Review - Ultimate Spider-Man Volume 10: Hollywood

A big budget blockbuster about Spider-Man is being made with Doctor Octopus’ ex-wife as its consultant and the villainous scientist couldn’t be angrier. He escapes from prison intent on wreaking havoc on the film’s set and abducts Spider-Man in the process. Tired of having his life dictated and defined by others, Doctor Octopus is desperate and eager to eliminate those who hold him back.

Ultimate Spider-Man Volume 10: Hollywood collects Ultimate Spider-Man #54-59, written by Brian Michael Bendis and illustrated by Mark Bagley.

Hollywood is a tongue-and-cheek meta storyline that sees real life events being tied into the world of the fictional Spider-Man. Film producer Avi Arad announces the production of a Spider-Man movie directed by Sam Raimi and starring Tobey Maguire, which is set to film in New York City. It’s a comical to see this transpire within the Ultimate Universe and comes so close to breaking down the fourth wall. Instead of being overjoyed at being the subject of a blockbuster, Peter is annoyed. He’s miffed that people are profiting off of him and that he has no control over his narrative. The producers offer him an opportunity to get involved, but the one caveat they have for him is that he must reveal his identity to them first. Peter refuses and broods for the rest of the production. Amidst this somewhat lighthearted narrative there’s the story of Doc Ock breaking out of prison and leaving a path of destruction in his wake. He crashes the set and kidnaps Peter, taking him on a plane and torturing him. It’s a rather grim turn of events and it’s rather unexpected. This storyline makes it quite clear that Doc Ock isn’t a goofy villain or some kind of a henchman to a bigger boss. He’s quite scary all on his own.

Despite some memorable action sequences (particularly the final showdown between Spider-Man and Doc Ock) and some engaging humour, I found myself once again most interesting in Gwen Stacy’s side of the story. We see that she’s still processing the loss of her father and that she still blames Spider-Man for it. She becomes more and more unhinged as the arc goes on, which contrasts her usually cool demeanour. With all the hoopla of Spider-Man facing off against bad guys in intense grudge matches, it’s fascinating to me that what I find most compelling and memorable are what Bendis and Bagley do with the supporting characters. To me, that’s what elevates an otherwise disposable storyline.

Ultimate Spider-Man Volume 10: Hollywood is an entertaining read that checks all the boxes of what you’d expect from a Spider-Man storyline. It’s got the classic hero versus iconic villain showdown, reminders of how powerless Spider-Man is in controlling his own narrative, humour, and plenty of interpersonal drama. With that said, it is somewhat predictable and isn’t as exciting as it could have been. We’ve already seen Spidey and Doc Ock throw down more than once, so there wasn’t anything new there. The movie plot point was interesting enough, but there wasn’t adequate commentary done on the subject (as Gail Simone had done in her two-parter where Hollywood attempts to make a movie about Wonder Woman). Hollywood is fun, but it won’t leave the reader remembering more than an extracted tooth and a rather intense Gwen Stacy.

RATING: B-

Review - Magic Knight Rayearth (Manga)

Transported to the magical world of Cefiro, three teenage girls from Tokyo discover they are the legendary Magic Knights destined to save the Princess Emeraude from the clutches of the nefarious Zagato. With the help of the sorcerer Guru Clef and the adorable Mokona, the Magic Knights embark on a life-changing quest that will grant them unimaginable power and make them into the best of friends.

Magic Knight Rayearth is a manga series written and illustrated by Clamp, originally published in the pages of Nakayoshi from 1993 until 1995.

Magic Knight Rayearth is a genre-bending masterpiece that plays out like an epic fantasy roleplaying game. Much like the early entries in the Final Fantasy franchise, Clamp’s breakthrough series follows a group of legendary warriors as they traverse an expansive fantasy world in search of incredible weapons in order to free the land from a despotic sorcerer. Elements of the mecha genre flavour the latter half of the narrative, while our primary protagonists are effectively prototypical magical girls. This merging of genres distinguishes Magic Knight Rayearth as an incredibly unique manga that engages with fictional tropes and plays with them in a distinctive self-aware fashion. An example of this would be the girls’ magic evolving armour and weaponry that don’t require them to acquire new ones, which is atypical of the genre and is something the characters point out. They also call out magical spells that are unique to the individual, which is more akin to the Sailor Guardians from Pretty Guardian Sailor Moon than the black mages of Final Fantasy.

Despite its rather simple premise, Magic Knight Rayearth manages to be an engaging read that is both funny and emotional. Its central themes of fate and friendship play out through a narrative that sees three strangers becoming best friends through their shared destiny as the legendary Magic Knights. This kinship makes them stronger heroes and more capable of fulfilling their destiny as the saviours of Cefiro. For instance, Fuu is ready to sacrifice her life in battle for her friends and this willingness ultimately unlocks a greater power within her. That said, it’s important to note that Clamp employs a very episodic structure in how they tell the story of Magic Knight Rayearth. It’s likely done purposefully to mirror the way in which fantasy RPGs require its protagonists to go on missions to acquire new weapons and powers in order to defeat boss characters. Each chapter of this manga follows that formula. The main characters, whether in unison or individually, are tasked with learning magical spells, acquiring weapons, finding a special mineral, evolving their equipment, and then taking control of the legendary Mashin. During each mission they must either defeat or overcome the threat of a boss character. Remarkably, Clamp makes such a formulaic narrative fun, fresh and exciting with the use of humour and clever plot twists.

The characters of Magic Knight Rayearth are a huge part of what makes this manga so enjoyable. Clamp smartly creates three protagonists who are distinctive in their personalities, appearances, and roles within the narrative, which ensures that readers are able to relate to at least one of them. Hikaru Shidou is the red-haired tomboy who gains mastery over the element of fire. She’s unusually short for her age, which becomes a running gag early on, and is good with animals. She’s the most naïve of the main characters, but she makes up for it in her unwavering bravery. Fuu Hououji is the flaxen-haired archer who controls the element of air. It is her knowledge of roleplaying games that becomes key to the Magic Knights understanding the world of Cefiro. Despite being the brains of the group, Fuu is not very intuitive and this becomes a source for many jokes throughout. She is also the only character to be given a romantic interest in the form of the roguish Ferio and her spells are the most versatile in that she’s capable of both healing and fighting offensively. My favourite of the trio would likely be Umi Ryuuzaki. The blue-haired hydrokinetic Umi is an elegant and straightforward individual whose upper class upbringing and fencing abilities make her seem aristocratic. However, she’s perhaps the most comedic of the main characters. She has a remarkably short fuse and is constantly losing her cool, particularly due to her lack of patience with their guide Mokona. Her outbursts are always played up for comic effect and it makes her an endearing character because of this.

Aspects of Magic Knight Rayearth’s story will feel familiar, largely because Clamp pays homage to (and parodies) roleplaying games and the fantasy genre in general. The episodic storytelling can be problematic, particularly since it could seem monotonous under a less talented creative team. However, as far as manga classics go, Magic Knight Rayearth stands the test of time. It is an entertaining read that is tethered with the perfect balance of comedy and drama. Clamp conveys their central themes effectively to their audience through an engaging narrative and relatable characters, while the art compliments this through its ability to shift from moments of whimsy to slapstick humour. The art in its detailed nature serves Cefiro to readers as a palpable world, while the characters are gorgeously rendered with distinctive and memorable appearances. If anything, the only glaring fault that Magic Knight Rayearth has is that it’s too short and ends abruptly without tying up its numerous loose ends. Thankfully, Clamp recognized this and provided fans with a sequel shortly after its conclusion.

RATING: B+

Birds of Prey: The Battle Within

Oracle sends Black Canary and Huntress on a series of missions to apprehend vigilantes who have crossed the line. First, they must contend with a teenage mage who is picking off criminals in her neighbourhood. Then, they venture to a backwoods town where a mysterious vigilante known as Harvest is meting out punishment against men who have evaded justice for their past crimes. Lastly, they investigate the murder of a metahuman gang member allegedly killed by the disturbed Thorn.

Birds of Prey: The Battle Within collects Birds of Prey #76-85, written by Gail Simone and illustrated by Ed Benes, Tom Derenick, and Joe Bennett.

The Battle Within contains two arcs. The first, “Hero Hunters,” features Black Canary and Huntress investigating morally corrupt vigilantes Black Alice, Harvest, and Thorn for their alleged involvement in criminal activity. Within this first arc, writer Gail Simone plays with genres and continues to push her characters to their limits. Black Alice’s introductory issue presents itself like a magic-themed teen drama a la The Craft, the Harvest issues are horror-tinged and read like an homage to Jeepers Creepers, and the Thorn investigation is gritty and noir-esque as it deals with a corrupt police force. Beyond the entertainment factor, I love that Simone uses this trio of stories as a means of having Huntress reflect on her past and reputation as one of the most infamously unorthodox vigilantes. She also uses it to create a rift between two characters, which leads to a rather explosive exchange.

The second arc, “The Battle Within,” sees Black Canary venturing to Singapore with Wildcat in order to orchestrate the takedown of a major drug running organization. Meanwhile, Huntress is acting independently to destroy Gotham’s mob scene from the inside out and Oracle is battling a cybernetic infection brought on by her past encounter with Brainiac. It’s very much a quintessential Birds of Prey storyline involving international intrigue and plenty of action. In addition to taking on a drug lord, Black Canary must face off against the Twelve Brothers of Silk, a band of martial artists whose abilities could very well rival those of Lady Shiva. It’s a neat addition to the narrative and reminds readers of just how much of a badass Black Canary is. Of course, we also get some great character moments as well. The dynamic between Black Canary and Wildcat is really fun. As her unofficial uncle, Wildcat fills the role of father figure without being portrayed as overprotective. He trusts her and allows her to be in charge. We also get some poignant scenes between Black Canary and Oracle while the former battles her Brainiac-induced illness. These exchanges are always very important and help to showcase what makes Birds of Prey such a special comic. It’s a reminder that their sisterhood is at the centre of all the hacking and Canary Cries.

Ed Benes returns to pencil some of the issues in this collection. He handles the art chores on the Black Alice and Thorn issues in the “Hero Hunters” arc. As mentioned in my previous reviews, I enjoy his artwork and feel it suits the series well. Tom Derenick provides the art for the Harvest issues in “Hero Hunters.” Sandwiched between Benes’ work, Derenick’s art comes across looking lazy and uninspired. It’s passable, but the characters are mostly unattractive and lack distinction. Their anatomy is also wonky, but not even in a way that feels deliberately stylized. Joe Bennett takes over the reins for the rest of the issues in this trade. While his art isn’t quite as electric as Benes’, it pairs well with Simone’s writing. He particularly excels in scenes that require a bit of comedic flare and he really injects a lot of vitality into Black Canary while drawing her.

From a purely biased perspective, Birds of Prey: The Battle Within holds a special place in my heart. It was one of the first Birds trades I owned and I’ve re-read it countless times. I really appreciate the way that Gail Simone employs a variety of genres to tell her stories. I love that she’s not afraid to go a bit dark, but always manages to find the funny when tension needs to be broken. The Harvest and Thorn issues are especially memorable to me, as are the scenes of Black Canary and Wildcat in Singapore. While the art varies in quality, the writing remains top notch and it really highlights why Birds of Prey is such a seminal comic book series.

RATING: A-

Review - Ultimate Fantastic Four Volume 1: The Fantastic

For years, science prodigy Reed Richards has tried to unlock the secrets of the alternate dimension known as the N-Zone. Now with his best friend Ben Grimm and his colleagues at the Baxter Building by his side, he’s ready to make his first large scale attempt to break into the N-Zone. The experiment goes predictably awry, granting the team with strange abilities and leaving its most vulnerable member at the mercy of a disgruntled former employee of the Baxter Building.

Ultimate Fantastic Four Volume 1: The Fantastic collects Ultimate Fantastic Four #1-6, written by Brian Michael Bendis and Mark Millar and illustrated by Adam Kubert.

The Fantastic is a six issue expansion and re-imagining of the Fantastic Four’s iconic origins. The cosmic rays and space elements are out, with our intrepid quartet instead acquiring their abilities as a result of a teleportation experiment connecting them to the N-Zone. It leaves them scattered across the globe, alone in trying to figure out what has just happened to them. Susan Storm awakes to find herself in the clutches of Dr. Molevic (AKA Mole Man) deep beneath New York City in the sewer system. She must bide her time while the others search for her. For the most part, this revision of their origins still stays true to the essence and narrative aspects of the original. They even fight a giant monster in their first major battle. Much like with Ultimate Spider-Man, this story takes what was originally a one-and-done and teases it out over six issues. This offers writers Brian Michael Bendis and Mark Millar the opportunity to develop the characters. Reed in particular gets a rather in-depth backstory. However, this prolongs the assembly of the Fantastic Four and it results in several lacklustre issues that have virtually no action.

I’m fairly split on how I feel about this arc. There are pieces of it that I enjoy – namely the revamping of the Baxter Building as the HQ to the government-funded think tank for young geniuses and the decision to portray Sue as a scientist. Tonally, Ultimate Fantastic Four gets off to the right start by maintaining a nice balance between humour and drama. With that said, Bendis and Millar linger too long on Reed. The other three characters get virtually no development in comparison and seem pretty disposable until they get their powers. The problem here is that it takes roughly three issues for them to get those powers and even then they don’t get thrown into action right away. We have to spend time watching Johnny how to control his abilities and seeing Ben agonize over his physical transformation. This wouldn’t be such a big deal had they acquired their powers earlier and become a team mid-way through. Instead, what we get is a total slog. (As an aside, I’m also not a fan of Sue being sidelined and effectively filling the role of Damsel in Distress until nearly the very end of the bloody arc)

The art that Adam Kubert provides seems rushed and barely recognizable. When it comes to Kubert’s style, I’ve long felt the faces he draws have a distinctive quality to them. They are part of what makes his work unique. However, the pencils present here lack that quality. Everything appears pretty generic and it brings down the overall aesthetic appeal. Still, there are some impressive artistic moments scattered throughout. There are a lot of splash pages and double-page spreads, particularly as the arc goes on. These help to provide a larger scale to the action and give the book a more cinematic appearance.

Ultimate Fantastic Four Volume 1: The Fantastic is a perfect example of how tricky origin stories can be. As important as they are, these types of narratives are often less exciting than those that flow out of them. Too much time is spent setting up these characters and giving us background information. The Fantastic could have been a great three issue arc. As it is, it leaves a lot to be desired. Regardless, the foundation is pretty solid for this book and is at least given a pretty fresh start to what could be a very modern take on Marvel’s iconic quartet.

RATING: C+

Review - The Avengers: The Legacy of Thanos

While investigating one of Thanos’ abandoned spaceships, Captain Marvel encounters a band of mercenaries led by the enigmatic Nebula. In an effort to stay alive, she feigns interest in joining Nebula’s ragtag team and is taken in as a probationary member. To prove her loyalty, she must infiltrate a Skrull base. However, she may not survive long enough to accomplish her task.

The Avengers: The Legacy of Thanos collects Avengers #255-261 and Annual #14, and Fantastic Four Annual #19, written by Roger Stern and John Byrne. Art is by John Buscema and John Byrne.

This collection picks up in the aftermath of a dramatic incident in which Avengers mainstay Vision hijacked the world’s computers to enforce peace. He had sent Captain Marvel light-years away from Earth to keep her busy while he launched his plans. She ends up on Sanctuary II, a ship once occupied by Thanos and has since been taken over by Nebula’s forces. Captain Marvel bluffs her way into the group long enough to get an SOS message out to her fellow Avengers. Back on Earth, the Avengers are facing severe cuts to their budget and capabilities after the government pulls their support following the debacle with Vision. Before they can fully digest everything, they head off to the Savage Land to prevent the gigantic Terminus from destroying it. Once the conflict is resolved, they speedily head off to space to rescue their teammate. To say that the events presented in these issues are dense would be somewhat of an understatement. It’s continuity heavy and requires its readers to have a working knowledge of the Marvel Universe. We’ve got the Savage Land (which means we’ve also got Ka-Zar and Shanna), space hijinks (Skrulls, Thanos, etc.), the Fantastic Four, and even a cameo from Spider-Man. It also doesn’t help that the narrative is forced into tying in with Secret Wars II by including the Beyonder at one point. Since the cast is more eclectic (meaning that it’s Captain America plus several lesser known heroes), this could be a barrier to some readers too.

Since my working knowledge of Marvel is pretty decent, I wasn’t too lost. However, the story itself didn’t quite flow as well as it should due to its divergent narratives. Captain Marvel’s subplot (which eventually became the primary one) was the backbone of this particular collection of stories. The others were vignettes that varied in quality. The jaunt to the Savage Land was brief and felt derivative of X-Men stories set there. The brief appearance of Spider-Man offered little to the plot aside from facilitating Firelord’s temporary alliance with the Avengers. These elements really pulled focus from what was the most engaging part of these issues, which was the conflict between Nebula and the Skrulls. Captain Marvel and the Avengers get caught in the crosshairs, lending their support (hesitantly, I might add) to the Skrulls. This means we get some passing references to the Kree-Skrull War, which is kind of neat. Seeing the Avengers off in space is fun as it’s not something they do often and it provides a rich history for them to take part in. Writer Roger Stern smartly inserts an emotional component by zeroing in on the differing opinions regarding this conflict, as well as the varied approaches to resolving it. However, what strikes me as the most interesting is that each character feels distinct. They each have their own voice and bring a special something to the table. I especially find his treatment of Captain America and Captain Marvel to be quite engaging. Hercules is a standout as well. If I had one complaint for his character work it would be that he has Wasp as the team’s chairwoman, but she does little in the way of actually leading them. Captain America seems to fill that role (and even he remarks on that himself).

The bulk of the art is provided by Stern’s collaborator John Buscema. Buscema’s style is quite unique within the realm of Avengers’ artists. It has a more whimsical quality to it and is certainly a style I associate with fantasy comics (Buscema’s lengthy tenure on Conan the Barbarian and The Savage Sword of Conan is probably why I think that way). There’s a rougher texture to his art and his anatomy falls on the more realistic side. As such, reading these stories gives you a slight sense of watching an old movie. It’s truly quite nifty. Of all the characters he draws, Captain Marvel and Hercules are the standouts for me. There’s this sense of confidence and unadulterated exuberance that he provides Captain Marvel. From her posing to her usage of her powers, she draws the focus in every panel she’s in. Similarly, Hercules’ impressive form is hard to miss given how little clothing he actually wears. It allows the reader to truly observe how dynamic the body can be due to Hercules’ musculature. John Byrne provides some art as well, but is filtered through the hands of others via finishers. As such, the art lacks his characteristic style and ends up looking quite generic.

The Avengers: The Legacy of Thanos fits neatly into the storied history between Earth’s heroes and the Skrulls. This arc sees a détente in their usual conflict and instead features them working together to fight a common enemy. It’s refreshing and thrilling at the same time. Given the amount of issues collected here, it’s understandable that the quality varies. Overall, the tone is consistent and there’s plenty of action to enjoy. However, it’s tedious at certain points and doesn’t quite fulfil its potential (which I blame mostly on the imposition of Secret Wars II).

RATING: B-