Author: oddmoonmediareviews

ODD MOON MEDIA REVIEWS

Welcome! This consumer blog reviews books, movies, CD’s, comics, TV episodes, toys, video games, and other media-related products vying for your downtime. We’ll cover a gamut of mainstream items to the more obscure. Hopefully, our assessments will provide some helpful shopping insights. Our Odd Moon ratings system allots 0-10 stars. For instance, a 5-7 star range indicates an ‘average’ score.

This blog’s intent isn’t to push or knock certain manufacturers & retailers. Still, our reviews might recommend alternatives and/or other items of similar interest. By this same token, unless asked, we won’t speculate on a product’s realistic market value.

Please contact us at oddmoonmediareviews@gmail.com for further details. You can expect a prompt reply. On that note, we wish you good fortune with your treasure-hunting!

BDC
October 2020

Categories
Books & Novels General Fiction Mystery & Suspense

THE NO. 1 LADIES’ DETECTIVE AGENCY # 12: THE SATURDAY BIG TENT WEDDING PARTY

Written by Alexander McCall Smith.

SUMMARY:

Released by Pantheon Books in 2011, this 213-page hardcover supplies the twelfth installment in Alexander McCall Smith’s long-running mystery series.  Weaving multiple subplots, McCall Smith’s storyline supplies the proprietor of Botswana’s No. 1 Ladies’ Detective Agency, Mma (akin to ‘Ma’am or ‘Madam’) Precious Ramotswe, with some new professional challenges to navigate – in addition to her duties as a working wife and mother. 

Once her husband, mechanic/garage owner Mr. J.L.B. Matekoni, replaces her beloved yet undeniably broken-down white van, Mma Ramotswe must begrudgingly place her trust in a far newer vehicle.  Yet, she experiences inexplicably ghost-like sightings of her old van that no one else sees.  It’s seemingly an impossibility, as the white van has already been purchased for junkyard parts.  Can one actually be haunted by a motor vehicle that is practically a family member? 

Aside from contemplating this peculiarity, Mma Ramotswe’s enigmatic new client hires her to identify the culprit maliciously killing off his cattle herd in the middle of the night.  Though the crime scene is in a remote area, a widening choice of potential suspects takes some unsettling turns looping back to Mma Ramotswe’s frightened client. 

Closer to home, her long-time assistant, Grace Makutsi, at last is about to marry businessman Phuti Radiphuti.  Finding Grace the right pair of wedding shoes becomes imperative, as this imminent wedding will be a local spectacle for hundreds of invited guests.  More so, a perpetual and opportunistic nemesis, Violet Sephotho, may well steal Grace’s matrimonial thunder upon announcing her candidacy for Botswana’s Parliament.  Further impacting Mma Ramotswe’s circle is the personal life of her husband’s underachieving young apprentice, Charlie.  Rumored to have fathered twins with a prosperous businessman’s college-age daughter, a haplessly immature Charlie is resistant to taking responsibility. 

It’s up to Botswana’s insightful Mma Ramotswe to resolve these predicaments with compassion, clarity, and discretion.                

Note: This title is available in multiple other formats, including paperback, audiobook, and digitally.

REVIEW:

The franchise’s distinctive brand of low-key charm is on ample display in The Saturday Big Tent Wedding Party.  Alexander McCall Smith’s classy, almost poetic style of prose remains ideal chronicling the exploits of Botswana’s best and most down-to-earth private detective.  Yet herein McCall Smith’s obviously reliable storytelling lies a creative crossroads.  Case in point: this installment is only more of the same undemanding formula (progressing its major recurring characters in baby steps), which should doubtlessly appeal to the franchise’s loyal fanbase. 

Yet, no plot twists (no matter how poignant) dare risk expanding this lightweight episodic tale to a potentially wider range of readers.  Those first sampling Precious Ramotswe’s sleuthing, accordingly, may find The Saturday Big Tent Wedding Party (and, by extension, the franchise) as, at most, a pleasant single read before moving on.  Even so, with now more than two dozen books circulating for this particular series, there’s nothing lurking within Saturday Big Tent Wedding Party that frankly merits a must-read.

Hence, unless one is among McCall Smith’s more faithful collectors, this twelfth entry in the No. 1 Ladies’ Detective Agency proves a practical library option (for ages 13 and up).     

ADDITIONAL FEATURES:

A single paragraph summarizes the author’s biography.  McCall Smith’s photo is included on the back inside jacket, with reference to a few other works he has written.

BRIAN’S ODD MOON RATING:                               6 Stars

Note: Jointly adapted by the BBC and HBO, The No. 1 Ladies’ Detective Agency briefly became a 2008-2009 TV series co-starring Jill Scott and Anika Noni Rose.

Categories
Digital Movies & TV General Non-Fiction History & Biographies (Books) Movies & Television (Videos) Online Videos

THE PERFECT STORM (2000)

SUMMARY:           RUNNING TIME: 2 Hrs., 10 Min.

Released by Warner Bros. in 2000, director Wolfgang Petersen’s film adapts Sebastian Junger’s same-named 1997 novel.  Both Junger’s ‘creative non-fiction’ novel and its cinematic counterpart, to varying degrees, present speculative accounts explaining the disappearance of the Andrea Gail, a Massachusetts swordfishing boat, in late October 1991, amidst Hurricane Grace.  

In October 1991, Bob Brown’s (Ironside) rival fishing boats, Hannah Boden and Andrea Gail, return from long-line swordfish expeditions to port at Gloucester, Massachusetts, at the season’s close.  Despite Boden’s captain, Linda Greenlaw (Mastrantonio), suffering a crew fatality, Brown is still pleased with her ship’s catch.  Brown, however, chastises the Gail’s captain, Billy Tyne (Clooney), for his own insufficient haul, accusing an indignant Tyne of losing his once-reliable touch.  Tyne’s weary yet loyal crew (Wahlberg; Reilly, Payne; & Hawkes), meanwhile, reunite with their loved ones for the next few days.  

Tyne then gambles on one more trip, as a likely lucrative catch could happen without competition.  Recruiting moody “Sully” Sullivan (Fichtner) as a crew replacement, Tyne convinces the other four crewmates to join him – as they all smell an improved payday. If anything, Tyne seeks to prove to Brown and really more to himself that he is still among the best skippers in the business finding valuable pockets of fish.  

Bobby’s (Wahlberg) girlfriend, Chris Cotter (Lane), implores him not to go, given her bad omen of this last-minute change of plans.  Bobby reluctantly ignores her warning. Similarly, a divorced Murph (Reilly) seeks distraction having recognized his ex-wife (Kennedy) is likely re-marrying soon. Hence, he senses imminent competition for his adoring young son (Tank).         

Apart from Murph and Sully’s mutual friction, the Gail’s usual voyage to the Grand Banks of Newfoundland proves uneventful.  Opting to push further along the Gulf Stream to The Flemish Cap, Tyne is unaware that two storm fronts have converged with the subtropical Category 2 Hurricane Grace rapidly moving up the U.S. Eastern Seaboard.  A Massachusetts TV meteorologist (McDonald) realizes in horror what catastrophic weather conditions will now commence between Canada and New England.  

Finding a treasure trove of swordfish (and a shark attack), the Gail crew’s joy is sabotaged by a malfunctioning ice system.  Risking a hasty dash back towards Gloucester to save their catch for market, the Gail is caught up in the storm.  Via radio, Greenlaw tries warning a distracted Tyne of his vessel’s predicament. The Gail soon loses its radio antenna – and with it, all communications.  Inside the ship’s damaged bridge, Tyne and Bobby improvise trying to keep the overwhelmed Gail from capsizing. 

Elsewhere, an isolated three-person crew (Gunton; Allen; & Jones) aboard a sailboat bound for Bermuda are among the storm’s prisoners necessitating rescue.  An Air National Guard helicopter later risks also being lost at sea searching for the Gail.  A U.S. Coast Guard rescue vessel may be the flight crew’s sole hope to escape the raging Atlantic Ocean.  At Gloucester, the Gail’s family members anxiously await news at a dockside pub, as the ship’s location is now unknown.      

Despite Tyne’s heroic steering, the oceanic onslaught shifts in the same direction as their desperate retreat.  SPOILER ALERT: In the epilogue, Greenlaw contemplates friendly rival Tyne’s insights from an earlier interaction they had, as she departs on her next expedition.

                                      Primary Cast:

Capt. Frank William “Billy” Tyne, Jr.: George Clooney

Robert “Bobby” Shatford: Mark Wahlberg

Christina “Chris” Cotter: Diane Lane

Dale “Murphy” Murphy: John C. Reilly

David “Sully” Sullivan: William Fichtner

Capt. Linda Greenlaw: Mary Elizabeth Mastrantonio

Michael “Bugsy” Moran: John Hawkes

Alfred Pierre: Allen Payne

Bob Brown: Michael Ironside

Ethel Shadford: Janet Wright

Quentin: Sandy Ward

Melissa Brown: Karen Allen

Edie Bailey: Cherry Jones

Alexander McAlly II: Bob Gunton

Todd Gross: Christopher McDonald

Douglas “Dougie” Kosco: Joseph D. Reitman

Air National Guard flight crew: Todd Kimsey; Josh Hopkins; Dash Mihok; Chris Palermo; & Wiley M. Pickett

Irene: Rusty Schwimmer

Irene’s children: Katelyn C. Brown & Miles Schneider

Debra – Murph’s ex-wife: Merle Kennedy

Dale Murphy, Jr.: Hayden Tank

Alfred’s girlfriend: Jennifer Sommerfeld

U.S. Coast Guard Commander Brudnicki: Steve Barr.

REVIEW:

Given Wolfgang Petersen’s sturdy directorial reputation (not to mention, this particular cast), it’s reasonable to expect The Perfect Storm to be a relatively high-caliber effort.  Yet, as other underwhelmed reviewers have noted since the film’s release, Perfect Storm’s “based on a true story” plot pushes disappointing and predictable superficiality from the get-go. 

Too little too late in the gripping Titanic-like climax/epilogue can’t overcome Petersen’s excessive paint-by-the-numbers cliché-fest, i.e. a schmaltzy first twenty-plus minutes depicted on shore.  Knowing full well Petersen wasn’t striving for a documentary, his ensemble cast at least delivers solid performances recreating a real-life tragedy. The underlying problem with Perfect Storm is instead twofold due to its speculative premise. 

First, by fictionalizing real-life participants, viewers witness mostly Hollywood-ized caricatures all too formulaic for the big-budget disaster film genre. Among such dubious character traits is glorifying foolhardiness by George Clooney’s “Tyne” and his crew for not retreating early on – despite still having time to do so.  From a hit filmmaker’s perspective, depicting Tyne’s vessel fatally sunk in mere seconds or a few minutes (no matter how logical it sounds) obviously isn’t good business.  Such grim realism would expedite this movie’s running time far too much, let alone eliminate its need for fictional plot twists. 

Of the details known before the Andrea Gail’s fate, characterizing Tyne and his crew as being too impetuous for money and professional glory isn’t necessarily in the best taste.  It implies that the Andrea Gail’s crew unwittingly engineer their own demise by daring a monstrous hurricane with little more than mortal bravado. Hence, the production’s desire to profit off this historic maritime tragedy by inserting Hollywood hokum is again debatable, as far as exploiting the decedents and their families.  

Petersen, to his credit, occasionally compensates with scenes demonstrating exceptional filmmaking. Among them is Clooney’s well-played last moment, along with those of the ship’s crew.  A glaring exception, however, is the implied death scene for Mark Wahlberg’s “Bobby” – it comes off too ridiculously theatrical for its own good.         

Secondly, one can imagine the practical realities of how The Perfect Storm was safely filmed.  Clooney, Wahlberg, John C. Riley, and others were no doubt working inside an enormous water tank later adding lots and lots of CGI ocean water.  Apart from water cannons blasting Clooney and Wahlberg during their innumerable close-ups, Petersen’s cast, otherwise, can hide such phoniness only so much maintaining their dramatic composure. 

By no means is the unconvincing Perfect Storm a blot on any cast member’s resumé, given the script they had.  Their inability to manipulate viewers to become engrossed in the imminent tragedy instead falls on a paycheck-only effort from Petersen. His take on a real-life at-sea disaster had the opportunity to surpass James Cameron’s eye-rolling Titanic, as far as conveying believable character depth – not to mention, awestruck horror from the audience.

Though Petersen mostly avoids Cameron’s awful romantic dialogue, Perfect Storm doesn’t consistently muster the poignancy it needs to be taken seriously. For instance, Clooney and Mary Elizabeth Mastrantonio’s thoughtful chat early on doesn’t belong in the same film as the unnecessary shark attack action-shlock seen later on. Additional big budget thrills (i.e. the dark monstrous CGI waves in the climax), become too much of a distracting eyesore for viewers.

Note: Late composer James Horner supplied the instrumental scores for both Titanic and The Perfect Storm.

Hence, the relatable blue-collar overtones of Petersen’s film become lost within clichéd Hollywood melodrama and water-logged CGI for the sake of popcorn. Falling short of its cinematic potential, The Perfect Storm should have remained a creative, if not exploitative, nonfiction novel.         

BRIAN’S ODD MOON RATING:                4½ Stars

Categories
Digital Movies & TV Fantasy, Horror, & Science Fiction Movies & Television (Videos) Online Videos

JOHN CARPENTER’S THE THING (1982)

SUMMARY:             RUNNING TIME: 1 Hr., 49 Min.

Released by Universal Studios for the 1982 summer season, John Carpenter directed this remake off Bill Lancaster’s script.  The original source material extends back to John W. Campbell’s 1938 novella, “Who Goes There?,” from which Lancaster’s present-day storyline modified certain plot elements. The project was filmed on refrigerated sets in Los Angeles, along with location shooting in both Alaska and Canada. 

Set in the winter of 1981-1982, the twelve-man team at a remote U.S. research base in Antarctica witness a Norwegian helicopter’s sniper (Franco) bizarrely targeting a sole wolf-dog.  An explosive accident and foreign language miscommunication subsequently result in the deaths of the sniper and his pilot. 

While the wolf-dog (Jed) is allowed sanctuary inside their base, the team’s physician (Dysart) and its hard-bitten helicopter pilot, MacReady (Russell), depart for answers at the Norwegian camp approximately an hour away.  Probing the decimated Norwegian base’s ruins, the duo finds grisly evidence later identified via autopsy as a scorched half-human/half-alien hybrid.

The base’s biologist, Blair (Brimley), theorizes that the Norwegians stumbled upon an alien shapeshifting lifeform capable of assimilating and then impersonating its prey.  Realizing that the hostile alien may have now infiltrated their own base, the dozen men desperately seek to contain the lethal threat. 

Reviewing videotape footage that the ill-fated Norwegians left behind, MacReady and biologist Norris (Hallahan) soon confirm the existence of a frozen archaeological site.  Norris calculates the spacecraft uncovered there dates back at least 100,000 years ago.  More so, its parasitic inhabitant evidently thawed out from hibernation and destroyed the Norwegian base.

MacReady and his colleagues must resist panicking in facing the chameleon-like monster they are up against.  Recognizing that any of them might be compromised, the team resorts to involuntary blood draws (proving who’s still human) and often flamethrowers to stay alive.   Accelerated by sub-freezing temperatures, sleep deprivation, and deliberate sabotage of any means of escape, paranoid madness descends upon the base.  A half-frozen MacReady (having forcibly taken command) insists on destroying the monster – in spite of a deadly collapse in trust amongst his colleagues. 

With faint hopes of rescue likely months away, the team’s dwindling survivors ominously agree upon a common goal.  The monster’s own escape must be thwarted now – no matter the cost.        

Cast:

R.J. MacReady (helicopter pilot): Kurt Russell

Dr. Blair (senior biologist): A. Wilford Brimley

Dr. Norris (biologist): Charles Hallahan

Childs (chief mechanic): Keith David

Nauls (base cook): T.K. Carter

Dr. Copper (physician): Richard Dysart

Windows (radio operator): Thomas G. Waites

Clark (dog team handler): Richard Masur

Garry (base commander): Donald Moffat

Fuchs (biologist): Joel Pulis

Bennings (meteorologist): Peter Maloney

Palmer (mechanic): David Clennon

Infected Malamute/Dog (interior scenes): Jed

Norwegian Sniper: Larry Franco (uncredited)

Computer Voice: Adrienne Barbeau (uncredited)

Norwegian: Norbert Weisser (uncredited)

Norwegian (video footage): John Carpenter (uncredited)

Other Norwegians (video footage): Uncredited Extras

Pilots: William Zeman & Nate Irwin.

Notes: 1. The same-named 2011 prequel explores the ill-fated Norwegian team leading up to the 1982 film’s opening dog hunting sequence.  2. The film’s 1951 cinematic predecessor, The Thing from Another World, relies upon the same Campbell source material, but Carpenter’s version more closely homages the original premise.  3. After his 1938 novella, Campbell, at some point, evidently penned an obscure expanded (novel-length) version retitled Frozen Hell.      

REVIEW:

One might presume that ultra-gory special effects (courtesy of Rob Bottin’s top-caliber team) is The Thing’s most significant element.  That’s only partially accurate. 

As icky and even at times as cheesy-looking Bottin’s effects are, the tense blood draw sequence is just as, if not more so, wince-inducing.  Along with Ennio Morricone’s eerie score (note: it echoes Carpenter’s 1981 Escape from New York), the film’s practical special effects mostly hold up.  Even a few obvious matte paintings used as Antarctic backdrops are masterfully designed.  Hence, credit is long overdue to Carpenter’s production team – keeping in mind what their $15 million dollar budget could/couldn’t afford at the time.  Viewers, in that regard, get an excellent monster flick that doesn’t rely on blue-screen phoniness to work its magic.   

Apart from special effects, like 1979’s original Alien film, The Thing devises a reliable sci-fi/horror-meets-And Then There None whodunnit formula.  Think about it – as of 1982, this intriguing sub-genre, in a modern context, consisted of only these two films.  That is – before the Alien and Predator franchises began over-mining the concept for the next forty-plus years.  Still, Carpenter’s nuanced ensemble delivers far more character depth than one might expect – unlike derivative blockbusters (and their sequels) merely regurgitating the same premise ad nauseum with different casts.

Before proceeding further, it isn’t a fair assessment without pointing out some dumb plot contrivances.  Case in point: the Antarctic ‘science team’ woefully disregards sanitary precautions: 1. They don’t wear surgical masks (rubber gloves are seen once, maybe twice), especially when exposed to potentially noxious fumes (i.e. the autopsies; the Norwegian base wreckage).  2. No one expresses concern about quarantining the fugitive wolf-dog, let alone ever self-quarantining themselves – aside from Brimley’s Blair later in the film. 

Aside from ignoring basic scientific caution, the biggest eye-roller is a partially built, homemade spacecraft – which should be left as the less said the better.  Still, some rounds of freaky shlock horror imagery (i.e. the gruesome attack during the forced blood draw) is supposed to be exactly that.  One wonders if the makers of the subsequent Re-Animator franchise were inspired by Bottin’s grotesque genius.  

As much heavy lifting as the macabre special effects must do, Russell and his castmates admirably carry their share of the necessary workload.  A youthful, heavily bearded Russell leads veteran character actors (i.e. Donald Moffat, Richard Masur, Wilford Brimley, and Ricard Dysart – all in top form) and newer faces (i.e. Keith David, T.K. Carter, and David Clennon) in an everyman’s game of frostbitten claustrophobia shifting to catastrophic paranoia.  Carpenter’s ingenious scene fadeouts ensure that enigmatic plot twists are teased without spoiling the grim suspense of what’s still to come.  Accordingly, twelve distrustful characters, especially Russell’s MacReady, convey varying realistic shades of humanity in the face of imminent doom.    

John Carpenter’s The Thing is by no means flawless (on its own merits or even as a remake).  It is, however, definitely worthy of re-discovery.  This movie, suffice to say, outclasses the vast majority of competition in its genre.      

BRIAN’S ODD MOON RATING:                         8 Stars

Categories
Comic Books & Graphic Novels DC Comics DC's Hardcovers & Trade Paperbacks

BATMAN: HUSH – UNWRAPPED (DC Comics)

Written by Jeph Loeb. 

Credited Art & Cover Art by Jim Lee.

Lettering by Richard Starkings.

Collection Cover Art by Jim Lee.

SUMMARY:

Released in 2011 by DC Comics in hardcover only, this 320-page compilation reprints 2002-2003’s Batman # 608-619, with the complete “Hush” arc in all black-and-white sketch work.   Unlike various other releases of the same title, the Unwrapped edition imbues the storyline with a more noir-like vibe without inker Scott Williams’ colorizations. 

With an abducted Gotham City child’s life at stake, Batman races the midnight clock to save both the young boy and thwart a ten-million-dollar ransom drop.  Encountering Killer Croc and then a fleeing Catwoman, Batman’s relentless pursuit is targeted by an unknown saboteur. 

Though the Huntress comes to his rescue, a critically injured Dark Knight ends up with a fractured skull.  Thanks to his childhood best friend-turned-Philadelphia surgeon, Dr. Tommy Elliot, Bruce Wayne somehow makes a speedy recovery – despite subsequently risking further injury as Batman.  Prior to the deaths of Bruce’s parents, Tommy’s own tragic childhood is revealed.

Tracking the stolen ten-million-dollar ransom, Batman realizes that Poison Ivy is involved, but she isn’t his elusive saboteur.  Having deduced Batman’s secret identity, this shadowy foe, “Hush,” is deploying vengeful mind games against the Dark Knight.  Now romantically involved, Batman & Catwoman subsequently confront Ivy and a mind-controlled Superman in Metropolis.  Having shared his secret identity with Selina Kyle, Bruce faces a mixed reaction from those closest in his inner circle, including Nightwing, Alfred Pennyworth, and, most critically, Tim Drake’s disapproving Robin.

With Barbara “Oracle” Gordon’s help, Batman and others (i.e. an injured Catwoman, Nightwing, Huntress, Superman, & Tim Drake’s Robin) confront a gauntlet of Gotham’s worst rogues. Hush’s nefarious insights and covert assistance from afar make these enemies even more formidable than before. As the Dark Knight slowly closes in, Hush’s arsenal of dirty tricks concocts one roadblock after another.

Aside from Ivy, Killer Croc, and frenemy Talia al Ghul, the line-up of Bat-foes also includes: the Joker & Harley Quinn; Scarecrow; Ra’s al Ghul; Clayface; Two-Face; the Riddler; and possibly even a supposedly dead Jason Todd.  Among those caught up in the crossfire are Gotham City Police Commissioner James Gordon, Dr. Leslie Tompkins, and even Tommy Elliot, as the Dark Knight is becoming gradually unhinged with paranoid rage. 

With Hush preying upon painful secrets deep in his past, Batman realizes his foe isn’t all he seems.  More so, the Dark Knight senses he really can’t trust anyone – perhaps not even his true soulmate.  Additional guest stars include Lois Lane; Krypto; U.S. President Lex Luthor; and Alan Scott’s Green Lantern.

REVIEW:

Batman: Hush is surely among the Dark Knight’s seminal arcs.  There’s no dispute that writer Jeph Loeb and that art team’s visuals converged at the top of their creative games for this lengthy arc.  With this Unwrapped special edition, readers are supposed to gaze in awe at 300+ pages of Jim Lee’s stellar Bat-penciling – apart from Loeb’s guiding narrative. 

Unwrapped’s stylish presence on glossy paper, in that sense, readily surpasses industry-standard black-and-white reprint compendiums.  Rough spots in Lee’s sketches, fortunately, are minimal, but they surface during the climax.  Specifically, some pages of Lee’s work appear noticeably darker and less fine-tuned – as if they were possibly rushed. 

The omission of Scott Williams’ high-caliber inking, however, makes this Unwrapped experience not as intriguing as it ought to be.  Case in point: for readers mostly unfamiliar with the Batman: Hush storyline, identifying all who’s who in the cast (or even lurking in the background) without color may be something of a challenge.  Such novelty would be akin to watching, for instance, a rough cut of The Empire Strikes Back without special effects and/or John Williams’ accompanying instrumentals. 

Frankly, it’s eye-rolling to count up how many times DC Comics has milked its Batman: Hush cash cow these past two decades.  In this instance, though, the iconic storyline’s magic is inevitably diminished by its absence of color (and, by extension, DC’s greed).  Even if Scott Williams is evidently okay with DC Comics removing his vital contribution, the outcome speaks for itself. 

Batman: Hush – Unwrapped, therefore, is more a curiosity than something revolutionary for die-hard fans.      

ADDITIONAL CONTENT:

Scott Williams supplies an untitled, single-page foreword from March 2011.  Lee’s full-page sketched cover precedes each issue.  Lee also supplies an eight-page project sketchbook.  The last page provides Loeb and Lee’s mini-biographies, which are duplicated on the front inside jacket cover.      

BRIAN’S OOD MOON RATING:                       7 Stars

Categories
Comic Books & Graphic Novels DC Comics DC's Hardcovers & Trade Paperbacks Fantasy, Horror, & Science Fiction

GREEN LANTERN (SOJOURNER “JO” MULLEIN): FAR SECTOR (DC Comics)

Written by N.K. Jemisin.

Art & Cover Art by Jamal Campbell.

Lettering by Deron Bennett.

SUMMARY:

Released in 2021 by DC Comics under its ‘Young Animal’ label, this 312-page trade paperback compiles 2019-2020’s complete Green Lantern: Far Sector # 1-12 series. 

Note: Subsequently re-released as a compact (digest-sized) trade paperback, this title is now also available in deluxe hardcover and digital formats.

Previously an U.S. combat soldier, a down-on-her-luck New York street cop, Sojourner “Jo” Mullein, is introduced as a new Green Lantern recruit deployed on extended solo deep space duty for a year. The rookie Mullein possesses neither a lantern power battery nor even a traditional power ring’s full capability.

Now a few months into her assignment, all she can do is compensate through her compassion, an unwavering conscience, and natural Brooklyn-born tenacity as a detective.  Including her ongoing struggles learning to fly, Mullein must often resort to taxis, if only to conserve her ring’s dwindling power supply – which takes nearly a week to self-recharge once fully depleted. 

Assigned as a special law enforcement officer to a diverse domed city-world of twenty billion alien inhabitants, Mullein regularly advises readers at the start of each issue of her present status.  Such updates include Mullein’s confidential correspondences to the Green Lantern Corps’ Guardians or perhaps an imaginative analysis of her latest predicament. 

Meanwhile, sporadic flashbacks of Mullein’s life as an African American – her pre-9/11 childhood up through a stress-inducing incident ending her police career and, subsequently, her Corps recruitment – are revealed throughout the series. 

Inside the domed City Enduring, which exists outside the Green Lantern Corps’ known universal boundaries, Mullein is its sole inhabitant openly exhibiting emotions.  For a society intermingling three vastly different alien races, emotion has been purged for centuries – ‘The Emotion Exploit,’ as it’s called.  Dubbed ‘Switchoff,’ a banned means of releasing/experiencing one’s suppressed emotions is now circulating in the city’s underworld, as if it’s an illicit drug.  Following half a millennium of virtually zero violence, two grisly homicides in rapid succession rock the City Enduring. 

Working with her best friend, local police officer Szyn, Mullein (along with her AI-assistant, CanHaz) links these ugly deaths and additional crimes to the City’s own supervising Council.  Including her potential romance with a suave prime suspect, Mullein’s probe confirms that the spreading effect of emotions has the City Enduring descending into political/social chaos. 

Determined to protect the defenseless and uphold basic justice, Mullein’s efforts are undermined by some unexpected adversaries pursuing various ulterior motives.  Such conflict might even sever Mullein’s unfulfilled relationship with her one true soulmate. A final assault is launched to penetrate the domed city and forcibly reduce its inhabitants back to their prior subservience. 

With her power ring coasting on fumes, Mullein makes a climatic stand protecting the denizens of her temporary home world. 

REVIEW:

Far Sector delivers an intriguing sci-fi political/urban whodunnit, which just happens to feature the Green Lantern Corps’ newest recruit.  Written as one might expect from an acclaimed novelist, N.K. Jemisin’s intricate plotting takes its time unfolding.  Occasional lags happen, but Jemisin’s admirable originality makes up the difference.  Her savvy sci-fi storytelling is sparked by artist Jamal Campbell’s stellar visuals.  Jemisin and Campbell, in that sense, concoct a welcome deep dive into the genesis of their creation: a very down-to-earth Green Lantern.    

Though John Stewart and Guy Gardner are briefly mentioned, Jemisin smartly depicts Sojourner “Jo” Mullein as a solo heroine unsure of her own destiny.  Given how Mullein is this storyline’s sole human (aside from glimpses into her troubled past), a near-constant emphasis on her struggles adapting to alien culture becomes a mirror for readers.  Grasping the City Enduring’s futuristic concepts surely isn’t an easy read.  At least, Jemisin and Campbell effectively acknowledge this fish-out-of-water handicap through their protagonist’s own recurring bewilderment.

Recognizing some kid-unfriendly elements (i.e. multiple ‘f-bombs;’ briefly implied nudity/sexual intercourse), Far Sector is geared for college-age audiences and up.  More so, unlike standard comic book storylines merely reprinted as graphic novels, Jemisin and Campbell’s Far Sector fulfills the concept.  Readers are literally getting a visual sci-fi novel with cinematic flair. 

Perusing this complex storyline first through the library might make the best practical sense for casual readers.  For patient adult fans, at least, Green Lantern: Far Sector may well hook them into adding it to a favorite bookshelf – it’s worth the ride.  

ADDITIONAL CONTENT:

Entitled “A New Green Lantern,” DC’s ‘Young Animal’ imprint supervisor Gerard Way (rock band My Chemical Romance lead vocalist) supplies a two-page foreword on N.K. Jemisin’s behalf. 

Each full-page Jamal Campbell cover precedes its issue.  Provided in a full-page format, Sojourner “Jo” Mullein’s variant cover gallery consists of these artists:

  • Issue # 1 (1. Jamie McKelvie and 2. Shawn Martinbrough);
  • Issue # 4 (Ejikure);
  • Issue # 5 (Warren Louw);
  • Issue # 6 (Sanford Greene);
  • Issue # 7 (Stjepan Šejić);
  • Issue # 8 (InHyuk Lee);
  • Issue # 9 (Meghan Hetrick);
  • Issue # 10 (Yasmine Putri);
  • Issue # 11 (Mirka Andolfo); and
  • Issue # 12 (Jen Bartel).

Campbell supplies four full pages of character designs and concept artwork.  The last page is a brief interview of collaborators Jemisin and Campbell.

BRIAN’S OOD MOON RATING:                         8½ Stars

Categories
Comic Books & Graphic Novels DC Comics DC's Hardcovers & Trade Paperbacks

THE FLASH (WALLY WEST): BY MARK WAID, BOOK EIGHT (DC Comics)

Written by Mark Waid; Brian Augustyn; Pat McGreal; & Joe Casey.

Art by Paul Pelletier; Doug Braithwaite; Scott Kolins; Duncan Rouleau; Ron Lim; Tom Morgan; José Marzan Jr.; Doug Hazlewood; Robin Riggs; Jon Holdredge; Dennis Janke; Vince Russell; Aaron Sowd; Denis Rodier; Tom McCraw; Gaspar Saladino; Steve Dutro; Bill Oakley; & Ken Lopez.

Collection Cover Art by Steve Lightle.

SUMMARY:

Released in 2021 by DC Comics, this 400-page trade paperback concludes Mark Waid’s first shift writing Wally West’s adventures by compiling 1999-2000’s The Flash # 151-163, plus Annual # 12 and Secret Files # 2.  This compilation is also available digitally.    

Note: Waid briefly resumed writing this series with Issues # 231-236 during DC’s 2007-2008 post-Infinite Crisis era.

Wally West’s Flash has vanished, as he is searching for his beloved fiancé, Linda Park.  Other than Wally’s teenage protégé, Bart “Impulse” Allen, no one else (i.e. Jay Garrick, Jesse Quick, & Max Mercury) has caught on that someone has erased an abducted Linda seemingly from existence. 

Meanwhile, an older/brusque Flash from an alternate reality emerges to assume Wally’s responsibilities protecting Keystone/Central City.  As this Flash acclimates to a new status quo (having lost his own Linda to tragedy years before), he finds himself drawn to police chemist, Angela Margolin.  Among the Flash Family’s first adventures with this new Flash is a Gorilla City caper. 

The Rogues’ Gallery find that their powers have been duplicated by a new villain: Replicant.  Other formidable threats include Abra Kadabra, the Folded Man, Kobra, and possibly a new Reverse-Flash, as Wally finally reunites with Linda.  Wally, aside from his savvy use of a disguise, needs the Flash Family’s firepower to thwart Kadabra’s nefarious time-warping scheme.

Subsequently, in the present-day, two versions of Wally West must uneasily co-exist.  With his super-friends’ help, the true Wally at last marries Linda before they embark on a literally whirlwind honeymoon.  To prevent Hypertime {a recent Waid invention} from eroding reality, the other Wally (aka Walter West – the Dark Flash) realizes he must now return to his own rightful point within the multiverse.  That means a potentially heartbreaking end to the Dark Flash’s romance with Angela.

As an old foe seeks long-awaited vengeance, Wally and Linda’s globetrotting honeymoon is jeopardized.  Elsewhere, Jay Garrick wistfully recalls for his fellow Flash Family members his own post-war honeymoon with Joan in 1947 Las Vegas.  It’s revealed that more than just Jay’s Justice Society belated-bachelor-party buddies have tracked the newlywed Garricks down. 

Settling into married life, Wally and Linda (back as a journalist) team with Billy Batson’s Captain Marvel against Felix Faust’s worldwide Y2K-inspired scheme.  Lastly, Barry Allen’s dubious foe, the Turtle, resurfaces to eliminate the newlywed Wests.  As Wally soon discovers, the Turtle’s explosive ‘shopping’ list also includes Batman, Superman, Aquaman, and Kyle Rayner’s Green Lantern.          

Additional guest appearances and cameos include: Wonder Woman; Plastic Man; Martian Manhunter; Beast Boy; the Titans/Silver Age Teen Titans: Nightwing, Donna Troy, Tempest, & Arsenal; the Golden Age Justice Society (Alan Scott’s Green Lantern; Al Pratt’s Atom; Wildcat; Dr. Charles McNider’s Dr. Mid-Nite; & Rex Tyler’s Hourman); and Jay Garrick’s dubious trio of sidekicks.        

REVIEW:

Volume 8 mostly focuses on the Walter West/Dark Flash arc, plus an unremarkable stretch finally delivering Wally and Linda’s long-teased wedding/honeymoon. Working with writers Mark Waid and Brian Augustyn, the various art teams deliver consistently good visuals for that era that mesh well with the routine plotting.  This compilation’s contents make for an overall decent read, given Waid deploys his cast of characters well – as far as entertaining an all-ages audience. 

Waid, in that sense, is just as invaluable to constructing Wally West’s Flash universe, as his more acclaimed successor, Geoff Johns, would become. Both writers consistently scripted an energetic Wally and a high-caliber supporting cast – as opposed to how stale Barry Allen’s previous 350-issue series had gradually become by the mid-80’s.      

Closing with fun self-contained tales (specifically, Issues # 161-162: Jay Garrick’s Golden Age JSA honeymoon caper in Las Vegas; and Wally’s team-up with Captain Marvel/Shazam surpass # 163’s Justice League crossover), a vibe of ‘business as usual’ is unmistakable.  More so, an abundant page count doesn’t mask how average this collection’s stories otherwise are. 

Still, their creative appeal holds up – if only because Waid’s 100-issue stint (including the seven prior volumes) predates DC’s excessively convoluted rebooting for the past two decades.  Flash By Mark Waid, Book Eight, in terms of an innocent nostalgia run, makes a welcome find at the library.    

ADDITIONAL CONTENT:

For starters, the necessary table-of-contents proves helpful.  Each full-page cover precedes its issue.  The cover artists are:

  • Steve Lightle: Issues # 151-154, Secret Files & Origins # 2 (1999), and # 155-163; plus 
  • Arthur Adams: Annual # 12 (1999).

A single-page “Gorilla City: Secret City of Simian Super Science” map is produced by writer/artist Eliot Brown.  Brown is assisted by colorist Tom McCraw and Digital Chameleon’s color separations.    

In a spoofy Silver Age homage to Barry Allen’s Flash, there’s the four-page “Lost-Pages Adventure: The Stunning Secret of the Scarlet Speedster’s Super Slow-Down!”  Stopped literally in his tracks, the Flash witnesses Turtle Man’s gang commit a brazen Central City bank heist utilizing his stolen super-speed.  The joke, of course, is that the convenient pseudo-science reversing the Flash’s predicament really makes no sense.  Writer: Brian Augustyn.  Art by: Tom Morgan; Denis Rodier; Tom McCraw; Digital Chameleon; and Gaspar Saladino. 

Next is a cartoony four page fashion industry parody featuring the Rogues’ Gallery entitled “Gambi: Middle of The Rogue.”  Writer: Tom Peyer.  Art by: Stephen DeStefano; Tom McCraw; and Digital Chameleon.

Full-page Secret Files profiles are supplied for: 1. Walter West’s alternate-reality Flash (Writer: Mark Waid.  Art by: Paul Pelletier; Vince Russell; Tom McCraw; & Digital Chameleon); 2. Cobalt Blue (Writer: Mark Waid.  Art by: Steve Lightle; Tom McCraw; & Digital Chameleon); 3. Angela Margolin (Writer: Mark Waid.  Art by: Phil Jimenez; Tom McCraw; & Digital Chameleon); 4. The Folded Man (Writer: Mark Waid.  Art by: Hilary Barta; Tom McCraw; & Digital Chameleon); 5. Replicant (Writer: Mark Waid.  Art by: Hilary Barta; Tom McCraw; & Digital Chameleon); and 6. Sela Allen (Writer: Mark Waid.  Art by: Humberto Ramos; Wayne Faucher; Tom McCraw; & Digital Chameleon).

Barry Allen’s iconic Flash ring is briefly explained in a single page.  Writer/Artist: Eliot Brown, with assistance from colorist Tom McCraw and Digital Chameleon’s color separations. 

This compilation concludes with Waid’s insightful two-page “Afterword,” reflecting upon his contributions to the Flash franchise. 

BRIAN’S OOD MOON RATING:                          6 Stars

Categories
Comic Books & Graphic Novels DC Comics DC's Hardcovers & Trade Paperbacks

BATMAN/SUPERMAN – WORLD’S FINEST, VOLUME 3: ELEMENTARY (DC Comics)

Written by Mark Waid.

Art by Dan Mora; Emanuela Lupacchino; Wade Von Grawbadger; Norm Rapmund; Tamara Bonvillain; & Steve Wands.

Collection Cover Art by Dan Mora.

SUMMARY:

Released in 2024 by DC Comics, this 168-page trade paperback compiles 2023’s Batman/Superman – World’s Finest # 12-17.  This title’s other formats are hardcover and digitally.

On their first (and surely last) date night, teenagers Kara/Supergirl and Dick Grayson’s Robin suffer an awkward evening getting to know one another.  Come the next day, a mortified Robin even sketches a glimpse at his future change of identity to shake off their shared humiliation.  Kara confides in her sympathetic cousin a mature perspective indicating she and Robin are really just better off as friendly colleagues. 

Meanwhile, belligerent Metropolis industrialist Simon Stagg is found murdered in a baffling locked-room mystery.  The most obvious prime suspect is his own resentful bodyguard/potential son-in-law, a now-fugitive Rex “Metamorpho” Mason – ‘The Element Man.’  Mason’s bizarre origin in becoming Metamorpho is reprised, as Clark Kent explains his friend’s history to Jimmy Olsen. 

Jimmy’s journalistic sleuthing precipitates another Stagg enemy’s shocking arrest by the Gotham City police – Bruce Wayne, no less.  Facing a first-degree homicide charge (and irked with Clark Kent), Wayne’s Batman cedes their Stagg investigation to Robin and Superman, with tracking down an infuriated Metamorpho’s whereabouts as their first priority.   

Realizing that wealthy high-tech tycoons (i.e. Oliver Queen and Terd Kord) have evidently been replaced by android duplicates, the World’s Finest team probe this nefarious conspiracy.  With DC’s high-tech geniuses (i.e. Dr. Will Magnus) now missing, clues ominously converge on a worldwide threat never before seen. 

Controlling the world’s most formidable A.I.-related weapons, a new incarnation of Amazo has been unleashed.  Even Batman’s ingenuity may not be enough to thwart a technological menace capable of overwhelming even the Justice League’s considerable might.  Perhaps their fate belongs to an unexpected ally to make the pivotal difference.         

Additional guest stars and cameos include: the Justice League (Hal Jordan’s Green Lantern; Barry Allen’s Flash; Wonder Woman; Martian Manhunter; Plastic Man; Hawkman; Black Canary; Green Arrow; Red Tornado; Blue Beetle; & the Ronnie Raymond/Professor Stein Firestorm); The Metal Men; the original Doom Patrol; the Silver Age’s Teen Titans (Donna Troy’s Wonder Girl; Roy Harper’s Speedy; Aqualad; & Wally West’s Kid Flash); Shazam/Captain Marvel; G.I. Robot; Barbara Gordon’s Batgirl; Sapphire Stagg; and the Challengers of The Unknown.   

REVIEW:

Working off a simple continuity (set sometime in the not-so-distant past), writer Mark Waid’s coherent plotting nails a grand slam with Volume 3.  Deftly intertwining multiple story threads, Waid is absolutely on his game by not piling on too many plot twists.  Hence, he ensures this vintage DC team-up supplies a wide array of guest stars moments to shine in varying degrees of screen time.  Equal to this task is this art team’s impressive visuals that are spot-on appealing without resorting to unnecessary flash.             

Try as one might, there’s virtually nothing to knock on Volume 3: Elementary – aside from its eye-rolling number of variant covers used as padding.  While an archived Justice League or Batman and The Outsiders reprint showcasing Metamorpho (or maybe something from his own short-lived mid-1960’s solo series – better yet, his 1965 debut in The Brave and The Bold # 57) would have made sense for nostalgic inclusion, this compilation’s page count is already excellent.

Inviting both hardcore DC buffs and casual fans, Batman/Superman – World’s  Finest, Volume 3: Elementary is a most welcome read.  Definitely recommended!    

ADDITIONAL CONTENT:

Mora’s full-page primary cover precedes each issue.  A single-page tease of the franchise’s next storyline is teased.  Starting with Issue # 13, occasionally a full-page variant cover follows Mora’s cover before proceeding with the story.  These variant cover artists are: 

  • Issue # 13: Christian Ward, who pits Superman & Batman vs. Darkseid.
  • Issue # 15: Daniel Sampere & Bruno Redondo.
  • Issue # 17: Cliff Chiang, in a homage to Late 1970’s/Early 80’s DC styling (Batman, Superman, Green Arrow, and Hal Jordan’s Green Lantern).

In conclusion, a whopping 19-page variant cover gallery (all in a full- page format) consists of these artists:

  • Issue # 12 (1. Max Dunbar & Tamara Bonvillain; 2. Sweeny Boo {includes the Silver Age Teen Titans}; and 3. Dave Johnson).
  • Issue # 13 (1. Fico Ossio {includes Supergirl & Robin}; 2.Baldemar Rivas {includes The Crime Syndicate’s Ultraman & Owlman} and 3. Jesús Merino & Adriano Lucas {DC New 52’s The Shazam Family}.
  • Issue # 14 (1. Hayden Sherman {includes Parasite}; 2. Nikola Čižmešija {includes Cosmic Boy, Saturn Girl, Lightning Lad; Katana, Black Lightning (Bronze Age), & Metamorpho}; 3. Serg Acuña; and 4. Simone Di Meo).
  • Issue # 15 (1. Walter Simonson & Michael Atiyeh; and 2. Nikolas Draper-Ivey {Batman Beyond homage}).   
  • Issue # 16 (1. Ben Oliver; 2. Kaare Andrews; 3. Lee Bermejo; 4. Doug Braithwaite {The Flash movie homage}; and 5. Babs Tarr). 
  • Issue # 17 (1. Jamie McKelvie {including Magpie}; and 2. Dike Ruan). 

BRIAN’S ODD MOON RATING:                            10 Stars

Categories
Comic Books & Graphic Novels General Non-Fiction History & Biographies (Books) Independent Hardcovers & Trade Paperbacks Independent Publishers (Comic Books & Graphic Novels) Manga & International Comics Movies & Television (Books)

AUDREY HEPBURN (NBM Graphic Novels)

Written by Michele Botton.   

Art & Cover Art by Dorilys Giacchetto.

English Translation by Nanette McGuinness.  

SUMMARY:

Released in the U.S. in 2024 by NBM Graphic Novels, this 176-page biographical comic book was evidently first released in Italy before being translated for an English-speaking audience.  In addition to its hardcover format, this book is also available digitally as an e-book. 

Though undated, the prologue occurs in 1988 Ethiopia, as a nearly 60-year-old Hepburn confides in her companion, Robert Wolders, the heartbreaking reality of the challenge she has now accepted as an UNICEF global ambassador. 

In recalling her life, Chapter 1 flashes back to Hepburn’s transition from ballet student to a struggling Dutch model/actress.  Personally recruited by the elderly French writer, Colette, Hepburn accepts the title role in the Broadway play, Gigi.  Her rising stardom would set Hepburn up for Hollywood in her Oscar-winning performance in 1953’s Roman Holiday.  In spite of her inexperience, director William Wyler and co-star Gregory Peck soon adore Hepburn and become her lifelong friends. 

Per Chapter 2, while filming 1954’s Sabrina, Hepburn meets her first famous love, William Holden, though their romance later ends mostly over the issue of having children.  On the same film, she meets costume designer Hubert de Givenchy, who ultimately created her most iconic looks throughout her Hollywood career.  Through Gregory Peck, Hepburn would meet her future husband, actor/director Mel Ferrer.         

Chapter 3 explores Hepburn and Ferrer’s romance and subsequent marriage. Also seen are Hepburn’s experiences filming 1957’s Funny Face.  A further flashback revisits Hepburn’s troubled childhood with her mother and long-absent father before moving to England.  There she becomes an aspiring ballerina at age 19. 

In Chapter 4, an adult Hepburn’s confidence grows, as she next stars in 1957’s Love In The Afternoon.  Hepburn reconciles abandonment by her distant father by bonding with co-star Maurice Chevalier, who views her as a surrogate daughter.  Further childhood flashbacks depict her parents’ turbulent marriage and her own loneliness.  Joining Ferrer in the Caribbean, the couple celebrates her newfound self-assurance. 

Chapter 5 foretells Hepburn’s UNICEF participation three decades after the filming of 1959’s The Nun’s Story.  Also seen are glimpses of Hepburn’s wartime life as a child and teenager in Holland.  Chapter 6 depicts Hepburn, with Ferrer as her director, filming 1959’s unsuccessful Green Mansions.  Elated over her pregnancy, Hepburn’s horseback riding injuries while filming 1960’s The Unforgiven would ultimately cause a miscarriage.  Hepburn’s subsequent depression would impact her physical health, including severe weight loss and a smoking addiction.    

With strain developing in their marriage, Chapter 7 has Hepburn and Ferrer’s subsequent pregnancy joyfully welcome their first child: Sean Ferrer.  A now-rejuvenated Hepburn returns to work in 1961’s Breakfast At Tiffany’s and then The Children’s Hour.  She gains an unexpected new friend in her co-star, Shirley MacLaine.  Hepburn’s exasperation over Hollywood’s sexist expectations and the media’s judgmental invasion of one’s privacy gnaws at her. 

Balancing a troubled marriage and motherhood, Chapter 8 depicts Hepburn’s experiences and professional disappointment filming 1964’s My Fair Lady.  Hepburn is emotionally devastated by the assassination of U.S. President John F. Kennedy. 

Chapter 9 depicts Hepburn’s preparation as a blind woman for 1967’s Wait Until Dark.  Often overshadowed by Hepburn’s celebrity status, her fourteen-year marriage to Ferrer ends in 1968.   A subsequent rebound marriage to an Italian psychiatrist-neurologist, Dr. Andrea Dotti, also later fails, though they would share a son: Luca Dotti.  In her early fifties, Hepburn would meet Dutch actor Robert Wolders, who would then accompany her for the rest of Hepburn’s life. 

The epilogue shows a frail Hepburn’s determination to make a difference for UNICEF, including a heartfelt press conference.  The concluding page spells out Hepburn’s ardent belief in giving more love back to the world to make it a better place for all.  

Note: Neither Hepburn’s 1929 birth nor her cancer-related passing in early 1993 are depicted.

REVIEW:

It’s a biographical masterpiece both elegant and undeniably eloquent.  Writer Michele Botton’s historically accurate text – despite its semi-vague timeline, and Dorilys Giacchetto’s consistent visuals – especially, Hepburn’s endearing likeness, mesh in a first-class tribute to the iconic actress. 

Still, given the mature subject matter (i.e. an inference of sexual intercourse, implied partial nudity, and a few profanities), one shouldn’t dismiss this comic book as mere kiddie literature. More so, it would be helpful to readers going in to already identify Hepburn’s various co-stars and directors – per Giacchetto, their likenesses tend to be storybook-style generic. Using the included filmography as one’s general timeline is suggested since Botton’s narrative doesn’t reference specific years.

Intended for an adult audience, this classy Audrey Hepburn homage is a welcome treat to explore.      

ADDITIONAL CONTENT:

Entitled “Everyone Has Their Own Audrey,” Hepburn’s younger son, Luca Dotti, provides an insightful two-page foreword.  A brief biographical summary on him is also provided.  Chapter pages are adorned with standing Hepburn poses created by Giacchetto.  Including some thank-you’s, Botton supplies a two-page postscript entitled “My Audrey.”  Hepburn’s essential filmography is included, though highlights are addressed in Botton’s text. 

Similarly, Botton and Giacchetto supply a bibliography, as to which books and a 2020 Italian documentary (translated as Audrey – Beyond The Icon) they consulted for the project.  Brief biographical summaries are provided for both Botton and Giacchetto, as they offer personal thank-you’s.               

BRIAN’S ODD MOON RATING:                                9 Stars

Categories
Comic Books & Graphic Novels Marvel Comics MARVEL's Hardcovers & Paperbacks

DAREDEVIL (ELEKTRA NATCHIOS): WOMAN WITHOUT FEAR (MARVEL Comics)

Daredevil: Woman Without Fear # 1-3 Written by Chip Zdarsky.

Daredevil: Woman Without Fear # 1-3 Art by Rafael De Latorre; Federico Blee; & VC’s Clayton Cowles. 

Daredevil: Woman Without Fear # 1-3 Primary Covers by Chris Bachalo. 

Elektra # 100 – “Twisters” Written by Ann Nocenti.

Elektra # 100 – “Twisters” Art by Sid Kotian; Edgar Delgado; & VC’s Clayton Cowles. 

Elektra # 100 Primary Cover Art by Dan Panosian.

Elektra # 100 – “Waltz” Written by Declan Shalvey.

Elektra # 100 – “Waltz” Art by Stefano Raffaele; Rachelle Rosenberg; &VC’s Clayton Cowles.

Collection Cover Art by Chris Bachalo.

SUMMARY:

Released by 2022 by Marvel Comics, this 120-page trade paperback reprints Daredevil: Woman Without Fear # 1-3 and Elektra # 100 (both from that same year), along with assorted bonus features.  This compilation is also available digitally.   

Now tag-teaming with her beloved Matt Murdock as dual Daredevils, Elektra Natchios confronts New York City Mayor Wilson “The Kingpin” Fisk alone in his office.  Elektra is startled that Fisk has farmed out a private file he has kept on her to an unknown third party deep within Elektra’s murky past.  Returning to Matt for a night of lovemaking, Elektra confides a dark secret she has long kept from him. 

Interspersed flashbacks from Elektra’s turbulent past depict her brutal training with Stick and later her eventual recruitment by The Hand’s AKA.  The catch is that young Elektra is expected to seductively recruit her college boyfriend, Matt, into The Hand’s clutches to be corrupted.

Chasing down a lead at her would-be alma mater, Columbia University, Elektra is reunited with her former classmate, Deputy District Attorney Robert “Goldy” Goldman.  Baited by her ex-mentor-turned-adversary, AKA, Elektra finds herself isolated for a face-to-face showdown against Kraven The Hunter on a wintry battlefield. 

Improvising her escape, a wounded Elektra is then forced into a near-immediate rematch, as an abducted Goldy and Fisk’s Thunderbolt thugs are watching from the sidelines.  To thwart AKA, Elektra faces a now-deputized Kraven (by Fisk) inside Columbia University’s halls. Even if she prevails, devastating news about Matt awaits Elektra, as the game-changing “Devil’s Reign” is about to begin.

Entitled “Twisters,” Elektra # 100’s primary tale has New York City imperiled by multiple tornadoes.  Amidst their one-on-one skirmishes, Elektra recalls a shared childhood link to Typhoid Mary.  Though the unhinged villainess remains under Mayor Fisk’s sway, Elektra tries battling her way through multiple personalities to access the real Mary.  The two women ultimately concur that a far worse threat takes precedence over their feud.  Storm, Thor, and Brother Voodoo make cameos.

Also taken from Elektra # 100, as narrated by Matt Murdock, is the back-up tale, “Waltz.”  Per Elektra’s enigmatic invitation, the off-and-on couple dresses up for a gala night out.  Atop an adjacent building, a nocturnal ballroom dancing lesson then unfolds between Daredevil and his greatest yet most elusive love.        

REVIEW:

Elektra Natchios’ redemption-seeking Daredevil should be an intriguing notion.  The same applies to her wintry one-on-one showdown versus Kraven the Hunter.  Unfortunately, Daredevil: Woman Without Fear, as a whole, falls short of such potential. 

Not living up to this art team’s excellent interior visuals (especially, in the flashbacks), writer Chip Zdarsky delivers a merely good entry exploring Elektra Natchios’ run as Daredevil.  Her clashes versus Kraven the Hunter are at least inspired.  Yer, Zdarsky’s plotting is dragged down by a lackluster scheme involving The Hand’s AKA that accomplishes too little beyond taunting Elektra. 

Specifically, this three-issue mini-series concocts only an extended tease setting up Elektra for the imminent “Devil’s Reign” storyline.  There’s even a two-page tease hyping the corrupted Punisher’s role leading The Hand thrown in for good measure.  As no definitive answers are supplied, Elektra’s ‘stay tuned’ arc is meant for hardcore fans rather than an average reader. 

Note: The first issue’s primary cover doubles as this compilation’s cover.  It’s clearly the best of artist Chris Bachalo’s three efforts.  In retrospect, artist Jen Bartel’s Issue # 1 variant would have been a much better choice.

Elektra # 100’s twenty-page lead story, “Twisters,” pitting Elektra vs. Typhoid Mary as frenemies is okay – but hardly milestone-worthy.  Neither this story’ plotting nor at the (at best) average visuals makes for a must-read.  Artist Dan Panosian’s terrific primary cover easily surpasses such a routine effort from this particular creative team. 

The elegant seven-page back-up tale, “Waltz,” however, delivers top-caliber artwork visualizing a private ‘date night’ for Daredevil and Elektra.  Given the duo involved, it’s easy to see this tale mirroring Batman & Catwoman’s nocturnal ‘catch-me-if-you-can’ romance.  Despite resorting to a violent twist finish, writer Declan Shalvey’s concept is otherwise well-played.  In just seven pages, “Waltz” conveys more welcome depth than either of this compilation’s other storylines.  

As for this compilation’s hodge-podge padding (spelled out below), again none are must-have reads.  That frankly defines Daredevil: Woman Without Fear.  Overall, despite its commendable production values, this collection is a far more practical library find for adults than a purchase.      

ADDITIONAL CONTENT:

Including Elektra # 100, each issue is preceded by a full-page reprint of its cover. 

Writer/artist Ty Templeton supplies two pages of goofy comic strips billed as ‘The Daily Bugle Funny Pages.’  Page-length, the first one parodies Marvel’s involvement in the 1970’s PBS kid’s educational TV series, The Electric Company.  Templeton’s strip co-stars Elektra and Mr. Fantastic in “The Elektra Company Presents Ninja Super Stories Featuring ‘Fantastic Reader’ Richards.”

Templeton’s second page is split between “Matty & Stick” (where youngster Matty Murdock’s training includes sidewalk ambushes by Stick) and “Dagger The Horrible” co-starring Elektra and the Punisher.  Though somewhat clever, none of Templeton’s three comic strips aren’t really worth a chuckle.

Chris Giarrusso’s single-page, “Mini-Marvels,” by comparison, actually is.  In this instance, he spoofs Daredevil’s history impersonators (aka ‘DareDoubles’), as Elektra joins Spider-Man, Black Panther, Iron Fist, and Bullseye.

A four-page, thumbnail photo gallery celebrates an accumulative 100 issues of Elektra titles dating back to her 1986 solo Elektra: Assassin eight-issue mini-series.  This gallery, for nostalgia’s sake, is likely the best of the book’s bonus features. 

Presented in a full-page format there’s a ten-page cover variant gallery consisting of these artists: Daredevil: Woman Without Fear Issue # 1 (1. John Ronita Jr., John Dell, & Matthew Wilson; 2. Jen Bartel; 3. Nicoletta Baldari; 4. Bryan Hitch & Alex Sinclair; and 5. Todd Nauck & Rachelle Rosenberg); Issue # 2 (1. Jorge Fornés; 2. Mark Bagley & Edgar Delgado); and Issue # 3 (Carmen Carnero).  Then, there are two variants for Elektra # 100 (1. Dike Ruan; and 2. David Lopez). 

To varying degrees, all these alternate covers readily surpass the rudimentary artwork devised for Daredevil: Woman Without Fear # 1-3’s primary covers. 

BRIAN’S OOD MOON RATING:                       5 Stars

Categories
Comic Books & Graphic Novels Marvel Comics MARVEL's Hardcovers & Paperbacks

CAPTAIN AMERICA (STEVE ROGERS): MAN OUT OF TIME (MARVEL Comics)

Written by Mark Waid.  

Art by Jorge Molina; Karl Kessel; Scott Hanna; Frank D’Amata; & VC’s Joe Sabino.

Avengers # 4 Written by Stan Lee.

Avengers # 4 Art & Cover Art by Jack Kirby.

Avengers # 4 Lettering by Art Simek.

Collection Cover Art by Bryan Hitch; Paul Neary; & Anson Mounts.

SUMMARY:

Reprinting the same-named 2010 five-issue mini-series, Marvel Comics released this 144-page trade paperback in 2011.  Its other formats include hardcover and digital.  

Beginning in April 1945, along with other U.S. soldiers, a low-key Steve Rogers and a youthfully cocky “Bucky” Barnes enjoy some needed downtime in Leipzig, Germany. Whisked away for a counter-espionage mission guarding an experimental spy plane, the patriotic duo soon meets a catastrophic fate high above the North Sea.  Note: The original Baron Zemo’s involvement in the plane’s theft isn’t referenced – writer Mark Waid attributes it only as a Nazi scheme. 

Mirroring Avengers # 4, the original Avengers (Thor; Iron Man; Wasp; and Giant-Man) incredulously find and revive Steve Rogers – the original Captain America – aboard their submarine at least a half-century later. With his rescuers suddenly neutralized by an unknown assailant, a bewildered Steve Rogers wanders present-day New York City, only to be shot by a terrified teenage girl. 

Tracked down by young Rick Jones, a recuperating Captain America probes the Avengers’ fate and deduces the possibly alien threat befalling them.  Having reluctantly joined the Avengers, Cap is obsessed with both saving Bucky from his grisly destiny and ultimately returning to his own appropriate point in time.  Tenacious efforts to find Steve’s surviving friends (including his beloved Peggy Carter) turn up far too little. 

Thor and Tony Stark’s efforts to convince a displaced Steve how to best cope with acclimating to the present-day isn’t enough for him. Subsequent orders from the current U.S. President, however, are.  Unlike Stark’s glorious optimism, a reunion with Steve’s terminally ill commanding officer provides a sobering reality check on today’s world. 

The Avengers’ first encounter with Kang is a disaster, as Captain America finds himself stranded in post-war 1945 – months after his disappearance.  Still, along with Rick Jones, he may be their team’s only remaining chance to thwart Kang.  It’s up to them to find a means of contacting the other genius hero with technology capable of traversing time itself.                      

Also included is an equally glossy reprint of 1964’s Avengers # 4.   In the frigid North Sea, the fledging Avengers (Iron Man; Wasp; Giant-Man; & Thor) fend off an outnumbered Namor the Sub-Mariner.  Fuming over his forced retreat, Namor’s rage subsequently pitches an icy totem worshipped by Eskimos into gradually warmer waters of the Gulf Stream.  By chance, the Avengers rescue the frozen figure previously trapped inside this ice block for two decades.  Now revived, the original Captain America is bewildered by his rescuers and his present-day predicament. 

With the Avengers neutralized by an unknown adversary, it’s up to teenager Rick Jones to convince the World War II legend to forcibly intervene.  Even should Steve Rogers save the Avengers, a rematch with a vengeful Namor and his Atlantean reinforcements still awaits them. 

Notes: Stan Lee’s Avengers # 4 plotting curiously implies that Captain America and Namor had never met before.  At the time, Lee’s creative reasoning made sense.  To enhance his 1964 story’s impact, Lee deliberately ignored Captain America’s controversial post-war exploits (in favor of a seemingly mythical Steve Rogers).  It wasn’t until the 1970’s that Cap & Sub-Mariner’s wartime co-existence as The Invaders was established by Roy Thomas and other writers. 

As for Cap & Bucky’s dubious post-wartime era, Marvel years later devised multiple impersonators to explain their presence in these Timely Comics stories.  

Lastly, 1985’s Avengers # 262 depicts a poignant private conversation between Captain America and the Sub-Mariner.  Of interest is that Namor finally learns of his inadvertent role in thawing Cap out of his decades-long hibernation. 

REVIEW:

In spite of some climatic time traveling conveniences, this storyline’s likable plotting presents writer Mark Waid on his game. 

For instance, Waid effectively mirrors Avengers # 4 over the first two issues without replicating Stan Lee’s sillier plot machinations too much.  More impressive is how Waid’s storytelling makes an idealistic, mid-twentysomething Steve Rogers seem relatable to all ages.  When combined with the project’s likable artwork, the outcome surpasses any stigma of an unnecessary rehash of the Captain’s Silver Age incarnation. 

Including its high-caliber production values, Captain America: Man Out Of Time makes for a welcome read for any Marvel fan.  For others, though this book isn’t a must-have, perusing it at the library is certainly worthwhile.   

ADDITIONAL CONTENT:

Each full-page Hitch/Neary/Mounts cover precedes its story (as does Jack Kirby’s iconic Avengers # 4 cover).  A full-page reprint of Issue # 1’s variant cover (artists: Arthur Adams & Frank D’ Amata) immediately precedes the concluding Issue # 5’s cover.

BRIAN’S OOD MOON RATING:                          7 Stars