Where one leaves off, another picks up. That seems to be Marvel’s motto of late, especially with their All-New Marvel launch/relaunch of certain titles. Marvel doesn’t exactly have all that many teen superheroes, unless you count some of the X-kids from their various team books. With the recent cancellation of Young Avengers, Marvel launched a new teen superhero book, New Warriors, last month and it seems to be stylistically somewhat similar to the other series. But this brings back (apparently) an old team but with some new faces, so things are certainly interesting.
The first issue was a bit all over the place, and was just about good enough for me to recommend it to you, the readers of this blog. With the second issue however, I am starting to have some serious doubts because this too was all over the place but much more than the first issue. The pacing was odd and the story just didn’t quite click with me either. There were some nice moments here, but I confess that I felt lost most of the time. And the art is okay, no major complaints about it, not at the moment at least, I must say.
This past week, John Layman ended his excellent run on Detective Comics with #29, which also marks the end of his 3-part Gothtopia arc, in which the Scarecrow created a serum to make everyone happy and caused a mass delusion that Gotham was the safest and greatest city in America. He even managed to subvert all the heroes and drew in a number of… medically-oriented villains to his cause, such as Harley Quinn, Professor Pyg, Mr. Freeze and the Merry Maker. But now, the Great Detective is on to them, and the fight is for the future of Gotham and the entire American eastern seaboard.
When Gothtopia was teased out with Layman’s contribution to Detective Comics #27, I was pretty excited. In the New 52, it seemed to be a pretty unique story, and when all the tie-ins came, I was even more excited. Well, except for the Catwoman tie-in, which wasn’t all that good really. But, Layman delivered quite handsomely on the entire premise, and he wraps up things in this issue with a bit of the panache that I expected. Its not as good a story as the previous two issues, but I liked. And the art by Aaron Lopresti and Art Thibert continues to be awesome, so that’s something as well.
Since my review of The Movement #9, it has come to my attention that the series is getting cancelled after issue #12, which will be in May. This is something that makes me really sad. Because it has been a series that dared to step out of the norms of superhero comics and do something radically different. It is an experiment that worked for a while, but unfortunately, due to various reasons, the series is now on the chopping block. With the new issue, the current 2-part arc comes to a close and after that we have two more issues to go. All we can hope for is that the series ends on a high-note.
In the previous issue Batgirl came to Coral City, hunting for a super-powered criminal. She ran afoul of The Movement though, and things ended up pretty bad though. And in the meantime, her target ran amok in the streets. This was the kind of the story that I really wanted to see on this title since its conception and Gail Simone delivered on it quite fantastically. It was a personal story, and that felt right at home for both Batgirl and the members of The Movement. And the art, headlined by penciller Freddie Williams II, was pretty decent as well.
For a good three years now, Black Library’s audio output has been quite impressive. Both in terms of quality and quantity. Thanks to the success of the Horus Heresy audios such as Gav Thorpe’s Raven’s Flight and James Swallow’s Garro duology, the publisher’s audio franchise has really taken off for the Warhammer 40,000 timeline as well. I’ve certainly been enjoying them thus far, though there have been a few along the way that I did not like, and would even consider to be among the lower-tier works put out by the authors. But I won’t deny that BL audios are generally so much damn fun to listen to.
A short while ago we got the latest Horus Heresy audio by Graham McNeill, in which he built on many of the different concepts he’d introduced in his amazing Thousand Sons-centric novel, A Thousand Sons. They are one of the least-covered legions, although they do get a leg-up since they’ve had a novel published about them. I loved A Thousand Sons when I read it three years back, and I enjoyed Thief of Revelations as well. As ever, the audio quality was superb, and the script was really good too, offering parallels to the relationships between the Emperor and the Primarchs that have been the cornerstone of the Heresy.
And so we come to it. The final installment of Jim Zub’s first arc on Samurai Jack. At least, I think this is the final installment, considering how the story here plays out. Its been one hell of a ride thus far and Jim Zub, along with artists Andy Suriano and Josh Burcham and Shawn Lee has done some great work. The previous four issues have been intensely enjoyable, largely in part because the stories and the art have stayed true to the original concept of the Samurai Jack setting, which is a pretty huge plus as far as I am concerned.
With issue #5 we see how Jack’s quest to find all the threads of time and rewound the Rope of Eons plays out to its conclusion. Jack has fought numerous monsters and villains to get to this point and now, finally, he is on his way to collect the final thread, which is in the possession of none other than Aku himself, Jack’s greatest nemesis, and the one responsible for removing him from his time in the first place. All the things that I wanted from this issue, I got, because Jim understands the setting and the characters, and because the artists are just so damn good in every possible way.
I have put up with DC’s Forever Evil event for going on six months now, since last September. It started off fairly well I think, all things considering, but has kind of been wallowing along for a while now. With the penultimate issue in stores this week, I believe things are finally looking up, even though the new issue is still plagued by many missteps, and the story really is all over the place sadly. But I must admit that I get a weird kick out of reading this title, even though I haven’t been enjoying it all that much. On a very basic level, this is quite an interesting series.
In the previous issues, we’ve seen some big reversals for the Crime Syndicate, even though they still hold innumerable advantages over the heroes of the world and are almost unassailable. But, with Luthor’s Injustice League on the prowl now, things are changing a little bit, bit by bit. Because in the absence of the heroes of the world, whether they are dead or unreachable, it is up to the villains to save the world, quite literally, and any heroes alive who are still willing to make a stand are in very, very short supply. And the art hasn’t improved at all, which is still very disappointing.
It is not long before we finally get to see the new incoming creative team for The Flash, after Brian Buccellato and Francis Manapul’s excellent run on the title, the recent one-shot by Christos Gage and Neil Googe, and now the second of the three-parter arc that Brian is doing with Patrick Zircher. In the last issue we got to see a more supernatural side of the Gem Cities as a ghostly killer from the past returns to haunt the two cities and we begin to get some insight into the very history of the twin cities. Now, in The Flash #28, we go much more further on every single level.
Unexpectedly, there is a guest star on this issue and it set up some really interesting narrative opportunities. It didn’t quite go as far as I wanted to, but I enjoyed seeing this particular team-up. And still, I loved the entire mystery that Brian has setup, including the mystery of Nora Allen’s death. And over on the art side, Patrick Zircher did a great job once again, putting his own spin on the Scarlet Speedster’s adventures as he deals with a supernatural caper that has deep ties to the Gem Cities.
Aquaman is one of those few DC books that nicely mixes in humour with otherwise dark events, and even just events with a huge scope at that which deeply and personally change the world-view of the characters irreversibly. But at the same time, Aquaman’s story is one about hope and determination. At several times during his run, Johns emphasised this and ran with it as far as he could take it. It proved to be a really good time. And now it looks like the new writer on the team, Jeff Parker, is cut from the same cloth because that’s pretty much what Aquaman #28 was all about.
In his first two issues on the title, Jeff worked to expand the scope of Aquaman’s world, introducing new characters and new monsters. And he did it in pretty good style too. Now in Aquaman #28 he finally makes two worlds collide as Aquaman finally learns of the newest threat to Atlantis, involving another conspiracy against the underwater empire. I really must say that I enjoyed this issue as much as I did the previous two. On the art side, I didn’t like it so much, because Aquaman and some of his supporting cast looked a bit beefed up and they didn’t look like their previous incarnations either. But it was overall still good.
In various reviews and editorials over the last couple years I have mentioned how much I am a G.I.Joe fan, going back like seventeen years or so now. I used to love playing with the action figures, and watching the cartoons, and they were a huge part of my childhood. When I first heard of an actual live-action G.I.Joe movie, I was pretty excited, because I really, really wanted to see all those characters come alive on the big screen. But after seeing the movie, I could not have been more disappointed. It was a terrible movie that was barely any good at all.
And then last year we had the sequel, which had already been delayed for several months. I was cautious about it, hoping against hope that it would turn out to be a better movie than its predecessor. The trailers certainly looked halfway decent. But once again, the reality went completely south of my expectations. If you ask me which was the worst movie of the year, it was definitely G.I.Joe: Retaliation.
Note: This review contains spoilers for both G.I.Joe movies.
As with most other big-name comics properties, my first experience ever with the Fantastic Four was an old animated cartoon that used to air in the 90s. It might have been reruns or something, but that’s besides the point. For a young kid, the 90s were an awesome time to be in, what with all the great programming happening on Cartoon Network and other channels. That Fantastic Four cartoon was one of the best. Years later, the movies happened, but they were disappointing. At some point last year or the year before, I tried to get into the FF comics, but never went back after like the first few issues.
And now with the reboot, I think I have a Fantastic Four comic that I can definitely read and enjoy and thus stick with. With his recent runs for DC now over, James Robinson has quickly picked up two new ongoings with Marvel, first All-New Invaders and now Fantastic Four. And I have to say that I enjoyed his Fantastic Four more than I did the other series. Better written, much more emotional, much more punchy. And the work by all the artists is also pretty good, on the high side of what is happening with the Big 2 and especially all the new ongoings that Marvel has launched this year so far.
The Die Hard films can be a bit hit and miss, especially of late. The original movies are fairly decent, the new ones not so much. Last year, we got to see the fifth film in the franchise and its the worst of them all to date. As I said in my review of it last year, even the fourth film was quite a bit better than this. This one is just a regurgitation of the kind of things that made the previous movies good, but executed poorly.
A Good Day To Die Hard, apart from a ridiculously long name, is just not the kind of action movie I want to see, especially not one with Bruce Willis’ acting power behind it, which suffered here in fact. When the material is bad, not even one of the world’s best actors can do much about it.