Category Archives: Reviews

Review: Doom Patrol #5

doompatrol5aMINOR SPOILERS BELOW.

I can’t remember the last time that a comic was this bat #$%@ crazy, yet I begged for more. Doom Patrol #5 is a great example of what happens when talented creators double down on the ridiculous, and make something cohesive and beautiful within its own crazy world. I say creators because, a lot of the time, writers get more credit than artists, and with this book, it would be a crime to not treat Gerard Way and Nick Derington as equal powerhouses. Now that may be true with most comics, as the artist deserves a ton of credit since they are doing so much of the work we see on the page, but this comic marries the art and writing better than most in the entire medium.

The way Derington draws these books amazes me even more with each issue. It isn’t simply because of his super original yet instantly recognizable style, it’s because he brings them to life with every panel. The characters in this book are so zany, and feel right in line with past Doom Patrol comics. He draws  Cliff Steele punching Torminox in an iconic ode to Cap punching Hitler. It is beautiful. The entire book is filled with great moments that pop off the page and flow from panel to panel in a way not all comic books do. I am amazed that Derington finishes these issues (yes there have been some delays), but I can see why because they are packed with detail, are constantly changing locations, characters, tone, and sometimes even style. All while continuing to keep the charm that he brings to this series. Again, he is just as important as Way to this book, if not more. Tamra Bonvillain, while having one of the coolest names in comics, also colors the hell out of this comic. They bring these characters right off of the page with bright and deep tones that marry Derington’s artwork perfectly. The two work as a perfect tandem, and make each other’s work that much better.

Way nails these characters in the same way Morrison did. The tone is fun, fast, and ridiculous, and I couldn’t stop reading and flipping the page in anticipation of what would happen next, or to see if these characters that I love were okay. It takes a good writer to make me feel about characters like Robotman, The Negative Man, Casey, Ricardo, Flex, and Danny, but I do. That isn’t to say they aren’t great characters, but that I am completely buying into them as people, and that’s crazy, well because this book shouldn’t feel real. It’s nuts, but in a good way. Again, there have been some real good Doom Patrol runs, but this series so far has blown me away. I hope these two stay together on this book for a long time. There are a ton of moments that if you blink you may miss them that seem to set up things down the road. I actually went back through the issue for a second time and found things I hadn’t noticed. Whether those be details written in the background, or a moment that hints at a future cover that may or may not have to do with an awesome cat, they add to what makes this book great.

I would recommend Doom Patrol to anyone looking for something off the beaten path. Have superhero fatigue? Looking for something to make you laugh or smile? Do you want a comic that captures the heart of the wacky old comics, while bringing something new to the table? Then this book is for you. I pull Doom Patrol every month, so I put my money where my mouth is on this review. I love this weird little book, and it is just getting more fun, and wonderfully silly with each issue.

Story: Gerard Way Art: Nick Derington Color: Tamra Bonvillain
Story: 8.5 Art: 9.5 Overall: 9 Recommendation: Buy

Young Animal provided Graphic Policy with a FREE copy for review

Review: Action Comics #976

As this epic tale wraps up, Superman’s life is drastically changed…and that’s all we are saying for now – except that you won’t want to miss it!

DC Comics’ Rebirth event is interesting in that it isn’t a reboot and it doesn’t jettison everything that’s come before. Instead, it’s a merging of what came before the New 52 and the New 52 itself. Superman was a bit interesting case to this new world. In a storyline that began in Convergence and then carried over into the mini-series Superman: Lois and Clark, the Pre-52 Superman was brought into the New 52 world along with his wife Lois and their son Jonathan. Then, the New 52 Superman crumbled with his powers splintering off. So, short version, we had a displaced Superman and Lois attempting to fill in the lives of their New 52 versions. It made for some good comedy and drama at some points, but it eventually was going to wear out.

Superman Reborn” seems to have resolved that eventual problem along with some big revelations like who the imposter Clark Kent is. Playing out through Action Comics and Superman, the story has a mystery villain reveal (that it was Mister Mxyzptlk as Clark Kent all along) that has Superman and Lois forgetting their son Jonathan in a board game like obstacle course. What’s interesting is that the story takes fans through a lot of the history of Superman and Lois, it’s a best hits sort of way.

But…. SPOILER… by the end of the story, it’s true, it’s all true. The life of the pre-52 Superman has seemingly been merged into that of his New 52 counterpart. No more hiding, no more Clark Kent and Clark White. It’s all in continuity, the history is there. This storyline solves a lot of issues that were lining up for the character as well as put Superman’s alter-ego back in the bottle and the White’s no longer have to hide. It wraps things up in a nice little bow.

But, it’s not just this merging of two worlds that works, the story also ties in the bigger mystery that’s permeating throughout the DC Universe. Mister Mxyzptlk continues to reference a more powerful being, who we assume is the mysterious Oz, who then looks upon the Red Planet, the home of Doctor Manhattan from Watchmen. It brings so much together and does so in a pretty smooth way. That plotting and writing is impressive.

The art by Doug Mahnke is fantastic. This entire story has featured top notch visuals that twist and turn and overall the Superman line of comics features the most consistent and solid art of the DC comic series. There’s some really cool visuals and the art is as solid as the writing. The way the world crumbles during the battle and the subtle visual changes clue in the reader as to what’s happening and by the end you’ll find yourself going back to check everything out.

I’m blown away by the story which I can only describe as super. A fantastic ending that shows DC Comics has got a great grasp of mixing the old with the new. This is a model in how to pull it off and doing so in a fun and exciting way.

Story: Dan Jurgens Art: Doug Mahnke
Inks: Jaime Mendoza, Christian Alamy, Trevor Scott
Colors: Wil Quintana Letters: Rob Leigh
Story: 8.35 Art: 8.45 Overall: 8.40 Recommendation: Buy

DC Comics provided Graphic Policy with a FREE copy for review

Review: X-O Manowar #1

xo2017_001_cover-a_larosa

Born under the oppressive thumb of the Roman Empire, Aric of Dacia learned warfare at an early age. It was amid such violence that he was abducted by an alien race. Forced into slavery, he survived where others perished. His escape would come from bonding with a weapon of immeasurable power: the X-O Manowar armor. With it, he returned to Earth…only to find himself stranded in the modern day.

But that was a lifetime ago.

Now, far from home on a strange and primitive new world, Aric has begun a new life. Liberated from his past, he tends to his crops. Free from war. Free from violence. Free from the armor.

But the machinery of death marches his way once again. Conscripted into an alien army and thrown into an unforgiving conflict, the fury inside him finds voice as he is forced to embrace the armor once more. With it, he will decimate armies, topple empires and incite interplanetary warfare as he rises from SOLDIER to GENERAL to EMPEROR to VISIGOTH. They wanted a weapon. He will give them war!

Full disclosure: I’m a huge fan of Valiant, something that should be evident to all who have read my reviews of their comics each week, but of all their characters X-O Manowar is arguably their flagship character having relaunched the publishers comics back in 2012. Funnily enough, despite my love of the publisher’s comics I still haven’t gotten around to reading the full 50 plus issues in the previous volume written by Robert Venditti (I started around #38), so when I say you don’t need to have read any X-O Manowar before this issue, I hope you’ll believe me.

xo2017_002_variant-icon_andrewsIn fact, if you’ve read the entire review thus far, including preview text above, then you already know more than I did before I read the comic because when I got the email with the review copy at midnight last night I jumped right into the comic like a kid in a candy store.

With the setting of the comic, you’re going to have questions – questions that may (or may) not be answered further into the series – but rather than dwell on the hows and whys of the story, strap in and enjoy what you’re holding in your hands; Matt Kindt is an incredibly talented writer who knows how to shape a story to pull you into the world he’s building, and he does that and then some with his opening chapter of Soldier.

X-O Manowar #1 opens with a double page spread that gives you a sense of where Aric is both physically and mentally. Tomas Giorello takes on his fair share of storytelling in the opening pages, as Aric’s lack of words and narrations gives us an almost silent couple of pages, which is a pretty ballsy move – opening a new series with almost no dialogue until the fourth page – but it works very well in showcasing the art. Giorello and colourist Diego Rodriguez have an almost old-school feel to the pages, whether it’s the lack of ink adding an ethereal quality, or the interplay of colours that feel less digitally done than most other comics these days and much more organic and warm despite the muted colours used at times throughout the comic.

This is an exciting, layered, and beautifully drawn and coloured comic that is the perfect jumping on point for new and old fans alike (second only to the 2012 debut). Add this to your pull list today and forget anything else from any other publisher coming out this year; based on the first issue alone  X-O Manowar is going to be THE superhero title of 2017.

Don’t miss this series.

Story: Matt Kindt Art: Tomas Giorello Colour Art: Diego Rodriguez
Story: 9.75 Art: 9.75 Overall: 9.75 Recommendation: Buy

Valiant provided Graphic Policy with a FREE copy for review.

Review: WWE #3

I’ve really been looking forward to this issue. With New Japan’s Cup tournament happening right now and its G1 Climax coming soon, Lucha Underground’s first two seasons are now on Netflix, and WWE’s WrestleMania in just a few weeks? There’s a lot of wrestling floating in my periphery. And the story covered in this BOOM! Studios ongoing comic series is a pretty emotional one. I had to see what would happen to fill in the kayfabe gaps of what I already knew.

The story of the rise and fall of Seth Rollins continues in WWE #3 and picks up where everything began: the dreams of a kid following the action of the ring on TV and wanting to be there. It makes what comes directly after, the lowest low of his career after having flown so high and been at the top of the game, hit even harder.

Just as before, events partly follow life and kayfabe with a little bit of invention for the bits no one could ever really know for sure. Unlike the first two issues, however, there’s a lot more to work with in terms of invention. Even then, the moments and WWE_003_PRESS_7events shown make sense within the context of kayfabe, the shown-to-be-true story of wrestling life and writer Dennis Hopeless weaves it well again.

This issue is a bit slower than the previous ones but the slower pace is what best serves the action. We see how Rollins lands on the motto of “Redesign, Rebuild, Reclaim” and picks himself up following the blues that always seems to come from recovery. We see the beginnings of Seth’s new climb and his struggles, all illustrated and emoted beautifully by Serg Acuna with colors by Doug Garbark. I’m pretty sure I fall a little more in love with it each issue.

The extra story here, “The Brawler and the Beast,” makes me want a full ongoing (or at least a short run) penned by Tini Howard. Depicting how Finn, a wrestler traveling alone through the Irish countryside late at night, gains the power of the Demon King Bálor he so often shows off in the ring. I’m not entirely sure if it was meant to but I definitely read the whole thing to the tune of “The Devil Went Down To Georgia” and it was great. It may have only been two pages, but I’m definitely craving more with this entire creative team, including the artists of the main issue.

Story: Dennis Hopeless, Tini Howard Art: Serg Acuña
Colors: Doug Garbark Letters: Jim Campbell
Story: 9.0 Art: 10 Overall: 9.5 Recommendation: Buy it if you’re into or interested in WWE pro wrestling, this one’s a doozy.

BOOM! Studios provided Graphic Policy with a FREE copy for review

Review: Elektra #2

In part two of the “Always Bet On Red story arc writer Matt Owens repairs some of the damage that the mostly Elektra-less first issue did. Elektra #2 focuses more on Elektra but thanks to the way the artist focuses mostly on her figure and the writer refuses to give her clear motivation or depth, it still isn’t really an Elektra comic yet. The title character still has no agency, no real plan, and overall isn’t very Elektra-like. The situation that she finds herself in seems unlikely and convoluted, there is no clear reason why someone itching to get a fresh start would attack a facility that sent people to kill her for helping a bartender without doing any recon first.

Most if the story seems implausible and the villain, Arcade and his henchmen/women, seem pretty boring, one note, and basic. There is a bit of a Running Man ripoff in the plot of this arc that makes little sense, even to Elektra who remarks during what should be the “oh sh**” moment in the issue that “Somewhere Bullseye is laughing at me.” She’s probably right, he got a realistic, true to character story arc in his new comic, complete with a great story, great action, and a feeling of agency.  Elektra has been relegated to a tricked, trapped, damsel in distress in her very own series. This second issue fairs slightly better than the first issue in the arc. Yes, Owens gives us more Elektra in this issue but, instead of focusing on her character development, Owens chooses to instead focus on what crazy hijinks he can put her in.

Juan Cabal adds a bit of something to the story with his art but, not much. It’s very well drawn and, Elektra’s combat outfit isn’t overtly sexualized but he does have a full panel of her showing nothing but her midriff as she puts on her underwear. I’m not sure what seeing her bare-bellied in her boxer brief boy shorts had to do with the story at hand but it was probably one of the most detailed and modernized panels in the issue. We also got to see his artistry in the hotel scenes of her fighting off attackers in her underwear and a tank top. Bad ass, yes, but it wasn’t necessary. Her skin hugging clothing was detailed and noticeable in every panel it appeared in but, you could barely make out her face, not because it was in the middle of battle but because it looked more like a quick sketch. Further proof of the elicit and unnecessary detail to Elektra’s physique are in the almost page full of panels that showcase various body parts of our heroine and nothing more. We get a glimpse of her leg, her stomach, her bare back all in perfect focus but none of these have any real information about the story. Cabal also uses a lot of up angle perspectives in the hotel scenes, so that the readers would get a nice view of the definition of Elektra’s back side. Antonio Fabela manages to make the colors pop in some places and muted in others, it’s an interesting style choice and, in some panels it seems a bit all over the place and convoluted. The art work is C-level pandering that is solely focused on the male gaze and reducing a strong powerful, kick-ass woman to literally the sum of her parts.

This issue isn’t a complete letdown but, it’s not altogether good. It seems a lot like the writer wanted to do a comic book about Las Vegas high stakes gaming using people and just threw Elektra in it. There’s a scene after Elektra’s hotel fight where she has a”moment” with the bartender, Lauren, she saved from an abusive “boyfriend” who is now staying in her room. Elektra tells her to go back to Ohio and then she says she’s going to stay and help instead. An indication as to how poor the character development and story structure is, there are a couple of panels where Elektra urges her to go again and then they hug and nothing gets resolved but immediately after Elektra decides to run into a mystery warehouse to do battle with an unknown bad guy. In my head I wonder if they’re going to try and back pedal and make the bartender in on the whole scheme but there was never anything establishing that anyone knew Elektra was in town until after she goes after the bad guy and his minions. I also am not a fan of the reductive nature of Elektra labeling the casino boss as the bartenders “boyfriend” in this issue, especially when it’s clear in the first issue that he’s her boss taking advantage of his position, using his power to sexually assault her, and the facial injuries she sustained were from her attempting to fight him off. It seems odd for a female character who attacked the scumbag the night before for assaulting the bartender in the bathroom stall would all of a sudden see that vile encounter as a lovers spat. Overall I was more annoyed at this issue and disappointed than anything else, it was sexist, reductive and, an ill-conceived look at what should have been an amazing Elektra story.

Story: Matt Owens Art: Juan Cabal Color: Antonio Fabela
Story: 6.0 Art: 6.0 Overall: 6.0 Recommendation: Read

Marvel Comics provided Graphic Policy with a FREE copy for review

Review: Magdalena #1

Magdalena1Cover.pngIn Magdalena #1, writers Tini Howard and Ryan Cady, artist Christian DiBari, and colorist Mike Spicer dust off a nearly 20-year-old character from the Witchblade universe and give it a soft-ish reboot with style. Patience is a 32-year-old woman and happens to have the blood of Mary Magdalene, which allows her to wield the Spear of Destiny that pierced Jesus Christ’s side when he hung on the cross. She uses this Spear to defend the Earth from demons, but isn’t on speaking terms with the Vatican, her old employers. Except her powers have been going wonky recently, and the spear and her abilities don’t have the same effect on evil as she used to be.

Howard, Cady, and DiBari bookmark Magdalena #1 with riveting action scenes featuring freaky demons and pyrotechnics from colorist Spicer, but do an even better job fleshing out the women behind the spear. Patience has been feeling the weight of her burden as the longest serving Magdalena in history and just the persistent crush of evil and institutions that do nothing about it. Howard and Cady’s dialogue for Patience is wry action hero one-liners, but their captions for her are more vulnerable and thoughtful. She is coming to a crossroads in her life, and maybe it’s time to pass her mantle on. Di Bari’s art helps with this as well with panels of wounds on Patience’s torso that are slow to heal as she falls into Logan with even more religious imagery mode and comes to grips with her own mortality.

And this is where Maya Dos Santos aka your new favorite Goth Latina skeptic mystical MagdalenaInterior.pngweapon wielder-in-training comes in. Her first scene in Magdalena #1 is an argument with her mother about religion and not going to Mass. However, Tini Howard and Ryan Cady don’t writer her like a Reddit/Bill Maher atheist and give her a nuanced view of religion. Maya wishes she could believe in a higher power, but sadly can’t. Maya has strong emotions and her passion as a character makes her endearing from the get-go as her long-suffering friend Shilpa deals with her from wanting to have fun at the club to pining for a boy and then back to feeling sad. They have an easy, self-aware banter with Shilpa being the more responsible one while still having fun.

His faces and inking style reminds me a lot of fellow Top Cow artist Stepjan Sejic (This is a compliment.), but Christian DiBari’s work in Magdalena #1 stands out when he indulges his taste for devilish horror. For example, Maya’s problematic crush Greg, who happens to be the host for the demon Beelzebub, Lord of the Flies, starts retching and then his neck snaps when the demon takes over his body. The neck snap, and the gruesomely green vomit from DiBari and Spicer crosses the book from urban fantasy into horror territory and provides Maya with a rude awakening into the world of being a Magdalena as she must learn her new abilities while one of the most powerful demons is on the loose. I look forward to more slicing, dicing action from DiBari and Spicer like the first time Maya wields the Spear of Destiny and gets a surge of energy that almost pops up in the page.

Tini Howard, Ryan Cady, Christian DiBari, and Mike Spicer successfully reimagine a popular 90s character in Magdalena #1 by giving their two protagonist relatable feelings and personal issues to go along with the demon ass kicking. Maya is 19 and trying to become her own person when she gets drawn into a world of Christian symbolism and demons while Patience is having a midlife crisis on a cosmic level.

Patience and Maya’s doubts and flaws along with their grit and determination plus some cool action, demon designs, and general gore make Magdalena #1 worth picking up even if you’re like me and only knew Magdalena from a lyric from “I Wanna Live in a World Full of Heroes” by nerd rock band Kirby Krackle.

Story: Tini Howard and Ryan Cady Art: Christian DiBari Colors: Mike Spicer
Story: 7.5 Art: 8.5 Overall: 8 Recommendation: Buy

Image Comics/Top Cow provided Graphic Policy with a FREE copy for review

Review: The Unworthy Thor #5

We finally get the answer to what did Fury whispered to Odinson. I will say first off, it felt very anticlimactic, but that doesn’t mean it’s bad. Like a lot of comic book moments, this felt very hyped and dragged out, but when we got to the payoff, I was scratching my head.

I won’t spoil The Unworthy Thor #5 for people who have not read it, but let’s just say it wasn’t the big moment I thought we would get, especially with an awesome writer like Jason Aaron. This could pay off down the road, so I will wait and see before I rush to judgment on that, but I just wanted more.

The Unworthy Thor #5 brings this miniseries of Odinson to a close, but it is far from the end of his story. There is a lot of setup in this issue for what seems like things that will happen down the road with Thanos, Hela, Death, that other hammer, and even The Collector. Things don’t wrap up neatly, but that is okay, because sometimes they shouldn’t. However, I still felt like I was left wanting so much more. Whether that be another issue or two, or a jaw-dropping conclusion.

Even with my slight disappointment with the ending of this series, I still enjoyed this book. It was fun to have Odinson back, while also not casting Jane out (though who knows what will happen down the road). From drinking mead to trying to rescue his home world from The Collector, to fighting talking dogs, to The Black Order, Thanos, and hanging with the best horse in the galaxy, Beta Ray Bill, I enjoyed the journey. The Mighty Thor is one of my favorite Marvel books each month, so I hope to see Odinson show up and continue his adventure next to Jane very soon.

The art by Olivier Coipel, Kim Jacinto, and Pascale Alixe has a fantasy feel to it that fits the world and lore very well. Even as we travel across space the book never loses that feeling. You truly get the feeling that this book is for Gods beating each other up, and the art depicts that in a very biblical way. The colors by Mat Lopes and Jay David Ramos bring everything to life with bright yet muted tones. It adds to the art to make a very unique and interesting style. Everything has a soft, almost dream-like feel to it.

I may not be satisfied with what was whispered to Odinson, but I did enjoy this issue. The whisper is still something that makes sense to the overall story, and still works quite well. Sometimes my expectations can be so high, that I can feel let down, but I would still recommend this comic to any fan of Odinson, Jane, someone who read Original Sin, or anyone looking for fun god fights. I mean, Beta Ray Bill is in this book, and that should be reason enough to buy it. So I will say in conclusion, that this book is worthy of a purchase. I will see myself out!

Story: Jason Aaron Art: Olivier Coipel, Kim Jacinto and Pascale Alixe
Color: Mat Lopes & Jay David Ramos
Story: 7.5 Art: 8.5 Overall: 8 Recommendation: Buy

Marvel provided Graphic Policy with a FREE copy for review

DC Weekly Graphic Novel Review: The Flintstones Vol. 1

It’s Wednesday which means new comic book day with new releases hitting shelves, both physical and digital, all across the world. We’ve got a special video a day early for an awesome comic, The Flintstones from DC Comics!

The Flintstones Vol. 1 collecting issues 1-6 and written by Mark Russell with art by Steve Pugh.

Find out what the trade has in store and whether you should grab yourself a copy. You can find both in comic stores March 22 and bookstores March 28.

Get your copies now. To find a comic shop near you, visit http://www.comicshoplocator.com or call 1-888-comicbook or digitally and online with the links below.

The Flintstones Vol. 1
Amazon/Kindle/comiXology or TFAW

 

 

DC Comics provided Graphic Policy with FREE copies for review
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I’m Watching Iron Fist So You Don’t Have To: Episode 1 Snow Gives Way Recap

With Doctor Strange behind us, it was looking like 2017 was going to be a year blissfully free of rich white guys falling on hard times and turning to superheroism. I had forgotten, of course, about Iron Fist. But hey, at least I don’t have to relive Thomas and Martha Wayne being murdered in Crime Alley for like, the fifth year in a row.

My hopes aren’t high for this show, between multiple critics citing it as Marvel’s worst yet and Finn Jones’ poor handling of aforementioned criticism. Then the show’s writers and producers shutting down critics who suggested an Asian American Iron Fist would add nuance to the character, even though they almost cast Lewis Tan.

There’s also the fact that Iron Fist is the second Marvel property in two years that relies on cultural appropriation to develop its lead. At this point I suspect Jones must be inhumanly flexible after the reaching and bending he’s done to defend the show.

As far as I’m aware, the main reasons anyone has for watching Iron Fist are as follows:

  1. Claire Temple
  2. To get to The Defenders
  3. Zhou Cheng
  4. The Defenders though!!
  5. Colleen Wing
  6. Just have to make it to The Defenders guys, come on

In the interest of journalistic fairness, I have not read any reviews. Unless titles count, which they shouldn’t, because Twitter is inescapable. Despite this, I am prepared for the worst. I have taped photos of Rosario Dawson, Lewis Tan, and Jessica Henwick to a Homer Simpson-style inspiration board and am ready to begin viewing, and I’m trying really hard not to think about that interview where Finn Jones said he’s different from Danny Rand because he has definitely had sex before.

I feel that I am now fully prepared to begin watching a show that has been hailed as “a big superhero flop,” “can this possibly get any worse,” and “bad.” Inspiring!

Spoilers ahoy.

I’d like to say that, right off the bat, I’m not getting great vibes from the intro. I gladly sat through a season’s worth of Daredevil intros because the opening was visually interesting and the music was excellent–three episodes in I was watching the intro and living the “mind=blown” GIF when I realized Daredevil is the physical embodiment of blind justice. Jessica Jones’s intro echoed the watercolory covers from Alias and the instrumentals in it and Luke Cage tie together well.

Iron Fist’s intro isn’t nearly as interesting to watch as Daredevil and sounds like they recycled the building instrumentation of Jessica Jones. Somewhere in there, I’m guessing someone was like, “But make it sound Asian,” so they threw in a wind instrument instead of a piano.

Anyway. Danny Rand looks like that guy who shows up at a 100-level psychology class with two cans of Monster, and you can tell he’s never read the book but will participate in the discussion just to hear himself speak. At the very least, he’s wearing the same outfit. Barefoot and bearded, Danny spends the first twenty minutes of the show trying to convince people he hasn’t seen in 15 years that he is, in fact, Danny Rand, son and heir to businessman Wendell Rand.

Danny’s “Convince ‘Em” technique largely involves beating up security people at the company building, saying “I’m Danny Rand” over and over again, breaking into his childhood home, mild stalking of his former friend, Joy Meachum, and not offering to take a DNA test. This does not seem like the way a trustworthy person would go about doing things, but what do I know. Maybe DNA tests didn’t exist until Law & Order: SVU came on TV.

Rejected and still barefoot, Danny hangs out in a public park, where a nice homeless man lets him use his iPhone to confirm that the public believes Danny Rand to have died with his parents. So far, the most interesting mystery in the show is, who taught Danny to use an iPhone? If he could use an iPhone, how did he not already know this information?

Cut to the next morning, when Danny practices Tai chi unbothered on a public sidewalk. Where he found a quiet sidewalk in Manhattan, I am not sure. Let’s throw this on the mystery board with the iPhone thing.

Iron Fist starts to look up 21 minutes and 50 seconds in, which is when I recognize Jessica Henwick from the photograph taped to my wall. This introduction is immediately ruined when Danny begins to speak to her in Mandarin, which is ludicrously assumptive of him.

I can tell a man wrote this episode, because Colleen’s response is to engage with the random dirty man rather than the typical street harassment response of walking away immediately. She’s putting up signs for self-defense lessons, so she could probably handle herself if things went awry, but most women wouldn’t stick around long enough in an uncrowded area for that threat to come to fruition.

Whew. Back to the Meachums, who are discussing the dangerous threat posed by the dirty stranger invading their properties. I must say, Danny hasn’t particularly proven himself dangerous yet. I can understand why he would appear deluded to the Meachums, but the Meachums are treating this issue like Danny is waging psychological warfare on the company. Psychological warfare techniques being… clumsy assault and asking someone to tea?

We’re not even halfway through this episode yet, folks.

The next step in Danny’s Convince ‘Em Plan is to kidnap Ward Meachum by forcing Meachum into the passenger seat of his own Lexus. I’m now a little more convinced that Danny is dangerous, but still uncertain about the psychological warfare thing. As Ward threatens him with a gun that was hidden in the glovebox, Danny laments that he’s been met with nothing but hostility since his return.

I would like to take this opportunity to remind you all that Danny has offered no concrete proof that he is who he says he is, and barged into a building only to immediately begin assaulting people.

Another thing to toss on the mystery board: Why does Danny know how to drive? At one point he mentions that his dad used to let him drive around their property but I will also take this opportunity to remind you that Danny was ten when his parents’ plane crashed. Is letting ten-year-olds drive a rich people thing?

Ward tells Danny what Wikipedia has already told him. Frustrated and without answers, Danny speeds out of the parking garage, crashes into a concrete barrier, and runs away.

Back in the park, the nice man from last night gives Danny chicken parm. They have a discussion about purpose and Danny says his is to protect K’un-Lun from oppression, which means absolutely nothing to his new friend and reminds me of the uncomfortable current of white savior-ness running through the show.

With part one of the Convince ‘Em Plan failed, Danny shows up at Colleen’s dojo, where she has just finished teaching a class. Once again, he asks her to teach a class and, once again, she refuses, telling him that her studio is closing. He asks her if she’s thought about teaching Kung fu, since that makes money. If Colleen doesn’t achieve sainthood for putting up with Danny’s constant mansplaining by the end of this season, why are we even watching.

Outside of the studio, two of the Meachums’ security guards come after Danny and he fights them before escaping. You’ll never believe this, but Colleen saw all of that. The feeling I’m experiencing is foreshadowing punching me in the face.

Seemingly recovered from his Lexus death ride but having failed at happy murder time, Ward pays a visit to–gasp–his father, who definitely hasn’t died from cancer like the Meachum children told Danny he did. The Elder Meachum knows about Danny, and he isn’t happy about it. They discuss Danny’s return, wondering, “Does that mean his parents are still alive?,” “Who has he talked to?,” “How the hell did he learn martial arts?,” and “Why has he waited so long to show up?.” These are all valid questions that I would also like to know the answer to. More for the mystery board.

Back in the park, Danny discovers that his only friend has died of an apparent overdose. He sneaks back into Joy’s office where they have a frank discussion about Ward’s happy murder time and the plane crash before he realizes he’s been drugged. Danny wakes up strapped to a bed, remembering the moments of his parents’ deaths, and the episode ends.

Look. This show was neither the best thing I’ve ever seen nor the worst, because I watch bad horror movies in my spare time and Mega Shark vs. Mecha Shark? It was bad. (I would like to point out that it did pass the Bechdel Test, though.) On the other hand, Iron Fist also did not give me the emotional fulfillment of watching a giant mechanical shark destroy a megalodon.

Ignoring the fact that Danny Rand should have been Asian American, the first episode suffers because it just doesn’t feel as fresh or original as Daredevil or Jessica Jones. Going up against a corporation is pretty much the theme of the Batman, Arrow, Iron Man, Daredevil, Ant-Man, and Spider-Man movies that preceded Iron Fist, and so far it’s not doing much to reinvent tropes. I couldn’t help but think about the opportunities Iron Fist could have offered for varied storytelling and bringing a well-rounded Asian American character into the MCU as I watched. I mean. Just look at the possibilities.

Instead, the story was bland, bogged down by weirdly written dialogue and the introduction of too many storylines. Danny was overly optimistic and trusting for someone who spent 15 years getting smacked in the face with practice swords while learning Kung fu in a secret city. The Meachums were at times villainous to the point of cheesiness.

An optimistic superhero is a pleasant change of pace from Bruce-Darkness-No-Parents-Wayne, but it doesn’t make up for the slow pacing, lack of character development, and writing. The white savior-ness of Danny’s character hangs over the show like a “well, actually” cloud, as does the PR disaster of Jones and the show’s producers denying that they heard or thought about Any Of That while the show was in development.

If you can ignore all of that or live in a bubble where Batman Begins doesn’t exist, this might be your show, though.

Review: Harley Quinn #16

Jimmy Palmiotti and Amanda Conner packed so much girl power into the latest issue of Harley Quinn that it could pass the Bechedel test no problem. Harley Quinn #16 finishes off the alien invader storyline with a bang, well actually something more deadly than a bang. Palmiotti and Conner have our three superheroines serving up some well thought out justice to the shirtless alien who’s been threatening to take over the world for the past few issues. The ladies do this by working together and it is glorious. We also see a bit more of the gentrification vampires in action and it’s scary on a soylent green level, the writers don’t give too much away but they give us just enough of a taste to let us know that it’s not looking too good for NYC homeless population. As an added bonus we get to see more of the future storyline and discover that the desolate city’s number one bat fan is coming after Harley. We got one storyline finished, one in the middle lane, and another that looks exciting as hell on the horizon and I can’t wait to see how this all shakes out.

John Timms and Joseph Michael Lisner (who drops in for a few pages to make some magic in the future story line) serve up some beautiful artwork with such richness and detail that it pulls the readers even further into the amazing story that the writers are telling. There isn’t a line out of place, no cheap trick, just good art that becomes another character in this already rich story.

Overall, I found the story to be emotional, well planned and a great tie-in to the rest of the arc. Many writers would find themselves facing an uphill battle having so many storylines running concurrently in one issue but, ass usual the Palmiotti and Conner team take on this challenge like champs and emerge victorious. There’s bonus points for making Harley and her female squad hella feminist in the process. There’s something truly great about their choice to have other women be the first people that the ladies reach out to when they’re in trouble and there’s  something even greater about the ladies working together to get the job done. I’m also a fan of the small talk and affection that occurs in this issue, there’s some ribbing on Harley from Power Girl but, it’s nothing too harsh and all in good fun. There’s also an acknowledgment that people can change over time and evolve into something new. I loved every panel of this issue and I’m pretty sure that you will too.

Story: Amanda Conner and Jimmy Palmiotti Art: John Timms and Joseph Michael Lisner
Story: 9.8 Art: 9.7 Overall: 9.8 Recommendation: Buy

DC Comics provided Graphic Policy with a FREE copy for review

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