Christmas at The Only Way Is Geek

Got me some reading to do!!

As an appetiser before my blogging returns after a two-month hiatus, work-related sadly, I thought I would share what Santa had for The Only Way Is Geek.

Despite my love for comics, I hold my hand up and admit it has only been so for 18 months so these epic-sized encyclopedias will come in mighty handy. As for Cap, I have been looking forward to this for a while. DC once held all my affections however, possibly to be covered in a future blog, a lacking second half of 2012 has made me realise that those folk at Marvel know what they are doing...

Thoughts on DC's #0 Month...

One of the advantages of my laptop sadly being out of commission for the past few weeks is that it has given me a chance to look back on DC’s #0 month as a whole.

Like most DC fans, I was looking forward to an easy entry into titles not previously read, as well as reading up on the back stories of my regular pull list. I was also hoping it would breathe new life into titles I’ve cancelled over the last twelve months.

Whilst it is safe to say the reception has been mixed, I would say it has been for a variety of reasons, with no single factor to blame for its possible failure. Undoubtedly, some titles were plain not very good, however that had to be expected when we were dealing with over 50 titles. Even the most die-hard of DC fans must have thought that! My first problem though, after reading over 20 issues, was whether all titles actually required a #0 origin tale in the first place?

 Personally, it got to the point where many titles merged into one and became very predictable as they followed a standard storyline. Two generic plot templates emerged with the main character either experiencing a tragic event in their early years or being responsible for such an event through reckless behaviour. Through these events, their new persona is used for either vengeance or a form of redemption.

I have no problem in DC using this as an excuse to pull in new readers, using the #0 issue as an accessible entry way into a title, however  was there honestly a need for four  Batman #0’s (Batman, Detective, Batman & Robin, Dark Knight)? Granted, they concentrated on different aspects of Bruce’s early days and they were all personal high-points for Zero month, but still unnecessary. Additionally, a number of titles had concluded their arc with #12 anyway so the next issue could well be seen as a potential jumping on point for new readers.

The titles that would likely benefit the most from Zero month would be those that started back in September 2011 where the sales figures have been steadily falling. Two titles where the #0 issue has been detrimental would be World’s Finest and Earth 2. After only four issues released prior to this September, both titles were still finding their way, introducing new characters, and building a solid fan base. I think it was bad timing here for both titles to go on a two month break before their stories could resume. Staying with World’s Finest, one criticism of its #0 issue would be in the art department. For a comic that deals with the sudden loss of a parent, there was far too much of a cartoony feel which was completely out of context with what was actually going on. 

The title that has induced the most geek rage in me, ever since the re-boot in fact, was Green Arrow. As mentioned earlier, it is the feature of some titles for the main character to be on a quest of redemption for their past ill activities, however in my two years of reading comics, I’ve never seen such an unlikeable character as this interpretation of Oliver Queen as he shows no redeeming qualities whatsoever. 

When comparing him to the Oli Queen from Identity Crisis, an ageing cynical man looking to reconnect with his wife and children, it’s almost painful to read this re-booted version and it is a title that was quickly removed from my monthly list. It seems to be a homage to the Queen seen in Smallville which doesn’t sound like a bad idea on paper, however the transition to the comic book has just not worked. The #0 issue, showing him to be a rich playboy at fault for a large explosion and the possible death of a friend, was a bad choice as that’s not the kind of act someone can hope to come back from. 

Aside from the Batman titles, I found Batgirl, Swamp Thing, and Talon to be good reads but not enough to get the next issue although, with the Joker storyline featuring heavily in Batgirl over the next few months, I may quickly reverse that decision.

Perhaps the most striking point is my favourite #0 issue turned out to be Green Lantern: New Guardians and that wasn’t an origin issue, instead more of a reforming of the team prior to the Rise of the Third Army story.

On a side note, I have, over the past couple of months and done the unthinkable in reading a few Marvel titles in Avengers vs. X-Men, Gambit, and Hawkeye. As reluctant as I was, I have noted a considerable improvement in terms of character and general dialogue. From these early issues, it appears Marvel are more comfortable with their creations, developing characters without betraying their origins. This is compared where many DC titles just seem too forced in putting across their point and not giving their storylines enough time to flourish. As an example, poor old Superman has had a rough time since the reboot as he continues to find a worthwhile arc.

In conclusion, the effect of Zero month has been for me to take up some Marvel titles as well as some upcoming Image comics that are released in November so, personally, I suppose it hasn’t worked. I hope that DC looks to Batman’s Court of Owl’s storyline and see, when given plenty of time to develop, a title is more likely to succeed and I hope that happens over the next 12 months.

Extermination #1 and #2 Review (Boom Studios)

I’ll start off by honestly saying I came across Extermination more through luck than by any form of in-depth research. Whilst enjoying an afternoon off work last week, I was strolling through London’s West End and decided upon a visit to a nearby geek shop. One of this shop’s benefits is their collection of grab-bags, inclusive of four comics, for a measly £1. 

So amongst one of the four bags I bought was Extermination #1.

As it only really cost me 25p, I held out no major hope for it and was ready to file it in my ‘Miscellaneous’ comic folder however, after reading the first two issues, it has proved to be one of the most intriguing comics in my monthly list.

I was at something of a disadvantage as I didn’t know too much about Extermination, other than a brief mention somewhere online a few months ago, so it wasn’t until finishing #2 that I had managed to get a fairly accurate idea as to what hell was going on.

To summarise the plot, Earth has been left on the brink of destruction after coming under attack from an alien force. As #1 starts, the only two characters introduced are superhero, Nox, and supervillain, The Red Reaper. Previously enemies before the attack, they are forced to work together, despite their differences, staying on the run from the alien horde, on their nuclear-powered ‘bladecycle’. Nox, a Batman-wannabe in appearance and character, tries to uphold integrity and decency in the face of mass extinction by refusing to kill and even as far as banning the use of bad language. The Reaper is a wonderfully over-the-top ‘pseudo-camp’ evil scientist who takes as much pleasure in ridiculing Nox as he does in killing the alien creatures.

The basic premise of the series, outlined in #1, is nothing we haven’t seen before, however where Extermination truly sets itself apart is in the dialogue between the two main characters. Whilst it may be easy to quickly dismiss their arguments as light-hearted good vs. evil debates, it highlights also a clash of ideologies in a new world. Whilst Nox clings on to the values and ethics of society before the attack, Red Reaper declares them irrelevant as he likens the attack to a teenage boy hitting puberty, the world now needing to man up and concentrate on the most basic instinct, survival. To illustrate a certain level of credibility to Reaper’s argument, it is Nox that is seen with the first signs of conflict as the series begins.

Interspersed throughout the comic are short flashbacks that provide an important backdrop to how life was on Earth before the attack and also highlights Nox and Reaper in their previous roles as enemies.

One of my concerns over the first issue was the limited amount of characters, however this is thankfully rectified in #2 as more survivors are introduced, in addition to ‘powereds’ such as Promethean, a superhero who is used by the survivors to an extent possibly never before seen in comics! #2 also expands upon the initial plot by revealing society’s complacency and level of dependency on their superheroes and later, their feelings of betrayal towards them as they are alleged to have abandoned them in their hour of need.

As for the artwork, it is extremely detailed and imaginative, especially during the battle scenes involving the various forms of aliens. One slight criticism would be that it suffers from trying to have too much occur in each still, resulting in the main characters appearing far too small when being swarmed by aliens. Whilst this serves the purpose to highlight their plight, it can make it hard for the reader.

To summarise, despite exhibiting a range of factors seen many times before, Extermination still manages to pull it off with a quirky-but-at-times-serious take on the alien invasion genre with two main characters whose constant bitching make this a recommendation for those looking for something new.

Rating: 3/5

My Monthly Reading...

I'm not going to make any claim that the below is a blog entry however I just thought I'd post a pic of my current monthly comic pulls.

Goes without saying this is subject to change. Better to do this now than include the 20+ DC 0#s I'll probably be buying next month!

Batman #12 Review (DC Comics)

 Let’s be clear about one thing. Batman #12 is a filler issue. Certainly not a bad filler, but one nonetheless.

This is no bad thing as, after the previous year-long ‘Court of Owls’ storyline, there would be no real advantage in going straight into the upcoming Joker saga. As the current DC range is also about to release their #0 backstory features over the next month, starting a new arc now, only to then go on a month’s hiatus would not have done any favours to the reader.

The issue is a one-shot from the perspective of Harper Row, a young punk rebel girl whose attempts to protect her gay brother from homophobic bullies do not always prove successful.  In addition to fending off members of Gotham’s undesirables, we also see her work on the city’s electrical grid and how this relates to Batman’s exploits.

The story takes place during the first few issues of the Court arc as Harper is introduced getting ready for the same dinner seen in #1 where Bruce outlines his vision for a future Gotham. In terms of Harper, this is the same girl seen resuscitating the Bat in #7 after his escape from the Court’s maze of torture. It now becomes evident that Batman’s warning to Harper in #7 to stay away from him refers to their brief meeting in this backstory. Whilst it has yet to be determined whether she will appear in the future, Harper shows a determination in continuing to aid Batman.

Aside from the main storyline, #12 does raise an interesting point in highlighting Batman’s reluctance in accepting help from the public. An unfortunate consequence of his image as Gotham’s ‘saviour’ is others wanting to either assist him or emulate his actions. As seen with Harper, this approach often puts them in danger, situations they are not prepared for. With a sense of responsibility for their actions, Batman does his utmost in dissuading them from this course of action. Whilst he does have the Bat-family to occasionally help him, it shows, in defending Gotham’s citizens from the city’s criminals, he must also protect them from themselves.

Scott Snyder continues writing duties here, no surprises there, however the artwork sees a change from Greg Capullo to the joint efforts of Becky Cloonan and Andy Clarke. I have never seen the advantage of a comic being split in two for artwork and this is no different. Cloonan draws the majority of pages however the change to Clarke occurs for the final six pages as we get to the conclusion. Not that this should be seen as a significant setback, however it does disrupt the flow which I see as unnecessary and could have been avoided.

In conclusion, Batman #12 is used to introduce the character of Row, showing Gotham from her perspective, and the struggle for many of Gotham’s underclass. Her role as electrical whizz-kid also shines some light on to a previously un-touched aspect of Gotham in how Batman manipulates the city’s power supply. Whilst this was a satisfying one-shot, its relevance will likely depend on Harper’s future role in the Bat-universe.

Rating: 3/5

Thoughts on Prometheus (spoilers)...

 Prometheus will likely end its run at cinemas in the next couple of weeks and have achieved somewhere close to a worldwide box office total near $310 million. Whilst this figure is certainly nothing to get excited about, given the hype surrounding the film, it has been considered enough of a success that a sequel has been recently been given the go-ahead. 

Since release, it has met with a mixed response from audiences, with the majority still giving generally favourable reviews. Now, even as a die-hard fan of the Alien franchise, I don’t intend to use this blog to promote how amazing I found the film and bash those who had reservations. Instead, I am going to focus on the possible factors behind some of the negative press it received, in addition to why it didn’t achieve the financial success  many had expected. 

Despite the excitement over Prometheus, one must remember the last films in the Alien series, Alien vs. Predator (2004) and Alien vs. Predator: Requiem (2007), only made $172million and $128 million respectively, and were almost universally panned with even diehard fans in no rush for a further instalment. Given the state of the franchise, if not for the involvement of Ridley Scott, director of the original Alien (1979), it is debatable whether Prometheus would have been green-lit by 20^th Century Fox with this level of exposure. That being said, whilst Scott’s reputation as one of the world’s leading directors can’t be denied, his films over the last decade have not been met with the acclaim of previous efforts.  Kingdom of Heaven (2004), A Good Year (2006), American Gangster (2007), Body of Lies (2008), Robin Hood (2010) all came and went without lingering in the memory for long. It is back in 2000 with Gladiator where Scott last displayed he still had ‘it’. 

Credit goes to Scott however, as, despite alleged pressure from Fox, the film continued with its R rating in the United States which would automatically have an adverse effects on audience figures, despite the flip-side of this giving more freedom over the film’s content. Whilst this would undoubtedly satisfy fans of the Alien films, it seems a 50/50 decision if the intention was to launch a new franchise. How successful would this be if the next generation of potential Alien fans were too young to watch the film? Perhaps as a result of the R rating and the known content of the previous films in the series, Prometheus was shown at considerably less cinemas in the United States than the other major release that week, Madagascar 3: Europe’s Most Wanted, 3396 cinemas compared to 4258.

Now to the film itself. 

After reading many reviews, the area Prometheus has received most criticism has been the script. One of the more endearing features of Alien and Aliens were the characters and their every-man backgrounds. In Alien, we had a crew of a rusty salvage ship, complaining about not getting paid. The same complaints also come from the marines in Aliens and, ultimately, when the going got tough, many wanted to get the hell out of LV-426 and go home. Concerns over not getting paid and doing a runner in tough times are feelings I’m sure most have felt at some point. Compare this to Prometheus where the bulk of the dialogue between the main characters is concerned with questioning humanity’s origins, who are our creators and what might their true intentions be? These are certainly issues that are not for everyone. Staying within sci-fi, the same problem is seen when comparing the prequel Star Wars films with the original trilogy as the rogue-like ways of Han usually win over the ongoing jedi-wisdom of Qui-Gon.      

It has been mentioned by Ridley Scott that he was not going to be able to fit all ideas into a single film, therefore leaving some unresolved plot threads to a future film that was not guaranteed at the time. Taking this approach, there has been criticism at some of the film’s open-ended aspects, what happens to Elizabeth and David, what were the intentions of the engineers? Whilst there is now news of a sequel in the works, Scott has mentioned it may take two further films to full bridge the gap between the Prometheus films and the original Alien. One can only hope that, by looking at Prometheus’s box-office performance, Fox will realise they will only be able to squeeze out one more film and wrap up the series instead of, should the second film be unsuccessful, leaving it in limbo, for geeks to theorise over for years to come.

In defence of the film, where many have remarked it is not a horror film like Alien, it was never advertised as one. Some have clearly gone in with a drastically incorrect impression of what they were about to see. From interviews, online features, and trailers, Prometheus has always been marketed as a film focused around the origins of humanity and the identity of our creators. This may be a natural consequence where the Alien franchise is seen as sci-fi horror however, if you can get past that, by placing the film within the Alien universe, it builds on so much rich mythology and untapped materials, such as the identity of the space jockey, who has never been mentioned since Alien.

Where my objectivity is severely stretched is when I see people ranting on Facebook and Twitter that the film didn’t answer any questions. Unless I saw a different film, it answers, almost everything except for why the engineers decide to plot a course for Earth to unleash holy hell. Due to the time between the Alien films, there have been many years for people to discuss the role of the Space Jockey and how its ship landed on LV-426. Viewing Prometheus, the audience is essentially told these questions are not overly important as it delves into something much bigger. The ship seen in Alien is one of many and the engineers, our creators, reveal they are imperfect beings as their creations rise up against them, as evident by the corpse found by the crew of the Prometheus. As their flawed nature is revealed, it shouldn’t be a surprise that, on another ship 30 years later, an egg hatches early and the rest is history. 

In conclusion, Prometheus takes considerable risk in building upon the mythology, mainly found in the series’ first two films and, expands its universe without downplaying the significance of Alien and Aliens. Whilst it may suffer from leaving some open-ended plot threads, these are areas, fingers crossed, that will be resolved in the upcoming sequel.

Revival #1 Review (Image Comics)

With Revival, Image Comics have done their best to show there can be a fresh perspective on the zombie genre. Labelling it as a ‘rural noir’, the comic focuses on a small community in Wisconsin, USA, where a to-be-confirmed number of dead have risen back to life. Not overly original until the reader discovers these ‘Revivers’ are not the mindless, salivating zombies one might expect. Instead they return exactly as their previous selves.

As such, this small community is overrun by both the national media and the CDC (Centres for Disease Control) as the world seeks an explanation for this freak occurrence. In the meantime, the local population do their best to cope with this extreme situation as they are forced to remain within the town limits and those back from the dead are left to question how they fit back in to the world.

In its first issue, Revival covers considerably more ground usually seen in a #1, as it raises several open-ended storylines in which the writers will hopefully have many issues to cover. What is the cause of all this? Will it spread out across the rest of America? How far will the authorities go to contain the situation? And what’s the deal with that alien??

It is perhaps not a huge surprise the first issue has adopted this approach given the highly competitive nature of the comic book market at the moment. Whilst the excitement of the DC re-boot has now died down, recent months have seen a steady flow of #1’s from Image, not to mention it receiving inescapable comparisons with arguably the company’s flagship series, The Walking Dead.

Whilst this is understandable, given both series’ central premise of the living dead, Revival couldn’t be much further removed from the exploits of Rick Grimes and I certainly hope it manages to create its own identity.

One easily identifiable difference between the two series is the role played by the ‘dead’.  In The Walking Dead, they feature as the stereotypical zombie, mindless, bereft of personality or soul, as they aimlessly wander the land, driven only by a lust for blood. Switch to the ‘Revivers’ where their identities and personalities remain intact, essentially making them characters. The focus is on the community as a whole, inclusive of the dead. Already in the first issue, it questions whether they should go back to their previous lives of working in a convenience store or going back to school. Additionally, we see an elderly lady resentful at returning, happy that her time had come.

A much needed feature shown is the search for exposition. Robert Kirkman, writer of The Walking Dead, has repeatedly stated the source of the virus will not be revealed. For that comic, it is not necessary as the focus is on survival and how humanity copes when stripped of even the basic elements of life in the 21^st century. With Revival #1, the search for what happened is already underway as the main character, police officer Dana Cypress, is introduced as she gets dressed for work as she listens to a radio debate on the cause of events.

With the choice of location, it also puts rural communities at odds with the more mainstream aspects of society as they are placed under the magnifying glass. Along with the clash of theories between faith and science, it emphasises the level of conflict in the comic.

It is certainly early days however Revival is looking like it could be one of the outstanding comics of the year and is definitely worth a read.

Rating: 4/5

Revival #2 is released on 15^th August