Review - Aquaman: The Waterbearer

When Aquaman is sentenced to death following a regime change in Atlantis, the enigmatic Lady of the Lake rescues him. In exchange, he is given a mystically empowered aquatic hand and becomes her champion. Upon his initial misuse of his powers, Aquaman sets in motion a series of events that could harm his benefactor.

Aquaman: The Waterbearer collects Aquaman #1-6 and material from Aquaman Secret Files 2003 and JLA/JSA Secret Files & Origins #1, written by Rick Veitch and art by Yvel Guichet.

The Waterbearer picks up in the aftermath of “The Obsidian Age,” a storyline that ran in JLA that dealt with the disappearance and reappearance of Atlantis. As such, it demands a certain level of working knowledge of the preceding events. Without it, readers may find themselves desperately trying to fill in the blanks. Still, writer Rick Veitch and artist Yvel Guichet don’t dwell too long on it. Instead, they keep the narrative moving forward by introducing new lore to the Aquaman mythos. The creative team opts to borrow from Arthurian legend (apt considering our hero was a king named Arthur) and the concept of the watery hand is absolutely brilliant. As the ousted ruler of Atlantis, Aquaman’s given new purpose as the champion of the Lady of the Lake and he finds himself having to learn how to use his new gift. True to his hotheaded nature, he makes mistakes and he has to deal with those consequences.

Despite its inclusion of Arthurian legend and some interesting narrative choices, The Waterbearer isn’t as attention grabbing as it could be. It lacks direction due to a meandering storyline that delves into a plethora of subplots. There are so many plot threads, but the end of this collection ties none of them up. In fact, the trade itself is a massive disappointment due to the fact that it effectively ends on a cliffhanger. It makes little to no sense that the collections department at DC Comics opted to collect the first six issues of Veitch’s run rather than the entirety of it. It wouldn’t have been a big deal to have this trade run the full twelve issues.

I like a lot of the concepts and ideas introduced in Aquaman: The Waterbearer, but the execution leaves a lot to be desired. Yvel Guichet’s art is an undeniable asset, especially in capturing the more whimsical elements of the story. The scenes involving the Lady of the Lake and her handmaidens are gorgeously illustrated, standing out as some truly distinctive work. Unfortunately, Veitch’s narrative direction and dialogue choices don’t match the high quality of the art. He has a firm grasp on Aquaman, but the other characters seem to suffer from neglect and floating plotlines. For instance, Mera is catatonic, Dolphin is trapped in Atlantis, and the Lady of the Lake is nothing more than a plot device. While my opinion would likely be different had this collection included all twelve issues of Veitch’s Aquaman run, The Waterbearer failed to capture my interest and was a bit of a chore to get through. Had the women been given more of a prominent role, I’m certain I’d have felt a little differently.

RATING: C

Review - Black Widow: Homecoming

When Natasha Romanoff’s self-imposed retirement is rudely interrupted by an assassination attempt, the spy turned superhero joins forces with an ex-S.H.I.E.L.D. operative to investigate. This leads them to the death of a women’s rights activist whose true identity was that of a former graduate of the Red Room. With all roads leading back to Russia, Natasha must venture back home to find the truth about why someone is hunting down the women who were part of the program that turned her into the Black Widow.

Black Widow: Homecoming collects Black Widow (vol 3) #1-6, written by Richard K. Morgan and with art by Goran Parlov and Bill Sienkiewicz.

Homecoming is a sleek and sophisticated mini-series that untangles the web of mystery surrounding Black Widow and examines the harsh realities of what it’s like to be a female operative in a man’s world. It begins with a startling simple premise that is quite grim in execution – the graduates of the Red Room, the program that turned Natasha Romanoff into the world’s deadliest spy, are being systematically hunted down by some unknown force. After surviving the attempt made on her life, Natasha seeks out the help of former S.H.I.E.L.D. agent Phil Dexter to help her find the truth behind the assassination attempt. As the investigation unfolds, Natasha is forced to confront memories from her past and learns that much of what she remembers is a lie.

Richard K. Morgan’s approach to the character is really intriguing. He writes her as a cynical warhorse with very little sentimentality, but who is enjoying her retirement by rock climbing and reading books. When she’s forced to go back into the field, she seems to do so begrudgingly. Whether intentional or not, Morgan seems to take aim at the consequences of patriarchal power structures through Black Widow. Throughout the mini-series, she is constantly confronted with men who use their positions of power to either illicit sex or inflict violence (or a combination of the two). Early on, for example, Natasha rescues a woman who is at risk of being assaulted by a group of men at a truck stop. We also learn some grim details about the Red Room/Black Widow program, such as the government’s discomfort with female operatives and how far they were willing to go to ensure their effectiveness and complacency. There are more subtle critiques as well, such as when Natasha critiques fashion and bemoans how perfume is the go-to present men give women instead of something more useful (there’s some irony here given the way that scent and pheromones come into play later).

Bill Siekiewicz, a legend in his own right, receives top billing as the artist for the first issue and is singularly credited in some summaries of the series. His rough and highly stylized aesthetic is prominently featured across all six issues, creating an undeniably psychedelic signature Siekiewicz reading experience. That said, Goran Parlov also receives credit as a penciller for the series. His style is arguably antithetical to the dominating look of the series and is more traditional in that sense, so I suppose it is admirable that his contributions were able to closely mimic Siekiewicz’s work enough to create a sense of consistency. That said, the art may be a deterrent for some. It’s rough and looks unpolished, so it may be a challenge to adjust to for people looking for a more traditional comic style. Others may find it to be perfectly suitable to the narrative, as it is moody and atmospheric. One of the things that I felt the art did effectively was capture Natasha’s various expressions, which helped me to understand her feelings throughout.

Black Widow: Homecoming is truly an engrossing thriller with some bite to it and that never wavers from its character-focused storytelling. It wasn’t a disposable tale of espionage as many Black Widow-centric stories tend to be. It felt like it mattered as it directly affected the character and added layers to her origins. I also appreciated that Homecoming had something to say beyond the usual intrigue of international espionage. It truly feels like a prestige graphic novel, but doesn’t seem to have gotten the same praise or attention Black Widow’s male contemporaries would. Regardless, it’s worth a read.

RATING: A

Review - Aquaman Volume 3: Crown of Atlantis

With the war between Atlantis and the United States over, Aquaman finds new and old threats on the horizon. First, he must contend with the cyborg Warhead. Then, he forms an unlikely alliance with the Aquamarines in order to investigate the re-appearance of the lethal Dead Water.

Aquaman Volume 3: Crown of Atlantis collects Aquaman #16-24, written by Dan Abnett and illustrated by Scot Eaton, Philippe Briones, and Brad Walker.

In comparison to the two trades that preceded it, Crown of Atlantis is a dull collection of stories that ultimately fail to meet the excitement and action of its predecessors. Where The Drowning and Black Manta Rising focused on the saga of the shadowy organization N.E.M.O. orchestrating a war between Atlantis and the United States, this trade reads as a disappointing denouement that treads water in an attempt to tie up loose ends. It opens with a three-part arc where Aquaman faces off against Warhead, a cyborg with telepathic abilities who is leaving a trail of bodies in his wake. It’s a forgettable storyline with an incredibly unremarkable villain. It’s followed up by another three-parter, this time featuring Aquaman and Mera joining forces with the Aquamarines to stop the monstrous Dead Water. It’s a marked improvement over the first arc and gives us some really great moments between Atlantis’ iconic power couple. For instance, we see Aquaman and Mera at odds over the correct course of action to dealing with the threat. Interestingly, there’s a role reversal in that Mera seeks a diplomatic solution while Aquaman reaches for the aggressive one. Nevertheless, the arc fails to impress. Though Abnett was likely aiming for something along the lines of Alien or The Thing, the narrative isn’t given enough room to breathe. This results in haphazard action sequences and an abrupt ending that doesn’t effectively interrogate the very real tension that should have been between Aquaman and Mera due to their conflicting attitudes.

Where Crown of Atlantis shines is in the arc that this collection was named after. It’s a paltry two issues, but in this storyline a coup is led by Atlantean rebels and Aquaman is swiftly deposed from the throne. He, Mera, and Tula must escape before they can be imprisoned (or worse). In these issues, Abnett returns to writing stories that have some political intrigue to them and tangible themes that are likely to feel relevant to today’s climate of isolationism amongst many of the world’s nations. The juxtaposition of Aquaman’s liberal views contrasted with Atlantis’ traditional ones feels topical, as does the antagonism towards our titular hero for being an outsider. Still, these two issues feel more like a prelude than a fully formed arc. They even end on a cliffhanger. As such, they feel tacked on to an otherwise mediocre collection.

Art-wise, the trinity of artists working with Abnett remain fairly consistent. Eaton, Briones, and Walker are true assets as their work elevates the otherwise unremarkable stories being churned out with this trade. Disappointingly, Walker does take a step back and only provides interiors for one issue (along with the covers). Briones remains a favourite for me. I really enjoy his aesthetic. It’s also worth mentioning that Eaton’s work improved with this issues and adds some consistency overall. With that said, there’s a rather surprising (and glaring) error in issue 24. Towards the end, Aquaman is meeting with the Atlantean rebels and both Mera and Tula are drawn with him. The problem is that both characters aren’t actually in Atlantis at the time, so the colourist (bless Gabe Eltaeb) had to get creative by re-colouring both to try to make them look like different characters. For example, the Mera character is given a pink outfit, silver crown, and blonde hair.

I was surprised by how disappointed I was by Aquaman Volume 3: Crown of Atlantis. After enjoying the previous trades due to their complexity and creative action sequences, this one felt like a major step down. With a lack of memorable villains, precious little done with the women, and an overall lack of direction during the first two arcs, Crown of Atlantis is a bit of a mess and certainly makes me question the direction the creative team is going in.

RATING: C+

Review - Black Widow: Itsy-Bitsy Spider

While on a mission to apprehend a bio-toxin from a foreign government, super spy Natasha Romanoff is confronted by a woman claiming to be the new Black Widow. The tenacious Yelena Belova has been sent by Russia to procure the bio-toxin and eliminate her rival if necessary. Natasha must outwit and outmaneuver her successor every step of the way, while ensuring that the bio-toxin doesn’t fall into the wrong hands.

Black Widow: Itsy-Bitsy Spider collects Black Widow (vol 1) #1-3 and Black Widow (vol. 2) #1-3, written by Devin Grayson and Greg Rucka, and with art by J.G. Jones and Scott Hampton.

This collection is divided into two sections – the first collecting the “Itsy-Bitsy Spider” story arc that introduces the new Black Widow and the second that serves as a sequel titled “Breakdown.” “Itsy-Bitsy Spider” is a globe-trotting spy thriller that takes us to the fictional country of Rhapastan as Natasha Romanoff attempts to secure a bio-toxin that turns humans into monstrous super beings. Hot on her trail is Yelena Belova, the self-proclaimed Black Widow. She’s eager to usurp the name from Natasha and is willing to do whatever necessary to please her superiors back in Russia. “Breakdown” is a simmering and more intimate arc, which sees Natasha switching places with Yelena in order to manipulate her into giving up her life as a spy.

Devin Grayson handles singularly handles the writing for the first arc and is joined by J.G. Jones on art. Jones’ artwork is incredible and pairs well with Grayson. The work is expressive and Jones creates many dynamic action sequences. His creative perspectives and experiments with panels gives the overall story a cinematic feel to it. Though it’s easy to say that Jones’ artwork steals the show, Grayson is certainly no slouch either. She gives us complex character work that makes it easy to sympathize and understand our protagonist’s perspective. We get a few touching moments where we see Natasha’s emotions come through, which is rare for her character.

Grayson pairs with Greg Rucka for the follow-up “Breakdown,” with Scott Hampton providing the art. Where Jones’ bold artwork paired well with the explosive first arc, Hampton’s simpler style works well for the more Cold War era-tinged second arc. The usage of cooler tones and pops of warmth throughout provides an atmospheric vibe that enhances the story tremendously. While the narrative itself is loosely a sequel to “Itsy-Bitsy Spider,” it is more character-driven than its predecessor. We see Natasha really pushing Yelena to the brink of insanity through her machinations and it shows just how far she’s willing to go to spare her successor from going through half of what she went through. That said, the main plot device that supports the identity switch is really contrived.

Black Widow: Itsy-Bitsy Spider is an intriguing read and provides a nice little character study of Black Widow. While the two arcs included do very little to elaborate on her past or provide background information on the iconic redheaded spy, they do tip towards being accessible. This is a great collection of stories for fans of the character, especially those who enjoy the Marvel Cinematic Universe version.

RATING: B

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)