Trade Waiting: Paper Girls Vol. 1-2
Joe discusses the fantastic Paper Girls Volumes 1-2 from Image Comics by Brian K. Vaughan and Cliff Chang.
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Movie Review: Logan is a Brutal and Emotional Send Off
Logan is everything fans of the popular X-Man have been waiting for in an unflinching, brutally violent, send off that’s easily the best Wolverine film and one of the best in the “X” franchise. Taking place in the year 2029, the layered, and at times meta, film features a riff on the “Old Man Logan” comic character made popular by writer Mark Millar and artist Steve McNiven and currently starring in numerous comic series from Marvel.
Set in the near future, the film presents a hero no longer wanting that role, instead, he’s trying to retire and run away while not fully coming to grips with his past and deeds. The opening of the film lays out everything you need to know about this Wolverine, played for a possible final time by Hugh Jackman. He has a slight limp, he’s covered in scars, he’s drinking, he just wants to make enough money to run away with his “family,” and he’s going by the name James Howlett. This is a not quite dystopian world where the X-Men are no more and an event has decimated the mutant population.
Directed by James Mangold with a screenplay by Mangold, Scott Frank, and Michael Green, this is the western that The Wolverine thought it was, a genre that fits this lone character like a spandex costume. It’s clear Mangold and the team were going for exactly that with numerous references to Shane the classic novel turned Oscar-winning film then tv series.
Like the weary gunfighter Shane, Howlett wants to settle down, caring for an ailing Professor X (played brilliantly by Patrick Stewart) with the help of fellow mutant Caliban (played by Stephen Merchant). All three have sins in their past and the film is an exploration of that. There’s a focus on character and accepting, or at least coping, with those sins while trying to forge an unknown future. And just like in that classic western, these warriors are forced to act and get involved in a conflict after a mysterious girl Laura (played by newcomer Dafne Keen) comes into their lives. From there the film becomes part road trip, part western, part horror, but what it’s not is a superhero film.
From the first moments of the film it’s clear that this isn’t your typical X-Men or Wolverine film with swear words thrown around, limbs flying (at times literally), and blood splattering. The bodies, and body parts, pile up in a finale that doesn’t hold back and is let loose with an “R” rating.
It’s a departure from what we’ve previously seen and that departure becomes meta at times where the film debates X-Men comics, their fantasy aspects, their disconnect from the reality of violence, but also recognizing the comics represent hope to many of those who read them. As seen in trailers and ads, X-Men comics are brandished around becoming a discussion within the larger film. Logan having “lived it” sees them as fantasy that glosses over the real violence and death that happened, while some (in this case Laura) latch on to them representing freedom from oppression. That debate rages in the real world today. Some embrace the comic series’ “political” core that’s been present since the characters debuted in 1963 and its not so veiled parallels to the Civil Rights to today’s allegories on LGBTQ+ rights. Others want an escapist fantasy without the message and even others who celebrate the violence. It’s a debate that plays out within the film by its lead characters. That debate is about as “X-Men” as the film gets though there’s plenty of winks and nods for longtime fans. There are numerous references to previous films and comics.
At its core, the movie is a Western, where our hero takes a stand against the evil corporation looking to roll over the average person. This is manifested in a few instances such as a defense of a family farm (with no more mutants, the X-Man takes a stand for an average human family) from corporate farming (with some commentary about corn syrup) to the main plot concerning Laura.
The film is a chase/road trip as Logan attempts to get Laura to safety as she’s pursued by a government-backed genetics corporation called Transigen who is attempting to make Mutants of their own and wield them as weapons. Laura, who comic fans will know as X-23, is one of those experiments broken free with a goal of escaping to freedom. That aspect of the film is interesting in itself as the chase takes place from Mexico to Canada, a cross-country trip that you can’t help but think of today’s debates on immigration and border security (and also something about Wolverine heading back to Canada, the land where he was birthed for what is Jackman’s final film as the character). Other real world issues are touched upon such as copyright and intellectual property over genetics, a topic that ties into corporate farming as well. This helps flesh out the film to be more than fantastical characters.
While the story has action and flash in the various action sequences, mostly involving Transigen’s bounty hunters the Reavers (classic X-villains and includes Pierce, Bone Breaker, Pretty Boy, and more), there’s so much to it under the surface and the film challenges viewers to piece some of it together. We learn what’s wrong with Professor X over time and his sins, in particular the “Westchester Incident.” But, even that isn’t fully laid out leaving the imaginations of the audience to fill in the gaps and by doing so creating horrors that the director and writers couldn’t begin to come up with.
Even with that layered meta and meaning some things are a bit looser. Transigen’s motivations evolve from capturing Laura to capturing Professor X and/or Wolverine giving viewers a bad guy with loose goals. This could be explained by the overreaching evil corporation who wants nothing but profit and how to obtain that changes over time. But, this isn’t as clear cut as bad guys we’ve seen in the past. And it’s not as black and white either when it comes to good and evil. No Mutants have been born for 25 years at this point and Professor X ailing has been labeled a weapon of mass destruction by the United States government and is a wanted man. Even in Transigen’s evil, there’s still some good intentions masked by their clearly evil goals.
As a chapter ends a new one begins with the introduction of Laura/X-23 played by Dafne Keen a newcomer whose only other work was The Refugees. Her introduction is a punch in the gut and gives viewers no doubt about the character. Mostly mute for the film much of her acting is through body language and grunts. And that’s not easy to do. Due to that Keen is a bit mixed in her role. At times she’s excellent and other moments just so-so. That’s also due to who she’s acting against.
Patrick Stewart delivers a performance we have not seen in an X film. As an ailing Professor X his mind is failing him and through the power of make-up he’s aged to a level I haven’t seen. You believe this is a man seeing his last few years with his mind wandering and not working as it once was. Having witnessed people in this condition first hand, the performance is damn near perfect and full of emotion not just for him, but the audience too. The simplest needs such as his needing help to use a restroom are noted and beautifully shot for the audience to absorb. This is also no longer the loving teacher, but age has given him an edge that comes out over the years. Take note, this is supporting actor level territory.
Hugh Jackman gives us a Wolverine we haven’t seen and his aging is more than some gray hair and scars. A limp, some drinking, squinting, Jackman’s performance is grizzled, worn, and weary. It’s been 17 years since he stepped into the role and this is easily his best performance. He’s able to let loose emotionally and physically. Through his interactions with Laura, even just simple looks, Jackman makes us believe this is a man who is struggling with the concept of family no matter how strange this one is. It’s a trope we’ve seen before in many films, but this is the first time we’ve seen it on the screen for Wolverine to this extent and in a way that makes it believable.
Logan is a finale to Jackman’s take on the character that has spanned 17 years, 9 films, and two video games. To the last moments of the film, this is a movie that reflects on the character’s actions, history, violence, and what that all means. But, the film itself is a departure from the preceding films, until those final moments where we’re reminded of it all. I went into the film with some expectations as to what to what I’d be watching, but from the beginning moments, those expectations were shattered. Logan defies it all and delivered a layered modern western that’s a worthy finale.
Overall Rating: 9.15
Graphic Policy was provided a FREE screening
Flashback Friday Review: The Incredible Hulk #404
Another dollar bin find a couple of weeks ago, I picked up this comic purely because of the cover. I’ve always been partial to the Juggernaut, so the thought of seeing him with the Hulk smashing some stuff around seemed too good to pass up for the lowly price of $1 (for those curious, the cover price was $1.25 when it was released in April 1993).
Written by Peter David, with pencils by Gary Frank, and inks by Cam Smith and colours by Glynis Oliver, The Incredible Hulk #404 was a great read for the price I paid for it. The story picks up with the Hulk seemingly under some form of mind control as he attacks the Avengers (most of whom I don’t recognize) at the Juggernaut’s behest.
The issue takes place at some point in the middle of an arc, which meant that while I had no idea how or why things had evolved to the point they were at, but the nature of the comic – and the fight with – meant that I could enjoy it all the same. There’s also a subplot with Betty Banner, Doc Samson and (I presume) Rick Jones, but it didn’t really make a whole lot of sense to me – probably because I haven’t read any of the previous issues.
Artistically, I was a fan. This sort of style is how I remembered comics being when I fist started getting into them (ironic seeing as how it’s from the same era, eh?), so there was a nice throwback for me personally there, but your mileage may vary.
Overall, this issue hasn’t aged too badly; it probably wasn’t a great story when it was initially released, and while it still isn’t great, it was enjoyable.
Story: Peter David Pencils: Gary Frank Inks: Cam Smith Colours: Glynis Oliver
Story: 6.5 Art: 7 Overall: 6.75 Recommendation: Read
Review: Archie #17
While the TV show Riverdale is all about the dark, sexy side of the iconic Archie Comics character, Archie #17 goes the quirky route like the old school comics with a shinier visual presentation courtesy of artist Joe Eisma (Morning Glories) and colorist Andre Szymanowicz. Mark Waid‘s script is silly in all the best ways with Cheryl Blossom trying to seduce Archie and get revenge on Veronica because Mr. Lodge bought her father’s company, and she had to move from an exclusive boarding school in Switzerland to plain ol’ Riverdale. She is truly a terrible person as evidenced by a scene where she and Jason push over a homeless person during a walk and talk.
Waid and Eisma’s take on Archie Andrews himself is much clumsier and definitely less sexy than KJ Apa’s portrayal in the Riverdale show or the previous artwork of Fiona Staples and Veronica Fish. He has a nice jawline, but the old crosshatching and freckles are back, and most of the issue is spent with him being a general idiot and somehow ending up rolling down the road in a barrel molasses. Archie #17 is at its finest when Waid goes for screwball comedy, and characters not named Archie sigh and snark about his ridiculousness. For example, Cheryl Blossom has been building our favorite redhead as some kind of hybrid of a male model, guitar god, 
and with overdramatic dialogue and ends up being very disappointed by the end of the issue.
The comedic tone of Archie #17 extends to a zippy B-plot featuring Veronica, who uses her father’s influence at her school to be able to leave town as soon as she does all her work/finals. It’s amusing to see Veronica’s single-minded focus applied to academic work, and Eisma lays on the speed lines with papers and books flying everywhere until she finally gets to leave town. Not even Mr. Collier, the man who was humiliated by her father in a mayoral election and his draconian final project, can get in the way of her skill with fashion. Like seriously, why would making a simple man’s suit be a challenge for Riverdale’s and maybe comics’ best dressed character? It’s also nice to have Veronica be back with Archie and the gang, and her feud with Cheryl Blossom will be even more fun on Veronica’s home turf.
Even though it occasionally hits on some real teen/young people concerns, like how long is too long to wait to text someone back if you’re romantically interested in them, Archie #17 is mostly stylized wackiness from Mark Waid, Joe Eisma, and Andre Szymanowicz, who uses some overpowering reds in Cheryl Blossom’s scenes. It’s pure comedic melodramatic fun.
Story: Mark Waid Art: Joe Eisma Colors: Andre Szymanowicz
Story: 8 Art: 9 Overall: 8.5 Recommendation: Buy
Archie Comics provided Graphic Policy with a FREE copy for review
Euro Thursday: The Killer Volume 5: Fight or Flight
Get inside the mind of a professional assassin, a man of few scruples, nerves of steel, and a steady trigger finger. A man whose crimes might be catching up with him. A man on the verge of cracking…
For four volumes writer Matz and artist Luc Jacamon have taken us into the world of Frank aka Killer, a hitman lost in a world without a moral compass. The noir series involves everything you’d want from the subject and genre including solid action sequences, loose morals, sex, violence, and political intrigue. This fifth volume brings to a close a series that has presented a fascinating outlook on the world from a completely non-American centric viewpoint. With that, it has challenged, intrigued, and created what’s probably a much more realistic worldview.
And that worldview continues here as Killer wraps up his adventure, but how will he go out? That’s the question I had as I read every page hoping for the best and expecting the worst. Instead of the flash and action, we get an epilogue in many ways. It’s a subdued entry in what generally has been a fast paced series. Much of this entry is from Killer’s perspective as he thinks through what he thinks of the world, settling down, history, and society, and his role in it all. It’s a comic that has our anti-hero taking stock of his life and figuring out what’s next.
This work is dense forcing you to parse each section of dialogue and contemplate what’s being said. But, it’s not as simple as a couple of words. Those matched with Jacamon’s art creates a combination where deeper meaning is as much as what’s being shown as what’s being said. It’s a combination that’s unmatched in comics today and they’ve pulled it off for five volumes.
But even without its synergy with the words, the art is utterly beautiful to look at in a style that’s unrivaled. Lush beaches, beautiful oceans, vibrant jungles, the art and the coloring is jaw dropping and worth the price of admission alone. Like the story itself, the art is sexy and cool creating a world you want to live in now matter how wrong things may be.
I expected a shootout finale with bodies piling up and our protagonist maybe not making it through, and instead, we are given a finale that’s an introspective search as to one’s role in the world. Even with those final pages I found myself still debating the deeper meaning of the series and what it was trying to said and what it has said, and more importantly how I agree or disagree with it. Matz and Jacamon have capped off an impressive run with an ending that delivers and then some. A perfect end cap for one of the most entertaining series in comics.
Story: Matz Art: Luc Jacamon
Story: 10 Art: 10 Overall: 10 Recommendation: Buy
BOOM! Studios/Archaia provided Graphic Policy with a FREE copy for review
Review: All-New X-Men #18
Continuity is a beautiful thing. All-New X-Men #18 has that in spades and adds another strong tie -in to the IvX event. All-New X-Men #18 brings the series full circle. The current volume began with the young time-displaced Scott Summers dealing with and living in the shadow of his elder self’s infamy. Issue #18 brings the series back to this inner conflict as the book focuses on the All-New X-Men’s participation in the Siege of Attilan. Ironically the young Scott Summers finds himself in the shoes of his controversial future self. Young Scott who is trying so hard to not be seen as a villain really has a hard time with the necessity of this mission, a conflict that offers up an interesting little journey into the mind of both Summers.
The issue takes place mostly after the siege of Attilan as the X-Men regroup on Muir Island. Scott takes a moment to confide in Warren Worthington, discouraged by the way everyone looks at him. The two friends take a moment to discuss the modern day news, the heroic status of Magneto among other things. Some Inhuman espionage takes place when the memory scanning inhuman Mosaic infiltrates the team and uncovers some startling revelations last seen at the conclusion of Death of X.
The revelation serves to dispel the young Summer’s doubt and reinvigorates him. Given the revelation that Emma Frost telepathically staged Cyclops’ attack on the Terrigen cloud, the young summers now views her as the puppet master, and refocuses all his shame anger and disappointment towards her at the conclusion of the issue. I find this interesting for a number of reasons. First the Cyclops of modern day continuity has experienced a landmark number of physical possessions by malevolent entities, there’s an argument that this has shaped his personality considerably over the years. Lets not forget that it was after his possession of Apocalypse that his marriage to Jean Grey fell apart and he initially ended up in the company of Emma Frost. Also in the aftermath of his possession by the Phoenix, Scott doubled down on his militant and revolutionary rhetoric. Secondly, most of Scott’s most shocking behaviours have taken place under the auspice of reasonably sound argument and in the light of mutantkind’s various dire predicaments. Nobody seemed to be able to rationalize shocking behaviour better than Scott Summers. And here we see his younger self so quick to exonerate his older self and seizing upon on what is in my opinion a very convenient revelation. Frost’s machinations aside the seeming act of pre-emptive inhuman genocide is not entirely out of character with the Cyclops we’ve come to know. Whether he did it or not, Scott still has so much to answer for (Previous possessions notwithstanding,) and I find the fact that young Summers is so eager to brush this aside, says more about him than his older self. In this sense, they appear more alike than the young Summers would like to admit.
All-New X-Men #18 provides a dialogical exploration into the mind of both Summer’s men. And presents some interesting questions on the themes of choice, consequence, fate and character. This issue had some really nice artistic touches exploring the memory-scape of both young Scott and Magneto. Some memories were explored showing vintage moments in the lives of both characters, I really enjoyed this. Additionally, the “crossing-over” of magneto’s memories and the use of his helmet was a real cool as a symbolic flourish. This took me back to the Uncanny X-Men issue where Scott revealed his telepathic Black Box to Emma Frost. Really cool stuff. ANXM 18 Ties in seamlessly to IvX and should be considered required reading for comic events collector.
Final Thoughts.
In Magneto’s Memory-Scape we see him as Xorn which I assume we are led to believe is either first-hand memory or his recalled observation of the event. Given Xorn’s recent resurgence I expect that this will be cleared up soon.
Story: Dennis Hopeless Art: Mark Bagley & Andrew Hennessy
Story 10 Art 8 Overall Recommendation: Buy!
Marvel Provided Graphic Policy with a Free copy for review
Review: Gamora #3
This issue picks up where the last one left off, our favorite anti-heroine at the mercy of a doomsday cult on Ubilex contemplating the ways in which she could die. An earthquake and her cultural captor’s unwillingness to accept that nature trumps their space god gives Gamora the chance she needs to destroy them all and free her fellow captive. Meanwhile the last Badoon heir is actually lamenting Gamora because she thinks she can save her and their destinies are tied. The remaining Badoon higher-ups watch Crystal’s conversation with Klaxon and discuss her ability to bear a male heir to rule and, Klaxon strikes a final deal with the Badoons to turn Crystal over in exchange for all the space dust he can carry. Meanwhile, Gamora is using her new friend to find the princess and learns that she’s actually a good kid and that their destinies are tied.
Without going too deep into spoiler territory the story keeps going along the diamond in the rough road and it’s wonderful. This issue unfolds in the best way possible Gamora discovers things about herself and her intended victim that could change her life. Nicole Perlman writes a truly human story full of emotion and rage, the path of both women is set in stone and steeped in their own agency. There is a purpose and focus for them that in its own way passes the Bechdel test with flying colors. Perlman tells a story of family through blood or belonging and it’s beautiful, human and relatable.
Marco Checcetto serves up beautiful artwork that brings Perlman’s story to life. It provides a storyboard like backdrop to an already brilliant story allowing the reader to get caught up in the story itself. His art is like an added character between the facial expressions and the fine details it impossible to look away and his talent makes it so that you could tell what’s going on by just looking at the pictures.
Overall this issue is a hit and like the issues that proceed it, it works well as a stand-alone. The Gamora series seems to make a point of engaging its readers from cover to cover. The creative crew behind it are adept at telling such a compelling story that you can pick up any issue and jump right in, although you will want to read the issues that precede this one if only to hold you over until #4 comes out.
Story: Nicole Perlman Art: Marco Checcetto
Story: 9.1 Art: 9.1 Overall: 9.2 Recommendation: Buy
Marvel comics provided Graphic Policy with a free copy for review
Review: Sex Criminals #16
After an eight-month hiatus, Matt Fraction and Chip Zdarsky are back with Sex Criminals #16. An extended series of recap pages gets us right in the mood as our time freezing, orgasm having, crime doing couple of Jon and Susie are at a big crossroads in their relationship. Most of the issue is narrated from Susie’s perspective as Jon just wants to live in the moment and take out Kegelface, this series’ Big Bad no matter who gets on his way. On the other hand, Susie wants to get more serious with their relationship and even mentions writing down their goals in markers on paper because she’s a big ol’ library-loving nerd. But Fraction and Zdarsky resist the melodrama of a big argument or breakup and continue to be grounded in feelings stemming from a long-term relationship while keeping the dirty puns and constant references to “butt stuff” that made this series hilarious as well as real.
Sex Criminals #16 is a great post-hiatus issue for the series because it zeroes in on the messiness of romantic relationships, and what people want to get out of them in kind of silly, kind of serious way. Yes, Jon and Susie dress up in Teletubby costumes and chase each other with dildos, and Jon might be the “intern” for his favorite porn star growing up. But Sex Criminals #16 has long passages of walk and talk (Or walk, fuck, talk, and eat lo mein.) where Jon and Susie get all their feeling out about each other with Susie’s narration filling in some of the unsaid things.
Fraction hits on a great point through this narration that the reason why Jon doesn’t want fill out lists of goals is because he doesn’t think he’s worthy of a future with her. He is stressed out by Kegelface stealing his personal psychiatric files that talk about his oppositional defiant disorder as well as insecure in his relationship and wants to take her out even if he means breaking the law. Susie just wants him to be happy, and Zdarsky draws a beautiful, almost quiet sequence of them spooning even if this kind of cuddle position has been awkward for them in the past. (Someone’s arm falls asleep inevitably.) It’s a glimpse of happiness in the midst of both the interpersonal/Kegelface drama.
Chip Zdarsky’s coloring choices in Sex Criminals #16 also herald the shift in Jon’s character. In the past, the Quiet has been a trippy world of sexy fun and occasional mayhem filled action against Kegelface and her ultra creepy Sex Cops. But, for Jon, it is all red rage, and Susie is lying on the bed away from him. Fraction and Zdarsky cut to these intense red sequences when Jon is really feeling bad. It’s something that definitely needs to be addressed in their relationship, and hopefully these two crazy kids will break through and stay together.
Sex Criminals #16 reminded me of why I loved this series when it first started out in 2013, which is Matt Fraction and Chip Zdarsky’s complete honesty about sex and relationships while still having some hilarious background gags from Zdarsky and an eccentric supporting cast, like the Alix who compares Jon to Don Quixote, and villains.
Story: Matt Fraction Art: Chip Zdarsky
Story: 9.5 Art: 9.0 Overall: 9.3 Recommendation: Buy
Image Comics provided Graphic Policy with a FREE copy for review
Review: Harley Quinn #14
This weeks issue of Harley Quinn was full of all the things I love about the way Jimmy Palmiotti and Amanda Conner have been taking our favorite maybe sheroes story arcs. There were some growing pains and a sense that they were trying to shove too much into one issue but, not only did it all work itself out but, it has fueled the issues that followed. Palmiotti and Conner are kicking ass at defining who Harley is now, not only have they excelled at giving her agency, purpose, and focus but, they’ve managed to tackle some pretty serious social and relationship issues. They have also managed to serve up a healthy dose of girl power and sisterhood reminding us all that women really do kick ass. Despite her often psychotic and fractured actions, Harley Quinn has returned to being the penultimate “you don’t own me” bad ass boss chick role model that we got a glimpse of before.
Harley Quinn #14 starts off with a glimpse of what Ms. Berkowitz has in mind to help the Mayor solve his homelessness problem and it’s not only shady but, scary. We also discover more about how Harley pays the bills and, runs a crew. There’s something kind of empowering about the way she handles herself and her gang with her own hero for hire and , bad ass for kicks business ventures. If that’s not enough excitement for you there’s also a what’s in the tunnels story arc that’s about to take off. We’re treated to a front row seat as the insects come out of the dark, into the light and set loose their dark lord. Harley in her usual trouble maker with a heart uses some trickery to get this alien arsehole out of her hood to keep her home turf safe. But, she ends up needing help from an unlikely and new source in order to do battle with what promises to be a wrathful return.
The writing is on point as usual. There are multiple storylines going on but, hey are clear lines letting the reader know where the storylines switched over. There are also some killer social commentary quips and undertones that make the story touch on the readers humanity. The writers were even nice and clever enough to take a jab at Sunkist Stalin number 45 himself. I was also impressed that when the shizz hit the fan, Harley thought about all of the female heroes she could call to help out with their alien overlord problem.
Khari Evans and John Timms split the drawing duties for this issue with Alex Sinclair serving up some killer, mood appropriate color. It’s a really pretty comic, full of detail, providing a feeling that the scene is just as important as the words.
Overall this issue of Harley Quinn brings together some A-team level storytelling and artwork. Everything fits together and the words complement the art which aids in the ability of reader to get sucked in and enjoy the ride. This was a solid set up for a new arc and, a good precursor for the arcs that will follow. I appreciated the story and, enjoyed that it had a mildly political subtext with a good, relatable, entertaining tale dominating the forefront. It was a blast to read and I look forward to not only watching this story arc play out but, discovering what other arcs are lurking in the wings waiting for their chance to have a full fledged story arc of their own. Wherever this team decides to go I’m here for it and have full faith in their ability to keep us all wanting more.
Story: Jimmy Palmiotti, Amanda Conner Art: Khari Evans, John Timms, Alex Sinclair
Story: 9.0 Art: 8.8 Overall: 8.9 Recommendation: Buy
DC comics provided Graphic Policy with a free copy for review
TV Review: Legion S1E2 Chapter 2
Legion, based on the Marvel character created by Chris Claremont and Bill Sienkiewicz, continues its exploration of the main character David Haller (played by Dan Stevens) in an episode that gives us a lot, but never lays things out simply.
Reflecting on his past with the help of his new friends, David is forced to experience moments in his life as the episode’s stunning visuals continue to give the best idea as to what is exactly going on.
David may be schizophrenic or it might all be due to his mutant powers, we’re not quite sure exactly.
This episode is a bit straight forward compared to the debut with the set up of a war and two rival factions who are trying to use mutants for good, bad, or to exterminate them. That’s about as clear as things get.
Much of the episode bounces around David’s past as we get to see various stages of his life and where he was at the time in either his mental breakdown or manifestation of is power. With the help of another mutant he watches the experiences as though he’s there. But is he impacting them? With hints of the power of time, matter, telepathic, telekinetic, the world is open for what he’s accomplishing. And for fans of the X-Men comic series and who know the character, you know this is par for the course. Legion, David, is the most powerful mutant to ever exist and can do near anything.
The visuals of the series continue to be stunning and the best thing about it. This is a show you need to watch and watch intently as many of the hints and plot points are driven not my the dialogue, but by the visual clues that are thrown on the screen in quick flashes. The series begs to be watched multiple times to catalog all of the quick flashes and coloring to decipher what it all means.
Legion continues to build and shows the “X” world can be presented with a more adult focus without all of the spandex. Mutants are the next leap forward in humanity and Legion is the next leap forward in the world of live action X-men.
Overall Rating: 9.15
