Review: Ultimate Spider-Man Volume 2 - Learning Curve

With his new life as Spider-Man in full-swing, Peter Parker sets out to earn a little extra cash by working as a computer technician for the Daily Bugle. Then, he begins his campaign to bring down the Kingpin after linking his Uncle Ben’s murderer to the oversized baddy’s criminal empire. With a trio of thugs and an electrically powered bodyguard protecting the Kingpin, it’s clear that Spider-Man has his work cut out for him.

Ultimate Spider-Man Volume 2: Learning Curve collects Ultimate Spider-Man #8-13, written by Brian Michael Bendis and illustrated by Mark Bagley.

After a rousing opening arc in Power and Responsibility, Bendis and Bagley opt for a splashy follow-up by facing Spider-Man off against the commanding Kingpin. It’s a gamble that doesn’t quite pay off. The Kingpin is a Big Bad best reserved for use once Spider-Man is a more seasoned hero, which means that it feels too early for Spidey to be duking it out with him here. Bendis and Bagley would have been better off devoting several issues to hinting at the Kingpin, elaborating on his operations and really showing readers how terrifying he can be as a villain. That said, the pair do an adequate job of introducing the Kingpin and establishing an organic conflict between him and our hero. Though Spider-Man spends a good chunk of this arc fighting the Kingpin’s henchmen, I enjoyed the fact that his victory is achieved once he uses his intelligence and outwits the Kingpin by using the media to expose his crimes.

Bendis’ dialogue is strong in this particular series of issues. Though there’s some dated slang here and there, he excels while writing Spider-Man’s signature quips. They’re humorous and often laugh-out-loud funny. He’s also to be commended for the hilarious scene in which Aunt May attempts to give Peter “the talk” after she suspects he and Mary Jane are having “hanky panky” in his bedroom. Bendis is also capable of writing with incredible emotional poignancy. After coming home from a night out as Spider-Man, Peter finds a weathered Aunt May sitting alone. She questions whether Peter likes her and the two share a tender moment mourning the loss of Uncle Ben. Artist Bagley is also to be commended, since it is his art that sets the tone of every scene and is especially valuable during humorous or serious scenes such as these.

Aside from the premature usage of the Kingpin, Learning Curve is really solid. The characters are tangibly written, with our titular hero continuing to be relatable to his audience. There’s just the right mix of action, humour and emotion to make this an engaging read. While Bendis pens the occasional stinker in his dialogue when he attempts to write teenage slang and Bagley turns out the odd derpy character (and I won't get into the hideous clothes he puts Mary Jane in either), they are to be praised for their synergy as a team, as well as their knack for pacing and overall consistency.

RATING: B-

Review: Batman - Knightfall Volume 3, Knightsend

Having recovered from the injuries Bane inflicted on him, Bruce Wayne returns to Gotham City in order to reclaim his city and his mantle as the Batman. He seeks out the help of the assassin Lady Shiva, who he hopes will get him back into fighting shape. However, it soon becomes clear that the mistress of martial arts is hell-bent on forcing Bruce to break his no-kill rule.

Then, Dick Grayson takes up the mantle of the Batman at the behest of his former mentor. In his new role, he must learn to work alongside the current Robin and contend with the menace of his nemesis Two-Face.

Batman Knightfall Volume 3: Knightsend collects Batman #509-510, 512-514, Batman: Shadow of the Bat #29-30, 32-34, Detective Comics #676-677, 679-681, Batman: Legends of the Dark Knight #62-63, Catwoman #12, 13, Robin #9, 11-13 and material from Showcase ’94 #10.

After the mediocre Knightquest arc, Knightsend comes across as a breath of fresh air with Bruce Wayne finally returning to his rightful role as Batman. It’s a breezy read that begins with Bruce enlisting the aid of Lady Shiva in order to re-gain his martial arts prowess. She cleverly arranges a test for him, which ultimately pushes Bruce to his limits. The use of Lady Shiva in this arc is brilliant and helps to showcase just how badass she is, while also proving that the Dark Knight is not flawless and the best martial artist out there. Her presence is also meant to compare with that of the man wearing the cape and cowl at that time. Both Lady Shiva and Jean-Paul Valley feel it is necessary to kill one’s enemies, which contrasts sharply against Bruce Wayne’s morality. This creates tension in the narrative as the reader wonders if Lady Shiva will be successful in her mission to force Bruce to kill (spoiler – she’s not).

When we finally get to the meat of Knightsend – the final showdown between Bruce Wayne and Jean-Paul Valley – we’re given an explosive sequence of events that begin above the streets of Gotham City and ends in the darkness of the Batcave. It’s a relentless series of action scenes that include a helicopter crash and plenty of fisticuffs. Bruce’s determination to reclaim his mantle is evident, as is his dedication to helping Jean-Paul see the error of his ways. It adds depth to the conflict as it’s clear that Bruce isn’t fighting just another one of his lunatic rogues – he feels responsibility for Jean-Paul’s actions. This section is further supplemented with a subplot involving Catwoman’s pursuit of an experimental electronic device that is supposed to help paralyzed individuals to walk. The individual issues of Catwoman are perhaps some of the most enjoyable in this collection, largely due to writer Jo Duffy’s humorous dialogue and Catwoman’s quippy attitude. It also helps to break up some of the melodrama of the testosterone fest that is Bruce Wayne vs. Jean-Paul Valley. It’s worth mentioning that Robin and Nightwing are also present during all of this – though neither seems particularly useful. Additionally, the end of the conflict is resolved in an anti-climactic fashion. Jean-Paul literally sees the light and miraculously decides to stop fighting Bruce. It feels a little like lazy writing, especially given how intense Jean-Paul was about being Batman.

The Knightfall saga is concluded with an epilogue of sorts with the twelve-part Prodigal storyline. Bruce sets out to re-evaluate his role as Batman, thus asking Dick to fill-in for him in the meantime. It’s a largely forgettable arc that is overflowing with filler content, though the writers do attempt to remedy this by including a subplot of Two-Face being released from prison and then setting up a major anarchic scheme. It’s evident from the get-go that Prodigal is meant to be the clean-up for Knightfall, given how many villains were still at large by its conclusion. Dick and Tim thus are responsible for capturing Killer Croc, the Ventriloquist, the Tallyman, Ratcatcher and, of course, Two-Face. While this arc was fairly dry, the Robin issues are enjoyable. There’s a great supporting cast, as well as an overall sense of direction that helps to ground this otherwise superfluous storyline.

If there’s one thing to be said about Batman Knightfall Volume 3: Knightsend it’s that it wraps up the Knightfall saga neatly and cohesively. It’s entertaining, particularly its first half, and makes good usage of characters like Lady Shiva and Catwoman (both of whom are standouts in this collection). Knightsend is certainly superior to Prodigal, largely due to Bruce Wayne being back as Batman and the sheer insanity that was his drawn out battle with Jean-Paul Valley. Outside of Prodigal, Knightsend is also atypical for its lack of Batman villains. This works in its favour and helps to keep the focus on the conflict that will determine who will become the one, true Batman.

RATING: B-

Review: Avengers - The Private War of Doctor Doom

Following their recent victories against Kang and the Squadron Supreme, the Avengers return home and are faced with the task of settling on a new roster. No sooner do they announce their line-up than the once-dead Wonder Man returns to the fold. Then, they must face off against Atlantean menace Attuma in his latest plot to best Namor the Sub-Mariner.

Avengers: The Private War of Doctor Doom collects Avengers #150-156 and Annual #6, and Super-Villain Team-up #9, written by Steve Englehart, Gerry Conway and Bill Mantlo with art by George Perez and John Buscema.

This collection follows the events of The Serpent Crown and almost immediately sees the departure of Hellcat and Moondragon (boo!), as well as Avengers mainstay Thor. With their new roster, the Avengers must investigate the circumstances behind the resurrection of Wonder Man. At the same time the Living Laser is busy plotting his revenge on the Avengers and intends to use the unstable Nuklo to do so. After that, the Avengers are captured by Attuma and are forced to attack Namor’s Hydrobase. When they arrive, however, they discover the base is being run by Doctor Doom and they are swiftly bested by the Fantastic Four foe. In order to defeat Attuma, they must form an uneasy alliance with Doctor Doom.

As a trade, The Private War of Doctor Doom is densely plotted and is continuity heavy with plenty of references to past events. It lacks excitement and depth, as it falls into the rather generic box of “supervillains trying to take over the world using some kind of experimental device.” The collection begins with a tedious re-telling of the Avengers’ rosters’ various origins and then transitions into the re-introduction of Wonder Man. Understandably, his return creates conflict between Scarlet Witch and the Vision since the latter’s brain patterns were based off of Wonder Man’s. While there may be a smidgen of tension between the newlyweds throughout this trade, that’s about it for character development. The dialogue for the Beast is strong and we get some really great action scenes involving Scarlet Witch on a solo mission, but everyone else feels depressingly generic and they all fade into the background over the course of the collected issues. It also feels dated, given the fact that these stories occur during a time period when Scarlet Witch and Quicksilver were canonically viewed as the children of the Whizzer and Miss America.

The highlight of this collection is the art done by George Perez and the late John Buscema. Perez delivers dynamic work that features an active expressiveness, while also showing off his skill at drawing the male form (we get a rather strong panel of Namor flying through the air towards the end). Buscema, meanwhile, has a distinctive moodiness to his style that emphasizes some of the more emotional aspects to these characters. Notably, there’s a series of panels in which the Scarlet Witch is distraught and turns for comfort from the Wasp when she’s given the cold shoulder by her husband.

Avengers: The Private War of Doctor Doom isn’t the most impressive collection of stories featuring Earth’s Mightiest Heroes. It’s an awkwardly plotted series of stories that follow on the heels of Steve Englehart’s remarkable run on The Avengers. Where his stories often included social commentary and soapy interpersonal drama, The Private War of Doctor Doom restores the status quo of paint-by-numbers supervillain conflicts. Attuma and Doctor Doom make for great opponents for the Avengers, but the narrative never attempts to do something new with them. It’s also mildly irritating that Hellcat and Moondragon were written out, since both had been standouts in the preceding trade Avengers: The Serpent Crown. Though we get some notable art from Perez and Buscema, The Private War of Doctor Doom is skippable.

RATING: C-

Review: Jem and the Holograms Volume 2 - Viral

After being signed to the same label as their musical rivals, Jem and the Holograms must learn to navigate the murky waters of working in such close proximity with the Misfits. Meanwhile, the shifty Eric Raymond is assigned as the new manager of the Misfits. His first order of business? To dig up dirt on the competition. What Eric finds out may very well mean the end of Jem and the Holograms.

Jem and the Holograms Volume 2: Viral collects Jem and the Holograms #7-10, the Outrageous Annual 2015 and the 2015 Holiday Special, written by Kelly Thompson with art by Jen Bartel, Sophie Campbell, Agnes Garbowska, Corin Howell, Rebekah Isaacs and more.

Following their splashy concert opposite the Mistfits’ Vs. competition, Jem and the Holograms are riding high on a new level of popularity and acclaim. However, Jerrica is finding it increasingly difficult to manage the group while her sisters and bandmates are off pursuing their own interests. This leaves her alone to make the big decisions – like signing to the same label as the Misfits and agreeing to open for them on tour. Unbeknownst to Jerrica and the others, the Misfits’ new manager Eric Raymond is working tirelessly to ensure that Jem and the Holograms are nothing more than a flash in the pan. These developments make up the bulk of Viral, which build upon the events that preceded it in Showtime. Writer Kelly Thompson continues to show off her knowledge and affection for the classic cartoon through this introduction of Eric Raymond (that snake!) and she even has Shana pursuing fashion design. However, she adds new layers by digging into more realistic emotional components. Namely, we’re seeing Jerrica struggling to keep the group going and Kimber remains very much hung up on Stormer.

For the most part, Viral continues to build on the events that preceded it in Showtime. Thompson does this through the introduction of new characters (the aforementioned Eric Raymond, as well as the slimy hacker Techrat) and by rolling out new plot developments. Thompson’s pacing is impeccable for the vast majority of these issues in that respect. She knows how to tease out a series of dramatic reveals, all of which lead into an explosive Halloween-themed issue that ends with two incredible cliffhangers. Not to spoil anything – but Thompson’s twist regarding a beloved character hikes the tension up to an unbearable level. Unfortunately, what proceeds it is a rather oddly plotted issue that focuses almost entirely on Rio and explores his past and present relationships with the Misfits and with Jerrica. Thompson does almost nothing with the dangling plot threads from the issue that preceded it, with the only sense of progression being when Jerrica agrees to tour with the Misfits.

The annual and Christmas special are placed at the beginning and end of this collection, which contribute to an overall sense of filler to this chunk of stories. This, of course, isn’t a fair assessment as these are bonus stories intended to be enjoyed outside of the main narrative. Regardless, both are super fun. The annual features a series of dream sequences wherein the Holograms imagine themselves in parodies of iconic movies (i.e. Jerrica in Teen Wolf, Aja in Mad Max), with each sequence drawn by a different artist. The issue doesn’t exactly develop the characters, but it does have a lot of fun dialogue and it showcases their personalities really well (especially Aja’s). The Christmas special feels less tacked on, as it is clearly set shortly after the events of issue 10. The Holograms go to a holiday party thrown by their record label and are unwittingly forced into doing a Secret Santa with the Misfits. What follows is a really sweet and heartwarming exchange that shows readers a different side of the Misfits – without undermining their reputation, of course.

Overall, Jem and the Holograms Volume 2: Viral is not quite as poppy and electric as the volume that preceded it. The absence of Sophie Campbell on art duties is felt and diminishes the overall aesthetic quality of this collection. That said, Emma Vieceli (who handles the bulk of the pencils here) is an excellent replacement. Her style is similar to Campbell’s, though it’s admittedly less whimsical, and the characters look beautifully expressive throughout. The same cannot be said for Corin Howell, whose work on issue 10 is extremely rough and clashes entirely with the aesthetic of Jem and the Holograms. Thankfully, Thompson is on point for the vast majority of the issues collected here. Her dialogue and character dynamics continue to be captivating, thus cultivating a very loveable cast. She gets bonus points for her cliffhangers, but a slight demerit for issue 10’s maddening halting pace.

RATING: B

Review: Ultimate Spider-Man Volume 1 - Power and Responsibility

After being bitten by a spider on a field trip, teenager Peter Parker develops superhuman abilities. Though he initially uses his newfound powers for personal gain, Peter is forced to re-examine his responsibility to others when his uncle is gunned down during a home invasion gone awry. Donning a blue and red webbed costume, he becomes the vigilante Spider-Man and vows to protect New York City from any ne’er do wells.

Ultimate Spider-Man Volume 1: Power and Responsibility collects Ultimate Spider-Man issues 1-7, written by Brian Michael Bendis and Mark Bagley.

When Brian Michael Bendis and Mark Bagley embarked on their now-legendary run on Ultimate Spider-Man, they ignited a new Marvel universe with a poignant and modern retelling of Spider-Man’s origins. Where Spider-Man’s debut occurred in a singular issue (1962’s Amazing Fantasy #15), here it is spread out over the course of seven issues. This gives the creative team and their cast the opportunity to develop organically, enabling readers to care for and invest in these characters. When Uncle Ben inevitably perishes, his loss is felt tremendously. In a similar vein, we get to see more of Peter Parker before he becomes Spider-Man. This helps us to better relate to him and it also gives us a starting point for marking his character growth as the events of this collection unfurl. Bendis and Bagley also notably reinvent Mary Jane Watson and Harry Osborn. The former is a frumpy brainiac while the latter is a dashingly handsome bad boy, which contrasts sharply against their canonical appearances in the primary Marvel universe. Harry’s family life is elaborated upon and he is a character we can feel sympathy for, so the alterations to his character aren’t tremendously outrageous. With Mary Jane, her growth is limited due to how she’s been pigeonholed into seeming too nice. Part of what made the character so compelling previously was that she was aloof and had an edge to her. When all of that is removed from the equation, the romantic tension with Peter isn’t as intense or as interesting. She’s just kind of blah.

The narrative for these first seven issues is strongly plotted. As alluded to previously, it takes pulls inspiration from Amazing Fantasy #15 and reimagines it for a contemporary audience. It also draws from the canon in general, adding in characters that weren’t initially part of that origin. The nerdy Peter Parker goes on a field trip to Oscorp, where he is bitten by a spider that is part of an experimental program spearheaded by Norman Osborn. Though the bite should have killed him, Peter makes a miraculous recovery – much to Osborn’s surprise. He then begins to develop superpowers, which prompt him to stand up to his bullies, join the basketball team and take up wrestling as a means of cashing in on his newfound abilities. After Peter fails to stop a theft, his Uncle Ben is murdered by the thief he let go and Peter thus vows to use his abilities only for the greater good. Now patrolling the streets as the vigilante Spider-Man, he encounters his very first villain in the form of a mutated Norman Osborn. This origin is carefully and patiently crafted, giving its characters room to breathe and for tension to build. It has a clear sense of direction due to its overarching nature, which is something Spider-Man’s original adventures lacked.

Power and Responsibility is to Spider-Man what Year One is to Batman. It is a timeless retelling of an iconic superhero’s origins that is both engaging and full of relatable characters. As a team, Bendis and Bagley creatively reinvent beloved characters and plot points in a manner that is fresh and exciting. As such, it’s really no surprise that Sam Raimi’s 2002 film adaptation is so similar. Ultimate Spider-Man would go on to become a seminal series for the wallcrawler and would serve as the starting point for the Ultimate Universe. While this line of books eventually went off the rails and its universe was destroyed during Secret Wars, Ultimate Spider-Man Volume 1: Power and Responsibility remains as an incredibly strong entry into this universe and continues to be a must-read for Spider-Man fans.

RATING: B+

Review: Secret Six Volume 3 - Cat's Cradle

Amanda Waller is determined to bring Deadshot back into the Suicide Squad and there’s nothing she won’t do in order to achieve her goal – including murdering Deadshot’s current teammates in the Secret Six. Then, Catman goes rogue when his son is kidnapped by a group of sociopathic mercenaries.  Deadshot, Scandal, Ragdoll and Black Alice take off after Catman, leaving Bane and Jeannette to assemble a new Six to fulfill another contract.

Secret Six Volume 3: Cat’s Cradle collects Secret Six #15-24 and Suicide Squad #67, written by Gail Simone and John Ostrander with art by Jim Calafiore.

It should go without saying that Gail Simone’s Secret Six is like the spiritual successor to John Ostrander’s Suicide Squad. As such, it’s really no surprise that a team-up between the two writers should be nothing short of brilliant. Ostrander flies solo on issues 15 and 23 of Secret Six, while the two share writing credits for issues 17-18 and Suicide Squad #67. This union sees a crossover between their individual creations as Amanda Waller orchestrates a plan to wrest Deadshot from the Secret Six and bring him back into the fold at Belle Reve. What follows is a rather impressive set of action sequences, illustrated by the capable Jim Calafiore, as the Secret Six face off against the Suicide Squad. The dialogue is impeccably well-done with an edge of dark humour that is a trademark for Gail Simone’s body of work. Of course, it is naturally Amanda Waller that steals the show. Her ruthlessness is the stuff of legends, while her interactions with many of the other characters (particularly Scandal) are electric. There is also a level of unpredictability due to the presence of Black Alice, who was added to the team by Simone in issue 16. She adds in a little comic relief, particularly when paired with Ragdoll.

Simone takes the wheel fully for the four-part “Cats in the Cradle.” It’s an arc that really fractures the team – Catman goes AWOL, Bane and Jeannette form a new Six, and Black Alice loses it on Scandal. Simone also delves into Catman’s past, revealing an abusive childhood that left him shattered and with darker impulses than any of his teammates could have guessed. It’s not an arc where a whole lot happens, as it is light on plot, but it’s heavy on character development. “Cats in the Cradle” is basically just Catman going off the deep end and seeking bloody vengeance on the captors of his son, while his teammates unsuccessfully try to pursue him in order to bring him home. Amidst all of this action though is a whole lot of insightful, and often funny, dialogue that reveals a lot about the cast. We’re able to sympathize with Black Alice through her father’s illness while we finally begin to see Ragdoll as more than just comedic relief. As mentioned previously, Black Alice and Ragdoll are paired up with one another. It’s a totally batty combination, but it works due to Simone’s quirky dialogue. It works as yet another example of Simone’s near incomparable ability to create engaging team dynamics. From the palpable homoerotic subtext between Deadshot and Catman to Scandal’s relationship with an erotic dancer to Bane’s overprotective father vibe, Black Alice and Ragdoll are just yet another endlessly amusing gift that just keeps on giving.

As a whole Secret Six Volume 3: Cat’s Cradle is crazy good. It’s an entertaining read practically bursting at its seams with intense action and hilarious dialogue. The characters continue to be relatable, which is kind of messed up since they’re all violent monsters in one way or another. Ostrander and Simone’s Secret Six/Suicide Squad arc is incredibly satisfying, while “Cats in the Cradle” helps to both tie up loose ends and to introduce new team dynamics. While it concludes with two regrettably forgettable filler issues, this collection features high quality storytelling. Though I selfishly wish the insanely talented Nicola Scott were able to remain the permanent artist for the entirety of Gail Simone’s run, Calafiore’s pencils for the bulk of the issues collected here are expressive and match the overall tone of the series.  Cat’s Cradle is dark and bloody in all the right ways, making it a must-read for anyone with a twisted sense of humour. More importantly though, it has a cast that is distinctive and multi-dimensional.

RATING: B+

Review: Power Rangers Wild Force

After a chance encounter with the peace keeping Wild Force Power Rangers, a young man named Cole Evans discovers that he is destined to become the Red Wild Force Ranger. Under the tutelage of the powerful Princess Shayla, Cole and the other Rangers are tasked with defeating the ancient Master Org and his horde of heartless creatures before they can destroy the Earth.

Power Rangers Wild Force is the tenth season of the Power Rangers franchise, airing originally during 2002. It stars Ricardo Medina, Jr., Alyson Kiperman, Phillip Jeanmarie, Jessica Rey, Jack Guzman, Phillip Andrew and Ann Marie Crouch.

Without a doubt, Power Rangers Wild Force is one of the most impressive entries into the storied Power Rangers franchise from the Post-Zordon era. It is rich with depth and builds a fascinating mythology around its characters. Taking point from its Super Sentai counterpart Hyakujuu Sentai Gaoranger, it follows the adventures of five fierce warriors who use the powers of ancient animals to do battle against the evil Master Org. The series explores a variety of themes – such as revenge, morality and issues of environmentalism. It is concisely written and is carefully plotted in order to maximize story arcs, thus minimizing the usage of filler episodes. Wild Force is also notable for its relatively small cast of villains, as well as its tight focus on its protagonists. Unlike many of the preceding Power Rangers series, Wild Force takes its time to develop each member of the main cast and maintains a pace that keeps its audience engaged.

Wild Force is not afraid to make its characters unlikeable at times. Taylor is at times over serious and often acts outwardly aggressive when faced with situations that are outside of her control. Likewise, Merrick is cold and distant, especially towards Princess Shayla. Though this may initially make them seem unworthy of sympathy, their portrayals turn out to be the most multi-dimensional and relatable on the show. Despite her mean streak, Taylor is incredibly competent and is arguably the most dedicated member of the team. In fact, given her experience and overall comportment it’s a little puzzling as to why she didn’t remain as the leader of the team once Cole arrived. With Merrick, we understand his behaviour through the exploration of his past and we come to accept his lone wolf behaviour as endearing. That’s not to say the other characters aren’t interesting. Danny is loveable in an awkward kind of way, calling to mind Raita from Choujin Sentai Jetman. Alyssa, meanwhile, is unapologetically sweet and caring. Her boundless optimism and the emotional support she provides the others make her into the unheralded nucleus of the group. There’s also a rather clever narrative with her character, emphasizing the importance of her education and her pursuit of knowledge. Even Max’s dopiness and insecurities make him memorable as a character. Unfortunately, the curse of the dull Red Ranger syndrome continues with Cole. While his love for animals and ability to communicate with them, as well as his strict moral code, help give him depth, he’s still less interesting than the others on the show.

The biggest surprise for me with this series was its adherence to story arcs, which is something previous seasons were rather stingy with. Where other entries relied heavily on filler episodes, Wild Force packs its 40 episodes with development and plot twists. A notable example of this is the Zen-Aku arc, which begins early on in the season. It helps to introduce the mysterious and powerful Org Zen-Aku, as well as the sixth Ranger Merrick. Wild Force is further supplemented by subplots, such as Cole’s search for the truth about his parents’ fate, and character-centric episodes that see our heroes gain new Zords (often by overcoming their fears or by proving themselves). The abundance of multi-part stories and subplots really helped to add a sense of gravity and direction to the series. For the first time, a Power Rangers season actually built up towards its finale and came to a satisfying climax (complete with a decently executed denouement). With Wild Force, it finally seemed like the writers knew where they were going and weren’t simply wandering around aimlessly until the final few episodes.

Power Rangers Wild Force does have its share of flaws. The acting is still questionable (Toxica – I’m looking at you, girl), the CGI is really dated, there are far too many Zords to keep track of and some cheesy sequences (many involving the syrupy Princess Shayla singing). Despite this, it’s hard not to love Wild Force. From a plotting perspective, it’s quite possibly the strongest entry in the Post-Zordon Era. It was the perfect way to close out this particular era, providing fleshed out characters and more engaging storylines. If that weren’t enough, it features not one, but two, Power Ranger team-ups (the two-part “Reinforcements from the Future” and the anniversary episode “Forever Red”). After the lackluster Lost Galaxy and Lightspeed Rescue, Wild Force and its predecessor Time Force proved that the Power Rangers franchise could move beyond a simple monster-of-the-day formula and instead present a legitimately entertaining season-long narrative.