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OUTLANDER Remains at Starz for Three More Years

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According to the The Hollywood Reporter, Starz has renewed Outlander for both seasons five and six. The popular sci-fi romance series based on Diana Gabaldon’s books is still months away from beginning to air season four.

OUTLANDER Crosses the Pond

At the end of season three, the Frasers found themselves washed ashore in the New World—a very young America. While season four is still in production, the network already secured the show for two additional seasons. Based on Drums of Autumn, season four will premiere this November.

Seasons five and six will adapt their corresponding books in the “Outlander” series: The Fiery Cross and A Breath of Snow and Ashes, respectively. The book series currently has eight installments, with a ninth in development. Gabaldon has also written the “Lord John Grey” novels in the same universe. Additionally, she worked on the graphic novel The Exile, which tells the events of Outlander from a new perspective.

While the books are consistently massive installments, their television counterparts have shortened with time. Season one (adapting Outlander) contained 16 episodes split into two arcs–before Jamie and Claire’s wedding, and after. Seasons two, three and four each have 13 episodes. The contract for seasons five and six, however, only contains 24 total episodes.

So Many Reasons to Watch…But One Tends to Stand Out…

Outlander began thirty years ago as a writing experiment for a young Gabaldon. She had no idea then that the story would develop into a published book, let alone a series with a television adaptation. She credits this experimental nature with the ecclectic nature of her world-building. There’s time travel and mysticism, yes, but all rooted in a deeply-researched and heavily realistic history. Claire is independent and feminist but not so independent that she can resist Jamie’s…everything. There’s warfare and romance and marital negotiations, torture and sex and political intrigue. You never know quite what’s going to happen in an Outlander book, and as a result, it’s hard to determine what elements will make it to the screen.

Outlander Renewed
See that little spike in seasons one? “The Wedding”

Viewership numbers from season one, however, reveal one massive reason viewership continues to climb: the soft-core sex scenes are pretty hard to resist. While sex has always been evident in the “Outlander” series, it’s the honest and romantic way it’s often portrayed that keeps luring people in. Claire and Jamie age 20 years over the course of season three, and their actors had to wear makeup and costumes that helped portray the change. And for a thirty-year-old book that takes place in the past, the sex was brought up to speed with 21st century sensibilities almost faultlessly. Outlander renewed

 

OUTLANDER Stands the Test of Time

Betting on two more seasons before the current one even begins airing is a bold move on Starz’ part. But networks seem less and less likely to take a risk on something new, and Outlander is hardly running out of material to adapt. As Game of Thrones exceeds its printed counterpart, Outlander has almost the reverse problem…and a much larger female viewership.

Based on Diana Gabaldon’s books, Outlander star Caitriona Balfe as Claire Beauchamp and Sam Heughan as Jamie Fraser. The series follows Claire on a time travel adventure between 1940s England and 1740s Scotland. Claire is taken by mystical stones, and torn from her husband (Tobias Mezies) and post-war life in the “present day”. She meets and is forced to marry Jamie in the 18th century. Jamie and Claire reluctantly fall in love, leave Scotland, and attempt to clear his name. More characters travel through the stones and Jamie and Claire build a life together. But they still must decide what to do with Claire’s foresight before it’s too late.

Outlander was developed by Ron D Moore, who currently serves as showrunning. It is produced by Sony Pictures, Left Bank Pictures, Story Mining and Supply Company, and Tall Ship Productions.

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Review: PATRICK MELROSE Embodies Brilliance In All Areas

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Showtime’s Patrick Melrose is a crackling limited series boosted by scintillating performances from Benedict Cumberbatch and Hugo Weaving, stellar writing from David Nicholls, and a commitment by the screenwriter to use source material (the autobiographical novels of Edward St. Aubyn) which are rich with content.

When watching the first two episodes, it evoked the same feelings I had when True Detective‘s first season was out. There was something undeniably special about that first series. The quality of the performances was terrific. The direction and the cinematography were magnificent. Patrick Melrose has the potential to be all of those things and so much more. Cumberbatch alone gives a career-defining performance in the title role. Nicholls skillfully transforms Aubyn’s unique brand of storytelling and creates a visually appealing tale weaved in with stories of addiction and dysfunction.

Patrick Melrose

The narrative centers on the turbulent lifestyle of Patrick Melrose (Cumberbatch). Melrose is a middle-aged man, who lives from one minute to the next, figuring out which addiction will help him cope with life. Heroin, speed, quaaludes, and Jack Daniels are just some of his coping techniques. Melrose grew up in a home where addiction was on display daily. His father (played by Hugo Weaving) was abusive to anyone with a pulse. Melrose’s mother (played by Jennifer Jason Leigh) uses every vice at her disposal to escape from the horrors of daily life. Melrose is dealing with the death of his father and the reminders those bring of childhood he would soon forget.

Cumberbatch proves to the audience in the first fifteen minutes why he was born to play the title role. He shows such range on-screen ranging from appearing lucid while tripping on heroin to dropping in and out of different voices during his frequent hallucinations while on speed. Cumberbatch’s character is ravaged by the pain stemming from a nightmarish childhood that he has detached himself from any sort of human intimacy. Audiences won’t know if they should laugh at Melrose’s exploits or cry. Leigh is fantastic as well showing such confliction over wanting to do the right thing for her son or drowning her sorrows at the bottom of a bottle. Weaving is a straight out monster. One minute, he’s using that booming voice to intimidate house guests and others it’s a look or tone taken which strikes fear in everyone. The performances are rich, nuanced, and the type of acting which will attract attention during Awards season.

Nicholls deserves so much credit for taking these complicated novels and translating them into five compelling hours of television. While each episode has it’s own theme, together they are a gratifying symphony which strikes the right notes and leaves audiences immensely satisfied. Director Edward Berger has an excellent eye for staging various moments during these episodes emphasizing both the comedic and dramatic moments. Cinematographer James Friend makes excellent use of the camera using random jerky moments to enhance how wasted Melrose is at any given time during the show.

Overall, Patrick Melrose is the perfect example of appointment television. From the acting, writing, direction, and even the camera work, nothing on television right now approaches the quality of this show. These shows don’t come around often but certainly should be celebrated when they do.

 

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12 Superhero Origin Films Surpassed By Their Sequels

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For fans of costumed heroes, few things are as satisfying as a well-told superhero origin story. Often, it’s an individual’s drive to do good — to make a difference — that inspires audiences to continually revisit them in subsequent films, and the origin lays the foundation for our connection to their personal mission statements and helps us understand why they are driven to fight crime in the first place.

In the case of Deadpool, that underlying statement was punctuated by extreme violence and off-color humor. Nonetheless, director Tim Miller delivered a film which balances all of that with real heart, allowing us to remain firmly on Wade Wilson’s side as he exacts hilarious revenge on Ajax, ahem, Francis. Now star Ryan Reynolds teams with director David Leitch (Atomic Blonde) to continue Wade’s story and bring in other Marvel Comics mainstays like Cable (Josh Brolin) and Domino (Zazie Beetz).

But will Deadpool 2 be able to join the elite pantheon of superhero sequels and pull off the rare feat of topping their respective origins? We’ll find out soon enough. In the meantime, let’s look back at which superhero origin films were surpassed by their sequels. First, we’ll get the easy choices out of the way before diving into some more controversial ones.

The Easy Picks

X-Men (2000)

X-Men (2000)

Comic book fans may quibble now about how Fox ruined the X-Men franchise, but no one was complaining when Bryan Singer finally brought the mutant team to the big screen, especially when the director himself delivered a far superior sequel to theaters a few years later. Having established the team in the first film, X2 is a thrill ride from start to finish.

Spider-Man (2002)

Spider-Man 2002 post 9/11 shot

We’ve seen a few actors play Spider-Man, but while the consensus is ready to crown Tom Holland’s performance the best of the bunch, Sam Raimi’s Spider-Man 2 not only improved upon its predecessor but still stands among the best comic book films ever made. Partial credit goes to the Oscar-winning effects and Alfred Molina’s textured Doctor Octopus.

Batman Begins (2005)

Christopher Nolan rehabilitated the Caped Crusader with this earnest Bat-film, pleasing audiences and critics alike. But no one saw The Dark Knight coming. Though Batman Begins grounds the character, its sequel transforms the saga into an epic crime thriller and changing the genre and industry in an instant. Also, three words: Heath Ledger’s Joker.

X-Men Origins: Wolverine (2009)

X-Men

Hugh Jackman played the adamantium-clawed fan favorite many times over the years, but this Gavin Hood-directed entry is easily the weakest. The film has become so infamous that Deadpool himself routinely pokes fun at its immense failure. The Wolverine legitimized him, but it wasn’t until 2017’s Logan that we finally saw the character at his very best.

Thor (2011)

Perhaps Thor — directed by Kenneth Branagh — hasn’t aged particularly well, given the success the Marvel Cinematic Universe has seen since then. However, the film itself remains solid, especially considering its lackluster sequel. Thankfully, Taika Waititi made the God of Thunder a genuine MCU standout with last year’s quasi-reboot Thor: Ragnarok.

Captain America: The First Avenger (2011)

Remember back in Phase One of the MCU? Was Captain America anyone’s favorite Avenger? Sure, he was admirable and courageous, etc. But Anthony and Joe Russo’s The Winter Soldier and Civil War successfully modernized the Star-Spangled hero, infusing political intrigue into the pulpier take of Joe Johnston’s Captain America: The First Avenger.

The Close Calls

Blade (1998)

Blade Movie Wesley Snipes

Stephen Norrington accomplished the impossible in creating a hit R-rated film out of a relatively unknown (to the masses, at least) Marvel hero. But Guillermo del Toro managed to top even that — depending on who you ask — with a more complex, more stylish take on the Daywalker’s world, bringing his own distinctive flair for movie monsters to it all.

Hellboy (2004)

hellboy

Another del Toro-directed sequel. But with 2008’s Hellboy: The Golden Army, the filmmaker outdid his own original film. By stripping away unnecessary entry-point characters like Rupert Evans’ Agent John Myers, this sequel thrusts its heroes into a fantastical tale involving an elf prince bent on using a mythical force to conquer humanity.

Fantastic Four (2005)

fantastic four

It isn’t saying much that Fantastic Four: Rise of the Silver Surfer is a slight improvement on its predecessor, seeing as they’re both pretty horrible. But at least director Tim Story brought the Silver Surfer to life onscreen for his first (and, so far, only) film appearance through the winning duo of Doug Jones’ performance and Laurence Fishburne’s voice.

X-Men: First Class (2011)

X-Men: First Class (2011)

Following the trilogy-capper that was the disappointing X-Men: The Last Stand and the even more crushingly terrible X-Men Origins: Wolverine, the series needed a fresh start. Director Matthew Vaughn’s prequel reinvigorated it, but Singer’s return for X-Men: Days of Future Past still stands as a top-tier X-film, despite not really fixing the continuity.

The Avengers (2012)

The Avengers

No matter what the MCU does going forward, no film can take away the novelty thrill of seeing Earth’s Mightiest Heroes unite for the first time. That being said, Avengers: Infinity War — with its universal stakes and dozens of characters — may very well top Joss Whedon’s original team-up. At least most of us can agree Age of Ultron is the weak link.

Guardians of the Galaxy (2014)

Guardians of the Galaxy

This one is probably the most controversial of our picks, since James Gunn’s film is so beloved. But we’ll stand by it. Guardians of the Galaxy Vol. 2 is more character-focused, funnier and more emotionally impactful overall than the first film. Having won audiences over on the titular band of misfits, Gunn is more confident in his storytelling, and it shows.


Which superhero sequels do you think are better than the original? Let us know your thoughts in the comments section below.

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‘Deadpool 2’ – Movie Review

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In the latest episode of Kieran’s Movie Space, Kieran gets serious and reviews what is possibly the silliest movie of all-time, Deadpool 2. Have Ryan Reynolds and David Leitch managed to capture the magic of the original? Do Cable and Domino get decent introductions? Did Blind Al find the cure for blindness? Find out by listening to the review below!

More – Kieran’s Movie Space Ep.1 – ‘Avengers: Infinity War’ Review

Kieran’s Movie Space is an insightful, fun and reliable new podcast for fans of all things cinema. Host Kieran McLean delivers in-depth reviews of the latest movie releases, from small indie movies to massive blockbusters.

Listen to Kieran’s review of Deadpool 2 below:

[embedyt] https://www.youtube.com/watch?v=h3MKNRUODB0[/embedyt]


Make sure you hit the like button, subscribe and review the podcast! Alternatively, you can subscribe to the Monkeys Fighting Robots newsletter to be notified when new episodes are available, plus amazing content!

Deadpool 2 is directed by David Leitch and stars Ryan Reynolds, Morena Baccarin, Josh Brolin, Zazie Beetz, T.J. Miller, Julian Dennison, Terry Crews, Bill Skarsgård, Stefan Kapicic and Brianna Hildebrand.

After surviving a near-fatal bovine attack, a disfigured cafeteria chef (Wade Wilson) struggles to fulfil his dream of becoming Mayberry’s hottest bartender while also learning to cope with his lost sense of taste. Searching to regain his spice for life, as well as a flux capacitor, Wade must battle ninjas, the yakuza, and a pack of sexually aggressive canines, as he journeys around the world to discover the importance of family, friendship, and flavor – finding a new taste for adventure and earning the coveted coffee mug title of World’s Best Lover.

[embedyt] https://www.youtube.com/watch?v=20bpjtCbCz0[/embedyt]

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Review: SOLO: A STAR WARS STORY – A Solid Foundation

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Well, that’s the last time I ever believe the internet. See, going into the press screening of SOLO: A Star Wars Story, I’d heard that the film was going to be a mess. The film switched directors near the end of production. The lead couldn’t act. It was even said that Lucasfilm head Kathleen Kennedy’s position was being threatened.

Uh-huh.

I’ll admit that even I had my doubts. I was one of those folks who wondered aloud why Alden Ehrenreich was cast as the lead when Harrison Ford-clone Anthony Ingruber was out there doing a killer Han Solo impersonation on YouTube.

But then I remembered River Phoenix as a young Indy in Indiana Jones and the Last Crusade, giving a performance where he captured the essence of the character without really mimicking Ford. And that’s what Ehrenreich does with Han Solo in what is a fairly solid portrayal of everyone’s favorite Correllian scoundrel in his early years.

Along with Ehrenreich, we have Woody Harrelson as Tobias Beckett, a man who is a mentor of sorts to young Solo. Emilia Clarke plays Qi’ra, the love interest with a story arc that runs parallel to Solo’s. Donald Glover steals every scene as Lando Calrissian but is nearly outmatched by Phoebe Waller-Bridge’s L3-37, a pilot droid that brings plenty of laughs but is also involved in one of the film’s most poignant scenes. We also shouldn’t forget Joonas Suotamo who dons the Wookiee costume to reprise the role of Chewbacca as he did in The Force Awakens and The Last Jedi.

Following a script by Jonathan Kasdan & Lawrence Kasdan (The Empire Strikes Back, Silverado), director Ron Howard (Willow, A Beautiful Mind) gives audiences a relatively straightforward and fast-paced film that is full of background details intended to please long-time Star Wars fans. If you go into the movie with the expectation of simply being entertained, you’ll have no problem enjoying it while munching on your movie popcorn. There’s plenty of action and humor, with a few plot twists along the way. Ehrenreich and Clarke are serviceable as star-crossed lovers, but it’s when Ehrenreich works with Harrelson and Glover where the moments ring the truest.

For all the baggage and backstory SOLO must carry, the film handles it in workmanlike fashion. I should have known that when you have the an Oscar-winning director like Howard and a screenwriter like Kasdan working on your movie, it’s going to be a good time at the very least. While it may not have the highest stakes, SOLO still has enough thrills and humor to make it worth an evening out at the cinema.

Finally, SOLO is steeped in the lore of that galaxy far, far away, but folks who have never seen a Star Wars film before can enjoy this one without needing a whole lot of backstory.

I know I should have always done this, but next time I hear certain elements of fandom crying about a film they have yet to see, I’m just going to block them out. I’m also going to keep from being that kind of fan on social media. Punch me if I am.

For what appears to be the first of a Han Solo trilogy, SOLO: A Star Wars Story is a pretty good first step.

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Review: KICK-ASS #4 Creates A Chaotic and Frantic Reading Expirience

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Kick-Ass #4 by Mark Millar, John Romita Jr., Peter Steigerwald, and John Workman explodes with what is basically one long action-scene that ends in a hell of a cliffhanger.

Kick-AssKick-Ass #4
Written by: Mark Millar
Art by: John Romita Jr.
Colors and Digital Inks by: Peter Steigerwald
Letters by: John Workman

Kick-Ass Created by: Mark Millar & John Romita Jr.

Patience is trapped while trying to bust a local gang operation and save an innocent man from torture. Surrounded by gangsters, armed with only her wits and combat training, she must fight her way out and get back to her family. With Violencia now hunting her, desperate for revenge, how long before the villains find out who’s under the mask? 

Writing

The greatest thing about this issue is the relentless pace. Millar has written what is essentially one long action scene (think John Woo movies) that also allows for some great character development for Patience because of the excellent interior narrative we are getting as well. As everything turns to shit in minutes, Patience’s military mind goes to work and we see that there is much more in her arsenal that billy club and fists. Her keen mind saves her and it’s wonderful to watch.Kick-Ass

There is a great moment at the end where the collision between Patience’s family life and her mission as Kick-Ass takes a deadly turn. No spoilers here. Go read it!

Art

Brutal beatdowns and car chases are the highlights on these fantastic pages. Romita Jr. changes up the panel and layouts a bit this issue, incorporating some smaller panels and panel sequences to create speed and the result works great. The whole issue feels chaotic, loud and fast. It’s experienced rather than read.

There is also some amazing coloring and inks that add a layer of atmosphere to the action, especially the scenes with explosions and spreading fire.

Conclusion

Each issue of Kick-Ass has left the reader wanting more and issue #4 is no different. This continues to be a series that is just plain a pleasure to read.

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Image Comics Exclusive: SCALES & SCOUNDRELS Variant Cover Reveal

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Scales & Scoundrels, the fun, all-ages fantasy series by Sebastian Girner, Galaad, and Jeff Powell, is celebrating its third arc with variant covers riffing off popular role-playing card games like Magic: The Gathering, and Monkeys Fighting Robots has your first-look at the covers courtesy of Image Comics!

The five covers are all done by series artist Galaad and will accompany issues 11-15, running August through December of this year. They resemble beloved RPG character cards, “upon which you can find each character’s class, traits, affiliation, and other interesting tidbits, including character quotes.”

Check out the covers here:

When asked about what RPGs mean to him, and why the team chose this theme for the covers, writer Sebastian Girner had the following to say:

“Card games have long been a staple of role-playing games and the fantasy-genre especially. I was always struck by how with a single drawing and a few lines of flavor text or lore, one small card can send the imagination off on a journey. With these covers we want to sample some of that purity, and introduce our cast of scoundrels to readers far and wide. Hopefully they’ll find their imagination piqued and get pulled into our magical world.”


Which of the covers is your favorite? Comment below!

Scales & Scoundrels volume 1 is available now; volume 2 is out July 11th.

Scales & Scoundrels Scales & Scoundrels Scales & Scoundrels Scales & Scoundrels Scales & Scoundrels

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Get In Gear With RPM In MIGHTY MORPHIN POWER RANGERS #27

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The “Shattered Grid” event from Boom Studios covering both Go Go Power Rangers and Mighty Morphin Power Rangers continues to leave a heavy impact on both the rangers and the readers. Can the creative team keep the energy going and the interest alive as the event continues?

Summary

With Lord Drakkon seeming to be getting the upper hand, Zordon sends a message to Power Ranger teams across dimensions in an effort to call for assistance. Who answers the call first? Why Dr. K of Power Rangers RPM and The Coinless.

Writing

This issue has more gravitas to it after reading the recent Mighty Morphin Power Rangers 2018 Annual (Note: If you really are invested in this event, it will would a very good idea to go check out the annual before the event goes any further.) Lord Drakkon seems to be conflicted or at least troubled by the actions he took in the annual. Of course, given how much death and destruction he has already caused there will be little need or chance for him to have any type of redemption. He’s become a villain who has done what many thought impossible, taking on several teams of Power Rangers all at the same time.

Writer Kyle Higgins allows for some great moments to happen between the characters in this issue. There is great dialogue between Jason and Lauren which is very captivating. Watching two red rangers from different teams talk about the difficulties of being a Power Ranger is engaging. These are the kind of moments fans always wished the series would offer to help the characters feel more human. Also, the team meeting up with the Coinless, the original rebellion force to fight Drakkon seems natural and already a part of the Power Rangers mythology even though it was introduced less than a year ago. This just goes to prove the power Higgins has a writer and how well his stories have helped to shape this new incarnation of the Power Rangers.

Power Rangers

Artwork

The art in this issue helps to tell a story all on its own. The two page splash as Zordon is sending out a message to all the different ranger teams as they battle against Drakkon’s armies is of particular note. Daniel Di Nicuolo on pencils and Simona Di Gianfelice on inks capture the look of the different ranger teams in a remarkable way.

The color work by Walter Baiamonte helps with the multiple locations which are utilized. The command center, desert around Corinth City, and the post-apocalyptic world the coinless call home all have a different feel to them thanks to the attention paid to the colors.

The lettering by Ed Dukeshire helps with the different settings as well. Character accentuate more as information is being explained to get their point across while the few down moments come off as docile yet tense.

Conclusion

The “Shattered Grid” event is going strong and it doesn’t look like it will stop anytime soon. It is issues like this which make Mighty Morphin Power Rangers essential reading for both new and old fans of the franchise.

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NINJA-K #7 Review: Setting The Stage For All-Out War

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Ninja-K #7 from Valiant Entertainment sees the super-soldier fully recovered from his wounds and putting together a team to fight against the nefarious forces preparing to unleash hell on Earth.

Ninja-K is the story of Colin King, a super-spy for the British MI6. King, as Ninja-K (the 11th graduate of the ninja programme), fights evil around the world. However, in the series, it’s not only technological enemies or other ninjas who stand in King’s way. Ninja-K takes place in the Valiant universe and crosses over with the supernatural forces of the Deadside from Shadowman and involves plenty of alien shenanigans brought about by X-O Manowar. In Ninja-K #7, techno, extraterrestrial, and supernatural forces come together in Mexico for an epic showdown.

Writing: Christos Gage
Art: Juan José Ryp
Colors: Jordie Bellaire
Letters: A Larger World Studios
Editor: Karl Bollers

“Are you familiar with the expression ‘Nuke It From Orbit?’” – Ninja-K

WRITING

Ninja-K is a plot-driven action comic, and so from issue-to-issue, there is a set-up and then a fight. It’s reminiscent of venerable TV shows like NCIS or any of those sort of procedural action shows. However, Ninja-K #7 plays more like the first half of a two-part episode. The issue begins soon after the previous one with Ninja-K recovering from his wounds. In classic, badass superhero fashion, he recovers super-fast, sits up, and pulls off all the medical things attached to his body. Ninja-K is inspired to rise by the appearance of Livewire, his girlfriend, and another super-being. Livewire, aka Amanda McKee, is a technopath which is able to control machines with her mind.

For most of Ninja-K #7, we’re sifting through a lot of exposition, most of it delivered by Neville Alcott, King’s handler from MI6. The primary action of this issue involves Ninja-K and Livewire going around gathering other team members. The plan is to form a group capable of countering each of the members of the bad guys and take them down. To do this, the good guys bring aboard Dr. Mirage, a psychic who communes with the spirits of the Deadside and Punk Mambo, a voodoo priestess with an unusual way of using her unique powers to summon monstrous spirits. The foursome comes together and boards a giant robot, the first weapon in their plan to take out their enemies.

ART

Artist Juan José Ryp continues the steady work he’s established throughout the new series. Even with all the good guys and bad guys involved in the story, there’s no visual confusion. Everyone has a definite style, attitude, look and set of colors that readily identify them and exemplify who they are. One villain, Kostiy the Deathless, is a stone-headed immortal with endlessly rotting flesh who carries a massive stone mace. Another is an abomination and a Frankenstein of sorts. There’s little action in this issue, but Ryp and colorist Jordie Bellaire combine to keep the mood pushing the story forward. The action near the end is sudden and spectacular too.

CONCLUSION

Ninja-K #7 furthers the narrative of various powerful forces on a fast-track to an ultimate showdown. This issue is a lot of exposition, but if we’ve learned one thing about this series it’s that some satisfying and wild action follows its set-ups. Gods, monsters, and technology are ready to wage war in Mexico, and the cliffhanger ending is another one from Valiant that will make readers want to see what comes next.

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Review: BATMAN #47 Reveals A New Side To Booster Gold and His Motivations

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Batman #47 by Tom King, Tony Daniel, Sandu Florea, and Tom Eumorey uses its time-travel hijinks to distill both Batman and Booster Gold to their core and turn this dark arc into a tale about heroism.Batman

Batman #47
‘The Gift’ Part 3
Written by: Tom King
Art by: Tony Daniel
Ink Assists by: Sandu Florea
Colors by: Tom Eumorey
Letters by: Clayton Cowles

As Booster Gold, Batman and Catwoman zero in on the time anomaly, what they find and their actions to correct it will have ramifications on all of the DC Universe. 

Writing

After the gut-punch that was thrown in the last issue, the narrative jumps a full year forward and slowly reveals the outcome and details. Tom King, again being the clever writer he is, slowly dishes out the details of what happened when an adult Bruce Wayne watched his parents die. Not surprisingly the outcome is still similar to the one we all know, just skewed.  Bruce has not become Batman, but he still has become obsessed with the murders and still is using his skills and resources to do something about it. But this isn’t a superhero Bruce, this is a straight-up revenge-seeking man who wants nothing but to kill those involved.Batman

Booster Gold has also had a rough year, looking like a man ravaged by his actions. In a neat page that makes great use of King’s beloved ‘nine-panel grid’, we get a distilled origin of Booster in his own words that seem light at first, but then slowly reveals the deeper motivations that drive him. This has been as much a Booster Gold story as it has been a Batman one.

The best writing in the issue comes at the end though, when Booster and Bruce (and Skeets) travel back to the actual real murder of Bruce’s parents to course correct it all. And King does something great in that he is able to re-tell the grossly over told Batman origin story in a way that still impacts and feels fresh. It won’t get spoiled here, but it’s a great ending to what has been a fun ride of a story.Batman

Art

Last issue, the art team had to pull off some graphic and disturbing images. With this chapter, it’s all about faces and emotions and they fucking kill it (pun intended). There are a lot of facial close-ups, tense talks and even some quiet moments. The contrast to the sort of stuff done earlier shows you that Tony S. Daniel is capable of a large range of storytelling that is only pushed further by the inks by Florea and the colors of Eumorey.

Conclusion

“The Gift” ends with everything back to normal, but it still achieved its goal of telling a twisty-turny time travel story that really is less about exploring ‘What If’ and ‘Elseworlds’ and more about what makes these beloved characters work the way they do. “The Gift” here is for the readers in the end.

 

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