Lundgren has been a part of countless films. He’s most known for his role in Rocky IV, but he has also been involved in The Expendables franchise, Masters of the Universe, and Joshua Tree.
Are you looking forward to Lundgren’s role in the DC Extended Universe flick? Comment below!
Aquaman stars Jason Moma as the title character, Amber Heard as Mera, Willem Defoe as Vulko, Michael K. Williams as Black Manta, and Patrick Wilson as Orm.
In an effort to attract more female Star Wars fans and promote equality, Disney has announced Star Wars: Forces of Destiny. It’s a series of eight animated shorts that take place within the Star Wars universe and feature prominent female characters.
“With Forces of Destiny, there was an opportunity to tell some additional stories around these terrific characters from throughout the franchise,” said Executive Producer Carrie Beck.
Forces of Destiny features Daisey Ridley as Rey, Felicity Jones as Gyn Erso, Shelby Young as Leia, and others.
Are you looking forward to these animated shorts? How do you feel about Star Wars branching off and doing things seperate from the movies, television, and video games? Comment below!
ResurreXion is well underway, X-Men comics are becoming a priority again. After last week’s solid but controversial start with X-Men: Gold, the second wave of X-books have arrived. Along with Weapon X, Marvel released writer Cullen Bunn’s X-Men: Blue. This title focuses on the time displaced teens that are now permanent members of the 616 Universe. Xavier’s original X-Men embark on a new adventure and the kids are alright.
***Spoilers Lie Ahead***
Cullen Bunn hasn’t had the best X-Men credentials over the last couple years. The lackluster, and downright awful, era of X-Men comics that we’re now leaving behind us featured more than a few Bunn blunders. This series is his shot at redemption, he’s a better writer than Uncanny X-Men would have you believe.
These X-kids from the past, have been around for a while. The problem with them was that after Battle Of The Atom, nobody seemed to know what to do with them. Their status and purpose has been up in the air since 2013. Now that they’re here to stay, they’ve isolated themselves from the rest of the other mutants. It’s a wise decision, a fresh start for a group that clearly needed one.
In their first outing, they clash with a duo of classic X-Men villains (Black Tom & Juggernaut). Filled to the brim with colorful and exciting action, X-Men: Blue #1 showcases the young team working together as a unit. We’re entering uncharted territory with Jean Grey leading the team, forcing Scott Summers into a supporting role. This dynamic is immediately interesting, even more so when Iceman pokes fun at it.
There’s an attitude and appeal to this comic that was nowhere to be found in previous stories trying to force the kids into relevance. With Magneto guiding these impressionable teens, the narrative potential is seemingly endless. Will he follow in Charles Xavier’s footsteps or utilize the X-Men for his own personal agenda?
X-Men: Blue is a visually stimulating experience as well. Marvel wasn’t kidding about bringing back the colorful side of their mutant heroes. Not only are the much needed costume redesigns effective, but the action flows smoothly. For a book featuring a good bit of dialogue, there’s not a single moment of boredom or fatigue thanks largely in part to the fabulous art. Jorge Molina and Matteo Buffagni combine their efforts with Matt Milla’s always stunning color direction.
The fulfilling reading experience this issue provides is extended with teaser for things to come, following the story. So far, so good for Marvel’s X-Men ResurreXion. It’s not a complete home run by any means yet, but they’ve certainly got readers’ attention to start.
What did you think of the first X-Men: Blue issue? Which ResurreXion title has you most excited so far? Let us know in the comments below!
Typing up old notes. Sorting the recycling. Cleaning my cat’s litter box with a tweezer. What do all of these things have in common? It’s a list of things I could have done with the four hours which were wasted watching all of Hand Shakers. Strap yourselves in because the rage train is about to leave the station.
Story
The story is your standard magical battle plot. A boy (Tazuna Takatsuki) meets a girl (Koyori Akutagawa) which results in him getting powers from taking her hand. It is revealed he is a “Hand Shaker” someone who can summon a “Nimrod” (magic weapon) and enter into the “Ziggurat” (alternate dimension) to fight. If you fight enough people you get to meet God and get a wish. Standard fare for a series but somehow this show makes such a fantastic premise feeling boring and contrived.
Despite establishing the fact Koyori is weak, Tazuna having to hold her hand to give her energy so she doesn’t disappear, and if they lose a battle she will vanish completely you just don’t care while watching it. Koyomi has all the personality of a piece of driftwood who prefers to spend most of the series communicating in grunts, moans, and signs. It’s not as adorable than you’d think. Also, the length of time they are allowed to be separated starts at never, goes to 15 minutes, and even reaches two hours. It feels less like a standard progression and more like an “as the plot needs it” excuse.
There also is a distinct lack of tension in every battle the pair engages in. They are fighting adversaries who are far too friendly and lack any real motivation. Fights involve building destroying destruction (which of course doesn’t affect the real world since they are in the Ziggurat), but no one is truly fighting for a nobel or just cause. No one’s family member has cancer, is being abused, or will be miserable for the rest of their if they don’t get their wish granted. In fact, after teams are defeated by Tazuna and Koyori, they apologize and are super keen friends forever. It’s so tripe, you want to vomit but since there is no substance to the show you can’t puke anything up.
Also, using “20XX” as the date your story takes place in? Unless your series features Megaman you have no right using this year.
Art
Usually as a critic there is some redeeming factor to take out of any piece of media. For the most part this is often the result of the visual art aspect. As long as a production is at least trying there should some merit to it. This is my traditional way of thinking and it was unfortunately shattered after watching Hand Shakers.
This anime employs so many of the cardinal sins which can hurt an animated series it’s unfathomable. Let’s go through the list shall we. Rough mix of character animation with the CGI? Check. Poor animation moments which are incredibly noticeable so you can tell where production phoned in their work? Check. Cranking up the brightness to the point it actually hurts the visuals? Check. Fanservice which comes off as more embarrassing than sexual? You better believe check! The amount of visual errors which occur is beyond appalling.
Music
I sadly don’t have enough experience with the band OxT to tell if this is a proper representation of their work. Hopefully it’s not as the opening is generic and not very catchy. The real travesty in the closing theme song by Akino Arai. She sounds like she is totally disinterested and lacking energy in the song. For a better representation of her work go listen to “Voices” from Macross Plus. In fact, go watch Macross Plus instead of even thinking about watching this anime.
Conclusion
Congratulations Hand Shakers! You are officially a contender of the worst anime of the year. Few shows make me actually regret the time I wasted watching them but you found a way to succeed in this aspect. Bravo! Now if you’ll excuse me I need to go re-watch Gundam Build Fighters and remind myself I actually still enjoy anime as a form of media.
Nintendo just held a Direct that was filled with 3DS, Switch, and amiibo news. Here are my top five moments.
5 – Yellow Joy-Con
Nintendo has a chance to cash in on these Joy-Con. The red and blue versions are nice, but I’ll definitely be picking up this ARMS themed yellow pack.
4 – Bayonetta, Cloud, and Corrin amiibo discussed
It was only a matter of time until these figures were finally talked about. We knew they were in development, and now it’s finally time to get ‘em released and in the hands of collectors. A twist I wasn’t expecting is two versions of each.
3 – New Link amiibo
Although I’m excited for the other amiibo discussed in this Direct, I’m truly hyped for these three figures. The Majora’s Mask Link is one of my favorite yet; I’ll definitely be picking these up.
2 – ARMS gameplay
Before the presentation, I was moderately excited for ARMS, and although I’m still not over the moon about the title, the gameplay shown helped win me over. Getting a firm release date was helpful, as it ensures that Nintendo will be releasing more information about this game sooner than later.
1 – Splatoon 2 gets release date of July 21
Yes, my favorite moment from the Direct was a simple release date. Although, it’s not the date of some random indie title or port, it’s a brand new, Switch exclusive game that I am absolutely hyped for. The first Splatoon is amazing, and the second will surely be better.
What were your favorite moments from the direct? Comment below, let me know!
Torpedoing at all cylinders with devil-may-care elation and a toothy smile, The Fate of the Furious proves, above all else, that the Fast & Furious movies are in their own weird motor-powered zen. They don’t give a damn about the logistics. They never cared about their plausibility. They’re all about the death-defying stunts, the exquisite locales, the beautifully slick automobiles and, of course, family. You’re with them or against them at this point. Either you’re amused by their looney antics or you’re permanently left gawking at the dopey madness of their existence. It’s ride or die territory. Either you’ve got your seatbelt strapped to your waist, ready to let the smooth camerawork and improbable set pieces do their tricks, or you’re left in the dust, trying hopelessly to make sense of this foolishness.
Thankfully, my seatbelt is strapped on pretty tight. Even when this ride is a little bumpy.
The eight(!) installment in this furiously fast franchise, The Fate of the Furious finds Dom (Vin Diesel), the dutiful leader of the ragtag group of fast-driving, world-saving super criminals, forced into a compromising position when the mysterious cyber criminal Cipher (Charlize Theron + Angelina Jolie’s dreads from 2000’s Gone in Sixty Seconds) presents Dom with an ultimatum that tests his family as he knows it. Now, the most loyal member of the team is the one that turning his back on everyone, sabotaging their latest heist and putting the group’s safety and security in the balance, all for Cipher’s twisted amusement.
Dom’s girl Letty (Michelle Rodriguez) knows this isn’t Dom, and the team, which presently includes Hobbs (Dwayne Johnson), Tej (Ludacris), Roman (Tyrese Gibson), Ramsey (Nathalie Emmanuel) and the newest recruit, former baddie Deckard (Jason Statham), are joined together by Mr. Nobody (Kurt Russell) and his new wingman/trainee Little Nobody (Scott Eastwood) in order to stop Cipher from her nefarious world-destructing plan, which might possibly involve a giant missile, and hopefully bring Dom back to his senses in route. But with Dom no longer on their side, their paternal father figure abandoning them in their time of need, the makeshift family will be speeding into their most difficult assignment yet.
To accept the Fast and Furious movies is to accept that the plot is just a means to an end. They get the engines to rumble and our beefy protagonists to their next exotic destination. In fact, if anything, these movies are still perhaps a wee bit too character focused for their own good. That’s not something I expected to say, but the Fast & Furious movies play by their own rules. Producer Diesel and screenwriter/producer Chris Morgan invest so much interest in these characters and their explicitly-stated “family” bond, which is played in earnest but still reads pretty thin, that they continue to take time away from the action in order to establish these arcs that, all things considered, mostly just weight this film down. They’re so sappy and corny that you almost endear to them, but it’s hard to tell if they’re strictly played winkingly, or if they still want to be taken seriously, at least on some level.
Thankfully, these F&F movies also know how to make themselves as rambunctiously goofy as can possibly be, and when they get it right, it’s a bewilderingly beautiful sight to behold. Packed with so much insanity at any given delirious moment, it’s a joy to watch The Fate of the Furious ramp up to their overheated heart’s desire and go full throttle into Crazy Town. For instance, there’s a scene early on in the film where one of the main characters drives a literally flaming car down a pedestrian-filled Cuban street, and that’s maybe the fifteenth craziest thing that happens in this cockamamie sequel. To say the sky is the limit is to look at this series too near-sighted. Morgan did suggest space might be a possibility for the future. At this point, I wouldn’t be shocked if Dom and his crew drove around our galaxy, making a brief pit stop to Earth to refill their coolers with Corona before the credits rolled.
There’s a stampede of driver-less cars whizzing down NYC (as performed by Columbus). There’s a wrecking ball with a smiley face on its back that turns police cars into putty. There’s The Rock, who is practically superhuman in these movies, charging through police officers as if he’s Mr. Bulletproof himself, Luke Cage. These are all the tip of the iceberg, and that’s without referencing the giant ass submarine that meets our heroes at the end. There’s so much chaotic Dom-foolery in The Fate of the Furious, and it relishes in it all. Director F. Gary Gray (Straight Outta Compton) brings back some of the magic of his underrated The Italian Job remake, which also starred Theron and Statham back in 2003, in order to honor the franchise’s insistence of automobile-centric wacky fun at all costs. It’s a little too long and the pacing is perhaps a little too disjointed to rise up to the standards of Fast Five, which remains the franchise’s breezy highpoint, but it’s undoubtedly one of the finest F&F films thus far. Even when the mileage starts to run low, The Fate of the Furious knows how to get the most out of its fuel stock. Bless their rambunctious spirit.
But I don’t want to underestimate the movie’s emotional sincerity. Admittedly, the relationship between Dom and Theron’s Chipher is filled with some legitimate suspense, and without delving into spoilers, you understand and feel for Dom’s internal dilemma. I know it’s not a high bar or anything, but I feel comfortable claiming The Fate of the Furious contains one of Diesel’s strongest performances as Dominic Toretto. Granted, it’s not Find Me Guilty, but he holds his own better than you’d think the lumbering knucklehead could.
In fact, the whole cast does pretty well with the goofy material (minus Eastwood). It’s clear that they all feel pretty comfortable with both their characters and the film’s winking tone, and the confident camerawork and the choreographed-down-to-the-wire stunts all work in its own oddball harmonium. These movies aren’t going away just yet, and if they continue to pack the silly fun as much as they have in these last few installments, they’re welcome to stay. The Fate of the Furious is pedal-to-the-medal, heart-on-its-sleeve, reckless-as-it-can-be entertainment that kicks the summer movie season into high gear. It earns the right to be called “high-octane” entertainment. Hopefully, you’ll come along for the ride.
As a Japanese American, I might be a bit prejudice when it comes to this topic. Dubs were only a viable option when I wasn’t able to get my hands on the subbed version. However, being a bit older and a tad wiser, I have my clear reasons as to why you should steer clear of dubs.
Ignorance is Bliss
Back in the good old days I never did mind dubs since they were commonplace. Everything was in English and while I knew Pokemon and Dragonball were from overseas I didn’t connect the pieces. To me Ash was never Satoshi and Goku was never Son Goku, and to this day they still aren’t. Yet with the release of Fullmetal Alchemist in the United States, I could tell that there was something a bit off.
The Shortcomings of Dubbing
I’ve heard a few reasons why people watch dubs, “I can watch it without reading.” Okay maybe there was only one point, but realistically that’s it. When it comes to relaxing and entertainment they don’t want to put in the extra effort of having to read. To some extent, I understand that having studied and learned Japanese I don’t always have to look at the screen when watching subbed versions. What I have picked up through learning the language and watching countless series is that there are certain things dubbing falls short on.
Translations –
Yes, I know it may seem obvious that I start with this topic. Japanese is a tough language to translate to English and vice-versa. This is usually why both subtitles, as well as the scripts for dubbing, aren’t true to the original meaning. There are very few profanities in Japanese and “Dattebayo” does not translate to “Believe it” in the slightest. While it may seem like both the subs and dubs suffer from translations, dubs have one more hurdle to jump. Timings. When localizing anime to English, every translation has to fit the character’s mouth movements accordingly. This can cause for both a lack of explanation or an exploitation of filler, both straying from the original meaning.
Voice Actors/Actresses –
Sometimes voices are iconic to a role, some may associate Vic Mignogna with Edward Elric. Others will only see Romi Park as Edward instead, and I can understand that. However, some voices cannot be replaced such as Rie Kugimiya who plays characters such as Taiga, Kagura, and Alphonse Elric. (From the anime Toradora, Gintama, and Fullmetal Alchemist respectively) Or Kazuya Nakai, the voice actor for characters such as Roronoa Zoro or Hijikata Toshiro. (One Piece and Gintama)
In fact, many American voice actors/actresses get reused on a consistent basis. Rather than having a clear-cut defined role, it almost feels as if the actors and actresses get morphed to fit any role they can fill. As for the Japanese voicing scene, many have to go to a specific anime voice acting school to even be considered. Since Japan is the birthplace of anime it makes sense, there is a certain standard that needs to be met. When the content goes overseas though, their criteria for choosing voice actors/actresses dwindles.
Adapted Genres –
When watching certain anime titles there are times when the language speaks rather than the story. While not true for all genres, both romance and comedy are almost reliant on the language. Romance or drama are a bit more straightforward since tense moments can depend on a single line or even word. The subtleties behind saying “suki desu” rather than “aishiteiru” aren’t translated well to English. At the same time, saying “I like you” versus “I love you” wouldn’t translate well to Japanese.
Comedy, on the other hand, is reliant on the set-up of the gag, the background knowledge of the viewer, and the execution. Each part key in its language, so if translated, the joke is also morphed. The content loses its original intent and becomes the translator’s joke instead. Anime like Gintama would never be the same and would fall short in almost every degree.
A small change from the word Gintama to Kintama can make a huge difference.
Final Thoughts
Honestly, I’m sure there are good dubs out there, I won’t deny that. At the same time, were the original voices bad in comparison? Probably not. The case I am trying to make is that while dubs may not be necessarily bad, why not watch the original content when you have access to it? Sure, it might be a bit tedious to read instead of listening, but I feel it does justice to the original material. Whether the original content is in English, Japanese, French, etc. why not watch it the way the writer would have wanted.
I am sure this might cause a bit of controversy, but I am always glad to talk about it below. Please comment below if you want more like this, or if you want to discuss!
“I don’t have low self-esteem. I have low esteem for everyone else.”
These words sum up Daria Morgendoffer. 2017 marks the 20th anniversary of the MTV series Daria, starring a smart, misanthropic teen girl. Originally a Beavis and Butt-Head spin-off,the show did last for five seasons, ending with two TV films.
Despite the teen angst, Daria manages to do well in school and gains a motley crew of friends. Her best pal is the artistic Jane Lane, who shares her world views. Others in their group include straight-A student Jodie and the ditzy cheerleader Brittany. They must deal with teachers, homework and the antics of dumb jocks, led by the goofy Kevin.
The Morgendorffers are the average dysfunctional family- pretty much like your own
Daria’s home life isn’t much better. Her little sister Quinn sees her as embarrassing, and she doesn’t want to be seen with her. Quinn goes to the extreme of telling her friends that they’re not siblings. Daria ends up revealing the truth to the kids at school, which horrifies Quinn.
Jake and Helen are too high-strung and fixated on their own problems to help Daria. Helen is a workaholic lawyer and the family breadwinner, but she has trouble connecting with her children. Neurotic Jake has mood swings, and he complains about his childhood. When something bad happens, he tends to erupt in a fit of rage at the world. Sounds familiar, doesn’t it?
Initially, some viewers may have felt put off by Daria’s snarky musings and frequent putdowns. Yet, when you think about it, these are the thoughts of a teenage girl who’s trying to get through life. She makes her feelings clear to a therapist, as shown below.
https://www.youtube.com/watch?v=HdZsqZKT30Y
The show does a great job in exploring teen life, and it holds up two decades later. Daria’s attempts to navigate high school, social cliques and family feel relevant. There are no crossovers with Beavis and Butt-Head, but Daria does hope Lawndale won’t be like Highland. Yet the show succeeds in standing on its own in exploring teen angst.
Perhaps a big part of Daria‘s impact comes from not being afraid to tackle real world issues. Tracy Grandstaff- the voice of Daria- agrees with this sentiment. “They weren’t obvious topics in some cases, but they scratched the surface,” she says. “They went a little deeper than, ‘Let’s just make Jane and Daria decide to go to a concert and meet guys.'”
Credit is given for Daria facing issues such as corporate sponsorships in schools and racism. The show addresses themes like anorexia and self-image. In addition, the topic of sex is brought up when Daria and her boyfriend Tom debate whether or not to do it. It’s even more difficult since Tom used to date Jane in the past.
Daria is not like most cartoons, because the characters grow and change as time passes. We see Daria showing some interest in boys, first with Jane’s brother Trent and then Tom Sloane. Later, she develops a better relationship with Quinn. By the show ends, Daria graduates with honours and goes to college. “Stand firm for what you believe in, until and unless experience proves you wrong,” she says. “Remember, if the emperor looks naked, the emperor is naked.”
Daria concludes her speech on life as follows: The truth and a lie are not sort of the same thing. And there is no aspect, no facet, no moment of life that can’t be improved with pizza.”
Twenty years later, Daria proves you don’t have to conform who you are, and there’s nothing wrong with being an outsider. Even now, the series succeeds in showing what it means to be a teen in the modern age. Perhaps we need more people like Daria today. That wouldn’t be so much of a bad thing.
Netflix original series 13 Reasons Why pulls no punches in a painful story about rape, suicide, and bullying. It’s subject matter that might already turn some people away. But sometimes art and reality crash in a spectacular way that exposes a deep wound, an ugly wound, but a wound that we must admit is there. 13 Reasons Why reveals that injury, and there’s only one reason to watch it: the show is fantastic.
13 Reasons Why begins with Clay Jensen (Dylan Minnette) who finds a box of cassette tapes left anonymously at his front door. Using his dad’s old boombox, Clay listens to the first tape and realizes it’s Hannah Baker (Katherine Langford), his friend and classmate who recently passed away. The tapes begin a journey for Clay and the viewer into the reasons someone would end their life.
As the story unfolds, we listen with Clay to the tapes while living in two time periods. 13 Reasons Why slips back and forth between the past and the present. In the present, each tape focuses on a different character and their connection to Hannah’s suffering. The reality presented by Hannah in the tapes is further explored through her eyes in scenes from the past.
The juxtaposition of the two timelines is an effortless dance that sets up the story’s real mystery. What made Hannah, a smart, bright-eyed young woman, want to end her life?
“Sleep, those little slices of death — how I loathe them.” – Edgar Allan Poe
In many stories like this, the focus often becomes about some revenge plan that’s hatched by the deceased. Or it’s the drama between self-centered characters. Here, the story focuses on all the tiny cuts, the little slices, that killed Hannah. Each episode punches one of the self-centered characters in the gut. And in death, Hannah spares no one.
So often, an abundance of expository dialogue floods these shows. But throughout 13 Reasons Why, a handful of directors and writers combine forces to create a subtle narrative through sight and sound. The quality put forth by Netflix’s show is akin to the same level paid to ABC’s American Crime.
13 Reasons frames shots and matches them with songs that create textured moments of storytelling. One such moment, when Alex (Miles Heizer), Hannah’s one-time friend who moved on, falls into a pool. In part, he’s killing himself, but only mentally. As he sinks into the water, the Chromatics play “Into the Black”, and the lyrics let us know everything we need “Out of the blue, into the black.” Alex comes to the surface of the water, alive, out of the blue, but into the black, the dark, where his guilt exists. Alex knows his torment is only about to begin.
The manner in which 13 Reasons Why approaches its subject matter will turn off many viewers. 13 Reasons takes a hard look at the micro and macro factors that cause people to take their lives. It’s an honest look, unlike few shows on TV, and it might not be the escapism people are looking for, but I argue it’s the dose of reality we all need to see.
Last month, Jeff Lemire announced he was done writing for Marvel. He also reassured fans on Twitter that he would be ending his stories on Thanos, Moon Knight, and Old Man Logan as planned. With issue #21, Jeff Lemire sets up an epic Old Man Logan farewell with the arc entitled “Past Lives”.
Amidst the ResurreXionthat Marvel’s mutant population is going through, Logan had a loose end to tie up. In the future that he is from, he left a Hulk baby unprotected. He sought out any possible way to get back there and clear his conscience.
After being rejected by every magic wielding ally he had, Logan resorts to breaking Asmodeus out of prison in exchange for time travel help. Instead of being sent to his desired time, the old man goes on a tour through his past. His body is still in the present as his consciousness inhabits his younger selves.
Lemire couldn’t have planned a better way to exit a title and leave his stamp on a character. Throughout these recent lackluster times in Marvel comic book fandom, Old Man Logan has been a diamond in the rough. Readers will be sad to see Lemire go, but at least he’s delivering another epic story before he goes.
Ever since becoming a “permanent” member of the 616 universe, Logan has struggled to find his place in the world. Having the character revisit his vast history, and dig through old memories, should assist him in finding his way with the new era of X-Men. It’s also an extremely fun experience for fans to refresh on Wolverine history.
Things may not go how readers remember them either, with Logan’s “old man” mind inside his younger body, the narrative may contain some altered events. During the War of 1812, he expresses that being his younger self makes it harder to control his rage. Surely there was more bloodshed the time he was originally captured in Ontario.
Our favorite claw-yielding mutant goes from 1812 to Weapon X before ending the issue in a familiar blue and yellow outfit. He finds himself face-to-face with the classic Hulk and Wendigo fight in those famous snowy woods.
Lemire’s voice for Logan, in his confused and older years, continues to be fantastic. A wiser, yet way more disgruntled, crank pot who’s just trying not to mess everything up again. For this story to flow so well, and be driven by nostly inner dialogue, Lemire had to have a firm grasp on the character.
Another major reason this trip through history is going to be spectacular is the art. Even through a few changes in the team behind the visuals, this series has been consistently beautiful. Getting this dark and dirty perspective on key moments in Wolverine’s history will be an absolute treat. Adding a sharper edge to his most memorable moments should make this book a memorable one.
Eric Nguyen and Andres Mossa combine pencils and colors to create beautiful landscapes. Populating them with interesting figures both familiar and unfamiliar. Each new moment in time has a different energy as Logan analyzes his new surroundings. The only misstep is the knife seen in 1812, clearly it’s not of that era.
We certainly don’t want Jeff Lemire to go, he’s been the only writer scratching the X-Men itch in any fashion for some time. This odd series, that wasn’t a sure-fire hit, has consistently delivered to the surprise of many. We still have this arc to appreciate and absorb before Lemire is gone from Marvel, I advise you pay it some attention.
Have you been reading Old Man Logan? Which Jeff Lemire title is your favorite? Will you continue to read after he leaves? Let us know in the comments below!
translate to English and vice-versa. This is usually why both subtitles, as well as the scripts for dubbing, aren’t true to the original meaning. There are very few profanities in Japanese and “Dattebayo” does not translate to “Believe it” in the slightest. While it may seem like both the subs and dubs suffer from translations, dubs have one more hurdle to jump. Timings. When localizing anime to English, every translation has to fit the character’s mouth movements accordingly. This can cause for both a lack of explanation or an exploitation of filler, both straying from the original meaning.
