Last month Dark Horse kicked off yet another Fire and Stone crossover book wih Joshua Williamson and Christian Mooneyham’s Predator, that is the tail-end of the stories being told in this crossover. With Galgo sacrificing his crew yet again to get out of a tight scrap, it was a very fun issue that also showcased the utter deadliness of the Predator and it seems that both the writer and the artist have the monster alien hunter down pat, since they imbue him with all the hallmarks of that which made the original films so good all those years ago.
This week’s Predator: Fire and Stone #2 continues Galgo’s story as he tries to fight against the Predator who took over the Perses in the last issue. Well, more like ineffectual resistance since the Predator pretty much caught by the end of the issue and now Galgo is basically Ahab the Predator’s servant. Of sorts. It is pretty awesome. Joshua really ups the stakes with this issue, giving us some background on the Predator early on, and then launches off on a really fun story. And the art? It is pretty damn perfect too!
Last month DC launched Trinity of Sin, a title that brought together three of the biggest ancient mystics in the DC-verse, a union not seen since The Phantom Stranger #0, when Phantom Stranger, Pandora and Question were brought before the Council of Eternity to face judgement for their sins, the greatest in all of history. The first issue was a pretty good one and it set the stage for a really epic story that drew on some of the most weird supernatural elements of the DC-verse.
Trinity of Sin #2 picks up from where the first issue left off, and it continues the story of Nimraa and his three special servants as he seeks to bring back the great days of his race, of which he is the sole survivor following some dark calamity. As with the first issue, this one too has some really great moments and the action scenes are really good as well, drawing on the powers of all the different characters. The art has some missteps though, which felt really weird, since there are clear precedents and the changes just don’t make sense, but still it is pretty damn good
Jessica Drew aka Spider-Woman has faced quite an uphill battle in recent years. There was the whole “boob-window” controversy last year during the Infinity event, when her space-suit had a boob window for some inexplicable reason. And then there was the utterly horrible Milo Manara variant cover a few weeks back for her debut issue, released this week. Despite being an Avengers stalwart for a number of years, she has had a tougher time in recent years with her own books than many other characters, though she has still come out on top with others like Black Widow and Ms. Marvel and others in getting a brand-new series this year.
Spider-Woman I had quite high expectations for, I’ll admit. I love Jess as a character, thanks largely to some of Brian Michael Bendis’ work with her and what Ales Kot has been doing this year in Secret Avengers. Despite the controversy, I was really looking forward to this book, but unfortunately, things just don’t work out at all. Writer Dennis Hopeless dumps you straight into the middle of Spider-Verse without any kind of context at all and it is more an ensemble title rather than a Spider-Woman title. Most disappointing.
Last week we got to see something spectacular in Arrow. Ted Grant embraced his history as a vigilante, known as the Wildcat, and we learned that he was taking care of the Glades before Oliver Queen ever came back and started taking on the villains of Starling City. It was a pretty emotionally-charged episode with lots of action as well that also segued into the growing relationship between Ollie and Roy as mentor and apprentice, mirroring that of other character pairs on the shows such as Ted-Laurel and Malcolm-Thea. It was a great episode, and it only left me wanting more.
In the new episode, “Draw Back Your Bow“, we see the debut of Cupid, a woman super-obsessed with the Arrow who wants to become his lover, someone who can take care of him since he takes care of all of Starling. She made her debut by killing of Isaac Stanzler, who used to be the Arsenal to Ted Grant’s Wildcat a few years ago and who was the villain last week. As is usual on the show, we got to see some real-time commentary on how things are with Team Arrow, and we also see that Ray Palmer has some really big designs for what he is going to do with Queen Consolidated and its tech resources. Not a mind-blowing episode per se, but this one can easily fly under the radar, and I’d caution you against dismissing this one off-hand.
Getting on a roll again, this week I managed to repeat the “Magic 40″ with 2 graphic novels and 38 singles, with many of the latter being absolutely new series, so that was a lot of fun for the most part.
My top picks for the surprise hits of the week would be Archer & Armstrong: One Percent #1 from Valiant Comics, Deep State #1 from Boom Studios, Django/Zorro #1 from Dynamite Entertainment and Vertigo Comics, and The Kitchen #1 from Vertigo Comics also. The most disappointing comics of this week were Captain America and the Mighty Avengers #1 and Death of Wolverine: Logan Legacy #4 both from Marvel Comics, New 52 – Batman #36 from DC Comics and Grimm Fairy Tales: Cfinderella #1 from Zenescope Entertainment. Other than that, the regularly great titles like Hexed, Fables, New Suicide Squad, Red Sonja and Unity all proved to be immensely fun.
The graphic novels for this week were King Conan: The Hour of The Dragon by Timothy Truman, Tomás Giorello and Jose Villarrubia, and Fables Volume 5 by Bill Willingham, Tony Akins, Jimmy Palmiotti, Daniel Vozzo, Todd Klein, James Jean, Mark Buckingham, Steve Leialoha.
On CW’s The Flash last week, we got to see how things could have been for some of the metahumans that Barry has gone after in his debut season when Bette Sans Souci aka Plastique made her own live-action debut. Things didn’t end so well for her, regrettably so, but we got to see some great things happen nonetheless. For one, Barry learned a couple of new tricks that he can do with his super-speed, and we also got to see yet another sneak-peek at the future supervillain Gorilla Grodd in a flashback to five years before the current time, when Harrison Wells was in league with General Eiling. Great stuff. Damn.
In this week’s episode, the sixth of the debut season, we see how the legend of The Flash is finally born. Till now, he has been known only as The Streak, much like Clark Kent was known as The Blur on Smallville in the later seasons, and how Oliver Queen was once known as The Vigilante and is now known as The Arrow. Going up against a new meta-human, Barry is forced to confront some truths and with writers Jaime Paglia and Chris Rafferty, we also get to see the show address two of its biggest elephants in the room: time travel and Reverse-Flash. This was way too awesome for words, even for a show like The Flash.
In last week’s “The Writing on the Wall” we got to see something rather incredible. Phil Coulson finally managed to solve the mystery of the alien writing that he had been doodling of late, and which had driven John Garrett madder than the hatter last season. And it was pretty incredible, setting the scene for what I think is going to be a fantastic addition to Marvel’s line-up of upcoming movies. You can read my review of the episode to see all the spoilers and speculation since I don’t want to mention any of that here.
In the latest episode, “The Things We Bury“, we see the antagonism between Grant Ward and his brother, Senator Christian Ward finally come out in the open as far as the characters are concerned, and as far as the readers are concerned as well. The web of lies and half-truths that the two of them have been weaving around each other all their lives is exposed and it is a pretty powerful moment. The episode brings back Milan Cheylov, who directed the debut season’s third episode last year, one of the best of the entire season, and it is a pretty good foot forward by the show that has gotten only better in the second round.
Given how many comics I usually get to in any given week, anywhere from about 25 or so and all the way up to 40 even, it is not possible for me to review everything. Especially when I watch a lot of television in the week as well, and review as much of that as I can, or anime or even book reviews. Hence this new effort, Fast-Shot Comics Reviews, which I’m hoping to make a regular weekly thing on the blog. But no pressure! Every week on Wednesday, I’m going to try and review about 6 comics from the week prior that I didn’t get to in that week, and see where things go from here!
The picks for this week are: Archer & Armstrong: One Percent #1, Deep State #1, Django/Zorro #1, Hexed #4, The Kitchen #1 and Unity #12. As you can see, four of this comics are brand-new series, with the very first one being a spin-off of Valiant Comics’ hit title Archer & Armstrong. I picked these six comics because they are undoubtedly among the best comics I read this week, but also because they are all incredibly diverse, very different to each other and to other comics on the shelves this past week, especially Unity #12 which is a superhero comic, but deals with something rather different than the norm.
Sleepy Hollow‘s season two has tried to go bigger and better with each episode, trying to establish a much stronger story that ties in all the different characters while introducing new ones and also moving the town of Sleepy Hollow one step closer to the Apocalypse with Moloch himself as its initiator. The previous episodes have done much to explore the various mysteries of the town and also show how Henry is an absolutely manipulative bastard and how much he really hates both his parents, not to mention that Hawley really is coming together well for the team and developing into a high-profile asset.
“Heartless” and “Mama” are quite intense episodes, both of them. In the former, we see that Henry conjures a succubus to steal the life-energy of people in Sleepy Hollow and feed it to a child, who we later come to see is Moloch himself, finally given physical form. In the latter, we visit with Abby and Jenny’s mother, and it is a very, very emotional episode. We learn some truths about how and why their mother killed herself and while at the same time, we also learn that Henry and Moloch have grand plans for Katrina, and that these plans are quite nefarious indeed, in one way or another.
Hard to believe that we are moving into the THIRD month of Gotham. How things change! When the show was announced, I didn’t care about it and thought it was all a big joke. But then the premiere happened and something fantastic and wonderful began that I haven’t been able to keep my eyes away from. In its first seven weeks, the show set up some really great things and delivered some pretty big moments. And now, it seems the show is moving into its second phase, introducing new plotlines while carrying forward a few of the old ones and continuing to show Gotham’s slow decline into insanity.
The villain in last week’s “The Mask” didn’t really work for me and I said as much in the review. I took far greater pleasure in seeing how previous plot-threads were carried on rather than what happened with the villain. And that’s kind of the thing here as well. There isn’t really one villain in this episode, more like a handful of them with none really getting any actual development. But once again, past plotlines really come to the fore here and in Nicholas D’Agosto, Gotham seems to have found a really, really great Harvey Dent, aka the future Two-Face. Kudos on that front!
Iron Man has been one of the books from Marvel in their Marvel Now! launch that I’ve largely given a miss in the last couple years. I started off reading the first issue but it didn’t interest me at all. The next issue I read was sometime this year, which dealt with Mandarin’s death and his rings’ search for their next wielder, in Iron Man #23 I recall. However, that storyline didn’t interest me either, after two issues, and I gave up on that too. And then Marvel announced the Avengers NOW! launch for Iron Man, and I was interested in the changes being made to the character.
Superior Iron Man #1 follows in the wake of the recent issues of Avengers & X-Men: AXIS in which the villain Red Skull did some psychic hanky panky and unleashed a Hate Wave across the world that has turned some heroes towards a dark path while some villains have turned towards the path of redemption. It is an interesting mechanic, and Tony too has been changed by this, becoming a more narcissistic and greedy businessman seeking to profit from the misery of other people. But the writing didn’t really work for me in this issue, though the art was passable, from one standpoint.
Last month Cullen Bunn kicked off the second stage of his Helheim saga with the release of Brides of Helheim #1 which takes a look at the main character of Rikard some time after the events of the previous series as a young Viking girl by the name of Sigrid searches him out to exact vengeance for her father’s death. It was a pretty great issue, in terms of both the art and the story and I loved it, which is why I wanted to read more and even went and got the first mini-series, though I haven’t had a chance to read it as yet.
This past week’s Brides of Helheim #2 continues the story of Rikard and Sigrid even as the writer gives us some background on the spae witches who have been Rikard’s enemies, along with their distant master who is emerging into the world once again. Cullen Bunn packs the issue with some astounding moments of character and action, even as Joelle Jones and Nick Filardi render them quite beautifully. The second issue is as good as the first one, and as the mysteries and story deepen, things look set to get better and better on all fronts.