Review: American Horror Story: Freak Show

Written by guest contributor Cameron Gallagher

After having watched Hotel, and just coming from Coven, I skipped Freak Show, because I was waiting for it to come to Netflix. Coven, has been my favorite of the entire shows run so far with the magical sense of horror and a compelling plot to go along with it, but after watching Freak Show, I have a new favorite.

Freak Show follows the story of a Freak Show (obviously) and their leader, Jessica Lange, and basically it is all of the insane things that come with a new addition, Sarah Paulson, a two-headed human, and how she basically creates the fall of the beloved Freak Show. This show had a lot of things going against it. Coming off a season like Coven, there is a lot the show would have to accomplish in order to not push away its viewers.

3-disturbing-new-posters-for-american-horror-story-freak-show6I think this show really flourished in its storytelling and visuals.  In previous seasons like Asylum and Murder House, the stories seemed to be sewn together, just barely hanging on by a thread and seeming a little too convenient for my liking, but Freak Show raised the bar for really bringing in multiple stories, and having them all fall nicely together, and being not only coherent, but VERY entertaining.

This is by far the best visually of the series. Everything from camera movement to the color palette of the series blew my mind. The style was pushed so heavily by the production team, you can feel the authenticity in its costumer design, sets, and cinematography. Every time I would see the circus tent, I would imagine what it was like to be there and the warm and hot feeling the Florida air had. It created a very surreal feeling.

The acting was phenomenal, as most of the seasons have been. Particularly the character of Dandy Mott. The psychological depth and hatred you had for this character… made you love him. You basically watched the beginning and formation of a serial killer, and it was incredible to watch how his character would justify things and his recklessness. I was very impressed with Finn Wittrock’s performance in the role.

Jessica Lange’s narcissistic backstory seems to be getting a little repetitive, considering all of the seasons have really had that same message behind her character, and the show can be a little slow at some times, but it was made up for in its acting and production value. AHS gets it’s well deserved 4/5. Make sure to check it out yourself and enjoy!


Score: 4/5


American Horror Story: Freak Show Directors: Various Writers: Various Studio: FX Episode Total: 13

Review: Sisters

Written by guest contributor Cameron Gallagher

Sisters is a film based around two things, and only those two things only. Tina Fey and Amy Poehler. Feeling like a midlife crisis version of Project X, Sisters didn’t only disappoint because of its lack of originality and abundance of montages, but I was disappointed in Tina Fey in particular in how her role felt so forced and honestly not even a bit funny.

Sisters is about two middle-aged sisters, on total different sides of life. Tina Fey, living in her friend’s kitchen with a daughter who doesn’t care to be around her, lives in the remembrance of her party days, wishing she could have it back. Amy Poehler on the other hand, is a respected and well off divorcee, who is to straight up to date or even socialize properly.

Sisters PosterAs their parents sell their childhood house, the two decide to revive their high school parties and create the Project X of their generation. BUT… this movie did none of that excitement for me. This film felt like a jumble of party scenes mashed together by “compelling” dialogue and exposition.  This movie was so bad I honestly don’t have a lot to say about it. The cinematography was very boring.

Probably the worst part of this entire film was its climax. The climax of this film was so ridiculous and beyond dumb, that I almost didn’t believe it was going to be the height of the movie. I never once felt that there were stakes.

I didn’t enjoy any moment of this except for one. When a character is playing charades with two others after snorting “Stevia.” I died laughing… otherwise I didn’t laugh once. Overall I would not suggest seeing this movie AT ALL, go see Star Wars again or The Revenant.


Score: 2/5


Sisters Director: Jason Moore Writers: Paula Pell Studio: Universal Pictures Running Time: 118 Minutes Release Date: 12/9/15

BLUEFIN Releases New STAR WARS Samurai "DAISHO" DARTH VADER Figure

Bluefin, the leading North American distributor of toys, collectibles, and hobby merchandise from Japan, Hong Kong and more, moves to the Dark Side for its latest Star Wars collectibles product with the release this month of the Samurai General “Daisho” Darth Vader. The high-detail, 7 inch poseable figure is newest addition of the Meisho Movie Realization Star Wars figure line by Tamashii Nations. The Meisho Movie Realization Star Wars line pays homage to the Samurai aesthetic and artfully reimagines iconic Empire characters from the legendary films with feudal-style Japanese armor and weaponry.

Daisho Darth VaderThe new “Daisho” Darth Vader figure depicts the Dark Sith Lord as a Samurai General, clad in sinister black “Death Star” armor, and debuts with an MSRP of $92.99 from authorized Bluefin retailers nationwide and also from a variety of leading online outlets. The figure is constructed with hybrid materials and features 15 points of articulation to create endless posing possibilities

Meisho Movie Realization Samurai General “Daisho” Darth Vader

Height: Approx. 7 inches; MSRP: $92.99

The greatly popular Samurai General Darth Vader makes a comeback in an all new Death Star motif. Another stunningly unique artistic interpretation master crafted by acclaimed artist Takeya Takayuki, Darth Vader - Death Star Armor - has a revamped armor design. Most notable is the fearsome Death Star-style crest on the helmet and highly detailed chest plate pattern. Set includes interchangeable hands, gun (large, small), and katana sword (light saber and regular).

Fans can also enjoy other figures from the Meisho Movie Realization Star Wars product line – available now – that include the “Ronin” Boba Fett, “Ashigaru” Stormtrooper, and the Samurai General “Taisho” Darth Vader. Each is clad in a unique set of armor and comes with an array of weapons and other accessories. Additional new figures will be announced in coming months.

For more information on Meisho Movie Realization Star Wars figures distributed by Bluefin, please visit: www.bluefincorp.com/catalog/tamashii-nations/meisho-movie-realization.html.

Kickstarter: The Dirtsheets by Rich Richardson

Kickstarter Link!

Tune in to the chaotic world of Professional Organized Wrestling; pro wrestling’s funniest and most entertaining promotion, broadcast through a comic book TV lens.

With The Dirtsheets, writer and artist Rich Richardson created the best wrestling federation in the world. The wrestlers of POW live and breathe their gimmicks, spawning outrageous feuds where the use of weapons, backstabbing and patriotic spandex are part of just another day on the job. The Dirtsheets leaves fans tuning in every episode in hopes of seeing their favorite wrestler “win the big one”.

dirtsheets_characters

Creator Rich Richardson is a former world champion who hung up the boots and picked up the Sharpie to book pro wrestling’s best federation with The Dirtsheets. A long time comic book, animated sitcom and pro wrestling fan, Richardson combines these mediums for a unique comic experience.

“The Dirtsheets takes caricatures of real world personalities and puts them in a wrestling ring where laws and physics don’t apply,” said Richardson. “The Dirtsheets is the ultimate pro wrestling show.”

The Dirtsheets is a 28 page full color comedy and satire comic book published by Wet Soup Studios in February 2016. Issue 01 Kickstarter officially launches January 19, 2016.

 

Review: The Dirtsheets #1

If you’re any kind of a wrestling fan… wait… let me rephrase that. If you’re not a mark, but rather a smark, then you know what “dirtsheets” are. If you don’t, well I’m not google and by now you should have highlighted the word, right clicked and searched for it. If you’re on a Mac and that joke doesn’t work for you, well I can only solve one problem at a time and you’ve got two. The Dirtsheets is about wrestling. The artwork has an obvious influence of South Park which should inform non-wrestling fans what to expect. It’s poking fun at wrestling. Pointing out industry habits while both simultaneously making fun and relying on the trope. For the most part, it’s pretty successful on its first outing.

The-Dirtsheets-#1-1The first issue introduces us to our key characters. This is an ensemble cast of characters because that’s what wrestling is. We have our baby face champ that’s all about the U.S. of A. We have his heel challenger that spits venom at the fans and other wrestlers. We have the vaguely offensive foreigner that is the direct challenge to the USA, the other undefeated challenger with a manager that speaks for them and of course the Lucha inspired wrestlers that are boiled down to stereotypes. Lastly, there’s the announcers and interviewers which are painfully accurate.  If you watch wrestling… none of this is that far from actual reality.

I guess that was my only problem with it. It wasn’t that over the top. It had some funny moments and some inside jokes about wrestling, but I was really hoping it would hit harder with the humor. Really go after the wrestling world, but instead it seemed like a safe introduction to the world and focused on establishing a baseline for comic readers that may not follow wrestling. I don’t know if that was necessary, but it’s a smart enough play for the first issue.

The art is definitely something between South Park and Cyanide and Happiness. Personally, I don’t love it or hate it. It’s pretty decent and though it’s intentional not detailed, there’s still a level of skill that goes into making art like that. Since there wasn’t a lot of actual wrestling in the comic, but rather promos, I wonder if and when there is wrestling how it’ll look moving around. That’s my only concern with the art at the moment.

The Dirtsheets is an entertaining comic. For an indie, it’s very well made and the story is competent and actually manages to wrap its chapter up in one issue. It’s very much like an episode of RAW, in which a chunk of story is told in one city, on one episode. I would definitely recommend it to wrestling fans and I would gladly read the next issue. I just hope that it gets a little riskier with its humor and lives up to the South Park design that it’s inspired by.


Score: 3/5


The Dirtsheets #1 Creator: Rich Richardson Publisher: Wet Soup Studios Website Kickstarter (Running until 2/16/16)

Review: Super Suckers #1

Super Suckers is entertaining. It intentionally looks like an Archie Comic (old Archie), but has this air of maturity to it. In some ways it reminds me a little of High School USA, but not as raunchy and with vampires. Because Vampirism is the newest STD sweeping college universities. The story starts off following Kelly at her sorority getting ready for a blood drive. Her boyfriend that talks like a bad Dracula movie comes and breaks up with her. He’s leaving the country and wanted to say goodbye. Heartbroken she heads to a bathroom to cry and finds another woman crying over a break up… turns out to be over the same guy. They also make another discovery of what they have in common… they’re vampires now. Kelly and her new friend Jess are an unlikely pair, which is what makes them work so well together.

Soon after the girls’ discovery, they run into Stewart who knows they’re vampires. In fact, he knows basically everything there is about vampires because he was supplying their ex-boyfriend with blood and for some reason he decided to tell Stewart everything about them. They laugh him off because they don’t want to pay for blood and Stewart is known as the kid who pissed his pants in class. Apparently due to a double feeding from their ex-boyfriend.

Super Suckers #1The story goes on and both girls discover that they’re extremely horny… or maybe they both just happened to have fallen in love again and want to suck the blood of their love interest. Read it how you will, but I took it as Vampires are horny all the time. Kelly’s love interest turns out to be a Vampire hunter which puts the girls into an interesting position.

There are also commercials to the comic. That is the theme of the publisher “Sitcomics, it’s TV you read!” The commercials reminded me MAD Magazine in that the commercials are over the top and have art that would be at home in MAD. They’re humorous, but also a bit too long. They also all happen at once which honestly takes you out of the story for too long.

Which brings me to the biggest problem with this first issue. It’s too long. The story really doesn’t need to be this long because the concept is simple. You know that the girls are going to have to confront the vampire hunter and figure out how to not kill or infect their love interests. It should all move pretty quickly, but it doesn’t. There’s a lot of exposition and not just from Stewart. Usually I don’t complain about an extra-long issue, but this one seems intentionally bloated for the page count which damages the content. That and when you’re miming Archie, well there’s a reason that Archie has short issues… no one can stand to read a long ass issue.

If it was a tighter story it would have nailed the Archie formula. It has mature humor, but it manages to stay safe by implying it more than showing it or directly saying it. It’s just a shame that this first story is too long. It might have worked better to have the commercials break it up. I get that it’s like a real commercial break, but you still have to play to the medium it’s in… comic books. When I stop reading the main story for four pages and then go back into the story. Well it’s easy to forget where I was before the commercial break. It’s an interesting and fun concept, but it doesn’t quite work in the comic medium the way it’s presented here.

I can’t say enough good things about the art. I mean it’s so Archie that it hurts. The noses, eyes and hair are the biggest influence. If you can nail those three things, you just have to come close to everything else. The art is great and adds a lot of humor to the story. The coloring is about the same as an Archie comic as well, but I found it to be a bit better and fuller looking.

I would read another issue of Super Suckers, but only if it was shorter. There’s an “or” there as well, that being that if the story could actually fill the page count and keep it interesting. If it was just another inflated story though I would likely tap out sometime after the commercial breaks. Otherwise this is an entertaining comic that has some homage and uses a classic art style to craft a different story than the art style is associated with.


Score: 3/5


Super Suckers #1 Writer: Darin Henry Artist: Jeff Shultz, Various Colorist: Glenn Whitmore, Various Publisher: Sitcomics Price: $5.99 Format: Ongoing; Digital Website

Review: Iron Bard Ballisto

Iron Bard Ballisto is strange, fun and just the right amount of violence and humor. The story is pretty simple to sum up. Ballisto is making an attack on a building. An invasion really. But it’s just one building. And he’s just one guy. He starts taking out guards using musical instruments like guitars and guitar picks shot like a crossbow. He continues on his way facing different enemies until he reaches the boardroom. There he faces his ultimate enemy… the board… of directors. Iron-Bard-Ballisto-1It’s straightforward, but very funny. One of the qualities that makes it humorous and charming is that Ballisto treats it like a bygone era’s raid of a kingdom and yet balances that with the modernisms of his weapons. The balance is razor thin and if creator Ben Hutchings had gone more one way than the other it would have been hacked apart. Instead the jokes hit perfectly for both aspects.

The writing is spot on. The jokes are paced to give the reader breathing room, but they don’t get in the way of the stories progression. Be it a simple story, it’s still paced and structured so that this standalone story hits all the right beats. Ballisto is a great character. We don’t delve deep into his personality, but rather just enjoy his over the top nature. We never question where he got said piece of music equipment suddenly, but except that it’s who he is… a guy that attacks with musical instruments and sings.

The art is a great fit for the story. it’s also by Hutchings and it’s left in all black and white and a periwinkle looking hue. The art is over the top and matches everything about the story. There’s a lot of physical humor to the story and the art delivers. Physical humor is made and broken by the art. It’s also very detailed which adds to world’s setting. Ballisto is the only one that’s over the top. While the others are goofy to the reader, they’re not goofy to the world. That makes everything funnier together.

This is a short and sweet story that is quite humorous. It provided a few good laughs and left me with a smile by the end. I would definitely take another adventure with Ballisto if it should come about. In the meantime, if you like to laugh while reading comics. Look no further than Iron Bard Ballisto.


Score: 4/5


Iron Bard Ballisto Creator: Ben Hutchings Publisher: Milk Shadow Books Price: $14.99 Format: TPB; Print Website

Review: The Hateful Eight

Written by guest contributor Dave Fox

At some point, all genius filmmakers lose their way. Francis Ford Coppola made Jack. Steven Spielberg was behind the camera for Indiana Jones & The Kingdom Of The Crystal Skull. Michael Scorsese directed Gangs Of New York. And after the near-perfect run of three films that kicked off his career, Quentin Tarantino can join the list of directors who lost their way after following up Reservoir Dogs, Pulp Fiction and Jackie Brown with four films that wasted good ideas and even better casts.

That's not to say that lost directors can't make comebacks. Lincoln and Bridge Of Spies proved Spielberg still had the chops to make a good film, while Scorsese scored hits with Shutter Island and The Wolf Of Wall Street. For many, the hope was that The Hateful Eight would set Tarantino on the path back to greatness.

It certainly has a promising premise. In an unhealed, post civil war America, bounty hunter John "The Hangman" Ruth (Kurt Russell) and his carriage driver O.B. Jackson (James Parks) are transporting wanted murderer Daisy Domergue (Jennifer Jason Leigh) to the town of Red Rock to be hanged. When they are caught in a blizzard they pick up two fellow travelers - bounty hunter and disgraced former solider Major Marquis Warren (Samuel L. Jackson) and the would-be new Sheriff of the town Chris Mannix (Walton Goggins).

the-hateful-eight-posterUnable to reach Red Rock due to the snowfall, they stop over at a cabin called Minnie's Haberdashery, which is in the temporary control of a mysterious Mexican named Senor Bob (Demian Bichir). There they meet others bound for Red Rock and beyond - the hangman of Red Rock, Oswald Mobray (Tim Roth), ex-Confederate General Sandy Smithers (Bruce Dern) and sullen cowboy Joe Gage (Michael Madsen). Ruth soon deduces that one - or more - of the inhabitants of the haberdashery are in league with Domergue and plotting her escape. He forms an uneasy alliance with Warren to find out who's plotting against him. In the meantime, there's also a rescue plot staged by Domergue's brother Jody (Channing Tatum) to deal with.

The plot and setting are reminiscent of the classic Reservoir Dogs, the film that launched Tarantino's career, but the similarities don't extend much further than that. The idea of these characters, each with their own rich backstory and shady motivation, in a tense standoff is an exciting one, but sadly a film that could be a thrilling ride is instead a slog - The Hateful Eight is as slow as a horse trudging through a blizzard. The film takes an age to get the haberdashery, and when it does it still moves, as John Ruth would say, "molasses-like".

There are more problems here than the pacing, though. Tarantino's films have always relied on the writer/director's ear for dialogue, but in the Western setting, his attempts at period-speak often hit the ear wrong. Thankfully he has a cast of talented actors who can, at times, spin gold from his thin threads. Samuel L. Jackson's easy charisma and underlying menace carry the film, while Walton Goggins gives the kind of scene stealing performance that can catapult a career into the stratosphere (even if his Gomer Pyle-esque accent takes some getting used to). Jennifer Jason Leigh, meanwhile, as the cackling unrepentant outlaw Daisy Domergue, imbues the unlikeable character with an unexpected resilience.

Elsewhere, Roth plays Mobray with a twinkly-eyed sense of fun that suggests he studied Christoph Waltz' Django Unchained performance closely, but Maden is underused as the gruff Joe Gage and General Smithers doesn't give Bruce Dern much of a chance to flex his acting muscles. Tatum excels, cast against type in a small role, and his scenes here suggest he could make a menacing villain in the right project.

It's the interplay between the actors that saves the film from sinking under its own weight. By this point in his career, Tarantino is clearly in love with his own voice: rather than edit Kill Bill down into a manageable film, he split it in two. Half of Death Proof was entirely unnecessary, but was somehow spared the cutting room floor. Both Inglourious Basterds and Django Unchained were flabby and contained unneeded detours that distracted from the story. The hope was that The Hateful Eight would bring Tarantino back to his roots. But it did not do so. Remember, Reservoir Dogs ran at a taught 99 minutes. Instead of that, this film runs to a bloated 167 minutes.

Clearly someone, somewhere, needs to make sure Tarantino harshly edits his films in future - but let's face it, it won't happen. No one will say no to Quentin as long as his films keep bringing in money, and they do. Those of us who were once enraptured by his genius will have to simply hope that he realizes where he has gone wrong, and knows how to fix it. Maybe then the ninth film by Quentin Tarantino will finally live up to his lofty reputation.


Score: 3/5


The Hateful Eight Director/Writer: Quentin Tarantino Studio: Double Feature Films Running time: 167 minutes Release date: 12/30/15

Review: American Horror Story: Murder House & Asylum

Written by guest contributor Dave Fox

Every well-regarding TV show in history has had its detractors. Even a classic like Twin Peaks divided opinion. Lost often split audiences right down the middle. I even know people who find documentary-of-the-moment Making A Murderer boring. But there's one show that seems unanimously loved, at least by people I know: American Horror Story.

Ever since the show debuted in 2011; friends, co-workers and relatives have been telling me to watch it. I always resisted, horror isn't really my thing, and there are so many shows to catch up on that it was always very low on my list of shows to watch.

91TWKcwjhlL._SY606_But, one fateful day recently, I was browsing listlessly through Netflix when my fiance suggested that we watch American Horror Story to "see what the fuss is about". I agreed, and it's a decision I will always regret.

The anthology series is currently on its fifth season, American Horror Story: Hotel. Naturally, my experience started at the beginning with American Horror Story: Murder House. It's the season that is almost universally regarded as being the best. Given how much I hated it, I can only imagine how awful I'll find Hotel once I get to it (if I get to it!).

Murder house follows the Harmon family: psychiatrist Ben (Dylan McDermott), his wife Vivien (Connie Britton) and their moody teenage daughter Violet (Taissa Farmiga). They move into an old mansion in L.A. and are haunted by strange happenings and the apparitions of anyone who had ever died in the infamous "murder house".

Haunted house tales are as old as time, and the setting is perfect, in theory, for a creepy, suspenseful thriller. But instead of that, Murder House delivers a shrill, jumbled mess. The Harmon family seem to be going through about twelve different crises at once while the house itself is haunted by what seems to be an innumerable number of ghosts. Not content to tell a simple ghost story, the show throws everything at the wall to see what sticks: a school shooting, suicide, rape, a mutation in the basement, scientific experiments gone wrong, the antichrist...it's all there. And most of it doesn't need to be. Murder House feels as though it's written by an excitable child with ADHD.

1r1American Horror Story's second season, Asylum, is much the same. It's worth mentioning that American Horror Story is an anthology series like True Detective and Fargo. Each season is distinct, following a different story and a different cast of characters, albeit with a revolving cast of actors playing different roles. So Asylum takes place in, well, an asylum. Unlike Murder House, it isn't set in the present day but in the 1960's. The season follows the lives of the nuns, doctors and patients who occupy Briarcliff Mental Institution. Again, the setting is interesting. Given the horrors that were seen inside the walls of mental institutions during this period in history, the potential was there for some really creepy, unsettling television. Creator Ryan Murphy even said the season was "based largely on truth and truth is always scarier than fiction".

"Based largely on truth"? Asylum contains with in its walls a former Nazi in hiding, experimenting on patients; mutated, feral, cannibalistic ex-patients who live in the woods, a serial killer who kills women and wears their skin, exorcisms, devil possession, the Angel of Death, rape (yep, again), oh, and aliens. Because why the hell not? It's fair to say that it has absolutely nothing to do with the truth. In Asylum, just as in murder house, a promising setting is ruined by jumbled storytelling. Absolutely nothing in Asylum makes any sense. In fact, both of the first two seasons lurch from idea to idea and don't seem to settle on anything at all. It's irritating, it's distracting, and it's certainly not scary.

I haven't yet moved on to season three (Coven), but I'm sure it will have as much frenetic, unfocused energy as Murder House and Asylum. All I want is for American Horror Story to live up to its name and tell an actual story. A solidly plotted story that sticks to an idea for more than five minutes, and carries it through to the end. Sadly, I think it's far too much to ask.


Score: 2/5


American Horror Story: Murder House and American Horror Story: Asylum Director: Bradley Buecker and Various Writers: Ryan Murphy, Brad Falchuk and Various Studio: 20th Century Fox

CBMFP 217: Fantastic 4 No More 4evr

It's that time again, for you to listen to another episode of the CBMFP! This week we actually have some comic news in the form of Marvel's Fantastic Four closing it's doors. Also, who wants Wolverine back from his adimanticum slumber? And then it's on to the Dark Knight Universe presenting Green Lantern. There's still a shit ton of TV and movie discussion with Daredevil and Punisher leading the pack. Books covered on this episode:

  • Huck #3
  • Poison Ivy: The Cycle of Life and Death #1
  • Red Sonja #1
  • Snowfall #1
  • The Troop #2

CBMFP-217-Full

Previously on the CBMFP...

Monster & Wine: Episode 65 - Bright Lights, Big Toothache

Monster gets this party started by updating Wine, and you dear listeners, about his post-op, root canal recovery. It's not all flowers and unicorn farts, trust me. Wine spent some time in Vegas recently and recounts a tale of a bus ride, and more importantly, a questionable individual on said bus. There's a bit of an update on Wine's M.I.A. Christmas present, but...

Read More

Review: My Hero Academia Vol. 2

The first volume of My Hero Academia was amazing. It took a very western superhero approach, but did it with the Japanese style. And it did it well. Now that the ground floor has been laid it was time to see what Midoriya and his creator Kohei Horikoshi were truly made of. Because that’s the challenge with any story that has a great initial catalyst concept. Executing it to where you don’t rely on that cool concept the entire time. To be up front, there is a bit of reliance on Midoriya’s backstory of being the heir to All Might’s power. Until the second big arc that is. That arc is both great for Midoriya’s character, but then also for removing him slightly from All Might’s shadow.

My Hero Academia vol 2The first half of the book is spent with Midoriya and the other students going through All Might’s first training class in which they’re broken off into teams and one side is the hero and the other side is the villain. Here we get to see the student’s powers and this plays into the second story. We also see Midoriya beat his rival who is still a little super villainous if you ask me. This could go the way of Xavier and Magneto or they could just be two heroes that never get along. I’m hoping for the former myself.

As for the second story, the students are brought to a very cool and interesting training facility only to be jumped by a legion of villains. There’s a lot going on at this point and all of it is worth reading yourself. There is a cliffhanger, but it’s rather different from a normal cliffhanger and I loved that. It leaves you wondering what will happen next and the clues dropped in this issue don’t look good for our heroes.

The first training scene took a bit longer to get through than I expected and wasn’t as interesting as I had hoped it would be. It’s fairly typical of the situation which was a shame. The second half though, really stepped up the character development and go over the fact that Midoriya was destroying himself when using his powers. There’s also a lot of supporting character development making this part of the volume really stand out. The first part played it a bit too safe in my opinion, but then it bounced back towards the end.

The art work is of course great. That’s the biggest difference to me about Japanese comics and American comics, you must have great art. Not that different styles can’t be represented, which is why are comics are so diverse and great, but you’re less likely to see bad art on a major title which is unfortunately something you’ll see every week on the American market. Overall the art is very strong and the storytelling is there to support the action and narrative.

I still really like this superhero story. It’s almost sad that I had to go to the Japanese market to find a superhero book to enjoy, but that’s the way it is. I’m not complaining. My Hero Academia continues to be a fresh take on the genre and something really entertaining for those willing to give it a chance.


Score: 4/5


Creator: Kohei Horikoshi Publisher: Viz/Shonen Jump Comics Price: $9.99 Release Date: 11/3/15 Format: TPB; Print/Digital

Review: One-Punch Man Vol. 4

By now if you’re a fan of manga or anime you’ve probably been exposed to One-Punch Man. The manga grew and grew in popularity to the point that it was picked up early in its existence to be an anime by Madhouse. The anime went on to be quite possibly the best if not one of the best anime’s of 2015. I don’t know about most readers, but when I watch the anime adaptations of most stories, I rarely go back to the manga. Not the case here. There are several overlapping reasons for why One-Punch Man is both a great manga and a great anime, but there are also separate reasons for their greatness. 81c-z7mTs0LAs good as the anime looked, it can’t touch the level of quality the manga has. Yusuke Murata and his two supporting art members bring a level of detail that is just incredible. But it’s not just the detail though I have a hard time finding any other art in the entire comic/manga industry that’s as good. There is impressive storytelling as well. One-Punch aka Saitama is often drawn with less detail. It’s humorous, but then when even that style is changed and changed again you realize that Murata’s style is so impressive and so adaptive that he can really do any style of manga he wants. The fact that he chooses to put so much detail on every page, but then restrain that same style for Saitama is incredible. The balance and the patience that must take is something I will never know and that few readers will likely appreciate.

The story in this issue picks up with Saitama already a member of the Hero Association. Genos receives a call summoning him to the headquarters for a Dragon level threat. This happens to be a meteor falling towards earth that is set to wipe out City-Z. Genos springs into action, but his actions aren’t enough. Spoiler, they survive, but you can read the how and why. The story then eventually moves on to Sea-Folk attacking the land and an opponent that might just be strong enough for Saitama… if he can get there before all the other heroes rushing to the scene for glory and credit.

The story continues to be a great balance of humor, action and character development. There’s one point in which Saitama essentially choses his path to walk as a hero. It’s actually a very important scene as it foreshadows how he’ll be perceived by the public, the very people he’s trying to help. The mixture of humor and action is definitely one of the biggest charms of the series. To be excited about a scene due to how cool it is, but then also laugh afterwards is something incredibly difficult to do. So many stories fail miserably at this, but One-Punch Man seems to have the perfect formula for it.

If you’ve watched the anime and thought, “I don’t need to read the manga, I know what happens.” Then think again. There’s elements to the story that aren’t in the anime, there’s scenes and subtle differences that aren’t in the anime. Even if they were, this manga is incredible and frankly groundbreaking. If you’re going to check it out, start at the beginning, but know that you’ll be buying the next volume and next volume and next volume as quickly as you can.


Score: 5/5


One-Punch Man Vol. 4 Writer: One Artist: Yusuke Murata Publisher: Viz Media Price: $9.99 Release Date: 1/5/16 Format: TPB; Print/Digital

DREDD on Netflix? Fan campaign calls on TV firms to pick up franchise

The fans behind the ‘Make A DREDD Sequel’ campaign for a follow-up to the 2012 movie starring Karl Urban are calling on TV producers to pick up the franchise. Superfans Frank Palmer and Brian Ritchie are calling their campaign ‘Bring Back DREDD’, and are hoping to apply pressure to Netflix, Amazon Prime, HBO, and other TV producers.

They’re calling on fans to sign the petition – which already stands at 136,000 names – calling for more media based on the Pete Travis and Alex Garland movie, whose dedicated fanbase has continued to grow online as more people discover the hard-edged sci-fi thriller starring Karl Urban, Olivia Thirlby, and Lena Headey through DVD, Blu-Ray, and streaming services.

They believe that the success of series such as Daredevil and Jessica Jones proves the market for adult-orientated sci-fi, which Dredd provided in spades.

The petition can be signed at www.2000ADonline.com/dreddsequel

The campaign’s Facebook page at www.facebook.com/bringbackdredd now has more than 100,000 supporters while Karl Urban and Olivia Thirlby have both sent the campaign messages of support.

Frank Palmer said: “When Brian and I first began the ‘Make A DREDD Sequel’ page on Facebook we never dreamt we’d get this level of support from fellow fans. And when 2000 AD got in touch to say they’d like to support us, it was a dream come true and the petition we started has gone on to number 136,000 names.

Last year’s annual Day of Dredd event was our biggest ever, with the campaign going viral on Twitter and Facebook, and thousands upon thousands of people buying the DVD and Blu-Ray to show there’s a market for more from the world of the 2012 movie!

“For a while now we’ve thought about broadening the campaign out – so with things having gone quiet on the possibility of a movie sequel, we’ve decided to take the fight to the TV producers who have done such good jobs with other comic book properties such as Daredevil and Jessica Jones.

“We’ve discussed this with 2000 AD and they’re happy for us to shift our focus to campaigning for a Judge Dredd TV series in the style of the movie. We’re relaunching the petition and we call on all fans of DREDD to join 136,000 other people in calling for people with the vision and the finance to make it happen to step up and give us what we want.

“In the next few days we’ll be organising activities so that people can lobby companies such as Netflix, Amazon Prime, and HBO, and show their support as we all say – “Bring Back DREDD!”!”

Jason Kingsley, co-owner of Rebellion and 2000 AD, said: “What Frank and Brian have achieved over the last three years has been incredible – they’ve kept the fires burning and their decision to open out the campaign to include TV AND films is a sensible one. Who amongst us wouldn’t want to see a DREDD series from Netflix or Amazon? I wish them all the best and thank them for keeping the faith. In the meantime, we’ve been doing – and will continue to do - all we can to give the fans what they want, which is more from the incredibly rich world of Judge Dredd.”

Review: The Immortal #2

The Immortal was definitely one of the better indie books I’ve read of late, but whenever I see a “of 8” or “of insert number here” on an indie book I get nervous. You have to ask yourself when you’ll see the book next, but thankfully for The Immortal, the answer was “not long.” It is a testament then to the creator, Darryl Knickrehm, that he produced the next issue so quickly because it is not an easy process, nor is it a quick one. The second issue of The Immortal picks up with our immortal Z being reanimated again. In the first issue he was retracing his steps in order to capture a bounty, but found out that things weren’t as they seemed. After reanimating he goes over everything he knows with his robot helper and decides to track down the person that issued the bounty to him. Of course it’s not that easy and proves to be a dead end of a lead. He does manage to get himself in a lot of trouble as he visits a planet known for their greed. Soon he’s recognized as a human, a species most thought to be extinct.

The-Immortal-#2-1The second issue manages to be fairly consistent with the first. In some slight ways it’s better and in other ways it has the same stumbles. The robot helper feels like a worthless character. Our main character doesn’t listen to him and all of their conversations are generic. Meanwhile, the secondary character’s dialogue improves and provides real content to the issue.

The writing is consistent and the narration continues to be solid. Good narration shouldn’t be overkill and it isn’t here. I wouldn’t say that this is the most original concept for this issue, but it was well executed and continued the story.

The art is definitely the driving force for the consistency. That’s a good thing since seeing the art swift issue to issue has frankly become a problem with the industry. A story or story arc should be able to be collected as a whole and look visually the same. My only gripe with the art this time around is that the cover has more life to it then the busy crowd scenes in the issue. Otherwise, there’s some new character designs and it continues to have a strong sci-fi feel to it.

This issue proves that the first issue wasn’t a fluke. I know I used the word “consistency” a lot in this review and it was intentional. Comics last year suffered from inconsistency and so it’s actually a huge compliment for me to use it so many times about this issue. After reading two issues, I’m definitely onboard for the next few.


Score: 4/5


The Immortal #2 Writer/Creator: Darryl Knickrehm Publisher: Waylines Media Price: $3.99 Format: Mini-Series; Print/Digital Website

Review: Ninjak #11

Ninjak #11 is not without its share of problems. The thing that sucks about monthly comics is that they’re made so far ahead of time that there’s no hope of changing any of the problems that may arise given a particular storylines narrative device. For instance, the annoying and pointless narrative between Neville and his superior officer. The rest of the story is great and stands on its own. Hell, parts of it are even cool. But that fucking narration deflates everything. It spoils the art because you’re showing and telling rather than relying on the art to tell. It seems like a good idea on paper and hell, maybe at the end we’ll actually see Neville and his superior officer, but for now… they’re just talking invisible heads and they’re really not needed.

The gist of the issue is that Ninjak and Punk Mambo are stuck on an island and that the island is actually alive. Punk Mambo seems really shaken and isn’t her usual confident and mouthy self. It makes her kind of annoying to deal with because she’s a bit childish. Ninjak is Ninjak and he keeps it together. You can understand why he hates the Deadside. I don’t blame him in the least bit. I also came to realize that he’s a character that’s better suited to be on his own rather than constantly teamed up with people. It worked in Unity for a spell, but in his own title it should really just be Ninjak and his rogues.

NINJAK_011_VARIANT-DESIGN_HAIRSINEThe backup story is actually way better than the main story. We learn how Magpie and Ember came to be a team and it’s actually a solid story. It also reveals Magpie’s motive, but continues to paint him as this prisoner acting against his will.

The issue unfortunately becomes average fairly quickly. This doesn’t have the same vibe as Kindt’s previous two arcs. The worst part is that Ninjak seems underused. It’s almost a book about the Deadside and a way to build and introduce that to a larger audience which isn’t why anyone reading Ninjak would read Ninjak.

The art is of course good. It’s Doug Braithwaite and Juan Jose Ryp so it better be good. I favor Ryp more in this instance because I like his work more, but both artists are incredible in their own right. It’s just a shame that the art isn’t being allowed to command the story more because of the narration. The narration spoils the art so much by leading the panel. If it were after it could be a recap of sorts and provide humor in the differences, but it’s not. The level of skill and detail to the art is impressive and a small saving grace for the issue.

The question becomes, do I skip the rest of the arc knowing that it’s already done and written and the likelihood that it will change slim to none? I could just struggle through and hope for the best, but I tried that on Unity when I didn’t care for the arc and it bit me in the ass. I might check in at the end of the arc, but I think this storyline of Ninjak is unfortunately trying to build the Valiant Universe more than it’s trying to build Ninjak’s character and so I’m not very interested. Shadowman and his nook of the universe continue to be the only failure of the new Valiant Universe and not even Ninjak can save it.


Score: 3/5


Ninjak #11 Writer: Matt Kindt Artist: Doug Braithwaite, Juan Jose Ryp Publisher: Valiant Comics Price: $3.99 Release Date: 1/13/16 Format: Ongoing; Print/Digital

Review: Limbo #3

If you’ve been following Limbo, then more than likely, like me, you’ve been enjoying the setting of the story. It’s a very strange world, but alive and rich with detail. It’s one of the major things that’s brought me back to the series for three issues now. This third issue, stumbles. Quite a bit. It’s doesn’t fall down into a hole or anything so dramatic, but compared to the first two issues it has some problems. The biggest was the artwork or rather the coloring. The linework itself is the same, very detailed with a great modern style. The coloring has always favored hues less in line with realistic skin tones and such, but it worked in the context of the scenes and the lighting. In this third issue, everyone seems to have their own non-realistic skin hue. Maybe it wasn’t as noticeable to me in the previous issues, but when we see two of our main characters sitting at a diner and they’re both obviously different pastels… it’s kind of strange. Now, it’s not terrible, but it was kind of the first instance of it being that way in this world and that’s why I struggled with it. It was subtle before, but now it’s glaring. The trick that the first two issues used was matching the rest of the scene with one character’s hue so it looked more like lighting than an intentional difference.

Limbo-#3-1As for the story, well it has some fun character moments. When Clay and his friend are shopping for records it’s a cute conversation that builds the world. When we meet the villain of the issue, it’s longwinded and void of context making him not really threatening. He’s more looney than threatening which probably wasn’t what the creators were going for.

The story doesn’t seem to be focusing on Clay all that much. The first issue did, but then in the second issue it shifted over to Sandy a lot more. This issue makes me wonder if I ever knew who the main character was because it seems like Sandy’s story now more than ever. That’s okay, I like her as a character, but I wonder why we spend so much time with Clay then. If it’s both of their stories, then it needs to be a bit more obvious. The narration needs to at some point establish that rather than favoring one character over the other because I’m quickly losing interest in Clay.

For the actual issue, we learn somethings about Clay’s client. He faces a marching band that makes you puke snakes when you listen to their music and there’s a He-Man homage which is pretty cool. It’s a safe issue which doesn’t really wow you a lot, but reveals just enough that you’ll buy the next issue. Unfortunately, it just feels like “that” third issue, just there to get you to the end of the arc, but only contributing the basics.

I’m not giving up on this series, if anything I find it more interesting now because it comes across less and less like a formula book. So many creators have a “formula” to their stories, often times taught to them by their editor at the “big two” that the stories become dull to read. Though I have problems with this issue, it presents an interesting look at honest comic crafting and that definitely helps to bring me back for more. For you, you’ll just have to decide if there’s enough in the issue to hook you for another.


Score: 3/5


Limbo #3 Writer: Dan Watters Artist: Caspar Wijngaard Publisher: Image Comics Price: $2.99 Release Date: 1/13/16 Format: Ongoing; Print/Digital

Review: Lantern City #9

Steampunk is a difficult genre for me and I think most people.  While aesthetically pleasing an ever-inventive most Steampunk stories seem rather shallow an unengaging.  Lantern City tries to add depth by increasing the scale of the story with towering empires, near uninhabitable undergrounds and naïve natives living outside the walls, ala A Brave New World.  It tries and doesn’t quite get there. Meet the Fortache! An unimpressively gullible group of natives living outside the walls of Lantern City.  Our main character Sander is a Fortache with no culture (having grown up inside Lantern City) so seeing him interact with a way of life he ideally would have experienced was set to be interesting.  Alas, the Fortache seem to be a narrative vehicle without much depth.  A people who decide to go a huntin’ whimsically in the middle of a conversation.  A naïve group that when they are told their new business partner’s promises are really just a bag full of shit they inexplicitly decide to double down on their plans.

Lantern-City-#9-1We do get some background on our supreme leader and overall rude dude Killian Grey.  Killian has been wildly inconsistent throughout the story up to this point.  At first he was the dictator of Lantern City and the single cause for everything bad.  Then he was a leader bereft of any good intel, nobly sneaking around in the depths of Lantern City to experience the true suffering of his subjects.  Now he’s back to being just the son of an asshole who was the son of an asshole who’s in charge.  How he is still alive is anyone’s guess.

Artistically, this is a dark book.  Heavy shade, speckled with bright lights here and there.  Steampunk is known for it’s beauty and imagination but it feels stymied here.  Outside of a couple sweet city shots of Lantern City we are left with a lot of dialogue heavy and stagnant non-action panels.

Lantern City manages a remarkable amount of internal dialogue for Sander; when it’s at it’s heaviest is where I feel the art on the page lets the story down.  These are things that should be easily communicated with a simple panel instead of having the main character journal his feelings to the reader.  These might be the most frustrating parts of the story.  That and introducing a giant beast for Sander to prove his mettle against, only to have him just walk away without even trying.  Dammit!  Some extra action would have been welcomed, hell even celebrated, in issue 9.


Score: 2/5


Lantern City #9 Writer: Matthew Daley & Mairghread Scott Artist: Carlos Magno Publisher: Archaia/BOOM! Price: $3.99 Release Date: 1/13 /16 Format: Mini-Series; Print/Digital

Review: The Troop #2

Well this series didn’t wait around to reveal a bunch of stuff. What’s in the room is the big question for this issue and I will tell you that it is somewhat revealed by the end of the issue. It’s shocking to say the least. Much like the first issue we begin with a new character and away from the main story. I will not spoil her introduction, but it is probably one of the most realistic usages of one’s powers in all of comic history. Writer Noel Clarke goes there, though you’ll have to read to understand where “there” is. It’s that level or real world maturity that truly makes this book about super powered people stand out.

Much like the first issue we then dive into the past of our character Willis. She’s in college and breaks down the group dynamic of the university she attends. Her best friend seemingly kills herself and she’s left feeling alone in the world. The rest of her story is worth reading and is some of Clarke’s best character work on the series thus far.

TheTroop_02_Cover B - Yishan LiAfter that we check in with our pseudo family of freaks as they’re adjusting to each other. Our fire starter is the one that begins the inquiry into the room and we learn that their benefactor is a very rich and powerful man. It’s a quick check in as we meet another new character. His story and background is very different from the rest of the group. For instance, when he comes home to find his parents dead he takes the cash and jewelry and gets the hell out of there at their request. As if they knew it would happen one day. Eventually these three stories come crashing together and we learn a little about the bad guys that are hunting them down.

This story is very much an M-Rated X-Men or really if there was something after M, but before X. It just takes the barebones idea of genetic superpowers and takes it on in a mature and realistic manner. Clarke’s narration is very strong and gives a lot of insight into the characters. This is particularly useful when meeting them because it helps us get to know them. The only gripe with the characters this time around is that our established characters aren’t developed or given any real page time. Instead Clarke opts for a refresher on their power set rather than their personalities. Overall, still really good writing and the new characters are likeable and interesting.

On the art side of things, it continues to be very detailed and photo realistic looking. J. Cassara isn’t just detailed, but also a talented storyteller. The panel layouts and design choices really drive the story and in particular support the flashback stories that establish our new characters. Additionally, it’s visually interesting when we start seeing our new characters use their powers. The coloring is a big part of the success of the art. The gritty darkness that’s used really makes the story feel as mature as it reads. This story isn’t nice and the art and coloring reminds you of that as much as the writing does.

Thankfully this second issue is right in line with the first issue. The first issue hit hard and this second issue keeps up with its pace. Though I do wonder if there will be an issue in the future that slows down and lets the reader catch their breath. If not then gasp for air and keep up with The Troop, because for now it’s not slowing down.


Score: 4/5


The Troop #2 Writer: Noel Clarke Artist: J. Cassara Publisher: Titan Comics Price: $3.99 Release Date: 1/13/16 Format: Ongoing; Print/Digital