The 2009 Wonder Woman movie is one of DC’s hidden gems as far as animated films go: you have absolutely everything you could ask for in a Wonder Woman story (epic elements, great battles, solid moral values, and heartfelt emotion) and it delivers with a solid pace, not wasting time and doing justice to every character that appears on the screen. I often wonder how much the 2017 live-action film took from this because there are many similar elements, although there is a major difference in the third act.
This is a really remarkable movie that you must check out if you are a fan of Wonder Woman or if you are just interested in a good superhero story. Definitely worth your time.
Ever since DC got the rights for Billy Batson and his powerful alter ego, the company hasn’t managed to get the character going for a sustainable comic book beyond Jerry Ordway’s solid 90s run, The Power of Shazam!, which lasted for 48 issues plus an annual. But there have been multiple attempts to give the character a much-needed refresh, reboots, and whatnot, and yet, these stories never manage to catch on with readers or maintain a stable book. And this begs the question: What’s the problem with this character and why can't DC manage to make him work on a critical and commercial level?
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Flash Forward #4 is so far the best issue of a miniseries that has been very clear and concise about what they wanted to do: to reestablish Wally West’s righteous place as one of the best heroes of the DC pantheon and also to tell a great story that is benefited by having some of the best art of 2019. It has everything you could ask of a classic superhero story combining the best attributes of modern tendencies.
Wally West, the Flash for a lot of us, has gone through a lot, and for the fans that are really invested in the character, this issue is particularly special, showing how good DC is when it goes back to its classic roots.
A very good issue and quite likely my favorite of the entirety of 2019.
Titans is a show with so many entertaining stories in the source material, and this makes the uneven quality of this series even more frustrating. We’re talking about a show that has Dick Grayson, Raven, Beast Boy, Starfire, Donna Troy, Deathstroke, and Bruce Wayne! Add to that a potential target audience that grew up watching the Teen Titans animated series (I include myself in that group). This show should be just as good as the Daredevil Netflix series, but it’s not. Not even close. The second season started with a lot of promotion and with claims that it was going to be bigger and better than the first one that, while flawed, was enjoyable. Then, Deathstroke was announced as the main antagonist and this increased my interest in this season, but then we start to run into multiple problems with this series and why it never truly gels or manages to find a unifying style.
I have short patience for people that love making excuses for what they do and don’t do. There seems to be have been a trend in our society where people love to point to someone or something else as the one responsible for their misfortunes or their mistakes when the reality is that we’re all responsible for what we do and its respective consequences on our existences and to others.
Flash Forward issue #3 is another great chapter of a great miniseries. Lobdell and Booth have done a phenomenal job in taking the character back to his roots and to what he represents as a hero with a fun set of stories that are superhero comics at their best.
If you haven’t read this miniseries, it’s definitely worth your time and you should keep an eye on future issues.
Aaron Lopresti is a name that comic books fans are familiar with. He has been in the industry for quite some time now and in the mid-2000s he provided his detailed, slick and beautiful art to some of Marvel’s most interesting projects at the time, such as Brian Reed’s Ms. Marvel (my personal favorite Marvel run of this century) and Greg Pak’s Planet Hulk miniseries, establishing him as one of the most talented artists in the industry. He later moved to DC, where he is currently working, drawing great Wonder Woman/Conan stories and multiple covers.
But Aaron has also decided to revive one of his properties, Garbage Man, and has launched a crowdfunding campaign, which you can back, as part of a personal initiative to break out on his own as a creator. I had the opportunity of speaking with him to acquire his insight on a variety of topics.
Joëlle Jones is one of the best-kept secrets in the comic book industry right now. Her current Catwoman run has been of great quality and has been a commercial success, which is something that Selina Kyle has not enjoyed in some of her solo books. Both as a writer and as an artist, Joëlle has proven to be a very capable talent and is poised to reach far greater heights in the coming years.
I had the opportunity of doing this interview with her where we discussed her career, her influences, her progress and many other things that I hope you find interesting about one of DC Comics’ top writers and artists.
The Tornado’s Path is a celebration of everything that makes the Justice League what it is and I would dare to say that it’s a very solid and accurate portrayal of what the DC universe is: a place where there are a lot of challenges, but its heroes represent the best of us and the League is the peak of heroism. It feels honest, well-written and compelling, which makes it a very enjoyable read.
Brad Meltzer and Ed Benes crafted a marvelous story where an unlikely protagonist (Red Tornado) was the best point of view in these events and it works like a charm. It’s also a great way to kick start this new iteration of the League and while I think Meltzer’s run would run out of gas pretty quick with The Lightning Saga, I think The Tornado’s Path is a tremendous story that deserves a bit more credit.
A great comic and a great showcase of what the Justice League represents.
The term “underrated” is thrown around way too often, but there are really very few cases when it actually looks the part and this is the case of artist Darryl Banks. The man has been one of the finest artists in the comic book industry in the last thirty years or so and contributed to the creation of the Green Lantern of the 90s, Kyle Rayner (who also happens to be my favorite character).
But Banks’ career doesn’t stop there, having created more characters, collaborated on some very good runs and overall leaving his mark on the industry. I had the opportunity of talking with him for an interview and I got his insight on many different topics.
Crisis on Infinite Earths has gathered a lot of mainstream attention in recent times due to the upcoming adaptation through the CW shows such as Arrow, TheFlash, and Supergirl. Regardless of what you think about these series, it’s hard not to feel excited or at least a bit curious about it–Warner and DC have gathered a tremendous cast of fan-favorite actors such as Tom Welling (Superman in Smallville), Brandon Routh (Superman in Superman Returns), Lynda Carter (Wonder Woman in the TV show of the 70s) and Kevin Conroy (the voice of Batman in Batman: Animated Series), among many others. But it’s also a great opportunity to look at the original story in the comics and why it was so important