Star Wars: The Mandalorian Series 1 Review

 

Starring: Pedro Pascal, Carl Weathers, Gina Carano

and more

Writer: Jon Favreau

Rating: 7 of 8

Star Wars

The Mandalorian Series 1

One of the most consistent things about Star Wars is just how split the fanbase can be and, though it can be nice to see one franchise generate so many varied opinions, it's refreshing to get a sense of unified positivity. Despite a great deal of division over the Sequel Trilogy, even it's die-hard critics heaped the space opera's 1st live action series with praise.

Having watched The Mandalorian's 1st Season, it's easy to see why. Set just a couple years after the fall of the Empire, it follows Mandalorian bounty hunter, Djin Djarin, as he attempts to reclaim his now reclusive people's former glory. He tries to achieve this by taking in bounties for various individuals and though he's pretty good at it, it's his latest bounty that makes him question just how far he's willing to go for his people.

Dubbed Baby Yoda by fans and the general public, the Child (above) is one of the best parts of the series - and one of the most surprising. Going into the show, I expected a tense, thrilling show set in a seldom explored time period - and though that's what we get, I never expected it to have such a sense of heart. We get this throughout the series, thanks to the surprisingly father-son like bond between Djin and the Child.

It's also rare that we see other members of Yoda's race, with the Child and Yodel being two of the few other members that we've seen. The series is also one of the few times we've gotten to see the state of the Mandalorians after the Empire's fall, which I appreciated. Though we got to see how things were with them before it's rise (in The Clone Wars) and in it's early days (in Rebels), it's nice to see how they're doing after such a seismic event.

Despite it's fall, it's presence is definitely felt, both early into the series and towards it's end. Given how it ends, I'm sure that'll continue with Series 2 and I look forward to seeing Moff Gideon's - played with the usual aplomb by Giancarlo Esposito (Breaking Bad, The Boys) - story explored more in future episodes. But if you're looking for great performances, look no further than it's lead, Pedro Pascal.

Throughout the series, he gives a compellingly understated performance, one that, along with the Child, helps to anchor it. As has been noted by my Dad and other reviewers, it's very reminiscent of Clint Eastwood in just how strong his presence can be, despite being a man of few words. It's noteworthy just how expressive he can be, despite wearing a mask throughout. We get bits and pieces of his backstory throughout, in an event that ties into a pivotal moment in Mandalorian history.

I'd be remiss if I went without saying just how amazing the series looks. Despite having a budget of $100 million, I was still shocked at just how good it looked for a show. I remember asking my Dad if a show could've looked this good years ago and he said no. I can't help but thinking, looking at the costumes, the various aliens and, most of all, the beautiful vistas on show, of just how far we've come.

 Overall, this is a fantastic show, with very few flaws. Even if you're not a big fan of Star Wars, I highly recommend it. It's easy to get into, easy to follow and just very good. 

Grimm Tales of Terror Quarterly Review

 Writer: Joe Brusha

Artists: Ralph Tedesco, Babisu Kourtis, 

Dario Tallarico + more

Rating: 6 of 8

Grimm Tales of Terror Quarterly

Some people like thrills, some laughs and a few even tears... but there's nothing quite like a good scare. In Grimm Tales of Terror, readers are treated to a trio of terror tinged tales, all involving some kind of dark retribution for it's 'hero's' dark deeds.

In the 1st story, we get a man struggling to survive as he embroils himself in the fearsome grip of crime and addiction. What makes this even worse is the face that he's a father of two and, as we find, he's far from the kindest father around. 

Despite this, his sons try to get him some help, though that may hide a far darker purpose... Though Brusha's writing here works, it's Kourtis' art that really makes it stand out. Thanks to him showing some things from the Dad's unique POV, he lends the tale a sense of claustrophobia, which adds a greater feeling of unease.

The dark shadows and splashes of blood only add to it. Though it's not the issue's scariest tale, as that honour goes to the lupine centered one. Even early on, Oliver Borges' art gives us some great scares, as a fearsome werewolf leaps to attack it's latest victim. Thereafter, we're treated to an unflinchingly, though not overly bloody scene.

Surprisingly, Brusha and Borges give us a good laugh before the horror, as a previously uber confident cajun runs and screams at the sight of the wolf. After the attack, Savannah, the tale's heroine, is cursed to become a werewolf every time the moon is full. 

Brusha and Borges very successfully capture the horror of such a curse, as she initially transforms gradually, then almost bowls over from the pain. It's from this first night she learns an invaluable lesson. As she and her family venture for an island holiday, the scene's filled with a palpable sense of tension as we wonder when it will happen.

The only problem I had with the story with the idea that her husband wasn't at all curious why she has to perform such a ritual every full moon night, though that's made clear by tale's end. The issue ends perhaps with it's most disturbing tale, as we meet Oliver, a man who becomes increasingly obsessed over cam girl, Jade Rose.

Though I can't blame him for trying for even a digital intimacy, it's the extents he goes to keep her where he stops being understandable and starts being despicably cruel. It's a chillingly current lesson in how an attempt to be close to someone can become much, much darker. If there's anything I'd criticize about it, it's the sudden involvement of supernatural entities, though it does make for a pretty funny, though unexpected, scene.

Overall, it's a pretty good horror anthology, which could make for very apt reading during such a spooky month. Despite my few criticisms, it's still worth a read, especially now.

We Live #1 Review

Writers: Inaki and Roy Miranda

Artist: Inaki Miranda

Rating: 7 of 8

We Live #1

What would you do if it was the end of the world? If everything you ever loved and fought for was to be wiped away - forever? Would you just accept your fate - or would you fight to survive? 

In We Live, about half the population knows they're going to die and accepts that. They know the children, quite literally, are our future and if humanity's gonna survive, it's through them. But half of any story's the journey. If they're to make it where they need to go, they have to survive it... if they can.

 

Throughout, the Miranda brothers fill the issue's darkness with glimmers of light. It's just what Tala has to do for Hototo, her little brother, to fulfill a promise to her mother and to protect him from an increasingly terrifying world. His unending optimism is in stark contrast to his sister, who doesn't think anyone can protect her, as 'it's the end'.

It's interesting that, even now, she's able to keep these feelings hidden from her brother and put on a brave face, if only for his sake. Though it's in the face of a coming apocalypse, it's something that anyone could relate to.

It's a tale of contrasts, really, as though Inaki's art is often light and playful, it also gives us moments of high fear and tension and a few images far bloodier than anything that came before. It's shortly after we get such a bloody scene that we get one unflinching in it's portrayal of sadly necessary cruelty.

Ultimately, though, it's a tale of finding hope amidst the darkness, anchored by the love of one little brother and his older sister. If I had any criticism of the issue, I wish it showed how two characters get where they do, but otherwise, I have no complaints. This is one journey I highly recommend taking.

 

Penultiman #1 Review

Writer: Tom Peyer

Artist: Alan Robinson

Rating: 7 of 8

Penultiman #1

What do you do if hordes of people love you... and you're still unhappy? I don't really know, and neither does Penultiman, the hero of this story. Despite the love he receives and the power he holds, he's still plagued by the fact that the people he wants the approval of most won't give it to him. It's a very relatable problem, one that can help bring even larger than life superheroes down to earth.

Though issue 0 preceded this, I don't think you need to read it to understand what's going on. The issue's pretty easy to follow and remarkably easy to get into. Much like Grant Morrison's All Star Superman, a few early panels succinctly sum up the hero's story without needing to bog down the issue with unnecessary exposition. It's some simple, but effective, storytelling, that I'd love to see more of in other stories.

Though the issue reminds me of other heroes, that's never to it's detriment. It's lovely seeing familiar elements of other heroes, like Superman's urge to see the good in even his enemies, reutilized with a new character. Even in his civilian identity, I'm reminded of another hero, with his inability to fully explain the truth to his cantankerous boss reminding me of the dynamic between Peter Parker and the remarkably gruff J. Jonah Jameson. 

This doesn't bother me, though and the familiarity, coupled with other elements, fills me with joy. Throughout the issue, Alan Robinson's art is consistently on point. Whether it's yells of frustration, an aerial hand stand, or a silent moment of disappointment, the whole team imbue their hero - and most of the cast - with a strong sense of emotion and life. Rob Steen's lettering is notably effective in a later scene, as Penultiman yells in unconcealed rage.

Overall, it's a very good debut, which I'd happily recommend. If you're looking for a familiar, but consistently effective, superhero tale, filled with emotion and bursting with life, I'd gladly recommend this.