Author Archives: AJ
The Secret Origins is one where each issue contains three short stories, each about a different superhero and supervillain in the DC universe and their respective origins. I’ve been fairly interested in the series for a while now, though I haven’t really gotten into it as yet. There’s already so many titles I want to read every month that just managing any more is a super-task. But still, the concept of the series is a good one and it really does seem to give you a brief taste of different characters and titles in a single package, so why not check it out yeah? Least, that’s what my thinking was when I picked up this week’s issue.
Secret Origins #6 is the origin stories of Wonder Woman, Deadman and Sinestro, from the respective creative teams of Wonder Woman, Justice League Dark and Sinestro, with some changes. Each story deals with the earliest days of the respective characters, and each story is executed well with enough callbacks to later events in the characters’ histories or even their respective ongoing titles. There is a right crazy mix of creators here, and I can definitely recommend this one, for it is a great standalone issue given you a great brief look at three of DC’s greatest characters.
Thanks to CW’s Arrow, the character of Slade Wilson aka Deathstroke has enjoyed a great surge in popularity in recent years. Manu Bennett’s portrayal of DC’s greatest mercenary/assassin has enchanted people everywhere and when he stepped up as the big bad of the show’s second season last year, things really kicked off for him in a major way. However, the character hasn’t enjoyed as much popularity in the comics, with his most recent run ending rather unceremoniously, though not as abruptly as some of the other of DC’s New 52 books. I never read that first series, mostly because I wasn’t interested in the character so much back then.
But now things are different. Now I want to read more about Slade Wilson and the reins of the new series are given in the hands of writer Tony S. Daniel who is also the artist on the series. I’ve never really enjoyed any of Tony’s previous work for DC, mostly because there’s always something lacking in his stories or his dialogues, though his art is usually good. Deathstroke #1 however, is a departure from the former. It is quite an interesting story of a man as skilled and talented as Slade Wilson is supposed to be and Tony does a fairly decent job with him, though some of his deficiencies do show up here.
After two rather dreary weeks of reading comics, where I didn’t manage to hit my recent highs of 40 singles/graphic novels a week, this week was much different. I got back on track for one, and moved through three entire volumes of DC’s Earth 2, almost catching up to the current status of the series.
The surprise hits of this week were Blood Queen Annual 2014 from Dynamite Entertainment, Deadpool’s Art of War #1 from Marvel Comics and Trinity of Sin #1 from DC Comics. The comics that disappointed me this week were Wytches #1 from Image Comics and Death of Wolverine: Logan Legacy #1 from Marvel Comics. Of the other titles, the ones that I really loved were recent ongoings like Flash Gordon #6, Unity #0 or even Ms. Marvel #9.
When Marvel’s Avengers ended, it set a new standard for superhero movies. To the best of my knowledge, superhero team movies hadn’t happened before this movie, especially not when the movie in question was preceded by no less than four movies that set the stage for it. With Avengers, Marvel’s cinematic universe also moved into a new phase, a phase where we’ve seen some big changes in teh status quo for the various heroes and where we’ve also gotten to see lots of new characters, heroes and villains alike as well. And now, in just about half a year, we are going to see Avengers: Age of Ultron, the next big Marvel money-maker.
Avengers: Age of Ultron does not have anything to do with last year’s Age of Ultron event in the comics, though they both share the same name. It is going to be a new story about the sentient robot built (most often in the comics) by Hank Pym, the Ant-Man, that then goes on a genocidal rampage against humanity. Of course, we haven’t seen Pym in the MCU as yet, though there is a movie coming out soon that deals with his successor as Ant-Man, Scott Lang, so it is all going to rest in the hands of the MCU’s go-to tech-serf, Tony Stark aka Iron Man. Last night, after a trailer of the upcoming movie leaked out, Marvel and Disney went ahead and released the official teaser, and by gods it is awesome!
Marvel’s Agents of SHIELD has had a fairly good second season so far, quite unlike the start of its debut season. New characters have come on the playing field, with new objectives, new mysteries, new dynamics and while I kind of don’t like how some characters have been treated, such as Lucy Lawless’ undercover SHIELD agent in the very first episode, others have turned out be handled much better, such as Agent Simmons and Skye, along with Glenn Talbot and a bunch of others. We are also getting to see more of Skye’s hidden past and that’s a great thing after the season-long mystery last year.
In this week’s “A Hen In The Wolf House” we meet up with one of the other new characters that I’ve really been looking forward to seeing this season: Adrianne Palicki’s Bobbi Morse aka Mockingbird. While the episode doesn’t yet reveal her codename, she is presented as HYDRA’s chief of security in a rather draconian portrayal and having Adrianne as a regular on the show is a huge boost as far as I’m concerned. And her interplay with Agent Simmons is just fantastic as well. But the real kicker comes in the form of Kyle MacLachlan’s The Doctor, who is Skye’s mysterious father, whom we get to see a lot of this week, with a rather creepy portrayal .
NBC’s The Blacklist has had an interesting second season so far. Lots of new characters have strung up in the wake of season one’s finale, and the Reddington Task Force has experienced some big changes of its own, whether that is losing some people or gaining some new allies. But things are still in flux, as they ever are on this show, and that is a good thing, since there are some mysteries still left unexplored, which define the show itself, and none more so than the relationship between Red and Liz, which got murkier and ever more mysterious in last week’s “Dr. Linus Creel“.
In “The Front” this week we see the heroes go up against a group of eco-terrorists, who have some grand plans for cleansing the world of the species that eradicates dozens of species a year. It all starts off with a murder, and by the end we are left with the team redefining some of its interrelationships and also Red finally getting one of the things he has wanted since the start of the season.It is not all that interesting an episode, personally speaking, since the eco-terrorists were rather boring, but the good thing is that the subplot involving Red and his investigation still remains a strong story, despite everything else.
Last week’s episode, “Go Where I Send Thee” was a pretty intense episode, pitting the heroes and their newest ally against the villain of an old folk story, he Pied Piper. Where Sleepy Hollow is concerned, such stories are often all too true, and the Pied Piper was one of the creepiest villains I’ve seen on the show as yet. I loved it quite a bit since I’m really liking the character of Nick Hawley, who is more an anti-hero than a villain or a hero, and also because Henry Parrish really seems to be upping his game in the larger plan to take down the Two Witnesses and bring about the Apocalypse.
The new episode this week, “The Weeping Lady” brings back someone from Ichabod’s past, a jilted lover who bears everyone he loves now a great amount of hate. It is a pretty grand episode though it also feels filler, the writing team using the expanded second season to squeeze in more one-off stories. At the same time though, it also shows that things aren’t going according to he plan for Moloch and Henry, and that they are being forced to make some adjustments. As usual, loved a lot of things about the episode, though I wish that Abraham aka the Headless Horseman aka Death was being given more to do.
New shows often need to start out strong in order to cement themselves in the viewers’ consciousnesses, and to prove that they indeed have some staying power. Of late, that task has fallen to one of television’s biggest gambles, Gotham, a show about the city of Gotham before Bruce Wayne became Batman, when guys like Jim Gordon and Harvey Bullock were still simple detectives or when mob bosses like Sal Maroni and Carmine Falcone were at the top of their game. Fortunately, Gotham has started out fairly strong and seems intent to stay that way, if last week’s episode Arkham is any indication.
In the new week, “Viper” is quite the traditional “new drug on the streets” police procedural episode but it still stands a fairly good episode on its own. It doesn’t quite match the fantasticness of last week’s Arkham, but it still moves the larger story forward while also providing a reference to one of the most iconic Batman villains ever and gives Penguin and Jim both some really great moments together. I’m really getting into the groove of the show now and having a blast as well. This is a very different take on these characters than I’m used to, but that’s exactly why I’m enjoying the show so much, this week’s episode no exception.
James Robinson’s deconstruction’s of Marvel’s First Family has seen the Fantastic Four go through some really troubled times of late. Old villains coming back. Interdimensional invasions. Getting thrown out of the Baxter Building by the Avengers and SHIELD. The children of the Future Foundation all being taken away from Sue and Richard. Sue taking on the Avengers by herself. The falling out between Ben and Johnny. And so much more. It has been a trying time for the family team of late, and with the Original Sin event these bad times certainly didn’t go away, especially not once James Robinson began to revisit the plot-threads he had introduced in the very first issue a few months back.
To be honest, this review is kind of me catching up to this massive backlog I built up for this series. As such, there are a ton of things to unpack here. But suffice to say that after laying down a lot of groundwork in the first seven issues, James Robinson finally moves forward with the “real” story progression as he touches on concepts that plots that were hinted at back when the series started and that we continue to see how the Fantastic Four are fracturing up, divided as they are because of various reasons like Johnny losing his powers, Ben arrested for murder and so on. Robinson’s writing gets ever more heart-breaking with each issue, even as the art teams switch in and out over the course of these four issues.
Though Future’s End has been one of my favourite series of this year, some of the recent decisions story-wise have made me feel as if the writers are more intent on just prolonging the inevitable and also because the long run is kind of taking its toll on me. Except for an odd title here and there, especially Future’s End #22, the title has been great, but I think some cracks are beginning to show and I would love it if the writers got the series back on track with characters who’ve been missing for a while, and for the “proper” storylines to come back to the fore.
In Future’s End #23 and #24 we see the tale of the survivors of Stormwatch and the reluctant recruits of SHADE as they continue to battle against the power of Brainiac and his legions of robots. We also see, at the same time, the troubles that Tim Draka is having in his love life and how Madison is struggling to get over his past as a Teen Titan, a dead one no less. And in the midst of this we also get to touch base with some characters we haven’t seen in a while, like Fury, Scott Free, Constantine and Superman in some really amazing sequences, both in terms of the story and the art.
Despite having a star-cast, Ridley Scott’s 2012 venture Prometheus was a complete dud for me, as I’ve mentioned in my review of the movie from more than two years back. It stands as one of the worst movies I saw that year, and does an incredible disservice to the the Alien franchise, more so than the later sequels of the same name. However, it cannot be denied that there are indeed some interesting narrative points in the movie worth a second look, and that’s what Dark Horse Comics is intending to focus on its new series, Prometheus: Fire and Stone, part of a new age of books in the Alien, Predator and Aliens vs Predator franchises.
Prometheus: Fire and Stone takes place many years after the end of the movie, some hundred and twenty-six years in the future, when one of the neighbouring worlds to the moon designated LV-223. It follows a new crew, following in the distant footsteps of the Prometheus, intending to recover some valuable salvage from LV-223. But what they find on the planetoid/moon surprises them, and they inevitable run into a horde of aliens, setting off a great story that is quite typical of the franchise. These two issues are really great and I liked the art as well, worth making a movie about, actually!
Disney XD’s Star Wars: Rebels is the first big production in the Star Wars franchise released after Disney acquired Lucasfilm a couple years ago. Set 14 years after the terrible events of Revenge of the Sith and just 5 years before A New Hope, it follows a group of do-good mercenaries as they rock it out with the Empire again and again. With (relatively) recent news that Disney has basically kicked out all previous Star Wars Expanded Universe canon in favour of a new canon centered around the six movies and The Clone Wars, it is an uncertain future at best for the franchise, and how Rebels performs in the coming weeks is going to be a big indicator of that uncertain future.
Disney kicked off the show with four shorts focused on the various characters, and then an hour-long special a little over two weeks ago. Titled “Spark of Rebellion“, it introduces the characters to the audiences and gets them all together after the (somewhat) scattered adventures of the shorts. It is a decent series opener, as such things go, with the characters being interesting all of them, though some of the hallmarks of Disney are prominently visible character-wise. And as for the animation, well, it is certainly problematic in many ways and nowhere near the smoothness of The Clone Wars.