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Review: Adler #3

Adler #3

Much like a traveler on a seventeenth-century steamship, I’ve waited months to return to Victorian England. The wait is finally over as Adler returns to shelves this week with Adler #3. If you need a reminder of how the series began, you can check out my thoughts of the first issue. Then in the second issue, we were introduced to the series’ true “Big Bad.” The last issue also set up the challenges the heroines will face moving forward. Issue #3 expands on these challenges by setting the stakes Irene Adler, Jane Eyre, and Lady Havisham will find themselves pitted against.

After the first issue, each subsequent issue has opened with a “the story so far” section. This section is a nice touch, especially because it’s written like a journal entry and not plain exposition. It’s interesting that we’re still meeting the characters and Tidhar does a great job of using their introductions to increase the reader’s sense of mystery. Even though we’re starting to get an idea of the plot, Tidhar purposely leaves it unclear as to how all the characters fit into that plot. As a result the character development naturally moves the plotlines forward. Often in comic books these two aspects of storytelling run parallel to one another. In Adler, Tidhar blends these two literary elements into an organic storyline.

I really like how McCaffrey draws the characters. Each of the heroines in this series has their own unique look and is drawn like an actual woman. McCaffrey also does a great job drawing the period setting. Everything from the backgrounds to the buildings to the clothing fits the image I have in my head when I think of Victorian England. However, I continue to be baffled by the page layouts. The scene transitions aren’t always clear, and it can make it hard to follow the story. There are occasionally boxes that denote a scene’s location, which helped me keep track of the events in each scene. Yet there were several places across the last two issues, especially as new characters are randomly introduced, that I was forced to go back a few pages and re-read the comic in order to understand what events were occuring in seperate scenes or within the same scene.

Adler #3 was definitely worth the wait. The third issue of this ongoing series had great pacing, fun character moments, and exciting sequences. I’m an avid reader and have read many of the classics. My favorite part about this series is seeing which details from history and literature Tidhar chooses to keep and which he chooses to embellish or take in his own unique direction. In the first issue we get an alternate take on Jane Eyre’s life after the conclusion of her eponymous novel. Last issue, Tidhar took us on a deep dive into the Sherlock Holmes mythos. This issue was my favorite so far as it brought in some of the scientists of the Victorian era. Plus we get our first real glimpse into some steam-punk tech promised by the original description of the series. Much like the works that inspired many of its characters, Adler is quickly shaping up to be a classic.

Story: Lavie Tidhar Art/Color: Paul McCaffrey Letterer: Simon Bowland
Story: 10 Art: 7.0 Overall: 8.5 Recommendation: Buy

Titan Comics provided Graphic Policy with a FREE copy for review


Purchase: comiXology – Kindle – Zeus Comics

Review: Warrior Nun S1S5 “Matthew 7:13”

Warrior Nun

We are finally at the halfway point of Warrior Nun and I’m just as impressed as I was from the beginning. There’s so much I want to say but I’m going to try and be as spoiler-free as possible so I’ll just give you the highlights. We finally get a sneak peek into why Dr. Salvius is so hellbent (sometimes I’m super punny) on opening a portal and fighting the church. Ava comes face to face with what the OCS is up against and Lilith makes a hard choice.

Fantastic Voyage: Ava and JC head off to do a fake-out by taking a ferry to Morocco with the intention of staying on the ferry and faking out every one chasing them by returning to another port in Portugal and continuing onward from there. Their budding romance is one of the most realistic, summer-loving/meet cute, nontoxic things that I have seen on screen. I love that her inner monologue is usually a reversal of the male objectification that we normally see, it shows that women also have thoughts about people they are interested in, and (GASP) sometimes it’s purely physical and sexual. I also like that JC seems to be OK with Ava’s innocence and doesn’t try to take advantage of her and respects her physical space unless given permission and her autonomy and I loved he initiating their first kiss (and a little bit more), even if it was to get out of answering his questions because she’s been wanting that kiss since the first episode. 9and more)

Smash the (Church) Patriarchy: Sister Beatrice is not here for being told what to do, she’s here for doing the right thing. I love the way her and Sister Mary are all about questioning the male-centric hierarchy of the church and are willing to defy orders and rebel when it seems that the male (Cardinal) giving the orders is not making good calls. I love how the writers make Beatrice and Mary two sides of the same coin, while Mary takes a more “Screw you, I do what I want” approach, Sister Beatrice is all about smashing the hierarchy from the inside with quick quips and tea spilling, she gets a full picture and asks all the questions.

Science Facts/Religion Fiction: We finally get an explanation of what Divinium is and Dr. Salvius shows security footage of the OCS attacking her lab security staff to show that the Vatican has declared war on her because she found a way to make a bridge to heaven. The Cardinal is still on his patriarchal bullshizz and even after the Doc says she wants to go to heaven, he insists that she is wrong, he knows best and her bridge goes to hell. He also thinks that she is unjustified in attacking or declaring war on the Vatican, even though they attacked her first because his attack was justified. I also love Sister Beatrice and Father Vincent questioning the Cardinal’s motives and orders and leaning on their consciences and not the church hierarchy.

Best Lines:

“As the chain of command rises to God, I am sure He knows he has my full support.” followed by , ” You may always count on me to remain faithful. To God.” – Sister Beatrice to the Cardinal when he tries to get her to side with him. It was the clean, verbal “miss me with that bullsh**” that we all needed and the Cardinal wasn’t expecting , especially from a woman but, deserved.

“The church sells dreams, it’s time for someone to sell reality.” – Dr. Salvius to Father Vincent on why she is trying to open the portal no matter the cost.

Episode MVP: Sister Mary. Everything about her is bad ass and everything the patriarchy hates. She’s a free thinker, she does what she wants, she’s smart and she’s a fighter.  Watching her go to battle on multiple occasions with Sister Lilith in some of the most realistic fight scenes in a tv show was fun and her logic and quips made it easy to root for her and her logic and emotions make it easy to be team Mary all the way.

Overall: If this episode was the season finale of the show, I would be checking Twitter every day to find out when the show was coming back because GAWD DAMN! was that ending FIRE! Luckily ( I really hope it doesn’t go downhill from here) there are five more episodes and if they are even half as good as the ones leading up to them, there’s more fire on the horizon. This midway point episode tied up everything we’ve learned about the Halo, Ava, the OCS and Dr. Salvius as tight as a newborn baby whose parents have perfected their swaddling method. It answered all the lingering questions and paved the way for the next chapter of this amazing story. There are NO plot holes, which is rare in a supernatural, religion-based show and nary a question about mythology because everything makes sense and the story is pretty easy to follow. Storywise it is a perfect mash-up of Buffy and Supernatural but, it requires very little suspension of belief and logic in order to just go with the story and plot. I also like how this episode puts the nail in the coffin of any thoughts the viewer might have had about how “F*** the Patriarchy” this show was and I’m here for it. This episode was directed by a woman and it shows, especially in the brief almost sex scene, the way it doesn’t ogle Ava or seem salacious, everything from the facial framing to the action and body shots is done perfectly and if you’ve ever wanted to know what the female gaze looks like, it is here in every scene.

Rating: 9.6

Review: Locke & Key “Crown of Shadows” S1E10

Locke & Key "Crown of Shadows" S1E10

Nina and the detective are celebrating her return to sobriety and she’s completely unaware of all the hi-jinks that her kids have been up to and the evil that is headed their way. Kinsey, Bode, and Tyler are anxiously waiting for Ellie’s return unaware that Dodge got to her and is now in possession of the crown and the key needed to control it, so when she shows up at the house with a literal army of shadows it’s game on.

I WAS ALL ABOUT:

  • Bode using a multicolored lightsaber to keep the shadows at bay while they hunt for more flashlights, then using it to defiantly stab a closing in on shadow monster causing it to go up in all the flames, is everything good and pure in this whole cold, heartless world.
  • I loved Scot using his horror knowledge to be the king of captain obvious when it comes to questioning all the off choices the team makes and Eden wondering what the plan is if Lady Doge wakes up why they’re carrying her through the spooky cave.
  • Bode finding Rufus’ body at his house while everyone else is off on their mission to open the black door and dump the body.
  • Kinsey coming to her senses and realizing that opening the black door might not be the best idea, at least until she let Tyler talk her out of it it.
  • Bode again being the voice of reason and questioning if they really got rid of Dodge because something wasn’t adding up for him.
  • Watching them release Rendell’s ashes and calling the house HOME for the first time.

WHAT WORKED: Throughout the season finale we are reminded that these are just kids messing with some very grown up (and ancient) magic. They make some rookie mistakes but, they also come up with some out of the box solutions that most adults wouldn’t have come up with. Things aren’t tied up in a nice little bow and it’s messy, like life and childhood and adolescence making it reliable wherever you are in your life cycle.

I also like shoving a lot in on the front end of the episode so that you find yourself lulled into a very false of security with twenty or so minutes remaining but, at the same time there was an uneasy feeling that kept you on your toes until the last five minutes when Kinsey after receiving a call from Gabe. After the phone call, the viewer gets to have it’s idyllic happy ending shredded when a flashback gives us a bunch of aha moments and we find out that Gabe Kaiser Sose’d Kinsey to get close to the keys, made evident by the flashback reveal that shows Lady Dodge body changing from him and then using the Anywhere Key to get into the party where she seduces Tyler. Eden got shot by a glowy bullet so there’s another demon on the lose and, if that wasn’t enough, Ellie is who got thrown into the pit because Lady Dodge used the Identity Key on her to lull the kids (and us viewers) into a false sense of security so that she could continue her hunt for the keys.

KINDA SUCKED: That you spent a lot of the episode hella sure that, Ellie got thrown into the pit in the black door in a Lady Dodge suit, poor Rufus making the aha moment when you find out you’re right, that much worse.

BEST MOMENT:  

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  • Scot being honest about his feelings and telling Kinsey that what she wants (her dating both him and Gabe) isn’t going to work for him, so it’s best that they just stay friends.
  • Bode writing a letter to his friend Rufus as Nina puts up missing posters looking for Ellie.

BEST LINE:

“Is demon non-binary” – Scot

“You’re gonna have a knife fight with a demon?” – Eden

“If you’re undecided, then that’s your decision” – Scot

FINAL THOUGHTS:  This was a great final episode with amazing reveals a perfect ending for the show’s first season. I really hope that it gets renewed because I want to see more of Matheson, it might not be as dark and heartbreaking as the comics but, it’s still filled with great characters, a wonderful story, a well thought out and executed mythology and a rich world filled with people you can relate to, who happen to find themselves in magical situations. The series as a whole was cohesive and clever and this episode was the cherry on top of a great story sundae.

OVERALL: 9.4

Review: Locke & Key “Head Games ” S1E3

Locke & Key‘s third episode was all about the Head Key. The kids enter Tyler and Kinsey’s minds to dig up more memories of their father and deal with the trauma from their sudden loss of their dad. Bode finds the Ghost Key and uses it to talk to some of his ancestors since he can’t talk to his dad with it. Lady Dodge grabs the Fire Key from the ruins of Mark’s house and Kinsey literally buries her fears.

Locke & Key S1E3 Head Games

WHAT WORKED: In Head Games  Bode finally comes clean about the Lady, which is some info that the older siblings should have had from the beginning since they had no idea what they were actually up against. The title is a play on words and gives off a lot of hints about things that directly affect the episode’s progression. We learn more about the Head Key, how it can put things into your head and take things out just as easily as it allows you to just look around. The episode also deals with trauma and recovery from it, in some very real and honest ways, Tyler and Kinsey have been holding a lot of emotions, from guilt to anger, about their actions when their father was being murdered.

All those emotions are pushed front and center as the kids use the keys to open up memories but, to confront their inner demons (Kinsey does this literally and figuratively, although not in the healthiest of ways) and try to make sense of things. Up until this point, the keys were just fun and games, an easy fix to their real-world problems but, in this episode, the other shoe drops and the kids are forced to get somewhat on the same page with the Lady Dodge threat becoming real for all of them.

I liked that the writers took time to showcase all forms of dealing with stress and emotional trauma, they seem to have carefully written the story to make it clear that there is no right, or wrong way, to grieve or deal with trauma and there are no short cuts to dealing with it either. What was great about the way they handled their trauma depictions was that they didn’t say there was a wrong way or a right way, they just showed what was and it made their pain understandable, heartfelt and sincere which created a connection with the viewer on a human level.

BEST MOMENT: When Lady Dodge snatches a kids key from him and throws him on a subway platform through a new door it was shocking. But, it also provided us with first-hand visual knowledge of how ruthless she was and it set the tone for her future interactions with the Locke kids and anyone else who gets in her way. This seems summed up everything that you really needed to know about who Lady Dodge was and in a few simple frames took Locke & Key from a fantasy kid’s show to a dark fantasy show where anything could happen.

OVERALL: 8.4

Review: Supergirl “Back From the Future – Part One” S5E11

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After his secret meet-up with Lex in Episode 10, Brainiac breaks alt-universe Toyman out of prison and brings him to Lex, who tries to lure him to the darker but “good” side. The ladies try and cheer Nia up from her untimely breakup with Brainy as they all question what could have prompted his sudden change of heart. Lex lets Lena in on Brainiac’s involvement in their new save the world plan and at the ToyCon, Toyman takes a shot at his dad’s nemesis when Winn returns in a spacecraft and diverts the bullet and save his future.

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WHAT WORKED: In a show based on fantasy, the motivation behind the character’s actions were written, acted and directed in such a way that it was believable. Brainy is coming to realize that he made a deal with the devil and while logic might be a good thing to use, it doesn’t always account for human error. Winn getting all supersuited up and trying to catch the alta-verse Toyman version of him to save his future and keep his family in the future safe. Lex is still a scorpion and kind of self-centered, he breaks the Toyman out to coax future Winn back in time so that he can steal info from his ship, which would have worked but he forgot no one trusts Lex and they moved the ship leaving Brainiac to find a way to catch Toyman and get the info without letting his “team” know what he’s been up to. What worked in this episode was the human nature and realistic take on the trust and fallibility of humans.

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BEST QUOTE:

“You promise me no one will get hurt.” – Lena to Brainiac & Lex

“I promise you no one will be harmed” – Brainiac to Lena

Which is ominous as f*** and with Brainy now running only on logic, that could mean a number of things and I’m not sure all of them are good.

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BEST MOMENT: It was more a collection of moments where our boy Winn, who has been super missed, gets to reconnect with his old friends and get a rundown of the multiverse. Seeing the adorbs joy on his face when he gets that “Papa Bear” hug from J’onn J’onzz filled me with the warm and fuzzies.

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EPISODE MVP: Nia. She has a lot to deal with following the out of the blue Brainiac breakup. She is dealing with some next-level emotional stuff and questioning her powers and place because of her trying to deal with the breakup. She gets next level gaslight by herself and to some extent Brainiac, who knew that her dream was about him betraying them but, was left to believe that it was about the breakup and when the tiger was with Brainy, she still didn’t put it together especially when Brainy said that Tigers were the Winslow College mascots and where they could find Toyman. What makes Nia the MVP in this episode isn’t her being on her game 100% of the time, what makes her the MVP is that she wasn’t and she dealt with it and when it was time to get her head in the game and fight, she did and she found a space to process her feelings so that she could continue on. Being strong enough to have feelings, be hurt, keep going, grow and be still kick ass against bad guys makes her the MVP because she showed that it’s okay to not be okay all the time.

Overall: 8.4

Review: Batwoman “An Un-Birthday Present” S1E11

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An alternate universe Beth shows up at Kate’s office and gets assaulted and chased off by Kate who thinks it’s another one of Alice’s games. Alice is still in holding by Sophie and her dad’s team while her little mouse goes on a kidnapping spree to secure her release. The city refuses to call Batwoman for help and after Kate connects with Beth and fills her in on the multiverse and why no one remembers her.

WHAT WORKED: The writers made Beth’s acceptance of the multiverse plausible by making her a physics major they also made the heartbreak real when she explained what happened in her universe when the car went over the bridge. While Kate is happy to have her sister back, instead guilt about fighting with the Alice her universe, knowing what happened that made it so that they could be together in Beth’s universe is sure to ring back her guilt over Alice and make things difficult in the future.

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BEST MOMENT: 

Tie- Kate getting a chance to save Beth and Beth getting a chance to save Kate, there was something beautiful about them knowing that their counterpart isn’t the one they grew up with but, they were still willing to sacrifice themselves for the other and if necessary die together.

The people of Gotham taking to the streets to demand that the Gotham Police Department turn on the Batsignal and Batwoman showing up backlit and looking fierce AF above the crowd, giving them hope.

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EPISODE MVP: Mary. She loves Kate and was willing to put her faith in that love when Beth showed up wearing the face of her mother’s killer she rolled with it and did due diligence to make sure that it wasn’t one of Alice’s tricks to get at her sister. Once she realized that it was in fact Beth as Kate had wanted her whole life she accepted her and even made her look like Alice in order to save Kate. Mary gets the MVP the emotional depth that Nicole Kang put into it made her real and in this episode, she shined and got to put all of her chops to work and it was beautiful and anchoring in a hella emotional and crazy episode.

Overall: 8.7

Review: Harley Quinn #53

In Part One of the “Minor Disasters” story arc of Harley Quinn, writer Sam Humphries takes us on a fun romp through the world of Harley as she works on maintaining her internet stardom. I wish that my previous sentence was leading somewhere awesome and that wasn’t the whole story but, unfortunately that’s it.

Harley is no longer a social justice warrior, saving the missing homeless, protecting her neighborhood, or any of the good that she’s been doing. Instead, she’s fallen in line with the rest of the basics and is solely concerned with maintaining her internet stardom.

The issue starts off with her saving Coney Island from an Orc while trying to rack up major views on her channel and ends with her being embarrassed by a video where she trashes her fans is accidentally uploaded, possibly ending her internet reign and killing her fan base.

The things that happen in between the pages of these two events is nothing short of mind boggling. The major villain in this arc is Minor Disaster, the isolated and approval seeking daughter of Major Disaster. After a series of unanswered texts and calls to her father she sets out to make her absentee dad notice her she sets her sites on the latest internet sensation, Harley Quinn. Her logic is that her dad thinks Harley is a joke so, the best way to get his (male) attention is for her to take down (another woman) Harley. So, she stalks her and waits for her chance to catch Harley at a weak point , where she is lamenting about the toll pleasing her fans and “management” team are taking on her and use that to destroy her. The big bad in this issue is a female villain who isn’t very good at being a villain and is seeking validation through a mans a approval. Harley’s big mission on this story arc is shaping up to be centered on Harley, restoring her good name with Tina’s help because, despite what the previous issues have told us, Harley’s biggest concern is what others think of her.

For Harley’s part, she finds herself at the mercy of her team who want her to get her already high numbers up, please her fan base and never ever get “real” or emotionally because that’s not what sells. It kind of hurts to see Harley in such a powerless position, especially since the Harley we had gotten used to was all about girl power and being a bad ass and not caring what other people thought. Humphries seems to think the best direction for Harley to go is down to a base level, where pleasing others and giving up herself as tribute to the will others is her biggest concern and only course of action. It’s such a step backwards that, I can only assume that this episode will turn out to be some elaborate dream sequence that we will all laugh at when the arc is over. The issue seems to take pleasure in showing all of the surface boiler plate women in comics tropes and none of the breaking out of the box assigned to us empowerment stories that we had become so accustomed to and rooted for. We got a total of four pages of Harley having agency in a 32 page issue and both times, she was put back into her place by either her handlers or her fear of “exposure” to her fans. The disturbing part was that in her realist and most honest points in the issue, she was told by others that her emotions and feeling were essentially wrong, inconvenient and that they need to be locked away because no one wanted to see them. It was the comic book equivalent of a man telling a woman walking down the street to “smile”.

If I had to look for a positive in this off-putting issue, it would be Lucas Werneck provides the pop centric aesthetically pleasing art work that is full of cuteness and fun while Alex Sinclair makes the art work come to life with his use of sleek, bubble gum colors. Everything from the attention to detail to the way the characters hair color pops makes #53 a pretty little comic. The panels seem to tell a story all their own and are so breathtaking that you can figure out what’s going on by just looking at them. In fact what the artists call on and evoke is what I wished was going on, a real story with Harley as hero, fighting for the little guy and saving Coney Island, or the world.

There are some undertones that call out the cult of celebrity and internet stardom into the foreground and somehow that works with this particular incarnation of the Harley story but, that says a lot about the story that Humphries is telling. With everything going on in the country , I liked knowing Harley was slaying the big machine on the pages of her comic book but, if this issue is any indication, those days are long gone. The start of this story arc isn’t big on girl power or addressing real societal problems like the previous writers focused on, it’s not as bad as it could be Harley didn’t end up back with the Joker, and the artists didn’t use whole panels to perpetuate a male gaze but, that isn’t a very high bar to set. This issue signals a return to a slightly vapid, Harley who finds herself under the control of fame and handlers ,instead of the thumb of the Joker. Basically trading one fickle toxic relationship for another and killing any growth that the past few years have brought her.

Overall this issue feels like a step backwards from the strong independent, bad ass, morally ambiguous but, always down for saving those who have nothing Harley that we had grown to love. While Harley Quinn #53 isn’t a full nail in my Harley loving coffin, it’s not exactly where I thought things were going when the baton was passed. If you take the issue as it is and for what it is, it’s a quick, fun, basic read and nowhere near the page turner , thought provoking Harley we had grown to love and root for. I’m hoping that the arc picks up and, that Humphries gives Harley something real to fight for, instead of her reputation or fame and we get a real taste at the feminist icon we know is hiding in Harley’s newly revamped shell. She’s deserves it and so do we.

Story: Sam Humphries Artist: Lucas Werneck
Story: 5.7 Art: 8.9 Overall: 6.4 Recommendation: Read

DC Comics provided Graphic Policy with a FREE copy for review

Review: Inuyasha

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When people think of filler in anime, I assume they’re thinking of things like Bleach or Naruto, two series that thrived off stupid side plots that weren’t in the manga but people still watched. You see, filler is what happens when a series is popular but has an unfinished story manga-wise so the anime creators decide to screw it and make up plots. Now, I don’t know exactly where the filler arc originated, but the first time ever really noticed it was in the series Inuyasha by Rumiko Takahashi. The manga ran from 1996 to 2008 and the anime… Well the first series ran from 2000 to 2004 before the rightly named Final Act aired in 2009 to 2010. Rumiko Takahashi is also known for her work on Ranma ½ and most recently Rin-ne. However, I think, Inuyasha next to Ranma ½ is her most influential and long lasting work as it has continued to be prevalent in anime culture to this day.

The story follows Kagome Higurashi, your normal high-school girl who lives at a shrine in Tokyo who is magically transported to “Feudal Era” Japan. It’s there that she meets Inuyasha and wacky shenanigans ensue. They meet a multitude of other characters and have crazy love triangles all while trying to save the… “Feudal Era.” Also, there’s some stuff about a magic jewel that, completely by accident, is shattered into like… 99 shards if I remember correctly. I could make the joke about the main characters yelling each other’s name dramatically, but honestly, everyone’s sort of made that joke at this point. Besides, there’s a lot of other things I can make fun of! Like the fact that random characters seriously use “Ye” and that this is a series that continues the early 2000s tradition of reading out loud the horribly translated title cards. I’m also probably exaggerating the whole “filler arc” thing as well, but somewhere along the way it felt like the story stagnated and keep repeating the same three story lines when the anime ran out of manga to transcribe.

This is a series I watched every Saturday on Adult Swim’s anime block and it was actually one of my first anime series! It holds a special place in my heart, but like many things I have grown out of it and recognize that there are some things that could be better about the series. This is basically a repeat case of Chrono Crusade but with infinitely better end results.

For characters, we start with Kagome of course. She’s the traditional student who’s just trying to get the boy and graduate. Everything changes naturally when she falls in an ancient well on her family’s property. Then she’s transported to “Feudal” Japan with only a little emotional trauma. It’s there that she finds out who she is, or who she used to be, and what she has to do. It’s also there that she meets Inuyasha.

Inuyasha is a half-demon boy who only wants to become a full demon, mostly due to tragic backstory and yadda yadda. He’s rough around the edges, but he means well. He’s your typical early 90s/2000s male protag that’s honestly just trying his best. He and Kagome work well as characters together, often fighting and creating a lot of humor with each other. He does have a lot of issues though, especially in concern to that big ol’ who Kagome used to be thing.

We also have Sango a demon hunter with anger problems and a tragic backstory. She’s there to act as… Well, a love interest for another character. She is awesome, using a huge boomerang to kill demons alongside her companion who’s… A giant cat or something? I was never really sure what Kirara was, but I knew she was cool.  Sango’s on both a path for revenge and character growth. She spends a lot of time being one of the actually more helpful characters in the series, but is held back by your typical early 2000s character type that almost echoes the tsundere but not completely.

Then finally, last but not least, Miroku a perverted monk who also surprisingly has a tragic backstory. He has a magic deus ex machina hand hole, it’s actually called the Wind Tunnel, and it sucks up everything from demons to land. One day though, it’ll probably consume Miroku too, which would be more worrisome if the cast didn’t seem to either forget about it or somehow have it incapacitated. Like, it’s literally an OP skill that gets sort of pushed to the side so Miroku can be a pervert and the comedic relief too often.

There’s also a multitude of side characters that don’t really add much to the story. That’s one of my major issues with this series, we’re introduced to a really big cast that just don’t really do anything, like they’re there but in the grand scheme of things Kagome and Inuyasha are the important ones. That and a lot of these characters are just… Not the greatest? It feels like everyone has a tragic backstory but it doesn’t really excuse their awful personalities. I mean, a lot of the characters grow eventually, but I felt the story suffered from the abundance of characters.

The art is… Frankly a bit dated in the style itself. You can see it in the way the face and eyes are shaped compared to more recent series, the eyes are squarer while the faces are sharp, short, and round. That being said it’s not entirely bad though, some parts of it still hold up to this day, especially fight scenes. Inuyasha in any fight still looks clean and each frame, well not each, is a good screenshot. I would say that while dated this series animated art holds up a lot better than late 2000s series. It doesn’t fall into horrible anatomy or cringe worthy moe-bait. Both animations were done by Sunrise Studio who is most recently known for the Love Live! series, but more popularly known for the Gundam series or Cowboy Bebop to name a few series. It was licensed by the all too familiar companies Madman Entertainment and Viz Media. These are all studios that are great and have accomplished a lot and it shows with Inuyasha how far they had come then and how far they have since then. Now, I didn’t read the manga, but from the art I’ve seen it comes off farm more simplistic in design, at least character-wise, but also charming at the same time. Also, you can see how Rumiko Takahashi has grown in terms of her art as Inuyasha comes of a bit sharper compared to later series she has done.

Sound wise, I’ve only watched the dub and I always, and still do this day, thought it was a pretty good dub in terms of voice and execution. Now, translation wise…. I won’t be praising that. There is a character that says “Ye” to make us believe we’re in the far long past but literally no other characters from the past speak that way. That aside though, the main characters were well voiced and acted, I never had an issue with that. For instance, Inuyasha was voiced by Richard Ian Cox, who also voiced Ranma in Ranma ½  and Kai Shiden in like five different versions of Mobile Suit Gundam. Honestly though, none of the actors have done a lot in terms of anime beyond Inuyasha, at least not big roles unless you’re counting Kelly Sheridan as… Starlight Glimmer in MLP: Friendship is Magic… However, I don’t think that takes away from the show at all, rather it sort of gives a different feel of how unique the show was. This is still one of Viz Media’s strongest dubs, I would say, personally at least, and it still holds up compared to other works they’ve done. The acting is on point and never feels contrived like some newer series might. Music wise, I remember most of the themes being amazing, even if there felt like there was a new one every twenty episodes. The ones I remember most clearly are probably the first seasons ending themes which were done by Dream and Do As Infinity. Both were sweet and slow ending songs really showed the softer side of the series that would get bogged down by all the drama and growing violence in the story line. Ultimately, I think much like the art this sound holds up just as equally as the art.

I know that these days Inuyasha can sort of come off as a joke in most anime circles, but I like to think that’s because for many people it was a starting point for an interest in the anime format. It was for me at least. While there are things that could be better, translations and reused plots, but beyond that it holds up nicely. If you ever want something that you could binge watch or just enjoy in the background, I’d say this series is perfect for that!

Inuyasha: 8.5/10

Review: Elfen Lied

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Some people just really like dark stories. Like really dark stories. Like we’re going to kill your pet puppy because you’re a horned freak dark. Anyway, Elfen Lied is a manga written and illustrated by Lynn Okamoto, who has really done anything else big as of yet. It was serialized in Shueisha’s Weekly Young Jump from June 2002 to August 2005. The television show was produced by the studio Arms and was licensed by ADV Films here. The anime ran in 2004 from July to October, before the manga’s end, which means it had a different ending than the source material. For once though, that seems to be a good thing.

The story focuses on a new mutation of the human species, called Diclonius, who have horn like protrusions on the forehead and the ability to summon invisible telekinetic arms. It specifically follows one Diclonius, Lucy, who for a long time has been held captive in an experimental facility. She escapes and ends up with amnesia, due to an all too convenient head injury, under the new name Nyu. From there she meets Kohta and his cousin Yuka who proceed to care for her. And the story only ramps up from there. Lucy has to remember who she is and continue her fight for the Diclonius as their “queen.”

Now, this series is famous. Well, maybe not as famous as it used to be, but back in my day Elfen Lied was how you knew if someone liked grimdark anime or not, if they were hardcore. I remember watching this in a hush hush situation when I was too young to understand why a lot of the themes were a bit too extreme for a fourteen-year-old. Now the reason the series was famous was because it just went all out on nudity, gore, sexual themes, all around dark themes, and otherwise. Lucy escapes nude and spends a lot of time nude killing people in really gruesome ways, often to the point of excess. That isn’t to say that the series is good, because it really isn’t that good, but it was stretching what mainstream anime could be in 2004. Which is saying a lot. In hindsight though, at points, it seemed like it was just trying to be hardcore for the sake of it.

With the main characters I am about to introduce, I’ll focus on the anime as it is the part of the series I have actually seen.

Our lead character is Lucy or Nyu, who is probably the most advanced of the Diclonious. From a young age she was alienated by others and it caused to her to have a very bad outlook on the human race, to the point of having little to know feelings for them at all. She has a sadistic personality, often leaving others to bleed to death because she can, if not murdering them brutally. Lucy may have a past with Kohta, though it takes a while for that to be revealed. However, has Nyu she is very childlike, unable to say many words beyond ‘nyu’ and ‘Kohta.’ She is essentially all that is good in Lucy. However that doesn’t mean she isn’t cringe worthy at times, like nearly all the time.

Kohta is the story’s male protagonist who has decided to stay with his cousin Yuka while he is attending college. He has a bit of memory loss concerning his father and sister, but knows that they died horribly, but not how. He and his cousin find ‘Nyu’ on the beach and take her in. He’s your average bland male character who doesn’t have a lot of depth to him. He’s there for Lucy to have angst over and to be the token male character in what could have easily been a harem anime.

Yuka is Kohta’s cousin, who may or may not be attracted to said cousin. For a lot of the story she appears upset that Kohta doesn’t remember the time they spent together as children, despite the fact his memory loss is caused by horrible trauma. She is the mother character in the series, who essentially takes care of or cares for all the others. She also is there to be jealous of the tension between Kohta and Nyu. She much like Kohta doesn’t have much of a personality beyond these few traits.

Mayu is a young runaway who ends up living with our protagonists, Kohta and Yuka becoming her guardians. Before though, she was living on the beach with a stray puppy named Wanta, having run away from an abusive household. Over time, after moving in with the cousins, she begins going to school and ultimately has cheered up as a person. She acts as the core of the makeshift family, often breaking up fights.

Nana is a diclonious like Lucy, but treated much better, known as number 7. She is used as a test subject at the very same facility that Lucy escapes. However, she is treated as a daughter by the very man attempting to find Lucy, Kurama. This makes her almost the exact opposite of Lucy, as she is warm and has never harmed a human before. Originally, she is sent to capture Lucy, which she fails to do and ends up severely hurt, but alive. After the failure she ends up living with the other protagonists, but not without initial distrust towards Nyu.

There’s other characters, all who have their own arcs and what not, but the story ultimately falls around Lucy. The characters affect her and how she reacts. So, in hopes of keeping spoilers down and interest possibly up, some characters will be shelved for now. The characters, besides the ones stated above, are also not exactly the most interesting.

The art is one that is very dated by its 2004 airdate and it shows, especially in the face of the characters. The facial proportions are extremely off, but comparatively the rest of the body is on point, everything else is fine. The eyes are just too big at times and don’t match with the rest of the face and it hurts to look at sometimes. The faces are awkward and it shows greatly at times, but at other points, especially with Lucy, the faces are beautiful. Especially in the later episodes as the story begins building up.  It also has a problem with the colors, at times seeming to rich and while yes it is animated, that doesn’t mean the color should be so forced and dull. One of the greater aspects of the animation was the opening, which made reference to Gustav Klimt’s painting The Kiss, Adele Bloch-Bauer I, and others with similar styles. The anime is definitely stronger art wise, as the manga seemed to have no aspect of actual anatomy and was at times almost too cutesy to match with its much darker themes. It’s one of those series that tricks you into thinking it’s going to be cutesy by the art, but then really is just a complete bend, like Higurashi. It also doesn’t have the beautiful opening, which accentuates the story perhaps the best within just a short amount of time. The anime was directed by Mamoru Kanbe, known for his work with Cardcaptor Sakura.

The sound for the anime was not the best, at least not the dub. However, it has perhaps, one of the most iconic opening themes in anime. Lillium, composed by Yukio Kondo, arranged by Kayo Konishi, and performed by Kumiko Noma. It echoes a sort of Gregorian chant and really echoes the feel of the story. The ending theme is not that much of note, especially in comparison to the beauty that is Lillium. So far as voice acting goes, the dub was subpar, the only person of note is Kira Vincent-Davis who played Lucy/Nyu, though she’s not much better than the others. The acting in the English dub is just so bad, it’s dry and emotionless, the delivery is just… Sad with what could have been a brilliant dub. Ultimately though, the Japanese is the better choice, especially in a series like this where some liberties were taken with the dub. Still, the series with sound seems to be just meh in general.

The series isn’t good, but it has aspects about it that seems to capture people. It really seems like a fever dream at points. People know about it, something that’s like sharing some secret with your best friend. Honestly, the show isn’t awful to get through, it might be hard at times, but honestly it’s one of the shows that seems to be a guilty pleasure for some. I can’t say much about the manga other than general appearance issues, but maybe it’s worth a try. However, you should only be watching the series if you are of age. This is a series with adult themes, gratuitous violence, and nudity.

Overall Rating: 6.5

Review: Trista + Holt #3

SmTHTrista & Holt #3 is another work from Andrez Bergen (Iffy Commix) that captures the spirit of noir so perfectly it hurts. What really got me by the throat was that this one was over far too soon and after the feast I experienced by reading all twelve issues of Bergen’s Bullet Gal a few weeks ago collected into one sumptuous volume, It’s Not You, It’s Me, I’m now left waiting hungrily for Trista & Holt #4 (if you haven’t caught all of Bullet Gal yet, 10-12 are yet to arrive in separate issues).
It’s the nature of Bergen’s work that the intoxicating images, motifs and dialogue come from across the entire landscape of literary and film noir and that’s in evidence here. Though it contains references from various eras, Bullet Gal seems more firmly established in the world of “high” noir, with archetypal noir imagery from the 1940’s existing in a digitized-techno narrative that’s completely classic and new (yes, I’m aware of the paradox there. ). Trista & Holt #3 seems to turn that inside-out, with all the classic noir tropes seen here in the neo-noir of the 1970’s. Instead of classic black gangster vehicles a la Capone and company traveling the streets of Heropa we’re treated to Ford Grand Torinos and muscle cars from the era of Starsky & Hutch.

HoltOwlTwo brutal crime families, the Holts and the Cornwalls, each with a powerful matriarch, battle for ultimate supremacy. Violence erupts in the streets against one of the Holt’s guys, making headlines on the news and stirring up shock, blame and plans for revenge within the Holt family and a toxic but (of course) flawlessly beautiful femme fatale, Alaina Holt, takes action while her husband Isidore “Anguish” Holt has a meltdown. It’s definitely worth getting to know the dramatis personae of this corner of Bergen’s dark and fascinating universe.

I love the dynamic of the two warring families, each with its own thugs, wayward relatives and henchmen to contend with, and also the film noir convention of voice-over from the lovely and world-weary Trista, ally to Marcella “Queenie” Cornwall, and the appropriately jaded Issy Holt, whose favorite show, CHiPs, is interrupted by news of the family’s wheel man’s untimely demise. Perhaps Issy’s apparent dead-pan delivery illustrates the detachment necessary to exist in such a maelstrom of violence and treachery, the fabulous mid-century modern surroundings of his apartment notwithstanding. No wonder he seeks escape in the company of Ponch and the gang, but Alaina isn’t about to let any of the men escape from reality for very long; she’s a woman of action, as is her nemesis, Queenie Cornwall. Like in Bullet Gal, the decisive action of the women propels the story forward and any signs of lingering in thought, grief and self-pity are severely frowned upon. There’s just no room for that here. Something about the epic battles between these two families and the take-no-prisoner divas at the helm of each winks at the popular nighttime American soaps of the ‘80’s, such as Dallas, Dynasty, and Falcon Crest, only instead of oil, mining or wine, these gangster families deal directly in gun-power and turf-wars, and turn to violence as a way to get things done first instead of last.

If you’re a fan of noir, this is a must-read and you’ll be addicted immediately; and if you’re not a noir fan but you love new and innovative forms of story-telling, you have to check this out.

Story: Andrez Bergen Art: Andrez Bergen
Story: 10 Art: 10 Overall: 10
Recommendation: Buy

The creator/publisher provided Graphic Policy with a FREE copy for review.

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