Review - Kyōryū Sentai Zyuranger

Millions of years after being imprisoned on the planet Nemesis, the witch Bandora is accidentally freed by astronauts exploring the planet. With her minions in tow, she returns to Earth to wreak havoc.  To prevent Bandora from destroying the planet, the Mysterious Sage Barza awakens the Five Holy Warriors of Justice. Together with their Guardian Beasts, these legendary warriors transform into the Dinosaur Squadron Zyuranger to do battle against Bandora and her monsters.

Kyōryū Sentai Zyuranger is the 16^th entry into the Super Sentai franchise and stars Yūta Mochizuki, Seiju Umon, Hideki Fujiwara, Takumi Hashimoto, Reiko Chiba, and Machiko Soga.

In many ways, Zyuranger is one of the most influential Super Sentai series. Beyond the fact that its footage became the basis for the iconic Mighty Morphin Power Rangers, it originated the Sixth Ranger trope and became the first series within the franchise to rely more heavily on fantasy rather than science fiction as part of its narrative. This provides Zyuranger with a unique storyline that has a rich mythos behind it. It begins 170 million years ago when humans and dinosaurs lived in peaceful coexistence (factually impossible, but it makes for a cute little alternative history). During this era, the witch Bandora ignited a war with the dinosaurs as revenge for the death of her son. Five tribes of humans banded together with the dinosaurs to stop her. While they successfully managed to seal her away on the planet Nemesis, it came at a cost. The dinosaurs became extinct and the five tribes were destroyed. Millions of years later, Bandora is freed and the leaders of the five tribes must be resurrected to prevent history from repeating itself.

As the follow-up to the dramatic and wildly entertaining ChōjinSentai Jetman, Zyuranger falls short in many ways in comparison. Despite having an engaging mythology behind it, Zyuranger fails to match the intrigue of its predecessor. Where Jetman delved into the interpersonal relationships of its characters and delivered layered storytelling, this series feels regressive in its decision to tell more formulaic stories. Nearly every episode follows the same premise where a child is in danger and requires aid from one (or all) of the Zyurangers. It gets rather stale and makes it somewhat of a chore to it through. However, there are some respites from this monotony. Nearly a quarter of the way into the series, a multi-episode storyarc introduces Burai and the villainous Lamy. It’s a thrilling arc that challenges the Zyurangers and injects some much-needed drama into an otherwise flat series. Burai, the older brother of TyrannoRanger Geki, transforms into the powerful DragonRanger and embarks on his quest for vengeance against his brother. This arc features a lot of great action and it also helps to shake up the status quo. A second Burai-centric arc occurs towards the end of the series, which is also well done and provides us with quite a few poignant moments.

Another area where Zyuranger fails to match Jetman is in its cast of characters. Jetman had characters that were distinctive, charismatic, and complex. Both the heroes and villains were individuals we could root for. Zyuranger disappoints on almost every level on this front. There are only a handful of characters who have some semblance of a personality and who are legitimately entertaining. Yūta Mochizuki is absolutely fantastic as the leader Geki. Maybe I’m biased since Mochizuki would later go on to play Tuxedo Mask in the Sailor Moon musicals, but I find him to be charming and he has a magnetic presence on screen. He plays Geki as someone who is capable, strong, and compassionate. Seiju Umon similarly delivers a layered performance as Goushi, otherwise known as MammothRanger. He’s quiet and reserved, but his intelligence and articulateness make him quite useful to the team. A comparable character would be Ami Mizuno, AKA Sailor Mercury, from Sailor Moon. That said, it is Machiko Soga who steals each and every scene as the villainess Bandora. She’s loud, brash, and totally zany. Bandora ends up being the true standout from the series for this very reason. She’s funny and really campy, but it works. Sadly, the rest of the cast isn’t as memorable. Reiko Chiba’s Mei is the token girl character in Zyuranger and is unfortunately vastly underutilized. She’s not a character who has a whole lot of depth and can even be a bit grating at times. Hideki Fujiwara’s Dan and Takumi Hashimoto’s Boi are basically interchangeable. Neither character appears to have any personality to speak of and both do virtually nothing throughout the series. They become casualties due to the decision to focus on the various children who play supporting roles and to the prominence of Burai during large chunks of the series. Similarly, Bandora’s minions aren’t given much in the way of motivation and are instead largely treated as generic comedic relief.

While watching Zyuranger, it’s impossible not to compare it to Mighty Morphin Power Rangers. Interestingly, they have what the other needed as far as shortcomings are concerned. Zyuranger had the rich backstory and mythology that Mighty Morphin Power Rangers lacked, while Mighty Morphin Power Rangers had the distinct and relatable cast of characters that Zyuranger needed. There’s no denying that Zyuranger skews towards a younger audience and that its light tone was likely purposefully chosen to contrast its predecessor Jetman’s more mature tone. There are many episodes that are quite enjoyable and I think that the concept behind it is really creative, but ultimately formulaic storylines and a forgettable cast undermine Zyuranger.

RATING: C+

Review - X-Men: The Road to Onslaught Volume 2

After months of imprisonment and attempted rehabilitation at the hands of Professor Xavier, Sabretooth escapes his confinement and leaves a path of destruction in his wake as he makes his way to New York City. With government forces on standby, the X-Men must track Sabretooth down before he can hurt anyone else. Then, Bishop struggles with holding onto his sanity due to reality and time hopping complications.

X-Men: The Road to Onslaught Volume 2 collects X-Men/ClanDestine #1-2, Uncanny X-Men #327-328, Annual '95, X-Men #46-49, X-Men Unlimited #9, and Sabretooth: In the Red Zone. It includes writing by Alan Davis, Larry Hama, Terry Kavanagh, Scott Lobdell, and Fabian Nicieza, as well as art by Roger Cruz, Gary Frank, Bryan Hitch, Andy Kubert, Joe Madureira, and Jeff Matsuda.

This trade reads as a compilation of largely unrelated stories, pulling both from the main X-Men titles at the same and from other books. As such, this leads to a variance in quality. The greatest example of this is the X-Men/ClanDestine two-parter that kicks off this collection. It’s a puzzling inclusion given how inaccessible it is for casual comic book readers. It features an obscure set of characters, the Destines, as they team up with the X-Men to defeat an otherworldly entity. While Alan Davis’ art in these issues is gorgeous, the storyline is random and disposable. The issue of X-Men Unlimited that was included is equally as random. It features Wolverine, Psylocke and Beast caught on a mission to the Bermuda Triangle, where they must stop the combined might of the Belasco and Bloodscream. While the story itself is penned by the talented Larry Hama, it remains an unremarkable adventure that’s further marred by subpar art.

Interestingly, one of the best stories in this trade is the one-and-done Uncanny X-Men Annual ’95. In this oversized comic, then-new X-Man Cannonball heads back home with Wolverine, Bishop, Storm, and his oldest sister in tow to investigate an anti-mutant cult that has recently recruited one of his siblings. Written by Terry Kavanagh and with art by Bryan Hitch and Bob McLeod, it’s a story that tackles zealotry and bigotry in a way that is reminiscent of the seminal God Loves, Man Kills graphic novel. The familial dynamic between Sam and his sister Paige helps to ground the story. We get a lot of great character moments with them, especially with Paige. Though more prominent in Generation X, we see references to her being ashamed of her upbringing (she tries to hide her Southern accent) and her overall drive to be a hero like Sam. Uncanny X-Men Annual ’95 may not have a whole lot to do with the arrival of Onslaught, but it remains a memorable and relevant story with some impeccable artwork.

The bulk of the material in this volume relies on and furthers the overarching plotlines that were present in the X-Men books at this time. Issues 46-47 of X-Men see Scott Lobdell and Andy Kubert tying up loose ends from way back in issues 10-11. The X-Babies have escaped the Mojoverse and a handful of the X-Men must protect them from extradimensional bounty hunters. These two issues fill readers in on what’s happened to the Mojoverse since the rebellion, which is great for Dazzler fans since she shows up towards the conclusion. Her presence (and attitude) is just about the only reason to tune in to this two-parter. Kubert’s art is sadly very inconsistent and the X-Babies are predictably rather irritating. There are some great scenes that punctuate the action, particularly between Jean Grey and Iceman. These quiet moments help to drive home how much of a family the X-Men are. Issues 48-49 are Bishop-centric, dealing primarily with what seems to be PTSD brought on by his time travels. While he’s struggling to hold on to his sanity, an assassin is sent after him. These issues deal tangentially with the aftermath of the Age of Apocalypse and attempt to give Bishop some layers, but their ugly art and dull writing really fail to leave much of a positive impression.

The other plotline that is further developed involves the continued captivity of Sabretooth. All the way back in X-Men Unlimited #3, Sabretooth willingly submitted himself for help from Professor Xavier as a means of receiving telepathic soothing that he had become addicted to. Though many X-Men disagreed with the decision, Xavier saw it as an opportunity to rehabilitate the villain. In this collection, we see the final resolution of this plotline. Sabretooth proves himself to be beyond redemption, prompting Xavier to make a deal with the government to have him incarcerated. In return, Sabretooth plots his escape from the mansion and leaves a trail of destruction in his path. Uncanny X-Men #328 is a standout issue in this saga. We get an emotionally devastated Boom Boom losing her cool once she discovers the truth about Sabretooth, as well as an intense action sequence that features a rematch between the villain and Psylocke (they pair first battled one another way back in Uncanny X-Men #213). It’s also worth noting that the issue is illustrated by Joe Madureira at the height of his popularity. His manga-influenced style is beautiful and dynamic. His Psylocke is especially iconic. Sabretooth: In the Red Zone concludes this arc. The original X-Men are sent by Xavier to apprehend Sabretooth, which gives us some great scenes of the O5 working together as a team. The synergy that they have is really electric, so it’s not hard to understand why this formation is so popular amongst fans. The combination of Fabian Nicieza’s dialogue and Gary Frank’s near-flawless art makes this issue incredibly cinematic. So much so, that it would make for a great animated film.

X-Men: The Road to Onslaught Volume 2 is really not worth the price of admission. It’s great for completionists and X-Men fans who loved the ‘90s, especially since it has a lot of cool extras. There are reprints of trading cards, for example, that are included after each issue. Uncanny X-Men Annual ’95 is a great read, as is the one-two punch of Uncanny X-Men #328 and Sabretooth: In the Red Zone. The writing on those issues is impeccable, but the art is even more impressive (arguably some of the best that Hitch, Madureira and Frank have done). Unfortunately, the rest of what is collected here is pretty forgettable. It’s probably better to buy some of the individual issues via Comixology than shell out the money for this hefty trade.

RATING: B- (buoyed mostly by the high quality of some of the issues included)

Review - Aquaman Volume 2: Black Manta Rising

When a war between America and Atlantis is ignited by the actions of the nefarious N.E.M.O., Aquaman must fend off the invading forces and prove his nation’s innocence in the conflict. With the Justice League remaining neutral and Mera absent while preparing for their pending nuptials, the King of Atlantis seeks out the aid of a British naval officer and the Atlantean Elder of Science to expose N.E.M.O. to the world.

Aquaman Volume 2: Black Manta Rising collects Aquaman issues 7-15, written by Dan Abnett and illustrated by Scot Eaton, Brad Walker and Philippe Briones.

Black Manta Rising continues the saga of Black Manta’s campaign to destroy Atlantis and discredit Aquaman through the machinations of N.E.M.O. First, he unleashes the unstoppable Shaggy Man to demolish Aquaman’s hometown of Amnesty Bay. Then, after successfully baiting America into a war with Atlantis, Black Manta enjoys the fruits of his labour as a group of assassins are sent to infiltrate the undersea kingdom in order to kill his Atlantean nemesis. It’s an intricate arc that ultimately leads to an epic brawl between Aquaman and Black Manta. Before that, we’re treated to plenty of action and a fair bit of political intrigue. The effectiveness of diplomacy becomes a central theme throughout and Abnett appears eager to critique war itself. He also explores the necessary qualities it takes to be a leader. The combination of these narrative elements creates a layered story that goes beyond good guy beating up bad guy.

Abnett also spends quite a bit of time developing the mythos surrounding Aquaman. He introduces a handful of Atlanteans whose roles help give us a glimpse into the varying factions of this undersea nation. Two of the standouts include Carcharodor, Mistress of the Fleet, and Jurok Byss, Keeper of the Monsters. Both are striking and imposing figures who serve important functions during wartime. Abnett also fleshes out Rowa, Elder of Science, who made a couple of appearances during Jeff Parker and Paul Pelletier’s run. Another unique element to the building of Atlantis’ mythos is the inclusion of the Widowhood, who is tasked with assessing Mera’s worthiness to be Queen of Atlantis. They are a cabal of nun-like women whose judgment is explicitly trusted by the Atlantean people. Aside from their incredible designs, their inclusion provides a matriarchal dimension to this society. With that said, the subplot that they’re brought in for essentially removes Mera from much of the action for this arc. It’s disappointing since she’s a character who comes to life in fight scenes and is instead has her narrative reduced to her relationship (whereas her husband’s gets to be about being a leader).

Eaton, Walker, and Briones continue to do a spectacular job on the art. Walker’s cover and interiors for issue 10 are especially exquisite. His renditions of the Widowhood and Mera are stunningly detailed, which further adds to the appeal and mystique of these characters. His covers for issues 13 and 15 are similarly quite memorable. My fondness for Briones’ work remains strong throughout as well. His work doesn’t have the same kind of intricacy to it that Walker’s does, but it’s dynamic and streamlined. Eaton is sadly still the weakest of the three if for no other reason than it being the most generic in comparison.

Abnett’s Rebirth run on Aquaman is a fun ride. I appreciate that he’s writing his stories to be about something by focusing on Aquaman’s unique status as the ruler of a nation. As one of the few monarchs who are also heroes in the DC Universe, this helps to distinguish the character and his stories from his contemporaries on the Justice League. While there wasn’t enough Mera in this arc for me and found parts of her portrayal to be irksome, Abnett did give other female characters plenty to do. I actually find myself drawn to many of the supporting characters that are used throughout and would love to see more done with them moving forward (especially Tula, Rowa, and Carcharodor). Overall, Black Manta Rising is an exciting conclusion to the Abnett's opening saga for Aquaman's Rebirth era.

RATING: B+