Review: JANE FOSTER: VALKYRIE #2- Another Entry In A Redefining Series

Few writers have a grasp over their characters histories and tones like Jason Aaron has over the Thor mythos, and his understanding is on full display in Jane Foster: Valkyrie #2 out this week from Marvel Comics. Sharing writing responsibilities with Al Ewing, their script and plot are top-notch. Coupled with Cafu’s lines, Jesus Aburtov’s colors, and VC’s Joe Sabino’s letters, Jane Foster: Valkyrie #2 is another worthy entry into Aaron’s Thor collection.

Picking up immediately following Bullseye’s stabbing Heimdall from chapter 1, Jane Foster: Valkyrie #2 continues the ensuing battle between God and Man. Jason Aaron and Al Ewing decision to make most of the dialogue an internal monologue from Valkyrie’s perspective was a clever one as it allows the action to flow simultaneously.

This entry goes a long way in supporting Aaron and Ewing’s theme of establishing a new legacy, exemplified by Jane Foster destroying Brumhilde’s Dragonfang. In most other arcs or stories reacquiring Dragonfang from Bullseye would have been the main concept for the story. The idea of retaking a sacred artifact to restore it’s Divinity and maintain its holiness is a classic trope. However, Jane Foster: Valkyrie #2 is not concerned with this at all. Instead, it opts for reformatting of the canon, establishing Jane Foster as the tried and true Valkyrie by escorting Heimdall to the assumed-to-be-destroyed Valhalla.

This story arc is also a nice nod to the original Nordic mythos of the Valkyrie doing this exact thing instead of fighting with people in Iron Suits with superpowers. It shows that Aaron and Ewing has a respect for the source material dating back to the ancient tales.

The choice of using Brumhilde’s Dragonfang as the object symbolic of the past status quo is smart as well. There are thousands of stories of swords with mystical powers that give its wielder divinity or mystic powers (ie. Excalibur), but placing this holy weapon in the hands of a sociopath highlight the flaw in these stories. If someone who is outright evil holds this powerful weapon, the weapon itself becomes evil. Jane Foster’s Undrjarn, The All-Weapon shifts to be whatever Jane Foster needs it to be. Undrjarn is all about the intent of its wielder as well. But in Valkyrie’s hands, Undrjarn is a force for good.

Valkyrie Saves Bystander — The benefits of hallucinating giant balls of Death are endless

Valkyrie’s ability to see Death approach is an interesting mechanic and reading Valkyrie says she could use it to essentially track Bullseye shows how well thought out her powers are. What seems like an ability less suited for combat gets repurposed into a quasi-detective ability. Cafu and Jesus Aburtov’s rendering of these blobs are equally impressive.

Similarly, the art in this chapter is phenomenal. Cafu’s lines are clear, kinetic, and fluid and Aburtov’s colors pop off the page. In combination, they produce some of the most stellar art of the year. One scene, in particular, is when Bullseye is riding in on his flying horse. It seems like a shot ripped right out of a traditional opera or fable, the powerful Valkyrie’s riding in on flying horses to conquer evil. But with Bullseye as the rider the sky is colored blood red, symbolizing the coming bloodshed. Not to mention that the close-ups of Bullseye make him look certifiably unhinged.

Jane Foster: Valkyrie #2 is a tremendous feat from Jason Aaron, Al Ewing, Cafu, Jesus Aburtov, and VC’s Joe Sabino. The story is bold, theatrical, and definitely, a launchpad for Valkyrie to remain a prominent figure in ongoing Marvel stories and the art more than holds it’s own. Jane Foster: Valkyrie #2 is a dramatic reshaping of the character and should be on everyone’s list.

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Review: AQUAMAN #51: Aquaman Teams Up With Aqualad, The Son Of Black Manta

Corey Patterson

When readers last saw Arthur Curry, he was adjusting to life back in his hometown of Amnesty Bay, Maine after a brief stint with the Old Gods. Most of the townspeople welcomed the oceanic warrior back with open arms, but many held strong reservations about his new deity friends. Their differences seemed to scare people. Unfortunately, this prejudice was directed toward another newcomer who happened to be Jackson Hyde, a.k.a. Aqualad, the son of the villain Black Manta. AQUAMAN #51 from DC Comics, available in stores Wednesday, August 21, tells the story of his reintroduction to Arthur.

Story

Kelly Sue DeConnick Jackson is a kid struggling to shape his identity. Aside from struggling with the normal issues every teenager faces, his villainous father makes it particularly difficult for the young hero to carve a good reputation for himself. To make matters worse, the authorities of Amnesty Bay find Jackson be a “suspicious individual,” a classification the duo suspect implies something more.

Jackson is a complex yet relatable character that often serves as tempered foil to complement the more adventurous Arthur. He’s a cautious person who takes the time to think things through before acting on impulse. That’s why it’s great to see the more seasoned hero help his companion ease his mind after experiencing such awful treatment from the town. Part of this process involves helping the Old Gods build a home for themselves on the Island of Amnesty, which allows for a perfect bonding opportunity between Jackson and the others who are considered outsiders.

Readers will enjoy viewing these worlds collide, but DeConnick won’t let them forget about Queen Mera and the upcoming royal wedding ceremony taking place in Atlantis. It’ll be interesting to see how she conducts her role as ruler without Arthur by her side. But the challenges he and Jackson meet in this story tells us the sea isn’t done with him yet.

Art

Robson Rocha’s penciling, Daniel Henriques’ inking, Sunny Gho’s coloring create brilliant landscapes in AQUAMAN #51. They present highly detailed landscapes of the Maine coast, complete with rocky cliffs, aqua blue waters, and multicolored skies.

Clayton Cowles’ lettering is the standout feature of this issue. His placement of the letter boxes is almost magical in that it creates effects of both movement and sound. For instance, the panel depicting Arthur diving off a cliff shows a speech box for the exclamation “Follow me!” that looks like a standard oval, that is until the reader traces a long, narrow deviation that follows him as he plummets to the water below. This helps the reader feel the effects of Arthur’s descent by helping them imagine an extended echo all the way down.

Comic Covers

Rocha, Jason Paz, and Alex Sinclair’s depicts Arthur fighting a mechanized version of BLack Manta, giving readers a sense of conflict coming our heroes’ way. Josh Middleton’s variant cover, on the other hand, shows Arthur swimming peacefully with a school of stingrays, emphasizing his renewed carefree attitude upon returning from the “dead” in recent issues.

Conclusion

In AQUAMAN #51, DeConnick brilliantly brings back a fan favorite character while speaking to the real world issues of prejudice and self-identity. We’ll have to wait and see how the duo face the challenges ahead.

What did you think of Aqualad’s reintroduction? Let us know in the comments below!

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What A Strange World In WONDER WOMAN COME BACK TO ME #2

Cat Wyatt

WONDER WOMAN COME BACK TO ME #2, out this week from DC Comics continues Diana’s journey to find the man she loves, and rescue him at all costs. This tale perfectly highlights how Diana can take anything in stride.

The cast of characters in this plot is getting ever larger.

***SPOILER WARNING***

To be clear; Wonder Woman Come Back to Me #2 has already been published once before but under a different title. It was originally seen in Justice League Giants and is now being reprinted so the whole tale can be in one cohesive set.

The second issue in the series continues Diana’s epic quest in a land that appears to be made of lost things. Like the previous issue, this one is broken up into two parts; a layover from the original printing. But since both are set on the same crazy island, it really does read more like one cohesive issue.

Amanda Conner and Jimmy Palmiotti wrote this plot together, and they did an excellent job of showing the insanity that can come across Diana’s path. They did an even better job of showing how Diana can take all of it in stride – especially when the ones she cares about are at risk.

This plot does get a little out there at times, though there’s no doubt that it’ll all wrap back around before things are said and done. There are some surprise guests as secondary characters in this issue, and that adds a touch of humor and confusion to the mix; balancing out the cocktail of emotions our heroine has surely been feeling.

Wonder Woman Come Back to Me #2 had a fairly large creative team working on the project, but that probably shouldn’t be so surprising. Chad Hardin was one of the artists; providing us with some spectacular imagery. His island landscapes do their job and then some, showing us a rich and lush world full of oddities.

Meanwhile, Alex Sinclair provided the colors, and he did an excellent job of enhancing the work that Haroin provided. The vegetation comes to life with his colors, and the monsters pop against the green backdrops.

On that note; one of the things this issue excelled at was showing motion and combat. You can really feel when a character is dashing through the forest, or lunging for an attack. And knowing the speeds Wonder Woman works with, that’s enough to get us (almost) wincing in sympathy.

Also on the creative team was Tom Derenick, who did the overall layouts for the issues, and Travis Lanham, the letterer. Together they flesh out the look of the pages and make it clear to readers what is going on at any given point.

Wonder Woman Come Back To Me #2 is an interesting read on the whole, even with some of the crazier events that happened here. It had a good sense of humor about itself and highlighted some of the best aspects of Diana’s character.

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How FEARLESS #2 Lives Up to Its Name

Cat Wyatt

FEARLESS #2, out this week from Marvel Comics is a collection of short stories that are not afraid to take risks in the subject matter or stories told. These tales are both strong and emotionally compelling. And for many readers out there, this is exactly what we needed and wanted to see.

Storm looking fierce on the cover of Fearless #2

***SPOILER WARNING***

Like the first issue, Fearless #2 has three short stories within its pages. Each short has a different creative team behind it, yet the three work together thanks to their predominant focus (the strong female characters in Marvel).

One of the three short stories in this collection is continued from Fearless #1, so if you haven’t read that one, you should check it out before picking up this issue.

Ms. Marvel has been pulled into the ‘Campfire Song’ plot in Fearless #2.

The first short story in Fearless #2 is called ‘Campfire Song Part 2’, and as you can guess, is the short that is continued from before. This plot is going to be the only one to make it into all three issues of Fearless, so in many ways, it could be considered the backbone of the series.

This whole plot seems to be partially about bringing some of the most iconic Marvel women into one location. The reason for their being there seems innocent enough, but there’s an insidious undertone that has left readers concerned from the very start. And if the conclusion of this plot is any indication, we’ve had a very good reason to be worried.

Seanan McGuire is the author behind this short story, as well as the first (and later, third) parts of the tale. She’s managed to weave together multiple character plots so that it makes sense for these ladies to converge in one place. And the undertone mentioned above has been on point – subtle, but unmistakably present.

McGuire perfectly captures the oppression that many mutants (and Inhumans) face in this world. And she does so in a context that many young adults can connect to. That alone makes this plot one worth reading.

Claire Roe (artist) and Rochelle Rosenberg (colorist) did a fantastic job bringing this plot to life. The characters were all depicted in a more relaxed setting, even dressing down in some cases (Carol went for the plaid because of course, she did).

Ever wanted to see Night Nurse kick butt? Wish granted.

The second plot in this issue is titled ‘Night Nurse: A Cape of Her Own’ and features the one and only, Night Nurse. Okay, the title totally gave that part away. But moving on… This issue gave the Night Nurse a real chance to shine. She makes appearances in many comics, but this is the first plot that truly and completely revolved around her. And it proved that she can be a hero in every sense of the word.

This plot perfectly balanced the more intense moments with little bits of humor. After all, who doesn’t want to see Night Nurse cold clock an antagonist with a fire extinguisher? And it has a few unexpected cameos as well, to round things out.

Karla Pacheco wrote this tale, and she clearly didn’t hesitate to give the Night Nurse her due. Iolanda Zanfardino provided the lines for the short, and Rachelle Rosenberg appeared once again for the coloring. Together they made something truly unforgettable.

Our two favorite girls are back on the case.

The last short in Fearless #2 is by far the shortest of the three. But in many ways, it took some of the biggest risks. This one was titled, very simply, ‘X-23’ and naturally focused on Laura and her sister, Scout.

Together our clones invade a facility that supposedly housed a bunch of their clones; only to find something even more horrifying inside. There is some strong political commentary going on here, all without directly stating it as such. Regardless, it’s clear how our creative team feels about this particular issue.

Eve Ewing took her emotions and opinions to paper for ‘X-23’, being the writer of this short. Meanwhile, Alitha Martinez was the lead artist, and Rachelle Rosenberg providing the colors. The darker shading shown here perfectly complemented the dark tones of this story.

An amazing cast of characters, and an equally impressive creative team.

Fearless #2 had a few elements that made their way through all three stories, tying them all together. The first element, of course, has to do with the leading characters. All are iconic ladies from the Marvel universe – and some of our favorites at that.

The second element you may have already picked up on; Rachelle Rodriguez. She was the colorist for all three of these tales. The third piece is on a similar vein; Cardinal Rae provided the lettering for the entire issue; thus giving us a visual connection between the three. It made everything feel nice and cohesive, despite the difference in focus.

In the end, Fearless #2 proved to be exactly what it promised; fearless. These plots have taken quite a few risks, while also showing us exactly what these leading characters are capable of. And now we seriously can’t wait to see what will be in store for Fearless #3.

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How Carol Deals with a Swarm in MARVEL ACTION: CAPTAIN MARVEL #1

Cat Wyatt

Ever wonder how Captain Marvel would deal with a swarm of creatures? Well, wonder no more, for MARVEL ACTION: CAPTAIN MARVEL #1 out this week from IDW answers that question. This issue is a fun and lighter take on the beloved character, with a story perfect for all ages.

Captain Marvel is ready for a fight in Marvel Action: Captain Marvel #1.

***SPOILER WARNING***

Marvel Action: Captain Marvel #1 is clearly a lighter take on the heroine so many know and love. But that’s not always a bad thing. Sometimes it’s just fun to see Carol taking on something on a smaller (or more humorous) scale.

This issue brings together so many of the best elements in Captain Marvel. And adds on bits that any teenager or young adult will appreciate; sleepovers, scary movies, and BFFs. What more could we possibly hope for?

The plot of course. Because all of what was mentioned above was merely the fun setting before a curveball was thrown at poor Carol. It looks like her movie night wasn’t meant to be. At least they managed to get through one scary movie before things blew up.

Chewie takes center stage on this alternate cover of Marvel Action: Captain Marvel #1

Sam Maggs clearly had a lot of fun writing this issue. They took one of the iconic (and oft-overlooked) supporting characters in Carol’s story and really ran away with the idea. It’s a bit of a silly plot, at times. But in a way that’s all in good fun. And let’s be honest here, who doesn’t like a swam of kitties? Except, you know…they’re not actually cats.

This issue will make fans chuckle. And, as mentioned above, it’s friendly for readers of all ages. The violence is toned down to be palatable for kids, but the plot itself isn’t immature (or at least, not so much as to be off-putting for older readers).

You can tell this creative team had a blast with this plot.

Our artists also had a lot of fun creating this issue, by the look of things. Sweeney Book was the lead artist, with Brittany Peer providing the coloring. Together they brought us some truly hilarious pages to enjoy.

Carol was drawn a little shorter than normal, leaning towards an almost cartoonish appearance (but not quite). Really, they were going for making her look younger and cuter. And it worked. Her expressions were comical, and very clearly Carol regardless.

The latter pages are where this issue really stands out. The swarm of creatures does resemble a certain character (Chewie), which understandably resulted in readers immediately jumping to some conclusions about their nature.

The last panel was the highlight of this issue, showing off some brilliant artwork as well as the more humorous side of the plot.

Time for a movie night in between two BFFs.

Marvel Action: Captain Marvel #1 is a fun and light read. It’s perfect for Captain Marvel fans that are looking for a bit of an escape from the real world. Or for fans of Chewie who just want to see more Flerken chaos.

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Review: HELLBOY AND THE B.P.R.D.: SATURN RETURNS #1 Investigates A Decades-long Murder Mystery

Corey Patterson

With the recent revamping of Hellboy’s popularity, it only makes sense that the comic series that started it all would receive its own rebirth. Fortunately, HELLBOY AND THE B.P.R.D.: SATURN RETURNS #1 promises to perform more favorably than the recent Hellboy film reboot. Readers are reintroduced to the fascinating Bureau of Paranormal Research and Development as they work with the half-demon to investigate a series of occult-like murders that stretch back years in a small New Hampshire town.

Story

The opening pages of this issue take readers to Tatoskok Falls, New Hampshire, a quiet town in 1975 New England that’s recently come to the forefront after a number of murdered bodies were discovered. It is here where Hellboy and B.P.R.D. Agent Kinsley begin their investigation into the possibility of supernatural forces being involved.

It is unclear to Kinsley whether otherworldly beings would be a part of this case, especially given that the “mysterious” occult symbols local authorities called them in to investigate were actually a random combination of religious icons, including the Star of David.

Mike Mignola and Scott Allie’s writing evokes feelings of intrigue, fear, and betrayal—all of which are the qualities that make up the quintessential Hellboy story. It sets up a intriguing mystery story that will grip readers for issues to come.

Art

Christopher Mitten’s penciling, Brennan Wagner’s coloring, and Clem Robins’ lettering are sights to behold in this intriguing issue. Mitten crafts authentic foliage to bring to mind falls in the New Hampshire countryside, yet finds a way to combine it with the horrific corpses to upend reader expectations. Wager’s warm colors for the environment and deep reds for the blood stained bodies only add to this effect.

To add to the unsettling aura of this issue, Robins places the letter boxes far apart throughout the issue to give readers time to take in the horror of the murder scene.

Comic cover

Mitten’s cover artwork depicts Hellboy holding an owl with a pile of skulls in the background. This gives readers an unsettling sense of the issue to come as owls are often used a symbols of occult practices.

Conclusion

HELLBOY AND THE B.P.R.D.: SATURN RETURNS #1 offers an intriguing new murder mystery for Hellboy and the team to solve. Something tells us there’s more to these murders than meets the eye, and the B.P.R.D. better be ready for it.

What are your theories as to the cause of these murders? Let us know in the comments below!

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POWERS OF X #3: A Plot To Unplug Nimrod

Brandon J. Griffin

This week POWERS OF X #3 drops a fast-paced test of how well you’ve been paying attention to Jonathan Hickman’s bold vision. We spend all our time in Year One Hundred and see a plan unfold intended to unplug Nimrod.

POWERS OF X 3 CVR — BE SURE TO CHECK OUT THE VARIANT TO THIS COVER

SPOILERS LIE AHEAD

Have you been paying attention? Are you able to keep up? Powers Of X #3 will put that to the test. Hickman’s masterful comic book craft can prove to be quite dense at times but always supremely rewarding for those who are willing to fully dive in.

Luckily, with the Dawn of X titles we’ve gotten so far, there are plenty of graphs and charts that are extremely helpful. This issue in particular has some very slimmed down graphs that really help illustrate what is going on with Moira X and her ninth life.

Even if you’re not entirely on the same page as Hickman, this issue does a great job painting the grand scheme picture once the finale is reached. We see the plot unfold and the end goal being to restart Moira with the information she’ll need to overcome Nimrod in her tenth life–after Wolverine injects the info into her head and promptly kills her.

Powers Of X #3 provides a satisfying payoff and landmark for this new era of X-Men comics. Moira is front and center as the most important mutant to have ever existed. Giving us the breakdown of her nine lives after her finale reset was perfectly executed and helps keep readers on the same page with the creators.

Speaking of keeping readers on track with Hickman’s intense vision, R.B. Silva and Marte Gracia put on an absolute show in this issue. Powers Of X #3 has a rapid pace to it, loaded up with action that barely gives the reader much time to breathe. They illustrate this dense and complicated story with careful craft, making it easier to digest.

It’s also a stunning book to read through. Silva gives characters so much weight and purpose with every little action. The landscape of Year One Hundred is uniquely futuristic while subtly calling back to familiar territory.

The action sequences are swift and enthralling, there’s no fat in these panels. Nimrod being at the center of chaos gives Marte Gracia the wonderful pink hue to work with. There’s a beautiful display of color throughout this issue, every sequence explodes off the page.

Powers Of X #3 is an important benchmark issue, resetting Moira for her tenth life with the knowledge to prevent Nimrod. We’re now up to date with Moira back in House Of X. This issue rewards readers who have been keeping up with Hickman’s bold new vision.

It’s also an easier digest for those who may be a little lost on exactly what’s happening across these two titles. By the end of Powers Of X #3 readers are provided with enough to understand the bigger picture.

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DAREDEVIL #10 – An Exercise In Intensity

Brandon J. Griffin

This week Marvel unleashes DAREDEVIL #10 on the world. Chip Zdarsky’s run on the book keeps getting better and better–this one might make you sweat a little.

DAREDEVIL 10 CVR — EAT YOUR HEART OUT QUESTION

SPOILERS LIE AHEAD

Matt Murdock finds himself in the right/wrong place at the right/wrong time. While visiting the brother of the man Daredevil murdered, as his probation officer, Murdock finds himself in the middle of a police shootout inside the police station.

Detective Cole North has a hit put on him by the Owl while inside a police station filled with crooked cops. His “guardian devil” happens to be there to bail him out and even provide a cover for him–blaming the entire mess inside the police station on Daredevil.

Everything that Chip Zdarsky has introduced to Daredevil is paying off already in just ten issues. Between Matt quitting his other life, sleeping with the mob wife/librarian, Cole North’s conflicted being, and Matt’s questioning of morality and religion–there’s already so much to grab onto that was birthed in this series. There’s a lot of merit in that, not carrying over a lot of baggage from the previous creators.

The theme of Matt Murdock struggling with his religion and not being able to “shake the devil’s influence” is enthralling. The conflicted character of Cole North has been developed and unfolded at the perfect pace. Even Matt shedding his Daredevil skin, something we’ve seen in superhero comics hundreds of times, has felt fresh and exciting.

Daredevil fans have been blessed in recent years. The Charles Soule Daredevil run was no easy act to follow, but Zdarsky is doing it. What’s most impressive is how effective this series is without feeling anything like the Soule run. It’s potentially two all-time great runs back-to-back with completely different visions.

Zdarsky isn’t the only creator making this an experience to remember either. Artist Jorge Fornés and colorist Jordie Bellaire elevate this series to the it’s current standing–which is among the best comics Marvel is putting out at a time that they are on fire across the board.

Daredevil #10 is a perfectly crafted build of suspense and anxiety. The way the drama unfolds will bring readers to the edge of their seats. Fornés slowly raises the intensity throughout and when the bullets start flying and Matt steps out of the shadows, it’s extremely satisfying.

This issue’s paced and executed like an intense, panic-inducing episode of a great television show. It specifically reminded me of the heart palpitations I had watching that episode of True Detective when Rust Cole goes undercover in the trailer park to pull that biker guy out in the middle of a raid. It’s not often that comic book art can do that to a reader.

Not to mention how absurdly cool Matt looked once he emerged in his makeshift Daredevil mask wielding police nightsticks. That’s another element we’ve seen a lot of recently but feels fresh and exciting with these creators behind it.

Jordie Bellaire’s specific use of red as an immediate sign of danger in these panels is striking. She provides a contrast in these panels that gives it an iconic and memorable appeal that will insure that readers will keep this imagery in their heads long after closing the book.

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Review: Deadpool Battles Nightmares in DEADPOOL ANNUAL #1

Colin Tessier

In Marvel Comics’ Deadpool Annual #1 (on sale August 21), writer Dana Schwartz forces Wade Wilson to face the worst nightmares of others, which makes the Merc With A Mouth confront some gritty, uncomfortable truths. But the issue misses the mark because it doesn’t allow Wade to face his own fears.

Deadpool Annual #1

Writer: Dana Schwartz

Penciler: Reilly Brown

Inkers: Nelson DeCastro with Craig Yeung

Color Artist: Matt Herms with Guru-eFX

Letterer: VC’s Joe Sabino

Sometimes, the thing fans love the most about Deadpool can be the character’s most glaring weakness. The Regenerating Degenerate is known for cracking wise and approaching life with a sarcastic sense of humor. This levity can be bittersweet, though. That’s abundantly clear in Deadpool Annual #1.

Schwartz doesn’t explicitly describe the relationship between eight-year-old Peter Quincy and his adult neighbor Mr. Hewitt. With that being said, it’s heavily implied that Hewitt abuses Peter, which leads the boy to request Deadpool’s services. The reveal of the abuse doesn’t arrive until the climax of the issue. The journey to that point is filled with Deadpool brushing off the words of Nightmare, the villain he’s forced to face as part of the “Acts of Evil” line. In typical Deadpool fashion, the antihero makes jokes almost every time Nightmare opens his mouth. This behavior undercuts Nightmare’s credibility as a villain and also makes it difficult to take the plot seriously.

Deadpool laughs at everything the villain throws at him, including a visit to a dream sequence in which President Abraham Lincoln mourns the loss of life in the Civil War. By the time the intended twist (Peter’s relationship with Hewitt) arrives, the reader is so detached from the story that even this emotional moment fails to resonate. Throughout the comic, there’s clearly a missed opportunity for some character growth. Wade could confront his own fears and potentially move past them. Instead, he focuses on Peter and Nightmare chooses to flex his muscle by taking Wade to two irrelevant dreamscapes. As a result, the comic doesn’t successfully dig deep enough to stand apart from its predecessors.

It’s par for the course for Deadpool to excessively insult his villains and soften the tone of the story; but other comics have struck a more effective balance between attempted humor and serious content.

On the surface, it’s hard to evaluate a Deadpool comic because they’re supposed to be funny. Humor is inherently subjective so it’s unfair to write one of these comics off because the success of the comedy depends on the reader. But the best Deadpool stories genuinely capture the character’s voice and, more often than not, Schwartz fails to do so here.

Whether it’s in the movies or the comics, Deadpool’s pop culture references are one of the many reasons he’s such a fan-favorite. Usually, these references are timely or, at the very least, they’re accessible. Here, Schwartz packs a number of dated nods to pop culture characters into the story. In the span of a few pages, Wade calls a mailman Cliff Clavin, Mr. McFeeley, Herman Post and Willie Lumpkin. Readers who immediately understood these references might find that they worked well. Others who had to google the names to understand the attempted joke will probably disagree.

Time and again, the jokes don’t land. In a Deadpool comic, that’s a problem. At one point, Wade claims, “I guess I’m not exactly ‘haha’ funny. More like ‘New Yorker Cartoon‘ funny. So…no, [I’m] not very funny.” Actually, at his best, Deadpool is one of the funniest characters in comic books. The two movies starring Ryan Reynolds as the Merc With a Mouth are perfect examples of that.

To be fair, the comedy does work a few times in this issue. Early on, Peter invites Deadpool into his room. In this scene, the comedic timing is impeccable. “I did write some other letters…maybe just two or three…hundred to Squirrel Girl,” the boy says. The line is split between two panels. In this sequence, the collaboration between penciler Reilly Brown and letterer VC’s Joe Sabino is one of the best elements of the comic.

First, Brown focuses on Peter so the reader can’t see the rest of his room. The next panel allows the kid to complete the line and the viewer to see Peter’s obsession with Squirrel Girl. Between the reveal that he sent hundreds of letters to the hero and the fact that his room is absolutely filled with merchandise displaying the character’s likeness, this moment showcased the creative team’s sense of humor.

The comedy is elevated by the illustration of the memorabilia. Brown, inkers Nelson DeCastro with Craig Yeung and color artists Matt Herms with Guru-eFX make Peter’s room feel like it belongs in the Joker’s circus. In the corner, a stuffed animal of Squirrel Girl looks terrifying; the black shadowing around its eyes make the toy look more like Pennywise the Clown than a friendly superhero. Just a few feet away, Peter’s headboard prominently displays Squirrel Girl’s face. This design is creepy in a different way. The face looks friendly but it’ll still be horrifying to wake up and see it staring at you in the middle of the night. Thanks to the art team, these designs turn Peter’s room into a off-putting shrine of Squirrel Girl. It’s fair to assume that Deadpool would view the room in that lens and the artists exquisitely convey that mindset.

Fans of the Merc With a Mouth will want to like Deadpool Annual #1. Though some of the comedy is effective, it usually fails to connect and it dilutes the gravity of the plot. Ultimately, it’s up to the reader to decide whether the comic is still worthwhile if that’s the case.

What do you think of Deadpool Annual #1? What do you hope to see Wade do next?

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Review: 47 METERS DOWN: UNCAGED Offers A Better Concept With Poor Execution

Eric Trigg

Was a sequel to 47 Meters Down necessary? There hasn’t been a decent shark film since 2016’s The Shallows, which starred Blake Lively trying to survive a shark all by herself. Two years ago, 47 Meters Down released and starred Mandy Moore and Claire Holt as two sisters who find themselves trapped at the bottom of the ocean with several great white sharks. The film featured a unique concept that was handled horribly and ended on a sour note. Now, a standalone sequel has arrived to offer a better concept with the same bad execution.

Johannes Roberts returns to write and direct this claustrophobic sequel, and the screenplay shares a lot in common with the first film. 47 Meters Down: Uncaged stars Sophie Nelisse, Corinne Foxx, Brianne Tju, Sistine Stallone, Davi Santos, Khylin Rhambo, Breck Bassinger, and John Corbett. Similar to the first film, the plot focuses on two sisters, but these sisters are having a hard time bonding after their parent’s recent marriage. What a better way to bond than by nearly being eaten alive by multiple sharks?

Struggling stepsisters Sasha (Foxx) and Mia (Nelisse) decide to go on a scuba diving adventure with their two friends to an underwater Mayan city. Once they reach a certain point in the caves, they realize they aren’t alone and are trapped with the deadliest ocean predator. Roberts and co-writer Ernest Riera put together some of the worst dialogue for these girls. For instance, upon entry into the cave, there is a back and forth between two of them where they make mention of butt sizes. It just comes across in a cringe way, and maybe that’s also because these girls aren’t the best actors. The screenplay doesn’t spend enough time building up the four main girls involved, it gets you acquainted and then it’s time to watch them die.

47 meters down uncaged underwater — L to R – Brianne Tju, Corinne Foxx, Sophie Nelisse, & Sistine Stallone.

47 Meters Down: Uncaged has a unique set design for the characters to swim around in, some of the sequences are very intense and the film does keep you on the edge of your seat. However, it’s amazing how in two years the CGI for the sharks has somehow gotten worse. 47 Meters Down: Uncaged may have been inspired by Neil Marshall’s The Descent (A better film) but it borrows more from its predecessor, which is why it fumbles. The performances are just so uninspired and not good at all, but for most of these girls, this is only their first or third film.

Roberts should focus on directing more and writing less, he has the potential to one day make a very well done film. Some of the film’s best shots are when the girls are captured with a shark swimming right behind them without their knowledge. Adding to that, there are a few instances of slow motion and it’s some of the worst slow-motion sequences since Jeepers Creepers 3. Luckily, the film’s end is a slight improvement over 47 Meters Down, but it’s more ridiculous than the last one. There is never a dull moment in 47 Meters Down: Uncaged but there isn’t a single thing to make you care about its characters or their survival. The score composed by musical duo tomandandy compliments the intense moments featured in the film, but to enjoy this movie you have to turn off your brain completely.

47 Meters Down: Uncaged won’t be included in the small list of shark films to watch repeatedly like Jaws, Open Water, or The Shallows. A movie that goes bigger in its concept, but doesn’t seem to properly execute it because it spends more time borrowing all of the mistakes from the last film, so much so that both films have the same runtime.

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