Review: Red Hood and the Outlaws Volume 1 - Redemption

When the ancient mystics known as the All Caste are struck down, it's up to Red Hood to find the assassins responsible for murdering his former mentors. With the alien princess Starfire and the down-and-out archer Arsenal by his side, he must travel the globe piecing together the mystery of the fall of the All Caste.

Red Hood and the Outlaws Volume 1: Redemption collects Red Hood and the Outlaws #1-7, written by Scott Lobdell with art by Kenneth Rocafort.

As one of the launch titles for DC Comics' The New 52 initiative, Red Hood and the Outlaws was a brash and ambitious series that birthed one of the most unusual trios in the world of comic books. The chemistry between Red Hood, Arsenal and Starfire is electric, which makes them very familial in their interactions. The sibling-like in-fighting between Red Hood and Arsenal is hilarious, while Starfire's teasing of Arsenal is sure to make quite a few readers snicker. Beyond the humour, there's also a heart to this team. They're loyal to one another and are so close since they're all each other has.

Scott Lobdell does a great job writing this book. It's fast-paced, features plenty of character development and offers a 007-esque globe-trotting adventure. In fact, it's quite reminiscent of Gail Simone's first run on Birds of Prey. The exposition is minimal, but essential. We're thrown into this series without much explanation of who these characters are and why they're here. Lobdell fills in the holes as best he can, often through flashbacks or references in dialogue. This helps in keeping the focus on the primary story, which is actually really interesting. Lobdell offers us a world of ancient mystics, assassins and aliens, which blends the world of science fiction and fantasy together in one brilliant package. It's a testament to the writing that by the end of this first arc, I wanted to know more about the All Caste and the Untitled.

Kenneth Rocafort is quite possibly the superstar of this book. His art is so vibrant and full of colour, with expressive characters and intense action. He really knows how to compose all kinds of scenes and conveys body language impeccably well. I'm also particularly obsessed with this take on Starfire. Rocafort captures her essence in a way many other artists have not. He knows how to style her out of costume and draws her hair so magnificently that you're left staring at it long after you've finished reading the dialogue.

While on the subject of Starfire, it's nearly impossible to review this collection without acknowledging the controversy surrounding this series and the apparent sexist treatment of the character. In the first issue, there is a spread where she steps onto the beach wearing a minuscule bikini and the art lingers a little too much on her breasts and behind. Moments later she has sex with Arsenal, just hours after meeting him. Starfire's appearance and actions sparked a firestorm of controversy, with many calling her a "slut" and shaming Lobdell for treating her in such a way. 

For longtime readers, this treatment of Starfire was nothing new. She'd been dressed in scantily-clad costumes for decades and had been sexualized so heavily that there were occasional post-coital scenes involving Starfire and Nightwing. Yes, the bikini shots were admittedly gratuitous, but the scene does take place on the beach and she's a character who sustains herself by absorbing solar energy. Is she supposed to wear a nun's habit? 

The controversy points towards people's tendency to "slut shame" women who defy the accepted norms of sexual propriety. After all, no one was making a stink over the fact that Arsenal slept with her after just meeting her. Why is it okay for a man to have sex with a woman hours after meeting her, but it's not okay for a woman to do the same? These ridiculous double-standards are exactly why Starfire is such an important, but divisive, character. She is an alien to this world and does not adhere to the societal rules that have been placed on humans. We see this not only with her sexuality, but also with her aggressiveness and desire to kill enemies instead of locking them up in jail.

Thankfully, Lobdell addresses all of these concerns and redeems himself in issue #6, which recounts the first meeting of Red Hood and Starfire. When Red Hood becomes agitated over seeing Nightwing's costumes in Starfire's ship, she makes a very profound statement that proves just how far she's come as a character. She says, "I'm aware that if I ever needed anything beyond myself to validate my existence, then I would already be giving away my power to be self-defining. […] I do not define myself by the men I have known… or by their clothes." This is a brilliant piece of dialogue, as it takes aim at the previous depictions of Starfire and at the critics of Lobdell's writing. For decades, Starfire was defined by her relationship with Nightwing and it became the sole focus of her character, even when it veered into emotional abusive territory. Many also judged her solely based on what she wore (or what she didn't). Here we have her saying that she does not define herself by her relationships or by what she wears, to do so would take away her power and sense of self. That's deep.

(As a side note, for all the bitching regarding Starfire's sexualization, it's worth mentioning that Red Hood spends much of issue #6 wearing nothing but leaves covering his crotch.)

Redemption is a brilliant start to one of the most memorable team books in recent comic book history. This is a trio that works well together and has a family dynamic that makes them easy to relate to. The book is fun, quick-witted and is brimming with pulse-pounding action. It also helps that it has some of the most stunning artwork around. As far as the New 52 is concerned, this was truly one of the best launch titles and continues to stand as one of my personal favourites.

Rating: A-

Review: X-Men Volume 2 - Muertas

Having defeated the technological menace known as Arkea, the X-Men must now face the threat of a newly regrouped Sisterhood of Mutants. The membership has changed, but the Sisterhood is still as dangerous as ever. With the added muscle (and sass) of Monet St. Croix in the X-Men, they may have just what they need to bring these femmes fatales down.

X-Men Volume 2: Muertas collects issues #7-12 of X-Men, written by Brian Wood with art by Terry Dodson and Kris Anka.

Muertas has all the makings of an incredible action-adventure. It's got high octane action, exotic locales and deadly villains. It also makes use of its small cast in order to give equal panel time to its leading ladies. Additionally, Terry Dodson and Kris Anka's exceptional art makes this a wild ride full of colour and expressive characters. If we were speaking exclusively of the art, this would easily be one of the best looking books released in recent years.

Tragically, disappointment sets in quite early due to poor execution of the narrative and character development. Much of this is sadly due to the haphazard writing of the villains. Ana Cortes, the new Lady Deathstrike, is given a stunning look that pops off of the page. It's something new and fresh that helps to add interest to a moniker that has become synonymous with Wolverine. Unfortunately, Cortes is not created as a new Lady Deathstrike, but rather as a host for the old one. For some strange reason, she's been injecting herself with the consciousness of Yuriko Oyama. This completely undermines any potential Cortes has and lessens the impact she has as a villain. If that weren't enough, her motivations really aren't expanded on in any way that fleshes her out.

The line-up and treatment for the rest of the Sisterhood is also equally as problematic. Typhoid Mary was a brilliant addition and she serves as one of the standout characters in this volume, but Enchantress makes little to no sense in context with the story. Surely they could have gone with someone with more of a connection to the X-Men. It'd be one thing if Dazzler were in this book, but she's not. Like Typhoid Mary, Selene and Madelyne Pryor are perfectly suited to this team. Sadly, neither character is actually utilized in any way that makes sense. These are two of the X-Men's deadliest enemies, so you feel shortchanged when there aren't any substantial action scenes involving them.

The X-Men are not exempt from Wood's inconsistent writing either. The same problems that arose in the first volume are present here again. Namely, Rachel adding absolutely nothing worthwhile to the book and Storm being characterized as little more than a generic leader. Thankfully, Wood builds on Psylocke's character. He's gotten a firmer grasp on her voice, making her interactions some of the most memorable in this collection. Another standout is Monet St. Croix. As one of my personal favourite characters, Monet has been underrated for way too long, so it's no surprise that I couldn't be happier about her being added to the X-Men in this volume. She's fierce and she's funny, but most importantly, she kicks more ass than any other character.

To put it bluntly, Muertas is a mess. The Sisterhood are vastly underutilized, the character development of the X-Men is subpar and the execution is disappointingly underwhelming. This is a book with an absolutely fantastic cast and there are so many great plot points, but this potential is never truly tapped into. If that weren't enough, Muertas is very dense and hard to understand when it comes to its accessibility. It's full of characters who receive zero exposition or explanation, which means only the most avid X-Men fan will be able to fully contextualize the characters in this arc. I've read so many X-Men comics over the years and, admittedly, even I was quite lost at times. In comparison to Matt Fraction's original Sisterhood arc, this is a major letdown. With a star-studded cast and A-list artists, this book should have been amazing, instead it's just middling.

Rating: C

Review: Power Rangers in Space

Favourite Ranger: Ashley Hammond, the Yellow Space Ranger

Favourite Villain: Astronema

Favourite Episode: "Countdown to Destruction" (Parts I & II)

Least Favourite Ranger: Zhane, the Silver Space Ranger

Least Favourite Villain: Darkonda

Least Favourite Episode: "Grandma Matchmaker"

When Zordon is captured by the united forces of the nefarious Dark Specter, the Power Rangers venture off into space in search of their mentor. They quickly join forces with Andros, a rebel who fights against the femme fatale Astronema while searching for his long lost sister. Together, Andros and the other Power Rangers form a new team dedicated to bringing down the universe's most dangerous evil organization.

After the campiness of Turbo, Power Rangers in Space is a refreshing return to action-packed adventure and character-driven narratives. It is cohesive in its tone and focuses on delivering story arcs, making it decidedly one of the more well-written entries into the franchise. Andros' search for his sister grounds this series and provides a reason for viewers to root for the Rangers beyond the "good vs. evil" cliché. This also helps to improve our reception of Andros as a character. Unlike previous Red Rangers, he is flawed and is more of a lone wolf. He's not a natural leader, but he's got a good heart. This makes him one of the more multi-faceted characters in the franchise.

Much like Andros, the villainous Astronema is portrayed as a complex character that we can sympathize with. Previously, the Rangers' antagonists have been fairly one-note and typically don't have much in the way of a backstory. From the overbearing Rita Repulsa to the campy Divatox, the villains have traditionally been evil "just because." Astronema's motivations are much more complicated and she's given a history that is presented to the audience as a puzzle that we must piece together. The mystery of her origins, paired with her affection for the Silver Ranger, make her fascination to watch. She's certainly one of the more vicious villains the franchise has had, but she's also the one we can empathize the most with.

One of the biggest complaints I had towards Turbo was the blandness of the "new" Rangers Cassie, TJ, Carlos and Ashley. Thankfully, they come into their own in Space. We get to see Cassie's feisty personality, TJ's skills as a brilliant strategist and Carlos' headstrong attitude. Most interesting, however, is Ashley's crush on Andros. What starts out as a subtle affection turns into a rather sweet relationship. Unfortunately, it's not handled as well as it could have been. The progress of their relationship inevitably takes a backseat to the conflicts with Dark Specter and Astronema, which prevents the couple from becoming a true rival to the fan-favourite Kimberly and Tommy pairing. Still, it is through Ashley's love for Andros that we see her heart and passion shine through. 

Power Rangers in Space is one of the most addictive entries into the Power Rangers franchise. Its relatively small cast of characters and use of recurring storylines make for one of the tightest narratives the franchise has ever had. It takes risks and presents itself as a bold mix between Star Trek and just about every daytime soap opera. The Rangers are flawed, but likeable, while the villains are much more complex in their characterization. There's really very little to complain about when there were only a couple of stinker episodes out of a 43 episode run.

Review: Injustice - Gods Among Us Vol. 2

As Superman's crusade to end terror picks up traction, the world's greatest heroes flock to his side in a show of support for his aggressive stance against supervillains. But not everyone is happy with the Man of Steel's new initiative. 

Batman and a small group of insurgents are eager to undermine Superman's efforts. They're willing to do whatever it takes to make him see the error in his ways, but can only do so if Batman lays all his cards on the table. Can the famously secretive Dark Knight let them in?

In this volume, Tom Taylor continues his electric run on this comic book prequel to the best-selling video game Injustice: Gods Among Us, delivering action galore and plenty of character development. 

Tragically, some of the issues I had in the first volume are still present. He fails to understand the complexities of Wonder Woman's character and paints her as a manipulative Lady Macbeth, who pushes Superman towards villainy. Her thirst for violence is sure to make any Wonder Woman fan uncomfortable. This is not the Diana we all know and love. By the end of this volume, you're left only with antipathy towards her.

Comparatively speaking, it's much easier to understand why and how Superman is turning towards despotism. He's lost so much and is fearful of losing what little he has left. Taylor takes the time to flesh out his character and, for better or worse, it's necessary for Superman to play the role of the antagonist. The same cannot be said for Wonder Woman.

Despite my rather low opinion of Taylor's treatment of Wonder Woman, I must say that he's spot-on with just about everything else. While the story itself owes a lot to Kingdom Come, it's his knack for writing compelling dialogue that makes reading Injustice: Gods Among Us so exciting. 

The scenes between Batman and Catwoman are among some of the best in this collection, as they show a tender side to both the Dark Knight and the Feline Fatale. Catwoman may be a thief, but being heroic seems to come naturally to her. As such, it's truly fascinating to see her in a role where she is essentially Batman's righthand. It's a clever juxtaposition, as Taylor posits her and Batman as the doubles for Superman and Wonder Woman. What's especially brilliant is how the former typically represent the darkness, whereas the latter represent the light, but it's reversed in this particular story.

However, the real scene stealers in Injustice are Green Arrow and Black Canary. Their banter is sheer perfection. It's funny, it's sexy, it's playful and it's totally on point for this pairing. While I may not be the biggest fan of them as a couple, Taylor really makes me love them here. Black Canary never takes Green Arrow too seriously and consistently keeps him on his toes, something which adds a punch of colour to an otherwise ominously dark storyline. 

Beyond all of that, they also serve a very special function. They are a couple we can invest in and relate to, thus becoming the emotional core of this particular part in the narrative. They get caught in the crosshairs in the battle between Batman and Superman, which ultimately leads to a shocking (not so shocking if you played the game) and gut-wrenching death. Taylor writes this so beautifully and tragically that you can't help but feel moved by it.

As much as I'd like to criticize Injustice: Gods Among Us for its characterization of Wonder Woman, it's hard for me not to get sucked into the overall story. Taylor expertly crafts a compelling narrative that elicits an emotional response from his readers. Yes, Superman and Wonder Woman are incredibly arrogant and are completely unlikeable, but that only makes it that much more satisfying when they finally get their comeuppance. The ultimate battle between Batman and Superman makes all of the nitpicks melt away, especially given the surprise twist at the end. 

Injustice: Gods Among Us is like a good popcorn blockbuster. It's action-packed, full of incredible fight scenes and enough explosions to put a Michael Bay movie to shame, but it's got a heart and soul that will keep readers invested.

Rating: B+

Review: Sword of Sorcery Vol. 1 - Amethyst

On her 17th birthday, disaffected teenager Amy Winston is transported to the fantastical world of Nilaa. Upon learning that she is actually Princess Amaya, the heir apparent to the throne of the House Amethyst, she is thrust into the middle of a massive power struggle between kingdoms. Armed with her newfound mystical abilities, Amaya is determined to bring peace to her native land.

Sword of Sorcery Volume 1: Amethyst collects Sword of Sorcery: Amethyst issues #0-8, with additional material from DC Universe Presents, written by Christy Marx and illustrated by Aaron Lopresti.

Amethyst is an obscure character from the early-'80s, created as a sword and sorcery heroine for younger audiences. Pre-dating the likes of She-Ra and Princess Gwenevere by several years, this warrior princess starred in several self-titled series before disappearing into the annals of history. Thankfully, she would be resurrected and re-imagined for DC Comics' The New 52 initiative.

In this 2012 update, Amethyst is presented as a punk-lite teenager whose mother spirited her away to Earth when she was still an infant, as a way of protecting her from those who wished to harm her back in the realm of Nilaa. Though perhaps not as family-friendly as her earlier incarnation, Princess Amaya is portrayed as a strong and independent character who readers can root for.

It's very difficult to find faults in Marx's run on Sword of Sorcery. Princess Amaya is relatable, the dialogue is punchy and the art is glorious. Marx does an incredible job of building a universe for her readers, positing Amaya as the gateway for the reader's comprehension of the mythology of this world. As a fan of She-Ra: Princess of Power, this felt like a beautiful sister series that would be well-suited to being adapted as a cartoon for children. The comparisons are inevitable, but the concept of a web of gem-themed kingdoms is brilliant and allows for a lot of colourful character designs. The notion that each house has its own set of abilities is something that is tried-and-true as well. Since the series was cancelled after its first arc, it's actually very disappointing that we never get to see to all of the kingdoms and their champions.

Beyond Marx's strength in world building (something that is all too important in fantasy writing), she excels at making us care for the characters she writes. As mentioned before, Amaya is a relatable character that the readers can root for. It's equally as easy to care for the rebellious Princess Ingvie and the upright Prince Hadran, as well as loathing the chauvinist Prince Zushan. There are also some surprising guest spots too, notably the morally questionable mage Constantine, which was no doubt necessitated by Amaya's guest spot in Justice League Dark. More impressively, perhaps, is the inclusion of longtime Justice League baddie Eclipso. Marx gives him a new backstory, linking him to Nilaa, and it couldn't be more impressive. As a mystically empowered villain, he is much more effective and is easier to take seriously as a threat. For the most part, I've found Eclipso poorly executed in the past, so I have to give props to Marx for writing him as well as she did.

The writing isn't the only thing that makes Sword of Sorcery so praise-worthy. For anyone who read Gail Simone's run on Wonder Woman, they'll know that Aaron Lopestri can draw fantasy-oriented worlds impeccably well. His attention to detail is masterful and he is truly talented at depicting a wide variety of body types and ages. Not all the characters are svelte and attractive, but when they are they look downright drool-worthy. Still, I can't help but feel some of his designs could have been stronger. Of course, this could just be my own desire for the characters to look like they stepped out of She-Ra: Princess of Power. Still, he deserves plenty of praise for his costume design for Amaya. It's absolutely stunning and totally badass (not to mention age-appropriate).

It's a tragedy that Sword of Sorcery was cancelled after its first arc. It's smart, funny and brimming with potential. It's a shame that this book never quite found a strong enough readership to keep it running, especially since it ends on a slight cliffhanger. Nevertheless, Sword of Sorcery can still be considered one of the better offerings from the New 52 and proves that DC Comics continues to excel at creating female-led titles (even if they get canned before their time).

RATING: A-

Review: Injustice - Gods Among Us Vol. 1

When the Joker manipulates Superman into murdering his wife Lois Lane and their unborn child, the Man of Steel vows to rid the world of villainy for good. This quest leads Superman astray as he veers away from heroism and towards tyranny, while his one-time ally Batman builds a rebellion to stop him.

Injustice: Gods Among Us chronicles the events leading up to the bestselling video game of the same name. Written by Tom Taylor, this collection caters to both fans of the seminal fighting game and of the comics.

When Injustice: Gods Among Us hit shelves in the spring of 2013, it opened to rave reviews and proved that DC Comics' pantheon of superheroes make for compelling video game fighters. The narrative used in the games explored a reality where Superman goes off the rails and becomes the dictatorial ruler of Earth. Sadly, this plot is not unfamiliar to longtime fans. We've seen it before in the cartoon Justice League, with the character Ultraman and it also borrowed from the iconic Kingdom Come. That's why it must have been a daunting task for Tom Taylor to come along and write a compelling story that doesn't feel reductive of what's been done before.

While the individual elements of the story may not be wholly original, Taylor's emotional approach to the material gives the reader the ability to sympathize with the characters. The death of Lois Lane and the destruction of Metropolis hits Superman hard, so hard that it should be enough to affect the reader. It's not difficult to feel the same emotions Superman is feeling, particularly his rage towards the Joker. That's why his murder of the Joker is both terrifying and satisfying. We're seeing the degradation of Superman through an event that many have called for over the years. After all, how many have died at the hands of the Joker? This is what makes Taylor's writing so compelling. He's determined to lead with characterization and works well within the themes woven into the material.

While it's easy to sympathize with Superman, Taylor's approach to all of the characters isn't as worthy of praise. His characterization of Wonder Woman as a hyper-aggressive bloodthirsty warrior who seems eager to push Superman towards tyranny is as confusing as it is distasteful. Fans of the Amazing Amazon will be left scratching their head and wondering why such a usually pleasant heroine is now a hair's width away from being a supervillain. She is perhaps at her most unlikeable during a sequence in which she attacks Aquaman (mostly) unprovoked.

Wonder Woman is not the only flaw in Taylor's writing. There are a lot of characters present and not all of them add something extra to the story. The Justice League come across as fairly generic as they mindlessly go along with Superman's plans, though Taylor does eventually redeem himself with the Flash during a rather memorable sequence in which he realizes what's gone wrong. At the same time, I'd be lying if I said it wasn't actually pretty great to see cameos from characters that never appeared in the games. Notably, we see Cheetah, Batwoman, Black Lightning, Huntress and Black Canary.

Injustice: Gods Among Us is just as much about the degradation of Superman as it is about how some of Earth's heroes rise to the occasion of fighting oppression, even when that oppression comes from Earth's greatest heroes. It should be no surprise that Batman is posited as the hero of the story, but what is surprising is just how well Catwoman comes across. Her dialogue with Superman points out some serious flaws with his view on crime, while her alliance with Batman is handled really well. Another character that Taylor helped to shine was Harley Quinn. Though she does very little within the narrative, her dialogue is punchy and zany, which is perfect for her persona.

For fans of Injustice: Gods Among Us, this collection will be a treat as it fills in the blanks rather well when it comes to what is left out during the game's story mode. Taylor's writing is on point, despite his questionable characterization of Wonder Woman, and the art is gorgeous at its most consistent. Even those with only a little working knowledge of these characters will be able to follow the story, making this graphic novel extremely accessible to newer readers, especially those who are only familiar with DC Comics' adaptations.

RATING: B+