Hats off to Quinones for capturing the absolutely grotesque facial features of Michael Keaton. I know that Burton is always into things that would make an audience vomit, and while watching his Batman films I can wholeheartedly attest that Keaton did not obtain his role because of any "good" looks.
I was always more of a Superman kid, so any time that the '89 Batman came on I would be bored out of my gourd. As I grew older and got deeper into the mythos, I was disappointed to see Billy Dee Williams' Harvey Dent not get as much screen time as I would have expected him to within the Burton-verse.
Hamm rights that wrong here and shows a Dent that has grown up in Batgirl's stomping grounds of Burnside - save for in this iteration, Batgirl is engaged to be wed with Dent and of course the Commissioner isn't too happy about that.
The scene's where Dent speaks with a child on the corner, flashing his car to him and speaking with his barber from his upbringing are touching scenes that provide the background needed to support Dent as the eventual Two-Face that he should have by all means became (though Tommy Lee Jones was a highlight within the Schumacher films, or more so the concept of Sugar & Spice was ...) and offer an excellent contrast to his conversations with Wayne in an attempt to get his assistance in his crusade against Batman.
Strange bedfellows. The action sequences are as drawn out as the film's with hair-brained Joker plots; even with The Joker no-longer present. I've seen "Batman Beyond" do better. But the action sequence that really got me was the final scene featuring a possible Robin on the wrong side of the tracks due to issues of poverty. Jason Todd is my favorite Bat-sidekick, so I am a sucker for that shit. And if Hamm & Quinones can keep the heart within their action & dialogue sequences while not delving too much into the elements that made Burton's first foray into the Batman Universe so laughable, I will continue to be along for the ride.
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Skybound X is the top anthology on the shelves right now overflooded with bloody black & white stories.
I've skipped over The Walking Dead for years because of the hype and high issue count never made the franchise inviting. The Rick Grimes 2000 tale that bookends here is more than I could have asked for in my first trip into The Walking Dead.
Short, to the point, and accessible to readers unfamiliar with the mythos. Rick Grimes 2000 is a mature read with enough ridiculous factors (aliens, mechs, zombies, & lightsabers) to plaster a grin on your face & keep it there !
So since Rick Grimes 2000 wraps here, I decided to venture further into the anthology - something I neglected to do in past issues.
I ended up reading the whole thing.
Though the 2nd Kirkman tale in here featuring mechs & magick didn't really appeal to me (a little longwinded & clunky for a preview, though the character concepts were cool), I was able to get a taste of acclaimed books "Gasolina" & "6 Sidekicks of Trigger Keaton".
The latter looks goofy as hell, but the story was hard to read. It was like watching Dicaprio in "Once Upon A Time In Hollywood" fall to a new low by indulging in taking out his anger on a lower being in the animal kingdom. Not as uncommon in my reality as one would believe, but to see this act in comics heightened my disgust.
As was my passion in the former in "Gasolina". I felt like I was watching the stories of the couple told in Rodriguez' "Desperado" series : ridiculous & romantic. Something that action tales no matter the medium deliver better than any rom-com ever could.
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High paced action and my favorite person to ever wear a Spider this side of Eddie Brock, Black Widow No.9 is featuring a Widow story that is just getting better and better.
I am glad I stuck with the series, because the Arcade storyline dragged , and it seems as if the farther Natasha gets away from her family life the better the story gets.
The banter between Yelena & Natasha is spoke on and played up, but not to a level of annoyance. This was my first time reading this book in color, and I am glad to see the variety of ethnic backgrounds featured in the book, non-stereotypical, and as quirky as possible.
And once more the decision to put Anya in this book is absolutely fantastic. I have an attachment to her character since I was a kid and she's been done justice here in these pages by Thompson.
Casagrande's art is still simple pencils with eerie eyes that look like they never blink, but the simplicity of her art makes it to where each character flows in splash page action sequences that look like they belong in multiple panels, but are instead told on one page in a way I have never seen drawn do effortlessly and cohesively before.
And that's the beauty of this latest arc of Widow, there isn't too much traction on this road despite the rocky start.
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Morrison didn't retire. Morrison didn't retire! MORRISON DIDN'T RETIRE! Those were my initial thoughts when I picked up "Superman And The Authority". Happy that one of my favorite scribes and teachers was not going to hang his hat on a series about my least favorite (and most overrated) Green Lantern's. It appears that authors in all mediums have a tendency to pull the ol' bait and switch to get consumers to purchase more of their product. But with Morrison's ecletic bibliography - I do not mind playing the game right along with him.
The book begins with the type of mind-altering that one can expect with reading Milligan's run of "Shade The Changing Man", and once more a Vertigo-alumni's fascination with U.S. Presi. J.F.K. is present here in the opening sequences as Superman has a private conversation with Jack, that seemingly fuels the Man of Steel's motivations in this new limited.
The reader then gets introduced to Manchester Black (a character I have been familiar with since I was a kid and Ed McGuiness was still handling "Batman/Superman") in a standoff situation after a wild night complete with alcohol and a bed with a passed out paramour.
Black carries the attitude of Constantine, but is built like the main character of Ennis' "The Boys". And it's not a bad pairing, when Morrison has Black sitting in front of a Superman who is visibly aged, ran down, and worse for wear.
Not as bad as "Kingdom Come" Supes, aesthetically - but if it were a prizefight bet, Ross' Supes would be walking out the victor, as here Morrison's Superman even looks to struggle to hover in the air.
Turns out this Superman is working for the Feds and looking to hire Black for a new superhero team. This shocks Black, and he spends the remaining of the issue bad mouthing Supes , categorizing him as a fascist and a failure, while punctuating the conversation by essentially telling him to "piss off" while he walks away from The Fortress of Solitude , with one of the more gorgeous panels in the book.
Superman appears dejected, but the promise of other prospects brighten his visage up, if only slightly. As a reader though, the promise of the future prospects for the new Authority can only brighten this book to standout for my future pull.
The comedic timing between Black & Supes was mature in a way that I cannot expect from being a religious reader of Supes in Action. The scene where Black demands alcohol as a source of his life force, I could only see Constantine doing the same thing over a pack of ciggies !
And as can be seen from that previous sentence, the language is infectious. It's only proper to start the book off with one of U.K.'s finest , since it's penned by one of U.K.'s best.
Now I can't wait to see Morrison's spin on a character like Natasha Irons and of course to see Midnighter regain some testosterone, since his recent appearances in Action under Cloonan have softened one of DC's greatest gunslingers.
This premiere issue has set the bar and I expect much from what Morrison will be doing in this limited run - something that I have no doubt that Morrison will be able to deliver with the toys he has promised to let out the box.
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Barabarella busts out in an era where being a sex worker is more socially acceptable than ever before; dropping right on the heels when a clown like Meagan Thee Stallion covers a rag like S.I. It's only fitting.
The thing is, despite Barbarella's laughable, Enchantress - esque powers, there is deep storytelling here that throws everything that previous Barabarella know into flux - capturing their interest, and giving new readers like myself who have never heard of the character the perfect place to latch on to and to fall in love with the character.
Not being a purveyor of space comics, Barabarella hit me left field : Brian Bolland was brought into the fray for a variant, the gorgegous Musabekov art that he took from his covers for "Vampirella vs. Purgatori" are now a page by page treat, and the cast of characters surrounding Barabarella have every right to be annoying (from the A.I. she makes love to, to the little pet who sounds like Gollum in my head), but for some reason the supporting cast comes off endearing and covers the ground that Dynamite's version of a blonde Poison Ivy basically can't as a mystery-action piece unfolds out of a comedy that looks like the Tijuanna Bible's Silk Spectre I was going on and on about.
I've been reading a lot "Doctor Aphra" & "Darth Vader" lately , plus Duggan's "GOTG" has been softening me up for this tale of surprising intrigue & mystery that holds no punches with it's laugh factor or sex appeal (as expected with a Dynamite title). I'm glad I took a chance on Barbarella this week, but I am not remiss to see that this title serves a specific niche. I don't know how insulted I should be that Dynamite has my number to keep me reading after they just ended "Vampirella vs. Purgatori" to transition so smoothly into a book like this. At this rate, the pheremones will never wear off !
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I would give a lot for Bennet to draw She-Hulk 24/7. I love the way that Ewing writes her too and doesn't make her Savage side look stupid , as opposed to Aaron's writing on the current Avengers.
That's all the comparisons I'm going to speak on for this review, because Immortal Hulk will win against any other title currently on stands if I continued to do that.
It was great to see Harpy reunite with the Hulk. Though to see her be so head-over-heel's for Joe Fixit surprised me. I was not aware that she had a specific personality that she latched on to in her relationship with Bruce. But to see after all that, her still desire the milksop, was touching.
Betty genuinely loves all parts of Bruce, but favoritism has become a coping mechanism in her case dealing with a mate who has a psyche wrought with MPD.
Fixit's non-chalant attitude towards Banner seems like a front. But, affection would not really fit his "machismo" attitude, so that 's expected.
I'm glad to see there is more titles spinning off of this series, and the scenes with the memories between Betty & Bruce were a thing of beauty. The past in a frame always is.
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The latest issue of Secret Files just could not dissapoint. What to expect from anything featuring Psycho Pirate? Here is a good reason why this character has survived every generation of the DCU.
Filled with existentialist themes to further push the narrative in the main Infinite Frontier series, the best really had been saved for last with a classic interrogation featuring some of the most thought-provoking dialogue I have read in years.
I will take Bones' & Pirate's conversation about stoicism with me for the rest of my existence dealing with emotion. And that's not on every new comic book day, thanks to the way "life" is set up.
The bar has been raised here with this series, that not even the return of the Batman Adventures or those shorts with Vixen & Red Hood in "Truth & Justice" really could accomplish (though they were great in their own right).
This line of Secret Files shorts punctuated here let comic book heads everywhere know that DC Digital Firsts' actually can carry some weight.
Whoever drew this needs to be hired for the next Digital First title because the marriage of illustration and script here (penned by Lucifer legend Dan Watters) is what comic books are made of, not just thrown together like most straight to digital books after Tim Kring's webcomic of Heroes was getting compiled to be published under Wildstorm (look it up).
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Black Hammer Reborn No.1 is Lemire doing what he was born to do : telling goddamn stories about unknown characters that an avid comic book reader can only grow to love.
I come off of falling in love with Sweet Tooth two years ago at a Kansas Public Library.
Damn representation, "Black Hammer" to me was just an edgy superhero group that went at it with the Justice League before I read this issue.
I didn't even know Black Hammer was an actual character, let alone a "black" one at that.
Put more sauce on it, you get a female. This is the perfect time for even a seasoned writer to double down on stereotypes and goof up, but I read Lemire's latest Sweet Tooth mini , The Return , which stars strong afrocentric female leads.
This is familiar territory for Lemire, and he handles this opportunity just like a vet.
This issue is relatable for a man like me who grew up in households with Afro-women who ruled as matriarchs, only to be thrown in an adult life that did not pan out the way I thought it would, especially when I woke up one morning to discover that my marriage was over through infidelity from my past partner - just like the main character in the very pages of this premiere issue.
There's no pandering here, or clamoring for a certain audience like recent books starring Afro-centric leads or having the promise of them (the former Static , the latter Wonder Woman ). The characters just are who they are and the situations are so realistic that I recognize them through multiple points in my own life; whether directly or from an environment I have been around and know like the back of my hand.
The realism here is just off the charts. I honestly expected another great Visions one-off. Then I find out Dark Horse found some way to produce my new favorite title, despite the latest God of War wrap.
Fresh out of left-field with bloody action, dark humor, dramatic content, and an attractive main character who is vulnerable but at first glance portrays invincible - Black Hammer Reborn No.1 does not reinvent the formula of the comic book debut - this book perfects the comic book debut.
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In a week where I played catch up due to just hopping out on "time-served", "Static" was a title that I was looking forward to, though not at the forefront of the Milestone relaunch. Though it's placement is understandable , as Static is arguably the most recognizable character from Dakotaverse , all that I had feared was present in this first issue, namely the overwhelming sense of teen melodrama.
The family dinner with the Hawkins was the highlight of the book, providing an interesting "before-and-after" juxtaposition, but all the drama between Virgil & his friends, let alone Hot Streak - just overshadowed that.
Now , the last time I saw those two tangle was going through back issues in my late teens, or most memorably in my superman drawers watching Kids WB! , but this here lacked the punch those previous encounters had.
It has to be the pencils. The art here just looks thrown together, like any digital first book , except this one takes the insult a step further by mockingly using a hi-resolution coloring that makes the book look like some whacked out anime that completely lost all of it's manga roots.
There might be something in this story, but now in my 20's I am starting to see the comparison's that rank Static as the "poor man's Spider-Man". I grew up. I just want to see my comic book compatriot's do the same.
HotStreak burning down the Hawkin's house was a nice call back to his Grand Dragon template, but if the writer's are going to have BLM plastered all over the book - well, this whole thing is starting to feel just like that "movement" and it's only the first issue : not to be taken serious, just another money grab off the back off afro-centric pain & plight. At least Virgil's mother made it through this one ...
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What with getting locked up over a little misdemeanor and then getting things together for my new place out in the 313, I've been sleeping on a lot of the books that have been coming out over the past two weeks.
Luckily, I was able to feast my eyes on Hickman's latest, via X-Men number 21.
The Hellfire Gala was every bit as extravagant as promised, given the lead up over the past several months to the special event, it was only right.
The art was gorgeous. I could have swore that Phil Noto's brush was on a couple of pages, but surprisingly several other artists (including one of my favorites in Sara Pichelli) did their just due within the panels.
One of my top 5 emcees, Eminem, made an appearance in the book (alongside Paul Rosenberg); not his first appearance in Marvel Comics but definitely one more memorable than his Mighty Avengers No.3 cover for the MMLP2 promo run circa 2013.
Aside from one of the rulers of rap, you had the ruler of the seas A' la King Namor, starting off the tale by bodying a conversation with Professor X and Magneto by really throwing his royal weight around, punctuating the conversation with going to the Avengers and probably showing his ass over there as well too.
Hickman really gets Namor down here, The first mutant publicly known transcends the exclusive tribalism of homosapiens superior because no matter what he recognizes himself as a man of two worlds and the sea's of Atlantis gave him a crown where as a seat on the Krokoa council would be a step down for him.
Genetics be damned, Namor is a man of objectivity, and Hickman is able to speak his language better than any writer of the Fantastic Four has since their return after Secret Wars.
Shit makes me want to pick up Hickman's fabled run of the Fantastic Four (despite me not really being interested in not title save for any issues with Dr. Doom)!
That's what any good book should do : inspire the reader to want to revisit the backcatalog of the writer and the other artists responsible for putting together the 32 page magazine, and this issue of X-Men nails that shit.
I was skeptical of the focus on the outfits that were harped over since Kid Omega's return arc via X-Force, but after seeing Storms back in a one-piece, I kind of get it now.
The announcement of the new X-Men lineup felt fresh, even though I was privy to the information via Blerd Without Fear, and other such comic book centric podcasts months prior.
Luckily, when this reveal actually happened in the issue, I had forgot the solicitations and was filled with just as much surprise as Laura Kinney was stuffing her face with kabobs on her claws.
I never read the Gambit & Rogue mini-series that they had, so I was lost as to how they even turned up in a eXcalibur, but seeing them here at the ball reminded me of how good they look together. Honestly, they should be the poster children of relationships in the X-Men universe, not the convoluted Summers family.
And speaking of the Summers', since Cable is going after one of the Stepford Cuckoo's, it seems he has his father's taste (at least that inheritance doesn't translate into eyeware), but after the way that Frost welcomed everyone attending the galla and performed something of a psychedelic psy-op that made me feel tranquil and proud, I can understand what Summers and Shaw see in the metaphorical and literal White Queen.
But of course the Black Queen had to upstage her. Typical Jean Grey shit. And esoterically speaking, the darkness must always overtake the light, though never have I seen such a beautiful spectacle of this axim portrayed in literature. Eclipses are rare enough.
Enough slobbing of the knob though, this issue did have a drawback or two.
Namely that I have no idea what Mr. Sinister was talking about in the little tabloid insert, but I really don't care because I am prepared for the next issue of Hellios to be funny and action packed as usual, though this insert did take away from the overall peacefulness and serious tone of Hickman's book. Keep that shit over there.
Just as well, if Marvel comes out with a poll for best dressed (since they had such a large emphasis on the wardrobe over past issues) Storm's going to win bar none and even though. I mention this since she had her send off issue in Marauder's, but that still doesn't feel like it's enough.
What is her future going to be in the coming X-titles and John Ridley's new Black Panther?
After the role she played at the end of Ta-Nehesi Coates' run, she honestly did not look like she wanted to be on Wakanda or lift the annulment between her and T'Challa.
Plus, Eminem and the other celebrities didn't look out of place at the gala - but the Avengers sure did.
I can only wonder if this issue is going to be leading up to an Avenger vs. X-Men 2? Which wouldn't be the greatest since that storyline got panned just as bad as Civil War 2 , but it could still happen.
Few missteps, alot of celebration & alot of open ended questions that can only lead to future storylines that should be heralded by Hickman giving the success of his game-changing run punctuated hugely here by the comic book series that made "Giant-Size" a thing. And this wasn't even billed as a special issue.
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Gorgeously drawn & well-written. Jones is able to tell a backstory & drum up excitement for the future without dragging in any point of her pilot.
Nubia makes a token appearance, as well as a queen who appears to have usurped Artemis' thrown. That's all great, but I still want to see more of Nubia in the DCU than these little cameos. Since she took over as Queen of the Amazons, I still ask DC : Where is that woman's solo series?
I take having a book called "Wonder Girl" & ghost Diana as a goddamn insult to the the twin sister of the legend Diana Prince, but that oversight does not take away from Jones' work here on Yara.
Yara is annoying, but offsets that with her cuteness. Yara is headstrong and impulsive , but Jones is able to translate those faults into both bravery and heroicness.
Yara vs. Hera? Sounds Herculean to me, and I am excite to see her overcome her trials just like in Future State. But that still doesn't change my position on viewing Future State as a boon that did not need to be.
But that is to say Yara looked great coming out of that & she looks even better here. But still, judge this book with a heaviness in my heart for Nubia. Jones featuring her in this story , I have no doubt she'll do her justice but she's still secondary to Yara when Nubia has both senority in publication history & title - DC needs to make sense of this and fix this issue, because Yara would make a great Wonder Woman, this title is priming her for that role; but I'll be goddamned if she gets the Wonder Woman title before Nubia is officially accepted & recognized as a member of the Trinity by both the readers & DCU characters alike.
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These composite Batmen really make me think they are the real deal with the way Kubert is drawing this.
Kubert stays showing off his chops here, while the story from Taylor feels a little heavy on backstory. Hopefully the buildup is over so next issue we can get into the meat & potatoes.
The death of the stooges are straight out of a noir novel and I am looking forward to learning the motivations of this copycat terrorist group.
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Hulk got fused with Bizarro - two of my comic book favorites - just to get stamped out by the worst iteration of Hyperion. And I thought Spider-Man got done dirty ...
The lack of the MAX Squadron Supreme is going to stay as my biggest gripe against this story. I might try to ignore it.
Blade popping up like Ebon ob Static Shock was crazy, and Cap with a beard is such a crazy look I was reading him as grizzled instead of pretentious. Amazing what some facial hair can do.
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Shiva's story was heartbreaking. But letting go of those you love is the universal language of life.
Skipped the rest but Red Hood. Great to see the best version of The Dynamic Duo back in action. I am a sucker for this shit.
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An interrogation? The only thing I liked was the callbacks to the mask becoming the wearer's face.
I'm done man. And Rorschach is one of my favorite comic book characters. This wacky story is losing it's legs.
Anybody but Tom King should have handled this.
This book should have went straight to GN - maybe that would have saved it from being a blemish to Watchmen's legacy.
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I wish Peter would have killed J. Jonah. Oh well,he'll be wishing the same thing next issue.
This is great. I love seeing Spider-Man cut loose and with the symbiote that never forgot him.
I always loved What If? stories, and this as a limited with Zdarsky on it - the master of pulling superhero's into depressive states - is the perfect intro to something I want to see more of.
Seeing Peter bond with the symbiote further, seeing M.J. dissapointed but powerless to Peter, hahaha that scene , Peter should do that more often, maybe then the relationship wouldn't be on-and-off all the time.
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Just read the Red Hood joint, because my favorite Robin was the draw to cracking open another dreaded Future State book.
It was not that bad. I'll check out the next one. Need to replace the penciler though, I hate how he makes Ravager look like a disproportionate toothpick.
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Lovee some of the shorts here that I read and the exposure to characters that just get overlooked.
Kong should be replacing Jon for the next Superman role, and finding out so much of Green Arrow'd extended family - I smell a new Arrow team complete with a new Speedy.
And as for that last tale, Nubia looked perfect completing the Trinity. DC what's the hold up? Bendis would write her well, I have no doubts.
Time to stop tokenizing Nubia, and put her in the game.
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This isn't it. I dont care what the writer says Penance looks like a bitch. And Angel looks like a dunce.The frontrunners of this team are completely unlikable. Make Madrox and that hacker girl team leaders , because this writer cant voice Penance or Angel.
Too long of a book. This just wasn't it.
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I'm eager to see the dysfunction between the dismantaling of the League - once again. A little tired of Martian Manhunter being a sacrificial lamb, but I am a sadistic sucker for watching him burn so let Zdarsky tell his DC tale that makes Batman look like an asshole, once again.
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An orgy,a Snow White Evil Queen take, and alot of flying/running around with gorgeous shots of Vampi/Purgi's "lovely lady lumps". This title is the fun version of Harry Potter's hunt for horcruxes. The mystery just got deeper, more villains got introduced and this title is at least more than halfway through. I don't know how they do so well over at Dynamite (probably the lack of big event books and the focus on non-canon mini-series), but I am glad they are doing it - or I would not have the pleasure of reading this!
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Well this is what I expect from all Dynamite titles : something raw & titilating. I haven't read a catfight this arousing in awhile, nor have I read a superhero throwdown more visually or phonetically satisfying than this.
There was no rush, and even though the fight was seen through Sonja's eyes, the perspective of Vampirella & "The Superpowers" were still translated thoroughly.
And this is only round 1? I could swear Vampirella & Sonja have squared off multiple times before, and Man of Steel - esque battles have been in comics since before Zack Snyder touched his first camera - but I'll be goddamned if this does not feel fresh!
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Again no. I just looked at the cover. Another double Diana story, when she's supposed to have BEEN dead? WHERE'S NUBIA? Hell, where's Yar? DC needs to stop bullshitting the readers and pass the torch. Pussyfooting time has been long gone.
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"Dear Becky" had more substance than the first volume because of the added tear-jerker of a love story. If you've read this book and can empathize with any of the characters, then you've probably already lost love. Ennis playing on this was gold enough to get through the more rougher parts of the tale.
The action, stark political stances, and expletives are still all here - but these elements are all reigned in and more controlled because of the presence of Becky, through memory and spirit surrounding the overall read.
Not too much is spoiled for the series prior, so "Dear Becky" still provides a warn welcome to go back when it's all said and done.
Superhero ambush after superhero ambush, the dark humor still hits and even though this time around Hughie is gaining love instead of losing it, the feeling of absence and regret is still heavy throughout the entirety of this read, making all the subplots nearly an afterthought with the presence of Billy's letters that even I've found myself writing to my own Becky, once upon a time ...
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So this is the infamous Wildstorm run that started at all. Written with a heavy Crown tongue, the whole book is brutal violence and innuendos. When that isn't enough it's orgies and blowjobs topped off (pun intended) with impalements and flesh-eating hamsters.
Beyond all these attractions is a story of espionage, vengeance, and the missuse of power common in the U.S. "country" that is openly ran by corporations in this reality as it is in the reality I am writing this review in.
The names for the characters are juvenile, and deaths are treated like a Mortal Kombat game to see who can one up the next. This book is why the Comics Code exists and why Ennis was a shoe-in for the best Punisher run in the history of the character's creation.
After putting this book down, I got a headache. It's a lot to take in when I'm used to my average weekly run of fan service that leaves something to the imagination and villains getting taken down without pools of blood (or blood mixed with pools of semen, in the case of this book), but this was just the shocker I needed.
It's not as eloquent as Miracleman and not as sophisticated as Watchmen, but it's also not as perverse as a Red Sonja or Vampirella book prior to Comicsgate.
The Boys' Wildstorm run notch's up the extremities of the comic book medium while running the underlying theme of just what does it take for a person to sell their soul and how far down the road are they willing to take it?
With characters that I had to learn to love (Hughie is ridiculously indecsive, Terror's owner I wouldn't trust with eyes on the back of my head. And Terror is just ugly), art that was cramped and bloody, and a script that felt built around shock, teenage lingo and nothing more my first foray into The Boys is that you don't have to be so mature to read this, despite it's recommendation.
On the surface, the book is juvenile, but deeper this volume of The Boys is about making deals with devils and just what it takes to hold those deals together.
It's superhero media in general : childish on the surface, but deeper when you get into the story.
And that's the thing about The Boys, I wanted to just stop at The Wildstorm run, get a taste ... but now, I want to go deeper.
The Boys is a rabbit hole filled with a lot of sex and violence, for no reason but just to shock and awe. Take off your grad cap for this one, you wont be needing it to enjoy this ride. A ride that sincerely feels like it caps off at around 13. With a statement like that it's easy to see why Ennis decided to call this "The Boys".
A smutty male empowerment fantasy (like all comics are accused of being) but it tries a little to late to put a reign in on those powers, haha, and this is just the first volume !
If there was ever a personification of low-vibrational reading, The Boys would be it.
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Even down to the title, it's just cold how Dynamite's composite JLA is doing Vampi over Red Sonja. But I love how they are being pitted against each other, because even though there were hints - I did not see this coming. I thought this storyline and Sonja's was happening in another universe - not a before and after !
Vampi being prejudged and the way she takes it : hurt , but been there before. The way she handles something of a penance stare and she gets into a fight where her skirt gets lifted for fan service, this story is hard to start whenever I open an issue, but every page turn, the tale consistently gets better and better.This is the real Amazing Fantasy.
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Terrible art, boring story that just cant stand up with the more oft-kilter Sonja titles out now. These are the feminist clowns that ruined Harley Quinn ? Hard pass.
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