Review: Helena Harper, Resident Evil 6

As Resident Evil mainstay Leon S. Kennedy's partner in Resident Evil 6, former CIA agent Helena Harper proves she's got what it takes to survive a zombie outbreak. Characterized as emotional yet able to perform under pressure, Helena off-sets Leon's cool demeanour and acts as a figure the gamer can invest in during the game's narrative. As any number of gamers would agree, it's not easy to be introduced into a beloved franchise as a new character but Helena takes that in stride in order to become one of the stand-outs in Resident Evil 6.

In a franchise where women reign supreme as badass zombie hunters, Helena Harper holds her own. She's somewhere in the middle between Jill Valentine and Claire Redfield. She's a skilled marksman whose stamina and agility are quite remarkable like Jill but isn't quite as seasoned and indulges in her emotions much like Claire. Though she receives second-billing in Leon's campaign, it can be argued that she is the true star as his narrative relies on Helena's in order to progress. Unfortunately, very little is revealed about Helena in-game and it is through the unlockable files that the gamer learns of her backstory. This is mildly inconvenient especially for those who may have to do a second or third play-through in order to find these files.

In "The Mercenaries" mode separate from the main game wherein the goal is to eliminate as many zombies and monsters as you can before the timer runs out, Helena is unlocked upon achieving a B-rank on the Urban Chaos stage. She's presented as a mid-level character whose primary weapon is the Picador handgun and her secondary is the Hydra shotgun. The best strategy for Helena remains in utilizing her handgun in order to rack up a combo and using it smartly so as not to run out of ammo -- this means using it to set up melee attacks. Though shotguns in general prove to be powerful weapons within the Resident Evil franchise, Helena gets stuck with the less-than-stellar Hydra. Though it may pack a little bit of power, it only carries three shells at a time and has a slow reload speed. This could prove deadly should she need to reload when a horde of zombies approaches. As such, the Hydra functions best in a capacity where she'll have enough room to reload without being interrupted or attacked. Helena's alternate outfit can be selected upon achieving an A-rank with Helena's default on any stage. This is a slight upgrade from her default outfit. Her primary weapon is the Ammo Box 50 which functions like a machine gun but has the power of a handgun. Maddeningly, Helena is once again short-changed with her secondary. Her Sniper Rifle may be powerful but it is inconvenient due to the fact that there is an animation that prevents her from moving very far following each shot so there's a frustrating delay between shots. As such, this could mean the difference between taking down an enemy and getting pounced on. This means that Helena must either consistently keep her distance while using it or she must use quick shots which will eat up her energy. Thankfully, the rest of Helena's inventory makes up for it. In addition to the red herb and first-aid spray for healing purposes, she has three incendiary grenades which provide instant kills for most enemies. Unfortunately (or fortunately for some), Helena's alternate costume is best categorized as a 'sexy cop' and clashes horribly against her characterization. Surely a stylish suit not unlike Sheva Alomar's wouldn't have been a stretch for a woman who used to work for the CIA.

Helena Harper is a welcome introduction to Resident Evil. She's smart, capable and allows the gamer to invest in her due to her loyalty and passion. She's also proven herself to be quite the fashionista as both her canon costumes in the game are quite stylish and functional. Though she may not be top tier among those available in "The Mercenaries," she can be utilized effectively to achieve the same high scores that the more advantageously stocked characters can. Helena has a long way to go before she can be placed on the same level as icons Jill Valentine or Claire Redfield but she has a promising future should she ever crop up in any future games. Hopefully she won't share the same fate as the oft-forgotten Rebecca Chambers or Sheva Alomar.

Grade: B+

Review: Resident Evil 6

Released in the fall of 2012, Resident Evil 6 is the much-maligned sequel to the divisive action video game Resident Evil 5. The game assembles a large playable cast, allowing gamers to choose from Resident Evil favourites like Chris Redfield and Leon S. Kennedy as well as newcomers like Helena Harper and Jake Muller. It reinvents the gameplay expected of a Resident Evil game and becomes what the producers at Capcom have called 'dramatic horror.'

The storyline of Resident Evil 6 is interwoven between four campaigns and tells the narratives of seven playable characters -- Leon and his new partner Helena investigate an outbreak in a small American town, BSAA agent Piers Nivens attempts to get veteran Chris Redfield back into action, NSA Agent Sherry Birkin joins forces with the mercenary Jake Muller against Neo-Umbrella, and Ada Wong solves a mystery concerning her stolen identity. This fractured storytelling creates an uneven narrative and leaves many with the impression that some campaigns are better than others. Leon and Helena's campaign stands the strongest. It is moody with haunting atmospheres and blends action with horror flawlessly. Helena makes for a captivating character and her involvement feels necessary. Likewise, Jake and Sherry's campaign has its moments of brilliance and the chemistry between the characters is palpable. The variety in settings is interesting and their campaign's Big Bad harkens back to the relentless Mr. X and Nemesis from previous instalments. Ada's narrative, meanwhile, serves as the linchpin of Resident Evil 6 and fills in all the holes left by the other campaigns. It mixes stealth with non-stop action to create a fun spy-fi adventure. Unfortunately, Chris and Piers' campaign comes across as dull and unnecessary. Piers is an eye-roll worthy creation who feels like a poor substitute for Jill Valentine and Chris is about as tolerable as a case of chicken pox. Chris' chapters would have been the ideal place to address what happens to Resident Evil icon Jill Valentine but the writers chose to leave that thread untouched. As such, it leaves the player feeling like Chris' campaign should have been scrapped in favour of expanding the other three.

Resident Evil 6's gameplay is hit-and-miss. While the expansion of melee moves feels like an improvement, the alterations made to the inventory and healing system feel unnecessary especially since they were perfectly functional in the previous instalment. Still, the usage of skills is an interesting development allowing for players to customize and tailor their experience to their personal play styles. The game also makes heavy usage of quick time events wherein the player must press certain buttons within a select amount of time or run from an unstoppable force. This can make for an exhilarating experience but at the same time will leave many wanting to rip out their hair given the difficult for certain QTEs. The fan-favourite Mercenaries mode also seems somehow harder than it should be but perhaps this is largely a result of the changes made in the gameplay and the significant imbalance in character inventories in that some characters have weapons that require time and precision that players really aren't afforded when playing The Mercenaries.

Overall, Resident Evil 6 can be an enjoyable experience and will surely be fun for most gamers. Obviously it has its share of flaws that will frustrate most. The decision to feature Chris Redfield once again is mind-numbingly idiotic when one considers the fact that his sister Claire hasn't been playable in a main game since 2000's Resident Evil Code: Veronica and since Jill Valentine offered more dramatic potential given what she went through during the events of Resident Evil 5. Claire and Jill's absence is felt so profoundly largely because the campaigns are so heavily focused on the narratives of the men despite the fact that the women from the franchise have larger fanbases. Furthermore, some of the changes in gameplay seem a little illogical and awkward while The Mercenaries mode doesn't feel as satisfying as it did in Resident Evil 5. Nevertheless, the game should be praised for taking risks and for the tremendously effective campaign given to Leon and Helena as well as giving Ada Wong the attention she deserves. It most certainly won't please all fans of the iconic zombie smasher franchise but when nitpicks are set aside it can be a satisfying jaunt into the world of Resident Evil.

Grade: B (Sorry Capcom! It would have easily been an A- had Chris' campaign been about Claire or Jill!)

Review: Demi Lovato, DEMI

Following up her ground-breaking third album Unbroken and a successful run as a mentor on the second season of The X-Factor, Demi Lovato took to the recording studio once more and released her latest work DEMI last week. The album itself sees Lovato returning to the edgier sound she emerged with but it is much more polished this time around with electronic elements thrown in for good measure. If anything, DEMI emphasizes Lovato's growth as an artist and highlights her keen ear for what it takes to make a potential hit.

Unlike most of her pop contemporaries, Lovato isn't afraid to use live instruments on her music rather than relying on synthesizers. She marries rock with pop so effortlessly on the lead single "Heart Attack," utilizing an acoustic arrangement laid on top of an electronic one. She belts out the chorus flawlessly and the song itself opens the album on a high note. The album is buoyed nicely by a series of upbeat songs varying from love songs ("Made in the USA") to kiss-off tracks ("Something That We're Not"). While she indulged in elements of R&B on Unbroken, Lovato takes a more traditional approach to these uptempo pop songs. "Really Don't Care" featuring Cher Lloyd stands as one of the most infectious tracks on the album with its pulsating beat and Lovato's slick vocal delivery. It's full of the sass that makes Lovato's music so fun to listen to. Even Lloyd's bratty verse becomes endearing after a couple of listen-throughs. Another standout is the dance cut "Neon Lights." Punctuated by a piano and fluctuating beats, it is a club anthem that sounds like a summer hit. The midtempo track "Without The Love" features incredible vocals laid over a fantastic acoustic composition and "Two Pieces" has a great drumline with a plucking piano arrangement. However, Lovato truly outdoes herself on the poignant ballads present on DEMI. "Nightingale" pairs a haunting piano arrangement with Lovato's vocal clarity to create an ethereal listening experience while the "Skycraper" sequel "Warrior" is a powerfully moving ballad with a simple orchestral composition and golden vocals that speaks of Lovato's survival and personal growth. The strongest song on DEMI, however, is the incredibly touching ballad "Shouldn't Come Back." Its acoustic arrangement is gorgeous and Lovato's agonized vocals are supernaturally affecting. It is precisely the kind of song that demonstrates Lovato's incomparable vocal prowess and emotiveness as a musician. It would be remiss not to address a great flaw in DEMI's armour. Though the album is a fantastic listen, it may leave quite a few pop aficionados with a feeling of deja vu since some of the music plays too closely to what is expected of other female singers. "Made in the USA" sounds suspiciously like a cross between "Party in the USA" and "Price Tag" (both Jessie J compositions), "Something That We're Not" oddly comes across like a Katy Perry/P!NK mash-up, and "Never Been Hurt" is strangely like "Stronger" by Kelly Clarkson. Luckily, Lovato owns the material so confidently that she makes the aforementioned musicians seem irrelevant (almost). Interestingly enough, these songs also happen to be among some of the best on the album.

DEMI is yet another solid offering from pop dynamo Demi Lovato. It features just the right mixture of pop ear candy and moving ballads that have made Lovato one of the most underrated musicians currently in the business. In fact, the album is almost entirely composed of songs that could theoretically be hits for Lovato. For this, Lovato should be praised and rewarded.

Recommended Listening: "Heart Attack," "Made in the USA," "Without the Love," "Neon Lights," "Two Pieces," "Nightingale," "Really Don't Care," "Something That We're Not," "Shouldn't Come Back," "Warrior."

Rating: A-

New Arrivals

While an earlier trip to Target proved unsuccessful in nabbing me Demi Lovato and Eve's new albums, I made it downtown this weekend and found them looking oh-so-lovely at the front of the HMV superstore. I was quite excited by the fact that they were displaying an advertisement out front for Demi's album. Do I smell #1 on the Billboard charts? Here's hoping. I'm also wishing success Eve's way as well. She's one of the finest female rappers ever and her fans have waited far too long for this album. While it's a shame "Tambourine" didn't show up as a bonus track (that song so needed to be #1 all over the damn world), it's great to finally hear new music from Eve. Now all we need is a new album from Missy Elliott and Lil' Kim and the world will be right again.

If you haven't gotten a chance to grab either album yet, I'd suggest you do so! iTunes is a convenient option for many but nothing beats the physicality of a CD especially when you get such gorgeous photography in the booklet as seen in Demi's album. It's important that we support our artists.

Review: Jennifer Lopez, Live It Up

It's easy to know that summer is on its way when a new Jennifer Lopez song drops. Released earlier this month, "Live It Up" is Lopez's third collaboration with Pitbull and is yet another club-ready hit in the making. The song is energetic and sprightly, making it the ideal song to blast through the radio with the top down. While it makes efforts to promote a positive message of love and empowerment, said message is bound to be lost behind the pulsating beats but whatever perceived faults the song may have are irrelevant since it'd be a challenge for anyone to sit still while listening to the ear candy that is "Live It Up."

The music video for "Live It Up" continues the long tradition of Lopez's on-screen fierceness. In the video, she prowls the catwalk in two Kylie Minogue-esque outfits and owns her choreography. Her sex appeal is undeniable but it could be argued that much of the video is an exercise in vanity given the focus on Lopez's visual appearance. Nevertheless, to say she doesn't look great would be a big, flaming lie. She's flawless and every bit the diva her fans expect her to be. Of course, she's not the only star of the video. Pitbull does his best to keep up with Lopez as he lounges around on the impossibly blue beaches of Florida with a bevy of bikini babes to keep him company. The beach aesthetic lends itself almost too perfectly to the liveliness of the song and the video makes its full jump to the beach towards its conclusion as we see more gorgeous shots of Lopez in a variety of fashions. She slinks around in a nude bathingsuit with shocking yellow lips and parties it up in a summery green kaftan. It's also worth mentioning that Lopez seems to reference herself during one sequence in which she dances in front of laser lights not unlike in her iconic video for "Waiting for Tonight."

While many begrudge Lopez for partnering with Pitbull on another track, their style and flavour has proven to be an excellent combination.  There's no denying that the colourful video fits the song just as perfectly as the outfits Lopez wears. The video, like the song, is fun and doesn't take itself to seriously. If there's anything Lopez and her work has taught us it's that it's best to get on the floor, dance, love and live it up.

Grade: A-

Review: Patsy Walker - Hellcat

Originally created in the 1940s as a teen humour heroine akin to Betty Cooper or Veronica Lodge, Patsy Walker was reinvented by Marvel Comics in the late-'70s as a superheroine known as Hellcat. Since then, she's been relegated to their D-list despite tenures on teams like the Avengers and the Defenders. Patsy Walker: Hellcat collects a five-part mini-series written following Marvel's Civil War and Hellcat's features from the Marvel Comics Presents series. It is a rare look at an oft-forgotten character that is a fun tongue-in-cheek romp and presents a story that is significantly lighter in tone than the usual death and mayhem Marvel has become known for in recent years.

Patsy Walker: Hellcat begins with a four-part mini-story titled "The Girl Who Could Be You" where the titular heroine faces multiple versions of herself after accidentally releasing them from a magical diary. It is humorous and cute in its narrative particularly due to the brilliant usage of exaggeration in presenting the different versions of Patsy Walker. Stuart Immonen's pencils help to emphasize this and he creates beautifully dynamic panels with plenty of character. While it is obvious that writer Kathryn Immonen knows her Patsy Walker, her references to Patsy's past might be a little confusing to some. Luckily, the bulk of the trade paperback, however, is devoted to the five-part story "Snowball Effect." In it, Patsy is asked by Iron Man to travel to Alaska and this trip eventually segues into an absurdist fantasy à la Alice in Wonderland. Many of the events and characters Patsy encounters are ridiculous but are purposely so. Patsy as a character is brimming with personality and sass. She's a joy to read and makes for an interesting character that many readers will be able to relate to. Despite the absurdist nature of the story, Kathryn Immonen clearly knows what she's doing and crafts a narrative with plenty of moments that are sure to incite chuckles. Her comedic timing is to be applauded. After all, it is the unpredictability of this adventure that is refreshing. David Lafuente's art sets the tone of the story wonderfully as his pencils are at once whimsical and full of personality. There's a slight eastern influence as well. As such, the art stands out for being atypical for what is expected of superhero comics. Each character he draws is so specific and individual, which is something not easily accomplished and Lafuente is to be commended for this.

All in all, Patsy Walker: Hellcat is a fun little read that is light-hearted and will likely endear the character to those who read it. Patsy Walker: Hellcat is a fantastic introduction to the character and serves as an excellent pre-cursor to its unofficial sequel Marvel Divas. It is especially recommended for female readers interested in getting into comics as this is largely free of continuity and requires little knowledge of superheroes in order to enjoy the story.

Grade: B+

Review: Demi Lovato, Unbroken

Transitioning from a teen star to an adult one is not an easy feat but Demi Lovato did precisely that with her third album Unbroken. Released following her very public personal tribulations, Unbroken features a more mature Lovato adopting a new sound and shedding the layers to create one of her most vulnerable records to date.

While her first two albums relied heavily on the influence of rock, Lovato embraces R&B and electronica on Unbroken. This ultimately gives her a more polished sound that gives her voice a new-found clarity. To achieve this, Lovato wisely teamed up with Timbaland and this collaboration led to the production of three songs. The first of which, "All Night Long," is a pounding club anthem with the earmarks of a Timbaland production and even features a solid guest rap by hip hop legend Missy Elliott. "Together" is a solid R&B duet with Jason Derulo that incorporates hand claps spiced with an electric guitar while "Lightweight" is an airy track that highlights Lovato's range as a vocalist with her going from soft and vulnerable to full-blast belt. Lovato also collaborated with popular songwriter Ryan Tedder on the radio-friendly "Who's That Boy." It's a bouncy production with infectious lyrics. Though her experiments with R&B are admirable, it is her willingness to adapt to electronic music that is the most interesting aspect of the album. The title track "Unbroken" is a standout on the album with its pulsating beats and sassy vocal delivery from Lovato while "Hold Up" is a cleverly written midtempo synthesized song with impressive vocals. Another standout is the delicious pop song "Give Your Heart A Break" with its brilliant usage of orchestral sounds and is easily the catchiest of the songs present on Unbroken. Despite the domination of dance songs, Lovato slows it down on several tracks to highlight her incredible talent as a vocalist. The soulful and simmering slow jams "My Love Is Like A Star" and "Fix A Heart" stand as two of the most impressive tracks on the album. The latter, in particular, is a favourite due to its uniqueness and maturity. The lead single "Skyscraper" is an eloquent and inspiring piano ballad that demonstrates Lovato's remarkable ability to emote as a singer. It is impassioned and majestic in a way that most songs are not in the sphere of popular music today. Likewise, "For The Love Of A Daughter" is an affecting song that is heart-rending with its honest lyrics and Lovato's pained vocals. The arresting ballad closes the album dramatically and emphasizes the admirable emotional transparency Lovato has become synonymous with.

Unbroken is impressive in its diverse but cohesive collection of music. It is a successful experiment in R&B and electronica as well as a major accomplishment on the vocal front as it features some of Lovato's most emotional vocals to date. It is an essential album and highly recommended for anyone looking to expand their musical horizons.

Recommended Listening: "All Night Long," "Who's That Boy," "Together," "Lightweight," "Unbroken," "Fix A Heart," "Hold Up," "Give Your Heart A Break," "Skyscraper," "My Love Is Like A Star," "For The Love Of A Daughter"
Grade: A-

Review: Demi Lovato, Here We Go Again

For her sophomore effort Here We Go Again, the dynamite Demi Lovato refined the pop-rock sound she'd been working with since start of her musical career. Ditching the Jonas Brothers as collaborators in favour of working with a bevy of superstar producers and songwriters, Lovato crafted a sassier and more cohesive album that is a marked improvement over her debut.

On the title song, Lovato seems confident belting it out over the rock-tinged arrangement. This continues on the kiss-off track "Solo," with a brassy Lovato spitting clever lyrics that surely fuel speculation over who the song is inspired by (a certain famous ex perhaps?). "U Got Nothin' On Me" will remind many of '80s rock particularly with its anthemic chanting and explosive instrumentation. "Got Dynamite" and "Everything You're Not" will as well, with Lovato channelling her inner Joan Jett but adding her own modern spin on the rocker chick schtick. Similarly, "Remember December" incorporates elements of rock and marries it with '80s synth pop to create an explosive treat of epic proportions. While Lovato seems comfortable in the role of rock goddess, her voice sounds freshest against the more experimental tracks on the album. The Jon McLaughlin-aided "Falling Over Me" is a standout and forges a more mature sound for Lovato. It's an ambient song with a more laid back vocal delivery from Lovato. McLaughlin strikes gold once more with "Every Time You Lie." Its jazzy instrumentation paired with Lovato's raspy, bluesy vocals are a welcome departure from the rock fare and truly emphasizes Lovato's versatility as an artist. It's quite possibly the best track on her sophomore offering. Another standout, "Catch Me," further provides a more cultivated sound for Lovato with its plucking guitar and sweeping strings. It's a song that gives her the air of a seasoned musician. The ballads "Stop The World" and "World of Chances" mirror each other with their similar arrangements and their attempt to skew Lovato's music to an older crowd. The former is a track penned by Nick Jonas and the latter by John Mayer. Though both are skilled songwriters, neither wrote something that quite matches McLaughlin's work on the album. Nevertheless, the twin ballads are enjoyable listens. In addition to the twelve tracks present on the album, Lovato provides two bonus songs. "Gift Of A Friend" is a folksy feel-good song originally found in the film Tinker Bell and the Lost Treasure while "So Far So Great" served as the theme song for Lovato's Disney series Sonny With A Chance. For a bonus track, "So Far So Great" is remarkably memorable with its poppy arrangement and a spunky Lovato on vocals. It's safe to say the album ends with a bang (and infectious one at that!).

While Demi Lovato forged an identity for herself as a rock princess with her first album, Here We Go Again expanded upon that and it worked to show Lovato's growth as an artist. However, it is on the tracks where she explores other genres where she shines the brightest. Here We Go Again may not be perfection and it most certainly has some filler, but it showed Lovato's fearlessness and willingness to become a more diverse artist.

Recommended Listening: "Here We Go Again," "Solo," "U Got Nothin' On Me," "Catch Me," "Every Time You Lie," "Got Dynamite," "Remember December," "Everything You're Not," "So Far So Great."
Grade: B+

Review: Koda Kumi, Best ~first things~

            Fame didn’t come fast or easy for Japanese pop star Koda Kumi. Up until 2005 her albums and singles sold moderately well but with the release of her breakthrough album secret she rocketed to superstardom. To bank on her growing popularity, her record label released her first ever two-disc compilation that brought together material from her first four albums and songs that had previously been unreleased. Best ~first things~ was an immediate success and has gone on to become one of the definitive releases from Koda Kumi.

            If there is one thing to be said about Best ~first things~ it is that it shows Koda’s growth as a musician. It opens with the solid hip hop cut "NO TRICKS," the compilation's newly recorded track, and it serves as a snapshot of where she was sonically in 2005. From there, she goes back in time to 2002 when she entered the music industry. The tracks from her debut album affection are dated pop songs that are vaguely spiced with a hip hop flavour. They can be praised for their cohesion but at the same time it is also what causes them to blend into one another. The material from her sophomore release grow into one proves to be more interesting, particularly the songs “real Emotion” and “1000 no Kotoba” which were created for and included in the video game Final Fantasy X-2. The former is a catchy dance song and the latter is a touching ballad with a beautiful blend of strings accompanying Koda’s warm vocal delivery. With the tracks from feel my mind, Koda continued to develop as an artist and expanded the sounds she was working with. On “COME WITH ME” she utilizes a jazzier arrangement to create a fun and playful song perfect for the summer time while “Gentle Words” proves to be a laidback track that includes breathy vocals which are reminiscent of those done by Janet Jackson on her slow jams. “Crazy 4 U” closes the first disc with its bouncing rhythm and is infused with an interesting mix of rock, pop, jazz and hip hop. Truthfully, it is on the second disc where Koda Kumi shines brightest. Her cover of the theme song from Cutie Honey stands out as one of the best tracks with its strumming bass line and improvised wind sections, making it an infectious jazz-pop miracle. Likewise, the other material from secret fares just as well. The dance track “Selfish” weaves a rock aesthetic into its composition to create the sassiest and sexiest song on the compilation. “Hot Stuff” is a pounding hip hop track that features a guest rap from KM-MARKIT. The ballads “Kiseki” and “hands” show off Koda's softer side and serve to highlight her versatility as a singer. In fact, her warm, husky vocals are best suited to these slow jams where she’s sure to impress anyone with her incredible tone. As such, “flower” and “Promise” become the most remarkable works on the compilation with Koda showing off her lush vocals to the listener.

            While Best ~first things~ may not convert the casual listener into a being a fan of Koda Kumi, it has its moments of brilliance. Its ballads are touching and emotive while many of the upbeat dance tracks are quite infectious. It does do its job of introducing the listener to Koda Kumi as an artist and plots her early journey from newcomer to superstar.

Recommended Listening: "NO TRICKS," "real Emotion," "1000 no Kotoba," "COME WITH ME," "Gentle Words," "Cutie Honey," "Kiseki," "Selfish," "hands," "Hot Stuff," "flower," "Promise."

Grade: B

Review: Batgirl v3 #0

As one of the most controversial books of DC Comics' New 52 initiative, Batgirl drew the ire of many who disapproved of Barbara Gordon leaving her wheelchair behind to return to her iconic mantle of Batgirl. More than a year into the title, Barbara's origins were retooled in the special issue #0 and she was updated for a modern audience with the constraints that the New 52 placed on its narratives.

If there's one person who understands Barbara Gordon best and makes her interesting, it is fan-favourite scribe Gail Simone. In fact, it can be said that it was Simone was the one who made Barbara so compelling as Oracle and enabled her to be more than just a symbol for those with disabilities. The character presented in the origin issue is free of future fears and comes across as an exuberant individual who is very driven. Furthermore, Barbara's self-deprecating humour from the main series is in tact and shows her remarkable ability to analyse herself and others. In combination with the present series, issue #0 reminds us that Barbara hasn't been this witty or funny in decades. After all, she tended to be the stuffy one in Birds of Prey in comparison to the wise-cracking Black Canary and the morally ambiguous Huntress. As we witness Barbara's former ambitions before she donned the cowl, we also get a glimpse into her fierce need to protect those she loves and will do anything to ensure that justice is served. Rather than don the Batgirl costume as a prank at a costume party as her previous origin had her do, Barbara adopts the identity out of necessity when a psychopath sets himself loose in a Gotham City police station. She transforms herself in order to protect her little brother and prevent any further damage from being done. It leaves the reader with a sense of respect for Barbara but also with a feeling of wariness. Simone handles Barbara's transformation admirably and lets it happen as organically as she can in one issue. Furthermore, she allows her to be something that has become a trademark of Simone's - she lets her be 100% badass.

Simone's former Birds of Prey partner-in-crime Ed Benes serves as the penciller for the issue. The art is dramatic and quite cinematic at times. Barbara looks beautiful and the action scenes are very dynamic. Unfortunately, there is a lack of expressiveness to the characters and Benes' inks are far too thin for his art style. It creates a sketchy effect that doesn't blend well with the lush colours present in the issue. Luckily, Benes didn't have the opportunity to fall into the other tropes he usually does. He is unable to make every female look the same since Barbara is really the only female in the book where attention is really paid and there's significantly less T&A which is likely due to Simone's tight writing, preventing the issue from being about Barbara's appearance and enabling it to be more about her motivations.

Batgirl #0 is a beautiful summation of Barbara's character and does a good job of reworking her origins. Simone's writing is excellent as usual and her ability to write introspection is to be commended especially since it can go wrong so easily (re: Roy's nauseating narration in Red Hood & The Outlaws penned by Scott Lobdell). I remain a fan of Simone's work and it was fun seeing her teamed up with Benes again. For those looking to get into comics and remember Batgirl from the cartoons, this is the perfect place to start.

Grade: B+

Review: Wonder Woman v2 #168-169

            All too often, a writer will be assigned to a comic book and will ignore all the preceding events in order to push their own agenda. Thankfully, Phil Jimenez was not one of these writers. Following up his spectacular Batman team-up on Wonder Woman’s title, Jimenez took us back to the Amazon Princess’ home island of Themyscira just in time to witness a brutal civil war and, in the process, paid homage to all the writers who came before him.

            The two-part “Paradise Lost” was a culmination with Jimenez picking up on the underlying tensions that had been bubbling under the surface of Wonder Woman’s title for quite some time. Queen Hippolyta had been spending most of her time in Man’s World gallivanting with the JSA leaving her island practically ungoverned allowing the conflict between her Amazons and the Bana-Mighdall Amazons to foster. Having been introduced way back in George Perez’s iconic run, the Bana-Mighdall tribe were once a hidden group of Amazons who lived in Egypt and were characterized by their violent tendencies and their willingness to embrace modern technology. They were eventually brought to Themyscira by the witch Circe and had since maintained an uneasy alliance with Queen Hippolyta’s Amazons. However, the Bana-Mighdall Amazons had largely been ignored by nearly all subsequent writers. Jimenez remedied that problem by placing them back into the spotlight with “Paradise Lost” as a minority on the island whose voices had gone unheard by Queen Hippolyta and this disrespect bubbled over into a bloody civil war between the Amazon tribes. Several revelations were made during this arc and Jimenez made some bold moves but it was his keen characterizations that stood out the strongest. His willingness to explore the discord between Wonder Woman and her mother is admirable as it brings an alternate dimension to their dynamic. Furthermore, the dialogue between Diana and Donna throughout is incredibly well-written. Through their words, they come across as true sisters and their chemistry is both believable and relatable. Unfortunately, his writing is not free of faults. He introduces the character of Fury into the arc but she is given absolutely no backstory. As such, the reader becomes lost as to who she is and why she’s in the story.

            While Jimenez got to draw more abstract settings and gritty buildings in his previous arc, he indulges in the gorgeous architecture of Themyscira in these two issues. He shows off his skill at drawing the island paradise in his opening page and continues to impress throughout. Despite the emphasis placed on dialogue, Jimenez manages to pack plenty of action into this two-parter as well and reveals himself to be quite adept at drawing carnage. The brutality of the civil war is terrible and he should be applauded for showing Wonder Woman’s reaction to be heartbreak and sadness.

            “Paradise Lost” set the stage for the numerous events that would reverberate throughout the Wonder Woman universe during and even after Phil Jimenez’s run. It is a story with great impact and it emphasizes the brutality of war and the necessity for peace between people.

Grade: B+

Just Arrived!

The Koda Kumi CDs I ordered arrived just in time for the weekend last week! I've had plenty of fun listening to BEST ~Second Session~, TRICK, and Dejavu. Shall I review them?

Review: Wonder Woman v2 #164-167

            For his very first arc on Wonder Woman, writer-artist Phil Jimenez teamed up with veteran comic scribe J.M. DeMatteis to deliver one of the most captivating and epic Wonder Woman stories in existence. “Gods of Gotham” saw the devious deities Phobos, Deimos and Eris taking possession of three of Batman’s most dangerous enemies -- the Joker, Poison Ivy and Scarecrow -- and wreaking havoc on Gotham City. It’s up to Wonder Woman, Batman and their allies to stop them and bring order back to Gotham.

            Jimenez and DeMatteis should be applauded for their keen ability to write each character with incredible precision and for understanding the essential components of Wonder Woman’s personality. She is both warrior and diplomat. As such, we see her win not only win physical battles but spiritual ones as well. Furthermore, the juxtapositions between characters are amazing in this arc as Jimenez and DeMatteis pair off Wonder Woman and Batman’s cast. As such, scenes between Artemis and Huntress become electrifying to read as their similarities and differences are highlighted brilliantly. Similarly, Nightwing and Troia are a pleasure to read due to their palpable chemistry as friends and teammates. Most notably, there's a cute little exchange between them wherein Nightwing chastises Donna for accessorizing but she gets in the last laugh when she ribs him for his former usage of a utility belt. Above the more superficial layers of heroes versus villains, we also see a larger philosophical debate going on between the world of Wonder Woman and that of Batman. Wonder Woman comes from a world of magic and Gods where nothing is impossible while Batman is dark and cynical where everything must have a scientific explanation. Therefore, there is a fascinating clash between Wonder Woman’s faith and Batman’s realism. This additional layer within the story gives it context and opens up larger discussions about religion. The open debate between Artemis’ beliefs and Huntress’ in particular serves as a mirror for those present in society today. "Gods of Gotham" also puts things into perspective between its two starring heroes -- while Batman battles thugs and psychopaths, Wonder Woman battles Gods and monsters. Though Batman may have a more recognizable rogue's gallery, Wonder Woman has the deadliest.

            There is something special about Phil Jimenez’s art. He has a more realistic aesthetic in that his proportions are more anatomically correct and he has an incomparable eye for detail. His drawings are expressive and dynamic so much so that it is much easier to relate to the characters he draws due to their emotive presentation. He is an excellent visual storyteller. His panels do tend to be tighter and more detailed, opting to forego larger splash pages. This is perhaps due to the more talkative nature of Wonder Woman's stories where she makes attempts to engage with her opponents intellectually.

            “Gods of Gotham” is easily one of the best Wonder Woman and Batman stories out there. It features an all-star cast and an incomparable narrative that is both epic and intimate. Jimenez and DeMatteis did wonders with the material and delivered a must-read story not to be missed by any fan of the Amazon Princess or the Dark Knight.

Grade: A+

Review: Brightest Day

            After the universe altering events of the Green Lantern-centric Blackest Night, numerous heroes from the DC Universe were resurrected and tasked with missions by a mysterious white light in order to 'earn' their existence. This follow-up was known as Brightest Day.

            Brightest Day was an ambitious series that spanned the course of 24 issues and focused on several characters in vaguely interrelated narratives. At its core, it was an anthology run that retold and rewrote the origins of its protagonists. Blackest Night’s runaway star Mera received the most notable overhaul. The revelations made about her past as a sleeper agent in the Atlantean ranks is unique and her decision to abandon her mission for the man she loves is especially touching. As one would expect, her past comes back to haunt her and is largely responsible for the conflict within Aquaman’s narrative. Though she may only play a supporting role in Brightest Day, Mera is presented as tremendously powerful and she steals every single scene she’s in. Aquaman himself is written spectacularly and the introduction of the new Aqualad is nothing short of genius. As such, Aquaman’s story within the anthology becomes the most captivating of the bunch. Hawkman and Hawkgirl’s narrative also stands out. Their plot revolves around the curse that the villainous Hath-Set placed on them eons ago and deals with the notions of everlasting love as well as with tireless ambition. Hawkgirl comes across as a true warrior with a spit-fire temper but there’s also a remarkable softness about her that endears her to the reader. Deadman, meanwhile, operates as the link between each character involved in Brightest Day. He is the emotional centre of the series and becomes someone the reader invests in. His blossoming relationship to Dove feels organic while his sympathy for others is inspiring.

            Unfortunately, not all the narratives in Brightest Day are created equal. Firestorm and Martian Manhunter’s stories are tedious and dry. Firestorm’s requires the reader to have a basic understanding of the character's history in order to attach emotionally to him while Martian Manhunter’s fails to really be as captivating as the others. The issues focused largely on these two often leave the reader with the following question – when is Aquaman going to show up again? Another point of contention is a scene in which Batman is declared the greatest and most intelligent hero by Deadman. He may be iconic and have a mindless horde of fans but to decide he’s the best is a bit absurd especially coming from writer Geoff Johns who spent his entire run on Green Lantern trying to convince readers that Hal Jordan is the greatest hero of all-time. Being the 'greatest' is a fairly subjective notion especially with fictional characters but upon reading Brightest Day it's hard to imagine any male being the 'greatest' when it is the female characters who come across as the most interesting and exciting.

            With 24 issues to its series and a handful of characters to deal with, it’s hard to expect Brightest Day to be perfect. Given the anthology nature of the stories, some are inevitably more interesting than others. Nevertheless, there is some solid work done within the narratives and is worth the read if only to get to the parts with Aquaman and, of course, Mera.

Grade: B-

Review: Wonder Woman v2 #156-159

            After a break in the writing of Wonder Woman, Eric Luke returned to the title to complete his run with four final issues that saw the return of his character Devastation and a battle between Wonder Woman and her protégée Wonder Girl.

            “Devastation Returns” is a three-part adventure wherein Wonder Woman is pitted against Wonder Girl as part of Devastation’s twisted machinations. As is usual for the beginning of a Wonder Woman story written by Luke, the Amazing Amazon spends part of her time reflecting on her life. By now, her constant assertions that she is lonely have become tedious and unnecessary. His handling of Wonder Woman seems to have become shakier and Devastation is written more comically this time around, making her more of a parody than a menacing villain. Likewise, his Wonder Girl grows increasingly more irritating with each panel she’s present in. There is promise in the premise here - unable to best Wonder Woman directly, Devastation tricks Wonder Girl into fighting Wonder Woman. Unfortunately, there isn’t enough of a set-up present to properly establish the conflict between Wonder Woman and Wonder Girl. As such, the arc feels terribly rushed and like very little thought went into it. There should have been more effort spent into showing Devastation's manipulation of Cassie and of making the reader aware of these intentions. Similarly, its ending is forced through the deus ex machina that is Wonder Woman's Dome. It's a bit eye-roll worthy. Following this, Luke’s run concludes with a one-off issue that sees Wonder Woman deciding to return to living among mortals after living above them in an alien satellite for several issues. She establishes an embassy where she promises to interact more fully with the people she is sworn to protect. It's a decent story but it focuses far too much on Wonder Woman's Dome technology that she acquired from aliens a few years back. The issue just tries to do too much, too soon.

            Once more, Matthew Clark teamed up with Luke for his concluding run as the artist responsible for drawing the Amazing Amazon. While he had been making an improvement with previous issues, Clark’s pencils here are messy and busy. His attempt to capture detail is murky and none of the women he draws look particularly attractive in this arc. Sergio Cariello is a guest-penciller in issue #158 and provides much more captivating imagery. His figures are lithe and athletic. He also draws beautiful, expressive faces. Unfortunately, Wonder Woman is spilling out of her top, distracting the reader from the fact that Cariello has talent as an artist.

            These issues are an abrupt and disappointing conclusion to an otherwise interesting run on Wonder Woman. Luke had been hitting his stride with previous issues but stumbled with these four. The story showed promise but there wasn’t enough time spent nursing the narrative in order for it to grow.

Grade: D+

Review: Killer Frost, Injustice - Gods Among Us

            To some, the inclusion of DC Comics villainess Killer Frost in Injustice: Gods Among Us was a bit of a head-scratcher. Though she may be remembered for appearances she’s made in cartoons, the character has always been strictly D-list in the comics. Nevertheless, she’s a character who can translate well to a fighting game if given the right gameplay. Unfortunately, Killer Frost becomes the video game equivalent to a peg-warmer in Injustice.

            NetherRealm has had a lot of time to perfect the fighting style of a character that uses ice as a power with Sub-Zero from their flagship game Mortal Kombat and yet they didn’t seem to put that to practice with Killer Frost. Frost’s gameplay depends entirely on the user’s capability to create and utilize her ice attacks. She is able to freeze enemies and create ice daggers and swords. This is vaguely reminiscent of Sub-Zero’s moveset but somehow feels subpar in comparison. Her list of moves seems hopelessly small since her fighting style leaves little room for her user to improvise. Further more, Killer Frost’s ruthlessness only vaguely comes across in her super move where she summons a rather nasty ice trap for her opponent. Still, more work should have been done on her character. The original Killer Frost was motivated to absorb heat from others to sustain herself so why not base an attack around that? She’s a character with a lot of potential but it was sadly not fully realized.

            As with most of the females and the majority of the villains in the game, Killer Frost is but an accessory to the narrative. She crops up here and there as an opponent to fight in the story mode but no time is spent attempting to give her motive or any spotlight. Visually, her default look is based entirely off of the Louise Lincoln version of the character and features her in a nicely designed blue bodice with matching glovelets and boots with fur trim. Her alternate is more punk-inspired as it involves a rather cool looking mohawk (pun intended).

            The decision to include Killer Frost in Injustice: Gods Among Us is a bit of a disappointment. While it’s nice to include lesser known characters, it’s also best to include as many A-listers as you can. As such, some of DC Comics’ most devastatingly deceptive villainesses are left out of the game. Wonder Woman’s nemeses Cheetah and Circe aren’t included while Poison Ivy seems unfairly left out since Catwoman and Harley Quinn are in the game. Arguably, Star Sapphire also would have made a more valuable contribution than Killer Frost has. That said, Killer Frost is far from being the worst fighter in the game. She may be the least interesting of the women but she’s leaps and bounds more useful than a slow poke like Bane or dullard like Cyborg.

Grade: C+

Review: Wonder Woman v2 #151-152

            Continuing his run of solid stories on Wonder Woman’s title, Eric Luke reinvented the Golden Age villain Doctor Poison as a new nemesis for Wonder Woman to battle in the two-part “The Pandora Virus” storyline.

            Using the blood of a mysterious donor, Doctor Poison creates a virus that transforms men into living myths, leaving Wonder Woman and Rama (the Amazon Princess' new partner in crime fighting) to stop her. The diabolical Doctor Poison is introduced as the grand-daughter of the original and is so menacing in her appearance that she gives the Joker a run for his money. She is a unique villain and fills out the ranks of Wonder Woman’s rogue’s gallery quite nicely. Rama returns as a supporting character from his previous appearances and is presented as a pseudo-love interest and confidant for Wonder Woman. The two characters have quite a bit in common but the hastening of their relationship feels forced. Nevertheless, the battles waged in these two issues are spectacular and Luke continues to impress with his writing of Wonder Woman. He also works at setting up a future conflict with the presence of a mysterious villain enabling Doctor Poison's experiments that works in favour of this story in that it gives it purpose and direction.

            The art chores for these two issues fall onto Matthew Clark. His grittier style works well in rendering Doctor Poison and he seems to be improving on illustrating Wonder Woman. He also shows off a rather remarkable ability to draw a spider monster so chilling it makes your skin crawl just looking at it. Clark effectively draws the mystery orchestrator as well prior to the reveal via shadows. Adam Hughes' covers continue to be amazing too and seemingly outdoes himself with the covers for this arc.

            With his run, Eric Luke proves himself to be a capable writer who truly understands Wonder Woman’s character. “The Pandora Virus” is a concise two-parter that is obviously filler but miraculously furthers overarching plots. Doctor Poison makes for an eerie enemy and she is proof that Wonder Woman has a fantastic base of villains that are just as good as Batman's or maybe even better than his. The effort made to give Wonder Woman an interesting love interest is duly noted as well but his abrupt departure at the conclusion of the arc is disappointing. While not as spectacular as previous issues, Luke and Clark tell a great story here.

Grade: B-