say, pointless. Now, I'm sure that when the whole thing is done it'll make sense, and perhaps reading this series as one collected trade will make it easier to digest, but as a month to month release it's a book I was hugely excited for that is failing to really grab me.

Part of this is that this doesn't feel like a JSA book right now. It's a story for a brand new version of what's really an old Earth-2 character. This new Huntress is taking the original Huntress' background and identity and integrating it into the main DC universe by making her from the future. And so far almost every part of the book has focused on her and her time jumping, and the titular team this book is supposed to be about has barely featured; and when we've had the team from four different time periods when they do, making it hard to really feel like they're a part of things. 

I'm hoping that as the series progresses it improves in its execution, as a series I was super excited for has become one that is doing little to keep me invested. Whatever Johns is up to better end up being good to justify this quite slow start.



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Dragonracers by Peter Bunzl - Book Review

 


'Twins Kitty and Harris Hawk have grown up at the airfield where their father works as an engineer. Kitty in particular is obsessed with the idea of becoming an aeronaut but her father thinks children should stay firmly on the ground. When the twins discover a strange and unusually large egg from which a dragon hatches, little do they imagine that this is the first step on a journey that will see them taking to the skies and competing in the first long-distance air race. Can they win the huge prize that’s at stake and will their daring adventure lead their father to change his mind about Kitty’s future?'

Dragonracers takes readers back in time to the early days of aviation to meet Kitty and Harris Hawk, a pair of children whose father works on a small airfield as an aviation engineer. Having grown up on an airfield, the two kids have a deep love of flying, and Kitty dreams that she might one day be a pilot herself. But, her father doesn't think that the air is place for a girl, and doesn't want her to train. And with an upcoming long distance flying race coming up, he's forbidden her from taking part.

However, when she and Harris find a strange egg at the bottom of the pond it opens a world of possibilities for them, especially when Harris tells her that it's a dragon egg. Using Harris' expertise on dragons, the two of them manage to get the egg to hatch and become parents to a baby dragon. As the dragon begins to grow at an incredibly fast rate the two of them must find a way to keep it hidden from everyone else; but then a plan begins to form in their heads. If they can teach the dragon to fly, why can't they enter the race?

One of the more surprising aspects of Dragonracers is that there's a lot more to this than first appears. On the surface it's a child focused adventure story about these two siblings who find a baby dragon and get to take part in this big event, achieving fame and fortune for themselves. But there's also other stuff going on. The story incorporates messages about not giving up chasing your dreams, and to fight against those voices who tell you that you can't do certain things because of your gender (Kitty's father makes it clear he doesn't think girls can be pilots). This message about misogyny and societal expectations also incorporates plot about parents learning and growing thanks to their children; with Kitty's father accepting that he was wrong and improving as a person because of it.

The book also takes some real historical people and events and plays with them a little. The race that happens in the book actually happened, and the people involved in the book were there at the time racing their planes. Though there wasn't actually a dragon in the race as far as historical documents tell us (unless it's being kept very under wraps). Whilst the book changes these events, their inclusion means that any child reading the book who finds it interesting has a starting point in which to explore the subject. They can look into the 1910 London to Manchester air race, or Claude Grahame-White, or Louis Paulhan. This may be a fantastical retelling, but it's also a great starting point for kids with an interest in history or flying.

Best of all though, the book is really easy to get on with. Both Kitty and Harris are really engaging protagonists, and Bunzl very quickly brings them to life and fills them with character. The two of them are lovely to read about, and their relationship feels warm and genuine. Kitty is the more open of the two, but as the book goes on and the dragon is introduced the more reserved dragon obsessed Harris really gets to come out of his shell. I think that young readers will find it easy to connect with both of the siblings, and will very quickly get sucked into their story.

The book also comes with some great illustrations by Lia Visirin, who helps to bring the story to life by illustrating key points. These illustrations help to make certain moments feel more action packed and filled with energy, such as the dragon soaring through the air, but also help with the historical context, giving young readers pretty clear images of the planes used at the time to better help them understand what they were like.

Dragonracers is an enjoyable read that blends together historical events with high fantasy, resulting in a delightful story about two siblings getting to do the impossible.



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Monday, 27 February 2023

Harley Quinn #26 - Comic Review

 

Originally published on Patreon


One of the things that I find can sometimes happen when comics comes up with a good villain is that they can get a bit overused, and can end up losing some of what makes them special. The Batman Who Laughs is one of these characters. Since his first appearance people were grabbed by his design, and latched onto him as being a character that they wanted more of. And he's appeared a few times since his initial story, but now his design is becoming replicated in other characters. The Flash has a speedster from a dark dimension that has the same headpiece as him (though we don't know if she's connected to him yet), and now we have a Harley Who Laughs too. Is it getting a bit too much?

Part of me wants to say yes, and especially so with the speedster character who could have just been anything; but I'm kind of okay with it being done with Harley. It feels like a more natural fit with Harley Quinn than any other character that they could do it with. It also helps that an evil Harley travelling from dimension to dimension in the multiverse trying to kill off every other version of herself is a fun concept.

This issue has expanded upon this though, by bringing multiple versions of Harley to Earth-0 at the same time. The result is a city being overrun by Harley's, most of whom aren't as reformed as ours and are just out to cause chaos. But, this does lead to a situation that can be used to help find and stop the Harley Who Laughs, as our team of heroes sets out to round up all of the variants and bring them to one spot in order to lure the evil Harley to them.

This is a pretty fun issue, especially as it allows the creative team to play around a bit and throw in some Easter Eggs. There are more than a few Harley's in this book that people will recognise, including one that looks like classic Harley, the Injustice Harley, one from the Arkham games, and even Birds of Prey. It's fun to see these different versions all together; though those that are created specifically for the book are a bit less creative, and just seem to be slightly different outfit changes and various styles of punk. Some of them look like they could be Tank Girl if given a slight colour change. With this drawing upon the multiverse it would have been nice to have seen some more Harley's from old Elseworlds stories, or even things like Dark Knights of Steel or DC vs Vampires.

We get some time this issue to dive a bit into Harley's emotional state too, and how she's struggling to walk the line of being a more heroic character. It's something that's interesting to see, as I like that she didn't just decide to be good now and it's working fine, but something that she struggles with. I also appreciated how Kevin lost his shit with her and called her out on her behaviour and self pity, as it was something that she needed in the moment.

The next issue will be the final one with this creative team, so it'll be interesting to see how this story, and this writers time on the book, will come to a close; and where things end up for the next stages in Harley's life. But overall, this was a decent issue in what might be one of the better arcs of the series.



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The Legend of Vox Machina (Season Two) – TV Review

 

Originally published on Set The Tape


Fans of Critical Role, the Dungeons & Dragons home game between a group of voice actor friends that spilled onto the Internet, have been eagerly anticipating the latest season of the animated adaptation of their first campaign, The Legend of Vox Machina.

Even before the first season came to a close, those in the know about what was to come were getting excited for what the second season would bring. Early hints of an alliance between dragons paid off in the final moments of the series as four immense, ancient dragons flew towards the city of Emon. The powerful but weird heroes of Vox Machina had managed to take down a vampire lord and his necromancer wife, but how would they fare against this foe?

Not very well as it turns out, with the opening scenes of this season making it clear that our brave heroes were well and truly out of their depth. Forced to run for their lives, as the city they’d fought for is destroyed around them, thousands of innocent civilians killed by fire, acid, ice, and poison that the four dragons unleashed. With monsters that our heroes couldn’t even touch to deal with, what does that mean for Vox Machina? A epic fetch quest of course! Given a mission by an ancient and powerful entity, the seven heroes learn of artefacts forged by the gods themselves that could help them in their mission to stop the dragon invasion, and save the world. Thus begins the biggest storyline yet; one that is going to take longer than a single season to tell, and may even keep us going for two or three more.



One of the most obvious things about this season of The Legend of Vox Machina is that the stakes are much, much higher this time, and the scale is bigger. In the first season we had a couple of episodes dealing with a dragon (in hindsight a much weaker one), but the majority of the season was a personal story; a character-focused narrative that put Percy (Taliesin Jaffe) at the centre of things. Whilst it had moments that were big in scale, such as the heroes of Vox Machina leading a town full of people against an undead army, it really does pale in comparison to this season. As noted earlier, the opening scenes make it clear that things are different now, and whilst there are quieter momenta along the way, that sense of larger scale never really leaves. Giant creatures of myth battle the group, they travel to alternate planes of existence, they fight armies, they gain immense power, and they have to tangle with a monster so iconic, its name is in the title of the game these folks were playing.

Fans of the original stream will find a lot here that they recognise, and some of the best moments of the game have made their way well to the screen. It’s easy to surprise existing fans with new twists and turns in the tale, but The Legend of Vox Machina also manages to make the expected feel shocking and awe inspiring. Whether it’s a fight that you know is about to kick off, a deadly trap that’s about to be activated, or a personal revelation that’s moments away, the series manages to keep existing fans invested. It also adds a lot of new content to the story that will keep those fans on their toes.

One of the best things about Dungeons & Dragons is that it’s co-operative storytelling. The DM creates a world and comes up with a story, but the players shape that story just as much. A DM can prepare certain scenarios for the players to find themselves in, and can try to anticipate what might happen, but you can never fully prepare (the amount of times my players have surprised me with things I never expected are numerous). And whilst this can lead to some incredibly interesting stories, they might not translate well to another medium. As such The Legend of Vox Machina shifts things around, gives some characters some slightly different motivations, and alters some complex back story to make more sense in the moment. I’m sure that there are some Critical Role purists out there that will look at what the show has done and complain that the story isn’t exactly the same, or that it cut some things out, but as it is this story works, it’s entertaining, and it’s accessible to people who’ve never seen the original streams.



The jump from playing a game to making a series also allows for the inclusion of a lot more actors and guests. Matt Mercer gets to take a break from voicing every character and does a select few here and there, including one of the new dragon antagonists. The main cast of the series return, with Laura Bailey as the bow-wielding Vex’ahlia, Marisha Ray as the druid Keylith, Ashley Johnson as Pike the gnome cleric, Travis Willingham as half-giant barbarian Grog, Sam Riegel as the musically inclined Scanlan, Liam O’Brien as the roguish Vax’ildan, and Taliesin Jaffe as gunslinger and inventor Percy. Joining them this season include fan favourite guests from the stream Will Friedle and Mary Elizabeth McGlynn, who reprise their characters from the game. Other actors who have appeared in the game’s later campaigns, such as Felicia Day, Robbie Daymond, and Aimee Carrero, make cameo appearances. This season also brings in some superb new actors for Critical Role, such as Ralph Ineson, Cree Summer, and Lance Reddick, to take on some antagonistic roles.

The series isn’t just content to impress with the voice cast, however, as this season seems to improve upon the animation too. Despite no visible change in presentation, with the new season looking like it did last time, it does feel like perhaps the team behind it have settled into this story and universe. We get some incredibly cool designs for locations and creatures that take the original descriptions cooked up by Matt Mercer and turns them into something truly stunning. And the action sequences feel like the animators are having a lot of fun with things, trying to find the best ways to make the moments really pop on screen. There are a number of scenes scattered throughout the season that will leave you laughing at how ridiculously cool they are, and you might find yourself hard pressed to pick out a single favourite thanks to the overall impressive quality.

The Legend of Vox Machina was something of a gamble when it first began. The show was paid for by the fans, who happily threw their money at the Kickstarter campaign so that their favourite gaming stream could find life in a new form. But the gamble paid off. It turns out that the story of these characters and this world appeal to a whole lot more people than just those who watched the original. It ended up being the quickest funded Kickstarter in history, and the most funded film and TV project. And whilst a third season has yet to be announced it would be an incredibly smart move for Amazon to continue the series on. Since the season started airing it has been announced that the second Critical Role game, The Meighty Nein, is also coming to TV as an animated series. With that one not being fan funded, and Amazon a part of the deal, it looks likely that there’s still a lot of life left in the franchise, and hopefully more of the story of Vox Machina yet to come.



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Sunday, 26 February 2023

Sgt. Rock Vs The Army of the Dead #5 - Comic Review

 

Originally published on Patreon


One of the best things about having Bruce Campbell attached to this comic is that, like with his films, you know that this is a book that doesn't take itself too seriously, and is just meant to be schlocky fun. And with a blur that reads 'They’ve blasted their way through impossible scenarios and burned their way through throngs of undead soldiers. But now Sgt. Rock and Easy Company find themselves hot on the trail of an enemy even they may not be able to handle: an über-upgraded, rejuvenation serum-addicted Adolf Hitler.' how could it not be clear that this is a book designed with sheer, unabashed enjoyment over anything else.

The series feels like it's been slowly building up to this point the last four issues, and whilst the story could have gone in another direction having Easy Company having to fight Super Hitler feels like the only way it could have unfolded. But first, they need to get to the man.

Much of the issue deals with the build up to the assault, and shows a pretty interesting behind the scenes peak at what war was like. It's not big heroics and action all of the time, it's also meticulous planning, careful timing, and hoping for luck to go your way.

That being said, come the end of the issue it's not clear if Sgt Rock's luck is going to hold out. Compared to the other undead soldiers that the team have faced across the book, Hitler is something else entirely. He's the first entity in the book that feels like he could be a substantial threat to our heroes, and by the final pages of the issue you begin to doubt if Rock is going to make it out of the series alive. 

Books like this always feel like they exist in this weird grey area where their status in continuity is up for question. If this is its own self contained story that doesn't have to stick to any rules it's absolutely possible that Rock is going to die ending Hitler's threat. It could even end up with Rock becoming the next undead threat, or Hitler coming out on top and leading an army of the dead to conquer the world. And this level of uncertainty definitely adds to the fun of things. It stops you getting complacent as the reader, and gets you questioning what might be coming next.

As with previous issues, the art is a perfect fit to the feel of the book. The quieter scenes of the team preparing their assault, and coming in for an airdrop feel interesting and dynamic even when its folks sitting around a map or hanging out in the back of a vehicle. The art team manage to make these moments come to life on the page in ways that you wouldn't expect. And when the action actually begin, then it enters a whole new level. Hitler looks monstrous, even though very little is done to make him look that different. But thanks to the subtle shifts away from what you expect into something else the book manages to make him look creepy in ways the other undead just aren't.

There's one issue of the series left, and it's going to be interesting to see if the book ends in a conventional way, or if things get really weird by the end. Either way, this has been a decently enjoyable series, and hopefully not the last one that will be given to Bruce to create. 



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Saturday, 25 February 2023

Lazarus Planet: We Once Were Gods #1 - Comic Review

 

Originally published on Patreon


First thing first, whilst I'm enjoying the Lazarus Planet event for what it is, I'm starting to get a bit annoyed at how the series seems to have somewhat misrepresented stuff. Some of this is promo material, others are covers, but in these cases the series seems to be promising certain things and then either barley delivering, or not at all. For example, Yara Flor is on this cover, but she doesn't appear in this book. Jon Kent's new Superman Blue powers were shown on the cover of Lazarus Planet: Assault on Krypton and on promo material, yet didn't feature beyond sparks of electricity coming off him. And here we have J'onn transformed into a big, Doomsday-like creature, as was also on promo material, and it lasts all of three panels. Not to mention, variant covers featuring characters and situations not in any books. I get that they're trying to build hype and sell their books, but I'm getting tired of waiting and hoping for certain things based on the material DC puts out, only to be disappointed. 

But, on to this actual issue. As with the last Lazarus Planet tie-in, this book features a couple of short stories that are using the Lazarus Rain to set up some new things for the future; some of which will be coming in later series, others in other parts of the event.

First up is a pretty well crafted and creepy story that sees a group of regular folks walking through the green fog of the Lazarus Rain on the beach, where they find a couple of people laying in the water. They take the one that's alive to a house, tie him up, and wait to see if he wakes up. When he does he goes a little crazy, and manages to escape the home with the family dog after hurting one of the men. Chasing after him, they find him on the beach where Aquaman protects him. Turns out, he's one of the Trench, who've been transformed into a more human-like form; and there are a lot more than just him.

The story has decent tension and atmosphere thanks to the slow build up, the focus on regular people rather than super heroes, and the wonderfully spooky artwork. This also sets up an interesting new drama for Arthur and the other Atlanteans, as a vicious enemy of theirs ends up needing help. But, as this issue makes clear, there is something a bit more Trench-like hiding underneath. I'm looking forward to seeing where this story might go.

The next story is the Doomsday one. J'onn uses his psychic abilities to monitor the Earth during Lazarus Planet and comes across a human who has developed his own psychic powers through that. He's using his abilities to draw the negative and harmful emotions out of people, leaving them feeling peace instead. The issue is, he's in Metropolis, where the psychic stain of the fight against Doomsday as lingered. Doomsdays memory gets inside the man and starts to transform him. J'onn tries to take it off him, nearly becomes the big monster from the cover, but the man takes it back from him before that happens, and transforms himself into a crystal to stop Doomsday.

This is the one story where I was left kind of going 'huh?' because I'm not sure what the point of this one is. Could this be setting J'onn up on a new quest to revert that guy back to human? Could the Doomsday psychic virus thing still be lingering inside him ready to turn him into a monster? Maybe. The book doesn't make it clear what, if anything, could come from this, and if we should be keeping an eye open for anything in the future. As someone who loves the Martian Manhunter I was looking forward to this story, and was left thoroughly let down.

The third and fourth stories are definitely the most important in this book, as they not only tie together, but lead into its own Lazarus Planet mini-series.

The first takes us Themyscira, where the dead that surround the island have risen, and are assaulting the Amazons. Warriors from multiple eras are walking out of the ocean and assaulting the shores of the island whilst spirits claw their way out of the Well of Souls, and Dooms Doorway is attacked from the other side. Whilst the dead aren't the deadliest of enemies for the warrior women, their sheer numbers pose a problem for the Amazon.

The second follows Shazam and Malik as they team up to try and find Billy Batson, who's trapped inside the Rock of Eternity. It's nice to see Malik getting to interact with a nicer member of the Shazam dynasty, and the story here is quite good. The two characters work well together with Mary being the more experienced hero and Malik being the new guy. They manage to find a way to free Billy from the Rock that doesn't rely on fists and screaming a magic work until something breaks, so it felt like it offered a decent conclusion. 

Both of these stories are building towards the four part mini that's coming soon, and looks set to be one of the better parts of the event. I also thoroughly enjoyed having Hoppy there, and really hope he continues to stick around as Shazam's new companion. I feel like the writer on this story understands bunnies well to thanks to the exchange they have that reveals Hoppy keeps chewing power cables and refers to them as delicious 'long candy', which as someone with house bunnies I can say absolutely lines up with reality. Bunnies are little buggers for loving eating cables.

These one-shot tie ins are proving to be a little bit of a mixed bag thanks to not every story seeming to really do anything or matter, and the expectations not meeting reality. That being said, they're still decently enjoyable, and it's nice to see how this event is affecting different corners of the DC universe, even if they're not directly involved. 



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Friday, 24 February 2023

Action Comics #1051 - Comic Review

 

Originally published on Patreon


After the shocking events of Action Comics 1050, which saw the Superman status quo go through a huge change, a new era for the Super Family begins with an extra sized first issue packed with three separate stories, and almost every member of the Super Family.

In the book's first story we get to follow Clark and his friends as they ready Metropolis for a new era, one in which the Steelworks, led by John and Natasha, is set to bring new innovations and improvements to the people of Metropolis; and hopefully soon after, the rest of the world. We also bring a couple of new members into the family as Osul-Ra and Otho-Ra are officially adopted by Clark and Lois, and as soon dubbed the Super Twins by the media. Unfortunately, Metallo attacks the opening of the Steelworks, challenging the heroes.

This is a decent start to the new era. It lays out what people are planning on doing pretty well with the opening of the Steelworks, and the adoption of the twins. There's a moment where Jon seems a little disappointed by the situation, having not really realised that the twins were going to become members of both families; but Jon is a decent kid and treats his new brother and sister well and is hugely kind to them throughout. 

The story with Metallo is interesting too, having been building for a number of months now in previous issues it finally comes to breaking point here as John comes into conflict with Superman. It's going to be interesting to see what comes from his new body, and how he's going to be a match for several super powered beings at the same time; though it does seem like he took Connor out of the fight pretty fast.

The second story is set in the past, and follows on from the events of the Death of Superman 30th Anniversary Special story. Following the big fight Clark, Lois, and Jon have moved back to their old house in the country for some quiet time away from Metropolis. Unfortunately, it seems like danger might be lurking with the disappearance of the Doomsday bone, and the sudden appearance of a strange alien visitor.

This is a fun story, especially for those who are missing the days when Jon was younger. There are a lot of people who are sad that Jon has been aged up, and they want the old Jon back (probably never going to happen), so stories like this set in the past can help cater to that itch. This seems like an interesting first part, and there's not a huge amount known come the end of it; but there are enough mysteries to make you want to come back for the next part for sure.

The third story follows on from the events of Lazarus Planet: Assault on Krypton, which saw Power Girl developing new psychic abilities. With the help of Omen, Karen has been developing her new powers and learning to control them. The two of them have come to the conclusion that they use their powers together incredibly well, and have come up with a way of using them to help the world that doesn't rely on them being used in combat. Super hero therapy. Their first patient turns up, Beastboy in the form of a baby cow. Apparently following the events of Dark Crisis he's retreated into himself and isn't responding to anyone. So Karen heads into his mind to try and help the traumatised man.

This is a very interesting direction to take this new development for Power Girl, and one that I honestly wasn't expecting. To want to use these new powers as something other than just another tool in her arsenal, and to give Power Girl a new direction, is actually a really clever move. It also gets to show of a more empathetic and caring side to the character that can sometimes be overlooked in favour of her being a powerhouse. My one complaint about this story is that there are a few times where she's written as not really understanding certain phrases and idioms, and whilst I know she comes from another planet in another dimension she's never really been written this way in other things I've seen, and it makes her feel a bit off.

The book also introduces some new designs for everyone but Clark. Whilst he's sticking with his classic look the rest of the family are getting something of an update and a rebrand; lots of jackets! Most of the new looks are okay, and when all together it does have much more of a unified team look to it. I do really like Power Girl's outfit, and I like that Connor still has elements of his original costume look in his design that he's pretty easily identifiable too. I also like this new look over Super Girl's new design, especially as her big chunky metal belt sometimes became so big it looked like a corset (the latest issue of Monkey Prince was awful for this). It remains to be seen how long these new looks stick around for, and whether or not folks will eventually revert to their more traditional costumes; but for now they're pretty good.

Overall, this seems like a decent start to the new Super era, we get a taste of what some of these characters are going to be up to, and where the series might be going. With a Jon Kent series coming up, a Steelworks book, and a Superboy series it looks like this is going to be a decent time for Super Fam fans.



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Godzilla: Monsters & Protectors – All Hail The King #5 – Comic Review

 

Originally published on Set The Tape


The final issue of IDW‘s all ages focused Godzilla series, Godzilla: Monsters & Protectors – All Hail The King, has arrived and it’s time for the final showdown between the three kings.

The last issue saw King Ghidorah preparing for his latest attack on the citizens of Earth, having already beaten Godzilla once already. With the help of the Shobijin, the four tweens have been able to ignite their connection to the guardian Kaiju. Three of the kids have reawakened Godzilla, who’s still recovering from the last fight, whilst new friend Karen has used her ancestral connection to King Caasar to bring him into the conflict. Now, the battle begins and the kids must find a way to use their connection to help the giant monsters, otherwise Ghidorah will achieve his goals and destroy all life on the planet.

The final issue of this series is pretty much one long fight, and it’s hard to talk about without spoiling parts of it, but I will say that the story here is paced out quite nicely, with the kids being presented with a number of issues that they have to try and overcome in order to help save the day. It’s nice that the story doesn’t just hand the reigns over to the monsters, leaving the human characters with little to do, as often happens in these kinds of stories. Instead, the children play an important role, and their involvement in the narrative up to this point is fully justified, rather than them just being there to fill up narrative space between monster fights.

To that end, it’s not just the creatures that fight this issue, as the growing anger and resentment in the friend group reaches a boil in this issue, and the kids finally have to deal with the negative emotions that have been plaguing them since the start of the series. Cederic has been kind of a jerk this whole time, and it’s about time that he gets called out for it and is forced to confront his issues. He’s been on the offensive most of the series, and it’s led to him being one of the least enjoyable characters to be around. Luckily, there has been a point to this, and things finally get resolved here; rather than it just being a wild change in characterisation.

Whilst this issue puts to bed the conflict involving King Ghidorah, there’s a lot of things that are left hanging. As such, with some final page teases, this series looks to be setting up for more stories to come. The things that get teased here are exciting, and it does feel much more overt that the series is planning ahead, and that it has future stories and monsters in mind; something that the first volume of Godzilla: Monsters & Protectors didn’t really do by the end.

Perhaps my one main criticism with the issue is that parts of the story seemed to get wrapped up fairly quickly, and some important things happen off panel. Whilst there is a moment where one of the characters mentions how quick and convenient it feels, simply hanging a lantern on the issue doesn’t really let you get away with it.

The art on the issue, provided by Dan Schoening and Luis Antonio Delgado, is as good as always, with some fantastic character moments with the kids, and the action looking really good. There are a few moments where it takes a bit longer to realise what the monsters are supposed to be doing in the fight scenes once the kids start giving them hints and telling them what moves to make, but when you’re dealing with static images it can be hard to fully convey everything. But there are some great visual moments to be found here, and the book is gorgeous to look at.

With the promise of more to come, Godzilla: Monsters & Protectors – All Hail The King manages to both feel disappointing due to the fact that this is the last one for a while, whilst also getting you excited for what comes next. It’s a shame every time this series comes to a close, but by now I feel confident in saying that whatever comes next is going to be worth the wait.



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Thursday, 23 February 2023

The New Champion of Shazam! #4 - Comic Review

 

Originally published on Patreon


One of the things that I've really enjoyed about this series is how it's turned around and criticised the idea that female heroes have to be the female versions of heroes. We've had plenty of times when the original hero takes a back seat for a while and a new person steps up to take on the name, or we get a second version of that character operating at the same time. Dick Grayson being Batman, Jon Kent being Superman, Bucky Barnes as Captain America. And whenever a man does it there will be some grumbles by those that don't like the story decision, but for the most art it's fine; people will call them Batman, Superman, and Captain America, but will then clarify which one. But when women do this something different happens. People complain, they attack, they belittle the characters, and they insult the very idea that they're that hero, adding some caveat like 'woman Thor', 'girl Wolverine', and 'She-Zam'.

This book takes a big hard no to that kind of thinking. Mary isn't Mary Marvel, Mary Shazam, Miss Shazam, She-Zam, or any other variation. She is Shazam. Purely, simply Shazam. As much as Billy Batson is. And her finally coming into that name, finally feeling like she can call herself Shazam is part of her journey, as well as part of her fight to be seen as worthy of respect from others. 

I'm sure that there will be people who hate this idea, and the comic depicting online spaces where people attack the very idea of her being a hero, let alone Shazam isn't a fictional concept; it's the real world. We see it all the time in fan spaces, and it's fucking boring. I'm sick of seeing it in real life, of seeing people who claim to be fans, who say they love these universes and characters shitting over it all because a woman is getting the spotlight. And if books with women in the spotlight are going to occasionally stick their middle finger up at these misogynistic pieces of shit, well that's all the better.

This issue doesn't just focus on that, however, as it also has to deal with some things left hanging from the last issue. Darla has run off, and has been kidnapped by the big bad of the story. Mary heads after her and gets into a couple of fights with some misogynistic dicks, kicks their arses, then heads off to the final confrontation. The reveal of who the villain is, what their connection to the Shazam mythos is, is actually really cool, and I like that it's not just a new unconnected character. 

The final confrontation isn't a big fist fight either, and the issue makes the point that the new Shazam isn't like the old one who goes in fighting. She makes plans, she uses her brains, and she thinks of alternate solutions. That being said, her taking the villain down a few pegs by screaming Shazam and powering up the way she does is pretty damn awesome, and might be one of my favourite Shazam moments. We also get more Hoppy helping out too; which can only ever be a win.

I was worried with this being a four issue mini that things would feel quite rushed, especially at the end. But this book has been hugely entertaining, and the story has felt 100% right for Mary's character. I love that she's been given the spotlight, and that she's getting to 'move up the ranks' as it were from a sidekick into the titular champion. She's more than earned that place, and with this series, her presence in DC vs Vampires: All Out War, and her being in Lazarus Planet, I hope that this is just the start of loads more of her as Shazam.



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Arch-Conspirator by Veronica Roth - Book Review

 


'From dystopian visionary and bestselling phenomenon Veronica Roth comes a razor-sharp reimagining of Antigone. In Arch-Conspirator, Roth reaches back to the root of legend and delivers a world of tomorrow both timeless and unexpected.

'Outside the last city on Earth, the planet is a wasteland. Without the Archive, where the genes of the dead are stored, humanity will end.

'Passing into the Archive should be cause for celebration, but Antigone’s parents were murdered, leaving her father’s throne vacant. As her militant uncle Kreon rises to claim it, all Antigone feels is rage. When he welcomes her and her siblings into his mansion, Antigone sees it for what it really is: a gilded cage, where she is a captive as well as a guest. But her uncle will soon learn that no cage is unbreakable. And neither is he.'

Veronica Roth is a name that some science fiction fans will instantly recognise; having shot to fame with the release of her first book, Divergent, that focused on a young woman fighting back against an oppressive regime. Since then her books have only grown in popularity, and fans have been enjoying more work from her. Her latest science fiction novella once again deals with a young woman trapped in an oppressive world; but does so in a very different way. Arch-Conspirator mixes post apocalypse science fiction with ancient mythology as Roth reinvents Antigone.

In Arch-Conspirator, Antigone and her siblings, her sister Ismene, her twin brother Polynices, and her other brother Eteocles, are the children of deposed, deceased leaders of the sealed off community that they like in. The world outside has been ravaged by radiation, and the last remnants of humanity have gathered together behind the walls of their city to try and survive. Over the generations their community has developed new systems and ways of existing; and this has led to a society where people no longer reproduce naturally, instead choosing the genetic material of deceased people to birth clones. Antigone and her siblings are different, however, born the natural way. 

After the deaths of their parents, the four of them have come to live with their uncle, Creon, who has taken over as leader. Due to having been conceived the natural way, people see Antigone and her siblings as being without souls, and their existence is barely tolerated. As such, when Polynices tries to assassinate his uncle and is killed in the attempt Creon refuses to allow Polynices genetic material to be stored like everyone else's. With only a handful of hour to save her brothers 'soul' Antigone is prepared to go against her uncle's laws to do so; but doing so could lead to terrible repercussions.

Luckily for me, I wasn't familiar with the story of Antigone before reading this book, and as such much of what transpired here was fresh and new to me. The story was interesting, in part due to the world that Roth had crafted to go around it. We don't learn much about the world outside of this final city, other than the fact that it's unlivable and irradiated, nor do we learn much about the origins of the city and the strange traditions and practices that happen there. This is mainly because these things don't really matter to the characters. Yes, the setting informs their story because of the way people treat death and the process of harvesting DNA to survive afterwards; but the topic of how they got there doesn't really matter. You don't need to know all of American history to read a story set in New York for example.

It would have been easy to get bogged down in these kinds of details, to spend pages going into the history of this future that Roth has crafted; but this would have slowed things down quite considerably, and it would have taken away from the central focus, Antigone herself. Plus, this is a novella, so space is somewhat at a premium too. As it is, we get enough information so that we understand the motivations and the reasons as to why things happen, but get to keep the fast pace and easy to read quality that comes with the novella format.

The story of Antigone is the focus here, and despite the short length of the book and the multiple narrators I feel that there's a pretty good sense of who she is and what drives her. She's trapped in a world that's not designed for women to succeed, or even be seen as equal, and on top of that she's not even seen as a real person. The book puts her at the centre of her societies problems with people, it makes her the most hated and disliked, and then it makes her one of the most reasonable and smartest people there. Her struggles throughout the book, to be seen as a person, to be seen as more than just a walking womb, and to be listened to make her easy to connect with, as it's a struggle that a lot of women and feminine presenting people are dealing with right now.

Feminine people have always had it worse than masculine ones. Men rule over women, women are the weaker, meeker, and subservient people. Men are in charge, women have to obey. It's been baked into the majority of cultures for a while now. And whilst this notion has been fought against, and whilst more rights are slowly being won they're also constantly under attack. The US saw the overturning of the hugely important Roe V Wade, which has resulted in a roll back for women's bodily autonomy. Obviously, these were issues that were already effecting a lot of people, usually those in even more marginalised groups such as women of colour, but now it effects even more people. The result of this is a bigger focus on bodily autonomy and reproduction rights, particularly from those who'd not really have to consider it before. In some ways Arch-Conspirator feels like a result of this, a story where reproduction and women's rights are an important part of the world that's been created here. It's also worth noting that whilst these issues are often called women's rights it does effect people who aren't women, and Arch-Conspirator does acknowledge this with a brief mention of trans men and non-binary people.

Having now looked into the original story, it's interesting to see how Roth has adapted it to this new setting. There are a lot of similarities, and she's not just taken the names and transplanted them into a new tale. This is still very much Antigone, and I think that those who are familiar with the original story and enjoy seeing new versions be made will find some interesting stuff here that they will enjoy.

Perhaps my only real criticism with the book is that it's too short. The novella format works well here, and the story is paced really well to keep you interested, to give you lots to experience, and to leave you feeling satisfied. However, I'd have also have loved to have seen what Roth would have done with this story in a longer form. It would have been wonderful to see more of this world, to spend more time with the characters, and to have the experience of reading it to have lasted longer. But those are tiny gripes, and the book is still a fantastic read that I'm sure will leave folks feeling happy.



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Wednesday, 22 February 2023

Nightwing #100 - Comic Review

 

Originally published on Patreon


Nightwing issue 100 opens with Dick and Bruce at Alfred's grave, talking about something big that Dick has been asked to do; something that's giving him pause. Considering how often Dick will jump into impossible, dangerous situations, the number of times he's stepped up and become a leader to heroes from around the world, him being unsure about something feels like a moment that matters. 

The comic then jumps back a few weeks, to Heartless leading an assault on Bludhaven Prison, where he releases thousands of convicts onto the streets of the city, armed with weapons and sporting masks. Knowing that he's got to tr and stop this, but that he can't do it alone, Dick leaps into action with two important strategies in mind. The first, is to convince decent people to do the right thing. He appeals to the small criminals, the innocent people, the people who had a spot of bad luck, that fighting for Heartless isn't the right thing to do. He asks them to stop. And it works.

This shows one of the best aspects of Dick Grayson, that he's not just going to leap into battle wanting to fight everyone and with the aim of harming people. He always wants to see the best in people. He wants to help, and to give people a chance. And its rewarded here, as most of the escaped criminals throw down their weapons and masks and start helping out.

The other plan he has reflects another aspect of Dick's personality. He has friends. If this were Batman he's be heading off alone to try and do it himself, maybe begrudgingly accepting help from the Bat Fam. But this is Nightwing, and he knows when to ask for help. As such, the Titans arrive in Bludhaven and head out to do some good. With their help Dick is able to bring the riot to an end, and even though Heartless gets away, things go well.

So what has Dick all worried at the start of the book? Well, that's what comes next, as Superman and Wonder Woman ask him to lead the world in the absence of the Justice League, to be the hero that the others look up to. To be the man who protects the Earth. It is indeed a big ask, but thanks to a pep-talk from Bruce that will make you cry, Dick knows that he's the man who can do it.

This issue is setting Dick Grayson up to be one of the most important people in DC going forward; and it's about time. He's one of the best heroes DC has because of the kind of person he is. He can lead, and most every hero will follow him. He looks for the best in people, and will give a chance to those others would write off. He's given his life over to this job, having grown from a kid to a man whilst being a hero. He's as close to an embodiment of what makes heroes good and decent people as Superman is; and he deserves this position.

As someone who has always loved Dick Grayson, who has always seen him as being as capable and decent as heroes like Superman and the rest of the League, this feels like the perfect next step in his story. I don't know if he's just going to be leading the Titans as the Earth's main defenders, or if he's going to be building something else. But whatever it is, it's sure to be fantastic.



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Dead Space 3 – Throwback 10

 

Originally published on Set The Tape


The Dead Space franchise is one that very quickly found an audience when the first game was released in 2008. It had been a few years since there had been a big Resident Evil release, with the fifth game a year away, and the last few Silent Hill releases had been pretty poorly received. Whilst there were some action and shooter games that were incorporating horror elements it was a pretty tough times for fans of survival horror.

As such, when a dark, claustrophobic horror game that pitted the player against monstrous creatures set to rip you to pieces it was met with huge acclaim. It also helped that Dead Space was also very, very good. Fast forward several years and the first game had become a modern classic, and the sequel was even more beloved. So, what was the third game going to do to try and top it?

After the second game in the series became a critical success, but failed to become a financial one (an increased budget but similar sales to the first game led Dead Space 2 to make less money than EA wanted), the decision was made to take the planned third game in slightly different directions. Originally the team behind the game wanted to focus on the horror elements, feeling that the sequel had already introduced more action than was best for the series. However, with the popularity of high-octane shooter games at the time, management told them to increase the amount of action.



This resulted in a shift in the plans for the game, with some of the team seemingly aware that the increase in non-horror elements would lead to this being the final game in the series (this would be the last Dead Space game until 2023 when a remake of the first would be released). Many of the elements that were only hinted at in the previous games was brought more to the forefront in this, and the production team decided that they would include many of the answers to questions that fans kept asking for, such as what the Necromorphs were, and where they came from.

The story of Dead Space 3 begins on Earth’s moon, where series star Isaac Clarke (Gunner Wright) is living when the city starts to come under attack from Necromorphs, who have been unleashed by a cult that worships the Markers that create them. Teaming up with a small crew, Isaac heads off to the remote world of Tau Volantis, which is believed to be the home world of the Markers. Arriving on the frozen planet, Isaac and his new companion John Carver (Ricardo Chavira), must fight their way through hordes of undead alien monsters, and human cultists in order to find a way to defeat the Necromorphs once and for all, saving humanity in the process.

One of the biggest changes to the game was the inclusion of co-operative play, which resulted in the creation of John Carver, a former soldier. The original plan for the game would have followed series themes of exploring mental health and how the Markers mess with people’s minds, and would have put the second player in control of Shadow Isaac, a hallucinatory version of Isaac that would appear. However, Electronic Arts informed the creative team that they wanted to move away from these themes, and as such Carver was created instead, in part due to the popularity of soldier-based shooter games at the time.



Despite the inclusion of co-op play, the game still worked pretty well. Unlike other co-op games of the era, which would force the second player character to be there at all times, controlled by AI if no second player was present, Dead Space 3 didn’t do this. Instead, if the player chooses to play through Dead Space 3 alone they will be alone. Instead of having an AI-controlled partner running around on screen getting into difficult situations, Carver and Isaac simply get separated when they don’t need to be together for the story. This keeps the player on their own, and offers an experience that feels a little more like the first two games. However, the increase in action does mean that there are certain circumstances where co-op play is a welcome help, especially on the harder difficulty settings.

Perhaps the worst thing done in the name of trying to make more money, however, was the inclusion of micro-transactions. Micro-transactions and loot boxes are an incredibly predatory system that uses FOMO (fear of missing out) and other psychological trickery to prey upon gamers in order to spend more money. The practice has been criticised for years, and in some countries the practice has been classified as gambling. The way micro-transactions are designed are also specifically made to prey upon people with gambling addiction, mental health issues, and neurodivergent people. And these systems have sadly become so normalised in gaming that most people don’t even think twice about them, even though there have been studies that prove their harm. But, when Dead Space 3 was first released the practice was still quite new, and its inclusion in the game in order to charge player money for crafting materials they could find in game anyway was met with criticism. It’s ironic that a system that is so normalised and ignored now was for a while considered a contributing factor to the failure of Dead Space 3, and the end of the franchise.

Despite the game receiving mostly positive reviews in a number of publications Dead Space 3 failed to meet the expected sales that Electronic Arts were hoping for, and it was estimated that the game made 20% less than its predecessor, Dead Space 2, did. The changes to the game, the difficulty in finding a balance between the new elements forced into it and the original vision, and the low sales, resulted in no further games in the series being given the go-ahead, despite Dead Space 3 ending on something of a cliffhanger (via the DLC) that would leave fans of the series in limbo for the next decade. However, the series would continue to remain popular, and a new remake of the original game has since been released.



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Tuesday, 21 February 2023

The Flash #791 - Comic Review

 

Originally published on Patreon


The Flash moves at super speed, flying through the world at a pace that's almost impossible to see, and reading issue 791 of The Flash feels a bit like I've tapped into the Speed Force too, because it seemed to be over so quick that I had to be going super fast. The One Minute War is under way, and as the shock of the devastating first contact last issue sets in the Flash Family start to gather the troops.

The end of the last issue saw the alien invaders from beyond Earth-0, the Fraction, dropping from the sky and blowing a hole into Central City. We begin with the very stark commentary that the attack has killed hundreds, if not thousands already; that the Flash has already been unable to save everyone. With everyone on Earth who isn't a speedster frozen in place, our heroes begin to do their best to figure out what happened. Wally and his family try to find somewhere safe for their frozen friends and family, Kid Flash and Impulse head over to the huge alien structure in the middle of the city, and Barry weeps over the body of Iris.

Last issue review I speculated that perhaps Iris wasn't dead, that by being frozen in time she only appears to be; but this issue seems to put that idea to bed as Barry, Wally, and everyone else treats it as if she's dead. And they've been handling frozen people for a while at this point, so they should know the difference if there is one. So yeah, Iris appears to be gone, and it's probably going to have a pretty big impact upon Barry. He's already admitted that he'd go back and change it if he could (good old responsible Barry as always).

Outside of this, we get to see the other members of the team coming up against the Fraction forces, beating several of them, and gathering together to form a plan of action. Unfortunately, this seems to put the speedsters on the Fraction's radar. I like that the Fraction acknowledge that they expected to find a speedster or two, that it's pretty common across the multi-verse, but the amount in Central City is unheard of. DC admitting that they've got more speedsters than the average. 

The large number of people connected to the Speed Force gets the Fraction's leader interested in them, and he wants as many as possible captured as a gift for the upcoming wedding of their empress. To this ends, they release Miss Murder, a creature that they 'captured on the dark world'. The woman in question (who's on the cover) bears a mask similar to the Batman Who Laughs; so with the comment about where they found her seems to indicate that she could be from the same universe. 

This is a bit of a meh revelation for me if I'm being honest. I kind of hated the Death Metal stuff and the whole Dark Multiverse stories, and as such don't particularly like the Batman Who Laughs as a villain. I'll acknowledge the design is okay, but this is now the second new Who Laughs type villain we've seen pop up over the last couple of months (with a Harley Who Laughs in Harley Quinn) and the design and concept might be becoming a bit overused. Have an evil speedster thing that the Fraction can send out after our heroes, sure, but maybe be a bit more original in her design.

Overall, though, this was a decent second issue to the event. Things are still in the set-up stage, with the Flash Family gathering the troops and figuring out what to do. But with the team together it looks set for things to start heating up in the next chapter.



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Attachment – Film Review

 

Originally published on Set The Tape


Queer romance, evil spirits, and generational trauma make up the new horror film Attachment: a slowly building character-driven story filled with Jewish culture, from first time direct Gabriel Bier Gislason, that greatly impresses.

Attachment begins not as a horror film, but as a rom-com, with lead characters Leah (Ellie Kendrick) and Maja (Jospehine Park) meeting in a Danish library, with Maja there dressed up as a Christmas elf come to read stories to local children. Literally running into Leah, the two of them instantly hit it off, but are both clearly filled with nervous energy. After some clunky flirting the two of them spend a passionate night together, and then in an experience that many queer people will be familiar with, Leah just never wants to leave.

However, when Leah breaks her leg in the middle of the night during a strange seizure she’s forced to go home to London, finally having to confront the overbearing mother, Chana (Sofie Gråbøl), whose calls she’s been dodging. Going with her, Maja is somewhat taken aback when she meets Chana and sees the stressed relationship she and Leah have. Trying her best to impress her girlfriend’s mother, and to keep the peace between them, Maja begins to suspect that something nefarious is happening when she finds strange things around the apartment, and Chana begins acting strangely.



One of the more impressive aspects of Attachment is that director Gabriel Bier Gislason doesn’t lean too heavily into the horror tropes in order to tell his story. A great deal of the film plays out in ways that feel like it would be more at home in another genre, with moments that feel like a romance and others that feel like a tense familial drama story, yet throughout it all are small hints at something more. This element of horror slowly builds in the background without the audience really noticing it. The film plays a trick on you, having you almost forget that this is supposed to be a horror film, letting you settle into Leah and Maja’s story so that when the horrific does begin to happen it feels all the more shocking. You’re almost put into Maja’s shoes, where you’re expecting a fairly regular story that suddenly takes a sharp turn into the realm of nightmares.

A lot of the success of the film comes from the lead actors’ performances, with the central trio managing to draw you into an uneasy web of relationships. Ellie Kendrick and Josephine Park are wonderful as Leah and Maja, and are completely believable as a young couple; the nervousness of their first meeting, the passion and desperation to be around each other after they finally admit their feelings, and the drive to do whatever it takes to protect each other when things go wrong. The two of them end up going through a huge range of emotions and experiences across the film’s run time, and there’s never a moment where it feels unbelievable or forced. They have an easy and natural chemistry that’s so charming and entertaining that if there were no horror elements in the film and it was just a romance story it would still be wonderfully entertaining.



Sofie Gråbøl, on the flip side, injects so much dark and stressful energy into the mix that she almost feels like an oppressive and malevolent presence in the story. She portrays the overbearing mother wonderfully, and you can understand why Leah initially ran away to another country to get away from her. Every scene between her and Leah ends up with enough awkward energy that even you as the audience kind of want to slink away just to avoid it, and you can’t help but feel awful for Maja stuck in the middle of it, trying to keep her girlfriend happy whilst also trying to win Chana over too.

Gislason uses the visual elements of the film to build upon these emotions, with the early parts of the film with just Leah and Maja feeling bright and open, with more open location and wider shots, but once the film shifts to London the light begins to seep out, the shots get darker, the sets get smaller and more cramped, and the angles get tighter. The entire film shifts to reflect the feelings and emotions, and enhances the experience to the point where you begin to feel desperate for a release from it yourself. And throughout it all there’s a building sense of dread as hints at bigger, darker forces at work are drip fed to the viewer.

It’s wonderful to see more diverse horror stories being told, that we’re not just being given the same kinds of stories and the same kind of monsters from Christian mythology over and over again. Attachment draws upon the Jewish faith and experience, and it helps the film to feel fresh and different. Much like 2020’s The Vigil, it showcases the fact that horror is something that is present in cultures all over the world across history, and incorporating them in respectful ways can only enhance the genre and give it new life.



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