Author: Robert Greenberger

The Yeti Files: Meet the Bigfeet
By Kevin Sherry
Scholastic Press, 122 pages, $8.99

Yetis are one of the most persistent legends around the globe and we covered more than our fair share of such stories at Weekly World News. They are also perfect material for a children’s book. Kevin Sherry, a veteran storyteller, explores the nature of Yeti life in The Yeti Files.

Apparently, Yeti are secretive on purpose so when a Yeti named Brian is glimpsed, he goes into hiding. This prompts his cousin Blizz Richards to go in search of him, propelling a story about family and acceptance among other species. We meet a variety of cyptids all drawn in a style making them non-threatening to the young readers this volume is aimed at.

Blizz’s narration gives us the inside scoop on crypitds, large and small, while being amusing. What’s odd is that cryptids apparently do everything humans do: eat too much, use the Internet, and have family reunions. There’s little unique here about their culture other than their desire to remain hidden from view. Hoping to change that is George Vanquist, self-proclaimed cyptozoologist, but as Buzz describes him, is actually clueless. He’s in search of Brian or his family and threatens to find the family reunion, requiring some ingenuity from the Yeti collective.

As threats go, Vanquist is more a bumbling one, there to provide comic relief but is actually so inept and dumb it detracts from a stronger story.

Sherry’s writing and artwork is appealing and this should be a gentle way to introduce young readers into the larger worlds of creatures sand fantasy.

Sisters
By Raina Telgemeier
Scholastic Graphix, 197 pages, $24.99 (hardcover)/$10.99 (softcover)

Mining one’s past for story ideas is a tried and true method but comes with the risks of exposing family and friends to the harsh spotlight so it can be challenging. Thankfully, cartoonist Raina Telgemeier has a wonderfully supportive family, who have allowed her to explore her early years in several works, starting with 2010’s Smile, and this month the wonderful Sisters.

Smile was all about coping with the arrival of braces while Sisters takes place sometime later as the family makes a pilgrimage from San Francisco to Colorado to see relatives. There’s 14 year old Raina, nine year old Amara, and six year old brother Will. As they drive there and back, the road trip is broken up with flashbacks tracings Raina’s first lesson in being careful what you wish for. After hoping for a sister, Amara arrives and she’s no fun at all. First there’s the crying then the usually sibling fighting and then the rivalry as both demonstrate artistic skills. Despite common ground, they just cannot stand one another, so Raina retreats behind her headphones while Amara takes in the world around her.

Telgemeier is brave and confident enough to mine emotional territory while making her younger self overly emotional and far from the hero of the story. She’s withdrawn and moody, excessively fearful of reptiles, amplified when Amara desperately wants and eventually receives a snake. She’s so looking forward to hanging with her cousins, cherishing memories of their last visit many years earlier so of course the reality never measures up. This further isolates her from her surroundings which means she has been missing all the signs of her parents’ marriage collapsing. Amara, a far more observant girl, has noticed but said nothing.

Cleverly, the flashbacks bring us along from Amara’s arrival right up to the events just prior to the fateful car trip. Things then come together as the family, minus dad, is driving west and the van breaks down. Mom and Will are off to find a tow truck, leaving the sisters alone in the car where, finally, they begin to connect.

Telgemeier’s open, colorful artwork is pleasing to the eye and she takes her time setting things up and never crowding the story. She does a nice job aging her characters while keeping them recognizable, and keeps the settings clear. This is a wonderful sequel to Smile and a worthy follow-up to last year’s fictional Drama.

The universal themes portrayed here will allow families to recognize some aspect of themselves in the dynamic, much as I saw me and my brother in Raina and Amara although we were much older before peace settled between us. Scholastic recommends the book for ages 8-12 but really, it’s a fine all ages read.

Based on a video game, Batman: Arkham, which I do not play, I came into Batman: Assault on Arkham, without any particular predisposition. As the first editor of the Suicide Squad, I was intrigued to see how they would operate. As I feared, screenwriter Heath Corson totally misused the team in this violent, pointless direct-to-animated mess which is unleashed on Tuesday.

Amanda Waller (CCH Pounder) played within the gray areas of the DC Universe, picking damaged heroes and villains, as needed for missions. She made sure there was a field leader to keep them in line, and offered the heroes something they wanted and the villains a chance at clearing their records. Here, she collects a motley assortment of villains without a real rationale for each, putting them together for a mission that makes little sense. The silly MacGuffin here is that the Riddler (Matthew Gray Gubler) has stolen a database of SS operatives and intends to use that information from the confines of Arkham Asylum. Her team has to go in and retrieve the data from his cane so you would want people good at stealth, lock picking, electronics, etc. It makes little sense to bring in a behemoth like King Shark (John DiMaggio) or KGBeast and after Waller demonstrates the effectiveness of the implanted bombs by killing the Beast, does not replace his brawn, sending them in short-handed.

We have, instead, Harley Quinn (Hynden Walch), who makes sense given she used to work there; Deadshot (Neal McDonough), Captain Boomerang (Greg Ellis), Killer Frost (Jennifer Hale), King Shark, and Black Spider (Giancarlo Esposito). They have to infiltrate the Asylum, which by this time should really have installed a revolving door given how unsecure it is, armed with materiel courtesy of the Penguin (Nolan North). Killer Frost has also been given the task of eliminating the Riddler once his data has been retrieved, not for offending Waller, but for possessing the know-how to disarm their bombs.

While rated PG-13 for violence, such as heads being blown off, we also see a nude Harley get it on with Deadshot, setting up the triangle between them and Mr. J (Troy Baker), who is keenly aware she’s back in the building, and plays on her malleable mind. Batman, meantime, twigs on to the fact the Asylum has been compromised (again) and joins the fray, eventually taking down Black Spider and impersonating him.

Let’s not forget the dirty bomb the Joker has managed to bring into the asylum and keeps stored in Harley’s mallet, neatly placed in an unlocked box.

There is plenty of action, almost all of it over-the-top and unbelievable; a distinct lack of characterization, and plot holes that really irk me since I am not distracted by rapidly pressing lots of buttons on my controls. No question, director Jay Oliva knows how to handle the action, moving things along at a brisk pace so you don’t really notice what a problem the basic story is. The character design, 2D based on the video game’s 3D version, is fine although Deadshot is way too bulky and Batman’s pupils are visible.

I suppose if you like the game, you’ll enjoy the movie. If you enjoyed the original Squad, this will irk you and if you like the Squad’s current incarnation, you should be satisfied.

The 76 minute movie is presented on Blu-ray, DVD, and as an Ultraviolet digital edition. The Blu-ray comes with two nice featurettes, the first focusing on Harley herself, with Paul Dini, Mike Carlin, and others discussing how she came to be and how readily she translated from Batman: The Animated Series to the current DC Universe. I did miss hearing from Bruce Timm, her visual father. The other piece is longer and somewhat ponderous as Arkham itself is discussed by former DC editor Jack C. Harris (who suggested the name, derived from H.P. Lovecraft’s work) and writer Len Wein to sociologists providing the history of insane asylums and how it informed Arkham. The talking heads acknowledge that residence there tends to corrupt all and yet no one discussed why it is not simply razed to the ground and the inmates (who come and go all too easily) relocated. Instead, much due is given Grant Morrison’s Arkham Asylum graphic novel and no mention made of the forthcoming New 52 monthly Arkham Manor (an unsustainable idea but that’s for another time).

There’s a nice 10 minute peak into this fall’s sequel to Justice League War, Justice League: Throne f Atlantis finally giving Aquaman his animated due. Finally, there are well chosen episodes from the archives: “Task Force X” (Justice League Unlimited), “Emperor Joker” (Batman: The Brave and the Bold), “Two of a Kind” (Batman), and “Infiltrator” (Young Justice).

With adolescence comes the question of identity with many a teenager thinking they are some freak of nature. As a result, the Young Adult fiction explosion of the last decade or so has amped that up, coupled with the Millennial generation’s worries about the future as seen in the preponderance of dystopias. As it is, the granddaddy of this genre, The Giver, was the only book my freshmen read, liked, and remembered from middle school. So, once Harry Potter proved box office gold, studios have been mining YA titles seeking similar profit. All too often, though, the adaptations have failed to capture the same themes and sense of wonder. Everyone wants to be the next Hunger Games and the Divergent series of books comes closest. When the first novel was adapted to screen this spring, I watched several of my fellow teachers and students reading or rereading the book in anticipation.

Divergent, adapted from Veronica Roth’s best seller by screen writers Evan Daugherty and Vanessa Taylor, does a nice job bringing the world to life. The film has come to home video today from Lionsgate Home Entertainment in Blu-ray Combo pack form along with store-specific collector’s editions. Here, the world is brighter and shinier than the 13 Districts of Suzanne Collins’ Earth but there remains a corrupt underbelly that threatens the government, which is tightening its grip. Here, as you enter puberty, you begin to manifest powers and abilities that society wants to harvest so one by one, people are tested to see if they can be assigned to Abnegation (selfless), Amity (peaceful), Candor (truth tellers), Dauntless (the brave) and Erudite (the brains). Her brother Caleb (Ansel Elgort) is Abnegation, but is allowed to reject the assignment in favor of Erudite during the Choosing Ceremony (minus sorting hat).

Much as in Lois Lowry’s books, those that do not fit in must be culled and Tris (Shailene Woodley) is one of those mutants, who possesses a mélange of abilities despite coming from two Abnegation parents (Ashley Judd and Tony Goldwyn). According to Jeanine (Kate Winslet), she must be eliminated but her tester, Tori (Maggie Q), warns Tris. She then rejects Abnegation for Dauntless and so begins her Coming of Age. Tris leaves behind the world she knew and enters unknown waters, eventually coming upon other Divergents who have formed a mutual survival society and burgeoning underground.

Tris begins to train and train and train as the film slows down. Physically, she’s barely up to the demands of the Dauntless but thankfully the incredibly handsome mentor Four (Theo James), pushes her and makes her heart go pitter pat. She also gains a BFF in the bullied Christina (Zoë Kravitz). Once we get past this section, things pick up steam and we bring things to a somewhat satisfying conclusion, resolving some threads and laving others dangling for the sequels.

Director Neil Burger needs to work on his timing and editing since the film feels overly long but he does coax excellent performances from his cast which makes the entire film eminently watchable. Woodley’s Tris is a more decisive heroine than Katniss and she handles the action quite well. It’s not Burger’s fault that the film and the book its based on now feels derivative. We’ve been getting heavy doses of dystopia in print, on television, and in film so, like zombies, its feeling like pretty mined territory.

The high definition transfer is most satisfactory and is matched by the lossless DTS-HD Master Audio 7.1 mix. Similarly, the extras are straightforward, informative, and useful if unspectacular. We have Audio Commentary with Director Neil Burger, who nicely credits his crew; Audio Commentary with Producers Lucy Fisher and Douglas Wick, which delves more deeply into the pre-production and casting; Bringing Divergent To Life (47:17), four shorter pieces that examines the production, casting, and adaptation process; Faction Before Blood (14:51), looks at the structure of the walled in society; Deleted Scenes (4:27), nothing essential but good to see; Beating Heart Music Video (1080i; 3:48), trailers and poster gallery.

Jedi Academy #2: Return of the Padawan
By Jeffrey Brown
Scholastic, 176 Pages, $12.99

Jeffrey Brown is an incredibly entertaining storyteller and I fell in love with his Darth Vader and Son when I it was pointed out to me in a museum gift shop. Apparently, Scholastic and Lucasfilm love him, too, because they have recruited him to challenge The Diary of a Wimpy Kid with Jedi Academy a series of book presuming the trials and tribulations of middle school is the same in a galaxy far, far away.

Undiscerning young readers (this is aimed at readers 8-12) fell in love with the first volume and this month we see the release of the second installment. The main character is underdog Roan Novachez, who wants to be a pilot but his natural talent with The Force led him to be diverted to the Jedi Academy, taught by no less than Yoda himself.

While certain universal truths are here: unrequited crushes, rivals, bullies, challenging teachers, and mystery meat for lunch, the book is too thinly disguised. As a result, we have the equivalent of Facebook, Parent/Teacher conferences and genuine soccer. Everyone involved seems to have forgotten Star Wars is basically a space fantasy set nowhere near Earth and deal with archetypes not inside jokes.

The sheer joyful humor found in his single panel gags is absent here as Roan goes from mishap to mishap. Apparently, Yoda and his teachers know the reality of each incident but he is never vindicated in the eyes of his peers. As a result, the special quality that got him recruited to the Academy is absent. There are plenty of teaching moments throughout the story, which is mostly about his second year and attempting to master the flying simulator. The pressure of following in his father’s pilot footsteps is pretty much gone in this sequel so it has more to do with staying out of trouble.

Brown’s art style is appealing and the black and white page designs are nicely varied, switching from sequential panels to narrative. However, it also feels like he was handed a checklist of familiar visual elements to include to remind one and all this was really a Star Wars story. Wookiee? Check. Hoth?  Check. And so on.

What could have been a refreshing, enchanting story set in a well-known universe is merely a watered down Wimpy Kid knockoff. It is hard to say how much of this is Brown’s limitations from Scholastic and/or Lucasfilm or his own shortcomings. But, as long as these sell, we will no doubt follow Roan through the remainder of middle school until he how somehow saves the universe.