Comic Book review: Deadpool vs. X-Force

A prequel of sorts to the original meeting of Deadpool and Cable in the mid-1990s, Deadpool vs. X-Force is a bizarre romp through American history, as the X-Force members seek to course-correct all of the problems Deadpool has left in his wake. Deadpool appears to be working for some mysterious benefactor, and has been assigned particular targets, as per his mercenary title. But he doesn’t seem to mind increasing the body count exponentially, shooting up and cutting down any confused soldier from the American Revolutionary or Civil Wars that gets in his way. Armed with an absurdly large arsenal including modern firearms and futuristic laser weaponry, Deadpool has a clear advantage in practically every scenario.

That is, until the X-Force begin pursuing him through time. And while they too have a host of future-tech and incredible powers at their disposal, their lack of familiarity with Deadpool at this point means that their approach is more cautious, with Cable ordering them to flank around Deadpool’s hiding spot in a manor and adopt a tactical strategy. However, the soldiers caught in the middle of this scuffle are nothing shy of confused and terrified, and so they end up firing upon Cable and the other members of X-Force, adding another layer of chaos to the entire ordeal.

The story moves along at a rather brisk pace, and as a result, the humor is sprinkled in at appropriate junctures or breaks in the action. Readers seeking a constant spout of jokes may not find this release as satisfying. But Deadpool vs. X-Force does well to balance the two portrayals of Deadpool most commonly witnessed in his comics – wacky, self-referential, lovable idiot, and borderline-psychotic murderer who gets a rise out of his bloody line of work. The majority of the jokes that are delivered in this collection are at the expense of Cable, his audience (with Deadpool refusing to offer any recaps on events, and suggesting that readers read the previous issues), and his creators (asking if perhaps they could paint black ‘X’s on the eyes of anyone he’s already killed, to make it easier for him to keep track of who is left standing).

Given its nature as a prequel, Deadpool vs. X-Force does not have much wiggle room with regards to its ending. It’s a conclusion that many will see coming, and despite it not being a wondrous finale, it’s acceptable. It would have been nice to see the other X-Force members be more active participants in this collection – Cannonball and Boom Boom take to the fight for a few key moments, while Warpath has a couple panels worth of fighting, and Domino seems to just be along for the ride. Perhaps my feelings toward Deadpool vs. X-Force would have been more positive had the series run another issue or two in length – it could have helped draw out the pacing a bit, and even added another backdrop or two for Deadpool and Cable to bring their duel to. Still, it’s a decent Deadpool story – certainly not the best outing the merc with the mouth has had, but far from the worst.

My rating: 7 (out of 10)

Comic Book review: Spider-Man: Anti-Venom

While all-American Flash Thompson was running black ops missions for the U.S. government as the new ‘Agent Venom’, former host of the Venom symbiote Eddie Brock renounced his past life and sought to cleanse hurting individuals of their diseases and addictions. Under the new alias of Anti-Venom, Eddie Brock remains slightly unhinged, seeming to perceive himself and the Anti-Venom as two halves of a whole being. Despite his terrifying and alien visage or his lack of subtlety, Brock hopes to provide aid to those in need, especially when it comes to one young woman named Jenna.

Brock helps to get Jenna clean early on, but then enlists her help in tracking down the local dealers who led her to become a junkie, in the hopes that it will prevent others from heading down the same dangerous path. And while Brock does manage to find some small-time local dealers, he also discovers that the trail leads all the way to another country, where a well-connected drug lord lives. Brock ends up crossing paths with Frank Castle, aka The Punisher, who would similarly like to take down this cartel, but isn’t exactly the most trusting of Brock, being all-to-familiar with his past actions as the former Venom.

In the chaos that erupts between Anti-Venom fighting drug dealers, The Punisher fighting the same thugs, and the two antiheroes fighting one another, young Jenna is taken hostage and transported directly to the head drug lord’s well-guarded estate. Anti-Venom and The Punisher stop their fighting in order to track down this larger target – or at least, Anti-Venom does, as The Punisher still attempts to blast Brock away on a couple of occasions. Anti-Venom is shocked at these attempts on his life by Frank Castle, even frustrated, but he refrains from physically lashing out in anger, which presents some comical back-and-forth interactions between the two.

The pairing of Anti-Venom and The Punisher proves to easily be the highlight of this short-lived series. While Jenna is a central focus throughout, early issues make it seem as though something larger may come of her placing trust in Anti-Venom. Unfortunately, she proves less of a full-fledged character and more of a convenient plot device during the later issues. The pacing is rather slow early on as well, and the thugs lower on the chain prove to be pushovers in the presence of Anti-Venom. Even the final foe is an over-confident fool in the presence of Anti-Venom and The Punisher, which removes any real tension from the conflict, save for the well-being of the antiheroes in the midst of bombastic firefights.

My rating: 6 (out of 10)

Anime review: One Punch Man

An energy-packed twelve-episode run, One Punch Man falls into the action and comedy genres, excelling at its delivery in both.  From the first episode, Saitama – aka, the titular One Punch Man – is shown to have immense, possibly immeasurable strength.  Each and every foe he encounters, from lowly street thugs to world-threatening foes that might as well be ripped right out of a superhero comic or sentai series, can be beaten by a single punch of Saitama’s rocketing fist.  While this might seem like an all-too-convenient trump card that would wipe out all of the series’ threats in no time, it’s Saitama’s outlook on his role as a hero that keeps both him and the larger narrative compelling through the finale.

            Saitama’s incredible strength has left him bored.  Each fight he gets caught up in is a cakewalk, and half the time he doesn’t bother to catch his costumed opponent’s name or really even pay attention to them as they attempt to overwhelm him.  Saitama is a self-proclaimed ‘hero for fun’, and finds it very odd when a young cyborg by the name of Genos wishes to train under him.  Saitama initially dismisses the notion of having a pupil, but is persuaded when Genos promises to help pay for rent and take care of chores around the apartment.  While Saitama’s gains from this partnership initially stem from his being selfish and a tad lazy, the two ultimately grow to trust one another, recognizing the strengths they possess both independently and as a team.  They forge a mutual respect, and Saitama begins to see that maybe there is more to being a hero than simply getting an adrenaline rush, though his quest to find a foe of a comparable strength to his own never ceases.

            Despite first appearing as an inattentive goofball, Saitama has a lot of heart and is willing to make some hard decisions that other heroes might hesitate on.  With regards to the other heroes, there is quite a large community displayed in the series.  Occasionally, other heroes will have a quick cameo, but for the most part, the other heroes return in later episodes.  This helps to make them feel more like rounded characters in a grounded organization, rather than simply being part of the scenery.  The designs of the other heroes do well to appeal to specific genres and eras in anime, without lending their outfits or hairstyles too closely to any particular series.  Though Saitama and Genos are the central duo to One Punch Man, a small collection of high-ranking heroes join in the fray late in the series.  Meanwhile, the C-class bike riding do-gooder known as Mumen Rider brings plenty of laughs to the table with his overconfidence against some of the series’ monstrous villains, though he too has greater character development than one might expect.

            One Punch Man boasts one of the most energetic and rockin’ theme songs from an anime in quite some time, and goes the extra mile in helping to set the tone of the series before Saitama is found staring down a fish man four times his size, an insect woman who spreads thousands of mosquitoes throughout the city to drain the blood from animals and humans alike, and a climactic face-off with an alien invader that gives any one of the major fights in Dragon Ball Z a run for their money.  The animation is great throughout, with the fight sequences proving obvious highlights, while downgrades to cheaper character renderings helps drive the comedic moments home.  The series ends with a satisfying wrap on all the major threats faced thus far, but a few threads are left hanging – a couple of which are introduced within the final couple of episodes, oddly enough.  Still, there is plenty of opportunity to continue exploring these heroes should One Punch Man get picked up for a second season.

My rating: 9 (out of 10)

Comic Book review: X-Men ’92

The Battleworld that God Emperor Doom forged at the start of Secret Wars is a patchwork of many wildly different realms. Many are based off of classic Marvel storylines, or even some of the more recent comic book arcs. But X-Men ’92 is the only comic among them to be based off a television show that was, itself, based off a comic book. X-Men ’92 sees the bright yellow and dark blue costumes of the 1990s Fox series return in the form of ink and paper, along with all the snappy one-liners and cheesy-yet-endearing character portrayals of everyone’s favorite mutant heroes and heroines.

In the realm of Westchester, Magneto and his Brotherhood of Mutants have been defeated, and the healing process of the human populous coming to accept the X-Men among them is already underway. The story opens with a friendly game of ‘Extreme Lazer Tag’ inside the local shopping mall, with Jubilee claiming the high score. But the relaxed afternoon is interrupted by one rogue Sentinel, among the last of its kind, and still determined to wipe out mutantkind. Causing a scene as they take down the mechanized giant, the X-Men are sternly greeted by Baron Robert Kelly, who informs them of a place known as the Clear Mountain Institute, a rehabilitation facility for their former mutant foes. Supposedly, former Brotherhood members including Sabretooth, Toad, and Blob have gone to this Clear Mountain Institute willingly, seeking to renounce their villainous ways, but the X-Men are not so sure.

They travel to the Institute, where they are greeted by its head of operations, one Cassandra Nova, who offers to provide the mutants with a tour of the facilities. Despite their run-ins with former foes being entirely peaceful within the facility, both Wolverine and Cyclops get the feeling that something isn’t right. Jubilee is separated from her older teammates, and distracts herself by playing the X-Men arcade game (yes, the one that existed in our own reality of 1992, and featured Colossus, Cyclops, Nightcrawler, Dazzler, Wolverine, and Storm). Meanwhile, the X-Men are given an up-close and personal look at Cassandra Nova’s rehabilitation machinery, but not in the way they had hoped, as they are taken to a place known as the Mind Field, where Cassandra Nova is able to manipulate their thoughts, and attempts to break their self-images into more cooperative, obedient individuals.

X-Men ’92 is endearingly self-aware of its setting and the appropriate tone to lend to its narrative. It pokes fun at its roots a number of times, with Jubilee remarking that she finds Dazzler’s costume in the arcade game to be quite tacky. X-Men '92 also breaks the fourth wall, cracking jokes that are, just one panel later, deemed to be too mature for readers, and are subsequently marked out in red ink before receiving a stamp of approval (a jab at the restrictions of using certain words in children’s shows that Marvel and Fox agreed to in 1990s). The dialogue is expertly handled as well, treading a line that allows both younger readers and longtime fans to find equal enjoyment from this superhero action-comedy period-piece.

The second issue is the weakest link in the four-part story, as it suffers from a repetition. By the time readers are nine or so pages in, it shouldn’t be too difficult for them to detect where the rest of the second issue will go. Thankfully, the third issue picks up the slack, bringing the X-Force members onto the scene to rescue their X-Men allies, with Deadpool in tow. And the fourth and final issue provides one explosive finale that is sure to geek out more than a few fans of the X-Men, with its absurd escalation of action, as well as a number of cameos by iconic characters – some of whom previously appeared in the 1990s cartoon, and others who did not (but have nonetheless been adapted into this comic book reimagining). X-Men ’92 is a riot; as much a love letter to the classic cartoon as it is a parody of it. And with Marvel having picked up X-Men ‘92 as one of their new ongoing series in 2016, the potential for future adventures and zippy dialogue holds wealth of potential.

My rating: 9 (out of 10)

Comic Book review: Saga, Volume 5

It’s now been multiple years since Alana and Marko began their life on the run from the many factions that view their hybrid child Hazel as a bargaining chip or threat to galactic stability. As the fourth volume saw Alana, her mother, and Hazel forcibly separated from Marko thanks to the actions of one misguided and extreme janitor, this fifth volume bounces back and forth between the ferocity with which Alana will defend her daughter and the uneasy alliance forged between Marko, the now-exiled Prince Robot IV, coastal rancher Ghus, and thespian/drug addict Yuma. There is a also, a secondary plot concerning The Brand, Sophie, Lying Cat, and Gwendolyn, as they search for a means to revitalize The Will, who is still out of commission.

This fifth volume of Saga does well to focus the spotlight back on Alana and Marko more so than the previous two volumes did, but it does teeter back and forth in uncertainty as to whether or not it wants to redeem these two main protagonists. While they may be worlds apart from each other for the majority of this most recent volume, their thoughts of one another do weigh heavily, as their last interaction before they were torn apart was one of confrontation and hurtful words. And yet, while Alana does appear to bear some degree of regret over her exchange with Marko, her cunning and maternal defensiveness are somewhat undercut by the fact that she doesn’t seem to give a rat’s ass about anyone other than her own family. Marko, meanwhile, decides to turn to the drugs he so abhorred to escape his feelings of guilt over losing track of his family, and even displays a savage nature from seemingly out of nowhere.

While not nearly as overwhelmed in its attempts to juggle multiple story threads as the previous volume, this latest entry still feels a bit thinly stretch as more characters are introduced to the already burgeoning cast. Many of these newcomers see their stage exits by the end of this fifth volume, but it’s still almost too much on the plate when you consider the number of characters who have held minimal importance on the larger plot for the past two volumes. And at the end of this collection, there’s merely more cliffhangers and open-ended threads, with not but a few subplots being resolved by this trade paperback’s conclusion.

While Saga’s adult language and ‘edgier’ presentation factor were amusing early on, they have since become obnoxious elements of its identity. The series tries too hard to jam vulgarities into every other sentence, and the sexual imagery is largely without purpose – it’s perfectly acceptable to explore the relationship Marko and Alana forged during or even prior to Hazel’s conception, but it’s wholly unnecessary to show the act of a dragon fellating itself for a cheap laugh or ‘shock value’. While not as sour an entry as the fourth trade paperback, this fifth volume of Saga only does so much to return the series to the spark of imagination and intrigue, as well as the focused path that were so prominent in its first two collected volumes. As much as I wanted to continue enjoying Saga, I feel these most recent releases have turned me off to the series enough that I can confidently state that this is the end of my investment in Brian K. Vaughan's space opera.

My rating: 5.5 (out of 10)

Anime review: Jojo's Bizarre Adventure: Stardust Crusaders - Battle in Egypt

Picking up directly where the mid-season break left off, the Egypt arc of Jojo’s Bizarre Adventure sees Jotaro Kujo and the rest of the Stardust Crusaders facing down the last remaining loyal followers of Dio. Most notable among these foes are the Nine Egyptian Gods, foes whose Stands prove among the most intimidating and powerful the heroes have encountered yet. And at the end of the journey, in mansion deep within the heart of Cairo, awaits the main villain himself, Dio Brando. Yet, the Stardust Crusaders have a few cards up their sleeve, revealing clever and previously unseen applications of their Stands, a few assists from the Speedwagon Foundation, and a new ally in the form of the temperamental and selfish Iggy, a scrappy dog who wields the Stand known as The Fool.

This second half of the Stardust Crusaders anime feels more tightly-wound, its narrative more focused. From the moment the heroes set foot in the Egyptian desert, there is a sense of urgency about their journey that was no so prevalent in the first season. The stakes are also higher, with these new villains challenging Jotaro and company in battles of wits or other indirect means, while those that do fight them outright play host to some of the series’ stranger but more memorable Stands.

The voice work is superb, all around. While the core has the obvious task of carrying the show from one episode to the next, the villains who appear for only two episodes at a time leave a lasting, often humorous impression. As is only appropriate, Dio’s presence commands as much attention as they show can offer Stardust Crusaders chief villain. The final confrontation between Jotaro and Dio is among the most intense and rewarding endgame battles in any anime of this episode count I’ve come across.

Meanwhile, the vast majority of Dio’s loyal henchmen and women receive ample screen time as well. Some of the fights feel perhaps a bit more drawn out than necessary, but by and large, it is to the series’ benefit, as practically zero of the finer details are left out from the manga version, and the battles are not resolved in too quick a time frame that would negate the drama and intensity. Each member of the main cast undergoes significant maturation since the outset of their journey, and it’s wonderful to see just how naturally this is conveyed. Later episodes play at viewer’s emotions with masterful technique, as there are callbacks to the earliest moments of the Stardust Crusaders’ quest, as well as a severe gravity of present events as they unfold.

The animation budget seems to have received a considerable boost since the first half aired, which in and of itself gradually improved in quality from the airing of its first episode to its twenty-fourth. While most characters stick to a particular color palette for their clothing, scenes where the Stand fights become especially intense warp to more psychedelic colors, a nice nod to manga author Hirohiko Araki’s tendency to present variations on the previously-established appearances of characters. The soundtrack is catchy, moody, and always appropriate, with rock influences playing in subtly as Stands clash and the Stardust Crusaders scour Egyptian streets for any clues that might lead them to Dio.

Stardust Crusaders does offer a definitive conclusion to its own arc, and does provide a satisfying endgame for the three story arcs thus far. However, there is still plenty of money to be made by David Production should they choose to animate Diamond is Unbreakable and other later arcs of the manga, and I have no doubt they would do a similarly stellar job adapting the stories of Josuke Higashikata, Giorno Giovanna, Jolyne Kujo, and so on. It has been many years since an anime left as strong an impact on me as Stardust Crusaders has managed, but I believe it is safe to say that David Production has made one of the greatest adapted anime series of all time. In so far as I am concerned, Stardust Crusaders has earned its place among the company of Neon Genesis Evangelion, Fullmetal Alchemist: Brotherhood, and Unicorn Gundam as one of the most impressive works of its medium.

My rating: 9.75 (out of 10)

My rating for the Stardust Crusaders series as a whole: 10 (out of 10)

Xbox 360 review: Shadows of the Damned

Shadows of the Damned is, in many ways, simpler in design than some of the more well-known Grasshopper Manufacture games. The story tells of Garcia Hotspur, a leather-jacket wearing and tattoo-decorated demon hunter who is brimming with hardened attitude, on a journey into the depths of hell to rescue the soul of his beloved Paula. Garcia is accompanied by Johnson, a demon who has renounced his hellish nature at the cost of losing his body and being reduced to a flaming skull. Johnson is both tour guide and weapon to Garcia, transforming from a simple torch to three different firearms – pistol, machine gun, and shotgun – each of which receives appropriate, fun and inventive upgrades as the plot progresses.

From the earliest moments of the game, the dynamic between Garcia and Johnson proves among Shadows of the Damned’s highest points. Johnson always has a timely quip to lend to the narrative, and even pokes fun at Garcia’s reading skills during one of the optional storybook segments which offers further exposition to the game’s handful of boss characters. Shadows of the Damned is less reliant on pop culture references than other Suda51 creations like No More Heroes or Lollipop Chainsaw, and the majority of humor therein is quite crude. As such, the delivery sometimes falls flat, but the game never shies away from a fast-paced and intense balls-to-the-wall presentation.

Shadows of the Damned presents a wonderfully cohesive vision of hell that strings together environments that are twisted mockeries of earthly planes within impossible spaces, while sprinkling in fairy tales of the boss characters’ falls to damnation. There are occasional, if not relatively small areas to explore or travel back to in search of an upgrade gem, but by and large, Shadows of the Damned follows a very linear progression through each of its stages. It does offer a solid variety of fun and wildly different gameplay elements that pop up from time to time, including a turret segment and a bowling minigame. The weak link among these is a side-scrolling shoot-‘em-‘up segment reminiscent of a particular stage in Grasshopper Manufacture’s 2D action platformer Black Knight Sword, but here, it feels not only awkwardly pasted in, but more of an annoying hurdle than a clever spin on the established familiar third-person shooter gameplay.

On the subject of the three firearms at Garcia’s disposal, they each bear grounded designs that become increasingly alien and appropriate given the game’s netherworld setting. Red gems upgrade the rate of fire, ammo capacity, reload speed, and so forth for each, as well as the quick-time melee responses for Johnson’s torch form. Each of the firearms performs well in taking down enemies that require particular strategies to be defeated, and overall, these three weapons handle in a manner that is equally balanced between familiar standards of the shooter genre and fresh gameplay variety, and are thus highly intuitive. Much as these guns do well at felling foes, they also serve to solve a number of short-lived but mildly thought-provoking puzzles.

Tunnels filled with shadowy mists that connect portions of some of the game’s levels, as well as moving floors and staircases, incorporate a dash of adventure gameplay. At times, ammo for particular weapons can be sparse, though Garcia can always count on a demon-human hybrid mutant with a hillbilly accent to offer up his wares at a small price at least once per level. The soundtrack is rockin’ from start to finish, with mellow industrial tunes reminiscent of Silent Hill dipping in frequently – fitting, not only due to the game’s narrative direction and themes, but also because the soundtrack was scored by Akira Yamoka.

Shadows of the Damned is not a particularly difficult game, nor is it a particularly lengthy one. There will be learning curves associated with chase sequences at a mere two or three junctures, but beyond those momentary hurdles, players should have no trouble blasting their way through the hordes of hell to reach Garcia’s beloved Paula. The boss fights each present a new strategy, and are enjoyable across the board, though they certainly do not leave as lasting an impression as the boss encounters in Grasshopper Manufacture’s action entries of No More Heroes or Killer is Dead. Perhaps Shadows of the Damned clocking in shy of the ten hour mark is just as well, given the rather straightforward tale that is spun along the way, and the moderate amount of replay value it offers.

My rating: 7.25 (out of 10)

Comic Book review: Captain Marvel, Volume Two: Stay Fly

My review of Captain Marvel, Volume Two: Stay Fly. Written by Kelly Sue DeConnick, illustrated by Marcio Takara and David Lopez.

My rating: 7 (out of 10)

Comic Book review: Guardians of the Galaxy by Abnett and Lanning: The Complete Collection

My review of Guardians of the Galaxy by Abnett and Lanning: The Complete Collection. Written by Dan Abnett and Andy Lanning, illustrated by Paul Pelletier, Brad Walker, Carlos Magno, and Wes Craig.

My rating: 9.75 (out of 10)

Comic Book review: Deadpool vs. the Marvel Universe

My review of Deadpool vs. the Marvel Universe. Written by Fabian Nicieza and Reilly Brown, illustrated by Ron Lim and Reilly Brown.

My rating: 7.5 (out of 10)

Comic Book review: Y: The Last Man, Volumes Nine and Ten

My review of the ninth and tenth volumes of Y: The Last Man. Written by Brian K. Vaughan, illustrated by Pia Guerra.

Volume Nine: Motherland
Volume Ten: Whys and Wherefores

Comic Book review: Y: The Last Man, Volumes Six through Eight

My review of Y: The Last Man, volumes six, seven, and eight. Written by Brian K. Vaughan, illustrated by Pia Guerra.

Volume Six: Girl on Girl
Volume Seven: Paper Dolls
Volume Eight: Kimono Dragons

Comic Book review: Deadpool Kills Deadpool

My review of Deadpool Kills Deadpool. Written by Cullen Bunn, illustrated by Salva Espin.

My rating: 8.5 (out of 10)

Comic Book review: Y: The Last Man, Volumes Four and Five

My review of the fourth and fifth volumes of Y: The Last Man. Written by Brian K. Vaughan, illustrated by Pia Guerra.

Volume Four: Safeword
Volume Five: Ring of Truth

Anime review: Lupin the Third: The Woman Called Fujiko Mine

A recent entry in the long-running Lupin the Third franchise, The Woman Called Fujiko Mine turns back the clock to a time when the now-iconic cast were - at best - mere acquaintances. As the title implies, the story gives Fujiko Mine center stage, but the ins and outs of how Lupin, Jigen, Goemon, and Inspector Zenigata came to cross paths and establish a history with one another does factor quite heavily into the progression of this series. In this regard, the story feels appropriate as an early chapter in the adventures of Lupin and friends, though the fact that Zenigata has already been on Lupin and Fujiko’s cases at the start of the series means that this is not the very beginning of the crew’s wacky misadventures.

This position in the Lupin the Third timeline works largely to its advantage, as it does not feel the need to spend an excessive amount of time explaining who these characters are. Instead, The Woman Called Fujiko Mine prefers to show just how extravagant Lupin’s heists can be as he busts out of an ocean-front temple on a giant rocket-propelled statue, and displays Fujiko using her feminine wiles and bombshell looks to pry information and riches alike from her latest victims. While early episodes may lead viewers to believe that each heist exists as a separate event with the only common factors being involvement from Fujiko, Lupin, Zenigata, and so forth, the truth is that there is an underlying plot that weaves each of the episodes together, though it is not revealed until past the series' halfway point.

It is appropriate, then, that this entry in the Lupin saga is considerably more serious in tone, and darker in atmosphere throughout than most of its predecessors. While Lupin and Jigen often find themselves up against improbable odds, and improvise crazy solutions time and time again, The Woman Called Fujiko Mine sets aside plenty of time to explore just what makes each of these characters tick and why. Most compelling, of course, is the story of Fujiko herself, which is given considerably more screen time than her companions/rivals, but even Zenigata’s obsessions with tracking down these thieves makes for exciting introspection.

The 1960s and 70s atmosphere still thrives in this 2012 release, with funky and jazzy tunes accompanying brightly clashing colors. Thick outlines and the impossible lanky proportions of the characters look great with updated digital animation technology, while still echoing back to their classic hand-drawn origins. The characters, meanwhile, remain largely true to their 1960s debut, with slight updates to make them more appropriate for the setting of the story as well as modern audiences. While Lupin still has his eye on Fujiko throughout this latest anime series, he views her more as the end-all prize, one that he is seemingly aware that he will likely never obtain but still attempts to impress/outdo her for the thrill of the challenge. Lupin does not, however, constantly ogle bikini-clad girls, and his heists – utterly bonkers and visually spectacular as they may be – appear to have a decent degree of planning and thought put into them, even when he is forced to improvise or revert to backups. It becomes especially obvious in later episodes that Lupin's constant crossing of paths with Fujiko is for a purpose that is both higher and more selfless than monetary pay - he is perhaps the individual most intrigued with her past, and the series makes it quite clear that he genuinely wants to help her uncover the mysteries that are tied to this, even if it means butting heads with her and engaging in firefights along the way.

In accordance with its 60s/70s sense of style, The Woman Called Fujiko Mine aligns some of its episodes close to real-world events from that era. One episode in particular sees Fujiko travel in the company of a man who serves as a fictional counterpart to Fidel Castro, and her involvement in a subplot to transport him safely to a United Nations hearing while fighter jets tail their plane and the threat of a war breaking out hangs in the balance. It’s a bit more on-the-nose with regards to how it handles the Cold War setting than most other episodes, one of which sees the characters winding down into the dark depths of an Egyptian tomb, while another explores one of Fujiko’s many aliases in the form of a schoolteacher at an all-girl’s academy.

New to this Lupin tale is Oscar, a young police lieutenant who serves as Zenigata’s second-in-command. He bears a short and rather feminine frame, which leads to him adopting a few disguises over the course of the series. While his inclusion does add a greater sense of danger for Lupin, Fujiko and company as they now have two major pursuers instead of one, his dynamic with the rest of the cast only goes so far. Oscar has some obsessive tendencies, to the point where he has to be reminded where the line of duty is and if crossing it is worth jeopardizing his career or the safety of his fellow officers. He also displays a great deal of spite toward Fujiko, as he is jealous of her taking up so much of Zenigata’s attention, a man who he not only looks up to in a professional sense, but is seemingly romantically attracted to as well.

For a modern Lupin the Third anime, The Woman Called Fujiko Mine has plenty of familiar faces and antics to offer, while also presenting characters in new lights. It is a series that builds off what has previously been established as well-received trademarks of the Lupin saga, and adds some darker story elements into the mix. The late episodes in particular delve into strange territory that one would typically not associate with Lupin the Third, yet it pays off in spades. Other experimental content in The Woman Called Fujiko Mine may prove more hit-or-miss, but the core of this series is a strong showing, and plenty of fun to boot.

My rating: 8.25 (out of 10)

Comic Book review: Y: The Last Man, Volumes One through Three

My review of the first three volumes of Y: The Last Man. Written by Brian K. Vaughan, illustrated by Pia Guerra.

Volume One: Unmanned
Volume Two: Cycles
Volume Three: One Small Step

Wii U review: Bayonetta

Originally released in 2009 on Microsoft’s Xbox 360 and Sony’s Playstation 3, the first game in the Bayonetta saga saw an updated release on the Wii U, one that was bundled with the Nintendo console-exclusive Bayonetta 2. The premise is easy enough to jump into – the witch known as Bayonetta works with two individuals to fight aggressive angels: an arms dealer named Rodin and one business associate named Enzo. Whereas Rodin is cool, tough, and smooth with both words and weapons, Enzo is excessively foul-mouthed, and seems to have a knack for getting himself in way over his head. Bayonetta, meanwhile, has an air of sass and confidence about her, as she knows she is one of the only magic-wielders of her kind, boasting a widely varied skill set and impressive power to boot. And yet, Bayonetta knows very little about her own history, which leads to this first entry in the story to be one of self-discovery, with cutscenes frequently jumping back in time to explain, bit-by-bit, just what happened five-hundred years prior to the game’s present day setting.

Over the course of her adventures across a fictional European vista, Bayonetta visits a number of locales, from old brick-street cities, to an ancient coliseum, to impossible spirals of land that wind up in to the sky only to meet other high-rise bridges of dirt and grass some miles above the Earth. Later chapters will even see Bayonetta enter ethereal realms of mist and golden décor as she take the fight to the angels’ home turf. And while most of the game’s grand reveals are saved for the late chapters, it is apparent from the outset that other players in this larger picture are keeping their eyes on Bayonetta. Though it may not match the astounding visual quality of its sequel, the slight update seen in this Wii U port is certainly cleaner than its Xbox 360 and PS3 counterparts. Similarly, new features have been added, perhaps the most noteworthy of the bunch being costumes that pay homage to the heroines of Nintendo’s Metroid and Mario properties, as well as Link’s tunic from The Legend of Zelda.

That said, the Gamepad is not emphasized as heavily in this first Bayonetta title as it is in Bayonetta 2. The basic controls for running through environments, chaining combos while slicing and dicing the grotesque angelic hordes, and the menu-based process of mixing ingredients for stat-recovering and stat-boosting lollipops all fell very natural with the traditional button and joystick combo. Boss encounters with the most massive of stone-and-gold goliaths are consistently exceptional, even with the occasional decision to include gimmicky uses the immediate environment. Similarly, the sequential rival battles with mysterious crimson-clad witch Jeanne prove among the most engaging and enjoyable moments of the overall experience, and these are spaced out so as to not grow so quickly tiresome as other interruptions to the familiar routine of the story and gameplay, such as a clunky motorcycle chase with unclear objectives or the minimally-inspired arcade shooting minigame that caps off each chapter.

Combat utilizes a time-slowing mechanic known as Witch Time, whereby a perfect last-minute dodge will result in enemies coming to a near-standstill and Bayonetta being granted a brief window to deal significant damage to foes. If a magic meter is full from delivering a strong chain of attacks, players can employ medieval torture devices to inflict massive damage upon foes. The magic meter, however, can be whittled back down if Bayonetta takes damage, effectively nullifying everything built up from combos. This makes this first title simultaneously more demanding and less forgiving than its successor, which in and of itself is not so much a problem, but rather plays into the game’s two major flaws: poor camera angles, and claustrophobic environments. Bayonetta gradually throws harder enemies at the titular witch, and in greater numbers, which only makes sense as a means for amping up the difficulty factor for players, but the fact that the combat arenas never grow presents a significant problem in trying to see where Bayonetta is versus the location of her enemies. This in turn forces strategy out the window during these particularly troublesome segments, leaving players to guesswork in their dodges and attacks. It’s not an issue that runs for the entire course of any given level, but instead pops up at sporadic intervals, making it all the more frustrating as a significant flaw in an otherwise solidly-designed game.

The lore of the world is delivered largely through Luka, a young man with dreams of following in his father’s footsteps as journalist and historian. Luka holds Bayonetta responsible for the death of his father upon her return to the land of the living many years ago, though a part of him is constantly drawn to her – in part, because of her mysterious nature, and the other part due to his finding her physically attractive. Shallow as he might be, Luka plays the part of comic relief a number of times over the course of the game, as Bayonetta leaves him to clean up after her messes and place him in charge of taking care of tasks she would rather not.

The angel designs are nowhere near as visually captivating as their successors in Bayonetta 2, though boss designs such as a plant-like form with many tentacles and a giant lizard-like beast with a gaping maw offer commanding aesthetics. There is a certain creepy and alien appeal in the bird-human hybrids of the common grunt enemies, while gold-trimmed boats that fire a barrage of missiles and flying snake-like beasts offer more in the way of silly visual appeal than they do for practical combat situations. The soundtrack emphasizes choir vocals for more dire moments, and jazzy numbers for when the game wants to let loose and allow Bayonetta a minute to properly flaunt her unique skill set.

Bayonetta is still an impressive showing for the action genre, and does well to base its combo chaining system around a fair dodge mechanic. Unfortunately, this is far too often nixed by poor choices in the placement of enemies in narrow hallways and compact rooms, or downright awful camera angles. It’s a step up in both more fluid design and more user-friendly design points than previous giants of the genre, yet it falls a fair distance from the sequel’s borderline-perfect design. If nothing else, this version of Bayonetta is easily the best in terms of its visual presentation, and the button layout on both the Wii U Gamepad and Pro Controller are perfect fits for the game’s demanding combat patterns.

My rating: 7.5 (out of 10)

Anime review: Jojo's Bizarre Adventure: Stardust Crusaders (season two)

          
  Believed to have been long-since defeated by his rival Jonathan Joestar, Dio Brando returns in part three of Jojo's Bizarre Adventure.  As his previously-severed vampire head has attached itself to Jonathan’s body, Dio now shares a strange bond with Joseph Joestar, Joseph’s daughter Holly, and his grandson Jotaro Kujo, through projections of their own willpower called Stands.  Dio’s ultimate goal is now to wipe out the remaining members of the Joestar bloodline, and to do so, he will call upon the most corrupt and detestable Stand users he can find.

Stands manifest in ways unique to each user, with Jotaro’s Star Platinum capable of delivering many quick and powerful punches with insane precision.  Joseph’s Hermit Purple forms a string of thorns that can be used to grapple onto objects within a rather short range, but its primary use is that of projecting images through photographs and television sets to give the heroes an idea of what Dio’s next move will be.  As Holly does not acclimate well to her Stand, she falls ill shortly after Joseph comes to visit her and bail Jotaro out of prison.  Knowing that Holly likely does not have the strength to overcome her own Stand, which proves to be of a parasitic nature, Joseph and Jotaro decide to travel to Egypt to face the problem at its source – Cairo, Egypt, where Dio is hiding.

Even before they leave Egypt, Joseph and Jotaro encounter two allies who vow to help Holly and stamp out Dio and his villainous followers.  These are Muhammad Avdol, an Egyptian who commands the flames of Magician’s Red, and Noriaki Kakyoin, a student around the same age as Jotaro, whose Hierophant Green can thin itself out and explore small crevices as well as perform a spread shot attack known as emerald splash.  Before long, the four heroes meet Jean Pierre Polnareff, a goofball who, despite his tendency to distract his ultimate aims with constantly chatting up pretty women, has a heart of gold and will not rest until the man who murdered his sister – a man with two right hands – is served justice.

With Stardust Crusaders being set in the 1980s, the culture and worldview is distinctly different from that of Battle Tendency, in the same way that arc was so far removed from its own predecessor, Phantom Blood.  With mass transportation now available on every continent, the heroes trip gains some significant headway early on, but it is not long before Dio begins ordering his faithful followers to crash the planes and hijack the boats that the gang attempts to use in their traveling nearly halfway around the globe.  And while the gang is ever-determined in their aims to stop Dio and save Holly (as well as the rest of the world), the Stand users they encounter begin to learn their weaknesses and their fears in hopes on exploiting these to gain the upper hand and please lord Dio – for the only way to defeat a Stand user is to either best the Stand in combat, or defeat the user in person.  With some Stands having incredible range, and others considerable levels of power, the same tactics are not always viable.

The comforts of home miles behind them, the gang travels through the ports of Singapore, the crowded streets of India, the narrow mountain roads of Pakistan, and across the Arabian Desert, traveling in beat-up automobiles, on the backs of camels, and whatever other means are available to them in locales that become increasingly further off the grid.  Not all of their enemies prove as intelligent as one another, however.  While Steely Dan’s attempt to plant his Stand within Joseph’s Brain and Enya Geil’s ability to control bodies after puncturing holes in them are equally lethal and powerful, many of Dio’s followers – particularly those encountered earlier on in the series – rely too heavily on their Stands and their cockiness proves their undoing.  As a result, some of the less impressive and subsequently less exciting Stand users are introduced and dealt with in the same single episode, while fan favorites from the manga typically earn themselves two full episodes in the spotlight.

The budget of Stardust Crusaders is notably higher than that of its 2012 predecessor.  While the animation style takes on a style more akin to the manga, with semi-exaggerated character designs and thicker outlines, the soundtrack is a mix of epic humming battle themes and funky jams that wonderfully compliment the action/comedy hybrid that is the core of Jojo’s Bizarre Adventure.  This first season runs twenty-four episodes in length, and while there is still plenty of story to be told by the time all is said and done, this first arc does a masterful job of granting each of the five protagonists time to shine through and develop into quirky, respectable heroes.  They each make their missteps, and while it’s true that Jotaro comes across as brash and foul-mouthed at first, the fact that these characteristics simmer as he hones his abilities with Star Platinum shows a great deal of maturity on his part, and an outlook on the larger picture that is quite different from that of his own grandfather, a man who sent the supposed ultimate life form Cars sailing through the stratosphere decades before.

Meanwhile, Kakyoin is typically the most reserved of the lot, and alongside Avdol, makes up the more serious side of the group.  That said, there are occasions where Kakyoin will make some completely unexpected statement or gesture that falls more in line with Polnareff’s wacky nature, and the fact that these come out of seemingly nowhere makes them all the more humorous.  Plenty of struggles lie ahead for these five unlikely heroes as they have yet to face off with the strongest of Dio’s loyal subjects, but make no mistake – for being only the first half of the long-overdue proper anime adaptation of the most popular part of Jojo’s Bizarre Adventure, this first portion of Stardust Crusaders is nigh-on masterful in its execution.  Few anime series are this consistently fun from start to finish, and the culmination of all these qualities is a testament to the care and attention the anime staff has put into bringing the pages of the manga to life.

My rating: 9.5 (out of 10)

Anime review: Space Dandy

In the vein of Cowboy Bebop and Outlaw Star, Space Dandy is the most recent anime to see a small crew scour the stars for the purposes of both work and adventure, though this series places emphasis on wacky comedic scenarios more so than its predecessors. Within the first episode, viewers are familiarized with Dandy’s line of work (an alien hunter seeking out new and rare species to cash in at registration), his crew mates (the cat-like alien Meow and vacuum cleaner/multipurpose robot QT), and the general nature of the show. As Dandy and Meow head planetside to search for unusual creatures, they find themselves swept up in the chaotic food chain of the world, and ultimately are pronounced dead by the time the credits roll. But when episode two begins, Dandy and Meow are back at it, as if nothing had gone awry in the first episode.

Such is the nature of Space Dandy – characters turn into zombies, spend weeks chasing down sentient life forms that have the ability to alter a person’s memories, and even find themselves transported to an alternate dimension via a wormhole within one ramen noodle restaurant. In between their misadventures, Dandy, Meow, and QT frequently pay visits to Honey and the other servers at the Boobies restaurant chain, an interstellar parody of Hooters. Space Dandy plays out more like a western animated work than a typical anime, due to the fact that viewers could theoretically jump into the series with any given episode and still be able to grasp the story just as well as if they had started with the premiere.

While Dandy and crew are scouring the stars, the mad scientist gorilla Dr. Gel is ever-vigilant in his pursuit of the titular hero, albeit for unknown reasons. Gel oversees the completion of one invention or superweapon after another, and – as it is revealed during the second half of this first season – does so for the sake of military purposes, as two factions have been at odds with each other for an unspecified amount of time. Much to the disappointment of Gel’s superior, a flaming skeleton with the most underwhelming name of Admiral Perry, Dandy, Meow, QT, and the aliens they cross paths with often inadvertently cause the destruction of these inventions.

Space Dandy’s comedic stylings provide a well-balanced blend of zany scenarios, pop culture references, dimwitted plans, a bit of crude, and a few instances of characters breaking the fourth wall. Yes, there are exciting action segments, an intense race across the galaxy, and even a few philosophical questions presented (most of which fly right over Dandy’s head), but the series never strays too far from its comedic core. That said, there are a few episodes that opt for slower pacing in order to better flesh out an alien culture, and these episodes typically prove a bit less fun to watch than the rest.

The animation styles vary slightly from one episode to another, namely when Dandy and gang are traveling to stranger locations in space and time, though the majority of the series is handled with animation that is pretty typical of contemporary anime. Dandy’s hairdo may be a bit exaggerated, but aside from that, the most standout elements of this anime’s presentation factor come from its bright and psychedelic color palettes, as well as its upbeat and jazzy soundtrack. Space Dandy proves a quick and easy watch, though it does well to craft an identity of its own while still paying small tributes to its sources of inspiration.

My rating: 8 (out of 10)

Anime review: Jojo’s Bizarre Adventure (season one)

Adapted from the long-running manga of the same name, the 2012 anime version of Jojo’s Bizarre Adventure is effectively the first season of something much larger. Two protagonists are covered in-depth, as are their respective allies and enemies. Clocking in at twenty-six episodes, these first two chapters do well to tie into one another and set the stage for everything that is to come, while simultaneously bringing their individual stories full circle and providing a satisfying conclusion.

The first chapter is set in the late 1800s, and focuses on Jonathan Joestar, son of a rich father who has raised the boy on his own since the passing of his wife. The relatively mellow and predictable life Jonathan leads is upset with the arrival of Dio Brando, son of a man who Jonathan’s father mistakenly believes saved his life – in truth, Dio’s father Dario Brando was attempting to rob Jonathan’s parents on the night Jonathan’s mother died. Dio soon becomes the golden child in the eyes of Jonathan’s father, but Dio’s ultimate goal is to take over every role Jonathan ever had within the Joestar family and household, and eventually claim the family’s inheritance.

Though it takes Jojo many years to find a way to expose Dio to his father, and lost connections with some of his friends along the way, eventually Dio’s plot to kill Jonathan’s father by slowly poisoning him is revealed and he is kicked out of the household. Prompted to find a cure for his father, Jonathan heads into the city, where he is met by a street gang member named Robert Edward O. Speedwagon. After a brief exchange, Speedwagon and Jonathan make their way back to the Joestar mansion to save Jonathan’s father and finally remove Dio from their company. But things quickly go awry when Dio dons a stone mask that had long been housed within the Joestar mansion. Painting the mask with blood, Dio is transformed into a vampire, his only weaknesses the light of the sun and the mysterious technique known as the ripple. And while all this may seem like a lot of content to explain for a review, I assure you that all of the aforementioned events occur within the first few episodes, and serve to set the stage for the primary conflict of this first chapter: Jonathan Joestar’s fighting spirit and ripple technique vs. Dio Brando’s desire to grow beyond humanity and unleash an army of the undead upon the world.

While the names of the primary protagonist and antagonist of chapter one might not have been as strikingly obvious, Speedwagon and the vast majority of the characters that follow bear names that are direct references to classic rock groups and songs. These include somewhat subtle nods to Led Zeppelin via Will A. Zeppeli, to the more blatant (and arguably more silly) as seen in the duo of monks named Dire and Straits who studied the mystic arts of ripple fighting under their master Tompeti (pronounced ‘Tom Petty’). And that’s the main gimmick of Jojo’s Bizarre Adventure. The series does deal quite a bit with variants of the ripple fighting technique, and to that end it falls somewhere between Dragon Ball Z and Yu Yu Hakusho in the fighting action genre – certainly not the most subtle of series, and definitely more than a little ridiculous, but every character has his or her limitations, and the fights are never drawn out to an excessive degree.

The art style is one of the series’ best points of its overall presentation. Psychedelic color patterns force Jojo and company’s outfits to stand out prominently against darker and highly detailed backgrounds, while dynamic angles give the action a more desperate and intense feel. Occasionally, a still-frame close-up or the inclusion of animated sound effect kanji text will pay homage to the manga source material – a curious touch that further sets this series’ style apart from its contemporaries. The original soundtrack composed for the series does well to perpetuate a sense of adventure, with themes that accompany the major battles striking powerful chords at just the right moments. A few tunes also incorporate samplings from classic rock tunes, such as ‘Owner of a Lonely Heart’ by Yes, further lending the series’ presentation factor to stand out from the crowd.

Chapter two of the series has a much higher episode count that the first, though a number of the characters return as supporting cast members. Set in 1938, this story follows Joseph Joestar, grandson of Jonathan Joestar, and explores the origins of the Stone Masks like the one Dio used to transform himself into a vampire. As it turns out, there are many more of these masks attached to stone pillars with humanoid beings frozen within, as if they are in a sort of stasis. The first of these Pillar Men is discovered by Speedwagon, who is now in charge of a research foundation, but the findings and Speedwagon himself are ultimately seized by a small group of Nazi scientists who are seeking occult and powerful objects around the world to fuel Germany’s pre-WWII dreams of grandeur. Realizing that Speedwagon’s disappearance must mean something has gone wrong with his expedition, young Joseph Joestar heads to Mexico to find him, arriving by motorcycle just in time to witness the Pillar Man awaken from his two-thousand year slumber. While this Pillar Man is initially slow to react, he is shown to be highly adaptable to his surroundings, and capable of learning at an incredible rate. He is able to absorb individuals into his body to repair it, but the ripple technique handed down through the Joestar line is capable of dealing him damage. After this Pillar Man, dubbed Santana, effectively destroys the entirety of the Nazi facility, Joseph manages to defeat him with the light of the sun, but not before learning that there are more Pillar Men like him that the Nazis have uncovered in Europe.

From there, Joeseph travels to Italy to meet with Caesar Zeppeli, grandson of Will A. Zeppeli, and Caesar’s mentor Lisa Lisa. After the three more powerful Pillar Men awaken, Caesar and Joseph attempt to stop them from escaping the excavation site where they were uncovered, but only manage to deal slight damage to the weakest of the three, known as Wham. Intrigued by the strength of these ripple users, as well as the fact that there are any surviving descendants of the ripple users he and his masters/comrades ACDC and Cars attempted to wipe out during the pinnacle of their existence two-thousand years prior, Wham spares the two and encourages them to challenge him again in one month’s time, when their ripple techniques have been better honed and amplified. To ensure Joseph does not fail to show up, Wham and ACDC place rings around his neck vein and heart, informing him that he will have to take the antidote from jewelry on their bodies once he has successfully defeated them.

Similar to the first chapter, the fight against Santana and the awakening of his three superiors is tackled within the first few episodes of this second act. The ultimate goal of these Pillar Men is the Red Stone of Aja, an artifact which will supposedly allow them to master their weakness to sunlight. Still, despite their ties to the stone masks that turned Dio into a vampire, ACDC, Cars, and Wham are all shown to be significantly more powerful than Jonathan Joestar’s adversary ever was. Each of the Pillar Men has his own distinct technique – Wham can spin his arms rapidly and create a violent sandstorm, ACDC can spout a lava-like liquid from tiny tubes that extend from within his body, and Cars has retractable blades inside either arm. Of the three, however, Wham is easily the most well-rounded and respectable antagonist, as his warrior’s pride is what keeps him grounded and offers Joseph a real fighting chance against Cars and ACDC’s greedy desires to obtain the Red Stone of Aja. ACDC and Cars are a bit more one-dimensional as villains, and ultimately come across as being about as well-developed as supporting cast member Stroheim, a Nazi officer who Jojo meets in Mexico and who only appears in a handful of episodes of this second act. It’s a rather strange move, all things considered – it makes sense that Stroheim’s limited inclusion would lead him to come across as more caricature than fully-developed character, but for Cars and ACDC to be so lackluster in the presence of Wham is more than just a little bit disappointing. Even Dio, whose story arc is shorter than that of the Pillar Men, is a more complex and interesting villain.

The Joestars and their allies, however, are, for the most part, quite the likeable and interesting bunch. Jonathan Joestar plays the part of a more chivalrous hero, in stark contrast to Dio’s greed and delusions of grandeur. Speedwagon, while not the bravest soul, sometimes provides tactical advice to his friends, and his foundation is key during the second chapter. Above all else, though, Speedwagon and ripple master Will A. Zeppeli are unwaveringly loyal to Jonathan and his cause of stopping Dio’s conquest. Joseph, on the other hand, is more of an everyman – he is cocky, he ogles pretty women, and he has no qualms about starting an alley fight with a pair of crooked cops. His imperfect human habits are what lend this Joestar to being a more relatable and (ironically) more likeable protagonist. His habit of pulling strategies out of thin air never cease to impress, in large part because of how quick-witted and wacky they tend to be, and his bravery in putting himself in danger’s way to protect his friends is equal parts admirable and crazy.

While both plotlines are handled well, it certainly feels as if chapter one was more or less a means of setting the stage for Joseph Joestar’s story. And that’s probably the best way to go about delivering this story, considering how many characters and plot points carry on to chapter two. Nothing in this first season of Jojo’s Bizarre Adventure feels the slightest bit rushed, which is impressive, considering it follows the story of one family over multiple generations. Some of the characters are a bit less spectacular in presentation than others, however, and that is arguably the greatest misstep of the first season of this series, which is such a character-driven story. Still, this adaptation is a heck of a lot of fun, and the finale does well to tease what is to come in season two with a couple post-credits easter eggs.

My rating: 8.25 (out of 10)