Comic Review: Old Man Logan: Northern Flight

Published: August 22nd, 2018 – September 12th, 2018
Written by: Ed Brisson
Art by: Damian Couceiro, Andrea Sorrentino (covers)

Marvel Comics, 46 Pages

Review:

This wasn’t the best story that we’ve gotten in the ongoing Old Man Logan series but it was still mildly entertaining and decent filler, as the arc after this one is probably the big finale of the series.

This story was told in two parts over issues 46 and 47. It sees Logan go on a little mission with Alpha Flight up to rural Nova Scotia. While there, they are confronted by an alien plant creature that is devouring the town and growing in size.

The story is used as a way to have Logan reflect on his life, which he knows is coming to an end. He does some crazy and very painful shit in order to stop the plant alien menace but that’s what nearly indestructible manly men do in comics.

Anyway, we get a nice moment between Old Man Logan and Puck. This whole story is really just one big human moment but other than tapping into Logan’s thought process and his physical way of working through his emotions, there’s not a whole lot here.

Still, it’s always cool seeing Wolverine in Canada and I usually enjoy Alpha Flight cameos.

Rating: 6.5/10
Pairs well with: Other Old Man Logan stories.

TV Review: The Gifted (2017- )

Original Run: October 2nd, 2017 – current
Created by: Matt Nix
Directed by: various
Written by: various
Based on: characters by Stan Lee and Jack Kirby
Music by: John Ottman, David Buckley
Cast: Stephen Moyer, Amy Acker, Sean Teale, Natalie Alyn Lind, Percy Hynes White, Coby Bell, Jamie Chung, Blair Redford, Emma Dumont, Skyler Samuels, Grace Byers, Garret Dillahunt

Flying Glass of Milk Productions, The Donners’ Company, Bad Hat Harry Productions, Kinberg Genre, Marvel Television, 20th Century Fox Television, 13 Episodes (so far), 45-47 Minutes (per episode)

Review:

I’m way behind on a lot of shows, especially the superhero stuff but I finally got around to checking out the first season of The Gifted.

This takes place in the X-Men cinematic universe but at the same time it doesn’t. What I mean by that is that this all happens in a different timeline, where the X-Men have essentially vanished and left some young mutants in charge of a group called the Mutant Underground.

The show centers around Stephen Moyer a.k.a. Vampire Bill from True Blood and his family. His two teenage kids are mutants and they are on the run from the Sentinel Services agency and later, Trask Industries.

The only really well known X-Men characters in this are Polaris, Thunderbird and Blink. Other than that, there are some minor comic book characters that show up but the majority of the main cast is comprised of new mutants and thus, this show has more creative freedom.

While this show does do a good job of filling out it’s pocket universe, it doesn’t necessarily feel like the X-Men films that most of us know and love. But it also doesn’t feel like other comic book television shows that are currently on the air. This definitely has a different vibe than the CW DC programs or the Netflix Marvel ones. This is also more family friendly than the harder stuff out there like Gotham.

The first season told a really good story that came to a satisfying conclusion that actually made me want to jump right in to season two, as it leaves off on a bit of a cliffhanger due to the non-heroic actions of one of the main heroes.

This started out a bit shaky for me though. But being that it was only thirteen episodes, I stuck with it and I’m glad I did. It found it’s footing faster than most other comic book TV series and it got really solid over the back half of the season.

I especially loved Garret Dillahunt in this and as his character’s motivations become more clear, the threat gets a lot more serious for the heroes.

All in all, I was pretty happy with season one and gladly anticipate what season two has to offer.

Rating: 7.25/10
Pairs well with: Other recent Marvel shows: LegionThe Runaways and Cloak & Dagger.

Comic Review: Comic Review: G.I. Joe: A Real American Hero – Classics, Vol. 4

Published: July 1st, 2009 (IDW reprint version)
Written by: Larry Hama
Art by: Mark Bright, Bob Camp, Larry Hama, Frank Springer, Rod Whigham
Based on: G.I. Joe: A Real American Hero by Hasbro

Marvel Comics (original printing), IDW Publishing (reprinted), 235 Pages

Review:

The collection before this one, as well as the back half of the one before that, got more into longer epic stories that carried over from issue to issue. This collection gets back to being more episodic like the earliest volumes. I prefer my G.I. Joe stories to be larger and having multiple issue arcs but this string of issues is a good balance between the two, as some plot threads continue to be sewn into the larger tapestry.

This collection also introduces us to Lady Jaye, Flint and the Cobra twins: Tomax and Xamot. It also starts the Billy storyline, which I don’t want to spoil but he’s a little kid with ties to Cobra Commander and is initially used by Cobra agents to try and assassinate the Commander.

Most importantly, we get the debut of my favorite member of G.I. Joe, Hector “Shipwreck” Delgado. Now he was my favorite character in the TV series. I just need to see how he stacks up in the classic comics, as I haven’t read these stories since the ’80s and I never got to read the complete saga. It’s also worth noting that Barbecue first appears in the same issue as Shipwreck.

While this does have a more episodic format, the last few issues collected here sort of string together and get back towards giving us a more long-term story.

I felt that Larry Hama and this series really hits its peak with the issues in the collection before this one. However, this continues to build off of those really well. The comic book G.I. Joe universe keeps getting larger, the stakes keep getting higher and this doesn’t feel safe unlike the cartoon.

This is just another solid string of issues, the momentum is still going strong and I’m looking forward to volume 5, which is where Serpentor eventually shows up.

Rating: 9/10
Pairs well with: Any of the original Marvel G.I. Joe and Transformers comics.

Talking Pulp: Why I’ve Grown to Hate Deadpool

If the title of this article is fightin’ words, then prepare for 1485 more.

I’ve come to the realization that I just don’t like Deadpool. I mean, I used to love him back when Rob Liefeld created him and he was a thorn in the New Mutants and X-Force’s side from time to time. Plus, I was twelve years-old.

But what’s not to like?

He’s pretty much a ninja or at least, he looks like the bastard lovechild of a ninja and Spider-Man. He was also snarky and a pain in the ass. He even wore a badass red outfit with badass swords and badass guns. He had lots of pouches… so many pouches.

However, as much as I enjoyed seeing him pop up in stuff, I never really liked it when he had his own solo comics.

Okay, I did like those first few miniseries that he had because he still wasn’t quite the Deadpool that we would eventually get and I actually loved the bromance between villains Black Tom Cassidy and Juggernaut. But Deadpool would go on to change and he would also go on to have a villain problem.

Let me get to how he changed first.

In 1997, Joe Kelly came along and wrote an ongoing series for Deadpool. It was here where the character’s real super power debuted: the ability to break the fourth wall. This would continue to be a trait that Deadpool would have going into the future. Without Joe Kelly, Deadpool wouldn’t be talking to you and me, the audience, during his movies. Kelly, essentially turned the “Merc with a Mouth” into Zack Morris from Saved by the Bell. It was unique and fun at first but as time rolled on, I personally found it more distracting than amusing. But I also prefer tough looking characters that kick a whole lot of ass to spend less time chatting and more time kicking a whole lot of ass.

But really, breaking the fourth wall is not a super power. And neither is talking and being a snarky jackass.

Deadpool’s actual power is pretty much just a super healing ability, which makes him Wolverine without the claws, cool skeleton and good looks. And since Wolverine speaks softly and carries a big can of whoop ass into every situation, I will always prefer Wolverine.

Wolverine is a man’s man where Deadpool is that awkward thirty-something juvenile guy that shows up at parties, makes a fuck ton of jokes and people just leave the room. And then he follows them around making more jokes, oblivious to the fact that his routine is stale and he can’t converse like a normal, well adjusted adult.

I’m not saying that he’s completely unfunny but there comes a time when you need to nut the fuck up and shut the fuck up. This is why Deadpool is amusing from time to time when he cameos in someone else’s comic but to read 30 pages of his shtick, every single month, doesn’t interest me in the slightest. Point being, he’s a character that is much better and more welcomed in smaller doses.

Now circling back to the villain problem, Deadpool just doesn’t have any that are worthwhile. This is really apparent in his movies. Sure, Juggernaut and Black Tom show up in Deadpool 2 but they aren’t a main focus and are really just afterthoughts in the film.

Deadpool typically goes after one-off scumbags. I guess that’s fine if you only read Deadpool for Deadpool but for the rest of us, we want to see him actually face off with credible threats. Comic stories of Deadpool cracking jokes, leading up to killing a random mob boss have been done to death at this point. Lack of good villains is why I’ve never been a huge fan of the Punisher in his own titles either. I prefer the Punisher when he actually goes against Jigsaw or the Kingpin, as opposed to a random Russian sex trafficker.

The times where I do love Deadpool is when he is a real fish out of water and playing against his typical situation. For instance, whenever he’s trying to court Death and drawing the ire of Thanos. Or in Venomverse when he’s one of a few dozen characters but he finds a way to be more than his one-dimensional self and stands out while adding something worthwhile to the story beyond just comedic relief. I just don’t want Wade Wilson to be to Marvel what Santino Marella was to the WWE for several years. But he’s basically Marvel’s Jerry Lewis. A lot of people liked Jerry Lewis but a lot of people also post Onion stories like their news… still.

Getting back to his humor, what is it mostly comprised of? Sex jokes and chimichangas.

A good sex joke can go a long way but when you’re writing a character that’s in comics for teens, there is only so far that you can go. And really, while this does work for a juvenile audience, the humor is still juvenile and who hasn’t heard these tired ass jokes for years already? Well, assuming you’re older than high school age.

Chimichangas are just delicious deep fried burritos. I guess it’s a funny sounding word but how many jokes can you make centered around chimichangas? Apparently, at this point, over twenty years worth strung over multiple creative mediums. You know that meme of the cartoon taco that says, “I don’t wanna taco ’bout it?” Now imagine someone holding that in your face for twenty-plus years.

Another aspect of Deadpool’s humor is pop culture references. He runs off at the mouth referencing movies, video games, bands and everything else like it’s the final battle in Ready Player One. He’s like Marvel’s equivalent to the Family Guy, which I guess a lot of people like but I don’t see the humor in just mentioning some past nerdy thing. Actually, doesn’t that make Deadpool The Big Bang Theory of the Marvel universe then?

When it comes to the comics themselves, looking beyond his humor style, the stories are typically a jumbled up clusterfuck. Everything beyond his dialogue is wacky for wacky’s sake. It’s like reading a Sunday paper comic strip that is stretched from a few panels to 30 pages worth of panels. And nothing in his stories ever seem to hold much bearing over the bigger picture. It’s like every story could just be his own delusional power fantasy where he’s the only one laughing at his jokes.

Additionally, what’s the fucking point of it all? Where is he going as a character? Is he even a character that has the elements that a character should have? What’s his life arc? It’s just a long running aimless joke. Thankfully, the films fleshed him out into something actually tangible with real human emotion but I think that Ryan Reynolds and the writers were smart enough to know that the film wouldn’t succeed as a two hour dick joke. People need to connect to something and Deadpool, in comic book form, doesn’t have anything to connect to. He probably doesn’t connect to you either unless you’re just a basic bitch that thinks Semi-Pro is a better film than The Shawshank Redemption.

Looking back to the beginning at what Deadpool was, as a character, he’s just Rob Liefeld’s attempt at parodying Deathstroke. He was also purposely given a look that is reminiscent of Spider-Man. Deadpool has never been anywhere near as interesting as either of those characters though. Seriously, read Deathstroke by Christopher Priest (the current run of the character) or go back and read Teen Titans: The Judas Contract. Deadpool has never had a story arc anywhere near the quality of Deathstroke. And I don’t even need to compare him to the incredible history of the Peter Parker version of Spider-Man.

Other things to nitpick about is that the character has a terrible origin story, the art in his books is usually mediocre, he’s an amalgamation of ’90s cliches that people have made fun of for years, all he cares about is amusing himself at anyone else’s expense, he’s a prick most of the time, he’s barely heroic, he fucks up constantly and we’re supposed to laugh about it because he’s a Mary Sue that can survive anything, he’s usually in the way when other heroes are present and he relies on his healing ability over honing his actual skills.

I used to love Deadpool. But again, I was twelve years-old. I never cared about his own solo books because I guess I never thought he had much to offer outside of quick appearances. But as time moved on, the gimmick ran tired and Deadpool became the Dane Cook of comic books.

Plus, when someone says that he’s their favorite superhero, chances are they didn’t know who the hell he was until three years ago… and they probably don’t read comic books either.

Film Review: Superman II (1980)

Release Date: December 4th, 1980 (Australia)
Directed by: Richard Lester, Richard Donner (uncredited)
Written by: Mario Puzo, David Newman, Leslie Newman
Based on: Superman by Jerry Siegel, Joe Shuster
Music by: Ken Thorne
Cast: Gene Hackman, Christopher Reeve, Ned Beatty, Jackie Cooper, Margot Kidder, Valerie Perrine, Terence Stamp, Susannah York, Jack O’Halloran, Marc McClure, Sarah Douglas, Marlon Brando (appears only in the Richard Donner Cut)

Film Export A.G., Dovemead Limited, International Film Productions, Warner Bros., 127 Minutes (original cut), 116 Minutes (Richard Donner Cut)

Review:

“Come to me, son of Jor-El, kneel before Zod!” – General Zod

In all honesty, I like Superman and Superman II just about the same. II gets a bit of an edge though just because I like the story better and the threat in the film is a credible threat, as it pits Superman against an adversary that matches his power level.

While I love Lex Luthor, the character, and I also love the mind versus might rivalry, the Gene Hackman version of the character just doesn’t hit the right mark. Don’t get me wrong, I enjoy Hackman and his character in these movies but he doesn’t feel like the Lex of the comics I grew up with. He is to Luthor what Cesar Romero was to the Joker. He’s damn entertaining and enjoyable but he’s lacking the darkness that’s needed to truly be villainous.

General Zod, however, is an incredible opponent. He was created for this film series but he was so damn good that he would go on to be in the comics. Terence Stamp really brought some much needed testosterone to the table and his minions, played by Sarah Douglas and Jack O’Halloran, were pretty cool villains as well. Man, I was crushing hard on Sarah Douglas when I was a kid.

I also really liked the romance in this movie and usually I don’t care about that crap in these sort of films. I just like how Clark and Lois’ relationship blossomed and how it was really tested and pushed Superman into having to make an incredibly hard decision, which he then had to try and fix because saving the world is his destiny, even if that means he can’t love a human. Yeah, the story around this was actually weird and nonsensical but the point of it and the challenge made me accept it.

Getting back to Lex Luthor though, his role in this film seemed pretty pointless. Once again, he was the top billed star but it’s like they had nothing for him to do. He breaks out of prison, leaves poor Otis behind, breaks into Superman’s house and then aligns himself with Zod, who didn’t need Luthor’s help at all, let’s be honest. Luthor is just sort of wedged into the film just because they had to have a name as big as Gene Hackman’s, after Marlon Brando’s Jor-El was killed off in the first picture. I should note that Brando did film footage for the film but he wanted more money than the producers were willing to pay, so it was edited out of the final cut. He does appear in the Richard Donner cut of the film though.

This chapter in the Superman movie saga is a great extension of what the first movie was. Really, they just feel like two halves of a whole. The movies did a lot of their filming simultaneously because the producers knew there would be a sequel. Some of the filming on II got put on hold though, as it was holding up the production of I and the studio wanted to make sure it wasn’t going to miss its Christmas time release. There was a lot of conflict, behind the scenes, and Richard Donner was fired after directing most of II. He wasn’t given credit for his work and Richard Lester took over. Lester would also go on to direct the terrible Superman III, showing that he wasn’t as skilled as Donner. On a side note, the Richard Donner Cut was released years later, which most people seem to enjoy more.

Despite the backstage politics, this still ended up being my favorite film in the franchise.

Rating: 8.5/10
Pairs well with: Superman: The Movie, the 1980 Flash Gordon.

Comic Review: Dark Nights: Metal

Published: June 12th, 2018
Written by: Scott Snyder
Art by: Greg Capullo

DC Comics, 204 Pages

Review:

I didn’t read this as it came out. I also was much more frugal about how much I spent on comics at the time. I’m less frugal now, as I’m spending more time reviewing them. And to be honest, while this is $30 for the collected edition at my local comic shop, I found this on a brief Comixology sale for $5.99. So at that price, I figured I’d give it a go. If I ended up really liking it, I would’ve gone back to buy the single issues. But I didn’t really like it all that much. I’ll explain.

To start, I typically like Scott Snyder’s writing, especially in regards to anything with Batman in it. As far as Greg Capullo goes, he is one of my favorite artists of the last few decades. So seeing them reunite for this was definitely a selling point, even if what I knew about the project’s story didn’t peak my interest.

The biggest problem with Metal is the same problem with most mega events in comics, it is chock full of so many characters that the plot loses fluidity and the story seems to placate more to wedging in as many cameos as possible, as opposed to keeping the train on the rails.

This wasn’t a bad idea for a story but it should have been kept fairly simple. People just kept showing up on nearly every page, though, and it becomes distracting. New twists and turns are thrown in as often as characters and this just loses its focus. It also introduces a whole horde of villains, most of whom will just be one-offs in this story anyway. But this reads more like a sketchbook than a coherent story. What I mean by that, is that this feels like Capullo trying to fit in every cool design that he wasn’t able to wedge into Spawn throughout his run on the book in the ’90s.

Another thing I didn’t like was how wordy this was. While there are good action scenes, sometimes these characters felt like they weren’t surrounded by villains but instead, were surrounded by word balloons, trying to wedge their way into the panels and asphyxiate the characters. The word balloons were the real villains of the story. At least, that should be a twist whenever this gets a sequel.

I did like how the ending looked into the future as a way to tell you what stories would be coming out from DC Comics over the following year. But, at the same time, this was disappointing to some degree, as a main reason why I picked this up was to see the introduction of DC’s “New Age of Heroes”. I always see mentions that this is where they debuted but their appearance here is limited to one panel where we see into the future.

Anyway, this at least kept my attention over the six issues, even if they felt like twelve due to the dialogue and having so much detail to drink in. I wouldn’t say that this is a waste of time and I can see where this will be a lot of people’s cup of tea. It just wasn’t my cup of tea, really. But I also don’t regret reading it simply because I liked seeing Capullo have fun and get really creative with the art and character design.

Rating: 6/10
Pairs well with: Any other DC Comics mega event of the last decade or so.

Comic Review: Green Arrow: The Outsiders War

Published: November 6th, 2013 – May 7th, 2014
Written by: Jeff Lemire
Art by: Andrea Sorrentino

DC Comics, 157 Pages

Review:

This is the biggest story arc in Jeff Lemire’s run on Green Arrow.

This was also pretty damn intense. But as Lemire’s run on the title rolls on, I have developed a love/hate relationship with it.

For one, I’m not entirely sure of why this version of Oliver Queen lives in Seattle as opposed to Star City and it’s never really been explained within Lemire’s stories. It’s a weird setting for a DC title and maybe trying to ground this in some sort of gritty reality is why they use a real world city but Seattle is hardly some dark and gritty metropolis like Star City has been in the past.

Also, this started bringing in characters and concepts from the TV show Arrow. I’m not sure if that’s because this came out just after the show started and was at its height in popularity but the comic doesn’t need to follow the show or be a comic book version of the show. That show is its own thing and what works on TV isn’t always what works in comics, and vice versa. This is why the show has changed some things but Lemire’s run is adopting some of those changes and characters. But it is also an attempt to make this more accessible to the fans that have only watched the TV series.

The stuff between Oliver and Komodo is really good though. I like the Komodo character, what he represents and how he’s completely altered the course of Oliver’s life.

I like the mystical elements of the story, as well, and it reminds me of old school Iron Fist comics in a lot of ways.

The best thing about Lemire’s run on Green Arrow isn’t Lemire though, at least not for me. The best thing is the art. Andrea Sorrentino has such a unique and incredible style that it breathes more life into these tales. His ability to showcase action in new and exciting ways is really refreshing.

All in all, this is fun if you are a fan of the character, whether through the comics or just from the television series.

Rating: 7.75/10
Pairs well with: The other story arcs in the Jeff Lemire run on Green Arrow.