Batman #135 - Comic Review

 

The latest issue of Batman is something a little special; not only is it the final chapter of the latest story arc, but it's also the 900th issue to bear the title. With that in mind, Chip Zdarsky not only creates a fun conclusion for the story, but manages to make it a celebration of the character too.

The last issue took some big leaps in the story, and things suddenly began to speed up as we got an explanation for who Halliday is, as well as his plan involving manipulating the multiverse. Not only that, but this alternate Gotham came under attack from Halliday's forces, and Bruce ended up losing a hand in a fight with Ghostbreaker (that world's version of Ghostmaker).

This issue picks up in the middle of all of that chaos. The streets of Gotham have become a warzone as the citizens do what they can to survive the red mist, whilst Man-Bat creatures attack them from the skies. Catwoman and Jewel do what they can to save the people, but they need somewhere safe to take them. That's where Alfred comes in. Having been inspired by this other version of his son, and seeing the chaos that's happening outside his building, Alfred leads the citizens of Athena tower in overpowering the security guards, and opens the doors to the people of Gotham.

Meanwhile, Halliday uses his multiverse device to peer into other universes to see the moment that the Joker was born, hoping that in doing so it will help transform him into the Joker. However, he soon discovers that not only does that not work, but that his presence in that moment actually comes to make the Joker. He tries again on another world, and the same thing happens. In the fight against Batman, Halliday jumps into the device, vanishing into the multiverse. And so Batman goes after him, hoping to stop him, and perhaps find a way home.

The first half of this issue feels like the main conclusion to this arc, it deals with the alternate Gotham, it sets the world there on a better course, and shows that even having been there a short while Bruce has managed to inspire people, and to make it a better place. The book even teases a moment where it looks like Alfred might go with Bruce, where he could come cross to Earth-0. This is something that I saw fans speculating on online, as a possible way of not undoing Alfred's death, but also getting Alfred back. I think addressing it as a possibility, but ultimately shutting it down, is the best thing that could have been done. It would feel somewhat disrespectful to our Alfred to replace him with another version of himself, one that doesn't have those memories or connections with Bruce and the others. Especially as this Alfred has a wife he'd be leaving behind too. 

Speaking of alternate versions of characters, the second half of the book is the part that I think people are going to be remembering and talking about for a good long while. Following Halliday into the multiverse, Bruce jumps from world to world, following a few steps behind. Every world Halliday visits results in either a Joker being born into that reality where there wasn't one before, or the Joker already there becoming more crazed and powerful than ever. And so we follow Bruce as he visits realities like the 1989 movie, the Red Rain universe, the Arkham games, and Batman 66.

There are a couple of worlds in which Bruce gets the chance to slow down and interact with the other versions of Batman he encounters, ones that help him on his journey. Terry and Bruce from Batman Beyond give him tech that will help send him home, Adam West's Batman gives him a utility belt to help him out, and the Dark Knight Returns Batman not only gives him a suit, but builds him a robot hand to replace his missing limb.

The final confrontation with Halliday is pretty wild, and it very much embraces the ridiculousness of the situation and the wild impossibilities of the multiverse. It also contains a moment that I think fans of Batman are going to laugh out loud with, as it brings back one of the most ridiculous and fun moments of the character's history. 

This issue of Batman is, ultimately, a lot of fun to read. If you're someone who's familiar with the various different versions of the character this book will feel like a fun nostalgia trip for you. It brings in some of the most popular versions of the character from the comics, as well as those from other media such as movies, TV, and games. It feels like a celebration of the different ways in which people could have fallen in love with the character, whether it's one of the books that people always recommend, a show you watched as a kid, of a game, it's a fun, enjoyable romp through some of the best bits of Batman's cultural impact. 

Whilst the book does put a lot of the issues that Bruce has been dealing with lately to bed there are still some big questions looming over the character that I'm hoping the next few issues will deal with. Will Failsafe return to challenge Bruce again when he returns to his own Earth? Has his psyche been at all damaged by the recent events with the multiverse travel and the release of Zur-En-Arrh (and that last page!?)? And will he keep the robot hand, or is he going to get a real one the same way Alfred did after losing his? Zdarsky has a lot of things he can do with these questions, or he could ignore them completely and go onto the next story. Whatever is coming next, I'm very excited, as this has been a fantastic run so far.

Support Amy on Patreon

Buy Amy A Coffee

Go to Amy's Blog

Follow Amy on Twitter

Add Amy on Instagram

Isle of the Undead: A Zombicide Black Plague Novel by C.L. Werner - Book Review

 

'Necromancers and dragons stand between a heroic knight and victory over the zombie outbreak chewing its way through the fantasy realm of Zombicide Black Plague.

'The Black Plague’s terrible toll never ends, unleashing a new wave of zombies with disastrous consequences. Low on hope, Knight Alaric von Mertz and his companions flee their crumbling sanctuary, and soon come under the unlikely wing of murderous pirates. There, they learn of a legendary artifact called Mournshroud that could destroy swathes of the undead, but to claim it they must defeat an evil sorceress on an isolated island. Guarded by a dragon! A knight’s honor demands he defend his kingdom, no matter the cost. Yet, as the undead hordes close in on them, a familiar evil waits in the shadows, plotting revenge on Alaric and everything he holds dear…'

Zombies are big business, they're a hugely popular monster thanks to a number of reasons. They can be relatively easy to kill, though can be made into much scarier creatures thanks to mutations, or hordes. They can stand in for real world issues and themes. There's the horror of never knowing who might become one. And there's the angst of them being former people, and the twisted scenarios where you might be fighting for your life against a former loved one. They're easy to mould and adapt into different stories, and because of that there has been a lot of zombie stories over the years; to the point where they've almost begun to get a bit boring. But one of the ways in which they can be given instant new life is to put them in places where they don't often turn up. Forget our modern world, zombies in historical, or wildly different fictional settings always feels new and interesting. And this is something that the Zombicide series is doing so well, and one of the reasons why this is such an enjoyable book.

In the previous entry in the Black Plague series we are transported to a world under siege. A cabal of necromancers have come together in a way never seen before, and are using their immense dark powers to raise the dead across the land. This black plague is turning the dead into monstrous creatures, corpses with a desire to eat and destroy the living. Worse still, some of the dead have become twisted monstrosities, such as large, hulking beasts capable of tearing through people like paper.

As the world fell we met a small group of survivors trying their best to stay alive, noble Knight Alaric von Mertz, the rogue Gaiseric, witch hunter Helchen, orc warrior Ratbag, and dwarf explosive expert Ursola. Together, the group was able to defeat one of the necromancers, and take over his fortified tower in the centre of the city, securing it to protect the survivors that had fled there. Now, Gogol, the necromancer that has been searching for revenge against Alaric, has created a new breed of undead, ones impervious to almost all attacks. Launching an assault upon the tower, Gogol's new creatures are able to breach the defences, and the survivors are forced to flee.

Leaving the city far behind them, the heroes lead the civilians to what they hope will be safety, thought Gogol's forces continue to pursue them. When all hope seems lost, salvation arrives in the form of a pirate ship, captained by the beautiful and cunning Sylvia, who claims that she and her crew are bringing survivors to a secure stronghold. With the threat of death hot on their tail the survivors are forced to go with the pirate captain; a choice that will lead them to new allies, and a dangerous new mission the likes of which they've never encountered before. 

One of the things that Isle of the Undead does very quickly is set itself out as being different from the book that came before it. Whilst the first book was incredibly enjoyable, doing more of the same wouldn't have helped the sequel to stand out. However, it quickly becomes apparent that Werner isn't content to just go through the motions and have the same old story of survivors looking for a safe haven, losing it, looking for a safe have, losing it that other, more boring zombie stories have been content to do for decades (sorry The Walking Dead, but it's true). Instead, Werner decides to flip things on its head as soon as possible, introducing a frightening new form of undead, and taking away our characters sense of security.

The book doesn't spend too long with the characters on the road either. There's a few chapters of the heroes leading the survivors through the zombie infested countryside, trying to find a place where they might find a little safety, but it's a relatively small section of the book. This could have been stretched out, and could have been the focus of the novel entirely; but Werner has something much more interesting in store for the readers instead. After joining up with the pirate crew, our heroes do indeed get taken to a new safe location, one that seems to actually be able to withstand the zombie plague. Rather than making the drama about whether or not these people can be trusted, or how long the stronghold will last (other very overused tropes in the genre) our heroes get sent out on a quest to locate a powerful magical artefact that could end the undead once and for all. Yep, we get an action packed fetch-quest instead!

This change in pace is great, as it means we can ditch the civilians, and we can just focus on our heroes being competent zombie killers as they head to an island fortress to steal an artefact from an ancient sorcerer. But of course, the island has fallen to the undead too. Not only are there hosts of zombie goblins and orcs there, led by an orc necromancer, but the island is also home to a monstrous dragon. In a lot of ways this story feels like a Dungeons and Dragons quest, something that seems simple on paper, but gets more and more complex and dangerous as it goes. And if you're a fan of fantasy games like that you're going to get on really well with the story here.

The returning characters all get a lot of stuff to do as well, and whilst there are still a few characters who get a bit more of the spotlight than the others, such as Alaric, Gaiseric, and Helchen, everyone gets to do something important that helps the team survive the events of the book. Since the last book some of the characters have been through some changes too, Ursola seems to be learning to put some of her dwarvish prejudices to bed, working alongside Ratbag for example, though it's something that she's still having to work on; leading to her being the grouch of the team more often than not. Helchen has also gone through quite a journey after becoming friends with a man that her order would have persecuted, and then losing him. The loss of Hulmul at the end of the previous book seems to have had quite the effect on the witch hunter, and she's beginning to question the actions of her order. Not only that, but she's started to use magic herself; something that the old her would rather have died than do. Her journey is perhaps the most interesting in this book, and I'm super excited to see what happens with her next. 

The one character who appears to have changed the most over the course of the two books, however, is Gaiseric. The thief was introduced as a very shady character, someone who was only ever out for himself, was adverse to combat if it could be avoided, and who was only working with Alaric because it was the best option open to him at the time. But by the end of Isle of the Undead he's become a whole lot more than that. There's a moment in the book where the group finds a weapon capable of killing the undead incredibly quickly, and Gaiseric tries to give it off to the other members of the group. Each of them refuses the weapon, for various reasons, leaving it to him to wield. Gaiseric tries to tell them that this is the kind of weapon that a hero should wield, and Alaric basically tells him that a hero is wielding it. It's a lovely moment where it seems like Gaiseric finally sees how much he's changed, how he's become a man who volunteers to go into danger, who has protected the innocent, and is fighting to save the world. It's a lovely moment.

Isle of the Undead isn't just a good successor to the book that came before it, but one that expands on it in new and interesting ways. The characters continue to evolve and grow, and the new heroes who join the group feel like worthy, interesting additions to the team. The story doesn't play it safe, and instead chooses to make some bold decisions that already seem to be setting up for an even more exciting third chapter. There is some great action scattered throughout the book, and some truly impressive set pieces. And there's a loss that is going to leave a huge impact upon not only the characters, but the series going forwards. C.L. Werner has done a fantastic job with the story, and I'm super excited to see what future books have in store for us.

Support Amy on Patreon

Buy Amy A Coffee

Go to Amy's Blog

Follow Amy on Twitter

Add Amy on Instagram

Twice Cursed: An Anthology - Book Review

 

Originally published on Set The Tape

'From the fun of the fair to the depths of hell, experience sixteen more curses in this sequel to the bestselling Cursed: An Anthology. A blend of traditional and reimagined curses from fairy-tales to Snow White, from some of the best names in fantasy.

'In this sequel to the bestselling Cursed: An Anthology are more tales from some of the best names in fantasy.

'Following on from the hugely successful first volume, in this book Joe Hill gives us a chilling interpretation of a carnival curse in ‘Dark Carousel’, Sarah Pinborough offers a hellish curse in ‘The Confessor’s Tale’, both A.C. Wise and Laura Purcell tackle fairy-tale curses from the female protagonists’ perspective in ‘Shoes as Red as Blood’ and ‘Awake’, while Neil Gaiman gives us a very different take on Snow White in ‘Snow, Glass, Apples’, Kelley Armstrong draws us into her unique mythos with a troublesome toy in ‘Just Your Standard Haunted Doll Drama’, and Helen Grant imagines a curse on a much bigger scale in ‘A Curse is a Curse’.'

In 2020 Titan Books published a darkly magical anthology book called Cursed, edited by authors Marie O’Regan and Paul Kane. It brought together a plethora of talented writers to tell twisted and grim tales about people under the spell of magical curses. Now, three years later, it looks like readers have been cursed a second time, cursed to read even more fantastic stories (is it still a curse if it’s a good thing?) as their new collection, Twice Cursed, is released.

Much like last time, this collection brings together a number of well known, award winning authors to craft stories based around the age old superstition of curses. There are a few writers who’ve actually made a return for this new volume, including Neil Gaiman, M.R. Carey, but most of the sixteen authors are new to the series this time round, and Twice Cursed acts as a wonderful follow-up to the first book, showcasing even more great names in the field of horror, and dark fantasy.

Cursed opened with a new take on Snow White, and whilst this volume begins differently, with a short four page tale from the wonderful Joanne Harris, the second story returns to familiar ground with yet another interpretation of this classic tale. Written by Gaiman, ‘Snow, Glass, Apples’ is told from the point of view of the ‘evil’ stepmother. A young woman who falls in love with the recently widowed King, the unnamed narrator moves into the castle after marrying the now single father. Taking on responsibilities not just as wife and monarch, but as a mother, she soon comes to fear the child living within the castle; the deathly pale little girl who bites her and sucks upon the wound.

When the King passes away, withered and drained, the new Queen orders for her stepdaughter to be taken out into the woods and killed, her heart brought back as proof. With the still beating heart delivered to her, the Queen knows that despite her orders, the cursed child is still somehow alive, and must take further steps to destroy the vampiric monster. Gaiman’s prose is wonderfully written, and immediately takes the reader into a dark world, filled with twisted versions of characters that we know. The choice to make Snow White the monster, and the stepmother the victim trying to save her kingdom is a genius twist upon the tale, and the narrative will go places that you can’t predict.

There are a number of stories in this collection that follow a similar theme, of dark fantasy worlds that feel like nightmare infused fairy tales. One that immediately stands out is ‘The Confessors Tale’ by Sarah Pinborough. Set in some long ago time, this story focuses on Arkaday Melanov, a young man whose tongue was stolen when he was a baby. There are conflicting tales about how the boy lost his tongue, whether it was a wild wolf that ripped it out, or if his mother went insane and did it to him, but either way, the young boy grew up unable to speak.

Not being able to speak, people soon begin to talk to Arkaday, unloading their secrets and dark confessions on him, knowing that he will never pass them on. When he’s given a strange puzzle made of bone not long after his father dies, people begin to die after telling him their confessions. I can’t say more without spoiling this story, but this was easily my favourite in the book. It takes a turn towards the end that made me yell out loud, unwilling to believe that it had done what it did. The fact that it connects to a very well known horror story makes it a particular stand out, and a moment of pure shock when reading.

The book doesn’t just stick to the past, or to fantasy settings, as there are several stories in the collection that take place in our own world, that show a darker side to the lives we’re all familiar with. M.R. Carey’s ‘Mister Thirteen’ follows a group of people afflicted by different curses, who have come together to form a support group to help each other through the difficulties their curses bring. There’s someone whose body begins to unravel like twine, a man whose food turns to ash in his mouth, and woman who will die die unless they pass their curse on to an innocent person. Then, one day a new member arrives, a man who can’t give his name but calls himself Mister Thirteen, a man who was cursed to live forever, hundreds of years ago; unfortunately, he’s not come to the group for support. This is one of the more unusual stories in the book, as it not only turns curses into ordinary, almost mundane parts of life, but also poses the question of what if on occasion a curse might not be a bad thing.

‘Dark Carousel’ by Joe Hill is one of the longer stories in the book, but it doesn’t feel like it’s taking up masses of room, nor does it overstay its welcome. This story tells the tale of a group of teenage friends and the night their lives went to hell in the summer of 1994. These two couples spend their day hanging out at a seaside amusement pier, one of them ready to leave for college soon, and another off to join the military. The four of them are trying to make the most of their time together whilst they have it.

The quartet come across a creepy carousel at the end of the pier, one with twisted horses, monstrous sea creatures, and other dark monstrosities to ride. The teens have fun on the carousel, but when one of them realises their money is missing, and they decide that the ride operator is responsible, it sets them on a course of action that leads to a terrible outcome. This story takes its time to reveal the horror at the heart of it, instead letting the reader get to know the characters, their lives, and the world that they inhabit. Because of this, you almost forget that this is a story about curses, and when the awful things finally begin to happen it’s something of a surprise; a nightmare thrown into a world of normality.

‘Just Your Standard Haunted Doll Drama’ by Kelley Armstrong, as the title suggests, doesn’t really take itself too seriously; at least in the sense that it’s not a story that revels in horror or the supernatural. This story centres on a young woman who owns a shop that sells formerly cursed items. She’s able to remove the curses placed onto things thanks to her family’s magical heritage, and does some good by doing so too. Her younger sister has grown up with a love for creepy dolls, and with her birthday coming up she’s enlisted the help of her rich boyfriend to find a creepy cursed doll to give her as a present; a cursed doll that isn’t too cursed mind you.

However, when they come across a very disturbing looking doll it turns out that they may have bitten off more than they can chew. This story feels like something plucked from the middle of a long running supernatural drama series, and could be an episode of television. The characters are all really well formed, their world and their lives feel fleshed out, and it’s almost like taking a snapshot from a much larger narrative. Armstrong has written several supernatural drama series in her time, and it’s clear from this short story that she’s very good at it. If this kind of thing is something you enjoy, this story will definitely make you want to check out more of her work.

Twice Cursed takes the concept of the first collection and does it all over again, but never feels like it’s giving the same kind of stories, or is content to do the bare minimum. The tales collected here all feel incredibly different, with different styles, settings, and tones, yet fit together incredibly well, giving what feels like a broad overview of how a simple prompt like a curse can result in so many different kinds of stories when given to talented writers.

Support Amy on Patreon

Buy Amy A Coffee

Go to Amy's Blog

Follow Amy on Twitter

Add Amy on Instagram

Action Comics #1054 - Comic Review

 

The latest issue of Action Comics sees Superman come to blows with Metallo to save his children, Jon learns more about the alien princess as his parents deal with Doombreaker, and we spend some time with John Henry Irons as we get treated to three new stories. 

In the last issue's main feature we were left on a big cliffhanger as Otho left the apartment and seemingly attacked a Blue Earth protest, killing one of the anti-alien bigots. As Jon and Osul come flying in to grab her and do what they can to clean up the mess, it's revealed that the young Warworld refugee didn't harm anyone, and that the people she attacked were actually Metallo drones, who quickly burst out of their skin and start attacking. 

Whilst Clark arrives on the scene to help, Metallo grabs the Super Twins, and escapes with them. We get a moment here where Jon begs his father to be the one to go after them, revealing to his dad that the twins asked him if he hated them, and that he feels like he needs to be the one to save them to prove that he doesn't. This is honestly a really sad moment, and I feel bad for Jon and the twins. I said in my review for the last issue how Jon's issues with his parents thanks to losing his childhood have led to some interesting and complex emotions now that they've adopted the twins, and it's stuff I'd love to see explored more. Unfortunately, Clark doesn't allow Jon to go with him to help save them; which is perhaps the only part of this story that I didn't like. It's so clear that Jon needs to do this, for his own emotional well being, and Clark not getting that feels like a mistake.

Clark uses his senses to track down the twins location, and head over to stop them. It's during the confrontation with Metallo that it's revealed that his core is Warworld tech, and that that's what's corrupting and manipulating him. Using some fancy new powers, Clark is able to take him down and disable the device, freeing Metallo of the control. And in true Superman fashion, he offers to help Metallo find and save his sister before taking the man to jail. It's here that we find out who has been controlling Metallo this whole time. And it's a hell of a reveal! I can't wait to see where this story goes next, as this villain is a personal favourite of mine.

The second story continues to tell us what happened following the Doombreaker fight as Clark, Lois,a and Jon try to relax on their farm. As Lois and Clark search for their son they come under attack fro Doombreaker once again, who has continued to evolve. Not only does he have four arms now, but he's also got a large pair of wings. We don't get much of the confrontation between him and Clark, as most of the issue focuses on Jon, but it looks like it's going to be a tough fight for Superman if the few bits we see are anything to go by.

Whilst all of this is happening Jon is learning more about Glyanna, the alien princess that he's trying to help. After having escaped from her ship the two of them have crashed back to Earth somewhere in the pacific, and are trapped on an island together. Glyanna gives Jon (and the audience) a breakdown of her history, of the world that she comes from, and the reason why she's asking for Superman to help her (all stuff that feels like it should have come up before now to be fair). Jon, being the good kid that he is assures her that if she's trying to help people then his father will help her. Unfortunately, it seems like she's not completely on the level, and makes a bit of a villain turn towards the end. We'll have to wait to see if she's an out and out villain, or if she is a good person who's just making some terrible choices for how to get Superman to help her.

The final part of the issue is given over to Steel, and catches up with him in the events leading up to his speech at Steelworks in Action Comics 1051. This part of the story is acting as set-up, and it's a great way for those who are unfamiliar with Steel to get a feel of his character. The book shows why he became the hero that he is, and delves a little bit into his history as a tech designer whose concepts were stolen to make weapons. With the reveal that a shady figure is watching him at the end of the issue, it feels like this is going to be an important point, and that this story may be connecting back to that part of his life. With a Steelworks book coming out in June we'll have to wait to see if the events taking place in Action Comics will be a part of that, possibly building towards the series, or not. However, this story isn't written by Michael Dorn, who will be writing Steelworks, so it's likely it's own thing.

Overall, this was a really good issue of Action Comics. The main story has taken a surprising turn and has introduced a hugely exciting villain for our heroes to deal with, as well as showcasing some cool new powers, further exploring the family relationships, and showcased why Clark is a great guy. The Lois and Clark story has been one of my least favourites in the series so far, but this issue feels like the best part of that story, and all of the characters are going through something interesting at the moment. And whilst I think the Steel story is the weakest one in this issue, that comes from the fact that I'm already familiar with who John Henry Irons is and how his character came about. However, for newcomers to the character it's a decent jumping on point, and it seems to be getting ready to do something interesting with a character that I like, who rarely gets given a chance to shine. Overall, some really great stuff.

Support Amy on Patreon

Buy Amy A Coffee

Go to Amy's Blog

Follow Amy on Twitter

Add Amy on Instagram

Tim Drake: Robin #8 - Comic Review

 

As with Batgirls Tim Drake: Robin is coming to a close sooner than expected; and in part I assume it's down to the book having a poorer reception that people were hoping for. The first arc of Batgirls was something of a misstep, but the series improved and is very enjoyable; and the same seems to be true for this series too, as the first issue of the final arc of the book seems to be really good, and is my favourite one so far. Sadly, this series is going to have even less of a chance than the Batgirls were given, and we will only have two issues after this to enjoy Tim's adventures.

The issue opens with Tim on his boat, working on the engine as Bernard and Darcy watch on, asking him why he'd choose to live on a boat in Gotham marina, when as a Wayne he could be staying in much better, drier, accommodations. Their activities are disrupted, however, when Batwoman comes crashing down onto the deck, unconscious and covered in blood. Whilst Darcy gets Bernard away (neither she nor Tim knowing that he knows they're vigilantes) Tim gets the uncoscious vigilante below decks to help her recover.

When Kate comes to she reveals that she has no memory of the last few months, even the times she spent with Tim celebrating his coming out, or helping him move into the Marina. Tim tries to analyse the blood that was covering Kate's gloves, but doesn't get any matches for them. It's at this point that Kate being Kate, assumes that she's killed someone, and tries to go it alone. Thankfully, Tim isn't the kind of guy to let that happen, and convinces Kate to let him help.

However, their investigation is quickly waylaid when the Chaos Monsters attack the city, setting buildings on fire and attacking the police. Tim, Sparrow, and Batwoman spring into action to fight the criminals, but when Tim goes off to confront their leader Batwoman breaks away from the fight to come after him, desperate to get answers about her missing memories. This leaves Sparrow vulnerable, and she takes a knife to the stomach. The leader of the Choas Monsters is able to capture Batwoman, and reveals that she's a baby killer. 

So, a lot happens in this issue to set up for the new story; but with only three issues in which to tell it's tale things have to move pretty quickly from here on out. But, it never feels like the book is skipping out on stuff, or glossing over things, and it's easy to follow everything that's happening, and to keep up with the story. What it does mean is that we get to skip a lot of stuff that would feel like padding. Tim hears Kate's protests that she has to go it alone and tells her to knock it off because the story doesn't have time to be dealing with that; but it also feels like something that the character would do. Tim's smart, he knows that Kate is going to do that, and knows that they don't have time for it. The story having to move quickly works for the characters and the situation, and I really enjoyed it. 

The inclusion of Batwoman is really enjoyable too. Kate is a fun character to have around, especially when she's interacting with others. She injects a lot of fun energy into books, and putting her at the centre of this mystery is a great choice. It's also nice to have one of the older members of the Bat Family appear in this series too, as it's very much been focused on the younger characters up to this point. She's also something of a loose canon at times, and her not listening to Tim, which results in Darcy getting seriously hurt, feels like it's something that she could do; especially if she's had her head messed with like this.

Speaking of Darcy, the issue ends with her being cradled in the arms of Detective Williams, who says that she's not going to make it. Comics will fake-out and tease character deaths a lot, and it's normally a given that when a big character, especially one whose book it is, is dying that it's not actually going to happen. However, Sparrow is a very minor character, she's not really been in much other than this series, and I could see the book killing her off. Is it likely? Probably not, but could it happen for dramatic effect? Sure, I could see it.

The art on this issue, by Nikola Čižmešija and Lee Loughridge, looks really nice here. The book feels very similar to the art on the first arc, yet is very distinctly different from it. The characters are all nice and clear, and look really good. I love the way Kate looks when she's got the mask and wig off, and the scene when she's inside Tim's boat recovering and telling him what happened she comes across as tired and vulnerable, two things you tend not to see with her character. 

I've not been the biggest fan of this series, the first arc was one I struggled to enjoy, but this issue was really enjoyable, to the point where I'm disappointed that we only have two left. It's a shame that DC seems to struggle to give its titles much of a chance anymore. How many amazing books from the past would modern DC end early because they have shaky beginnings? Sadly, Tim Drake: Robin is the latest casualty to this new system, which seems to be a bit of a shame. 

Support Amy on Patreon

Buy Amy A Coffee

Go to Amy's Blog

Follow Amy on Twitter

Add Amy on Instagram

Unstoppable Doom Patrol #2 - Comic Review

 

I made some comparisons in the last issue of Unstoppable Doom Patrol that it felt a bit like the X-Men, specifically the Morrison run. This issue doesn't do much to dispel that feeling, but it still feels like it's being it's own thing, and being really unique and interesting at the same time. 

This issue opens with the Doom Patrol fighting some giant robots with the Peacemaker logo on them as Beast Girl tires to make contact with another new meta-human that they're trying to help. She comes across Worm, a young boy who has a blue worm-like creature living inside his chest who can leave his body. Despite the name, only he's called Worm, the actual worm is called Velvet. It's a tiny thing, but that tiny subverting of expectations is delightfully funny to me; of course the worm is called something cute and pretty, look at her, she's adorable. 

The team take Worm to their new base of operations, an underground facility somewhere in Kansas. We get an amazing two page splash reveal of the facility, complete with cross-section style layouts for the place. It doesn't go into huge detail, it doesn't feel the need to label every room or facility on the page, allowing for there to still be a decent amount of mystery as to what everything is or does, whilst allowing the audience the ability to know the general scope of the Doom Patrol's new operation. 

Upon entering the base we see that the team have already rescued several new meta's, who are wearing slightly different coloured versions of the team's costumes to denote their status as new trainees. They're not the only ones there though, as Niles Caulder is still around, and is trying to worm his way back in control of the team, along with Flex Menatllo, and Mento. It's great to see some characters from previous runs of the series being brought back for those returning fans, as well as new characters being introduced. As someone who's only experience of the Doom Patrol outside of cameo appearances in other titles is this series, these returning members was either clearly explained enough, or given enough mystery to them that it felt like more information would be coming in later issues.

However, once on the base it turns out that Worm is Peacemaker's spy, and that he's been sent into the place to spy on the team as part of Taskforce X. Worm uses Velvet to work her way through the vents in the base, spying on people and learning things, in a page that looks absolutely fantastic as we get panels of the different rooms, connected by air vents that velvet is crawling her way through. Despite having a bomb in his head, Worm refuses to do what Peacemaker says, realising that the Doom Patrol are decent people. 

The team are able to block the signal to the explosive, having known Worm was a spy from the beginning, but can't do so forever. The kid hands Velvet over, before Robot man throws him high up into the sky, where he detonates. I'm really surprised that the book quite literally blows up a child in the second issue, but love it in a lot of ways too. It feels like the series is being allowed to do whatever it wants, and that even something as shocking as children exploding isn't off the table. 

Even more so than the first issue, it feels like this one is doing a fair bit of set-up. We spend some time getting to know The Shelter, we get to see what the Doom Patrol are doing when they're not out being heroes, and it's furthering the story of Peacemaker running the military's plans to take the team down. This issue doesn't really give much time to spend with the characters that make up the team because of this, with a lot of the focus being given to Worm; but that only helps the shock ending of the kid being killed. With things in place now, however, it feels like we're ready to really sink our teeth into the meat of the story with the next issue.

Support Amy on Patreon

Buy Amy A Coffee

Go to Amy's Blog

Follow Amy on Twitter

Add Amy on Instagram

Creeping Horror – Blu-ray Review

 

Originally published on Set The Tape

Horror is a genre that comes in waves, where different sub-genres will become extremely popular at certain times, leading to an influx of films. Look no further than the host of slasher style horror movies produced in the 1980s. These times can sometimes make it seem like they’re the only time that horror is popular, and people can sometimes miss the times where decent, competent horror films were being steadily released with little to no fanfare.

One era that tends to get overlooked for horror is the 1930s and 1940s. Yes, they were incredibly famous for producing the Universal Monster movies, but most people couldn’t name you a single film from that era outside of that series. For Creeping Horror, Eureka Entertainment has scoured through the forgotten vaults of cinema to gather together four horror films from the time to reintroduce to audiences in new HD presentations.

The first film in this set is the earliest, Murders in the Zoo. Made in 1933, the film predates the infamous Hays Code, a set of censorship guidelines introduced only a year later that would affect the way a lot of films were produced. As such, Murders in the Zoo is one of the more violent and gruesome films in this set, though would still be considered rather tame in comparison to modern horror movies.

Murders in the Zoo opens with big game hunter and wealthy zoologist Eric Gorman (Lionel Atwill) on an expedition to gather animal specimens torturing his wife’s secret lover. Tying the man’s arms behind his back, and sewing his mouth shut, he leaves the man in the jungle to die at the hands of the animals that call it home. Back in the US, the zoo he works with is having difficulty with generating business for itself. Hiring a new publicity agent, the team try to figure out a way to drum up interest. When Gorman returns with his latest haul of animals, it’s decided that they’ll put on a gala inside the zoo, where wealthy patrons get to eat and party surrounded by wild animals. However, Gorman has other plans for the event, as he wishes to use it as cover to kill his wife’s new lover. Thus begins a series of events that will see multiple murders take place at the zoo, and a mad man begin to unravel.

Murders in the Zoo is an odd film for horror fans of our time, and the issues with it embody many of the issues with all of the films collected in this set: namely, that it hardly feels like horror at all. Times have changed, tastes have developed, and what society classes as horror now is very different to the 1930s. If this film were produced today it would likely more fall into the category of thriller than horror, but Murders in the Zoo also throws some attempts at comedy and slapstick into the mix that further make it feel like an odd choice for a horror collection. Thankfully, the sheer level of cruelty that Atwill brings to the role of Gorman, and the scenes that depict some gruesome animal attacks, help to keep it from falling into too light a feeling.

Atwill is disgustingly misogynistic and cruel as Gorman, punishing any man who even dares to interact with his wife; a wife that he’s more than willing to abuse and rape himself. His outward veneer of being the charming gentleman adventurer is at odds with the cruelty that lies beneath, but Atwill manages to make both sides of the character convincing.

Other actors do well here too, with Charlie Ruggles playing an almost bumbling promotional manager whose fear of animals is used for comedic effect, and Randolf Scott coming off well as the heroic Jack Woodford, a doctor at the zoo whose investigative skills put him in a position to figure out that Gorman is a killer. Perhaps most impressive, however, are the final moments of the movie, where a huge boa constrictor kills someone. I looked at this scene a couple of times, and still don’t know how they did it. I’m not sure if the snake is attacking a dummy, if the actor was there for the whole scene, or if it was a very elaborate fake snake at times. It’s an impressive moment, and one that showcases the kind of things that were essentially eliminated by the Hays Code.

The second film on the set is Night Monster, from 1942, and is perhaps the most unusual of the four, as it actually contains elements of the paranormal. The film feels like a classic whodunnit at times, with a large stately house filled with interesting characters, unusual staff, and murder. The large manor belongs to Curt Ingston (Ralph Morgan), who since becoming sick with a degenerative condition now relies on the use of a wheelchair and a complicated prosthesis for a hand. He’s called a number of doctors to his home to help him with his condition. This happens at the same time as the arrival of Dr Lynn Harper (Irene Harvey), a psychiatrist who’s been called in secret to help prove that Ingston’s wife isn’t crazy in order to help her get away from her husband. There’s also a local celebrity, a mystery writer, who gets caught up in the events, along with several suspicious staff, and an ‘eastern mystic’ called Agar Singh (Nils Singh in brown-face).

Murders begin to take place at the remote estate, where various staff and guests are found strangled, beaten, and hung in their rooms, with strange bloody trails leading from the bodies into solid walls. As the group try to figure out the culprit for the murders, the possibility of otherworldly means are raised when Singh demonstrates his abilities to materialise matter, summoning an Egyptian skeleton from ‘the beyond’. The skeleton leaves behind physical objects that seem to prove the mystic’s claims. With the bodies continuing to mount, and the possibility that something more than human might be at play, the race to find the killer intensifies.

Night Monster is the weirdest film here, and there were times when the plot became quite confusing and ridiculous. It wasn’t clear whether the materialisation demonstrated by Singh should be taken seriously or whether it was some kind of sham, until the final parts of the film where the mystery was solved. The constant guessing of whether there is a human killer or some kind of supernatural force means that you’re never quite sure if you can trust what you were being presented with.

Added to this, almost every character in the film is presented as a pretty broad caricature, ticking off boxes for who needs to be present for a murder mystery. There is the butler who comes down on anyone not acting ‘proper’; the overbearing and controlling maid; the lecherous driver; the no-nonsense maid; and the shifty gatekeeper. There are times that the film feels like a bit of a parody of the genre, because most of these characters never evolve beyond these basic descriptions. That being said, all of the performances are enjoyable enough to watch. Eagle-eyed horror fans will also spot that the butler is played by a familiar figure, Bela Lugosi, aka Dracula.

Horror Island, released in 1941, might be the most enjoyable of the bunch, thanks to the fact that it doesn’t seem to take itself too seriously, and has more of a comedic adventure tone to it. It tells the story of Bill Martin (Dick Foran), a guy who’s a bit of a wheeler-dealer who happens to own a small island off the coast of Florida. Bill thinks that there’s nothing of worth there beyond an old castle, but when a peg-legged sailor brings him half of a treasure map he thinks there could be a chance to make money off the island. Bill starts putting together a ‘treasure hunt’ tour of the island; one where fake scares and spooky happenings will transform the castle into a haunted tourist spot. However, a mysterious figure known as The Phantom (Foy Van Dolsen) has the other half of the map, and will do anything to get the treasure – even kill.

Of the four films in this set this is perhaps the most unusual, as it really doesn’t fit into the horror genre. It’s a comedic drama, with a dash of adventure flair, and a few killings and deadly traps thrown into the mix, with a shadowy figure running around causing chaos. For the audiences of 1941 a remote island castle with spooky voices telling people to leave, and a figure skulking around at night may have been enough to make a film frightening, but looking at it with modern eyes it’s an incredibly tame experience. But that doesn’t mean that it’s a bad one. The film feels more like a 1940’s take on something like The Goonies more than a horror film, and that sense of fun and promise of adventure with a hint of danger is definitely present here. If you go into it wanting a horror you might be disappointed, but it might be one of the more entertaining films in this set because it goes against those expectations.

The final film is 1946’s House of Horrors, and is perhaps the film that most feels like a horror film. The story centres on sculptor Marcel de Lange (Martin Kosleck), a man struggling to survive in a fierce art scene. After he loses a huge sale thanks to the interference of a brutal critic he contemplates throwing himself into the ocean to kill himself. Walking by the sea he discovers a huge man, known as ‘The Creeper’ (Rondo Hatton) half drowned. Marcel saves him, and nurses the giant back to health. He asks The Creeper to allow him to sculpt him, and the two soon form a friendship. However, when Marcel tells The Creeper how much he hates the critic who ruined his sale The Creeper heads out into the night and murders him. Marcel soon realises what has happened, but rather than go to the police, begins to send The Creeper out on missions of murder.

House of Horrors is a surprisingly dark movie. The content of the film feels a lot more mature than the other films in this set. This isn’t a campy movie, the villains aren’t arch, there’s not really any comedy to be found here. Instead, it’s a story of two twisted, cruel men who work together to fulfil their murderous needs; all without them ever actually agreeing to it.

The moment when Marcel realises that The Creeper has killed for him, and decides to do it again is a chilling one. Both men know what’s going on, yet never talk about it. Marcel simply talks about his latest enemy, and The Creeper goes out for a late night walk. The plausible deniability that hangs over the crimes, and the calm way Marcel delivers his targets makes it feel chillingly realistic. Hatton is wonderful as The Creeper too, a figure who at first you think is going to be a sympathetic character, judged harshly because of his physical appearance; but then becomes the monster people accuse him of being. It’s a shame that Hatton passed away before the release of the movie, as it’s clear he could have become a big name in horror films of the era.

Each of the movies in the set gets an HD remaster, and they look fantastic for their age. It’s wonderful to get to see films that are almost 100 years old in some cases look like they could have been made within the last decade. The picture and sound quality is really crisp, and stands up well. There are a few trailers and stills galleries added on too, and each movie has a full length commentary track. Night Monster and House of Horrors have commentaries with author Stephen Jones, and author/critic Kim Newman, whilst Murders in the Zoo and Horror Island have commentaries with Kevin Lyons, and Jonathan Rigby. The tracks are really informative, and definitely add a lot to each of the film in lieu of behind the scenes features.

Creeping Horror is an interesting set that shows some of the variety of the earlier days of horror cinema, and how different studios tackled the genre. Not every film here will appeal in the same way, but they each have something interesting about them, and are a great addition to any collection.

Support Amy on Patreon

Buy Amy A Coffee

Go to Amy's Blog

Follow Amy on Twitter

Add Amy on Instagram

Lazarus Planet: Revenge of the Godds #4 - Comic Review

 

The gods have turned against humanity. They're no longer content to be worshipped by those who choose to, and want everyone to worship them; even if that means making them do so through fear. After several issues (including the Wonder Woman tie-in's) our heroes have been through trials, Diana was made a goddess, Themyscira has come under attack, Billy's transformation into Shazam has been corrupted by the wizard, and Mary has given the powers of Shazam to Diana. We stand now on the edge of the final battle, where Diana and Hera will face off for one last time to decide the fate of the world. Get ready for an epic fight...that is over in about one punch. 

So, last issue had Diana and Hera trading blows, Diana was almost beaten, the power of Shazam gave her a boost, Hera ran away to regroup, and it looked like things were set to explode into one big smack-down battle; but this issue really, really doesn't deliver at all. If the last issue had have ended with Hera all but defeated and Diana ready to land the finishing blow it'd be one thing, but it really made it seem like there was more to come; so for the fight to be over before the issue really begins is incredibly anti-climactic and disappointing. As a result, most of the issue is given over to wrap-up more than anything else.

With the battle done, Ares hands the job of policing the gods over to their children, the demi-gods; giving them a powerful artefact in order to help them. Back on Themyscira, Nubia and the patron goddesses continue to battle Hades, until the god of the underworld decides that continuing the fight is fairly useless, and takes his forces back to the afterlife. Unfortunately, during all of this no one thought to keep an eye on Hera, and the woman behind it all gets away to cause problems for them another day.

We also get some development for Billy and Mary this issue, stuff that seems to be setting them up for the new Shazam! ongoing series. The wizard essentially apologises for siding with the gods in the fight, saying that because of Billy taking the Rock of Eternity into himself he thought the kid had gone rogue, and was ready to prevent another Black Adam. Whilst this does mean that he never really joined the villains for a villainous reason, it does feel like a poor excuse. He could have checked in on what Billy was doing, or just talked to him to see if he had gone rogue; and he's acting like it's fine to help the gods terrorise the world and cause untold death and destruction because he was trying to prevent Billy from going rogue and causing death and destruction. He might be old and powerful, but he's clearly not smart.

Anyway, it seems like the wizard is forgiven, and is on the side of the heroes again. As such, he grants Billy his powers again, and Billy gets his new Shazam costume. He goes to do the same for Mary, but Hippolyta steps in (probably because she's realised the wizard is a complete dip shit) and using the goddesses Artemis, Selene, Zephyrus, Minerva, Aurora, and Hippolyta, grants Mary the powers of the goddesses, re-powering her as Mary Marvel. I really like this touch, and love that she's not just getting a portion of Billy's powers, but has her own, granted by other women. I'm also interested to see that if the rest of the Marvel Family are able to get a group of gods with the right initials if they could re-power themselves too. 

Overall, this issue was a bit of a let down after the build-up from the penultimate one. I enjoyed a lot of the wrap-up stuff that was done here, especially the stuff for the Shazam characters, but the end fight being one page was a huge letdown that left a sour taste in my mouth. It was also weird that Mary had the shirt and artefacts that she was given at the end of the last issue in the back-up feature, but didn't for the main story. It made it feel like the back-up was completely separate to the main story, and that there was little to no communication between the teams working on the book. Still, we've got new eras for both Wonder Woman and Shazam starting soon, off the back of this series, and I'm looking forward to both of them. 

Support Amy on Patreon

Buy Amy A Coffee

Go to Amy's Blog

Follow Amy on Twitter

Add Amy on Instagram

Casino Royale by Ian Fleming – Throwback 70

 

Originally published at Set The Tape

Bond, James Bond… a name that will bring instant images to mind in those who know the name. Suave spies, sharp suits, flash cars, and super gadgets. Even those who’ve never watched a Bond movie will know the tropes of the series thanks to how baked into popular culture it is, especially here in the UK. But there was a time when no one knew the name Bond, when there had never been a single film in the series. 1953 saw the first appearance of Bond, but not on the screen, on the page in Casino Royale, the first James Bond story from author Ian Fleming.

There are many books that chart the early life of Ian Fleming, and how his time in Naval Intelligence during World War II influenced his writing of Bond. There are stories about how much of Bond was based upon his friend, Christopher Lee. And the fact that he lived at Goldeneye estate makes fans grin whenever they hear it. Fleming seems to be as interesting a character as his creation, and the origins of his most popular character could be many. But whatever the inspiration for creating the story, Fleming began working on his first spy story whilst waiting to marry his future wife, Anne Charteris. He began work on his story in the middle of February, and finished the first draft the next month.

Fleming would describe his first draft as a ‘dreadful oafish opus’, according to Ben Macintyre in his book For Your Eyes Only: Ian Fleming and James Bond. Thankfully, Fleming had some help in turning his first draft into the book it would become, with it being retyped and cleaned up by The Times secretary Joan Howe, who Fleming would later base the character of Miss Moneypenny on. With the book polished, it was submitted to publishers Jonathan Cape, who took the chance on him thanks to the recommendation of Fleming’s older brother Peter, who had published travel writing with them in the past.

Casino Royale tells the story of James Bond, a British Secret Service agent who is sent to gamble at a casino in Royale-les-Eaux, a fictional town in northern France, in order to bankrupt Le Chiffre, the treasurer of a French Communist Party trade union, and secret member of the Russian secret services. If he’s able to bankrupt Le Chiffre before he’s able to make back the money he so desperately needs, it could land a crippling blow to the Soviet activities. Posing as a Jamaican planter, Bond is supported in his mission by British Secret Service agent Vesper Lynd, and Felix Leiter, a member of the CIA.

Bond and LeChiffre have an intense back and forth as they gamble, with each one seeming to take the upper hand at times, but Bond eventually bankrupts the foreign agent. This leads to a series of events that would see Bond tortured, Vesper kidnapped, and Bond contemplating leaving the Secret Service altogether. Despite seeming to have a happy ending, Fleming delivers one last twist in the tale that ends Casino Royale in a way that would allow Bond to disappear entirely, or to continue his spy career once again.

Casino Royale was released in hardback on 13th April 1953. Having printed only 4,728 copies (with a cover designed by Fleming), the book completely sold out within the first month, along with a second print run. A third run of the book, totalling more than 8,000 copies, would go on to sell out within the next year. Thanks to the sales figures Cape offered Fleming a deal for a further three books starring Bond. Thankfully, the book was also a hit with critics, with reviewers in a number of publications praising it for its plot, pacing, and charm.

Not long after publication, Casino Royale received its first of three adaptations, where it would appear as the American television anthology series Climax!, where the first ever version of Bond would be an American agent named Jimmy Bond. They also switched the character of Felix Leiter to being a British agent, flipping the two roles. The story would be adapted a second time in 1967, where it would be turned into a spy spoof film that featured several James Bonds, and would feature actors such as Peter Sellers, Orson Welles, Ursula Andress, and Woody Allen. It wouldn’t be until 2006 that a more faithful adaptation of the story would be made with the Daniel Craig version of the film, which would reboot the Bond film franchise.

Whilst it took Casino Royale a long while to make it to the big screen along with the other books Fleming created, its success did spur him on to write further Bond books; books that would prove to be more successful than the first, and would inspire the film series that most people will think of when hearing the name James Bond. Fleming might not have had much faith in his story when he wrote it, and he may have done it just to keep himself busy during pre-wedding jitters, but his creation would soon go on to become not only the most recognisable and popular spy to ever be created, but the template upon which so many others would base themselves.

Support Amy on Patreon

Buy Amy A Coffee

Go to Amy's Blog

Follow Amy on Twitter

Add Amy on Instagram

Green Arrow #1 - Comic Review

 

Before I even delve into this issue there's good news about this series for Green Arrow fans, it's already been extended from six issues to twelve! During the build up to the release Joshua Williamson was telling fans to pre-order to the book, to pre-order all six issues, because if it sold well it could get extended. So thanks to the pre-release excitement and dedicated fans it's doubled in length. Now, let's see if we can do a Poison Ivy and get it turned into an ongoing too. But, to the issue itself.

The last time we saw Oliver Queen he was with the Justice League as they were travelling back to Earth-0 through the multiverse during Dark Crisis on Infinite Earths, but something snatched him away from them and he never made it home. This issue opens with Ollie waking up on a beach somewhere, face down in the surf. Unfortunately, this isn't anything as simple as being washed up on a deserted island, as a bizarre alien sky hangs over him.

After a cool two page splash recap of who Ollie is and the overview of his time as a hero, we head back to Earth-0, where Black Canary, Roy Harper, and Connor Hawke are chasing after a van full of criminals in Gotham City, hoping that they might have some info that can help them track down where Ollie might be. Ollie's narration carries through the issue, letting us know who each of the characters are and their relation to him. It's a great way of reinforcing how these people are family, not just crime-fighting friends, plus is a great catch-up for new readers jumping on with the new issue one.

After catching up with the van the trio take them down, but one of the masked criminals starts to make an escape. Enter Cheshire Cat, a masked teen who's been living homeless in Gotham for a while now (she's appeared in Catwoman before). This is where things get a bit complex, Roy Harper had a young daughter called Lian, who was killed. That was, in real time for readers 13 years ago. Cheshire Cat is Lian, older, somehow returned thanks to all of the universe reboots and shenanigans; but no one really seems to know this. No one, except Roy.

In what is easily the best part of this first issue Roy calls out to Lian as she tries to leave. He reveals that she threw her first ninja star when she was two, and the information stops her in her tracks. From there, Roy describes his daughter, the life they had together, how she loved dressing up at Halloween but gave Roy all her candy, how they used to watch old action movies together, and how she died when she was five. He tells her that it's okay if she's not ready for this, if she can't come back yet, and tells her that he'll be there, waiting for her when she is. This results in Lian throwing herself into his arms in a beautiful full page splash that has the ghosts of their old selves in the background, as Dinah and Connor look on with joy. 

This is something that I think fans have been waiting for for a while now, desperate to see the two of them reunited. And it's done beautifully. I love that Connor was ready for her to do the 'I'm not ready yet, I can't stay' thing that happens in comics a lot, and that the book didn't do that. Instead, we got the reunion that they both needed. I also love the fact that Roy went down onto his knees when talking to her, like some part of him was so used to doing that because the last time he held her she was five. It's the best moment of the book, and one that elicited genuine emotions. 

Unfortunately, the reunion is short lived, as after she gives cryptic message about 'them' not letting them be a family together Lian and Connor are snatched away in some kind of weird light as Lian yells to the others to find Amanda Waller. Lian reappears in the strange place where we saw Ollie, and immediately comes under attack from Manhunters. Luckily, Ollie is there to save her, and the two of them run off together to a teleporter device that brought them to this place; which Ollie immediately destroys. He then tells Lian that they can never go home.

So, there's a lot of mystery after this first issue, and it's clear that this isn't going to be some nice and easy story that our heroes are going to resolve fast. There's something very weird, and very big going on that seems to be, in part, targeting the Arrow Family. Lian's message to find Waller might be a key part of it. We know that Waller was messing around with the multiverse before this, that she'd essentially left to take over Earth-3. We also saw her at the end of Dark Crisis with a group of mysterious individuals (some familiar, some new) in a high-tech place, making shady deals. Now, there's some sci-fi looking buildings in the place Ollie and Lian are; so could it be wherever Waller is?

Waller is going to be a key part of this, and her operating outside of our universe just gives her more options for crazy ways to screw with the world. Her having some kind of facility outside of the Earth-0 universe, patrolled by Manhunters, and able to snatch people out of their dimensions feels like something that would fit with where Waller is at the moment. This is clearly going to be a big part of the mystery of this series going forward, and I'm looking forward to seeing how it plays out.

Support Amy on Patreon

Buy Amy A Coffee

Go to Amy's Blog

Follow Amy on Twitter

Add Amy on Instagram