Superman/Batman #51 Review

From my review at Sight. I’ve also posted the full version of the gorgeous Ryan Sook cover under the review. It’s so cute, even your girlfriend will love it! What’s that? You read comics? Um…it’s so cute even your Aunt Beryl will love it!

DC’s current gallery of books is hardcore, with more convoluted stories than usual. Final Crisis and it’s truck load of tie-in issues has our heroes facing their darkest day (apparently), and with Batman:R.I.P, which has the Dark Knight’s existence seemingly coming to an unexpected end, the DC Universe is not the simplest or happiest world to visit. However, they still know how to entertain and in recent months DC have given me much more mirth than usual, thanks in part to Tiny Titans, a simple book with short tales, chock-full of fanboy in-jokes. It always puts a smile on my face. Now there’s this Superman/Batman two-parter. I don’t think I’ve laughed out loud so much in a single issue. A pleasant change from last month’s issue #50, which presented a far-out tale where the parents of our titular heroes may have met decades ago, this story is just plain fun, with no need for previous knowledge. Mike Johnson continues his writing duties on this title, from last month, with Michael Green (who also writes TV’s Heroes) who launched an excellent story arc in issue #44 which had the superhero pair hunting down all of earth’s Kryptonite. During that run, Superman was exposed to some Silver K, which gave him hallucinations of pint-sized versions of his costumed friends. It was a brief, but amusing moment. Here, the kid heroes return, thanks to the reality warping powers of that troublesome imp, Mr Mxyzptlk. He confesses that his aim was simply to lighten up the superhero pair, as both heroes have been in dark times indeed as of late, just like us faithful DC readers.

Mirth inducing moments abound in this ish, from Lil’ Bats punching the real deal in the kneecap, to the tiny versions of the Justice League of America, including a Supergirl toddler who cries at the drop of a hat, and similar versions of Wonder Woman, Vixen and Black Canary experiencing love at first sight when the teen Robin enters the Batcave.

I’m so glad to see DC mock their own creations with such recklessness. Superman and Batman are two of pop culture’s greatest creations, and like superheroes in general, are ripe for parody, though it’s really only insiders who can do it with any sense of wit. When films or TV shows attempt to do the same, their parodies come across as cringe inducing. Us fanboys are sick of “underwear on the outside” jokes, but we can laugh at ourselves with ease. The highlight here for me would have to be the pre-pubescent versions of Superman and Batman recounting their origins. Instead of the two gunshots that killed “our” Bruce Wayne’s parents that fateful night, the younger version’s parents experienced, “Two shoves. And nothing was ever the same again. I swore that night that no one would ever be bullied in Gotham City.” Similarly, instead of seeing Krypton’s destruction give birth to Superman, his counterpart’s parents rocketed their only son to earth just to save him from a rainy day. These origins have been told many times over these characters’ 70 plus years of history, and to see them retold here in such a refreshingly different manner is great.

The introduction of similar de-aged versions of the pair’s main villains on the final page is a hoot (Two-Face has a cake covering half his face, and Mr Freeze is armed with an ice-cream gun) and bodes well for more laughs in next month’s conclusion.

There’s sheer entertainment here for both hardcore readers who’ll get the parodies, and something for newbies too. Rafael Albuquerque is the perfect choice for artist. His deft pencils make all the characters seem so adorable and aid greatly in making this issue such a joyful romp. Now I just need to start a petition for DC to create plush toys based on these Lil’ Leaguers.

Zombie Tales #4 Review

One of BOOM’s newest titles, the aptly named Zombie Tales continues to shamble to success. Those crazy undead have regaled comics (and films, games, etc) for decades and can adapt into any genre with ease, such as plain out horror to comedy. They’re a resourceful bunch, those brain hungry walking corpses, with no shortage of manic adventures to share. This issue is the first from Wanted screenwriter Chris Morgan, and his brother Terry. Entitled Zaambi it’s divided into three parts, with a different artist for each. Set in a remote village, young Toshiro, wishing to become a man becomes more adept at zombie killing, proudly presenting a bag full of heads to his father to prove his worth. His father is displeased however at his lack of honour for the dead and his training continues, as it does with the other boys of Honchu village, whom must graduate from the harsh school of zombie killing. Toshiro and his rival, Kenji-Tango soon realise how serious the encroaching flood is.

Part 2 shows us the nineteen year old Toshiro who is now a weary zombie destroying machine; a man who hates the forever growing horde almost as much as he does the evils of his fellow man. The final part involves Toshiro as he follows advice from a Chinese captive, seeking to kill the zombie menace once and for all. As his crew travel the countryside, they come across the famous terracotta warriors of old, and must make a heart wrenching decision (literally) to see their goal come to pass.

One of the marks of a great writer is brevity. The Morgan brothers certainly have that. There are a bundle of great, blood soaked ideas in this stand-alone issue, but the story never comes across as overwhelming or convoluted. It’s tight scripting with descriptive narration, and an ending that I didn’t see coming, but one that works beautifully. The artists, namely Gabriel Hardman, Minck Oosterveer and Jason Ho have very similar styles. Having three artists in less than thirty pages is usually jarring, but BOOM! have chosen these three well. They all sketch in a rough fashion reminiscent of Joe Kubert or Lee Weeks, perfectly complimented by Cris Peter’s muted colours and Marshall Dillon’s subtle calligraphic lettering. I was gladly surprised by the effective crafting of this adventure. Zombies in an ancient eastern setting is a concept I haven’t seen before, and with its “I Am Legend” one man’s POV against the world vibe it’s a perfect fit.

Jackket Knightmare Review/Interview

I admire anyone who pursues their dream with reckless abandon. During July’s Comic-Con I was impressed by the multitude of creators in the small press section who just have a go. Especially in artistic endeavours, that kind of leap of faith is a very open one and a degree of humility and vulnerability are required. Your work is out there for the world to see, and that can be a scary place for anyone.

Cassandra Reyes decided that she too could be one of those brave creative minds. Jackket Knightmare is her debut comic book series. The first issue is out now, with hopefully more on the way. Cassandra has spent the last four years teaching herself to draw. That dedication shows in the first issue. Of course, it’s not as polished as other work on the stands, but for a newbie to the comics publishing world, it’s very impressive. It’s also heartfelt. With a story concerning the titular character as a trenchcoat clad defender of child abuse victims, Jacket appears to be a cross between X-Man Gambit and The Crow, but with a metrosexual vibe reminiscent of David Beckham. A scary combination, to be sure, but Jackket is the best looking piece of art in these few pages.

Not much happens here, so for those expecting kung-fu action, prepare to be disappointed. The dialogue is also sparse, but lays enough of a foundation that I can only assume will be built upon in future issues. The story is not as direct as it needs to be, with further facts from the Jackket web-site necessary to clear it up. But for a short story, and some interesting manga-inspired art my hat goes off to Cassandra. There is also a more Japanese influenced tale on the flip side of the ish, (and a page written entirley in Japanese) for manga fans that highlights the mirth that can happen with voices in your head. Basically the premise of both tales centres on young pastor Tomas Caballero as he deals not only with the death of his father, but also the emergence of the new Jackket personality within him.
Cassandra can only get better from here, as both a writer and artist. There is definite potential here, with the interesting black and white art, coupled with grey tones for certain sequences, well designed layouts and unusual subject matter . All this means that Jackket may just carve a niche for itself yet.

Did you grow up reading comics and fall in love with them straight away?

No, I’m pretty new to comics. I did watch all the comic related 90’s X-Men, and Spider-Man cartoons if that counts. But my first official comic book was the movie adaptation of Star Wars: The Phantom Menace, and it was my brother who gave them to me.

What particular creators and characters are you a fan of?

To say that I love Gambit is a slight understatement! But yeah he’s my favorite aside from Rogue, so thank you Chris Claremont! As for artists that influenced me, Tetsuya Nomura (FinalFantasy7) is my favorite, along with Mark Bagley of Ultimate Spider-Man, and Salvador Larroca from Xtreme X-Men. People also assume James O’Barr because we get our characters compared a lot even though I never saw his work prior to JK. A little over a year I did get to meet him and show him my character, but once I did see his artwork I have come to really like his style too.

What made you dedicate yourself to creating comics over the last four years, rather than say music, or novel writing?

Actually, I pursued music for half my life at first. I really felt that God had called me into Christian music, but as I got older and I wasn’t recording albums or touring, I got discouraged and quit. For three years I brooded, feeling like I had failed God, but I also started writing stories and drawing too. Then I heard about Christian comics, and decided to try it. At first I just wanted to find an artist while I wrote the story but when I couldn’t find anyone I decided to do it myself.

Do you have any particular family members or friends that acted as your mentors and guided you through the process?

I come from an artistic family, so my mom, sister, and brother (all art majors) give me tips now and then, but a lot of my help also came from “how-to” books, and of course tons of comics!

Your Japanese influence is obvious in your art, and I know you’re also studying the language. What is it about the culture and art that comes from that country that appeals to you so much?

At first I decided to do a manga because the style is pretty simple compared to an American style comic, but that was more of a decision based on my artistic limitations at the time. But now there is a huge part of me that has grown to respect the Japanese people, and now I want to somehow use media to let them know that there is a God who loves, and died for, them. I know in my heart one day I’ll go there, but in the meantime God wants me to do something here first, and I think that’s Jackket.

The choice of child abuse as a central topic was an unusual one. Why did you choose
to focus on that issue?

When I started Jackket I wasn’t sure why he transformed, but around that time I heard the story of a child who had been starved to death while most of his family did nothing. He’s buried not too far from where I live. I pass by there still sometimes. That soon became the basis to Tom’s story, and I decided to show physical abuse rather than neglect because you can see the damage it does, and in a comic it’s important to show what’s happening.
It also was a scary decision because I didn’t know how people would take it, and it’s hard because you know what you’re drawing is really happening. So yeah I’ve broken down several times while drawing panels, but God helps me through.

How has the process of writing, drawing, printing and promoting been for you? Has it all been quite different from what you expected?

Yes, it’s crazy! I thought making a comic would be easy 5 or 6 year ago. Boy was I wrong! Coming from where I’m coming from, I had to start at the very bottom and work my way up. Jackket’s first issue today is actually the third version of it before I felt it was decent enough, and of course I’m going to keep pushing myself with each issue. The printing kind of fell into place, and God provided a great guy like Joey and the website christiancomics.net to help me out. Promoting and selling issues hasn’t been too hard either. I really feel like God has given this project supernatural favor.

How has becoming a self-publisher changed you as a person?

I haven’t felt any different, then again I haven’t really thought about it. I guess if I did I’d probably get overwhelmed because there is a lot more to go.

You’re working on issue 2 of Jackket now. Is your dream to create comics for a living one day?

I’m not sure about being a comic book artist. All I know is that I have to finish this comic series. After that I just have to trust that God has everything else worked out for me, because I still have a lot of other story ideas too.

To purchase Jackket Knightmare, visit Cassandra’s official site here.

Final Crisis: Superman Beyond 3-D #1 Review

Final Crisis is DC’s mega-event for 2008. After the original maxi-series Crisis on Infinite Earths two decades ago that effectively wiped the slate clean from convoluted continuity, we were given the far more restrained, but hard hitting Identity Crisis by novelist Brad Meltzer in 2004. This time the Crisis is Final. Apparently, but no-one will be surprised if another series with the familiar title shows up somewhere down the line.

Just like with any big event, tie-in issues are strewn throughout the company’s books (see Marvel’s current Secret Invasion for example, which does a far better job of creating a unified story than FC does) Final Crisis: Superman Beyond 3D picks up on a story thread glimpsed for two pages in Final Crisis #3; after a bomb detonated at the Daily Planet, Lois Lane is in hospital, with her husband Clark sitting vigilantly by her side keeping her heart pumping with his continual heat vision. He can barely keep Lois alive, but it means he can’t leave her and help the world as Superman either. When Jimmy Olsen departs the hospital on a quest to find the Man of Steel, an alien woman appears revealing two things to Clark, namely she knows who he is and that she can save his wife.

This is the point at which Superman Beyond begins. It’s a two issue series, written by Grant Morrison, otherwise known as G-Mozz to his many fans, and drawn by Doug Mahnke. The cover is certainly eye grabbing, with it’s pulsating heat vision coming straight for the hapless nerd perusing the racks. Like films using 3-D technology, comics using the same method are few and far between these days. The master of such technology, Ray Zone does the honours here. The whole issue isn’t rendered in the effective imaging tech, only 13 from a total of 30 story pages, but it certainly works and has been creatively incorporated into the tale itself. What made me pick up this ish is primarily penciller Doug Mahnke. DC must give him more work. There is no-one else like him on the stands today. His rugged pencils (especially on the classic Action Comics #775 and the Justice League Elite series) render superheroics with a harsh realism. He doesn’t present a world of majesty and muscular posing, but raw power and emotion. He’s one of my favourite artists today, and the 3-D feature only helps make his work seem even more visceral.

The let down here is the writing. I know it’s a Grant Morrison book, so I should like it. I want to like it, but my love of the G-Mozz has waned somewhat in the last year or so (and Batman: R.I.P isn’t helping either) Don’t get me wrong – he’s certainly a visionary writer, and like his arch nemesis, Brian Michael Bendis, can craft a tale years in the making with ease. However, it’s that complexity which could also be his downfall. It seems forced here, with an abundance of characters, concepts and hard to pronounce alien names that aren’t really necessary. Only true DC die-hards are capable of navigating the murky waters. I would say Morrison need stricter editorial control. His far out ideas are getting further and further out. He can do tight adventure epics extremely well, and has, particularly with his JLA launch over a decade ago, but now he seems dangerously close to becoming a mad genius stewing in his own bubbling creative juices.

Back to the story at hand – the apparent saviour of Lois freezes time, and guides Superman through the multi-verse, complete with a 4-D vision upgrade which allows him to see between the 52 different universes. The evil Superman counterpart from the anti-matter universe, Ultraman, attacks the Ultima Thule, the woman’s ship, which is also carrying other heroes she’s gathered from different worlds, including Superman variants such as Overman (from Earth-10, world where Hitler won WWII) and Captain Adam (Earth-4’s Quantum Superman from a world where the laws of physics differ from ours) Supes saves it from drifting uncontrollably between universes by forcing a crash landing on Earth-51, a planet seemingly devoid of all life. Superman quickly learns that the offer presented to him has also been made to his counterparts. It’s a clever twist and her motivations for such manipulation will surely be revealed in the last issue.

After leaving the crashed ship, Supes and co. are surprised to find a group of forgotten heroes, in a limbo of sorts, where nothing happens and memories gradually fade. They investigate a mysterious library on the strange planet, and find a book with an infinite number of pages, from which Ultraman happily skips to the ending and announces that “Evil wins in the end!”

If you’re not a reader of the current slate of DC books, don’t expect this to make any sense at all. If you’re a fan of great looking art though, grab it, put on your cardboard 3-D glasses included and gawk with glee.

Star Wars: The Clone Wars Review

The Star Wars universe is a vast one. The six live-action films would be all that most people would know of George Lucas’ most famous creation, but they are a drop in the ocean, compared with the complexities of the ever expanding saga. The dozens of books and comics plus numerous video games have broadened the scope beyond Luke, Leia, Han and co. to millenia either side of their cinematic adventures.
Along with next month’s awesome The Force Unleashed console game, Clone Wars is the latest to add details to the events between the two film trilogies.
Directed by Dave Filoni (episodes of TV toon, Avatar) and written by three virtual newcomers, the film certainly has Lucas’ imprint in it, namely family friendly action and light hearted humour.

From the first few seconds however, it’s obvious that this isn’t a typical Star Wars film. The traditional theme music has been slightly altered and the text crawl is lacking, replaced by a narrator explaining the set-up. Also, despite Samuel L. Jackson (Mace Windu), Anthony Daniles (C-3PO) and Christopher Lee (Count Dooku) reprising their roles, the rest of the prequel’s cast is absent. Not that it matters.

Clone Wars is essentially the pilot of an upcoming half hour animated TV series. When George Lucas saw these first few episodes, he decided it looked too beautiful for the small screen, and deserved a cinematic release in their own right. Lucas is right. This is a great looking film. Today’s CGI effects are well suited to the expanding Star Wars mythology with the multitude of alien races, planets and vehicles, and the numerous space battles are grand, though not comparable to the excellent opening scenes in Episode III.

It’s with the scenes of humans (and humanoids) interacting that the CGI look may be a let down to some, expecting a Pixar level of sheen. The characters’ visuals are simple, as are the textures when examined closely. Don’t expect hyper-realism here, as the look of the film is based on the two series of cartoons that ran on the Cartoon Network from 2003 to 2005. The film is a continuation of that series, set in the time period between Episode II and Episode III. In other words, Anakin is not yet Darth Vader, his lover, Padme is still alive, and Luke and Leia are yet to be born.

The plot involves primarily lots of fighting (either with swift light sabre moves, or swift space craft moves) and the race to capture Jabba the Hut’s son, Rotta, otherwise known as Stinky. Anakin Skywalker receives a surprising padawan, ie, apprentice in the form of “youngling” Ahsoka Tano. This is a novel concept and the friction and eventual respect between the two Jedis is the highlight of the film. From their crafty defeat of Dooku’s force’s shield generator, to the protection and delivery of Rotta, the new duo’s initial friction gives way to respect as they fight an assortment of droids, drones and a dual-sabre wielder, in the form of Asajj Ventress, Dooku’s new partner in crime. Of course, Dooku’s and Jabba’s alliance is nothing of the sort, as the Jedis must prove their innocence in the greater fight for the vital trade routes for the ongoing war. When Anakin and his new student arrive on Tatooine, Anakin’s home planet (and scene of his Tusken Raiders massacre in Episode II) only then do we see a hint of his darkness that is central to the whole Star Wars saga. General Obi-Wan Kenobi flies to Jabba’s palace to assure him of his peaceful attentions and runs in to Ventress and Senator Amidala takes another route in assuring peace – meeting Jabba’s greedy uncle, Ziro the Hutt in Coruscant and gets duly punished for her good deed.

Star Wars purists will be disappointed with Clone Wars. It can’t compete with the more sophisticated CGI films on offer these days, and its roots as a TV show quickly become evident. It just doesn’t have the usual epic Star Wars film feel stamped on it. No doubt the kids will enjoy it, but some may be lost, without prior knowledge of the characters. I’d recommend watching the original Clone Wars cartoons on DVD over seeing this, but the continuation of this film onto our TV screens should be worth watching, as that is the format its designed for.

The Core Review

Jonathan Hickman is the flavour of the month year. As he should be. Like David Mack, he seems to approach sequential art with wide eyed optimism. Perhaps he’s grown up reading superheroes his whole life like most other creators, but he doesn’t bring a stifling love affair of superhero conventions with him. What he does bring is a sense of bold experimentation to every project he works on that seems to push comics into a new realm.

Image Comics’ Nightly News is the prime example. Granted, it took me a while to adjust to its unique two-tone design and conspiracy laden journalistic themes, but it was different enough to be noticed. In his other books since, such as Transhuman and Red Mass for Mars, he has restricted himself to one credit – that of writer and has left the art duties to others, which has been hit and miss. But Hickman as either writer or artist is a hard act to follow. Even when he’s not creating the look of the interior pages, its obvious his intelligent eye is behind it. The Core is Hickman’s best looking book in which he has been scribe only. His collaborator here is Kenneth Rocafort, best known from his work with Paul Dini on Madame Mirage, also from Top Cow.

The Core is part of the Cow’s second Pilot Season event, in which fans are presented with 6 one-shots to choose from. The most popular two, as voted by fans on Top Cow’s MySpace page (complete with previews), are then given their own series. It’s a great idea for the fans and a wise one from the publisher, as it lessens the risk of publishing multiple titles somewhat. Twilight Guardian, Alibi, Lady Pendragon, Genius and Urban Myths are the other choices. I would expect Myths and The Core to win, but you never know.

The Core is seemingly familiar territory to Hickman fans. Thrown straight in to a galactic battle, a young human soldier becomes the next elite member of a Special Forces team. The tale is told primarily from his point of view as he relates his adventures to his father, upon whom a nice twist centres on in the last few pages. Hickman reminds me of George Lucas, except he’s a much better writer. The guy doesn’t know how to write small – his ideas are grandiose and there’s no better form of expression for big ideas than sequential art. Voting is now open for Pilot Season and the first five pages of The Core are below, in case you’re not sure of which way to vote. Rocafort isn’t afraid to use plenty of white and use eye catching layouts. His alien race and ship designs are also pleasing to the ocular cavities. See for yourself.

Jonathan Hickman’s official site

Top Cow’s Pilot Season

Titanium Rain Review

It’s a cool title. Sounds like an 80s pop synth band. Thankfully this new 12 issue series from Arcahia Studios Press has more to offer than that. Husband and wife team Josh Finney and Kat Rocha have something impressive in this book.  It begins in China in 2032 in a hectic firefight before cutting to a group of  pilots waiting for their next big moment. The first thing that strikes in this book is the artwork. Finney and Rocha come from a background of design in the music and gaming worlds, and that unique perspective shows. It’s unlike most of what’s on display in most mainstream comics. There’s no splash pages and cross hatching filled with hero shots. Usually I’m not a fan of photo realistic art. I am a huge fan of Alex Ross (who isn’t?) but the painter still has a magical sense of grandeur in his realism. Here, the pages are crisply coloured and it’s all rather obvious that the majority of the work owes itself to the computer, but that’s not a bad thing at all. I’m guessing models were used, and photos were taken and manipulated for the majority of the book’s look. It works in this tale that reminds me of a Tom Clancy videogame. It could be because I’m playing Rainbow Six Vegas 2 on my Xbox, but I think it has something to do with it’s global politics mixed with manly military terms, tough soldiers and futuristic weapons. There’s a lot of talking here, and most of it is set at a card table as the pilots play as if their lives depended upon it, while discussing the war they’re waiting to get involved in. Despite all the talking, it is still interesting. The dialogue works well though I’m still not sure where it’s all going at this point, which makes for a good first issue. A call to action ends the issue with a welcome change of pace. Titanium Rain is for mature fans of politics and the military mainly, but has a good story which utilises both and themes focused on evolution and human conflict. That, and it’s pretty to look at.

Preview the book here.

Mice Templar #5 Review

I’ve been following this series since it began. It doesn’t have the traits of my usual picks, ie, no spandex, or space ships, or surprising resurrections. It doesn’t even have any secret identities! But what Mice Templar does offer is great story telling, and that’s enough to make it stand out from the superheroes crowding the racks.

Writer Bryan J.L Glass (Magician: Apprentice) and artist Mike Avon Oeming (Powers) are crafting this series in to the next great epic in sequential art. I’d compare it to Lord of the Rings since it deals with a dirty fantasy world rich in textured history, but it can also win favour with the Narnia crowd in the way it wraps deceptively cute anthropomorphic adventures in a cloak of adult themes. It would undoubtedly be a more engrossing experience reading the complete series, once finished, in collected form, but thankfully each issue has a handy reminder of what’s come before to refresh the memory. Since this is a bi-monthly series, this addition is particularly welcome and the casual reader should find enough with any issue to be hooked immediately, and the handy MT web-site will also fill you in on all you need to know.

The story told thus far concerns Karic, a young mouse who is rising up to become the next Templar, a long lost group of holy warriors who destroyed themselves long ago. After Karic’s village was raided and his family lost, he managed to rescue and befriend that old fantasy favourite-the mentor, and his rise to glory and greatness continues unabated. Actually, that’s not entirely true, which is what makes this series so exciting. There is always a sense of dread when reading Mice Templar, as betrayals and deaths and bloody battles drag the story to it’s unknown conclusion. Rats and owls and bats all seem horrendously fierce in a world where your best weapon is a lack of trust and a quick pair of legs. Karic’s earnest desire to fulfill the Fish Gods prophecy for him leads him to meet other Templars, such as Pilot (whom he rescues) and the bitter Cassius. Each issue ends on a cliff hanger as every rousing tale should and this one is no different, in which Karic must question his motivations thus far. Is his hope and admiration for the Templars a deserved one, or is he just way too naive and in over his head?

With rats tormenting Karic’s captive family, together with danger and disappointment wherever he turns it appears Karic has a hard road ahead, but it’s certainly a joy to watch him walk it. Like the young legend-in-training, we too never know what’s around the corner.
It’s also a joy to look at, as these preview pages attest. Oeming’s artwork never fails to delight and here resembles Mike (Hellboy) Mignola in his use of hard edges and prominent use of shadows, but with a more versatile approach to bold layouts. His eye for page design is frequently inventive and matches the varying pace of the story’s rhythm. Wil Quintana’s colours can not be ignored either. From sunlight pouring in to caves, to moonlit battles and cities illuminated by torches, it’s a luscious book to behold. Thanks to these two artists every page looks vibrantly different and demands more than just a cursory look. Really, this is what good, or rather, great comics are all about – engrossing characters risking it all who take readers with them on a dangerous journey. I’m not exactly sure where the road will end, but, like driving in the dark with a mumbling hitchhiker, it’s scary and uncertain but definitely entertaining.

Batman: Gotham Knight

Similar to what The Animatrix DVD was to the Matrix films, Gotham Knight is a direct-to-DVD animated anthology tying into the recent Batman films. As reported on Wednesday, this film is the latest after Superman and Justice League DVDs, with Wonder Woman’s turn coming next year. Containing six short films from different Japanese animation studios and American writers, they each look very different from one another. The only similarity between all six tales is Batman’s voice; that of Kevin Conroy. Initially it is jarring to hear it coming from an animated Batman that doesn’t resemble the Batman: The Animated Series version from the mid 1990s, but I eventually warmed to it.

The first vignette, “Have I Got A Tale For You,” is not entirely original for Bat fans. It presents a group of kids recounting their run-ins with the mysterious Batman, and shows how they view him differently – as a soldier of smoke, a monster and a robot. A similar episode was seen in Batman: TAS, but it’s a good introduction and shows how Batman has lasted through the decades. He’s simply a versatile character. He can be the gothic creature, or the street-level detective, or the traditional superhero or the man with all the sci-fi gadgetry. But it’s all still Batman, just different parts of the same whole.

“Crossfire” is written by comics scribe Greg Rucka and continues what he started with the comics title, Gotham Central – revealing how the Gotham police see the Dark Knight. He uses characters from the series that he knows well, namely detectives Crispus Allen, and Renee Montoya (though for some reason she has been renamed Anna here) “Field Test” is an interesting take on Batman’s use of, rather than reliance on, all his “wonderful toys.” Lucius Fox gives Bruce Wayne some hardware that makes him a lot more powerful, but essentially waters down the essence of who Batman is. “In Darkness Dwells” written by Batman Begins co-writer David Goyer Scarecrow shows up (in a much better costume than his Batman Begins version) as Bats travels to the sewers and briefly encounters classic comics villain Killer Croc. Comics writer Brian Azzarello creates “Working Through Pain” which picks up straight after “Darkness” as Bats struggles to maintain consciousness as he traipses through the sewers, bleeding as he does so. He reflects on training he received while in India as a young man and learns the power of mind over matter.

Finally, and probably the best of the bunch, “Deadshot” which introduces another great comics bad guy. It offers a great story and well directed action and is written by Alan Burnett who has written comics and episodes of Batman: TAS. There are two versions of the DVD available. The standard one-discer has an audio commentary, a cute Lego Batman video game trailer and a 10 minute look at next year’s Wonder Woman film. However you may have trouble accessing them as separate features and they may only appear after the end-credits. A big blundre from Wraner Bros. The two-discer contains those features, four episodes of Batman: TAS with intros by Burnett, a doco on Batman creator Bob Kane and also one on Batman’s rogues gallery. I’ll certainly check this version out. Each of the six tales don’t really tie into one another, and Alfred sounds more like a refined gent (a la TAS) rather than Micahel Caine’s Cockney speak. The artistic style is different in each take, but they still all resemble the dark detective that we all know and love. In some instances Bruce Wayne looks far too young but the Japanese artists have restrained themselves well. Yes, these versions may not be the Batman that everyone expects, but neither are they too jarring. The soundtrack throughout is also excellent, though I’m still fond of Danny Elfman’s score from the Tim Burton films and Shirley Walker’s take from TAS. Music makes the hero. There’s nothing in this collection to link it to Batman Begins and The Dark Knight, as has been promoted, but it more closely resembles them than it does the current state of the comics. A pleasant enough, though short, glimpse at Batman’s life for those who feel prompted by all The Dark Knight hype. Oh, and the backgrounds are gorgeous, which can’t be said about the DVD cover. With the hype The Dark Knight has been receiving, this package deserves better. There has been no mainstream promotion and to top all the other problems off, there is no Japanese audio dub on the Blu-Ray version, in spite of the cover saying there is. WB’s marketing team have dropped the ball I’m afraid. It is the most adult and bloody animated Batman ever seen, but you could still be more satisfied by spending your money on any number of comic collections, such as The Long Halloween, KnightFall, Hush, The Dark Knight Returns or any number of recent paper escapades.

Atomic Robo Volume 1

Atomic Robo made an impression on the comics scene last year the same way he does in this story; packed with action and pleasant surprises. From new publisher, Red 5 who seem to be picking their projects wisely, this series is the ideal gateway title. If you’ve been away from comics for a while with all the soap opera spandex stories, or the every increasing adult tales wrapped in seemingly child-like packages, then you need to do yourself a favour. You need to buy Atomic Robo Vol. 1. It will renew your love for the medium and give you faith in its future. Books that are simply fun and that can be shared with the whole family are a rarity on today’s stands. Robo is a new creation, yet he collates the best bits of pulp adventurers as well as the fun of early Savage Dragon and the actiony wit of Hellboy (the movie version).

We discover that Atomic Robo was created by actual genius Nikola Tesla in 1923 and has been serving the U.S government since then. He’s basically a one-man army. Like Captain America, but , y’know a robot, and with a sense of humour.

He fights Nazis (though they’re not referred to as such) giant ants in the Reno desert (possibly mutated by the growing field of “imaginary physics”), walking pyramids and more.

The stories are set up nicely as we go from the present where Robo and his team fight the weird monstrosity of the day, to times in years previous and learn of the friends he’s lost along the way. An ageless robot who’s passing 80 can not help but deal with real emotions and Clevenger show this side with a clarity equal to the humourous action. This book collects the first six issues, plus four extra short back-up tales by various artists, the covers of the issues, a gallery of Robo by even more artists and a look at the early concept sketches of the character from Weneger. And if that’s not enough, there’s also a two page look at Atomic Robo’s technically advanced components. All these extras just make a neat 180+ page book even neater.

Robo’s bickering Action Science League offer some humour but Robo’s the funny one of the bunch and has all the quips straight out of a cheesy 80s action film. Even real-life figures like Carl Sagan and Stephen Hawking manage to make an impression as Robo ventures to Mars for the first time to aid NASA in their research (and finds the worst enemy man can face-boredom!) Artist Scott Weneger can draw character reactions, dark machinery, underground bases and scary creatures all with equal skill. His lines may seem simple, but don’t be deceived. It takes effort to make it look effortless and it is awfully pretty to look at. Coupled with writer Brian Clevenger’s fast paced script it all feels like a pulpy Bond film that doesn’t take itself too seriously.

Clevenger and Weneger seem to come from the same school as myself; the School of Saturday Morning Cartoons. They aced their class in action that makes you cheer and characters that make you smile. Now they’re the teachers. So sit up, and pay attention.

Hop, Skip – Jump(er)

As I’ve been reading Get Smart’s reviews this week it has become obvious that some reviewers all go to the same well of uncreativity. Every single one either started or ended with the show’s catchphrase to sum up it’s disappointment-“Missed it by that much.”

The same could be said about this film, “No, it’s not a documentary on knitwear,” “It will pull the wool over your eyes,” etc. So I promise, no lame jokes here, at least not deliberately.

This really should’ve been a better movie. Somewhat based on the first in a trilogy of books by Steven Gould, Jumper concerns youngster David (Hayden Christensen) as he learns he is a “jumper,” ie, someone who can teleport at will. He eventually learns he’s not the only one and his selfish world of robbing banks and travelling the world in freedom is shattered. Roland (Samuel L. Jackson) is the leader of a mysterious group called Paladins whose mission is simply to hunt and kill jumpers. They do quite a good job too, with all their fancy gadgets. David partners with a more experienced Jumper, Griffin (Jamie Bell), he meets high school sweetheart Millie (The OC’s Rachel Bilson) and lots of jumping and running follows. It looks good and has more exotic locales than all the Bond films combined, but there is no real depth here. Millie simply follows David and we are given no reason as to why. The pair are supposedly in love (or at least, sleeping together, which in Hollywood is apparently the same thing) The opening scene sets up their relationship as children when David first discovers his gift, but there is no sense that they were nothing more than classmates, not life long friends and the rest of the film does nothing to add to this. Griffin is simply an annoying character and with Jamie Bell’s thick accent you may be reaching for that Subtitles button on your remote. We learn Griffin has been jumping since he was five, but don’t wait for any wise mentor-naive student vibe here. Griffin is the same age and hates David almost as much as the Paladins. It’s a nice surprise, but one character whom we could sympathise with would’ve been a great idea. Diane Lane also has a cameo (which I won’t spoil) and the film ends with the potential for more, which there may be. The Jumper book series is a trilogy as this film is intended to be, but I have my doubts after seeing this one. It may go some way to explaining why the film is light on exposition though – the producers are saving those details for two more films. There is no satisfying explanation as to how the jumpers can do what they can do, or why Paladins hate them so much, and no glimpse in to the history of their apparently millenia old war. The making-of feature on the DVD explains that the writers have created such details, but just didn’t put them in the screenplay. I’d also recommend watching the deleted scenes which show the better direction this film could’ve gone in.

Jumper is high on geek cred – it re-unites Star Wars actors Christensen and Jackson, it’s written by Jim Uhls(Fight Club) Simon Kinberg (X-Men: The Last Stand) and David Goyer (Blade, Batman Begins) and directed by Doug Liman (The Bourne Identity) but the problem is it tries to focus so much on making jumping look cool that it relegates all the important stuff, such as back story and character to the blurry background, though if you want that stuff, there is alway the novels and the Oni Press comic series, entitled Jumpscars. It also mentions Marvel Team-Up, twice, when David attempts to convince Griffin that’s what they should do. However a few nerd moments isn’t enough to save this film. If you’re looking for great teleporting visuals with a story to boot, see Nightcrawler do his “Bamf”ing thing in X-Men 2.

Station #1 Review

I saw a few interesting things today as I went to my LCS (local comics shop). Firstly, there were a few more people there than usual, which was fantastic. I guess most of them heard about the place from the Supanova expo. I love it when people discover comics for the first time. I firmly believe that there is a comic, or series, or writer, or artist out there for everybody. You just gotta find it. Secondly, I saw Supanova’s guest artists, Howard Chaykin and Joe Jusko there too, chatting it up with the employees and getting there photos taken. Topics discussed included TV Hulk Lou Ferrigno’s lactating nipples and Punisher War Journal’s Jigsaw story arc conclusion coming in September. (Click here for the alternate cover. You’ll go ape for it!) But comics are a minefield. Many of my friends feel initially daunted when going to the LCS for the first time. Where’s the latest Superman issue? What are all these surnames doing on the covers? What in the world is a TPB? It’s a confusing world. Well, fear not, I’m here to help. Starting from the review below, I’ll be attempting to guide you through the muddy waters of the comic book universe. Look for new pages, and a new category, entitled, New To Comics? for articles and reviews for the newbie. By the way, TPB is a Trade Paper Back, a hard cover collection of a previously published series, much like a DVD box set of a TV show you’ve seen before, but with extras and no ads. See, you’re learning already.

Space is a great setting for stories beyond straight sci-fi. Films like the original Alien, Solaris and last year’s Sunshine showed us that it isn’t always extra terrestrials that are the greatest threat. Paranoia and claustrophobia can play their part in creating terror too. With astronauts cut off from their loved ones and the strange sensation of zero gravity, normality is thrown out the window.

Station from relatively new publisher, BOOM! Studios’ continues this tradition. The first issue of a four part monthly series kicks things off with a bang. Well, not a bang really, but an immediate sense of desperation.

The international space station is a gleaming example of scientific advancement and a unified humanity. That is until the latest batch of multi-national astronauts take up residence in its cramped quarters.

It’s not long before Nicolay the cosmonaut is murdered. Not in a brutal manner, but certainly an effective one; rendered with such despair as he floats away. Dedicating two pages of almost blackness to this pivotal plot point works extremely well. Nicolay is captured by the endless space, and there is nothing his colleagues can do but watch his terrified face get further and further away. Nicolay’s death was, of course, no accident, and of all the people on the station, his work was the apparently the most earth changing.

As Dr Karen James, one of the astronauts remarks, “That’s the thing about being on a space station. There’s no place to hide. Everything comes to the surface sooner or later.” And it appears the murderer on board has only just begun their work.

Writer Johanna Stokes comes from TV, and her character work here is excellent. With only three issues left to tell this story, she has her work cut out for her, but she’s off to an intriguing start. At this point, the killer could be anyone. There are genuine chills here with a moody pace. Leno Carvalho’s artwork fits well in this context. Realistic in the style of Ultimates artist Bryan Hitch with a mix of 90s Aquaman penciller Jim Calafiore, with a good eye for the technical details of the station and the expressions of the increasingly desperate people aboard it. A whodunit in a floating sardine can is a brilliant premise. So far this series lives up to it.

TobyMac: Alive and Transported DVD/CD

TobyMac LivedcTalk helped me become a Christian. I used to mock their cheesy and outdated Christian Television Association ads over a decade ago, then I saw their Welcome to the Freak Show live concert on VHS and couldn’t believe they were a Christian band. Surely Christian music had guys in braces playing harps and singing, “Hallelujah,” all the time. Right? Wrong-thankfully. I loved that album and listened to the tape so many times I destroyed it. Then when Jars of Clay, Newsboys and delirious came along all my misconceptions about Christianity were swept away. Contemporary Christian music has been an integral part of my life since.

dcTalk’s last album of new material, 1998’s Supernatural, was certainly a fitting swansong from the groundbreaking boys, and the demand for an immediate re-union was high. I don’t think many people expected TobyMac to be the most successful solo artist after the split. With the soaring voices of Michael Tait and Kevin Max “that guy that does all the rapping” had to work hard to get noticed. But he did, and it paid off.

With his three solo albums (Momentum, Welcome to Diverse City and Portable Sounds) each better than the last, and his own label Gotee Records, he continues to shine in the hip-hop arena.

Alive and Transported is his first live DVD/CD. He looks as young and as energetic as he did when he first made an impression on me all those years ago. With the hits from his albums, plus dcTalk’s anthem, Jesus Freak, this 20 song collection won’t allow you to stop grooving. The CD and DVD collect the same songs, but the DVD has a nifty bonus; an almost one hour long doco on the man himself as he discusses life, touring, family and the sometimes mundane, sometimes extraordinary ways he met his current band mates. Toby’s voice sounds more powerful than ever and he never loses a beat throughout the concert’s entirety on memorable beats like Boomin’, Made To Love and Extreme Days. It must be exhausting, but moved by the adoration of the huge crowd and his passion for Christ, the guys just keeps rocking, and rapping. It doesn’t have the fancy multimedia of a U2 show, or the fancy footwork of a Justin Timberlake show, but these guys (and girl) know how to party.

The DVD needs big speakers and a big TV to really show the power and enthusiasm coming from the stage. The editing adds much colour and motion to the event and it is a feast for your eyes as well as ears. Though he has had moderate success in the mainstream music scene, with songs being used in TV ads and films, Toby doesn’t shy away from his Christian roots. He’s not ashamed of the gospel, and like his friend and collaborator, the equally awesome Kirk Franklin, he spills out spiritual authenticity along with his creativity. One of the greatest blessings of being a believer is that we have music like this, that honours God and gets your body moving.
And, just so you know, I used one of his songs on the Supanova Perth video seen below. Like me, you may just be surprised that there’s no harps and Hallelujahs here, but you won’t be disappointed. Give it a shot.

Definitely, Maybe-Certainly

I hate most rom-coms (um, romantic comedies-yeah) My house-mate loves them and put on Fool’s Gold recently. I gave it twenty minutes and could stomach no more. Most are bland, predictable and written for 11 year olds. The quirky cast of supporting characters, the lame physical comedy, the same upbeat strings on the soundtrack, the break-up, misunderstandings, new partners followed by jealousy, the dash for the airport. This genre is the most formulaic in all of Hollywood. The only films that can beat them for mindless entertainment would be anything starring a Van Damme or a Seagal. However, sometimes, we need good old fashioned mind numbing, don’t we? After a long day at work we can plonk ourselves in our fave chair, press play and expect happy endings and pretty people to wash over us for the next 90 minutes. I just try not to make a habit out of it. I will say though, I loved The Notebook (perhaps the only film that guys can admit they cried to) and adored Richard Linklater’s Before Sunrise and Before Sunset films. I didn’t expect much with this latest Ryan Reynolds vehicle, though he was in Blade: Trinity and was the forerunner for Wally West in The Flash film, so he’s got geek cred in my book.

The premise is this: Ryan is getting divorced from his daughter’s (Abigail Breslin) mother and tells her the story of the three most important romances in his life, leaving her to guess which one is her Mum, with the choices being Rachel Weisz, Elizabeth Banks and my fellow Aussie, Isla Fisher. Well written and directed by Albert Brooks, the film gives you enough reasons to like each of the three female leads and also enough reason to want the final outcome to not be them. It’s a delicate balancing act with a few surprises thrown in. All the characters are fully developed, with intelligent engaging dialogue, rather than the usual fluff that spout forth from rom-com leads. Fisher is the highlight of the cast. She just can’t seem to turn off the cutesy charm no matter what role she’s in. The final scenes offer nice icing on the cake. I stayed through the whole film, so that’s high praise indeed. It only ventures toward typical territory of this genre in two early scenes involving slow clapping and rowdy singing, but it isn’t a comedy as such, more of a drama. The flashbacks will be a nice bonus for Gen Xers too, with familiar 90s staples such as brick mobile phones, Cobain and Clinton. Definitely, Maybe is a nice breath of fresh, minty air in a crowded shelf of feel-good movies.