36 minute read
Zack Snyder’s Justice League
BY ETHAN BREHM in the 1940s and ‘50s, just prior to the birth of
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the influential French New Wave movement, renowned film critics such as André Bazin and François Truffaut proposed and advocated for a concept called “auteur theory” which suggests that the director is the most important creative figure to a film’s success, and when a director’s creative control over the production is great enough, then the finished product will be a reflection of his vision outright. Directors such as Alfred Hitchcock and Jerry Lewis, who sought control of their movies, were among those who garnered praise for their authorship and realized vision. The French New Wave eventually inspired a New Wave in American cinema that gave rise to a whole new generation of filmmaking with more of a focus on director authorship rather than the more producer-driven one of the studio system of Hollywood’s Golden Age, which ultimately ended in the mid-’60s.
While auteurs definitely still exist and thrive in today’s climate (Quentin Tarantino, Wes Anderson, Edgar Wright, just to name a few), the rise of the Hollywood blockbuster since the mid-’70s has seen a greater increase in production, and therefore budgets. These days it seems like the larger a movie’s budget, the less creative control a director has (though not always). It kinda makes sense—the greater financial risk of a project means more micromanaging by the higher-ups.
Despite perhaps falling too much into action film conventions (even if he’s the one who invented some of those conventions), Zack Snyder would definitely tick a lot of the auteur boxes for those old French cineastes. The director is nothing short of an auteur in spirit, and even intent. His definite filmmaking style and unique vision has been apparent since he jumped on the feature film scene back in 2004 with his worthy remake of George A. Romero’s Dawn of the Dead. Since then he’s shown, in glimpses, what he can achieve when he’s given the full reins, never more noticeably than with 2006’s historical epic 300, perhaps Snyder’s magnum opus prior to his most recent release (and his first foray into the comic book universe). In 300, every visual nuance felt like nothing we had seen ever before. The caricatured production design was visually stimulating, utilizing a limited tricolor palette of reds, browns, and silvers. He was able to create what I call a “snow globe movie” (where the entire film seems to take place inside a perfect little snow globe). The slow-motion
action sequences and lack of quickcuts helped turn the promising director into a marquee name. He had a distinct vision and we couldn’t wait to see what he would come out with next.
Snyder’s comic book and video game sensibilities haven’t always translated well to the big screen throughout the years. His 2013 movie Man of Steel, despite being a serviceable action flick, saw the intrinsically sparkly nature of Superman seeming to contradict the director’s love affair with all things bleak and depressing. But the filmmaker has also been met with a lot of contention and pushback from studios who haven’t always been on board with his desire to tell a fully expansive story—an experience, if you will—as with 2009’s Watchmen or 2016’s disastrous Batman v Superman: Dawn of Justice, or understood his darker and more angry approach to action, as in 2011’s Sucker Punch or 2017’s Justice League—a project where the studio, Warner Bros., was striving more for the idealized paradigm of Marvel’s Avengers.
Justice League, written by Chris Terrio, was the third piece to a planned five-part film arc, and if you were reading between the lines, you could tell that Snyder had a vision from the get go. However, extensive rewrites at the request of Warner Bros. and a rushed release date due to a rumored merger with AT&T were signs that the project was doomed from the start. And then the death of Snyder’s daughter, Autumn, forced the director into a new perspective. He eventually stepped away from the project to be with his family. Joss Whedon (director of Avengers) took over directorial duties, which led to even more rewrites and eventual reshoots. The studio was hoping for a brighter tone with more levity. Oh yeah, and they had a strict 2-hour cap on the runtime.
How do you tell a story about trying to stop an evil tyrannical alien and his army of minions from conquering Earth and controlling the minds of its inhabitants in 2 hours or less, while also bringing together a particular unstoppable team of superheroes that has never been assembled before in live-action film history? Well, just look at the 2017 theatrical release of Justice League. It clocks in at exactly 120 minutes (including end credits) and only tells half of the story (literally), and is never nearly as epic as it should have been considering the pretense. On the surface, the film introduces brand new characters hastily and haphazardly without giving them enough (or any) background, feeling like one giant montage as they get assembled together. On top of that, the lore behind the villains and their motives isn’t really explained either. Whedon “trims the fat” and largely relies on the audience’s blind acceptance of in-world truths and plot devices. Simply put, Justice League was a messy amalgamation of contrasting visions and studio meddling, and the audience could feel the lack of coherence.
The DC fandom wanted more. In fact, they deserved more. When news got out that Snyder dropped out of the project and changes were made, speculation arose about a hypothetical “Snyder Cut” of Justice League. It started with an online campaign. Fans created petitions and #ReleaseTheSnyderCut began circulating on social media before any knowledge of an alternate version was made clear. Judging from his history with his director’s cuts (Watchmen and Batman v Superman)—usually fairing better than their respective theatrical releases—it felt like the existence of a Snyder Cut was inevitable.
Finally in 2019, Snyder confirmed that his original cut did in fact exist and that the ball was now in Warner Bros.’ court. It was up to them if they
wanted to release it. And so the fans stepped up their game, launching a crowdfunding campaign that raised over $20,000 for advertising during San Diego Comic Con to pressure Warner Bros. into releasing Snyder’s version, as well as another campaign that saw a pair of billboards in Times Square promoting the same cause. Members of the cast and crew also showed their support of Snyder’s original vision, and so, in the true spirit of the world of fandom, plans were set into motion for a 2021 release of Zack Snyder’s Justice League aka The Snyder Cut on HBO Max.
Snyder’s version is double the length of the theatrical release (4 hours, 2 minutes), giving the ambitious story the weight and attention it deserves. A film about saving the world from destruction is a tall task in cinema, and still one we’ve seen time and time again in comic book movies, yet never with a runtime this long. $70 million dollars were spent on special effects, music scoring, editing, and the filming of a few new scenes.
There aren’t many superhero films these days that are under 2 hours, and the ones that manage to do so feature much smaller stakes (Thor 1 and 2, both Ant-Man movies, and The Incredible Hulk come to mind). A four-hour movie on television in today’s climate isn’t a huge issue for those who are able to binge hours of a TV series on Netflix or Prime. Four hours is basically the same as cramming 4 or 5 episodes in a row on a Saturday afternoon. Television, however, is different in how it develops a story and its characters. In film, if we love or hate a character, we will know this by the time the film is over. In a series, on the other hand, our opinion about a character can potentially change from season to season, or even episode to episode. Nevertheless, the extensive runtime of Zack Snyder’s Justice League is completely warranted.
The basic framework is the same between the two versions: After the death of Superman in the previous film, Batman and Wonder Woman need to assemble a team of heroes in order to prevent Steppenwolf and an evil alien empire from collecting the three Mother Boxes hidden on Earth. However, the Snyder Cut opens up this plot and allows it the chance to breathe.
There are a lot of moving parts to the story, and the director breaks his film into eight chapters, including an intro and epilogue. There are actual backstories for the characters of Cyborg, The Flash, and Aquaman— three new heroes—adding an emotional weight to the conflict at hand and making these different subplots all feel connected, as well as the characters within them.
It’s logical to assume that any improvement on the original will be received with even slightly more open arms. Snyder could have just added more backstory and called it a day, and still this would have been better than what we got back in 2017. Nevertheless, the filmmaker fixes all the overt issues from the theatrical release, but also makes some changes we didn’t know we needed. Action sequences are improved upon for coherence, and expanded without becoming too drawn out. Snyder has always been an accomplished action director, so these changes are in good hands. With his signature brand of violence, the PG-13 rating has been changed to an R-rating.
The comedy is still present, but
Justice League/HBO Max/Warner Bros./DC Comics
somehow feels less jarring here as the jokes flow a little more fluidly within the dialogue. In the studio’s original attempt to inject their theatrical cut with humor and charm, it actually made the finished product dull and lifeless. Here, Snyder imbues his movie with a personality that’s more rooted in plot invention and character rather than one-liners, yet still manages to be funnier.
There are some nice surprises in the story down the road with a climax that’s undeniably more deserved, and a triple-whammy ending, which I wouldn’t even think of spoiling. It’s also important to mention that everything that’s good in the theatrical version is preserved in this one, including the thrilling bank sequence with Wonder Woman (also given a nice plus-up here).
Director’s cuts can often feel overlong and self-indulgently thorough. Fortunately for Snyder, the theatrical version was anything but thorough. Here, the filmmaker could perhaps be accused of being extravagant, but never excessive. The expansion adequately matches the ambitions of the project and somehow fits.
The new 4:3 aspect ratio— something no superhero movie has ever done—harkens back to the Golden Age of Cinema’s standard “Academy Ratio” (1:37:1), allowing the at-home viewer to actually see more of the frame than if it were to play in a movie theater (which would have to trim the top and bottom to fit the picture onto the wider screen) since this is how Snyder shot the movie in the first place. The proportions, which favor verticality over breadth of landscape, actually make the heroes look bigger on screen and add an important touch of magnitude to the finished product.
It’s clear now that the director had a very precise vision for his movie— one that got thrown out in favor of more expected conventions. The Snyder Cut is not just a doubled version of an unfavorable film. No. The theatrical release of Justice League was flawed because Snyder’s original vision was taken into an entirely new direction. The Snyder Cut is that original vision. The film still abides by a standard threeact structure, with a thrilling and cinematic storyboarding that’s paced almost immaculately, never dragging or belaboring the point. Now with an appropriate level of epicness, intense moments have more weight and we’re actually on the edge of our seat. This new four-hour movie is fun, lively, and truly exciting.
Yet the film isn’t without its flaws. It occasionally falls into comic book tropes such as generic battle scenes, despite the improvements upon the ones from the theatrical release, or an overuse of dei ex machina. Also, the more balanced pacing creates confusing levels of urgency in the third act. However, there’s nothing from the theatrical release that was altered for the worse here, and we will undoubtedly take the bad with the great.
The Snyder Cut is very much journey- and mythos-driven, with things like character development taking somewhat of a backseat (compared to most Marvel films, which are insanely character-driven). However, in a film like Justice League, it’s that very mythology that matters most, especially when introducing a few new heroes in the process. We learn just enough about them to care, but not too much where they become the central focus or detract from the overarching story or the other heroes involved. In fact, it’s when there is focus on the charms of the characters—such as with Barry Allen/The Flash and his witticism—
where the film hits an incongruous bump.
Much like 300, Snyder’s biggest goal with his own Justice League is building the lore, as though you were being told the tale through oral tradition perhaps. Bedtime stories often omit specific jokes or one-liners told by their heroes, rather focus on things like what those heroes did: breaking their own personal rules about running faster than the speed of light in order to save humanity, or going beyond reason to have faith in the success of their compatriots, thus letting them have the glory instead. These are the ideas that Snyder typically holds of greatest importance in his films, and one that massively succeeds here despite having almost none of the aesthetic or charismatic approach of a Marvel movie.
That’s not to say that changes weren’t made to develop the heroes involved. Even Superman (Henry Cavill) is given more depth here than he does in his previous two appearances in this canon. In the 2017 film, the focus was heavily placed on waking his character from the dead rather than assembling the team and storyboarding the rest of the plot. But here, his appearance feels like more than just a stunt and meshes better with its surroundings while simultaneously having more importance tacked onto it.
Ben Affleck is great in his “swan song” appearance as Bruce Wayne/Batman (Affleck is still taking part in a multiverse version of the Caped Crusader in 2022’s The Flash along with Michael Keaton). The actor might not be the biggest takeaway from the plot, but his character’s level-headedness grounds the film in a big way and Affleck finally gets a chance to really shine in the role. The least explored character is Diana Prince/Wonder Woman (Gal Gadot), but fortunately we have two other movies (and more coming) that adequately do so.
Perhaps most notably, we get exploration into the three new heroes involved. Victor Stone/Cyborg (Ray Fisher), a former high school football star, suffered lifethreatening injuries and was saved by his scientist father who harnessed the powers of one of the three Mother Boxes to turn him into the greatest and quickest computer hacker/manipulator in the universe. Allen (Ezra Miller), who’s trying to pay his way through college by working dead-end job after dead-end job, hopes to exonerate his father who’s been wrongfully imprisoned for the murder of his mother. With his lightning-speed, we get a pretty awesome scene with him saving a girl from a car accident, as well as some other “Much like 300, Snyder’s biggest goal with his own Justice League is building the lore, as though you were being told the tale through oral tradition perhaps.“
Justice League/HBO Max/Warner Bros./DC Comics character-building moments. Arthur Curry/Aquaman (Jason Momoa) is an apathetic fish-man who’s the rightful ruler of the underwater kingdom of Atlantis, however he rejects all ties with that world. He also declines Wayne’s offer to help in the cause to stop Steppenwolf. The Snyder Cut not only develops these three characters more, but gives them each a very important role in the team’s quest for victory. 2017’s theatrical version of Justice League was so void of charm and coherence that any changes made would have been welcomed no matter what, but Snyder crafts an absolute superhero epic. Reminiscent of some of the most iconic sagas in film history, not just in length but with its even storytelling and befitting bravado, The Snyder Cut isn’t just great—it’s one of the best comic book movies to come out during this current Golden Age of Superheroes. What was once considered just a pipe dream is now going to be looked at as a gamechanger moving forward in the genre in terms of scope and expectation. It’s definitely not Avengers, but we would never want it to be.
As far as the director is concerned, it’s undeniably the best effort of his career, and validation of not only his vision, but his creative prowess. This is a very big win for Snyder and it makes audiences and fans lament what could have been of his final two planned films—but only if he were able to do it his way.
Fortunately the DC Extended Universe has been able to pump out a couple successes in the years since Justice League, proving that 2017’s Wonder Woman wasn’t just an outlier. Even if you’re not a fan of the 2020 film, Birds of Prey saw a stylish and concise vision. And 2018’s Aquaman, with James Wan at the helm, had been arguably the DCEU’s best endeavor yet prior to this latest release. However, with the success of Zack Snyder’s Justice League, the future of the DCEU is bright. Even if they didn’t want to admit it, Warner Bros. seems to have realized that the answer may be in simply trusting their director—and buying more into auteur theory perhaps. With the vast contrast between Snyder’s version and the theatrical one, the world can also now see the importance of the artist’s role in the finished product.
Now if only we can get a filmed version of Colin Trevorrow’s Dual of the Fates…
Watch Zack Snyder’s Justice League on HBO Max.
NOT ALL ROBOTS #2
what’s it about?
In the year of 2056, robots have replaced human beings in the workforce. An uneasy coexistence develops between the newly intelligent robots and the ten billion humans living on Earth. Every human family is assigned a robot upon whom they are completely reliant. What could possibly go wrong? Meet the Walkers, a human family whose robot, Razorball, ominously spends his free time in the garage working on machines, which they’re pretty sure are designed to kill them. (from AWA Studios)
the good
200,000 humans were wiped out in minutes at the end of Not All Robots #1. The second issue of this thought-provoking and hysterical series focuses on the fallout from that horrific event as well as how both humans and robots deal with the idea that they will soon both be obsolete with the advent of the Mandroids. Mark Russell’s writing is compelling as he takes a situation that should be far-fetched and incoherent and makes it idiomatic; simple and relatable for all to enjoy. There’s a lot going on in issue 2, but Russell’s writing and Deodato’s art allow the reader to get lost in the dystopian world they have crafted.
the bad
While Not All Robots #2 is a mustget for a comic book/science fiction fan, especially if you enjoy Philip K. Dick stories, I wonder about the lifespan of a series of this nature. I am engaged and curious as to where this story is going but can’t help but wonder if this would’ve worked better as a limited series rather than a full-fledged, ongoing one. Readers are preparing for the inevitable conflict between humans and robots and who will side with whom, but then what? What happens after the conflict? This series, amazing as it is, seems better fit for a limited run. SCORE
9.0/10
NOT ALL ROBOTS #3
what’s it about?
In the year of 2056, robots have replaced human beings in the workforce. An uneasy coexistence develops between the newly intelligent robots and the ten billion humans living on Earth. Every human family is assigned a robot upon whom they are completely reliant. What could possibly go wrong? Meet the Walkers, a human family whose robot, Razorball, ominously spends his free time in the garage working on machines, which they’re pretty sure are designed to kill them. (from AWA Studios)
the good
Issue 3 introduces us to the larger world that our dystopian cast occupies. Readers get a glimpse into the masterminds behind the mechanical madness, the Ruling Council, and Mandroids make their way into the homes of a lucky few who can afford them. The art and writing continue to impress, as does the story development. The dark humor blends perfectly with the characters and their view of their world.
the bad
While the art is spot on and the robot character design is brilliant, the human characters and their resemblance to actual, real-life people can often be a distraction. The main human father figure bears more than a passing resemblance to Michael Douglas in Falling Down. Perhaps it’s meant to clue us in to Ray’s status and frame of mind, but some panels look ripped right from the poster of the 1993 film. The head of Omni Robotics, Ted Fox, looks like an amalgamation of Ben Kingsley and Jeff Bezos. The writing in this issue allows me to get lost in the story, but the human character designs were there to rip me out of it. SCORE
8.5/10
DARK KNIGHTS OF STEEL #1
Writer: Tom Taylor | Artist: Yasmine Putri | Colorist: Yasmine Putri
what’s it about?
An entire medieval world will be forever changed when a spaceship crash-lands from a doomed planet. Monarchs will die, kingdoms will rise, and what seemed the end of the world for many was only the beginning! Dark Knights of Steel is an epic high-fantasy story set in a DC Universe where nothing is what it seems.
From worldwide bestselling writer Tom Taylor (DCeased, Superman: Son of Kal-El) and acclaimed artist Yasmine Putri comes a generational tale of good and evil within a brandnew DCU! (from DC Comics)
THE GOOD
Full confession: I’m a sucker for a good reimagining. Dark Knights of Steel takes the heroes and villains of the DC Universe that we know and love (and hate) and presents them in a unique and interesting way. Putri’s art and eye for color are stupendous. Redesigning decades-old costumes as if they occupied centuries-old cultures is no easy task, but this team makes it look effortless. Taylor has crafted a world that feels vastly different from the one we know but oddly familiar at the same time. I don’t usually let out a gasp when I’m reading comics, but here, I let out two of them back-to-back at the issue’s conclusion.
THE BAD
In all honesty, this is such a phenomenal book that finding flaws is difficult. Taylor and Putri continue to craft astonishing tales with beautiful visuals. I would love to hear more about the kingdoms outside of Jor-El’s, but something tells me that’s coming with future issues. I’m calling Dark Knights of Steel my book of the month. SCORE
9.5/10
THE HUMAN TARGET #1
Writer: Tom King | Artist: Greg Smallwood | Colorist: Greg Smallwood
what’s it about?
Christopher Chance has made a living out of being a human target—a man hired to disguise himself as his client to invite would-be assassins to attempt his murder. He’s had a remarkable career until his latest case protecting Lex Luthor when things go sideways. An assassination attempt Chance didn’t see coming leaves him vulnerable and left trying to solve his own murder as he has 12 days to discover just who in the DCU hated Luthor enough to want him dead. (from DC Comics)
the good
Greg Smallwood’s art is reminiscent of a Nick Fury book ripped right out of the ‘70s, with colors and images that pop right off the page. If Andy Warhol and Jim Steranko had a baby that inherited their talents, Greg Smallwood would be it. I’ve always enjoyed The Human Target, as both a short-lived comic series and as a short-lived television series. It’s great to see Christopher Chance back and ever so prominent in the main DC Universe. He interacts with everyone from Lex Luthor to Doctor Mid-Nite, and Tom King has crafted a noir tale that is compelling for old and new fans of the character.
the bad
I’ve never been too fond of nonlinear storytelling. King does a wonderful job, as you might expect, but hopping from point C to point A to point B is a daunting task for any writer and vexing for any reader. The issue’s final reveal concerning who’s responsible for Chance’s poisoning is presented in a shocking manner, but is ultimately betrayed by the issue’s main cover. Don’t get me wrong, the story and the mystery are engaging. Normally, I bemoan the abundance of exposition writers often attach to convoluted storylines, but in this instance the exposition is necessary as this is the Human Target’s first return to comic pages in over 11 years. Heavy exposition is crucial in allowing readers to get a better idea of who Christopher Chance is and what he’s capable of. Despite all its faults, issue 1 is a great return for a fan favorite character. I’m anxious to see where this is going.
SCORE
8.5/10
AFTER DARK
Writer: Cullen Bunn, Joe Pruett, Jim Starlin, Frank Tieri | Artist: Joe Eisma, Nikkol Jelenic, Szymon Kudranski, Cliff Richards | Colorist: DC Alonso, Matt Herms, Szymon Kudranski
what’s it about?
Tales from the Crypt meets The Twilight Zone—four tales of horror, lost souls, and things that go bump in the night. A prestige format “One-Shock” featuring top creative talent, After Dark is a collection of tales you’ll want to read with the lights on! A disparate tale from a possible future; a chance encounter with a mythical Black-Eyed Kid; a children’s fable gone awry; and a gut-wrenching last meal at the local diner. (from AfterShock Comics)
THE GOOD
As with any anthology series, there will be some stories that stand out more than others. “Dust to Dust” is a great tale about loss, devotion, and commitment, with equally amazing visuals. “Along Came a Spider,” a preview of sorts for a new series based on classic nursery rhymes launching later this year, is dark, twisted, and nightmare fuel for anyone with arachnophobia. “Inheritance” and “Black-Eyed Kids” are entertaining and nicely drawn as well. After Dark certainly starts strong and ends strong.
THE BAD
While the book is fun from start to finish, and creepy most of the time, it’s light on horror. Jim Starlin’s contribution to the anthology series came in the form of the ultra-brief short story “Inheritance.” I was expecting a great deal from the man who gave us Thanos and some of Marvel’s best space books, but ultimately was disappointed by his cautionary contribution to the book. Prior to this anthology, I was unfamiliar with the “BlackEyed Kids” series and, although its entry here is presented as a standalone work, it’s clear that some level of understanding of the series is required to fully grasp what’s going on. As a whole, the book is enjoyable despite some of its weaker parts. SCORE
8.0/10
THE DEATH OF DOCTOR STRANGE #1
Writer: Jed MacKay | Artist: Lee Garbett | Colorist: Antonio Fabela
what’s it about?
Death comes for the Sorcerer Supreme! Doctor Stephen Strange is the world’s greatest neurosurgeon and Earth’s Sorcerer Supreme. He defends our planet from the supernatural and interdimensional threats no other hero is equipped to handle. But what would happen if he unexpectedly died? Who would protect Earth and keep the mystical evils at bay? And most importantly…who killed Stephen Strange?! (from Marvel Comics)
the good
I must admit that I’m not the most avid reader of Doctor Strange books. I’m enjoying Strange Academy and have enjoyed many stories that featured the Sorcerer Supreme in them, but to say I’ve ever willfully purchased a Doctor Strange book would be a lie. This may be the end of Doctor Strange’s life, but it’s a great comic if you’re like me and not well-versed in the magical universe that Strange inhabits. The art and writing are top notch. I’ve maintained that the hallmark of a great comic book is how welcoming it is to new and old readers alike. Jed MacKay is able to take decades of Strange history and present it in such a way that you don’t need to be a comic historian to understand it. It’s fun how the book touches on the old Strange speech patterns (Zounds!) in a way that seems cool and funny, in what could’ve easily been cheesy and out of touch. I’m definitely in for whatever happens next.
the bad
It’s a shame that it’s taken me this long to get involved with a Doctor Strange book, because if they’re anything like this, I’ve truly missed out. MacKay wastes no time in taking our “old” Doctor Strange out just to introduce a new Doctor Strange in his place. There aren’t too many negative things to say about this book specifically, but rather the overdone concept of death in comics in general. The writer does a wonderful job subverting our expectations in the final few panels, but still manages to get a healthy gasp out of the readers. Marvel has a soft spot lately for taking time-displaced heroes and placing them front and center in the Marvel 616, so I’m definitely curious to see how this story plays out.
SCORE
9.0/10
TITANS UNITED #1
Writer: Cavan Scott | Artist: Jose Luis & Jonas Trinidade | Colorist: Rex Lokus
what’s it about?
The Titans face their greatest challenge—their own powers! Nightwing, Donna Troy, Superboy, Starfire, Raven, Beast Boy, and Red Hood kick off a thrilling new case that will lead one of their own to question not only their place on the team, but their very existence. (from DC Comics)
THE GOOD
Nostalgia is fun, and this book makes me nostalgic for the Titans of the ‘80s and ‘90s. The plot is straightforward and engaging. The characters are drawn perfectly. Red Hood’s inclusion adds a great deal of tension that Cavan Scott does a fantastic job with. If you enjoy an action-packed superhero story, this book is for you. Almost every page has an action sequence on it. The ending is cool as well, especially if you’re a Kite Man fan. Hell yeah! A fun book from start to finish.
THE BAD
Although the dialogue written by Scott captures the feel of each of these characters, there is something that just feels off about it, especially in regards to Beast Boy, where he’s presented in his usual comedic fashion but turned up to 11. At one point, Red Hood asks if Beast Boy ever “turns it off.” In this book, he hits us with quip after quip ad nauseum. The most glaring aspect of this series is that it comes across as a tie-in (or cash-in) to the HBO Max Titans series. The core players here parallel the stars of the television show. Not to say that’s a bad thing, because it’s great to see them all in one book, but it is noticeable. SCORE
8.0/10
ALIEN #1
Writer: Phillip Kennedy Johnson | Artist: Salvador Larroca | Colorist: Guru-eFX
what’s it about?
Gabriel Cruz gave his life to WeylandYutani—in the case of an alien attack he barely survived, almost literally! Recently retired, Cruz is trying to patch things up with his abandoned son with the help of his friend, a Bishopmodel android, but his re-entry into civilian life is not going smoothly, and his encounters with the deadly Xenomorph are far from over. Phillip Kennedy Johnson and Salvador Larroca team up to tell an all-new tale of the titan of horror and science fiction that has scared audiences for decades. No one is safe. No one is innocent. And no one can hear you scream. (from Marvel Comics)
THE GOOD
Were you nervous about Disney taking over the Alien franchise? Well, put your mind at ease, my friend. I’m no stranger to the Alien cinematic universe, but I’m not well versed in the Alien comics that Dark Horse gave us. If this is the kind of book they were producing, I truly missed out. Phillip Kennedy Johnson does a fantastic job recreating the fear and dread I’ve come to expect from the Xenomorphs. There’s enough here to give longtime fans what they want (the inclusion of the Weyland-Yutani Corporation and the Bishop androids), but also so much more to appease new fans who may not be all that familiar with the franchise.
THE BAD
It’s hard to critique Johnson’s writing or find a better art duo than Salvador Larroca and Guru-eFX. Every panel on every page is beautifully rendered. There’s a good chance that if you’re picking up this book, you already know all about the Xenomorphs. The problem here, just like with many horror adaptations, is getting us to relate to and connect with the newly introduced protagonists—something I failed to do this time. To be fair, I’m not sure if that’s a criticism of the writing as it’s presented or my own personal bias when it comes to monster stories. While I wanted to see more of the aliens, it’s also understandable to not want to hinge an entire story on solely following a space insect with the inability to emote. The writing and art team does a stellar job expanding on the universe that the films created. I just had a hard time connecting with it on a personal level. SCORE
8.5/10
SUPERMAN VS LOBO #1
Writer: Tim Seally & Sarah Beattie | Artist: Mirka Andolfo | Colorist: Arif Prianto
what’s it about?
What happens when an indomitable force meets an irritating object? That’s what readers find out when Superman runs into Lobo. Think of it like a boy scout joining a biker gang. What will be worse, the damage Lobo causes on his own or the chaos of trying to stop him? I smell a teamup, fanboys!
Numen is the most popular being in the universe, a god clogging all social channels. And he does not like competition. This means Superman and Lobo must go. Further complicating things is Dr. Flik, a scientist determined to study the last sons of Krypton and Czarnia, respectively. What can she glean from the hero who lost everything as a baby and the bad, bad boy who made it all go away just for the heck of it? (from DC Comics)
THE GOOD
Tim Seally and Sarah Beattie know how to write Superman and Lobo for sure! Although this book isn’t perfect, it does perfectly capture the essence of its titular characters. It’s great to see DC reembracing Lobo as of late. For the last few years it seemed like they didn’t know what to do with him, but now I’m happy to say we’re seeing a lot more of the classic Main Man that old nerds like me have come to know and love. The Superman that we get here seems ripped right from the pages of the Silver Age of comics—my favorite era. The plot, although often convoluted and heavy-handed in its critique of social media, is grand in scale and admirable in its execution. The worlds that we see Lobo and Superman occupy throughout the issue are bright and vibrant. Andolfo’s art and Prianto’s colors work wonderfully together. The art, with the exception of one early splash page of Superman, which seems somewhat “off,” is wonderful throughout the book.
THE BAD
I love a comic book that reflects the time in which it is written. Social commentary is an important element of comic books that is often overlooked. It was nice to see this issue, which easily could’ve survived as an extended fight scene, tackle issues like cancel culture and the ills of social media. However, even for an old cornball like me, the social commentary often felt forced and clumsy. I enjoyed the humor of the book but felt that it was a tad light on plot. I’m also a little confused as to why this was published under DC’s mature Black Label umbrella, because Lobo and others are consistently censored.
SCORE
8.0/10
CHICKEN DEVIL #1
Writer: Brian Buccellato | Artist: Hayden Sherman | Colorist: Hassan Otsmane-Elhaou
what’s it about?
Mitchell Moss is about as regular as it gets. He’s married with two children, and co-owns a successful chain of Memphis Hot Chicken restaurants. It’s not the life that screams hero/ vigilante...until he discovers that his business partner is in bed with the mob and owes them $2 million. Unfortunately, Mitch is ill-equipped to be a badass. He’s just a guy who makes really good chicken. Can he protect his family from cold-blooded gangsters? Absolutely not. (from AfterShock Comics)
THE GOOD
The entire time I was reading this amazing book I kept thinking to myself, “This would make a great movie!” Not only is the writing wickedly clever and funny, but it’s engaging from page one. You don’t know Mitchell Moss, but you may know someone just like him: hardworking, stressed out, and way in over his head. The panel layout, character designs, and lettering make an already-standout book even better. Chicken Devil #1 is full of humor and violence—a definite must-read.
THE BAD
While the art, lettering, and panels are the real heroes of this book, sometimes, especially in high energy scenes, they are a bit chaotic and distracting. That’s entirely forgivable considering the unique design of this issue. The story itself is great and certainly interesting, but not unlike plot elements that we’ve already seen before. The story is Breaking Bad (a point that even writer Brian Buccellato makes in the book) mixed with a dumb-luck Hobo With a Shotgun. It’s a fun read and I’m looking forward to seeing where Mitchell Moss goes next. SCORE
