Tagged: review

Review: ‘Batman: The Brave and the Bold’

Since his debut in [[[Batman: The Animated Series]]], Warner Animation has seen to it Batman gets freshened every now and then.  Animators swoop in, streamline the look and adjust the stories as time and tastes change.  The most recent Batman series was perhaps the worst as it veered further and further away from its comic book source material so we suddenly had a Rastafarian Joker who knew martial arts. That incarnation has been mercifully retired and in its place we have [[[Batman: The Brave and the Bold]]].

As the title suggests, this is a Batman team-up show and owes much to the title where Batman co-starred with other characters for over 125 issues. The designs puff up the Caped Crusader so he looks as if Carmine Infantino or Mike Sekowsky was doing the model sheets.

Fortunately, the resemblance to the 1960s more or less ends there as the storytelling is quick and adventurous.  This is a well-adjusted Batman who recognizes his place in the super-hero firmament.  For example, in the debut episode, which airs on the Cartoon Network this coming Friday night, he specifically asks Blue Beetle along on a mission to check him out.

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Obama Walks in Pettigrew’s Footsteps

  • News
  • November 4, 2008

pettigrew02-5498772A black man could be elected president today.  But he would not necessarily be the first depicted in the media.  After all, we’ve already seen black presidents such as Morgan Freeman in Deep Impact but even he was beaten to the Oval Office in 1976 by New York Governor Timothy Pettigrew.

Pettigrew was the creation of Berry Reece and was featured in a serialized story that ran in A Treasure Chest of Fun and Fact from January through June 1964. Joe Sinnott, famed as inker on Fantastic Four, did the artwork as part of his long association with the Catholic Church’s magazine.

According to Reece, Pope Pius XI asked that American parochial school students becoming more aware of and active in civic affairs. The result was the six-part serial featuring the African-American’s run for office.  He came in second in New Hampshire’s primary and even survived an assassination attempt. In an eerie foreshadowing of the Kerry campaign, Pettigrew is accused of cowardice in Vietnam, a conflict ongoing at the time of the serial.

His efforts are aided by the children of press secretary Bart Blatt, getting the message across to the magazine’s readers. He is seen as a silhouette or shadow throughout the first five parts and it’s not until he wins the Democratic nomination that readers realize he is black.

"And so this man Pettigrew became the first Negro candidate for the President of the United States,” the final panel of the serial read. “He then went out across the land, this black man, to campaign for the highest office. Would he win? Well, the year was 1976. It was the 200th anniversary of the Declaration of Independence. Could he win? Well, it would depend in part on how the boys and girls reading this comic grew up and voted … it would depend on whether they believed and, indeed, lived those words in the declaration — All Men are Created Equal."

Reece, a Yazoo City, Miss., native and Notre Dame graduate, told the New York Times today that he had entirely forgotten about the series until it s was featured on NPR’s All Things Considered back in February. “I wanted the students to judge him on the strength of his character before they made any judgments about his race,” Reece told the National Catholic Review.

“I was trying to conceive of a person, a hero, a protagonist, who could unite the allegedly United States of America,” Reece told them.

“What we wanted to do,” Reece told the Times, “was get the readers in deep through this Pettigrew’s integrity, his charisma, before we ever disclosed his race so that they would not prejudge him”

The serial ended with Pettigrew a candidate but not yet elected.  How did Reece see the conclusion.  He told the Times, “Could he win? Well, it would depend in part on how the boys and girls who were reading this grew up and voted.”

For another look at the serial, check out the clip below.

Review: ‘Popeye the Sailor Volume Three’

By 1935, [[[Popeye the Sailor Man] was considered more popular than Mickey Mouse and his animated exploits thrilled theater goers year after year as the Fleischer Studios continued to churn them out almost monthly. When they began running on television, the animated exploits delighted a new generation of viewers and keeping the character viable long after his comic strip passed its peak.

Warner Home Video finally cleared all the legal problems and began to restore and collect these classic cartoons on DVD.  The first volume, four discs and 60 episodes, came out to great acclaim in 2007.  A second two-disc set came out earlier this year and on Tuesday, the third volume will be released.  On this set, another 32 cartoons are collected, covering 1941-1943.

By this time, there was evolution to characters and the content.  First, in May 1941, Paramount bought out the Fleischers and by year’s end fired the feuding brothers and changed the name of the outfit to Famous Studios. Along the way Popeye was softened and made less ugly and more adorable.  His dark sailor suit was also traded in for Navy whites as he enlisted when America entered World War II (an outfit he’d wear through the 1960s).  As a result, much of the content has patriotic themes and imagery.  Interestingly, we often saw the Sailor Man confounded by the complexity of modern warships leading to much fish out of water humor. There’s one, “Many Tanks” where Bluto is seen in the Army, swapping uniforms with Popeye so he can date Olive, leaving a confused Popeye manning a tank. Being the war, of course, the depiction of the Japanese opponents are stereotypical and offensive to today’s eyes but a product of their times.

In the end, though, Popeye always comes out on top and is recognized for his heroism.

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You’ll Believe a Routh Can Fly

  • News
  • November 1, 2008

brandon-routh2-7562218If there’s one thing that’s certain about Superman, it’s that you can never count him out of a fight. Same goes for Brandon Routh, who played the Man of Steel in Bryan Singer’s Superman Returns a few years back. Despite doing mediocre business (which, when it comes to Supes, is terrible business), the WB is still planning on resuming the franchise, albeit with a totally new direction and creative team. But Routh, as it turns out, might not be part of the cleaning house equation. The actor tells Web site IESB.net that he’s still involved, as far as he knows.

Says Routh: "[The] most recent conversation I had was with Paul [Levitz, President of DC Comics] when I was in New York and we talked about what … Warner Bros. were thinking and what the situation was and obviously, thankfully, he is still wanting me to be a part of it and I certainly want to be a part of it."

The story is corroborated by Latino Review‘s report earlier this month stating Levitz’s continued interest in Routh as Superman.

The most recent Kent, other than TV’s Tom Welling, says that he’s unaware of any story details other than what he reads in the media. Given that, he’s not exactly thrilled with the idea of a "dark Superman."

"I don’t think the character necessarily has to be darker," says Routh. "I think he is kind of dark in a sense, emotional dark, in Superman Returns, and the movie as a whole was slightly dark, they could have had more prowess in it I suppose, and I think that’s one thing that can be done in the sequel, so I don’t know how much darker you want to make it necessarily. You make the stakes higher, you make the villain darker, I think that’s a way to do it. But I don’t think Superman himself needs to be darker. He definitely has to struggle, how does Superman be a part of the world? And does he have to make sacrifices to be a part of that world? To fit in and what purpose does he really play in the world? Those are all kind of dark places to explore. But, I don’t think Superman should ever be dark and brooding, that’s not [his] nature. And that’s [not] what people [want] to see."

As for a villain for the next chapter, Routh has an idea: Brainiac.

"I think it would certainly be interesting, I think there are a lot of things you could do with Brainiac," Routh muses. "He’s been given a lot of power and a lot of different abilities over the years in the comics, as far as I understand. I know that DC is working on a Brainiac storyline that they are excited about and I think combining the two and have that flow between the comics and the movie would be a nice thing. I honestly think there are a lot of interesting things you can do with Brainiac. Controlling people, controlling technology, a lot of cool things."

It’s a widely shared sentiment that a Brainiac driven Superman film has a lot of potential. Combine Routh’s desire to see the green-skinned villain in the sequel and his indication that DC’s also on board, plus with original director Richard Donner’s plea to give Geoff Johns a shot at the screenplay, and you can bet that Mark Millar’s locked himself away in a dungeon taking the pen and eraser to his planned eight-hour Superman epic.

Routh also talks a bit about another upcoming comic book film he’s working on. He’ll be playing Dylan Dog in Dead of Night, an adaptation of Tiziano Sclavi’s Dylan Dog. According to Routh, filming should start soon.

"Well, I think we are actually going to make it now (laughing)," says Routh. "I’ve never said that before, but I will now, all the paperwork is being finalized finally and  we are looking really strong for a January, mid-January start I believe, in New Orleans. And, [director] Kevin [Munroe] and I are looking at the script again and he’s got his draft and I am excited about it."

Review: ‘Captain Action’ #1

I know way too much about comics. Far more than is healthy. But there are, understandably, a few characters here and there that I either know very little about, either because I never really came across them or I did but found them terribly uninteresting and so dismissed them, soon forgetting what I had learned.

[[[Captain Action]]] happens to be such a character. I remembered he first appeared in the 1960s, wore a costume that resembled a futuristic police officer’s with a chest symbol that reminded me to recycle, and was based on an action figure. And that was it. I remembered nothing else. So when I was asked to review the first issue of the new Captain Action series, on sale today, I thought “Perfect. I can truly look at this as a first-time fan and objectively judge if this would be interesting to someone who has no previous knowledge of the character.”

I read it and found it to be a strange mix of too much information at once and not enough.

We begin with a [[[Superman]]]-like character called Savior. His narration explains who he is and reveals that he secretly blew up a place called A.C.T.I.O.N. Directorate. On page two, we find out that half of what we just read is a lie. This is not Savior, but a person disguised as Savior. This is our hero, Captain Action, who crashes into a statue of his father and proceeds to unleash a massive information dump on the readers in a very awkward monologue.

Apparently, there was once a hero called Captain Action (the original guy from the 1960s). The shape-shifter we’ve just met is his son, the new Captain Action, who has the ability to look like other people and copy their abilities, but only for a short time. Exactly how long he can disguise himself and how long afterward he has to wait before he mimics someone again is not made clear.

The new Captain Action wanted nothing to do with the life of a super-hero, despite his powers, but now feels forced to act since his father was killed by a group of super-heroes that an organization called A.C.T.I.O.N. had “created” to defend the Earth. What “created” means is not fully explained. The new Captain Action informs us that these heroes, Savior included, were somehow turned into sleeper agents, thus why they went rogue later. Exactly how they became sleeper agents is not explained, though a group called Red Crawl is blamed. Apparently, Red Crawl was defeated long ago and everyone believed they were dead, except for the original Captain Action. Now they’re back and causing trouble.

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Review: ‘Dexter’ Episode #305

Note: Click here for last week’s victim!

The Crime Scene: “Turning Biminese”
From [[[Showtime]]]: “While Dexter struggles with how to handle Rita’s desire for them to move in together before they get married, Miguel tells Dexter about a husband who has gotten away with killing two of his wives for financial gain. For Dexter, this seems like the perfect candidate to satisfy his dark urge and his need, like every man under relationship pressures, to get away. Dexter tracks the murderer to Bimini. While on the hunt, Rita has a medical emergency and he is nowhere to be found. Meanwhile, Debra works with Anton, her confidential informant to track down one of Freebo’s criminal confidants. But Debra finds herself oddly (and disgustingly) attracted to Anton.”

Blood Spatter Analysis
“Turning Biminese” is a weirdly unfit title for one of the most defining moments in [[[Dexter]]] history. The whole hour focuses on just how drastically Dexter’s life has and will continue to change by the impending birth of his child and his newfound engagement to Rita, among a whole slew of other things. By episode’s end, it’s very clear that Dexter’s life is about to get very, very different.

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Review: ‘The Good Neighbors Book One – Kin’

The Good Neighbors: Book One – Kin
By Holly Black and Ted Naifeh
Scholastic Graphix, October 2008, $16.99

Holly Black made her name with [[[The Spiderwick Chronicles]]] and following that enormous hit, the pressure was no doubt on to follow it with something equally compelling.  Fortunately, [[[The Good Neighbors]]] may well be that second hit.

Once more, Black delves into the world of the supernatural, but rather than make up her own bestiary, she is inspired by the traditional world of the faerie. She also delves into a different set of family dynamics and clearly is using characters her readers can relate to.

Book One introduces us to Rue Silver just as her life begins to be irrevocably altered.  Rue is a high school student whose mother has gone missing and her father, a college professor, is accused of murdering her.  When one of his students is found dead, he’s arrested for both crimes.

Rue, though, has larger issues preoccupying her mind.  She’s seeing the world through new eyes so people suddenly have taken on different shapes, and nature seems to be responding to her presence. Her friends are sympathetic but uncertain how to react.  Then, she meets the ageless man who introduces himself as her grandfather and explains she has faerie blood and is ready for a new world.

Rue’s entry into this realm and her tortured emotions form the spine of the 117-story.  Black does a nice job with the characterization and I’m especially impressed with the circle of friends who support her.  They are individualistic and react in ways the readers can identify.  Friendship proves to be as important as family, as we discover.

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Review: ‘I Remember The Future’

i-remember-the-future2-5160581For more than a decade, writer Michael A. Burstein has been publishing tales of speculative fiction in the anthology magazine [[[Analog]]]. Several of these stories have been nominated for various Hugo and Nebula awards, including Best Short Story, Best Novella and Best Novelette. In 1999, his short story “[[[Reality Check]]]” was nominated for the Theodore Sturgeon Memorial Award. “[[[TeleAbsence]]]” won the 1995 Analytical Laboratory Award for Best Short Story and “[[[Sanctuary]]]” won the 2005 Analytical Laboratory Award for Best Novella.

These works and more have now been collected into one large volume from Apex Publishing entitled I Remember the Future: The Award-Nominated Stories of Michael A. Burstein. The book will be published on November 1, but you can pre-order at Amazon.com  if you so wish.

The stories collected here cover a wide range of topics and emotions. There’s the murder mystery involving a killer who targets students while they’re online. There’s the deeply emotional tale concerning the dying wish of the last living holocaust survivor. There is the “[[[Broken Symmetry]]]” series, a trilogy of short stories concerning the consequences that occur when a breach opens between two parallel universes and the events that grow out of it.

Even if you’ve read these works before, this collection offers you new insight into old favorites. Every single story has an afterword by Burstein as he explains what went into it and what may evolve from it in the future. He also discusses changes made in editing, such as when he presents an alternate ending to “Kaddish for the Last Survivor.”

Along with these tales are two brand new stories. There is “[[[Empty Spaces]]]”, a continuation of the aforementioned trilogy, and the titular tale “I Remember the Future”, which gives us a present tense narration from a retired writer who fears that humanity has forgotten how to truly dream.

These stories are all heartfelt and entertaining and each one appeals to a different taste and preference. If you enjoy science fiction, pick it up. If you don’t normally go for sci-fi, hey, still pick this up. These stories are, at their core, about people and the world we all deal with. And who can’t find something to enjoy about that?

Alan “Sizzler” Kistler has been recognized by mainstream media outlets such as the New York Daily News as a comic book historian, and can be seen in the “Special Features” sections of the Adventures of Aquaman and Justice League: New Frontier DVDs. His personal website can be found at: http://KistlerUniverse.com. One of these days he’d love to write for DC, Marvel or Doctor Who.

Review: ‘The Vertigo Encyclopedia’

vertigo-encyclopedia2-6407578The Vertigo Encyclopedia
By Alex Irvine
DK Publishing, September 2008, $29.99

There are few ways to produce a traditional encyclopedia, usually beginning with an alphabetical listing.  Most come with illustrations and are written in an academic style with little in the way of adjectives let alone opinions.  Graphic presentation may be the key difference between one publisher and another.  The role of illustrations grew in importance largely when Microsoft introduced [[[Encarta]]].

Leave it to [[[Vertigo]]] to show how things can be done in another way entirely.  The DC Comics imprint was a natural evolution from a line of titles, largely edited by Karen Berger, in the late 1980s as writers such as Alan Moore, Jamie Delano and Grant Morrison began taking fresh looks at the occult and many of DC’s more offbeat creations.

Once the line was on its own, it quickly found its voice and thanks to DC’s design department, the covers certainly looked less like standard DC fare and more like paperback books.  The subject matter also moved away from just looking into the shadowy corners of the DC Universe but pioneered a lot of creator owned material that began in the realm of the occult but also examined super-heroes, families, and even the search for God.  The line has now become its own mini-publishing empire with comic books, original graphic novels and the just canceled Minx line of black and white digests for tweens.

DK’s [[[Vertigo Encyclopedia]]] examines the line’s output from its inception through today and as written by Alex Irvine, makes some of the tougher to comprehend titles, more easily digestible.  Irvine is an accomplished novelist and major fan of the Vertigo line and his enthusiasm surprisingly comes through on many of the entries. The writing is clear and detailed and the significant titles that deserve the most space (Sandman, Preacher, Transmetropolitan) get it complete with significant events identified.

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Review: ‘Fringe’ Episode #106

Note: Click here for the last mystery!

Autopsy Report: “[[[The Cure]]]”
From Fox: “After weeks of being reported missing, a woman with a rare disease resurfaces in suburban Massachusetts and inexplicably causes excruciating pain and subsequent death to those she encounters. As the gruesome scene is investigated, dangerous levels of radiation are detected, and unusual circumstances surrounding the case point to illegal human drug trials and possibly something even more sinister. Meanwhile, Walter obsesses about cotton candy, Peter strikes a bargain with Nina Sharp and a startling piece of Olivia’s past is revealed.”

Doctor’s Notes
Last week’s [[[Fringe]]] was a remarkable letdown. Fresh off the heels of “The Arrival,” the season’s greatest episode, Fringe turned in “Power Hungry,” a colossally boring hour of television and certainly the worst installment in the series. This week, things get back on track in “The Cure,” offering excellent development in terms of plot and character.

In “The Cure,” a woman walks into a diner in suburban Massachusetts and has a radioactive freak out resulting in the very bloody deaths of herself and everyone around her. Olivia and her team investigate the incident, learning that the woman had a rare disease shared by another woman named Claire, and the disease was being combatted with an obscure radioactive treatment. Olivia discovers that they’d been kidnapped by Intrepus, Inc., a rival corporation to Massive Dynamic, where they were experimented on and essentially turned into human weapons of mass destruction. Olivia naturally saves the day, but sacrifices are made in the process that are sure to haunt the team in the future.

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