Note: For anyone that didn’t know, I have become an avid comic book reader over the past two years. This adds to my list of traits that make me ridiculously desirable to women. This short piece on Extremity was intended for comicommand, since the site is not being updated for the moment (but will return) I am posting it here.
Image Comic’s first new comic of the year proves to be another promising addition to Image’s stable and comic book offerings as a whole. Writer and artist Daniel Warren Johnson (Space Mullet) brings a fictional world replete with warring clans. The main character, Thea, is a human female whose mother was killed by a clan known as the Paznina. In addition to killing her mother, they also cut off Thea’s right hand. Along with her hand, Thea loses her skills as an artist and a cornerstone of her identity. Johnson intended Thea’s dilemma to mirror his own fears of losing the extremity that makes him who he is.
The first issue introduces us to Thea, as well has her brother, Rollo and her father Jerome, the leader of their clan. While Jerome expects his son to be his successor, the first issue makes it clear that Thea is more likely to do so. In relatable fashion, Rollo is hesitant to engage in the violence that is needed to survive in their world. While he struggles to kill one man, his father wears a mask embedded with the teeth of fallen foes. Thea shows signs of struggling with violence as well, but is a much more capable warrior than her brother. Since her father acknowledges her skill, but is still insistent on Rollo becoming the next clan leader, it is likely that sexism plays a role in their clan’s hierarchy.
The final issue ends with Thea getting revenge on the man who cut off her hand, one of the first acts in an all out-war with the Paznina. Johnson made it clear he wants to explore how a family will develop under such circumstances, and it is clear that the members involved can’t get through one violent act after another without changing fundamentally. In this sense, the comic reminds me slightly of The Walking Dead, which consistently focuses on how people adapt to a new and harsher world. Of course, this isn’t unique to The Walking Dead. This question is central to most post-apocalyptic tales and/or tales of revenge. However, it is interesting to see it focus on a female character.
The artwork is aided greatly by the shading and colouring bestowed by Mike Spicer. The artwork itself is the weakest part of the comic in my opinion, but like any series, I want to read more issues before I pass a more definitive judgment on it. The dialogue can also be clichéd at times, and overly expository at others. The characters didn’t need to call each other “brother” or “sister” for us to know they’re related, more subtle cues were present in the comic’s pages. However, there were only a few lines that I had gripes with and they didn’t dissuade me from reading the next issue when it is available.
Note: The below article is one that I intended to upload to comicommand back in March. Since comicommand is not being updated for the moment (but will be soon), I have decided to post this article on my site instead.
I heard mixed things about The Dark Knight: Master Race but my love of Batman eventually persuaded me to check out Frank Miller’s latest foray into the character’s mythos. This series is also co-written by Brian Azzarello (100 Bullets) and follows three years after The Dark Knight Strikes Again.
In this continuity, Ray Palmer (The Atom) is successfully able to free the inhabitants of the miniaturized, bottled Kryptonian city Kandor. Not only does he free them, but he also returns them to full size. Once free, these new inhabitants set out to create a society where the strongest, their own people, rule.
Although I also have mixed thoughts about this series, which shifts from amazing to mediocre within one issue, its exploration of Superman and his people is enough to keep me reading.
One of my biggest issues with the new 52, at least as portrayed in animated films like Justice League: War, was the relationship between Superman and Wonder Woman. When together, they are like the captain of the football team and the head cheerleader. Lois Lane wasn’t just a love interest to me. She was one of the key figures, along with Superman’s adoptive parents, that literally and figuratively kept Superman grounded. While Superman was more physically separated from his parents, Lois was a constant thread that enabled him to value human life. Growing up among humans also developed Superman’s respect for them.
In contrast, the daughter that he had with Wonder Woman grew up among Amazons and sees humans as “ants”. When the inhabitants of Kandor make their intentions clear, Lara is eager to follow them and shun her father, who she sees as a traitor to his people. She has grown up with the power granted by two of the world’s greatest heroes, along with the isolationist mindset of the Amazons.
The Kandorian leader, Quar, is a twisted version of what Superman could have been. While enemies like Zod desired the annihilation of humans, Quar expresses a paternalistic mindset that undermines human agency. In his own view, humans need to be ruled. They are the savage slaves that he wishes to civilize. Superman recognizes his power, and the advantages it gives him over the people of Earth, but he also recognizes the strength and free will of its people. Although he is better than Quar in many ways, he is not far removed from him.
It is an understatement of epic proportions to say that the post-Flashpoint DC Animated Films have not lived up to their predecessors. Flashpoint, my favourite DC Animated film, was followed by War, which had very little going for it. Weak voice acting from a lot of the cast, weak dialogue, terrible characterizations for some characters (Wonder Woman especially) etc. The list of negatives goes on and the subsequent films did little to raise my hopes. Batman v Robin and Gods and Monsters were bright spots, which gave me hope that DC were climbing the ladder back to greatness. Then Justice League vs. Teen Titans came along, and sent my hopes spiralling into the abyss. The Killing Joke was a little disappointing, and could have cut the batgirl prelude, but was a pretty good film overall. Then we got a pretty forgettable Justice League Dark, not terrible, but nothing special earlier compared to works like Under The Red Hood, Superman vs The Elite, First Flight or even Assault on Arkham.
All of that to say, I made sure not to get my hopes up about this film.The Judas Contract (TJC) is an adaptation of the comic storyline of the same name, which I have not read. I can’t judge the film based on it’s accuracy to the comic since I have not read the comic yet and don’t want to simply Google comparisons since they’ll contain spoilers for the comics.
Overall, the film is a definite improvement over JL vs Teen Titans and War. Since the latter two films are my most hated DC animated films to date, that compliment isn’t saying much.
The most notable improvement in this film was the handling of Damian Wayne’s character. Since his introduction in Son of Batman Damian Wayne has been abrasive, stubborn, arrogant…in short, bratty. In Son of Batman, Batman vs. Robin and Bad Blood his more undesirable characteristics were also balanced out to create an anti-hero that was annoying at times, but not insufferable. Then JL vs Teen Titans undid any development the character previously received and pretty much made him Bart Simpson in a Robin suit. All improvements in terms of social skills, self-awareness, respect etc. were gone.
Spoiler: I was happy when Blue Beetle nearly killed him.
In TJC Damian is still a loner who is adjusting to working well with a team, just like his dad. He still has an attitude problem but he also looks out for his team and isn’t the petulant child we last saw in JL vs Teen Titans.
Damian, along with Beast Boy are the highlights among the Titans, with their dialogue and voice actors bringing the most life to their roles. Nightwing, one of my favourite characters, also gets to shine. We get to learn more about Starfire’s background, although she still just comes across as a two-dimension princess kindness for the most part.
The newest member, Terra, plays a pivotal role in the story and her story arc demonstrates how seemingly unsympathetic characters can still gain our sympathy. However, there is a birthday scene that was truly cringeworthy and reminded me of the DDR scene in JL vs Teen Titans.
I have to say that Deathstroke was the biggest highlight of the film. Aside from being one of my favourite DC villains, Miguel Ferrer does an amazing job as the villain. Deathstroke doesn’t have that many lines compared to some of the other characters, and his character mainly relies on charisma for the role. Ferrer brings that in spades and makes me overlook some of the weaker dialogue and relatively little screen time.
The other villians were somewhat forgettable in my opinion, and the final fight actually proves to be one of the duller ones. Bigger is not always better.
Overall, The Judas Contract was a decent way to pass the time, but still makes me miss the older DC films even more.
I have previously discussed my refusal to see Thor: Ragnarok due to Marvel’s insistence on bringing a comedy writer onboard to rework the film only because they worried the film was too dark.
Of course, I wouldn’t want a film to be dark if the tone doesn’t fit the characters or story. This argument can be a can of worms since many characters have stories that are uncharacteristically dark or light (e.g. The Flash with Flashpoint Paradox). The Barry Allen version of The Flash isn’t all sunshine and rainbows, but Flashpoint Paradox still took the darkness to a whole other level.
But I digress.
The previous Thor films had plenty of comic relief, or attempts at it. These included one painful line after another from the likes of Kat Dennings and Natalie Portman. One of the few good things to come out of the Thor series has been Loki. Ragnarok refers to Asgardian doomsday, so a dark tone seemed appropriate. Even if the film wasn’t going to adapt the mythical Ragnarok events, a title referencing doomsday still implies some level of darkness. Darkness would fit the story, and it could therefore fit the character. If a film is overhauled only to lighten the tone, regardless of whether the tone fits the character or story, that is a travesty. People complain about film’s being “dark” for no reason, but very few people have a problem with more “fun”.
What bothers me the most about the decision to change the film is that this demonstrates how the need for “fun” overrides other artistic considerations. The previous Thor films have other issues, such as a love story lacking chemistry, and some weak villains (looking at you dark elves). All those issues were overlooked previously, but bring on some darkness, and it’s all hands on deck to make another film.
I still refuse to see the film in theatres but I must say that this first trailer has some great moments. More Loki is always a good thing, and I love the new look, which is partially inspired by his look in the Young Avengers.
Hela looks like she might give us another good villain. Her helmet has drawn a lot of comparisons to Aku, but since the helmet originates from the older comics, seems like Aku was inspired by Hela.
The Hulk doesn’t look as convincing (CGI wise) as he did in The Avengers film but the film still has more post-production to go. I actually didn’t mind the “he’s a friend from work” line since it actually seems in character for Thor. However, it still sucks that just about every epic moment is likely to be undercut by a one-liner that the fun-addled masses will eat up.
I’ve been told my writing is quite depressing, so perhaps I hate the Marvel “fun mania” since it clashes with my own creative proclivities. As Jeremy Jahns said sometimes I would prefer an epic moment, to a funny one. Likewise, sometimes I would prefer an epic movie to a “fun” one.
As I was scrolling through Twitter this morning and came across this gem:
Two these were within a few tweets of each other in my find. Polar opposites in tone, colors, mood, and energy. Guess which I prefer? pic.twitter.com/QThx5mXAeN
— Captain Marvel Talk! (@CaptMarvelTalk) April 4, 2017
I knew I had to talk about it, even if only briefly, because it captures an argument I have made time and time again. So @CaptainMarvelTalk hates the art on the right (which is just fan art if I’m not mistaken) because it makes Superman too “dark”, “gritty”, “intimidating”.
I have previously noticed that people tend to have very static fews of certain characters. Superman does typically have a boy scout persona, the typical nice guy. Does that mean every single piece of art has to depict him smiling and happy? He can’t look intimidating in a single art piece?
When I raised this point to @CaptainMarvelTalk he said that intimidation is out of character for Superman.
I then responded with this:
An iconic scene from Mark Waid’s Kingdom Come where Superman angrily bursts into a political meeting. Of course, he doesn’t kill anyone, but he is undoubtedly intimidating here. Then @CaptainMarvelTalk argues that Superman is “angry” here, not intimidating. The two can obviously overlap, and are clearly affected by audience interpretation. In the original fan art, and in Kingdom Come, Superman is floating with his eyes glowing red. If the fan art counts as intimidating, the Kingdom Come piece undoubtedly does too.
Clearly, @CaptainMarvelTalk just hates newer artistic interpretations of Superman, in favour of the old school. Instead of saying that, he nitpicks and shuts out common sense and reasoning, contradicting himself time after time during our debate. I think this is a solid example of the bias that also fuels the Marvel v DC debate and the never-ending debate about how DC is “too dark” and doesn’t have enough “fun”.
Did a quick video this morning on the complaints about “blackwashing” with the announcement of Beetz as Domino.
Entertainment Value: 10.10
Critical Value: 7.5/10
It is the end of an era. After 17 years, Hugh Jackman presents us with his last outing as Wolverine. After the first two Wolverine films many fans, myself included, initially approached another one with a healthy dose of skepticism. Then the first trailer dropped and skepticism gave way to hype for many people.
Then the second trailer dropped, confirming that Dafne Keen would be playing X-23. The film was flooded with good reviews from Rotten Tomatoes and one of my favourite YouTube reviewers also gave the film his highest rating. Needless to say, I expected a lot from this film, and for the most part, it delivered. I won’t say that the film is on the same level as The Dark Knight (it got a lot of comparisons to it) but it is undoubtedly the best Wolverine film and one of the best films in the X-Men Universe.
Logan introduces us to a bleak(er) future where most mutants are now dead. Twenty five years have passed without a mutant birth, most of the X-Men are dead, and Logan is slowly dying as his healing factor burns out. He is aging more noticeably, healing slower and the adamantium in his body is now poisoning him. Meanwhile, Charles Xavier is suffering from a mental disorder. Early plot summaries said the disease was Alzheimer’s but it is never actually confirmed in the film. Either way, he is prone to fits of dementia and seizures, which have devastating effects on the people around him.
Logan now works as a chauffeur and is content to save money so that he and Charles can buy a boat and live on the sea. Logan is tracked by a Mexican nurse who eventually convinces him to escort Laura Kinney (X23) to a mutant safe haven and evade The Reavers, cycber-netically enhanced soldiers tasked with bringing X23 back. Firstly, I have to say that X23 was insanely badass in this film, showcasing an agile fighting style that is in contrast to the brute force on display from Wolverine. Although Wolverine is feral in his own way, Laura shows us what could have become of him if he was raised as a weapon. Dafne Keen doesn’t have many lines for most of the film, relying on facial expressions and body language to create the character.
The makeup department did a great job in creating a weathered Logan, whose body tells it own story. Jackman is able to exude anger, coldness,sensitivity, love and caring seamlessly. Although his character seems to shy from caring or helping others, it is easy to see that he is only putting up a wall to protect himself from the pain of losing more people he cares about.
Charles Stewart brings us a different version of Charles Xavier. Although Charles still houses some of the wisdom we associate with the character, his disease has resulted in forced isolation. We see a Charles who knows his time is coming and is eager to enjoy the rest of his time, coming across as more carefree than any other version of Xavier we’ve seen on screen. The closest comparison is to his younger, broken self in Days of Future Past.
Jackman, Stewart and Keene are the film’s center and their scenes stand out as my favourite emotional moments. At its core, the film is about family and it great to see the family grow stronger as the film progresses. Although he is not necessarily a part of the family, Caliban (Stephen Merchant) assists Wolverine in taking care of Xavier and his performance is another stand out in the film. He has a relatively small role but succeeds in picking away at Logan to reveal his mindset as they try to navigate the dangerous world they live in.
Needless to say, the action is amazing, giving us the R-Rated glory we’ve been waiting to see for a while. People don’t just fall down when Wolverine swings his arms, they die in spectacular, gory fashion. There were many scenes that genuinely gave me chills. The film does feature some spotty CGI in parts. Fortunately, most of the effects are practical.
One of the weakest parts of the films, in my opinion, are the villains. Don’t get me wrong, Boyd Holbrook was enthralling as Donald Pierce. The issue is that it felt like he had little screen time. He and the man he answers to, were not developed very well in contrast to the other characters. There is one interesting goon that adds a new level of threat to the film, and the goon’s introduction is one of the most memorable in the film. However, I feel as if this mute goon could have been substituted for a stronger Donald Pierce.
While the film was not perfect, or as even as I would have liked, it was a solid end to Wolverine’s story. The ending, for lack of a better world, is poetic. Jackman has implied that he would be open to playing the role again if it existed in a different universe e.g. the MCU. However, he has also said that “This is it. This is the last one.
It is sad to see Hugh Jackman end the role, but I am happy that this is the film he did it with.
Edit: After more thought, had to bump up my ranking of Logan.
X Men Universe Film Rankings
Days of Future Past
Note: For an abridged version of this post, check out my YouTube video.
About a month ago, Ben Affleck stepped down from directing The Batman, which does not yet have a release date. Matt Reeves (Dawn of the Planet of the Apes) was circling the role for a few weeks and it is now confirmed that he will direct, using a script from Chris Terrio. There were reports that Geoff Johns and Affleck wrote the script but there has been no mention of that in recent reports concerning Reeves. However, Affleck and the studio apparently approved Terrio’s script. The new script is likely a composite of Johns, Affleck and Terrio’s work.
Ben Affleck made it no secret that he detested all the questions he received about The Batman while promoting other films, such as Live By Night. There was a lot of speculation that he would leave the directing role, and his role as Batman due to the pressure to please a horde of nitpicking comic book fans. For now, Affleck is still signed on to produce and act, and I hope it stays that way. Some reviews of Live By Night say that the film suffered from Affleck trying to do too much as an actor, writer and director. I can’t help but notice his original decision to step down coincided with the flood of negative reviews for Live By Night. Hopefully stepping down from directing The Batman as a move that is meant to alleviate some stress, but also ensure a better film.
The Batman is still my most anticipated DC solo film, and I hope it delivers the quality film that DC fans have been waiting for. Hopefully some of the other projects deliver that prior to The Batman as well. Man of Steel was decent, and BatmanvSuperman had the potential to be amazing. Instead, we get a terrible portrayal of Lex Luthor and a rushed version of Doomsday. Suicide Squad gave us some things to love, like Deadshot and Harley Quinn, and a lot to hate as well. I’m looking at you Enchantress, Incubus, most of the third act etc. Each film had great moments, and even stretches of excellence, that couldn’t elevate the entire film.
One of my favourite scenes from BatmanvSuperman
As I’ve said many times before, the DC Extended Universe (DCEU) has issues, but the tone of their films is not one of them. Reeves last few films demonstrate that he knows how to handle a dark tone. People can complain about the need for more “fun” in the DC Universe, thanks Dwayne Johnson, but I think we can all agree that darkness fits a batman film. Aside from Dawn of the Planet of the Apes, Reeves also masterfully wrote and directed Let Me In (2010). The film is based on a revered book, but we have all seen great source material turned into subpar films. While Apes was also amazing, I think Let Me In is a better example of Reeve’s creative skill since it addresses a big issue I have had with some DC films and films as a whole.
When a great director creates a poor film people are quick to argue that the director was hampered by a poor script. From what I understand, the director can override the writer. The director shouldn’t be a drone mindlessly translating a script to film. he is supposed to utilize his own discretion to oversee what he films. Zack Snyder has numerous “story by” credits on IMDB, which is the same credit given to Christopher Nolan for Man of Steel. From what I have researched, “story by” is just a credit given to someone who came up with the basic plot of the film:
Superman’s fight with Zod makes people distrust and fear him, including Batman. Batman then forms a plan to take him out, but Lex Luthor has his own plans as well.
This basic plot could be conveyed in some form other than the screenplay, such as a “treatment” or short story.
In comparison, the screenplay credit goes to the person who actually crafts the dialogue and fleshes out the characters. Snyder’s only two “screenplay” credits are for Sucker Punch (2011) and 300: Rise of an Empire (2014). I tried watching Sucker Punch, I couldn’t finish it and I have consistently heard that Rise of an Empire is dramatically inferior to the original film. I don’t like to base my opinions solely on the opinions of others, since I would have avoided BatmanvSuperman like the plague if I did. If you believe that I am mistaken about Rise of an Empire, let me know. My point, is that a director who is also a strong writer should be able to expertly exercise his own discretion with the material he is given in order to create a great film.
While the director can override the writer, the studio can override the director. This has already happened with Bvs and Suicide Squad. The uncut version of BvS helps to flesh out Clark and Bruce more, while also clearing up some elements of the plot that didn’t make as much sense in the theatrical film. Meanwhile, the abusive Joker and Harley relationship was removed from Suicide Squad because the studio was worried it made things too dark (among other changes). The films aren’t perfect without these changes, but they are definitely better.
I am hoping that Reeves was able to negotiate for creative control over this project, so that the real filmmakers can craft something for the big screen that DC fans can be truly proud of. There are several other projects I am excited for in the meantime, especially Aquaman and I hope that The Batman doesn’t end up being one of the last hopes for a consistent and well crafted DCEU film.
Season 7 was of The Walking Dead was originally one of my most anticipated since it would focus on Negan, one of my favourite comic book villains and the best villain that The Walking Dead comics have had to date. Season 6 introduced Negan and ended with a money-grubbing tease that left a bad taste in my mouth and made me skeptical of what season 7 would offer.
The season 7 premiere featured a drawn out encounter with Negan that was obviously done to pad screen time, but I was willing to overlook it for the first episode. Then the second and third episode focused on The Hilltop and The Saviours respectively. It has always bothered me when The Walking Dead does this, instead of cutting between the different stories. Shows like Game of Thrones have far more characters and locations to deal with and do a better job of giving each party their necessary time. I have no problems with Tara and Heath as characters, but giving them an entire episode was ridiculous.
Some may argue that focusing on one location gives more opportunity for character development and builds anticipation for other story arcs. In this case, I beg to differ. Cutting between different stories during an episode forces writers to be more concise with their storytelling, so that an entire episode doesn’t end up serving as filler. Instead of 40 minutes (without commercials), writers are forced to use tighter writing to express the same story in 20. Or they can possibly stretch the different stories over multiple episodes.
The way it stands, the eventual conflict with Negan gets dragged out to episode 9 since three episodes didn’t show Rick and Alexandria at all. Since The Walking Dead is sticking to longer seasons (the past few have been 16) it seems the desire to reach a certain amount of episodes, instead of just telling a story naturally, interferes with the storytelling. The Marvel Netflix shows have a similar issue, since Marvel makes them all thirteen episodes. I felt like Luke Cage, in particular, could have been shortened. The midseason break also seems like a move designed to keep The Walking Dead on air as long as possible, especially now that other AMC hits like Breaking Bad and Mad Men have completed their runs.
I never considered The Walking Dead one of the best shows out there, especially since the acting is inconsistent at best. It ranges from great (Lincoln), mediocre (Serratos) to awful (Riggs). With all that said, I was not that excited for the mid-season premiere.
Firstly, I am sure that Gabriel didn’t actually betray Rick since it would derail his entire arc as a more committed member of Alexandria. When he is driving away in the car, I thought I was seeing things, but online articles have confirmed that someone else emerges in the passenger seat. Earlier in the season, we saw someone spying on Gabriel at the wall and on Rick and Aaron at the boat. It appears that person reached out to Gabriel, and is probably aligned with the community that confronts Rick’s group at the end of the episode. I loved Rick’s smile; the look of a man who has found his army.
I thought the group might be Oceanside, but Oceanside was previously introduced as a female-only group. In the comics, the group is co-ed and Michonne joins them for a while. Unless they’ve added men since their last appearance in the show, this appears to be a brand new group that was never shown in the comics. If they are a new group, it almost comes across as a deus-ex machina, but I’ll reserve judgment until the next episode. The show better not focus on another group for the entirety of the next episode.
Some fans have had a hard time grasping why Rick’s group didn’t want to fight back earlier. Hopefully this episode makes it clear they were worried about their lack of numbers, relative to The Saviours. Additionally, Negan has made sure to consistently put Rick in a bind by making the lives of others tied to his. Yes, Rick could have beaten Negan to death with Lucille when Negan visited Alexandria, but then The Saviours would slaughter everyone.
Like the comics, Gregory is content to stick his head in the sand and submit to Negan’s rule. Xander Berkeley chewed some scenery in this episode, and hopefully we won’t see too much of that in the rest of the season. If his arc follows the arc from the comics, we’ll be seeing him around more and this show doesn’t need more weak acting.
While Ezekiel is happy to join Rick’s alliance in the comics, he is hesitant here due to the risk of losing everything they’ve built. It is a fear that Rick had as well, and it is likely Ezekiel will change his mind. Ezekiel’s refusal also brings up another issue. In the comics, Dwight is actually a double agent who is working with Ezekiel to take Negan out. The show has already hinted at Dwight’s animosity towards Negan, for taking his wife and burning his face. We know that his motives for wanting Negan gone are there, but it looks like he may not be a double agent in the show. This doesn’t bother me too much, since his reveal seemed like a last minute decision in the comics. If Dwight was a double agent the whole time, why did he kill Abraham if he didn’t really have to?
Morgan reunites with Rick for the first time since Carol’s disappearance from Alexandria, and his own hesitation to go to war seems to have impacted Ezekiel’s decision. Although Morgan is willing to kill in self-defence, it seems the fear of all the lives that will be lost in the war makes him hesitate to join an all out war. The only positive thing to come out the meeting with Ezekiel is his offer of asylum for Daryl. This episode also made me wonder if Daryl will find Carol and convince her and Ezekiel to join the war.
While Rick doesn’t get what he wants from Ezekiel, he does came across explosives that he plans to put to good use against The Saviours. Rosita appears to have learned some valuable things from Eugene, and this appears to be the start of an arc that is meant to make us root for her character more. However, I still despise her character. Her sheer stupidity in trying to kill Negan with only one bullet got someone else killed and got Eugene taken away. Her attitude to Sasha also fails to make her endearing. Also, there’s the fact that she was in a relationship with Spencer of all people. The girl’s got poor taste.
Have to say I am more excited for issue #165 of The Walking Dead comic, than the next episode of this show.