BATMAN KINGS OF FEAR #1 Review: An Acquired Taste

Batman battles his entire Rogues gallery at Arkham Asylum in BATMAN KINGS OF FEAR #1 as Scott Peterson and Kelley Jones kick off their spectacular run with the Dark Knight and some of his most twisted villains. Let’s jump in!

STORY BY: Scott Peterson and Kelley Jones

COLORS: Michelle Madson

LETTERS: Rob Leigh

WARNING SPOILERS AHEAD!!!

Batman Kings of Fear SPOILERS TOO!

Take a look at some of the links from other Batman reviews and articles I’ve written below.

Summary

Somehow, the Joker has escaped Arkham and is hiding out in what appears to be an old box factory. After the Joker slices a guy’s throat, Batman jumps in and takes him down. The Caped Crusader ties up the Clown Prince of Comedy, throws him in the Batmobile, and personal checks him back into Arkham Asylum.

While Batman talks with the Doctor at Arkham, Joker frees all of the Caped Crusader’s worst villains, and a fight ensues. The Dark Knight turns out the lights and quickly takes care of Bane, Poison Ivy, Penguin, Joker, Two-Face, Mr. Freeze, and Killer Croc. However, Scarecrow manages to escape with some hostages. As Batman goes to chase down Dr. Crane, the Caped Crusader gets sprayed with Scarecrows fear toxin. Who knows what nightmares are in store for our Dark Knight.

Peterson’s Way with Words

Scott Peterson moved this story along quickly, fluently, and effortlessly. Readers may find themselves reading the issue in under 10 minutes flat. To anyone interested in checking this out, it honestly will take no time at all. That said, the issue ironically excels through its dialogue. Peterson knows exactly what to say, how to say it, and doesn’t saturate a page with words. Every word is used well and appears to have a purpose. Additionally, Rob Leigh did an excellent job strategically placing the lettering throughout the pages to make the transitions appear polished.

Furthermore, Peterson slyly implies that the Joker may know that Batman is Bruce Wayne. He says things throughout the issue like ”between the cushions of Bruce Wayne’s couch” or ”mansion of a psyche.” Later, Joker also conjectures that he knows what it’s like to wake up and not know ”who you’ll be that day.” These words very well may just be Peterson showing irony, or maybe it’s something more.

Where do you Stand?

Peterson also gets readers to think about their thoughts on Batman, what he stands for, the Dark Knights purpose, and his effects on the criminals he brings in. The Doctor at Arkham references the fact that Batman can just walk right into the Asylum, but she needed background checks to get in. This was an excellent point.

Furthermore, the Doctor follows it up with a statement many fans have had for years;” maybe you aren’t responsible for the Jokers action… but you have to know you bear more than a little culpability.” These statements are profound arguments that fans, artists, and writers have probably gotten into vicious disagreements over throughout the years and bring up thought-provoking questions that I hope Peterson weighs in on during his run.

I have personally seen individuals get heated over their opinions of the Dark Knight and if he is doing more harm than good for these villains. Heck, after Joker releases almost all of the Batman Rogues and the Caped Crusader beats them all up again, the Arkham Doctor spits out another valid point. She states how Batman continues to prove to these insane villains that violence is legitimate. Peterson is stirring the pot of Batman opinions and beliefs to kick off his story. He’s hitting on touchy topics that will genrate a wide spectrum of opinions. Where do you land on the spectrum?

Kelley Jones Art

I respect the nostalgic and eccentric style of Kelley Jones’ art, but it’s not my personal favorite. Jones draws in a way that has too many shadows with thick dark lines. However, when given the opportunity to draw detailed faces, Jones dazzles fans, especially the close-up panels of Jokers face and eyes.

Also, I feel like Jones forgot to draw the Batmobile on page 11. The panel has a giant car shaped white spot where the Batmobile should be. Now, maybe Jones tried this on purpose to add his artistic flair to the issue. If so, I didn’t get it, but in Jones’ defense, I don’t get a lot of things. Moreover, if readers can overlook Jones’ abnormal style, the last page where it looks like Batman is falling, his legs look twisted and out of proportion. Regardless of style, misproportions and misplaced limbs still shouldn’t happen.

Finally, Jones’ background seemed boxy and cubical with too many sharp and jagged edges. Nothing seemed smooth throughout the issue. Furthermore, Batman’s mask appeared to be flat without a nose and his ears were overextended, which I understand is Jones’ bizarre and peculiar style, but it’s just not for me.

Should you buy this issue and/or add it to your pull list?

BATMAN KINGS OF FEAR is an interesting and unique read while Jones’ art is an acquired taste. If you can get move past Jones’ style, I would give the series a try. Peterson’s dialogue was well written, the story was full of action, and the issue developed intelligent debates. There is potential throughout these pages making this comic worth a test drive. Pick this issue up and add it to your pull list for now, especially if Jones’ style is for you.

What did you guys think of BATMAN KINGS OF FEAR #1? Comment below or hit me up on Twitter @dispatchdcu. If you would like to read more of my reviews, click HERE!

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LUKE CAGE: EVERYMAN – Q&A With Writer Anthony Del Col

Anthony Composto - EIC

August 22, 2018

Luke Cage: Everyman is the latest Digital Original from Marvel Comics, and we got to chat with writer Anthony Del Col about the series, giving Luke CTE, writing for Marvel, and more.

Del Col works on the series with Jahnoy Lindsay (art), Ian Herring (colors), and Clayton Cowles (letters). You can read our review of the first issue here.

Anthony, thanks for taking the time to talk with us.

It’s great to be here! I’m a fan of the site and the reviews you post.

Luke Cage is your first Marvel title; how does it feel to be writing for the House of Ideas? Were you a Marvel kid growing up?

In some respects, it feels like I’ve finally been called up into the big leagues. I mean, I’ve worked with a lot of top publishers, especially having just released my first graphic novel with Image Comics, but having a Marvel credit really makes the average person take a little bit notice. I mean, Marvel is one of the top entertainment brands worldwide so those that don’t know anything about comics suddenly are reaching out to me to congratulate me and express interest in the book.

The very first comic book I remember buying was an issue of Alpha Flight (Issue #17). I didn’t know anything about Wolverine but as a Canadian I loved the fact that a guy dressed up in a Canadian flag was beating him up.

What kind of learning curve was there going from creator-owned and independent comics to one of the Big Two?

I was actually surprised at the steep learning curve when it comes to writing superhero comics. When I do my own work (say Son of Hitler at Image or Nancy Drew & The Hardy Boys: The Big Lie) I’m given a lot of freedom regarding pace and what to include in an issue. For something like Luke Cage, it took me an issue or two to really get into the flow of including a lot more of story.

I was pretty fortunate, though – I have some great editors at Marvel. Alanna Smith, Jake Thomas and Mark Basso did a great job pushing me as a writer and as a result I think it’s some of the best stuff I’ve written thus far, a good combination of action and emotion.

Is Luke a dream character for you to write? What draws you to him, both as a fan and a writer?

Though Luke Cage is a superhero with unbreakable skin, what I’ve really liked about him is that he’s a very down-to-earth person. He’s not rich, he’s not an alien trying to save our entire planet. – he’s a guy that wants to have a nice, simple life and help out his local neighborhood.

But more than that, he’s a sensitive guy. What I think they’ve done really well in the comics is have him become a husband and a father. These things have grounded him even further and play to what’s most important to him – exceling at these two things. This is what I really wanted to dive into deeper in my series.

Where did the idea to give Luke CTE come from?

Luke Cage is a man with bulletproof skin, meaning he’s almost indestructible from external forces. But what about internal threats? Something that attacks him beyond his unbreakable skin?

It was when I was thinking about Luke and this weakness that it dawned on me: what if he starts to experience what a lot of soldiers end up experiencing? I had already done a lot of reading about the topic through sports reporters but it gave me an opportunity to dive deeper into the topic and speak with specialists. And it made me realize this was a really interesting thing for a superhero to go through.

**Was Spike Lee/Do The Right Thing an influence for the heat wave in Luke Cage, or was I totally off-base in my review?**

No, you’re actually quite smart in spotting that. I’m originally from Northern Canada and when my wife and I moved to New York a few years ago one of the biggest changes was to go through a New York heatwave. Man, those are tough! Everyone starts to get uncomfortable in their own skin and increases tensions throughout.

So when I was thinking about that and how to incorporate it into this story, Do the Right Thing was one of the first images that came to my head. Another was another Spike Lee joint: Summer of Sam. What Lee does so well is make the heatwave into a character, and that’s what I’m aiming to do with this story.

**What is your writing process, and how does it change depending on if you’re writing a sequential story like Luke Cage or an OGN like Son of Hitler?**

The process for each has a lot of similarities, and some differences. The first similarity is the ending: I always need to know what the ending will be before I begin writing. It’s not necessary to know everything about the ending but the key elements (character arc, etc.).

The major difference, though, is that for a serialized tale like LUKE CAGE: EVERYMAN I only write an issue at a time and some things will change along the way. A plot point (or cliffhanger) that I originally had mapped out for the end of Issue #4 suddenly became the cliffhanger at the end of #3. Small things like that. The ending will still be the same but the process will be different.

When I wrote Son of Hitler (with co-creators Jeff McComsey and Geoff Moore) I knew every single page before I sat down to write them. Not only was the ending in place but the sequence. Of course, that changed as well, inspired by the riots in Charlottesville last year, but everything else leading up to that stayed exactly the same.

Do you approach writing a Digital Original series differently than you would a print comic? Do you keep things like “guided view” in mind?

For the most part, I try to keep the writing the same. I know that the series will eventually be released as a physical trade paperback so I want the experience to be similar in either format.

However, the big difference is that I’ve tried to avoid crafting any elaborate panel designs. Most times I like to do a page or two in every issue with unorthodox action (a medley of images, an out-there splash page) but because I know it doesn’t come across effectively digitally I abstained for the most part.

Luke Cage is a character that can deliver not only big superhero action, but also important messages about society, inequality, morality, etc. What do you hope people take away from your series?

First off, I hope that they’re entertained. In terms of action, it’s a fun story of Luke hunting down a serial killer in the midst of a heat wave.

But of course, in a series in which the main character is diagnosed with CTE, I hope to shed some light into this syndrome. Most people perceive it to be a “football” ailment (and many don’t believe in it at all…) but a lot of our country’s soldiers are affected by it. Luke will go through all the stages of grieving as the series goes on. And adding to that, I’ve laced in some small insights into the state of healthcare in this country.

Are you working on anything else currently that we can look forward to?

At the moment I’m quite busy promoting Luke Cage and Son of Hitler (and my new Assassin’s Creed: Origins trade out in the fall), but I’ve just signed a deal to create a follow-up audio drama series to my #1 Audible hit last year, UNHEARD: THE STORY OF ANNA WINSLOW. I love the storytelling format and actually have two new audio projects I’m about to dive into. They probably won’t be released until next year but it’s going to make for a LOT of fun writing in the coming months!

Luke Cage: Everyman #1 is available now on ComiXology and Marvel Unlimited.

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Review: ROYAL CITY #14 Beautifully Ends The Series With Closure And Hope

Manuel Gomez

In Royal City #14 from Image Comics, creator Jeff Lemire brings the story of Royal City and the Pike family to an emotional close with the final issue of this Eisner nominated series.

Royal City #14
Written and Drawn by Jeff Lemire
Published by: Image Comics

The critically acclaimed, multi-generational saga of the Pike family comes to its conclusion as the ghosts of the past catch up to them and point the Pike Family toward an unexpected future.

Royal City ends much the same way it begins; quietly. But as has been the case with this excellent title from the beginning, it’s a deceptive and subtle kind of quiet because this has been a comic book series that from the very the start has spoken to readers in hushed tones that land much louder inside the head and heart.

This issue specifically is a masterclass in bringing a story to an end. Lemire gives each of the Pike family members (and the town itself really) emotional closure in scenes that sometimes run just a few panels with ‘simple’ images; two people sitting and barely talking, a building being demolished. Yet so strong is the storytelling here that brevity is part of the reason it packs such a punch. This is a writer/artist who does more with a few pen strokes than others do with a plethora of word balloons.

The art is also on par with the writing. Lemire’s line work, like his writing, lands more on the subtle side. This has never been a book that depends on flash or gimmicks with its art. This final chapter has some of the most gorgeous panels in the whole run, and you will find yourself lingering over these images as much as you will find the images lingering in your head.

Royal City‘s legacy will be a quiet one, but no less important. Jeff Lemire is a creator who has had a huge impact on comics with many of his great mainstream superhero work. But Royal City can easily sit next to some of the creator’s early works as a career highlight. You can put this book next to Essex County, Underwater Welder, and Sweet Tooth as classic works from a master artist.

*Author Note*

Much like Lemire, I am a big music fan. Music was a big part of this book (Lemire always included playlists at the end) and I always listened to specific bands when reading Royal City. Here is a bit of a personal band playlist. Look them up. Hope you give them a listen.

Portishead
Nirvana
Beat Happening
Mathew Sweet
Modest Mouse
Neutral Milk Hotel
The Pixies
Weezer
Tortoise
Pavement
Wilco
D.R.I.

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DETECTIVE COMICS #987 Review: The Launch Of The Outsiders

Dispatchdcu

The Outsiders officially are “a thing,” Batman and Karma have their showdown, and the real villain makes an appearance all in this week’s DETECTIVE COMICS #987 as Bryan Hill brings his first arc to a close and opens the door for some exciting stories to come.

WRITTEN BY: Bryan Hill

PENCILS BY: Miguel Mendoca

INKS: Diana Egea

COLORS: Adriano Lucas

LETTERS: Sal Cipriano

WARNING SPOILERS AHEAD!!!

DETECTIVE COMICS SPOILERS TOO!

To see what happened the last issue, click on the writer’s name below.

Summary

Karma and his henchmen break into Wayne Tech and take a hostage to get Batman’s attention. The new group of Outsiders takes down Karma’s cronies while the Dark Knight overloads his brain with nightmarish memories to oversaturate Karma’s helmet. This gave Batman the upper hand needed to stop Fleet Delmar for good and create a new lifelong villain for the Caped Crusader. However, the issue ends with readers seeing the possible mastermind behind Karma and the events unraveling in Markovia. Bryan Hill’s story is starting to heat up now!

Hill Explains Karma’s Powers

Hill opens the issue by giving readers the entire explanation as to how Karma’s helmet works, possible origins, and it’s enhanced abilities. Now, Hill has dropped some nuggets along the way showing fans what Karma’s abilities “could” be but now readers are certain. The helmet connects to Fleet Delmar’s synapse, and if he’s removed from it, Delmar will become a vegetable. Not only can Karma’s helmet read minds, but it’s alien, increases strength, speed, agility, and magnifies all of the user’s senses and sight.

First Key To My Heart

Hill hits two huge home runs in this issue. The first home run was continuity. Many fans who read more than just one DC Comic, like myself, enjoy an interconnected universe. Seeing Katana bring up events in JUSTICE LEAGUE: NO JUSTICE, was a stroke of genius. Katana references Amanda Waller and Brainiac, which also connect books like JUSTICE LEAGUE and SUICIDE SQUAD as well. Plus, this makes Hill’s DETECTIVE COMICS feel important to the universe while answering questions within his own story. More writers need to drop subtle tidbits from other comics along the way. It really amplifies the story and puts the comic on a whole other level of importance in the DCU.

Second Key To My Heart

Hill finds a way to show a more humanistic Batman without all the fluffy nonsense and confusingly deep storylines and plot twists readers may find in other comics. Bruce Wayne takes the time to know his workers, truly cares for them, and Hill shows this touching side of Bruce that has been missing since Rebirth if not longer. Instead of a cat and mouse game about a proposal that amounts to an engagement, which later amounts to nothing, Hill shows Bruce’s love for the human spirit through his compassion for Fred Morgan. Who? You’ll see.

While Miguel Mendoca and Diana Egea draw a hunched over Batman who looks genuinely concerned for this man, Hill shows The Caped Crusader spitting out details about a man that no CEO or company President would even care to know, particularly one who spends his nights fighting crime. Batman legitimately looks pissed that Karma would attack this security guard who works nights to support his wife’s diabetes. Bruce knows that this nobody, whose employed at Wayne Tech, needs to work nights so he can take his wife to her dialysis treatment during the day. Heck, Bruce was still thinking of Fred even in the mist of his final battle with Karma. Batman asked Duke to look after Fred and get him home to his wife who was probably worried.

Things That I Wasn’t A Fan Of

1) Black Lightning calls out Batman and tells him that he’s “stronger than Batman!” Big words Jefferson. I understand that Black Lightning has abilities, but this phrase is a stretch.

2) I wasn’t a fan of Batman overflowing his mind with memories to beat Karma. I don’t understand how showing Fleet Delmar all of Bruce’s thoughts and nightmares would be enough to paralyze Karma long enough to win. How does Batman let someone into their mind and control what that person sees? It just felt like an easy fix to end the battle and stop the villain. The ”overload” seemed out of character for Hill’s writing so far.

Questions

1. The cover mentions Brainiac, Katana references a file from Brainiac, yet we don’t see him or hear of him in the issue. However, Hill references alien tech in the mask Karma used and Martina, the possible mastermind in Markovia, had an eye that glowed red which shot a laser out frying her business partner. Is Martina Brainiac?

2. Also, Martina references someone named Roderick. Is this a throwback to Roderick the Vampire from the original Outsider’s run? If so, Hill is pulling at fans heartstrings with that shout out and choice of direction in the book. If I’m not mistaken, I think Roderick did work out of Markovia, but I’m not a huge Outsiders fan. I don’t like to read solicits because I don’t want to be spoiled but is Hill setting up an Outsiders book for HIM to pilot?

The Art

Mendoca and Egea illustrated great fight scenes and panel layouts throughout the issue, especially when the “Outsiders” were fighting Karma’s goons. Also, Mendoca and Egea added so much detail during the issue in places readers would least expect. For example, the elevator doors showed the reflections of our heroes looking back at them and the Wayne Tech windows had a glare that reflected the individuals through the glass.

This helped show fans how much intricate detail, dedication, and time this creative team put into the issue, including Adriano Lucas’ colors and Sal Cipriano’s lettering. Together, Lucas and Cipriano naturally send the readers eyes dancing across the pages stopping at the essential parts unknowingly with a cadence and tempo that pleasantly guides fans through the narrative. Excellent job to everyone involved in the issue.

Should you buy this issue and/or add this to your pull list?

Without a doubt, add this series to your pull list. Additionally, buy this issue to see what Hill and company have been doing throughout this story arc. Why? Well, it only took Hill one issue to show a Dark Knight that is more human-centered, levelheaded, sympathetic, and gracious without needing a 25 issue romance. Batman can still be gritty and dark while also caring for the human spirit. In the course of one arc, Hill has progressed Batman farther than his predecessors have throughout Rebirth in any Batman comic. The character appears strong again both physically and mentally. Batman looks like a leader who thinks, calculates, plans, prepares, and organizes before jumping into the problem. Bruce may be depressed still but doesn’t seem moppy or sad. Bruce Wayne feels like Batman again, and it’s refreshing. Thank you, Hill!

What did you guys think of DETECTIVE COMICS #987? Comment below or hit me up on Twitter @dispatchdcu. If you would like to read more of my reviews, click HERE!

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JUSTICE LEAGUE DARK #2 Review: Twist Of Fate

Dispatchdcu

Dancing naked Amazon witches, all access to the Tower of Fate, and plant retirement all in this week’s JUSTICE LEAGUE DARK as James Tynion IV introduces Doctor Fate into the story and gives readers a look at the possible big bad of the story. Let’s plunge in!

WRITTEN BY: James Tynion IV

PENCILS BY: Alvaro Martinez Bueno

INKS: Raul Fernandez

COLORS: Brad Anderson

LETTERS: Rob Leigh

WARNING SPOILERS AHEAD!!!

JUSTICE LEAGUE DARK SPOILERS TOO!

To see what happened the last issue, click on the writer’s name below.

Summary

After defeating the magical zombie-like creatures inside the Hall of Justice’s basement, Wonder Woman and the rest of her Justice League team head to the Tower of Fate to get answers from the resident Doctor of the Mystical Arts. While Diana, Zatanna, Detective Chimp, and Man-Bat enter the Tower, Swamp Thing goes to the Tree of Wonder to chat with Constantine about retirement.

Doctor Fate talks to Wonder Woman and Zatanna privately about the current magical disruptions while Bobo and Kirk explore the Tower. However, the Justice League Dark team discover that Nabu is actually in control of the helmet and both Kent and Khalid (past owners of the helmet of Fate) are trapped, imprisoned, and not in control. It turns out, Nabu wanted to end magic entirely and opened the door to the Upside Down. Sound familiar? (cough, cough, STRANGER THINGS)

Thoughts

I’m still confused as to why magic is out of whack and how magic originated in our world. Some readers, myself included, need to be guided through a story with the more ambiguous sections of material, especially when its the foundation of the plot moving forward. If I deciphered Tynion correctly, early man unearthed magic and tried to harness its raw power. However, they were not capable of controlling the potency and vigor surrounding it. So, early man bound these newfound magical powers to artifacts, words, and wands. Sound right?

However, where did that power come from? Did man just find it or did man create it from scratch? How did early man learn about magic? How did they harness its power in the first place or realize the need for artifacts? This is something critical that the story’s successfulness hinges on for the future of the series.

Technically, Tynion has the opportunity to set magic in order for the entire DCU henceforth. Tynion quickly glazed over this idea, and it needs a deeper understanding before readers become lost. This is Tynion’s opportunity to remake and mold this part of the DCU. Please don’t mess this up and please take the time to hold the reader’s hands through the heavy, dense, nature of the magical realm and ideals. Now, maybe Tynion will dive deeper into it in future issues, or perhaps it will be left open-ended, but if he explains this correctly soon, the book could be truly magnificent for many years to come with endless storylines and possibilities.

Possible Fix?

Is it possible to get a summary page? This is something Marvel has done for a long time now, and Brian Michael Bendis has even brought with him to DC in books like SUPERMAN and ACTION COMICS. If Tynion used a summary page in JUSTICE LEAGUE DARK, he could clear up some of the heavy backstory and any confusions that readers may have to this point with the plot of the story and direction it’s going. This way, Tynion could still be creative with his storytelling and fix any bewilderment or perplexity readers have throughout the book. I genuinely wish many DC creative teams ventured down this path and took a ”page” out of the Marvel and Bendis’ book.

The Art

Overall, Alvaro Martinez Bueno and Raul Fernandez’ art are solid and impressive. The illustrations are detailed and engaging while Brad Anderson’s colors are intensely vivid amassing a dark overtone that blends perfectly with the theme of the story. Rob Leigh’s lettering adds the perfect icing on the cake to impeccably guide the reader through each panel masterfully.

However, I only had one minor artistic problem. When the witches were dancing at the beginning of the story, I couldn’t tell if it was one woman somehow connected with three heads and arms or if it was three women dancing close together. Later, the dialogue made it seem like the women merged. However, a page later has the women dancing separately. To open an issue, these pages threw me out of the story making it difficult to get back into the rhythm of the comic. Rereading the issue, I understood what was happening with more clarity. However, how many readers take the time to reread an issue for clarity?

Should you buy this issue and/or add it to your pull list?

Yes! Altogether, this issue moved the story forward, incorporated fantastically thorough art, especially of Swamp Thing, and could very well take the magical world of DC Comics in a supernaturally majestic direction. The Justice League Dark team hasn’t worked too well together yet but hopefully, this team will gain some roots, and blossom into the ”Tree of Wonder” I feel it has the potential to be.

Pick this issue up and add this series to your pull list for now. As long as Tynion takes the time to explain the origin of magic, as well as the Tree of Wonder, and why magic is all out of whack, readers will be mesmerized by this series, and it’s potential.

What did you guys think of JUSTICE LEAGUE DARK #2? Comment below or hit me up on Twitter @dispatchdcu. If you would like to read more of my reviews, click HERE!

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Review: THE MISEDUCATION OF CAMERON POST Is A Compelling Tale

Dewey Singleton - Film Critic

Desiree Akhavan’s The Miseducation Of Cameron Post is a compelling dive into the dangers of misguided ideology and the internal torment one is subjected to when they are forced to conform.

While the film is based on the 2012 young adult novel of the same name, there is much about the film which rings true in 2018. The Miseducation Of Cameron Post doesn’t seek any profound statements but does a beautiful job of laying out the facts (even the absurdities). Akhavan’s latest project is about the comfort of conformity and the gut-wrenching terror of being true to one’s self (even if it means alienating your family members). This film lays out how love can come in many different forms and how being ostracized can amount to someone’s worst nightmare.

Chloe Grace Moretz plays the title role of a closeted high-school junior who is busted making out with the high-school prom queen (Quinn Shephard). Rather than embrace who Cameron is, she is sent off to conversation camp (God’s Promise), which vows to save Ms. Post from a life of being a gay before it is too late.

Counselors Reverand Rick (John Gallagher Jr.) and his sister Lydia (Jennifer Ehle) are very passionate about their cause but come with their baggage. Sasha Lane and Forrest Goodluck play two campers who end up befriending Cameron, and they develop a bond which helps in weathering this challenging time.

Akhavan and co-writer Cecilia Frugiuele did a fine adopting the original YA novel creating a storyline that is equal parts truth and heartbreaking. The Miseducation Of Cameron Post flourishes when the story is focused on what’s unfolding at camp. Moretz gives a harrowing performance in what is her best role to date. She was extremely careful to avoid portraying Cameron as a mere caricature of LGBT teens around the globe. Audiences will ache when they see her come to terms with her reality (being a homosexual) and then desperately want to undo it. The film would have lost all credibility to me had they avoided the internal struggle LGBT teens face and made the movie just about the camp. Credit to Akhavan for tackling this issue head-on.

Composer Julian Wass wrote the score which struck the perfect somber notes reflective of what was unfolding behind the walls at God’s Promise. We have to remember that in many ways The Miseducation Of Cameron Post is a tragedy. The pressure to abide to a “perceived” norm drives many men and woman to make life decisions which they ultimately regret. Ashley Connor’s cinematography was able to capture the beauty of their surrounding with deep sweeping shots of the area. Connor also made great use of tight shots putting on display a gambit of emotions Post and her friends were going through.

The pacing of Akhavan’s film is perfect. Had the film been any longer, we would have been in danger of seeing The Miseducation Of Cameron Post becoming way too melodramatic. Perhaps the best thing about this release is the perspective it lends to the world. While the film itself is indeed worth seeing, my greater hope is the performance Moretz gives will open some eyes and give hope to those struggling with these similar issues.

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Review: GUNDAM BUILD DIVERS: Episode 20

Anthony Wendel

After having the worst episode of the series so far, Gundam Build Divers needs to kick the plot into high gear if they want to prepare for the finale. Do they succeed or is it more wasted potential?

Summary

The secret of Sarah is revealed and the Build DIvers will have no choice but to deal with the truth.

Review

SPOILER WARNING

So Sarah’s secret is finally revealed. It’s best if the information is actually heard so the spoiler will not be the discussing Sarah’s origin. Instead, it is how the the reveal becomes the true turning point for the ending of the series.

In the course of the episode, the administrators of the GBN become aware Sarah is the cause of all the recent disasters which have been taken place since the Break Decals were stopped. Instead of handling it internally they decide to let the entire network know she is the problem, essentially making her public enemy number one. This means the rest of the series will be dedicated to the Build Divers having to find a way to defend Sarah against the entire network. Congratulations Gundam Build Divers. You finally found what you were missing: Stakes.

The best part of the original Gundam Build Fighters was the battles actually had consequences. This dynamic was lost in the later series Gundam Build Fighters Try. By adding ramifications to the team’s fight, it makes the battles moving forward much more essential and adds to the anticipation.

Gundam Build Divers has taken a powerful step to recover and actually make the series worth watching. Don’t lose the momentum moving forward. All it needs to is have intense battle for the rest of the series and wrap up with an incredible ending.

Gundam Build Divers is Streaming on The GundamInfo YouTube Channel.

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Exclusive Interview: Steve Orlando On This Week’s WONDER WOMAN #53

Manuel Gomez

August 21, 2018

This week’s Wonder Woman #53 written by Steve Orlando sees the end of the current arc, ‘Enemy of Both Sides’. The super busy scribe was able to take a break and talk to us at Monkeys Fighting Robots once again about all things Wonder Woman #53, Hypertime, and a even Jack Kirby!

MFR: Steve once again thanks for talking to us.
Steve Orlando: My pleasure! I’ll take any excuse to talk comics.

We talked about the last issue (Wonder Woman #52) recently, but for those who are jumping in with this one, can you tell us again what’s going on in ‘Enemy of Both Sides’?
Absolutely! Wonder Woman 52 saw Diana, Aztek, and Artemis infiltrate an extradimensional pyramid to rescue a lost Amazon hero. But when they got to the center, they found not a prisoner, but a sentry. They found Atalanta, Diana’s great-aunt, and a culture hero to the Bana-Mighdall, who for decades had been fighting to hold back an invasion from Thirteen Heavens, home of Aztek’s greatest enemy, Tezcatlipoca.

As we join Issue 53, our heroes have decided to take the fight to Thirteen Heavens and cross over into the Sphere of the Gods, where Tezcatlipoca’s terror armies are preparing to raze our world.

Also when we last spoke you said Aztek was one of the coolest characters for you. In this issue, you focus a lot more on Aztek’s enemy, Tezcatlipoca. What makes the Shadow King so dangerous? What makes him interesting to write?
You’ll see more about what makes Tezcatlipoca and the gods of Thirteen Heavens unique in this issue (hint: it involves how they see the world, versus how mortals see it). Tezcatlipoca, the Shadow God, is one of the great cyclical builders and destroyers of myth. He is utterly demeaning to humanity, made of matter that is so holy its mere contact with mortal flesh is corrosive. I find him so interesting because so much of our world’s creation narrative is cyclical. And Tezcatlipoca plays on that, tells Aztek that he and Quetzalcoatl, Aztek’s patron, trade places as creator and destroyer, hero and villain, every cycle of creation. He uses lies and insecurities to invalidate Aztek’s mission, and in doing so he pays tribute to many of the great gods of world myth, who often occupy oppositional roles, housing grand philosophical contradictions. Right now, Tezcatlipoca is a mad colonizing god who enslaves the very dead flesh of his victims, but who’s to say, in the world before this one, the roles weren’t reversed? Who’s to say anything we think is true and real from our small mortal perception is really what it seems.

I feel a strong Kirby vibe crackling through this arc. Was Kirby on your mind when writing ‘Enemy of Both Sides’?
King [Kirby] is always in my mind – his constant output and creativity are one of the driving forces in my life, as I wrote about a bit in the backmatter to my issue of Kamandi Challenge. I think we often talk about paying homage in art styles, but I think the true homage to King [Kirby] is to force as much raw creativity and love of comics into every page. And with The Enemy of Both Sides, with every superhero story I help tell, I try to do that to the best of my ability. He’s always in my mind, one of the angels on my shoulder along with Tarpe, Rutu, Morrison, Ostrander, Bulgakov, and Abramovic. Wonder Woman

Steve, I also gotta give another shout out to the art team! This issue vibrates with energy. What did you think when you laid eyes on some of these pages?
Working with ACO and Hugo is always a privilege, and you can see why! These are folks that are pushing the boundaries of comics storytelling and never sacrificing propulsive energy in the meantime. They’re incredible, and seeing pages from them is genuinely surprising, it’s energizing for all the reasons comics is a great form. That’s the gift of real collaboration, you risk a bit, loosening up a script, but the reward is so great it’s an easy risk to take.

You kinda drop a bombshell here by revealing that the ‘Gods of Thirteen Heavens’ are Gods in Hypertime. What about the concept of hypertime made you want to bring it in?
I recently heard Grant Morrison talking about Hypertime, last fall, and I think it was a perfect fit for the themes of perception we’re playing within the story. Diana admits her shock in part one at not sensing the pyramid without Aztek’s help, and the story in general puts forth the concept that because of our human limitations, when we encounter gods, we’re really seeing the tip of the iceberg. We can’t conceive, can’t endure the rest of the aspect. To keep us sane, our body adjusts what we see.

And as Grant talked about Hypertime and how, for someone outside of it, time can be seen at once, like a flat plane in a way seen from above, I began to think about what the god side of Aztek’s war would look like. The best way for a mortal hero to fight a god who exists at all moments at once is with a legacy that extends forever. That, to me, is why the generational aspect of Aztek is so strong.

You seem to be having a blast writing these three powerful women. Anything in this issue a favorite moment for you? I loved Artemis saying “This is perfect!” in the heat of battle.
I love the moments that cast their reactions in quick succession, such as the reveal of Atalanta in Issue 52: “My god. My hero. My aunt.” I also do love Artemis’s ribbing of Aztek, which I think is a little bit of the tough older sibling, a little bit of a crush maybe too? Maybe she doesn’t know even, but Artemis has been a genuine surprise and blast to work with. The growth between her and Diana through this story is what I’m most proud of.

I do also always love a good Wonder Woman “HOLA!” (*See it above!)

Okay, now the ending is a bit of a cliffhanger and a shocker. So without spoiling much, can you tell us what is awaiting Diana when her invisible jet returns to the camp of the Bana-Mighdall in Qurac?
A collision of the past and the future! Can heroes ever really return home? The outside world changes you – Diana knows it, Artemis is realizing it, and Atalanta is maybe regretting it. Everything will come to a head at Bana-Mighdall, as the armies of Qurac wait at the door…but who’s really engineering this conflict?

Any interest in writing Aztek more? Have we seen the last of her in Wonder Woman?
I would LOVE to work with her more, or even see someone else pick up the baton and go ever more wild with Aztek’s story! Always interested- while she might have stepped out of Wonder Woman, who knows where she’ll show up next?

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Before BLACKkKLANSMAN Let’s Look Back At DO THE RIGHT THING

Matthew Simon

In honor of BlacKkKlansman getting great reviews, and praising Spike Lee’s direction, people praising the film as “His best ever”, to which I have to ask, “Was it the film that established Lee’s footprint on the cinematic landscape, garnered Oscar nominations, and established a new wave of African-American directors, unseen since the Blaxploitation era of the 70s?” No, so Do the Right Thing still stands as the flagbearer of his directorial career; and since I’m the site’s catalog title critic, I’m here to ask: “Is Do the Right Thing still a great movie almost 30 years later?” The answer is a resounding Yes.

I’m not going to do a plot analysis, so I’ll do what a real film critic and talk about what works. First off, this is a film of with a directorial vision, Lee’s directorial style in Do The Right Thing, is undeniably unique; several times, the film eschews the 180 degrees rule, for POV shots, a unique concept that works as: a, talking to a character, or b: talking to the audience.

Do the Right Thing impressive pullback shot — The beginning of a great shot; when the camera moved in, to show the intimacy of the conversation.

Mind you; this leads to Lee’s cinematic sins, every director has them, some more obvious than others. Lee’s core cinematic sin is the lack of subtlety; his films are loud and outspoken, filled with a revolutionary zeal; that is both infectious and disquieting. My thoughts on cinematic sins is a relatively simple one: it only becomes a problem if it affects the quality of the film. Thankfully, that core sin didn’t bring down Do The Right Thing.

This brings us to the acting, which is excellent. Character actors like Danny Aiello, the late Ossie Davis, John Turturro, and the late Ruby Dee, put on great performances, even actors that I had never heard were putting on phenomenal performances (one of the biggest surprises was the late Bill Nunn as Radio Raheem, a character who says little, yet carries massive plot importance). The film also featured pre-fame appearances of Giancarlo Esposito (pre-Breaking Bad), a pre-Nick Fury (and pre-Jules Winfield) Samuel L. Jackson, and even Nunn was pre-fame (he’d later be cast as Robbie Robertson in the Sam Raimi Spider-Man films). Of course, I’m leaving out the main character: Lee himself; he is quite good in his performance. Generally, I would be criticizing a director starring in a film he directed if his performance was terrible, yet Lee portrays Mookie (and the film itself) with a sense of honesty and fairness. So, when events hit the fan, it’s represented in a surprisingly accurate manner.

Greek Chorus Do the Right Thing — One of the many Greek choruses in Do the Right Thing

One final thing of note was the use of Greek choruses. Lee uses at least two different Greek choruses during the film; the three African-American gentlemen commenting on the actions and Samuel L. Jackson’s DJ character; both serve this important dramatic purpose. Why did I bring this up? One, you don’t see many Greek choruses in cinema nowadays, let alone two in the same film.

In conclusion, Do the Right Thing, is still a great film. Even though parts of the film have dated, the film more than makes up for it, in strong writing, brilliant performances, and a unique directorial effort by Lee. In short, Do the Right Thing, was the film that Lee needed to put his mark on the medium.

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