Review - Kyōryū Sentai Zyuranger

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

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

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

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

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

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

RATING: C+

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

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

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

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

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

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

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

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

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

Review - Aquaman Volume 2: Black Manta Rising

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

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

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

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

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

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

RATING: B+

Review - Aquaman Volume 1: The Drowning

Following an attack on the Atlantean embassy and the sinking of an American vessel at sea, tensions between Atlantis and the United States are reaching a peak. Though Aquaman submits himself into custody of the United States, but his diplomatic approach seems ineffective in diffusing the conflict. Meanwhile, Black Manta is recruited into the shadowy organization known as N.E.M.O.

Aquaman Volume 1: The Drowning collects Aquaman: Rebirth #1 and Aquaman #1-6, written by Dan Abnett and with art by Scot Eaton, Brad Walker, and Philippe Briones.

The Drowning serves as a continuation of Dan Abnett’s work on Aquaman prior to DC Comics’ Rebirth initiative. Aquaman and his fiancée Mera are working towards improving relations between Atlantis and the surface world. To do so, they’ve opened an embassy in the United States and Mera has been posted as its ambassador. Their diplomatic work begins unraveling rapidly after Black Manta attacks the embassy. This narrative proves to be quite engaging as it remains relevant to today’s political climate due to its interest in exploring the treatment of the “other” and the often ineffectual nature of bureaucracy. Aquaman, referred to in-text, as a progressive leader is dedicated to peaceful solutions and pursues international unity. Naturally, he’s met with distrust from those within and without his nation. Some extremist Atlanteans disapprove of Aquaman’s departure from tradition and Americans are suspicious of his motives due to the fact that he is part Atlantean. Within this scheme, Abnett presents the surface dwellers as the most impetuous and this seems apt given the way in which humans are quick to distrust and scapegoat outsiders.

One of the most impressive aspects of The Drowning is its impeccable character work. Each character is distinctive in their voice and actions within the story. Aquaman is the idealistic king, Mera is the feisty warrior princess, Tula is the clear-headed leader of Atlantis, Murk is the gruff soldier, and Black Manta is the unrelenting villain. Abnett’s take on Aquaman is atypical, but is refreshing in this regard. He’s more good-humoured and diplomatic than sullen and impulsive, which makes him more like Wonder Woman. That said, he’s far from being the standout character of this trade. That honour goes to Mera. Rather than being portrayed as a one-note warrior woman or as a generic love interest, Mera is Aquaman’s equal and is given many layers to her character. On the surface level, she provides comic relief through her snarky comments and is an impressive combatant. Beyond that, she is smartly positioned in opposition to Aquaman. Where he is partly of the surface world, she is wholly an inhabitant of the seas. This affects their views of humans and influences their approach to conflicts with land dwellers. It’s genuinely just as exciting to see them agree as it is to see them disagree. They read like a real life couple in that respect.

Brad Walker and Phil Briones provide the majority of the art for this collection, though Scot Eaton and Oscar Jimenez also provide pencils. Walker and Briones’ styles are quite different, yet work beautifully together to create a nice consistency throughout this trade. Walker’s style is highly detailed and has a slight whimsical quality to it. The way he renders the costuming for the characters is really engrossing and there’s a very cinematic quality to how he sets his scenes. His work on the panels for the Superman vs. Aquaman and Mera fight is especially memorable. It’s also worth mentioning that Walker did all the covers as well, all of which would look gorgeous as posters (especially the first issue’s cover). Briones’ work is simpler and more streamlined. His work has a softness to it that I find really appealing. His depiction of Mera is worthy of praise. I love the way he draws her hair and captures the expressiveness of her character. His Tula is also quite noteworthy and he always draws Aquaman looking like a snack. Briones also gets to hang his hat on one of the coolest action sequences I’ve seen in a long time – Mera and Aquaman teaming up to tear through a literal army (tanks and all!).

I was sufficiently impressed with Aquaman Volume 1: The Drowning as it has everything I need to enjoy a superhero comic. It’s got complex character work, a narrative with depth, memorable action scenes, gorgeous art, and a lead heroine who is multi-dimensional (and also kicks all kinds of ass). While it’s not the most accessible book on the shelves (readers will have to be mildly familiar with the New 52 Aquaman material), it is genuinely entertaining and helps to return the Aquaman series to a higher quality after the middling stories published following Geoff Johns’ exit from the New 52 title.

RATING: A-

Review - Green Arrow Volume 1: The Death and Life of Oliver Queen

With his sister as his comrade-in-arms and a new girlfriend by his side, Oliver Queen has dedicated himself to pursuing social justice as the emerald garbed vigilante Green Arrow. This life that he has built and his credibility as a hero dissolve as he is betrayed by those closest to him. Without money or allies to rely on, he must use his resourcefulness and sheer willpower to uncover the dark conspiracy that has torn his world asunder.

Green Arrow Volume 1: The Death and Life of Oliver Queen collects Green Arrow: Rebirth #1 and Green Arrow #1-5, written by Benjamin Percy and with art by Otto Schmidt and Juan Ferreyra.

Having cited former Green Arrow scribes Dennis O’Neil and Mike Grell as his influences, it’s clear from the onset that writer Benjamin Percy intends to portray the Emerald Archer as a champion for the people whose political beliefs are a key part of his character. Unfortunately, the execution of this is admittedly quite goofy. The Death and Life of Oliver Queen sees Green Arrow facing off against an organization of evil bankers known as the Ninth Circle. They’ve stripped him of his wealth and have turned his allies against him, leaving him alone and ineffectual as a hero. Percy’s approach is very heavy-handed and relies heavily on some pretty tired tropes. In pulling from the oeuvre of O’Neil and Grell, he forgets to leave the problematic aspects of their work in the past. Percy undoes the work Jeff Lemire had done on Shado and Emiko Queen by reducing both to the stereotypical Dragon Lady role. Another example is that Black Canary ends up as a damsel in distress towards the end. There’s also something very campy about the antagonists, which leaves this arc reading more like a ‘60s Bond film than a biting critique on capitalism.

This collection isn’t wholly without merit. I appreciate Percy’s attempt to pare down the Green Arrow mythos and really focus on one of the more iconic portrayals of the character. Oliver embraces the label of social justice warrior and his leftist leanings are evident in his dialogue. In this way, he feels more like Green Arrow than Batman Lite (which is something Arrow is all too guilty of). Kidnapping aside, Black Canary plays a key role in the narrative and gets to be her own character outside of being Green Arrow’s girlfriend. She’s cooler than he is and is more in touch with reality due to her upbringing (even though she may be a semi-famous rock singer now). While I had a ton of issues with the direction he took her in, I at least appreciate that Percy didn’t abandon Emiko Queen. It would have been easy to write her out and replace her with a similar character. The familial dynamic between Emiko, Oliver, and Dinah is admittedly the thing I liked best overall in this trade.

While I had my share of issues with the writing, the art for The Death and Life of Oliver Queen was something I enjoyed consistently throughout. Otto Schmidt and Juan Ferreyra share the art duties. They are both tremendously talented, but their styles couldn’t be more different. Schmidt’s work is highly stylized and is more on the cartoony side. In fact, it almost gives off the vibe of a Green Arrow animated series (which would actually be pretty neat). I do have a couple of issues with Schmidt’s art – some of his compositions look a bit lazily done and he has a penchant for drawing butt shots for Black Canary. Ferreyra’s work has a painterly quality to it. It’s really atmospheric and is cinematic where Schmidt’s art was more animated. His Black Canary is breathtaking and he really captures both the hard and soft qualities of her character.

Green Arrow Volume 1: The Death and Life of Oliver Queen is far from being the return to form that I think Benjamin Percy had intended it to be. It’s often shallow in that it lacks the depth necessary to tackle political issues and is just as easily undermined by predictable tropes that are sexist and racially insensitive. I likely wouldn’t recommend this as an essential read for Green Arrow like I would with Jeff Lemire’s run. With that said, the artwork inside is stunning and is worth a browse.

RATING: C

Review - Hawkman by Geoff Johns Book One

Hawkman has returned from the dead and much has changed in his absence. With a new Hawkgirl by his side, he has re-joined the Justice Society and has settled down in the sleepy southern town of St. Roch. Metaphoric and literal ghosts from their past return in full force as Hawkgirl launches a campaign to find the identity of her parents’ killer.

Hawkman by Geoff Johns Book One collects Hawkman 1-14 and Hawkman: Secret Files and Origins 1, written by Geoff Johns and illustrated by Rags Morales.

Spinning out of the pages of JSA, Geoff Johns’ Hawkman is a smoothly written series that seeks to resolve the complex and often convoluted elements of the Hawkman mythos. The titular hero and his partner Hawkgirl are the result of a centuries-old curse that causes star-crossed lovers Prince Khufu and Princess Chay-Ara to be reborn ad infinitum in new bodies, only to die before achieving true happiness. Khufu and Chay-Ara now live on as Carter Hall and Kendra Saunders – the winged Hawkman and Hawkgirl – but there’s a new wrinkle in this cursed cycle. Kendra has no recollection of her past and she has no intention of pursuing a relationship with Carter. On his end, Carter is trapped between the knowledge of his love for the soul of Chay-Ara and the reality of his lack of knowledge of who Kendra is as a person. This ratchets up the tension in Hawkman, leading to a truly electric dynamic between the high-flying heroes. For the first time in the history of the curse, the souls of Khufu and Chay-Ara may not fall in love. It’s never made too obvious, but the struggle between fate and free will is a central theme to this collection of stories. This is personified through the main characters’ perspectives. Carter has faith that his destiny will play out as it always has while Kendra seems intent on doing everything possible to ensure that it doesn’t. The contrast between them is highly entertaining in this regard.

The issues collected here are divided into several arcs, but tell one long overarching story. The primary thread is Hawkgirl’s search for her parents’ murderer, which brings the Hawks to India, Tibet, and back to St. Roch. Along the way they must contend with a trio of villains as they attempt to steal a mystical artifact, team-up with Green Arrow to clear his name after he is framed for the murder of several officials in St. Roch, and rescue Kendra’s grandfather after he is kidnapped by the reincarnated Hath-Set. These globe-trotting adventures provide plenty of memorable fight scenes, including a rather intense smackdown with some yeti, as well as a slew of guest stars. Green Arrow and the Atom both show up, with the former bringing out the absolute worst in Hawkman and the latter bringing out the softer side of him. These interactions not only help show some off the different facets of Hawkman’s personality, but they also give us the overall scope of the character’s influence on the DC Universe. That said, the real star of this collection is Hawkgirl. There’s something contradictory about the fact that the series is titled Hawkman when Hawkgirl has equal (if not greater) importance to the stories written. Her action sequences are stunning throughout and her brash personality has a tendency to overshadow that of Hawkman (which is a feat in and of itself). Moreover, her narrative deals with some very heavy issues regarding a tragic event in her past and it’s guaranteed to leave a lingering impact on the reader. Though Johns seems reticent to define the event for what it was, the images and implications are obvious (and gut-wrenchingly so).

Hawkman by Geoff Johns Book One offers a glimpse into one of Geoff Johns’ more underrated works. The affection he has for the history behind the character is evident and it keeps you invested in the story. Rags Morales’ expressive art and dynamic action scenes help to maintain this engagement as well. Beyond that, I appreciate the effort made to explore deeper themes and more mature subject matter without being too heavy-handed or gratuitous. Much of this converges on Hawkgirl and her place within the narrative. She could have easily been relegated into being a sidekick or stock love interest, but she is neither. Kendra is Carter’s willing partner with autonomy of her own. While she frequently falls into the “Action Girl” trope that Johns is often guilty of, Kendra has depth and the fact that Carter’s expectation for them to be together because of their curse is consistently questioned and criticized speaks is refreshing to see in a medium where women are little more than objects. As such, Hawkman proved to be a surprisingly self-aware read with a strong female presence (but Johns gets demerit points for fridging a supporting character towards the end). It's worth a read, though be forewarned that some of its subject matter can be emotionally trying.

RATING: B

Review - Wonder Woman: Earth One Volume 1

Forbidden to leave the island paradise of Amazonia, Wonder Woman disobeys her mother’s wishes and travels to Man’s World. Upon her return, the Amazon Princess is placed on trial for her transgressions and must rely upon the testimony of those she met in Man’s World to act as her champions.

Wonder Woman: Earth One Volume 1 is a 2016 graphic novel written by Grant Morrison and illustrated by Yanick Paquette.

As with the rest of DC Comics’ Earth One line of graphic novels, Wonder Woman: Earth One serves as a retelling of the titular character’s origins. From the onset, Morrison remained adamant about returning the character to her Golden Age roots and focusing on the elements of bondage that permeated those early stories. Here’s the problem – Morrison is so concerned with ramming the idea of “loving submission” down the throat of his readers that he actually forgets to tell a decent story. He’s so obsessed with the sexual politics of the character that he seems to abandon any kind of driving conflict or tension. The entire book is told in flashbacks through the storytelling device of Wonder Woman giving her testimony while on trial for abandoning her home island. She recounts bringing an injured Steve Trevor back to Man’s World and then we get Etta Candy’s (she’s renamed “Elizabeth”/”Beth” for some reason – but let’s refer to her by her proper name) account of their first meeting. There’s really no conflict, barely any action, and there’s not a villain to speak of (unless we count Medusa who shows up for a little bit). If anything, the real villains of Wonder Woman: Earth One are the Amazons.

Morrison depicts the Amazons as a group of ignorant, selfish, and hyper-aggressive women who are quick to judge anyone who is remotely different than they are. Something that is especially difficult to swallow is the rhetoric surrounding ’s weight, which amounts to fat shaming. The worst of them all is Queen Hippolyta. There’s no warmth or heart to her character, instead she comes across as a despotic autocrat who seeks to control her daughter and will do everything possible to ensure that Diana remains under her thumb. She’s also a liar and the reveal during the climax (if you can even say there’s a climax to something that’s flat throughout) of the graphic novel is entirely unimpressive since it poorly imitates the work that Brian Azzarello and Cliff Chiang did on the New 52 Wonder Woman title. The Amazons are crucial to the mythos of Wonder Woman and turning them into shrewish caricatures is a massive disappointment. There’s also something off about the fact that Morrison chose to use Nubia in place of Phillippus. 1) Because Black women should not be treated as if they’re interchangeable and 2) Nubia was canonically Hippolyta’s daughter Pre-Crisis so the mild homoerotic subtext I get from their dynamic feels icky.

There is a sense like the intention behind this graphic novel was meant to be positive. The desire to explore elements of Wonder Woman’s character that are often ignored by others is admirable. A truly modern approach to telling her story in a sex positive way is a great idea, I’m just not convinced that it should be done singularly by two white men. I will say that I love that Diana and Mala seemed to have had a relationship (and that Diana is romantically disinterested in Steve Trevor). The characterization of Etta (again, “Beth” in this version) is superb and she ends up being the standout. I’ll also admit that Yanick Paquette’s art is gorgeous throughout. His Wonder Woman is really elegant, his Hippolyta is majestic, and the approach to Amazonia is really fun with its unique blend of classical architecture with sci fi elements. That said, there are some panels where the characters are positioned 100% in cheesecake poses that seem to contradict what the narrative is going for.

Point blank, Wonder Woman: Earth One is not going to go down as one of the best Wonder Woman stories. With so much great work out there, Morrison and Paquette’s graphic novel falls short of the excellence that others have achieved while revising the Amazon Princess’ iconic origin. Whether it intends to or not, Wonder Woman: Earth One seems like it’s trying so hard to be feminist but falls short at every turn because it is done from the very flawed perspective of two white guys. Had more women been involved, it’s likely that some of the themes wouldn’t have been undermined by cheesecake-y art and they would have been like “Oh hey, how about we have the Amazons be more than just a bunch of man-hating harpies?” If you’re looking for a great origin story for Wonder Woman, then you really can’t do better than George Perez’s opening epic from the 1987 reboot of Wonder Woman. The 2009 animated film is also a very satisfying take as well. Wonder Woman: Earth One is mildly entertaining and is worth a read for hardcore Wonder Woman fans if only for the sake of completionism. However, with its lack of villains, shallow characterization, and obsession with loving submission, this reads more like a first draft of a script for a Wonder Woman pilot than a premiere hardcover graphic novel.

RATING: C- 

Review - Justice League Season One

After being accidentally awakened on their native planet, a group of Martians launch a full scale invasion on Earth. Seven of Earth’s greatest heroes band together to stop this threat and become the legendary team known as the Justice League. Together they are Earth’s only hope against despotic aliens, treacherous Atlanteans, and nefarious supervillains.

Justice League is an animated series that made its debut in 2001, created by Bruce Timm and Paul Dini. Its first season consisted of 26 episodes and featured the voice talents of Kevin Conroy, George Newbern, Susan Eisenberg, Phil LaMarr, Michael Rosenbaum, Carl Lumbly, and Maria Canals.

As far as iconic superhero cartoons go, Justice League is way up there with Batman: The Animated Series and X-Men: The Animated Series. This seminal adaptation of DC Comics’ premiere team introduced a generation of kids to superheroes like Wonder Woman, the Flash, and Hawkgirl alongside old favourites Batman and Superman. With its sophisticated multi-episode story arcs and streamlined animation, it stood above its contemporaries (and even most of its successors) in terms of quality. What also helped to set it apart was its pitch perfect casting. From Carl Lumbly’s ambivalent Martian Manhunter to Maria Canals’ attitude-filled Hawkgirl to Michael Rosenbaum’s comedic Flash, the voice work on Justice League is distinctive and embodies each character flawlessly. In fact, it’s so good that it’s hard to imagine anyone else in these roles.

The series opens with “Secret Origins,” a three-part saga that sees Superman and Batman assembling a team of heroes to defeat a Martian invasion. It clearly draws inspiration from the first arc of Grant Morrison’s JLA run, though it’s streamlined significantly and features a slightly different roster. While the alien invasion narrative is predictable, it does its job of assembling the team in a way that makes sense and provides the epic grandeur that is necessary for origin stories of superhero groups. It does struggle a bit with its introductions. Green Lantern, Hawkgirl, and the Flash are without actual origins, while Wonder Woman’s gets mangled to the point that it’s unrecognizable (more on that later!). Still, it’s a great start.

Aside from the opening arc and the concluding one, the rest of the first season is comprised of two-part arcs. These vary in quality. The Aquaman-centric “The Enemy Below” is a standout. It introduces the King of Atlantis as he deals with the treachery of his half-brother Orm. Orm covets the throne and will do whatever it takes to get it, including starting a war with the surface world and attempting to murder his own brother. It’s a surprisingly dark storyline with some truly harrowing moments. Beyond that, it also accomplishes portraying Aquaman as someone who is not to be trifled with.

“Paradise Lost” and “Fury” are also some of the better episodes from the first season, though both are somewhat hindered by their failure to properly portray Wonder Woman and the Amazons. “Paradise Lost” sees Wonder Woman striking out on her own to recover artifacts for the sorcerer Felix Faust, who has turned her Amazon sisters to stone and won’t reverse his spell unless Wonder Woman completes his tasks. It’s a fun globe-trotting adventure that feels very reminiscent of Indiana Jones. It also features one hell of a smackdown between Superman and Wonder Woman while they are under the influence of one of the artifacts. “Fury” is an all-female romp as Wonder Woman and Hawkgirl team-up after a renegade Amazon unleashes a plague that only affects men. It’s enjoyable from a superficial level as it gives the series’ lead heroines the opportunity to interact with one another and get to kick butt without their male teammates sucking up the spotlight. However, its thematic elements are problematic as it’s clearly attempting to tackle feminism, but is done through the lens of a male writer and a male director.

“Injustice for All” is another noteworthy episode. Long-time Superman foe Lex Luthor escapes from prison and enlists the aid of Ultra-Humanite in order to assemble a gang of supervillains capable of taking down the Justice League. These types of superhero team vs. supervillain team are typically among my favourites whenever they crop up in comics and adaptations. They generally provide for a lot of interesting interactions and “Injustice for All” does not disappoint. From Lex and Ultra-Humanite’s rivalry to Cheetah’s flirtations with Batman, writer Stan Berkowitz gives us plenty of fun dynamics that punctuate this episode. Its only shortcoming (surprise, surprise) has to do with Wonder Woman. Cheetah is amongst the cast of villains used in this episode, yet she’s not acknowledged or even portrayed as a Wonder Woman villain.

The best episode from season one may be the three-part conclusion “The Savage Time.” In it, the Justice League (sans Batman – thank the Gods) are transported to an alternate past where the Nazis won World War II with the aid of the immortal villain Vandal Savage. Along the way, the League are fractured and must rely upon the aid of others to prevent Savage’s further assault on western Europe. Hawkgirl and the Flash ally themselves with the high-flying Blackhawks, Green Lantern becomes a part of the US military unit known as Easy Company, and Wonder Woman takes part of a sabotage mission alongside the spy Steve Trevor. Savage is a menacing villain and the technology that he introduces into the war makes for some great imagery. More importantly, “The Savage Time” digs deep into the motivations and emotional core of its lead heroes. The trio of Hawkgirl, Green Lantern, and the Flash are integral to the overall plot, but they also offer differing point of views on war. The contrast between Hawkgirl and the Flash is especially fascinating. Hawkgirl has a more militaristic, greater good approach whereas the Flash has a “no man left behind” perspective that’s more personal in its nature. Green Lantern, meanwhile, proves himself as a capable hero without the use of his ring. This is crucial to showing the audience that he’s more than just some ring-slinging space cop. I also must admit that I quite enjoyed all of the interactions between Wonder Woman and Steve Trevor. While I may not like them much as a couple in any medium, their dynamic here was quite cute.

The rest of the episodes from season one vary greatly in quality. Those that feature Green Lantern more heavily (“In Blackest Night,” “The Brave and the Bold,” “Metamorphosis”) tend to be on the duller side. “Legends” is a frustratingly disposable entry as it uses analogues for the Justice Society rather than the actual characters, which would have made for a more impactful storyline. “War World” suffers from being ridiculously predictable by pulling out the gladiator games trope (which is done in just about every TV show – including Smallville, Supergirl, and twice in Justice League Unlimited). If that weren’t enough, it’s also one of the (many) episodes where we see Superman severely depowered in order to make him seem more vulnerable.

Part of what makes Justice League so special was its strong adherence to character development. The first season is significant for its plotting of a budding relationship between Hawkgirl and Green Lantern. Both are very militaristic characters, though the former is wilder and more impulsive. She’s exciting and gives the usually straight-laced Green Lantern a foil. We see this replicated with his dynamic with the Flash, who serves as the comedic relief on the team. Ultimately, these are the characters that help to ground the series and they end up being the standouts. While this trio was afforded a lot of great character development that endears them to the audience, the same cannot be said for Wonder Woman. It’s clear from the onset that the producers don’t understand her character and they don’t even seem to like her. Where Hawkgirl is the cool girl on the team and can hang with the guys, Wonder Woman is presented as the prissy ice princess who is antagonistic towards men. In this series, Wonder Woman is very aggressive and there’s very little warmth to her. She’s not driven by any kind of divine mission of peace, which is evidenced by the shift in her origin story from a warrior who earns the right to be the Amazons’ champion to a petulant princess who steals her armour. Her lack of compassion and the overall harsh nature of her character betrays a very shallow portrayal. This is extended towards the Amazons as well. They’re not given any kind of depth or interiority. Instead, they’re man-hating extremists whose isolationist views are coded as weird and aggressive. It’s a place that Wonder Woman can’t wait to escape from, rather than a peaceful home that she loves to return to from the harsh realities of Man’s World. The problem is that the series is plotted by a bunch of men who can’t seem to understand why women would want to isolate themselves from the rest of the world (i.e. men) and who have a very difficult time writing women as anything more than love interests or aggressive warriors. It’s clear that they were pulling mostly from a late Silver Age or Bronze Age context for the Amazons, but it feels dated and unnecessary as they chose to ignore (and thus disrespect) George Perez’s influential work on the character and her mythos.

After all these years, Justice League still holds a special place in my heart. While it can at times adhere too much to common tropes and it fails miserably at portraying a well-written Wonder Woman, there’s a lot to love about its first season. The voice work is stellar and the amount of character development that is packed into these 26 episodes is nothing short of amazing. Hawkgirl remains the star for me and she steals every single scene she’s in, so further applause is in order for Maria Canals for that. The complex storytelling that is achieved is also brilliant and is worthy of praise. While the first season doesn’t quite hit a home run, it’s always worth a watch – though some mild cherry picking may be necessary.