Superman: Kal-El Returns Special #1 - Comic Review

 

Originally published on Patreon

Kal-El returning from space and his long adventure on Warworld has been a big story for a while now, and even though his return in Action Comics and Superman: Son of Kal-El is still going on, DC have given us yet another book that explores the characters return to Earth.

There are four short stories in this issue, each one exploring a different aspect of his return. The first (and best) shows him catching up with Batman, coming in to help his friend on a case to take down a Doom Patrol villain. The story is a lot of fun, and really shows the two of them being friends, and finding joy in being around each other, better than a lot of books do. The two of them are strong friends, and they get on, so it's nice to see a comic remember that, rather than putting them at odds with each other for no reason.

The second story has Clark catching up with Jimmy Olsen, who wants to snap the perfect picture of Superman to show that he's back. Despite taking a load of photos with him Jimmy starts to have something of a crisis as there's nothing there that's new or exciting. This story is kind of fine, and is mostly let down by really ugly looking art that makes the characters look ridiculous most of the time. It makes it hard to take most of the worry that Jimmy has seriously, and the resolution felt a bit flat and bland.

The third story didn't really feel like one that was about Clark at all, as he mostly hung round in the background as Jon had some dealings with Lex. Lex is clearly up to something, but is using misdirection to mess with Jon. Come the end though Jon has figured out how to push Lex's buttons, and get inside his head. It's a fine story, and one that goes well with the various things that have been happening in Superman: Son of Kal-El, but as Clark is hardly part of it it feels slightly out of place in this issue.

The final story sees Superman heading to the Hall of Justice to see his friends, where he ends up having lunch with J'onn, Wally, and Naomi. Naomi, who is a serving member of the League, spends most of the story acting like she's a teen fan meeting a movie star whenever she interacts with Superman, and the whole vibe seems to be him showing her 'no, we're just regular people too you know' type stuff. Considering the relationship they already have, the adventures they've been on, and Naomi being on the League, this doesn't feel right at all. I've struggled to really like Naomi, and this story does not help.

The four stories on offer here vary in quality pretty wildly from great, to fine, to feeling quite bad. If you're a huge Superman fan and are loving this story line and want to see everything that's connected to it then this issue is for you, but if you're looking for some cool short Superman stories put the book down after the first one.

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Plainer Jane #7 – Comic Review

 

Originally published on Set The Tape

The independently produced comic series Plainer Jane, which follows a student nurse turned contract killer, comes to a close this month as its final issue receives its release and Jane’s story comes to an end. But how does the end stack up, and will this be the last that we get to see of Jane?

It’s been almost two years since the first issue of Plainer Jane was released, and in that time we’ve seen the series go through a number of changes. At the start Jane was a schoolgirl unsure about what to do with her future, harbouring dark thoughts about murder and killing. She wanted a way to indulge those compulsions, to channel her desire to kill into something useful, and decided that contract killing would be the way to go. But her first kills were pretty poorly executed, and pathetic things like being hired to kill a dog.

Over the course of the series, however, Jane has grown as a person. She’s out of school and working as a student nurse, and we’ve seen her kill several people. She’s gone from being unsure how to commit the crime to scoping out locations, figuring out routines, and striking from the shadows with brutal efficiency. She’s changed a lot, and has become a legitimately dangerous person. But that kind of life is hard to sustain, and it has to end at some point. Especially when you’ve pissed off the local crime lords and ended up on their radar.

In the penultimate issue Jane’s identity was revealed to the criminals, her contact was killed, and she’d come under attack from a nasty crime boss who came close to killing her. It seems like her life is falling apart, and this final issue very much focuses on that. We see Jane trying to grasp at whatever pieces that she thinks that she might be able to control, hoping against hope that she might be able to salvage her life; but it’s a pretty vain hope, and come the end she realises that her only option is to run.

Whilst this makes sense, I couldn’t help but feel like it made the ending feel a bit deflated. The big final confrontation for Jane doesn’t come this issue, it was in the last issue, and this final part effectively spends its time wrapping things up. The police learn who she is and she loses her home life, the criminals are coming for her and she can’t stop them, and she loses her one friend. Things do end and get wrapped up in a way, but it also feels like there could be more to come. I like that there’s a possibility of more, that Jane’s story could continue on again later, but it does kind of feel like it comes at the expense of a real emotional resolution.

Another part of the book that gave me pause – and if you don’t want spoilers jump to the next paragraph – was Kat. Jane knows that the villains are watching her, that they’re out to get her, and so she seems to rope Kat in to help her out by going to the storage locker and getting her money for her. The problem is, the killers are waiting for her there, and it gets Kat killed. And for a moment I thought that this was her plan, that she wanted Kat to get killed in her place so that the bad guys think that she’s off the board and free to do whatever she wants. But she seems genuinely sad about her friend’s death, and even swears revenge (a set up for the next series perhaps?). I was left wondering if perhaps I’d interpreted it wrong, that Jane never intended for something bad to happen to Kat. I’d have liked the idea that she led her one friend to her death for her own gains, but perhaps that’s a bit too dark.

As with previous issues, the bulk of the art is provided by Samir Simao, and the artwork is the lovely black and white style that we’ve come to know. However, there are a few pages in the issue that have a completely different style, and come in colour. Drawn by Ralf Singh, these pages are used when the book starts taking us to places that don’t exist within the narrative, times when we’re being told stories. It not only breaks up the bulk of the book being black and white, but also helps to illustrate (no pun intended) that these segments are something a little different. The book looks great, and I can’t complain about the art at all. All of the characters are clear and distinct, and the action and moments of violence are clear and easy to understand.

On the whole this was a decent conclusion to the series. I went into it wanting certain things, wanting it to end with Jane going up against the villains in a big, violent sequence where she wins the day or goes down swinging. But that’s not really what the story is about. It’s about this girl; this damaged, disturbed young woman who is really no more than a serial killer. Her story wouldn’t be best served that way, and it needed an issue like this to end on. For those who’ve been reading since the start, it’s great to finally see it concluded; and we can always hope that there could be more to come some day.

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Justice Society of America #1 - Comic Review

 

Originally published on Patreon

The Justice Society haven't gotten much love over the last few years. Between being erased from the main DC universe and relegated to another world where they got younger 'edgier' versions of themselves, and just not really appearing much when they are returned to the way they're supposed to be, they've not had a good ride of things lately. Hopefully, this new series by Geoff Johns, who made them fantastic when he worked on them decades ago, will be able to give them the love that they need.

That being said, those expecting the JSA they know might be a bit thrown off with this first issue, especially if they didn't read the book building up to this; as we begin in the future, where the Justice Society looks very different. 

Set in a future where Batman has been killed, and his daughter Helena Wayne, the new Huntress, is searching for the killer, the book features an almost completely different version of the team. Huntress is a new version of this character, but a reinvention of one fans know, and the team does still have Power Girl; but after that it's quite different. Helena has filled the team with reformed, and reforming, villains, and its lineup features the Gentleman Ghost, Solomon Grundy, Icicle, the Harlequin's Son, The Mist, and the daughter of Red Lantern, Ruby Sokov.

I'm sure that there'll be people who hate this team, and the entire concept of villains making up a JSA team; but I kind of like it. We've seen villains reform into heroes in the past; Black Adam has been on the JSA before and is currently in the Justice League for example. It makes sense that this is a trend that would continue over the years; and if Helena is looking to find the person who killed her father, and might be targeting JSA members, she'd maybe want some people who don't mind going a bit further than a pure hero would. It also doesn't hurt that they're characters who have a strong history with the team.

But, if you do hate it you don't have to worry as they don't stick around very long as the time travelling villain Per Degaton kills them all. Thankfully, Catwoman arrives in time to save her daughter, and Helena is thrown backwards through time, arriving at the JSA headquarters in 1940. WE knew that some time travel was going to be involved in this series, but I was assuming Helena would come back to the present straight away; guess there's going to be more to it than that.

This issue is very much a set-up issue, with Helena's story being laid out for those that didn't read The New Golden Age comic. The book gives us a clear understanding about her mission, and insight into the kind of person she is. With her being the focus, and the rest of her team being killed before the issue is done, it makes a lot of sense that she's the only character who really gets built up here, and that everyone else feels less fleshed out.

There's certainly a good sense of mystery set up already, and the added complications of her being sent back to the very early years of the team makes for an interesting situation going forward. It seems like the book isn't just going to be about making the JSA relevant and interesting again (they've always been that to those that love them), but looks like its going to be a celebration of the entire history of the group. If that's true, I'm incredibly excited to see what comes next.

The artwork on the book looks really good throughout, and I loved the way each of the main characters looked distinct amongst the others. There was never a moment where you were left wondering who people were. Who's that silhouette in the background? Well that's clearly Catwoman. Who's Helena talking to here? That must be Power Girl even though I've not see the costume yet. The book is giving us versions of characters ever so slightly different to the ones we're used to, but not only are they instantly recognisable, but they're believable as future versions of themselves too.

Overall this was a strong start to this new series. It's clear that Johns has a lot of love for the JSA and the characters that make it up, and that he wants to make them an important part of DC again. But he's not just doing what he did the firs time he wrote them; he's trying something new and different, and that's really exciting.

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Godzilla vs. Mechagodzilla II – Throwback 30

 

Originally published on Set The Tape

Godzilla vs. Mechagodzilla II, the fifth film in the Heisei series of Godzilla films, was envisioned to be its last, and the creators knew that they wanted to make something special because of this. Whilst their initial plan was to remake Godzilla vs King Kong, they were unable to secure the rights to Kong, and had to come up with something else. This was when the decision was made to have Godzilla fight against one of his most iconic monster foes, Mechagodzilla. The previous films in the series had brought back iconic monsters like King Ghidorah and Mothra, so now it was time for his mechanical nemesis to make a return.

Unlike many of the Godzilla films in previous eras, the Heisei era followed a pretty decent chronology, and events from one film would directly influence and track into another. As such, elements from the previous movies would make small appearances here, in part to continue the continuity, but also in the expectation that this would be the final film in the series.

Following the events of Godzilla vs. King Ghidorah, the United Nations have established the United Nations Godzilla Countermeasures Center (the UNGCC) to combat any further incidents involving the kaiju. The military branch of the UNGCC, called G-Force, travel to the remains of Mecha-King Ghidorah and their scientists reverse engineer the technology to create two powerful weapons: a flying gunship called Garuda, and a giant robot modelled after Godzilla himself, Mechagodzilla.

Years later, a team of scientists on a remote island come across what appears to be a giant Pteranodon egg. The egg is giving off strange telepathic signals which brings both Godzilla and Rodan to the island, where the two creatures end up fighting. Whilst the monsters battle, the scientists make away with the egg. Godzilla defeats Rodan, but finds the egg has gone. The scientists bring the egg to Kyoto, where it hatches to reveal that it was actually a baby Godzilla creature inside. The adult Godzilla is heading towards the facility, drawn by the baby’s psychic call.

Mechagodzilla intercepts the monster en route and the two of them battle; a fight in which Godzilla emerges victorious. Despite this, the scientists have been given enough time to figure out that the baby Godzilla has a secondary brain, and are able to use this knowledge to come up with a new battle strategy that they believe can be used to finally kill Godzilla once and for all.

And this was the plan for a while. Godzilla was going to die at the end of this film. There was a version of the script in which Godzilla overcomes the flying weapon Garuda, but is ultimately killed by Mechagodzilla. Another draft saw Mechagodzilla killing the monster, and his escaping life force energy travelling to the baby and mutating it into an adult monster (something that was later used in Godzilla vs. Destroyah). But Godzilla had lost the final two battles in the last two films that he’d been in, and if this was to be his last film then surely he should come out on top? The decision was made to have Godzilla emerge victorious, and the result was the first film in a while where Godzilla wasn’t portrayed as the antagonist, with the previous four films having done so.

Whilst the plan for this to be the final film didn’t stick, the decisions made here did have something of an effect, and the way Godzilla was portrayed here would go on to influence the films that would come next, with many considering this to be the ‘gold standard’ of the Heisei era.

When the film was released, it was marketed as being the final one, and a big push was made to hammer that fact home. It was also announced that this would be the final time that Akira Ifukube, the original Godzilla composer, would work on the series; a fact that would be proven wrong as he would return another half dozen times. The film was marketed with a children’s programme called Adventure Godzilla-land, which had the two rival monsters as news anchors, as well as dance routines. Toho also opened a Godzilla-themed simulation ride called Monster Planet Godzilla.

With its change in formula to make Godzilla into the hero, the return of iconic monsters, and new power-ups and transformations for the monsters, Godzilla vs. Mechadozilla II became an instant hit. Thanks to that, and the delays in the US made Godzilla movie, the franchise was guaranteed to continue on.

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Tank Girl: King Tank Girl – Graphic Novel Review

 

Originally published on Set The Tape

Tank Girl is one of those characters that can be used for pretty much anything, where any kind of story works with her. Want to tell a weird story where she goes to space and fights alien bug creatures? Sure, that’ll work. Want her to stop a robot uprising that’s using pop music to infiltrate society? I can see that. Want her to travel to England in search of a rare action figure and accidentally become king? Well, that you can actually read right now.

The latest Tank Girl graphic novel release from Titan Comics begins with that whacky premise, as Tank Girl laments her inability to finish her Rangers of the Universe (a nice Masters of the Universe knock off) range of toys because the rare Groil Seeker figure was recalled and destroyed after just a single day of sales when the spring loaded head caused injuries to children. Luckily for her, Booga used to have one, having bought it on holiday in Cornwall years ago, burying it in the garden of the house he was staying at. Determined to complete her collection, Tank Girl and her crew head off to England.

However, when she arrives in town she finds a tourist spot showing off the fabled Sword in the Stone (misnamed Excalibur in this book when they’re actually two different swords). Using her skills with a tank, she manages to free it from the stone by blowing the stone apart. This loophole technically makes her the King of England, and she ends up on the throne. But it turns out that running the country is a lot of work, and Tank Girl ends up having to deal with peasant revolts, as well as a rival for the throne.

The book doesn’t just contain this story though, as there are also some shorts, and a couple of other stories scattered throughout. Readers also get an adventure where Tank Girl and her friends are being chased by a hitman and his team, and use a magical talisman to escape him by wishing themselves to 1960s Califormia surfer territory. There’s also a story about how Tank Girl, Sub Girl, and Jet Girl met, and got their nickname of Third Day Commandos.

As you’d expect from a Tank Girl graphic novel the stories here are silly and weird, and the book never once really takes itself too seriously. One of the things that isn’t so good about it though is the fact that the humour in the book just doesn’t feel as good as the original stories. The recently released Tank Girl: Colour Classics Trilogy showed the series at its best, with some twisted and weirdly surreal humour. Whilst this book tries to continue that tradition, and certainly throws the characters into some odd situations, it just doesn’t seem to land as well. There’s a heavy reliance on pun names and silly one-liners that start to grate after a while.

It also doesn’t help that the multiple stories in the book are split apart. It looks like the graphic novel collects the individual comics how they were originally printed, with the stores in parts spread throughout the book, rather than presenting each story all together. One part of the King Tank Girl story is followed by a silly couple of pages, with the part of the time travel story, then another King Tank Girl chapter, and so on. It makes the book a bit more of a slog to read, as you’re jumping from story to story, rather than just enjoying it tale by tale. Presenting the stories together, with the small interludes between them would have helped the book flow a lot better, and would have increased the overall enjoyment a lot.

The artwork on the book is by Brett Parson, and it might be some of the better artwork on a Tank Girl comic that I’ve seen. I found his art style really enjoyable and very pretty to look at. Everything was clear and concise, and even though they were able to capture the dirtiness of the characters, Tank Girl, Barney, Sub Girl, and Jet Girl all looked really cute, and there were moments when they’re acting like kids that the art style really makes them seem more adorable than anything else, and you kind of want to let them get away with their wild shit.

Tank Girl: King Tank Girl is an enjoyable series of adventures that take our titular star and her friends across time, around the world, and to some bizarre places. Whilst the format of the book does lessen the enjoyment somewhat it’s still a fun read, and one that I’m sure Tank Girl fans will love.

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Shock Shop #4 – Comic Review

 

Originally published on Set The Tape

The latest issue of the Dark Horse horror anthology series Shock Shop not only brings the two stories contained within the pages to a close, but the series as a whole. With two different stories left to wrap up, the book has to not only make sure it ends on a satisfying note, but that it does so twice.

The first story in the book, ‘Something In The Woods, In The Dark’ returns us to our group of friends out on a camping trip, who’ve found their weekend getaway turned into a nightmare as two horrific monsters slowly stalk and kill them from the shadows. After learning that the monsters are out there, the group have been trying to escape the woods and make it back to reality; but the monsters keep on coming, and they’re not just down to three.

This issue opens with our three lone survivors trapped between both of the hulking beasts, with the two monsters ready to tear them apart. Willa and Clark, the two leads of the story, are the focus this issue, and Willa seems to come to a realisation about the monsters, claiming that she and her husband somehow made them, and that they’re some kind of manifestations of their issues. We got hints that something was wrong with their relationship in an earlier issue, but learn here that whilst Clark was in prison Willa slept with someone else. The resentment, anger, and guilt between them has turned into these creatures, and are killing the people they care about. According to Willa anyway.

And this is perhaps my biggest problem with this chapter of this story, and why this conclusion doesn’t really land well for me. We’ve only gotten hints at their issues until now, and the sudden revelation as to what went on in their past at the last moment doesn’t really land well. There’s not enough time to think about it, not enough time to reflect on how this has made them act with each other throughout the series. It feels like a last-minute revelation, rather than the basis for their entire story here. Especially if it is the reason for the monsters existing.

And it is a big part of that. This is presented purely as a hypothetical. It’s one possibility. I’m not against writers keeping some mysteries, or allowing their audiences to come to their own decisions and make their own interpretations, but knowing where these things come from, why they’re doing what they’re doing, and if they are in fact a part of the relationship breakdown between the two leads feels like important information. Not learning the answers to that does leave the story feeling unfinished for me, and leads to a somewhat deflated ending.

The artwork on this particular story, by Danny Luckert is still wonderful to look at. The monsters are genuinely horrific, and the level of twisted detail and attention that’s been given to them makes them the standout visual pieces of the entire book. The monsters make you feel uncomfortable whenever they’re on the page, not because of what they are and what they do, but because of how Luckert has brought them to life.

The second story, ‘Familiars’, fares a little better than the first when it comes to wrap-up. Readers very quickly get given answers as to what the mysterious invisible creatures have been, and why they’ve been doing what they’re doing. They’re not the focus of this chapter, with the relationship that Trevor has with his children and ex-wife being the centre of the story.

Out of the two stories in this series this has always been the one that’s more character focused, and that’s true here at the end too. Everything that happens, happens around Trevor, because of Trevor, and the final part of the story really pushes that theme. It’s because of his actions, even unknowingly, that people have died, and that his family are fighting for their lives against invisible monsters. The book doesn’t forget this, and keeps the theme going, with Trevor’s decisions dictating who will live or die come the end.

In previous issue this has been the half of the book that I’ve been least excited to read, but in this final issue it definitely sticks the landing better than its counterpart, and the result is that it ends up being the more satisfactory story out of the two. As with previous issues, the art is decent, and looks good, and Leila Lez and Bill Crabtree have done a good job, even if there are no moments that jump out as being spectacular or that will stick in my memory.

Shock Shop is a decent idea for a series, an anthology collection of horror tales introduced by a notable icon of the series. It’s a format that works, and has been done before multiple times with franchises like Tale From The Crypt and characters like Elvira. And it absolutely works in comic form. However, with this being the end of the series, with the book ending with both of its premier stories, it feels like a wasted format. I’d have liked to have seen it go on a bit more, with at least another story or two. It’s a shame that it ends up feeling like a series that was only given four issues instead of eight, so the stories were stripped down and thrown in together, rather than a true anthology title. Hopefully the series will return at some point in the future, and we’ll get more stories from it.

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Dark Crisis: The Dark Army #1 - Comic Review

 

Originally published on Patreon

Dark Crisis is almost wrapped up, so it feels like an odd time for another one-shot comic to come out, but as we wait for the final issues of the event to come out we get to see what Damian Wayne has been up to during the final battle, as he sneaks off with a specialist team on a secret mission.

Damian, along with Doctor Light, Power Girl, Sideways, and Red Canary, head off into the multiverse looking for clues and insight that will give them the chance to destroy the Dark Army, hoping to break the chains that are enslaving people to Pariah's will. Damian wanted a bigger team, but gets told to take the bare minimum, picking out those he thinks will get the job done. He also accidentally brings Red Canary along with him when he saves her; giving readers the first real chance to get to know her.

Red Canary has been built up for months now, and now that we get to see her for real, there's not really much about her that's too impressive. She sees to be a fairly normal vigilante hero, with no powers or abilities, and other than a couple of fancy sticks she grabbed during the battle, she doesn't even seem to have much training or skills. Whilst this isn't a bad thing, and there's always room to improve and build, there's nothing to her that sets her apart from dozens of other vigilantes; other than her inexperience. She feels like a bit of a strange character, especially included here.

Over the course of this one shot the team will travel to different worlds, with a different writer and art team handling each one, and ultimately end up freeing the Justice League Incarnate from Pariah's control, giving them some powerful new allies. They also manage to power-up Doctor Light, giving her a cool new outfit and the ability to destroy the dark chains. I'm guessing her now power will be coming into play in the final issue of the event, probably to stop Deathstroke in some way, but if not this does feel kind of pointless.

One of the biggest problems with the issue is the different creative teams working together. Damian Wayne is a great character, and when given to a writer who knows what t do with him he's fantastic (his recent solo title shows this in spades), but there are writers who don't seem to understand him, who only see him as arrogant ass-hole; and we get some of those writers here. The result is a Damian that's thoroughly unlikable, rude, and condescending. It doesn't fit with any of the other current depictions of him, and feels like people who don't care about the character were writing him. The art style also changes dramatically too, and in one part of the book he's the short, lithe Damian who looks to be in his mid teens, and the next page he's a 6ft tall muscled adult. If he looked that way through the entire book it'd be bad, but the fact that there's no consistency in the same issue is laughable and insulting. Please put people who care about the characters they're working on on these books DC.

How the main title ends, and if anything that happens here really matters, will determine how this book goes. It could end up being an important, yet flawed, issue of the event; but it might also be pointless nonsense that added nothing. Time will tell I guess.

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Harley Quinn #24 - Comic Review

 

Originally published on Patreon

After the bit of a muddle in the last issue, things seem to be back on track for issue twenty four, as Harley sets out to discover who shot and killed her. Knowing that there's a pretty long list of people in Gotham who's be happy to see her dead, Harley goes to one person who can give her some insight, and who she knows didn't kill her. Victor Szasz.

Sending her new cult of followers out to capture the serial killer, they grab him off the streets as he's about to kill an innocent person, and he ends up tied to a chair on Harley's ferry. At first he's glad to see the old Harley back, seeing how crazed and dangerous Harley is at the moment, but when he realises that this isn't the Harley Quinn he's used to he agrees to give her some information in exchange for his freedom. 

However, Harley is a tricky little liar, and she ends up taking the tied up Szasz with her in her investigations. When the two of them encounter a mysterious cloaked figure who starts shooting at them, Harley springs into action, recognising the person who shot her.

Now, there were a couple of moments in this fight that gave hints at the big reveal at the end, the pale arm poking through the cloak, and the coloured glove they were wearing all pointed towards this being another version of Harley. This made sense with the person's line in the previous issue about always killing Harleys, and the whole theme of Harley facing her darker impulses. It seemed like Harley from another universe was the best contender here. However, I was not expecting the particular version of Harley it turned out to be. The Harley Who Laughs.

I'm not a big fan of the whole Dark Knights Metal stuff that went on. I read the entire event and found it to be quite confusing and awful if I'm being honest. Another one of the things that kept me from reading DC as much back then. However, I will admit that the Batman Who Laughs was a cool design, and can see why he's as popular as he is. And here we have a Harley Quinn version of him.

I was unsure how I felt about this arc in the last issue, and thought that the reveal of whoever was behind the killing would be an important deciding factor as to whether or not I enjoy the book. Now that I know who it was I am certainly more intrigued, and am looking forward to seeing what happens next. This might be one of the more interesting things the series has done yet, and a Harley vs Harley showdown, particularly with this version of her, could be good.

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DC vs Vampires #11 - Comic Review

 

Originally published on Patreon

It really feels like we're approaching the end of the series now, as with only one issue left to go it's become a mad dash to reach the end for all of our groups. The team in Gotham are trying to fight their way through a literal army of vampires in order to get to Dick Grayson, Green Arrow and his new allies are arming themselves for an uprising, and Supergirl and her team are facing some of the most powerful beings on the planet as they desperately try to save the world.

The thing with this series is that from the very first issue it's been incredibly grim, and absolutely tense. You've never known who's going to live, you're never left feeling like any characters are safe through plot armour, and we've seen very well put together plans fall apart in the final moments. As such, we're one issue away from the end and I don't know if any of these people are going to live or not. The whole thing could end with all three teams being wiped out and it wouldn't surprise me.

The stuff in Gotham is pretty much what you'd expect from this point in the story, our heroes fighting through whatever stands in their way in order to get to their goal. The plan feels kind of flimsy, and there are times it seems like there isn't even much of a plan at all; but it kind of makes sense that Babs couldn't make too complex a plan. If you've got a big scheme that relies on perfect timing or certain people being there at certain times that can quickly fall apart if you lose someone. Having a more fluid plan, where the end goal remains the same but the bits in the middle can shift around, kind of works better.

It seems like Ollie had a pretty good plan though, and my prediction in the last issue that he'd be getting Swamp Thing to grow him a bow and arrow proved right. The visual, however, is pretty freaking cool, and the masses of wooden stakes and spikes growing out of the plant monster, and the weapons he makes his team, are one of the more memorable images in a series packed with striking moments. Out of the three teams this is the one that feels like they have the better chance of living.

What's most interesting about this issue, however, is what we learn in Australia. Earth is a pretty busy planet in the grand scheme of the galaxy, with a lot of alien visitors and invasions going on. As such, Earth wants to remain neutral in the galaxy as a whole, so Grayson has agreed to allow aliens who want to leave to return home, and Australia is being used as a staging ground to essentially ferry refugees off Earth.

It's here that Supergirl is heading, and her team finds some help in the form of Lobo, who helps them fight of Martian Manhunter and Miss Martian whilst Kara gets onto a rocket and heads above the clouds. She manages to see sunlight, but then the ship exploded. Whether or not she survived, and if she can soak up some sunlight and regain her powers is yet to be seen, but it feels like there's at least a slim chance.

The one thing that the alien situation does, however, is raise the question about the galaxy in a wider context. Alien worlds know that Earth has fallen to vampires. so what does the Green Lantern Corps think of that? Have they refused to step in and do something about it because vampires are an Earth thing, so they don't want to interfere? If the vamps decided to head into space would they get involved then? I'd have liked a little explanation about the GL's to just cover that, but the book still works fine without it.

The big finale is coming next month, and it's going to be a shame to see the series end as it's had some absolutely fantastic moments.

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Star Wars: Yoda #1 - Comic Review

 

Originally published on Patreon

Yoda might be one of the most versatile characters that Star Wars has. With the exception of everything post The Empire Strikes Back he can be used in pretty much every other setting there is. Want prequel stuff? Easy. Reign of the empire? Can do. High Republic? Absolutely. His long life means he can pop up in most places and you don't really think much about out. And it seems like Cavan Scott is going to be making the most of that versatility in the new comic series focused on the tiny Jedi Grand Master.

The new ten part series begins with an elderly Yoda on Dagobah, where  familiar voice calls out to him from through the Force. It's not revealed here whose voice it is, though it is one that Yoda is familiar with. The most obvious candidate would e that it's Obi-Wan, and that this is set soon after Ob-Wan's death; but there are several other possibilities as to who might be speaking to him, and the issue plays that pretty close to its chest.

The bulk of the issue seems to be set during the High Republic times, if the clothing on the Jedi Council we see is anything to go by. On the peaceful planet of Turrak, on the outer rim, a coastal village comes under attack from pirates. One of the village children manages to get to an old ship, and uses the communications systems to send out a message for help; one that finds its way to Coruscant and the Jedi Temple.

Whilst the members of the Council argue that there's not much that can be done, and that these people are pretty much on their own, Yoda informs them that he will be travelling there himself. Arriving on Turrak in the nick of time, he manages to repel the pirates, and decides to stay on the planet to make sure that the people are safe.

This issue is a really fun showcase for those who like seeing Yoda in action (who doesn't though right?) as he arrives on Turrak in the middle of the raid, and cleans the clock of several pirates, with his saber in one hand and a massive axe three times his size in the other. It's super cool to see him doing the stuff he does here, and the art team of Nico Leon and Dono Sáchez-Almara do an amazing job at making things look dynamic, action packed, and cool.

The quieter moments in the issue are also done really well, and Turrak before the pirates arrive looks like a lovely place to be. The aliens that call it home seem like really nice people, and I absolutely loved the designs for them, and am glad that it seems like we're getting more than one issue of them so that I can see more of them.

Overall, this was a really good start to the series, it's showing us something new with Yoda straight away, and the team here seem more than capable of giving us the Yoda we know, as well as delivering new and interesting things too.

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Star Wars Revelations #1 - Comic Review

 

Originally published on Patreon

Star Wars Revelations feels like one of those comics you get every now and then that's there to grab people's attention, to give them a taste of the things to come and give a peek at upcoming stories in hopes of grabbing new readers. As such, there's a lot of promise in this book, lots of hints, and lots of things that 'could' happen. I say could, because the majority of the issue is told through Force visions, and we know how the Force can be misinterpreted, manipulated, or just flt out wrong. The fun is definitely going to be in seeing how much here comes to pass.

The book focuses on Darth Vader as he visits the Eye of Webbish Bog, who tells him that something terrible is coming, something that could end the Force, and the galaxy as a whole. Through a series of visions readers are given sneak peaks at what this means, and how each of the Star Wars books will theoretically tie into this story, and how it all began.

We get hints at what's to come with Sabe, including some fancy new armour she seems to be getting for working with the Empire. We see the origin of an ancient droid that led an uprising against organics, and how the Jedi of the High Republic essentially killed them all. We get hints at how Luke and his friends will come up against that droid, reborn in a new body. Valance seems to be on the verge of falling victim to it too, tossed aside by Vader and turning against his hold friends. And we check in on Aphra and her situation with the ancient being currently in control of her.

And we get more information about what Qi'ra is ultimately trying to do in the Hidden Empire event that's about to kick off, utilising ancient Sith artefacts against the Emperor.

There's a lot of tease and set-up in this issue, and if you're already reading all of the Star Wars books it's going to get you excited for what's to come. But I'm not sure how much it's going to be getting new people involved. If you've picked up this book hoping to get a look at what the Star Wars comics are like to see if maybe you want to try them it might leave you feeling a bit left behind. As such, I kind of don't know who this is for, other than existing readers wanting a tease of future stories.

The book has several artists working on it, and whilst some of the sections look great there are others that are less fun to look at. The segments dealing with Valance were pretty poor, to the point where I thought Vader was getting a new helmet design because he looked so weird. The segments with Luke also didn't look great, and it often looked like Luke's face was melting off. I get that it was a bigger issue and they needed more artists, but it felt incredibly inconsistent. 

Overall, the issue was fine, and it was nice to get some teases of the things to come, but it also felt like a lot of this info could have been revealed in comic previews. Is it an attempt to sell an extra book? Maybe. I wouldn't put it past Marvel to try and make a buck off what's essentially an announcement preview.

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Action Comics #1049 - Comic Review

 

Originally published on Patreon

The previous issue of Action Comics was perhaps one of my least favourites, and definitely the worst entry in the 'Kal-El Returns' story arc. Sadly, this issue has many similar problems, and has left me waiting anxiously for the end of this particular arc.

The main bulk of the story picks up where the last issue left off, with Superman fighting New Gods at Metropolis Zoo in order to protect the Phalosian kids from them. The New Gods want the Fire of Olgrun, and aren't above hurting a child to get it. Whilst Superman fights Kalibak and Orion, the kids help Bibbo to save some civilians, having been inspired to help regular folk by Superman. However, when Desaad tries to pull the power out of him Osul unleashes waves of power that shows he might be more powerful than the New Gods.

The alien gods eventually leave, though they make it clear that their desire to take the power hasn't ended and that they will return at some point. And I don't really understand what the point of this story was. Other than introducing the idea that the New Gods have an interest in Osul, it feels kind of pointless. Nothing much really happens, the action is very uninspiring, and the art looks really bad in several places. The character proportions shift and change from panel to panel, and there are points where they look like their bodies are twisted and broken, their faces wracked in pain or twisted into weird shapes.  Is it possible that better art would have made the story better? Probably not, but there were times the art was so off-putting that it definitely made the entire experience less enjoyable.

The rest of the story focuses on Lex and his plans. He manages to bring Metallo onto his side this issue, by having had his sister framed for murder. Metallo is forced to do what Lex wants in order for his sister to not go to prison, which shows how despicable Lex is, and humanises Metallo a lot more and makes him joining the bad guys feel a lot more realistic.

The final pages also show that Lex has been manipulating Manchester Black, even as far back as his time on Warworld, and that Black is the reason why Lex was able to find the things he took from Warworld. Unfortunately for Black, Lex isn't willing to play nice, and knocks the hero out. It's not clear what Lex is up to, other than his usual thing of trying to kill Superman, and the specifics of his plan are still hidden away. The idea that he was working on this even during the Warworld saga feels a bit retcon-ish, but I'll reserve judgement until I see exactly what he tries to do.

The back-up feature also felt a but of a let down, as it rushes to conclude the story. The fight is incredibly quick, and the whole thing seems to have been done simply to maneuver Chaytly into a position where he can be recruited by another villain. At least the art on this part of the book isn't as terrible at least.

Overall, Action Comics has really started to slip into an un-enjoyable territory for me, and it's starting to feel like this story arc is slowing things down a lot. Hopefully the upcoming big revamp following issue 1050, and the new status-quo for the Superman family will lead to better stuff.

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Godzilla: Monsters & Protectors – All Hail The King #3 – Comic Review

 

Originally published on Set The Tape

It’s hard to say if there’s a more iconic a nemesis for Godzilla than the tree headed dragon (wyvern actually, as pointed out in this issue) King Ghidorah. There’s a reason why whenever he turns up in the films it takes several monsters to take him down, whether that’s in the original movies, the US versions of them, or even in comics where it takes costumed heroes in giant robots to help. Godzilla seems to rarely go it alone against the golden Goliath, but this issue of Godzilla: Monsters & Protectors – All Hail The King gives readers the first round of the fight, and lets him do just that.

A lot happens in this issue, and there’s a great deal of time-skipping that takes place. In order to help facilitate this the issue gets broke down into segments where we get a brief introduction from Cederic on his MeToob channel, giving us the pertinent information that we need for each part. For example, the book opens with him telling his viewers (and us the readers) that people around the world have been having strange dreams over the last few weeks. Everyone is dreaming about the same name over and over again: Ghidorah. This acts as a nice segue into us catching up with the Xillians, who are digging deeper towards the slumbering monster. The dreams are happening because the beast is getting ready to wake up, and the Xillians are putting their plan into action.

This kind of structure is utilised more than once, when the next MeToob catch-up lets us know that Ghidorah has been appearing in major cities around the world, causing destruction, then flying away. This issue is covering a lot of ground when it comes to time, and using time jumps in this way is actually a really good way of doing it. We get Cedric telling his audience about what’s been happening in a way that feels natural and true to an internet vlogger, and it means we don’t have to sit through clunky dialogue scenes where characters awkwardly talk through information that they’d already know. It’s not only easy on the reader, but it makes the jumps in time feel natural and even worthwhile, as we don’t have to get bogged down in the less important stuff.

So Ghidorah’s been rampaging across the world – ‘But what about Godzilla?’ I hear you ask. Well, this is addressed quite well in the book as the kids talk about something that tends to happen in almost every Godzilla story but isn’t always pointed out: Godzilla is pretty lazy when it comes to fighting monsters. The monster can be destroying a city, killing thousands, but if it’s on the other side of the world why should he care? Yes, this is different in the Monsterverse movies where he goes out after threats, but here he’s happy to sit back and do nothing until Ghidorah gets up in his business. This also allows for the kids to talk more about the mysterious Kaiju that Karen has a connection with, and how those connections work.

But Ghidorah does come where he probably shouldn’t, and Godzilla takes a dislike to that. A good portion of the issue is given over to the fight that breaks out between them, and this is where the art team of Dan Schoening and Luis Antonio Delgado really shine. The entire book looks great and has tons of personality, but the monster fights are what we’re here to see, and this one is really rather good. The two monsters feel like they’re a challenge for the other, and there’s a decent sense that this isn’t something that Godzilla could easily handle on his own; opening the door for the other Kaiju to arrive next issue.

Speaking of upcoming things, there’s a preview of the next issue cover at the back of the book that gives us a tantalising tease of who the new monster is going to be. I’m not going to say that my prediction in the last issue was correct, but I will say I’m looking forward to seeing it. With only two more issues left the series is looking to be building towards a pretty exciting finale.

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Stargirl: The Lost Children #1 - Comic Review

 

Originally published on Patreon

I've been a big fan of the JSA, and Johns' run on the series, for more than a decade. I love those classic, golden age characters (and the newer heroes they picked up over the years) and how they fit into the modern DC universe. And their exclusion was one of the big parts of why I dropped off from DC for a few years after the New 52 essentially erased them. So I'm actually really excited to see Johns returning to these characters, and deciding to do more with the Golden Age.

Stargirl: The Lost Children focuses on one of the more popular modern additions to the Justice Society, Stargirl, as she and Red Arrow work a mission to try and find out what happened to a bunch of missing sidekicks from the Golden Age who seem to have been forgotten by the world. Those who read Flashpoint: Beyond will be familiar with some of the names mentioned in this issue, and will probably have a good idea of why they vanished and why people don't remember them; but that's info that Courtney doesn't have.

Instead, we see Courtney trying to juggle her new mission, one no one really believes in, with her personal life as her mother grounds her and tries to stop her from working with Emiko any more. But, Courtney is nothing if not stubborn, and she and her friend head out to the home of a former kid sidekick, Dyna-Mite, whose hero was the first to be killed years ago.

Dyna-Mite has assembled quite the conspiracy theory board full of info on the missing kids, and this gives the two young heroes the information they need to begin the next stage of their journey; heading out into the middle of the ocean where a disappearance happened years before. They're not the only ones heading out there though, as Dyna-Mite has been sailing to the spot. When his boat is destroyed in the storm he swims ashore on an island that shouldn't be there, and finds himself transformed from an old men into a kid once again. But someone on the island attacks him.

The rest of the issue includes some interesting flashbacks to Dyna-Mite and his hero partner, TNT, in the golden age, and shows what life was like for young heroes back in that era. It captures a lot of the fun and feel of the comics from that time, and also shows why the older Dyna-Mite still cares so much, and puts himself in as much danger as he does.

If you're coming to this issue having read the stuff building up to it, hoping that you're going to get some answers, sorry that's not happening. However, this issue does do an excellent job at establishing the mystery for new readers, as well as setting up the kind of tone the book is going to have. It wonderfully captures a lot of the fun and energy of the Golden Age books, and has some fun with the more modern characters. 

The art on the book, by Todd Nauck and Matt Herms, looks great, and the opening pages set in the golden age look really dynamic and colourful, and instantly draw the reader in. The panels where the young heroes go to investigate Dyna-Mite's home are packed full of details, with interesting stuff in there to keep an eye out for. The entire book looks good, and the art style really seems to suit this story.

If you're a fan of Stargirl and golden age books in general this series looks set to be one that's going to be a lot of fun.

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Boom Bandits Volume 2 – Comic Review

 

Originally published on Set The Tape

Last year Boom Bandits was released, giving comic readers a one-shot comic that took a look at the roles of different groups in society through a sci-fi lens, resulting in an interesting critique of the boomer vs millennial conflict. With the comic presenting a fairly self-contained and interesting story it’s somewhat surprising to see it return for a second issue some eighteen months later, and one that ends with the clear message that more is to come.

The first issue introduced us to a world where the old live in luxury, spending their lives in high-tech towers where their every whim is catered to, and where they quite literally get to live forever. The younger generations are forced to try and eke out a living in the ruins of the old world, the one the boomers literally left behind; a world that sees them suffer, yet one where they get blamed for their suffering. At the end of the previous issue a revolution had begun, a message of hope for a better future was given, and the story seemed to come to an end. But it looks like the story of that revolution isn’t over.

This issue opens with flashback that shows us a little more of what life for the boomers is like, and gives us the origins story for Pixie, the young girl who has become one of the two faces of the revolution. From her humble beginnings we return to the present, where Pixie sits on a throne, her followers cheering for her, as her mechanical monstrosity watches over her, ready to hand out violence. It’s here that we get our first look at the real conflict in this new chapter of the story. It’s no longer millennial vs boomer, as Freydank, Pixie’s older brother, watches on as his sister amasses her supporters, unhappy with what he’s seeing.

With how politically minded the first issue was, and how much commentary on our real world was contained within its pages, it’s hard not to wonder if this might not be doing the same, and if the story of division in this movement (literally in a family) isn’t commentary on how progressive movements seem to often turn on each other. I’m sure we’ve all seen it beforeL communities that start to fight within themselves, calling out problematic behaviours, those coming to defend people that they like, schisms forming and a united community fracturing into smaller groups. The right often like to hold up examples of the ‘warring left’ as a reason that progressives will always fail, because before long they fracture. Is this where this book is turning; is this the point that’s trying to be made, or is Bruno Stahl simply telling a story? Only they can answer that question, but it certainly seems to fit with the themes of the franchise.

The fracturing of the united force leads to a situation that leaves the younger people in a much worse situation than the first issue, and it’s clear that the story isn’t done, especially with the tag line of the next issue being the ‘epic conclusion’. It’s not clear is the first issue was always meant to be a first part of a trilogy, or if the decision to expand and continue the story came later. The end of the first issue could be read either as a conclusion or the beginning, so it’s hard to tell. If it’s always been the intention to have three parts of the story it does raise the question of how long we’ll have to wait for the final part, with an eighteen month wait between the first and second.

The art, by Bruno Stahl, is as good as the first issue, and may even be better. Some of the odd advertisement pages from the first issue are absent here, with more of a focus on the action and the characters, and Stahl is definitely at their best with that. Some of the best moments in the book are the larger panels, where you get to see crowds worshipping Pixie, or when Freydank leaps into battle against mechanical foes. It all looks great, and there’s nothing to be faulted with the art at all, and fans of gritty British comics will be sure to enjoy it.

With it unclear how long we’ll have to wait for the conclusion to the story it’s hard to know how excited to get. The story is decent, and the new elements introduced here are certainly interesting, but it might be worth waiting until the final piece of the story is out before becoming invested in the series.

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Nightwing #98 - Comic Review

 

Originally published on Patreon

The last issue of Nightwing ended on something of a strange cliffhanger, Nightwing came face to face with Ric Grayson, the person he became when he was shot in the head and lost his memory. How was this possible? How are there two Dicks? Well, that gets answered pretty quickly in the latest issue as we learn that Ric is actually Night-Mite, a new fifth dimensional being with a love of Nightwing.

It was at this point that my heart sank, as I honestly really don't like the 5th dimensional characters. However, this seems to be another example of a comic trope that actually works well and ends up entertaining when you give it to Tom Taylor. Night-Mite is a bit silly, as all imps are, yet manages to never stray into annoying. Instead, he seems to want to celebrate everything Nightwing, as well as letting our hero know of a little girl in danger from the forces of Hell.

Over the course of the issue Night-Mite helps Dick to save the daughter of Blockbuster, who's had her soul sold to the devil, by giving his weapons a boost, and by giving him a new partner, Bite-Wing. Haley is always a character that I'm going to love seeing, and her inclusion in any Nightwing book is always great; but putting her in her own little Nightwing style costume, letting her talk so that she can tell Dick how much she loves him. Yeah, this is how you get me loving the book. And crying.

Whilst in the past other imps have left me feeling bored or irritated this time round it left me with a smile on my fave. Night-Mite feels like he's been thrown in as a celebration of Nightwing, as a way of reminding readers about parts of his history, and why we love the character. My only real criticism is that it feels like it comes out of nowhere, and happens in the middle of another story; but I had that much fun that I honestly didn't really care.

Everything in this issue looked great too, and the art team did a wonderful job. It was a ton of fun seeing old costumes and designs come back, as well as the Batgirl and Nightwing wedding outfits, and the design of Haley's costume. Together with the really fun and tightly written script the issue just felt great.

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Dark Crisis: World Without A Justice League - Batman #1 - Comic Review

 

Originally published on Patreon

It's a shame that the final issue of the Dark Crisis: World Without A Justice League is possibly the worst one in the series, the one that kind of fails to fulfil the entire point of the series, and the one that fumbles things the most; both because it's the final one, and a bad ending can ruin a series, and because it's the Batman issue, the one people will have been waiting for the most.

The first story in this issue, the one that for some reason takes up 75% of the book rather than it being split equally, focuses on Batman. If you've been reading the main Dark Crisis title (which why wouldn't you if you're reading this book?) you'll have seen a bit of what Bruce's dream world is like; with him as some weird clockwork looking version of Batman.

Here we learn that his ideal dream world is a world where a psychic Joker virus swept across the globe and killed almost everyone alive, transforming them into violent Joker monsters. The last survivors of humanity are held up inside a highly advanced clockwork city ran by the mysterious Mr Wax. By day things are wonderful, but when the artificial sun goes down the less savoury come out to play.

Luckily, there's someone there to stop them doing too much damage, the vigilante killer called The Night. As we meet The Night, he thinks he's tracked down the person who killed his parents, but when it turns out to be a false lead he scans the city for clues and discovers something strange, he and MR Wax share the same DNA. Kidnapping the peaceful ruler of the city, the two men remove their masks and discover that they're both the man once known as Bruce Wayne. Working together, they discover how this is possible, and learn the disturbing truth of their origins.

So, these are supposed to be these heroes ideal worlds, the places where they can find peace and happiness. This has varied from person to person in how happy that can be, with some absolutely wonderful dream worlds, and others that do still see the heroes having to fight crime. But for the most part there are nice things in them that the heroes can find peace in. Not the case for Bruce.

This is a nightmare world. A world where people suffer, where the world is mostly dad, and neither Bruce nor Batman seem to be happy here. The way the story ends, it sees the characters locked in some endless cycle of violence, learning the truth, and losing their memories over and over. I'm sorry, but this seems to go against everything this series is supposed to be about, what these prison worlds are supposed to be. I also refuse to believe that Bruce's ideal world is him murdering people in the post-apocalypse, rather than having a decent life with his extended family. It just doesn't fit the character for me.

Added on to this, the world created here feels kind of bad. There are some interesting ideas, but not many of them seem to executed well. The narration feels like it's trying to seem more impressive than it is by putting intentional vagueness into things and overly flowery language. The designs are mostly dull and uninspired. The plot has some grains of an interesting idea, but just ends up being depressing and dark for the sake of it, with none of these versions of the characters feeling like who they're supposed to be. In short, I absolutely hated this. 

The Zatana story that rounds out the issue is relegated to only getting ten short pages, and in those pages we have no idea what Zatana's dream world is actually like. Zatana has godlike magic powers, and we see her reshaping her world, having a quick chat with Constantine, who's actually her in disguise, then she finds her father, has a quick hug with him, then gets picked up by the League who're escaping these fake worlds. 

What is her world actually supposed to be? It feels like we jumped in right at the tail end of things, right as she was messing with the fake world around her before she left, but I have no idea what this world was supposed to be, unless she was dumped into a void and created it all herself using her magic and was only there for 20 minutes; which if that's the case it doesn't seem to match up with any of the others at all, and makes no real sense.

Sadly, this entire issue feels like the writers either didn't understand what the series was supposed to be about and how the rules for these fake worlds have been working every other time, or simply just didn't care. Maybe it's because the main title is almost done and the series is nearly wrapped up, but it just feels like very little effort was put into this, and that it was essentially just phoned in. A real shame the series ended this way.

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