Review: Wedding Peach (Manga)

When ordinary schoolgirl Momoko Hanasaki is attacked by a demon, she is saved by a mysterious angel named Limone and is gifted magical powers. She, along with her friends Yuri Tanima and Hinagiku Tamano, learn that they are the mythical Love Angels and that they must find the Sacred Four Somethings in order to defeat the maniacal Reine Devila.

Wedding Peach is a six volume shōjo manga series written by Sukehiro Tomita and illustrated by Nao Yazawa.

Originally published in 1994 during the height of Pretty Guardian Sailor Moon’s popularity, Wedding Peach is a magical girl series that is often (unfavourably) compared to its iconic predecessor. Much like in Sailor Moon, its lead characters use magical items to transform into warriors of love and whose goal is to seek out legendary artifacts. Further similarities exist in its themes and the concept of past lives ruined by an evil queen. That said, Wedding Peach manages to hold its own against its forerunner. It proves itself to be a heart-warming series about the inexhaustible power of love and the ultimate triumph over evil.

Wedding Peach focuses on a trio of likeable characters – Momoko, Yuri and Hinagiku – as they navigate through their first experiences with love on top of having to fight the forces of evil as Love Angels. In this respect, there is a surplus of character development. As readers, we quickly understand who these characters are even in the broad strokes that are initially used to paint them. Momoko is the scatterbrained leader, Yuri is the soft-spoken and elegant one, and Hinagiku is the impulsive tomboy. We’re able to see the characters grow through their relationships, especially with Hinagiku and her increasing feelings for her childhood friend Takuro. Even still, much of the attention is squarely placed on Momoko. There’s poignancy to her family life, particularly in how her loneliness and forced independence is acknowledged through the absence of a maternal figure in her life. There’s also the complex relationship she has with the soccer player Yousuke, who goes from being a total lout to being a sweet guy who genuinely cares for her.

Wedding Peach has its fair share of shortcomings. Despite being immersed in a world where angels must protect their heavenly realm from the invading forces of demons, this series is remarkably light on world building and on developing its own mythology. Yazawa and Tomita borrow from Christian and Greek lore, juxtaposing it further with traditions from wedding ceremonies, but do little to elaborate on anything. The first few volumes of this series work nicely and unfold an engaging plot, but things begin to fall off the rails by the fifth volume. A fourth Love Angel is introduced, Angel Salvia, but her personality is extremely aggressive and there’s very little to like about her. Her introduction also leads into a random, but welcomingly unexpected, plot twist about Yousuke. Sadly, the series is abruptly wrapped up before the team behind Wedding Peach can execute anything worthwhile with these revelations. This also means that the conclusion to the series feels tacked on and wholly anticlimactic. The final battle against the Big Bad Reine Devila is depressingly underwhelming.

Wedding Peach is unlikely to ever crawl out from under the shadow of its more famous antecedent Sailor Moon, especially since the latter became a media juggernaut and whose manga series remains a sweeping epic with elaborate mythologies and multi-dimensional characters. Wedding Peach is a satisfying, but somewhat disposable, read. The action sequences are well done and the adherence to the wedding motif is thankfully kept to a bit of a minimum, instead opting to focus on character development and the fight against the forces of Reine Devila. As a whole, what makes Wedding Peach fun to read is its colourful cast of characters who are easy to relate to and its overall youthful tone. However, it fails to build an immersive world, provide necessary backstories and motivations to its villains, and never quite settles on a cohesive narrative that has a distinct sense of direction.

RATING: C+

Review: Power Rangers Time Force

In the 30^th century, an elite squadron known as Time Force is tasked with apprehending mutant criminals. Ransik, the leader of the mutants, escapes his captivity and kills the Red Time Force Ranger Alex before fleeing to the year 2001. Alex’s fiancée Jen and her three comrades in Time Force follow Ransik to the 21^st century in order to re-capture Ransik and get justice for Alex’s death. There they meet one of Alex’s ancestors and together they form the new Time Force Rangers.

Power Rangers Time Force is the ninth entry in the Power Rangers franchise. It stars Jason Faunt, Erin Cahill, Kevin Kleinberg, Deborah Estelle Phillips, Michael Copon, Vernon Wells and Kate Shelton.

Time Force is often regarded as one of the best seasons of Power Rangers and it’s certainly not hard to see why. It is a series with a strong, cohesive message and a cast of distinctive characters that audiences can invest in. It’s lighter on filler as well in comparison to many of its predecessors, which helps to maintain the focus on its central themes. Time Force is largely interested in exploring topics such as fate and independence, the consequences of time travel, the conflicts between classes, and racism. This adds depth to the series and gives it a sense of maturity that most other Power Rangers entries lacked. Though Time Force often deals with its themes implicitly or in a cursory manner, it’s hard to deny their impact or their resonance.

One of my most pressing criticisms of the post-Mighty Morphin seasons has been inconsistent character development – both on the protagonist and antagonist side. Despite the fact that Power Rangers is formulated as an ensemble-style franchise, it isn’t uncommon for many of the Rangers to go undeveloped. For instance, in Time Force’s predecessor Power Rangers Lightspeed Rescue, Chad remained a blank canvas throughout the entire season. Miraculously, this criticism is not relevant to Time Force. All five members of the Ranger team are given distinctive personalities and roles within the cast. They have their own quirks as well, which are explored through character-focused episodes or through general interactions between the characters. Jen is the tough leader, Katie is the muscle (who just so happens to love musicals), Trip is the awkward genius, Lucas is the charismatic flirt and Wes is the glue that holds the team together. In fact, when the Lightspeed Rescue Rangers appear for a crossover it was pretty evident just how forgettable they were as a group when compared to the Time Force Rangers.

The cabal of villains in Time Force is kept to a smaller number, which works in the show’s favour. There’s the maniacal Ransik, his vapid daughter Nadira, the bumbling Gluto and the tragic Frax. It’s actually quite refreshing to see a season of Power Rangers where the show isn’t cluttered with generic henchmen. Though they’re still portrayed in a comedic light, Ransik’s group seems far more dangerous than previous villains were and yet are somehow remarkably relatable. Time Force’s engagement with themes of racism and alienation are crucial to the narratives surrounding Ransik. The fear and hate between humans and mutants feels very much like it’s been lifted out of the X-Men, but still manages to get its point across. The three part finale drives this home when Nadira’s views towards humans begin to shift and she questions whether her father’s actions are justified. This was a twist I enjoyed tremendously, especially since it was reminiscent of the tortured Andromeda’s conflicted villainy. However, it was a shift that was abrupt and could have easily been hinted at far earlier in the series. After all, up until that point, Nadira was little more than an annoying spoiled brat. The hypocrisy in Ransik’s treatment towards robots, especially his cruelty towards Frax, further complicates his character.

There are several memorable episodes from Time Force. Episodes like “Jen’s Revenge,” “Future Unknown” and “Uniquely Trip” stand out due to their focus on character development. These episodes help to flesh out the Rangers and give audiences the chance to really understand their motivations. They’re also crucial to emphasizing the tangible chemistry that exists between them. Time Force is even more impressive when it is narrative-driven and works towards its overarching plots. “The Quantum Quest” and the two-part “Clash for Control” are examples of this. This cluster of episodes introduces the Quantum Ranger and explores his pursuit for ultimate power, placing him in direct conflict with not only the mutants but the Time Force Rangers as well. There’s also the playful and incredibly creative two-part “Movie Madness,” which sees the Rangers wearing some rather nifty get-ups while they’re trapped in film dimensions. The best set of episodes though goes to the three-part finale “The End of Time.” It’s fast-paced and packed full of poignant moments. It’s quite possibly one of the best finales there has been in Power Rangers history up until that point.

While it may have its share of issues, Power Rangers Time Force is one of the strongest entries in the Power Rangers franchise. It’s got the right mix of drama and comedy, pushing the boundaries of what it typically regarded as a kid’s program. The Rangers are relatable, the villains are multi-dimensional and the narrative itself allows its characters to grow and learn from their mistakes throughout the season. For those looking for something that matches (and possibly exceeds) the quality of Mighty Morphin Power Rangers or Power Rangers in Space, Time Force is a safe bet.

Review: Ant-Man Volume 1 - Second-Chance Man

With his life on the downturn, Scott Lang finds himself at a crossroads. After turning down an opportunity to work for Tony Stark, Scott moves to Miami to be closer to his daughter. He starts his own business and hopes to stay away from the superhero problems that plagued him before, but when enemies from his past begin resurfacing it becomes clear that he will never lead a semi-normal life.

Ant-Man Volume 1: Second-Chance Man collects Ant-Man #1-5, written by Nick Spencer and illustrated by Ramon Rosanas and Jordan Boyd.

Second-Chance Man is fun and quirky, offering a more slice-of-life perspective on the world of superheroes. The plot is straightforward and focuses on building not only a world for Ant-Man to exist in, but to develop his character seamlessly. Spencer opts to portray Scott as an everyman, thus emphasizing a distinct difference between him and his Ant-Man predecessor Hank Pym. Scott is a guy who has good intentions and wants to make a difference, but somehow things don’t always seem to work out the way he intends them to. He’s extremely likeable and relatable to the point where the reader is constantly rooting for him to succeed. His relationship with his daughter is touching and it helps to ground his character, making him all the more realistic to readers. The dialogue between he and Cassie is on point. It’s playful, funny and energetic – much like the rest of this trade.

I do have a problem this collection’s relative inaccessibility. Spencer relies heavily on Scott Lang’s earliest adventures as well as the continuity built around the character. For the average person familiar with him only through the films, they’re bound to get lost amongst the plethora of references to his past. Everything from his death in Avengers: Disassembled to Cassie’s super abilities get a nod, though curiously Cassie’s adventures with the Young Avengers and the Mighty Avengers get zero mentions. Luckily, the vast majority of the characters and storylines Spencer either includes or builds on were collected in the trade Ant-Man: Scott Lang. Curious readers may want to give that a read before tackling this collection.

Also in the con column is Spencer’s portrayal of Scott’s ex-wife Peggy. I have the same issue with her that I had with Ellen Baker in Grant Morrison’s Animal Man series. She’s largely one-dimensional and comes across as a shrew or as an obstacle for Scott to overcome. It’s not fair to paint wives and ex-wives within this box, as it often denies them the opportunity to be liked and understood by readers.

Ant-Man: Second Chance Man is a breezy read that perfectly sums up Scott Lang’s character and presents it to readers in a way that is both entertaining and relatable. Issues of accessibility and the shrew-ification of Scott’s ex-wife, this collection has a great cast of characters and a lot of creative action. I love the quirky supporting cast Spencer builds for Scott, as well as the emphasis placed on Scott’s role as a father. By the time you reach the final page of this trade, you realize that Scott is a father first and a hero second. It’s touching and unique. That said, don’t expect anything groundbreaking or universe-shattering in Second-Chance Man. It’s cutesy, but also feels a bit like filler.

RATING: B

Review: Mighty Avengers Volume 3: Original Sin – Not Your Father’s Avengers

Back in 1972, a ragtag group of vigilantes battled the ancient Deathwalkers in a campaign to prevent the apocalypse. Decades later, the Deathwalkers are back and they’ve kidnapped the vampire hunter Blade in order to perform a ritual to put an end to humanity. Luke Cage and his Avengers must uncover secrets from the past in order to save the world.

Mighty Avengers Volume 3: Original Sin – Not Your Father’s Avengers collects issues 11-14 of Mighty Avengers, written by Al Ewing and illustrated by Greg Land and Salvador Larroca.

This volume of Mighty Avengers is told through a combination of flashbacks and present day action. The first couple of issues is set primarily in 1972 and details the adventures of a ragtag band of Avengers as they battle the Deathwalkers. These Avengers reveal themselves to the current ones in order to rescue their one-time teammate Blade from their ancient foes. The second half of this arc kicks off with a rather impressive battle against the mystical Deathwalkers.

Despite being a tie-in to Original Sin, it’s clear that the Mighty Avengers’ conflict with the Deathwalkers had been planned for quite some time. The seeds of this arc had been planted in the first volume and began to grow towards the end of the second. Ewing does a great job fleshing out the ‘70s-set characters in the flashbacks, giving each one a distinctive tone and purpose. Unfortunately, Ewing seems to drop his present-day characters in the process. Spectrum and co. are all but relegated to bit-parts, utilized only marginally in the final fight against the Deathwalkers. This is especially unsatisfying considering how short this arc is (a measly four issues).

Land returns as the primary artist for the first two issues, while Salvador Larroca hops on board for the last two. Neither artist impresses me much. Land continues to offer his familiar style of “realistic” faces and unrealistic body proportions to readers. If I’m being fair, Land does do some decent work here. The male characters look pretty great and the character of Constance Molina doesn’t suffer from his dubious porn face syndrome. Still, there’s a rather deplorable shot of the Bear – a blond-haired female member of the ‘70s Mighty Avengers – where her waist looks to be about ten inches and her breasts a whopping E-cup. Larroca’s art, however, is far worse than Land’s. It’s rough and portrays the characters in a rather harsh light. The musculature of the women is rather disturbing and the faces of just about everyone look overly aggressive. Though Larroca was one a promising artist circa 2001 when he was on X-Treme X-Men, his work since then has been lacking in quality and consistency.

Despite being a relatively fun read, Mighty Avengers Volume 3: Original Sin – Not Your Father’s Avengers lacks the qualities of a good concluding arc for a series. Ewing loses his way early on, largely due to the flashbacks, and never quite manages to pull the focus back to the characters he’d spent 10 issues developing. To make matters worse, the art is inconsistent and often cringe-worthy. There still is quite a bit to like – such as the inclusion of Blade in the cast, the expansion of Power Man’s abilities and the mystical unification of the Avengers that helps defeat the Deathwalkers – but ultimately Ewing failed to pace out his arc well enough. The flashback sequences should have been shortened and the focus should have swung back to the present Mighty Avengers, returning the spotlight to Blue Marvel, Luke Cage et al. Thankfully, Ewing was given the chance to continue his work with Captain America and the Mighty Avengers and The Ultimates.

RATING: C+ 

Review: X-Men - X-Cutioner's Song

When an assassination attempt leaves Professor Xavier in critical condition, the X-Men scramble to find his attacker – their one-time ally Cable – which leads them into conflict with his X-Force team. Then, Cyclops and Jean Grey are kidnapped by the forces of Apocalypse. The X-Men must divide and conquer in order to save the life of their mentor and rescue their captive teammates.

X-Men: X-Cutioner’s Song collects Uncanny X-Men #294-297, X-Factor #84-86, X-Men #14-16, and X-Force #16-18. It is written by Scott Lobdell, Peter David and Fabian Nicieza, with art by Andy Kubert, Greg Capullo, Jae Lee and Brandon Peterson.

X-Cutioner’s Song was the first major X-Men crossover event for Marvel since 1990’s X-Tinction Agenda, the aftermath of which saw the birth of Chris Claremont and Jim Lee’s commercial smash X-Men #1. X-Cutioner’s Song, spearheaded by Nicieza, David and Lobdell, is framed as a trial by fire in the foreword for its hardcover collection. It came at a precarious point in the publishing history of Marvel’s Merry Mutants. The creative forces that had helped usher in a new era of commercial success for Marvel had jumped ship to start their own publishing house, which left the company without their big guns and with a sizeable hit to their stock. X-Cutioner’s Song was thus proposed as a way to maintain interest in the X-Men titles and to prove that Marvel was not hindered in any way by the so called “X-odus” of Jim Lee, Rob Liefeld, Marc Silvestri and Whilce Portacio. Sadly, the desperation is easily felt within the crossover and it remains an example of the excessive storytelling of the 1990s.

To use a term popular with describing today’s crop of X-Men and Marvel Studios films, X-Cutioner’s Song suffers from being overstuffed. Despite a remarkably simple premise, the narrative gets weighed down by the presence of its massive cast. There’s roughly two dozen mutant heroes, plus numerous villains, who are all vying for the attention of the reader. There is certainly a hierarchy to the characters involved. Wolverine, Cable, Bishop, Cannonball and Havok are the unequivocal leads in X-Cutioner’s Song. They carry the story forward, while the rest of the characters act as decoration for fight scenes. Even still, we do get some great moments between Cyclops and Jean Grey, as well as some further character development for Archangel. I’m also impressed by the dialogue written for both Boom Boom and Jubilee, whose sass helps to balance out the otherwise soapy writing.

The pacing of X-Cutioner’s Song is brisk. There’s plenty of action, including a rather memorable fight scene between the X-Men and the Mutant Liberation Front. It’s during these sequences where we actually see the characters shine, particularly due to the punchy one-liners and the collaborations between the members of the X-Men and X-Factor (X-Force is sidelined for much of the crossover, unfortunately). All of the explosions and elaborate displays of mutant powers do a lot to distract from an otherwise thinly plotted storyline.

Most of the issues I have with X-Cutioner’s Song revolve around its lead villain Stryfe. He was created in 1990 as an antagonist for the New Mutants and X-Force. He was portrayed initially as a mysterious masked figure, whose face was later shockingly revealed to be exactly the same as Cable’s. Thus began a debate between who was the “real” Cable. X-Cutioner’s Song provides no concrete example into Stryfe’s true identity or why he’s so bitter towards Cyclops and Jean Grey. By refusing to give readers the answers they need, Stryfe’s motivations remain unclear. Since the narrative never offers exposition or insight into Stryfe’s character, readers will undoubtedly be left feeling lost and with more questions than answers. Furthermore, there are issues regarding his general conception and portrayal. He’s a madman, which is always a riveting trait in a supervillain, but is very cartoonish. From his dialogue to his outlandish armour (complete with faux-nipples), he typifies the ridiculousness of the early-‘90s.

Despite its many (many) shortcomings, this crossover is remarkably entertaining – like a mindless popcorn flick. It’s punchy, exaggerated and dynamic. What makes it all the more enjoyable is the gorgeous art provided by Andy Kubert and Greg Capullo. Their art is distinctive and full of character. Kubert’s style came to define the visual representation of the X-Men in the ‘90s and provided the art for X-Men from 1992 up until 1996, becoming one of the longer running artists to work on Marvel’s Merry Mutants. Given the fact that he was Jim Lee’s successor, he did a remarkable job filling a legend’s shoes. Conversely, Capullo took over for Rob Liefeld in the pages of X-Force. This meant that the book went from being defined by its outrageous fashions and mind-boggling proportions to being one of the most beautifully drawn titles in Marvel’s wheelhouse. Capullo is near-incomparable and his characters are truly gorgeous. His take on Jean Grey is especially stunning and it’s quite possible that she’s never looked better than at his hands. Sadly, the art by Brandon Peterson and Jae Lee isn’t quite as remarkable. Peterson’s style is similar to his predecessor Whilce Portacio. It’s rough and largely unattractive. Jae Lee, meanwhile, suffers from inconsistencies. At times, his art is fluid and expressive while at others it seems rushed and lacks detail. While on the subject of inconsistency, it’s worth noting that there are quite a few visual continuity errors. Notably, costumes look different from one issue to another and Polaris’ jaw strap disappears and re-appears (note: she’s supposed to be wearing one due to suffering a broken jaw in the pages of X-Factor).

All in all, X-Cutioner’s Song serves as a reminder of the often outrageous storytelling that pervaded comic books in the early-‘90s. It certainly has an “everything and the kitchen sink” vibe to it and it never really delivers on its promised focus on Cyclops and Jean Grey (since it spends way too much time on Cable and Wolverine – shocker). Taken from an entertainment standpoint, it’s a fun read. We get to see a whole lot of characters interact and there’s plenty of great art to see. With a better villain, or at least one that’s elaborated on more, and some careful editing, X-Cutioner’s Song could have been a very compelling crossover. As it is, it’s merely just a representation of what typified a rather infamous era in comic book history.

RATING: C+

Review: Chōjin Sentai Jetman (1991)

In the year 199X, the international defense agency Sky Force have developed new technology known as “Birdonic Waves.” Sky Force’s scientists seek to empower an elite group of officials with this incredible power in order to defend the Earth. On the day of the procedure, the villainous Dimensional War Party Vyram attack Sky Force’s facility. During the chaos, the experiment goes awry and the Birdonic Waves are accidentally released into the atmosphere.

With Earth in peril at the hands of the forces of Vyram, Sky Force Commander Aya Odagiri must seek out the civilians on Earth who have been empowered by the escaped Birdonic Waves and lead them into becoming the superheroic Birdman Squadron Jetman.

Chōjin Sentai Jetman is the 15^th entry into the Super Sentai franchise and stars Kotaro Tanaka, Toshihide Wakamatsu, Tomihisa Naruse, Rika Kishida, Sayuri Uchida and Mikko Miki.

Having grown up watching the various incarnations of Power Rangers and having an affection for Japanese pop culture, it took me quite some time before I got around to watching a full series within the Super Sentai franchise. Having heard great things about Chōjin Sentai Jetman, I figured that was as good a place to start as any. Heralded for its darker tone and usage of romantic subplots, Jetman made an excellent first impression on me as a smartly written and well-paced series with a colourful cast. Though it’s prone to melodrama and overacting, as well as some insipid monsters-of-the-week, Jetman has heart and a cast of characters we can root for – both villainous and heroic.

The narrative of Jetman is quite fascinating. The series is set in a vaguely futuristic world where the militaristic Sky Force is Earth’s primary line of defense against the invading forces of the outer-dimensional organization Vyram. The Jetman team, comprised of an official from Sky Force and four civilians, are an elite strike force who works under Sky Force in order to combat Vyram. At 51 episodes, the series has its share of filler. The main storyline is often interrupted by irrelevant, and often inane, episodes that do little to develop the characters or move the plot forward. Thankfully, the writers keep things interesting with their reliance on character-driven subplots. For instance, the love triangle between Gai, Kaori and Ryu, as well as the villains’ constant backstabbing, does wonders to keep viewers engaged. It also helps that the conflicts and monsters within the series are surprisingly quite creepy, which heightens the tension and adds a dimension of horror to the narrative. This further plays into Jetman’s mature tone and darker aesthetic.

Beyond the soapy drama, what is most impressive about Jetman is how distinctive its cast of characters is. Even when slogging through the series filler content, the characters are ultimately what keep the audience watching. Each member of the Jetman squadron is unique and fulfills a specific role within the team dynamic.

Ryu Tendoh is the fearless leader Red Hawk. Since he’s the only official from Sky Force to have been properly imbued with the powers of the Birdonic Waves, he has more training than his teammates and remains a consummate professional. This is contrasted against the team’s second-in-command, Black Condor Gai Yuki. Gai is a motorcycle-riding, cigarette-smoking bad boy who thinks with his fists. Coincidentally, both men become involved in a love triangle with the team’s White Swan – Kaori Rokumeikan. Though initially a vapid spoiled rich girl, Kaori blossoms into an incredible sharpshooter and invaluable member of the Jetman squadron. She pursues Ryu early on, but finds him unreceptive due to his continued grieving over the apparent death of his lover Rie. She thus gives into the affections of Gai, who had been flirting with her for quite some time. Rounding out the team are Raita Oishi, the Yellow Owl, and Ako Hayasaka, the Blue Swallow. The former is a simple farmer from the countryside and the latter is a bubbly (and money-loving) schoolgirl. These five are fleshed out remarkably well over the course of the series, though the most attention is obviously placed on Ryu, Gai and Kaori. Despite this, they’re actually not the most likable bunch. Ryu is bland in his squeaky clean demeanour, while Gai is the embodiment of a douchebag. Kaori fares a little better, but she has her moments of being shrill and annoying.

Oddly enough, the best character in Jetman isn’t even one of the titular heroes – it is Commander Aya Odagiri. She is the real nucleus of the series and is a total badass. She’s the one who pioneered the project that gave the Jetman team their powers, she engineers their technology and gear, and is responsible for reining the team in when they’re being consumed by the drama in their personal lives. Not only that, but she even joins them in the field when necessary. One notable instance sees her piloting one of their mecha in order to combat a monster that had targeted her.

The protagonists of Jetman are not the only noteworthy characters from the series. In fact, much of the success of this entry has to do with how compelling its villains are. The Vyram organization is full of self-serving villains who are constantly trying to one-up each other. Radiguet, Grey and Tranza are in constant conflict with one another, backstabbing and doing whatever it takes to be the true victors in their fight against the Jetman squadron. Stuck in the middle of all of this is Maria – the only female member of Vyram. Maria ends up being a pivotal character in the series and her existence provides a lot of drama within Jetman. Much of this has to do with the fact that she is actually Ryu’s lover Rie, who was believed to have been killed by Vyram. Instead, she was captured by their organization and was brainwashed into becoming a villain. When Ryu learns about this, it sends him into a tailspin. However, the drama doesn’t stop there. Later in the series, the writers develop a twisted love triangle between Radiguet, Maria and Grey. This serves as a plot device that mirrors, in a very weird and dark way, the Gai, Kaori and Ryu romantic subplot.

Overall, Chōjin Sentai Jetman proved to be an enjoyable and entertaining series that combined elements of melodrama with zany comedy. It’s understandably quite cheesy and the acting isn’t particularly great, but the characters are lovable for the most part and the action is well done. Since the series was produced in 1991, its budget and the effects of that time could only go so far. As such, it’s quite dated and is often laughable at some points. For anyone who is a fan of the Power Rangers franchise, I highly recommend giving Jetman a watch. Since it was my first Super Sentai series, Jetman has only left me wanting to view more.

RATING: B+

Review: Mighty Avengers Volume 2 - Family Bonding

While Luke Cage and Jessica Jones are busy moving into their new apartment, the Falcon stumbles upon a criminal operation run by Gideon Mace. Mace was responsible for murdering fellow Avenger White Tiger’s family and this discovery leads to her pursuit of bloody vengeance against the crime boss. Then, Spectrum and She-Hulk accompany Blue Marvel on a mission to prevent a mad scientist from opening an interdimensional portal on Earth.

Mighty Avengers Volume 2: Family Bonding collects Mighty Avengers #6-10, written by Al Ewing and illustrated by Valerio Schiti.

Family Bonding is comprised of three mini-arcs that build upon the mythos of the characters on the Mighty Avengers. The first deals with White Tiger’s hunt for Gideon Mace. She willingly gives herself over to the tiger spirit and this puts her in direct conflict with her teammates, which ultimately leads to a knock-down drag-out between them. The second features Blue Marvel facing off against his youngest son – now a supervillain – as he attempts to open a portal that could lead to dire consequences for Earth. The collection then concludes with the reveal of who Ronin is and why the beings known as Deathwalkers are after him.

As with the first volume of Mighty Avengers, writer Al Ewing proves himself to be capable of creating strong character-driven storylines that help readers to relate to the book’s heroes. Blue Marvel is a particular standout. He’s arguably the most prominent character in Family Bonding and Ewing works hard to develop his character in a way that makes him accessible to the reader. This is great considering he’s the most obscure member of the team. However, what is most impressive about Ewing’s work here is that he’s able to portray the Mighty Avengers as a family. This dynamic is reminiscent of the X-Men in their Claremont-penned heyday. It’s a refreshing change of pace from the usual Avengers fare, which tends to represent its characters more as individuals in a slightly dysfunctional dynamic. Of course, it also helps that the conflicts present in this collection are personal. The fact that White Tiger is pursuing vengeance and Blue Marvel is fighting against his own son heightens the stakes and makes the book feel that much more intimate.

In my review for the first volume in this series, I took issue with the choice of Greg Land as the lead penciller. I was pleasantly surprised to see that his art was relegated to only a couple issues, while Valerio Schiti provided the art for the bulk of this collection. Schiti’s work is leaps and bounds superior to Land’s. His proportions are far more flattering, while his facial work is like an interesting mix of Cliff Chiang with Phil Jimenez (if that’s even imaginable). His art is dynamic, colourful and of the quality that Ewing’s writing demands. That said, it’s a shame that Schiti only penciled three issues of Mighty Avengers. He should have been responsible for the art of the entire series.

Mighty Avengers Volume 2: Family Bonding is a satisfying read sure to please its audience. The characters are multi-dimensional, the action is incredible and the majority of the art is absolutely gorgeous.

RATING: B