Parasomnia #1 Review

 Writer: Cullen Bunn

Artist: Andrea Mutti

Rating: 6 of 8

Parasomnia #1

What are dreams but hope and fear? The stranger at the heart of this tale has plenty of reason to be afraid. Living on the streets, he has little place to call home and when he finds somewhere to rest his head, one group of men harass him into leaving.

But he still dreams. He dreams of a whole other life, one where he's a fearsome, ruthless figure, hunted while he hunts for his lost son. Though he faces many foes in the search, he dispatches most of them with ease. But the true challenge doesn't lie in their blades - it's in his heart.

It's not fully clear whether these dreams are just that, or memories of a life gone by. While, in the real world, a woman cries as she sees him, while another tends to someone in a deep sleep of their own. In the dream world, Mutti delivers a number of fast and fluid action sequences, filled with blood, speed and ferocity.

The only criticism I have is the inconsistency of the colours. In the dream world, sometimes it's a lot more bright and vivid, while at others, it's a lot paler and I just don't understand why that is. I also think he could've done a better job of making the two worlds stand apart. As it is, there's not much of a visual contrast.

Other than that, though, it's a pretty good debut. Bunn has a lightness of touch that really helps it flow and perhaps because of that, it's very easy to follow.

Batman: Reptilian #1 Review

 Writer: Garth Ennis

Artist: Liam Sharp

Rating: 5 of 8

Batman: Reptilian #1

There's more than one kind of monster. When you think of monsters, you probably think of demons, vampires, or werewolves - things like that. But those are just things of myth and legends. The worst ones, the ones that really haunt you, are entirely real.

In Batman's line of work, he comes across many of these and how he deals with them varies, depending on his mood and the depths of their lunacy. Here, he confronts Edgar Licchario, a boxer that's been recently exonerated. He lays into him in the most brutal way possible, before he finds a legal reason to hurt him.

Ultimately, it's not fully clear whether Edgar is a guilty man who got away with it, or an innocent one who just got through a brutal ordeal. Batman believes it's the former and goes some way to enacting his own kind of 'justice'. It's here we get a glimpse of a far more vengeful Dark Knight than we usually see, though it does fit with the nastiness often seen in Ennis' tales.

It's not what I like to see from the character, though given the writer and that it's more of an adult tale, it does make sense. Though the series promises a monster killing various Gotham villains, we don't actually get to see it here. Here, we get the aftermath of the killings and Batman attempting to figure out just who - or what - was behind them.

Here, we get a different edge to the line 'Batman doesn't kill', as the Knight turns it into a threat, telling one thug ''I'm far, far worse than that multicolored rabble. I will not let you die''. When you hear things like that, you can see why anyone would be afraid of him.

When it comes to the art, there's parts of it that are really impressive, like just how fearsome Sharp makes Batman, how deep he makes the shadows, or just how imposing he makes Edgar. But then there's other parts that disappointed me, like just how small he makes Scarecrow, who's usually a lot larger than he is here. Then there's the Joker, who looks a lot more like a clown with a bruised nose, instead of the refined, yet unhinged, killer he usually is.

Overall, a pretty mixed issue, that ultimately disappointed me. Though if you're up for a darker Batman, with a very different visual style to most books on the shelf, this is probably the one for you.

Venom #200 Review

 Writer: Donny Cates and

Phillip Kennedy Johnson

Artists: Ryan Stegman,

Mark Bagley,

Ron Lim and

many more

Rating: 6 of 8

Venom #200

It's amazing to think just how much a man can change. You might start out pretty selfish and self-serving - but you can change. And that's exactly what happened with Eddie Brock. 

Instead of remaining that man and refusing to change, he finally became the good man he'd for so long believed himself to be. Throughout Cates' run, Brock found a whole new side to the symbiotes, his 'other' and finally faced the sins of his past.

One of the best things he introduced, though, was Eddie Brock's son. By making him a father, he made him look past himself, his other, or even his own moral code. Now, he has to take care of him, even if it means putting himself last. It really added a greater degree of both depth and relatability, a key aspect to a lot of Marvel's characters.

Now, though, he has an even greater responsibility. With Knull dead, his hive freed and Brock back from the dead, it's time for a new King to take charge. That he does, as he and his army jet from world to world, undoing a lot of Knull's evil and saving many people from incredible pain and destruction.

It's just incredible to see what used to be a villain, then anti-hero, finally make the transition to hero, even if it doesn't last. We also get some lovely moments of humour from Spider-Man and Eddie's other, who's formed a very endearing bond with his son, Dylan. He, too, has changed, as he's a lot less vindictive than he used to be. It's great seeing just how far he, too, has come since his debut all those years ago.

Early on, there's a wonderful moment between he and Dylan regarding his name. It's a rather touching moment, something that I'm surprised hasn't been touched on before Cates' run. Speaking of how far things have come, Eddie and Peter have a heart to heart and, afterward, shake hands. It's just wonderful to see how far their relationship has progressed.

Though it's a great issue, it's not without it's problems. Some of the art, specifically in Flash Thompson's segment, is weaker than the rest. The writing's a bit weaker there, too and, though it's often good to set up future stories, here, Eddie and Dylan's story might've been enough, especially at the end of the run. 

Bagley and Stegman doing art probably would've been enough, though some of the other artists, like Kev Walker, were good too. Overall, though, it's a great issue and a brilliant end to Cates' run.

 

Loki - Series Premiere Review

 Starring: Tom Hiddleston,

Owen Wilson

and Gugu Mbatha-Raw

Produced by: Tom Hiddleston,

Mike Waldron

and more

Rating: 5 of 8

Loki

Series Premiere

Even the most popular characters have to step out of the spotlight sometime. It's a fact most artists - and fans - struggle to accept. When a character really resonates with you, it's understandable that you'd want to see more of them. When that happens, it only makes sense that any artist would want to keep that spark alive.

Unfortunately, that's exactly what Marvel tried to do here, even if, creatively, there was no good reason to. Three years ago, Loki died trying to kill a genocidal maniac - and before that, he'd already found some kind of redemption. He was at his brother's side and, for once, he was happy to be there.

He'd reached the end of his arc, so there was nothing more to explore. Unfortunately, instead of realizing that and leaving it there, they chose to tell a time travel tale with the God of Mischief when another character/characters - like Dr. Strange or the Exiles - would've probably fit better.

Though that's one of the main problems with Loki, it isn't the only one, as there are a lot of unfamiliar elements - the Time Keepers, the Time Variance Authority - introduced and, for a long time, you're left just as confused as Loki. Even by episode's end, I left with a number of unanswered questions.

Hopefully later episodes go some way to answering them, though I'm not sure if I'll be satisfied with the answers. On top of that, Loki gets pretty easily overpowered and outsmarted at times, which makes it harder to look on him as a legitimate threat. After a number of films where that's already happened, he could do without any more.

Overall, this is a pretty disappointing premiere that, aside from some emotional moments and a very good performance from Hiddleston, I definitely recommend against giving it a go.

 

Out of Body #1 Review

Writer: Peter Milligan

Artist: Inaki Miranda

Rating: 7 of 8

Out of Body #1

There's nothing quite like a good murder mystery and it's even more tantalizing when the victim is you. What you might have otherwise half-assed, or put off, now you invest a lot more of your time, effort and attention.

Of course, when the only thing you can move is those blinking eyes, what else can you do but think? It's something Dan Collins realizes pretty quickly, as he looks back over the time before he was attacked. It's not a search that bears much fruit, yet it's one he has to make, if only to have that most sacred of all things: an answer.

He runs down a list of suspects, trying to rule out any that just don't fit. A lot of this is hampered by his current situation, though that and more could well change with a little help from a 'friend'. Of course, Dan isn't the only one trying to figure something out, as we see with a medium called Abi.

As she communes with the dead, she does her best to comfort both them and those that lost them. Luckily for her, - and her mother - she gets paid for it. Though there are those seeking genuine aid, there are still those who seek to use her gift for their own dark ends...

In the first issue alone, Milligan succeeds in introducing the world and many of it's different shades, while also adding a considerable amount of depth to its' main character. Other characters, like Abi, or the sinister figures, aren't as fleshed out so far, though given we get to see a lot of what Dan's thinking, it make sense he gets the lion's share of depth.

When it comes to the art, while most of it's pretty standard, some of it's bursting with life. Later on, Miranda delivers some of the most mind boggling imagery I've seen in some time, while he makes the sinister Dorian fittingly ghoulish.Though, at page 10, I think he could've made the characters bit more expressive, given what happens.

Other than that, though, it's a pretty good debut. If the team can maintain this quality, readers are in for a treat.

 

 

Man Goat & The Bunny Man #2 Review

 Writer: Joe Brusha

Artist: Guillermo Fajardo

Rating: 6 of 8 

Man Goat & The Bunny Man #2

There's nothing quite like an action misadventure story. Especially if that adventure involves two guys hopping from place to place, rescuing people from the unholiest of monsters. It's a tried and true vehicle for telling some of the most reliably entertaining stories.

It worked in Supernatural and Buffy for years, so why can't it work for a Man-Goat and a Bunny Man? Some of the best of these tales involve two guys knocking heads in a clash of personalities. It helps to ignite a real spark into the story, making it more than two men hunting down some monsters and killing them.

Though they don't get much of a chance to interact, Phil and Floyd certainly do that, as they meet in a clash of ideas and desires. You see, Phil wants to investigate a local cult - but his partner just wants to go on a date!

It's a decision he could come to regret, especially by issue's end. Though it's not like Phil has an easy time of it himself, as he faces a group of hunters that want to see him dead - not because he's a Man-Goat, but because he had an affair with their leader's wife! It's relatively tricky for him and his friend, though he's not without a few fiery tricks up his sleeve.

Throughout, Fajardo does well in keeping the action fast and fluid, while most of the characters, especially the two leads and the head hunter, pop with expressiveness, easily letting you know what most of the characters are thinking or feeling. The issue ends on a cliffhanger, leaving you wonder just how our leads can get out of their current predicaments.

Overall, a pretty good issue, though some of the dialogue could've been put a little better than it was. Otherwise, a decent romp through romance, friendship and the not-so-wonderful world of cults. 

 

 

The Immortal Hulk: Time of Monsters Review

 Writers: Al Ewing, 

Alex Paknadel and David Vaughan

Artists: Juan Ferreyra and 

Kevin Nowlan

Rating: 7 of 8

The Immortal Hulk

Time of Monsters

True monsters never stop. The cries of mercy fall on deaf ears. You beg for reason and you're ignored. You just want them to stop, but there's a rage there that won't be quelled, even though they could ignore it any time they wanted...

... But that's the problem. They don't. In Time of Monsters, we see two tales where a man could listen to their better angels, but refuse, wreaking only pain, fear and death. In the opening tale, the village elder, desperate to feed his village, sacrifices one of his own to do it.

What he unleashes is a very different kind of monster. One born from death, pain - and a glowing, Green Door. It's here that Ewing and Paknadel incorporate Immortal's death and rebirth mythology and we meet the One Below All. If you're the right kind of monster, He's the one you meet on the other side.

Though He does grant you gifts, they might not seem like it at first. But for the right person, this incredible power and hate might be exactly what they're looking for. Such is the case for Tammuz, whose thirst for vengeance empowers his hate - and power.

It's here that Ferreyra unleashes an incredible milieu of horror, delivering just the kind of body horror Immortal Hulk is known for. Vaughan and Nowlan present a different kind of horror in their tale, as Bruce visits an empty Kansas town, looking for a show. What he finds is a boogeyman named Scarecrow and a very different kind of show.

Nowlan envelops the story in black and white, a fitting callback to classic monster movies like Frankenstein and The Wolf Man. Hulk's inclusion fits, as you see one hulking monster stalk another and both his colour and size make for a great contrast.

This issue is just fantastic and the opening tale alone is worth the cover price. I don't really think it needed another, but it was a good tale nevertheless, even if it doesn't match up to the previous one.