Hello DC, my old friend… I have come to punish myself with you again.
Boy howdy. Here we are with Aqauman after 5 years of mostly failed DC movie attempts. Last time I saw the character of Aquaman, he was in the totally and completely awful Justice League, and to be fair, he was more of an Aquabro rather than an Aquaman. The lines and presence in Justice League was painful, but is it possible that Aquaman could have a shot at redemption?
Bad lines and kind of an off putting performance by Jason Momoa in Justice League really made me not care about the character at all. He was already a joke being the super hero that talks to fishes, and I did not know how a screen portrayal would work. It seemed like a arc out of the show Entourage, oh wait it was an arc in Entourage. Aquaman, in my eyes, just seemed hell bent on being another bad DC movie.
It should be to no surprise that I spent most of 2018 just piling on Aquaman. Every trailer and poster released had instant reactions from me, where I just could not help myself. I was compelled to pile on this movie with as much negativity as I could muster. As people started to see the film, and reviews started to come in, the word of mouth was mostly positive. I of course, began to construct many tin foil hat theories that these were DC fans in early screenings, and DC fans reviewing it. It had to be!
There was only one way to put an end to this… I had to see it for myself. Now after the Justice League fiasco, I was in a hard refusal mode to give DC any more of my money, and time. Something about our generation has that overwhelming feeling of the fear of missing out… and while I had no fears of missing out on an Aquaman movie, I felt disingenuous to continue my professional career of hating DC, and especially hating on this movie. I needed to find out for myself, and inform my empty hatred.
So there I was, unable to convince a single friend to see this movie with me, and sitting in the theater. DC had done it again; they had gotten my money as well as my butt in a seat. I felt fake, uneasy, and just gross about succumbing to the word of mouth on a DC flick. By the times those credits rolled, I was surprised by how I felt about the movie.
Aquaman ended up being totally and undoubtedly…. fine. There is nothing particularly great about it, but there is certainly nothing overly offensive about it, either. Aquaman hones in on a 80’s cartoon vibe and just lives there comfortably, bringing an element of fun to the DC movies that has never existed before. Don’t get me wrong, there is PLENTY to pick apart about his movie. Logic gaps, dumb characters, the failed attempts at comedy, the long run time, and a hit or miss soundtrack are a few of the cornucopia of issues on display here. Seriously, every time they use that guitar riff when Aquaman does anything, got old real quick. You could tell the creators thought it was a rad choice. It wasn’t.
These issues end up only being surface level because of that before mentioned fun factor. Now the comedy is not part of that fun factor, often leading to groans instead of laughs, but the spectacle of it all is unmatched in the DC shared universe. The effects are great, and step above the awful things we witnessed in Justice League (I will never got over that Superman mouth). They use a de-aging type technology to make actors look younger, and while it is not at MCU levels of perfection, it still good. The underwater effects and all the CG looks great, and it is much more comprehensible than it is made out to be in the very busy trailers. There are some stand out moments with the whole Trench arc, both in spectacle and just cool character moments. They really nail the action, and there were a couple moments I caught myself saying “wow” in a very Owen Wilson like manner to much of the spectacle partaking on screen. The scope and execution of these large action sequences are handled in all the right ways.
The cast is great too! Jason Mamoa really carries the movie as Arthur “don’t call my mom Martha” Curry. While his lines suck, he and the rest of the cast do their best with a wacky script. Amber Herd is good in this as well, acting as a good partner and fiercely capable warrior. Willem Dafoe and Patrick Wilson are great in their roles as well. Wilson really hams up the scenes he is in, but is obviously having fun with the character. This movie deserved an over the top, loud villain, and we got one with Ocean Master. Don’t get me wrong, there is so much ham in this movie, but if anything, the cast softens that blow.
The element of fun was always missing from DC movies of today, and Aquaman finally breaks that trend. This is a step in the right direction for the whole DC franchise, and I am hoping the other movies and projects are able to tap into this. Listen, I as much as anyone want a dark DC movie universe, but they tried it and it is just not working for them. It was time to try something new and you get that with Aquaman.
Now don’t get me wrong….DC has a long way to go to catch up with MCU. I cannot express enough how much I want DC to succeed, as I personally favor their characters more. Marvel just remains ahead, and it’s thanks to that early start and just an understanding of the source material. It is not too late for DC, and Aquaman really displays their understanding of the course correction that is in need. I don’t think it ever reaches the highest moments of Wonder Woman, but I think it has a more consistent quality as there is not an entire act that just falls apart like the third act does in Wonder Woman. While Wonder Woman is very good at many moments, I still don’t know if there is anything that is particularly very good about Aquaman, while at the same time not being particularly bad. I just see the changes and it fills me with a sort of optimism about things going forward.
DC has done plenty to earn the distrust of fans and consumers alike. If you genuinely like the movie, great! This is not to demonize the people who enjoy these movies, but I do hope that the current fans are accepting of the incoming changes. Aquaman is not a perfect film, heck it is hardly even a good one, but it gets a lot of the right stuff correct, and that helps me forgive its many shortcomings. It’s not bad…but it is just fine.
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Seven years on from the hugely successful Batman Black Mirror, writer Scott Snyder and artist Jock reunite to once again pit the Dark Knight against another sinister killer lurking in the hidden corners of Gotham. This time, however, the killer is not a tragic figure from Batman’s past but in fact Bruce Wayne himself. It’s… complicated.
The Batman Who Laughs is the direct follow up to DC’s 2017/18 event Dark Knights Metal which saw the DC Universe invaded by a group of evil Batmen from a parallel universe. The breakout star of which was, “The Batman Who Laughs”, a Bruce Wayne poisoned and corrupted into replacing a dying Joker. The event had left his fate ambiguous as he was last seen battling the Joker in the catacombs beneath Gotham.
The issue opens with Bruce fondly remembering laughing and playing with his parents as a child before Snyder blasts us into the modern day with an action set piece atop Gotham Bridge, leading to the discovery of an unusual body with worrying prospects for our protagonist. Meanwhile, Arkham Asylum comes under siege from a machine gun wielding Batman, hell bent on reaching the Joker’s jail cell. Both stories converge in the final few pages as Batman considers an unlikely alliance with troubling repercussions.
Snyder’s writing is in top form here as he returns to the type of story where he made his name. Having always excelled at laying out a mystery tinged with unsettling horror and gore, it’s clear that The Batman Who Laughs is a character that Snyder is passionate about. The plot allowing Snyder to dive deeper into the minds of both Bruce Wayne and the Joker and discover what happens to a Batman without limits. While the dialogue is corny at times, in a story dealing with alternate universes and a Batman wearing S&M gear Snyder can be forgiven for having some fun with it. There’s also a 10/10 dad joke regarding insurance that I’d bet Snyder’s had in his back pocket for years and is worth a purchase alone.
The writing is beautifully complimented by Jock’s art, his heavy use of shadow gives this book the same haunting presence as his previous Snyder collaboration Wytches and the aforementioned Black Mirror. The action is fluid, with each punch, kick and explosion having a real sense of impact on the page. The character work is also expertly handled, the panic in the eyes of the unlucky guards at Arkham is palpable and you can feel Alfred’s uncertainty during his exchanges with Bruce. It’s always interesting seeing another artists interpretation of a character, and Jock takes what Greg Capullo created for the Batman Who Laughs and makes the villain his own.
Overall, this a great start to a new series, created by two artists working to their strengths. If the final page is anything to go by, this is going to be a deep dark dive into a war between Batmen. Sign me up.
Check out more of our reviews and let us know what you think on Facebook or Twitter @SubCultured! Don’t forget to join in the conversation on our Discord channel and let us know what you’d like to see next!
REVIEW | Doomsday Clock #4
Review | The Lost Path by Amélie Fléchais
Emerald City Conversation with Jen Wang
REVIEW | Doomsday Clock #2
Top 10 Comics of 2017
Review | ‘Dark Nights: Metal’ #1
After switching to its now bi-monthly release schedule, Doomsday Clock returned last week with Issue #4, which picks up straight after last issue’s cliffhanger ending and focuses on the origin of the mysterious new Rorschach. The story jumps between Rorschah’s previous stay in a mental asylum post-Watchmen and his current incarceration in Arkham Asylum.
Of the two plot lines to follow, the flashback story is the most intriguing. Following the newer Rorschach after the New York attack it’s revealed that not every person exposed to the “alien invasion” died instantly. Many suffered from horrific visions and are left severely traumatized. One of these victims is Reggie, a young man whom writer Geoff Johns wisely connects to the original Rorscach through his relationship to his father. Providing Reggie with an interesting perspective on a character most others consider to be a crazed vigilante.
Symmetry as a theme is present throughout this issue in both the art and writing, with Reggie’s confinement in both timelines mirroring one another and obligatory nods to Walter Kovac’s capture in the original Watchmen. Reggie’s decision to spare Ozymandias towards the end is an example of a man not beholden to the same strict code of his predecessor allowing the character to share many of the same traits but with an added element of unpredictability. Where the story diverges, however, is with the introduction of Mothman.
Mothman is used skillfully by Johns not only to provide a mentor for Reggie, but also as an explanation for how he was able to assume the persona of a new Rorschach and obtain the tools required to confront the man responsible for his parents death.
As a character, Mothman provides a warmth and humour in what would be an otherwise dreary setting. Mothman’s eventual fate is heartbreaking in it’s execution, as are his letters to an estranged sister, which serve as this issues epilogue. This is a character whose inclusion could verge too far towards fan service in another writers hands, but thankfully Johns allows the character to be an essential part of the narrative instead of a throwaway gag or lazy reference.
Another character who arrives in the final few pages is Saturn Girl, something of a reward for fans who have been reading DC Rebirth since its launch. Up until this point, Saturn Girl had only appeared in small cameos, hinting at a connection to the wider Doomsday Clock story. It’s nice to see threads like this finally begin to converge, even if her escape from Arkham could throw up more questions than it answers. The final page delivering an image guaranteed to leave readers discussing its symbolism and implications for the narrative going forward.
It is now a given to say that Gary Frank’s art continues to impress this issue. Mothmans late night flight is the obvious highlight and the overall pacing and detail of each page once again compliments Johns writing perfectly, demonstrating a symbiotic storytelling relationship similar to the one shared by Alan Moore and Dave Gibbons. Frank’s smaller details, such as the halls of Arkham resembling those in The Killing Joke, is a delightful example of these two creators weaving a DC universe intrinsically connected to Alan Moore’s previous work.
Doomsday Clock continues to be THE comic book event of the year. If Geoff Johns and Gary Frank continue this level of quality for the entire run, it’s sure to be considered a modern classic.
REVIEW | The Batman Who Laughs – #1
Review | The Lost Path by Amélie Fléchais
Emerald City Conversation with Jen Wang
REVIEW | Doomsday Clock #2
Top 10 Comics of 2017
Review | ‘Dark Nights: Metal’ #1
It’s that time of year again! No, not Halloween (though that is sneaking up on us faster that I realize). I’m talking about New York Comic Con time! Though not as prolific as San Diego Comic Con, NYCC is the East Coast’s biggest comic and media convention, boasting hundreds of exhibitors and tens of thousands of attendees.
Just like its West Coast counterpart, NYCC attracts countless collectors and, as such, has become a haven for exclusive merchandise. This is where Funko comes in. Over the summer we showed you all of Funko’s SDCC exclusives, the Pop!s, Dorbz, Rides and Vnyls that were only available at the con. Luckily, they’re bringing a pretty strong game to New York Comic Con as well.
Since they’re revealing all of their exclusives in waves so make sure to check back often as we update to see everything you can expect to find at NYCC.
Daku Con 2018 Photo Gallery
Daku Con 2018 Convention Recap!
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Batman cover by Greg Capullo
It’s been a while since I stopped into my local comic shop and after hearing a few good things about DC Comics’ recent Mister Miracle, I figured I’d swing by and pick it up. Unfortunately for me, my shop was sold out. Not wanting to waste a trip, I picked up a few random issues, one of which was Dark Nights: Metal, the first issue of DC’s latest summer cross-title extravaganza. After giving it a read, I’m still up in the air on whether buying it was the right call or not.
The issue opens 50,000 years in the past with a narrative about three great tribes and quickly transitions to a story in media res of the Justice League locked in a Gladiator-style battle orchestrated by Mongul. Mongul has clad the heroes in accessories that negate their abilities and is forcing them to fight giant robots without any powers. As far as openings go, it was pretty powerful and fairly entertaining, though I don’t understand how it related to the main story at all. Unless it was some kind of continuation from a previous issue somewhere that I missed, all this section did was remind the reader of how clever Batman is.
Dark Nights: Metal was written by Scott Snyder and is the springboard for a new multi-month, multi-title, epic crossover. Snyder is best known for his work on Batman and helped to redefine the character during “New 52” so it comes as no surprise that Batman is the center for Metal. The issue is meant to set the scene for the next few months so most of it is just a run-down of the danger that the Justice League will have to contend with. It’s a universe threatening event and it’s laid out to the audience in no uncertain terms. Literally. Over pages and pages of dialogue. I suppose this is the easiest way for Snyder to really prime readers for what they’re in store for but it doesn’t make for the most explosive of openings. Quite the opposite, actually.
The Justice League are forced to battle in an arena without the use of their abilities.
Greg Capullo’s art did little to capture my attention. I followed him and Snyder for a bit on their initial run on Batman when “New 52” launched and I remember Capullo’s art being far more intriguing than what we’ve gotten in Dark Nights: Metal. I’m not sure if this is due to Jonathan Glapion’s inks detracting from the pencils. Most of Metal is clad in bright lighting, making it a far cry from the darkness and shadows of the “Court of Owls” storyline from Batman. Or it could be the colors by FCO Plascencia, which, again, are far brighter than what I recall of Capullo’s early “New 52” work. It could also be some of the choices Capullo makes; though most of his pages are dynamic and exciting, there are a few panels that are static and uninteresting. Even confusing, on more than one occasion. I’d expect these poor choices from a lesser artist but it’s uncharacteristic from someone like Capullo.
As I stated earlier, most of this first issue is expository, explaining the nature of the “Dark Multiverse” (despite how ridiculous the concept is) so that it’s easy to understand by readers. That exposition helps to bring both regular DC readers and new readers on the same level playing field. However, this causes a confusing disconnect when it comes to casual readers (like myself) and really showcases all of the harm DC has done over the past few years.
The aforementioned “Justice League Megazord”
Dark Nights: Metal spends pages reintroducing characters that are familiar to casual fans, again, like me, creating an awkward continuity. I found myself wondering why no one recognized Red Tornado or why the name “Carter Hall” isn’t familiar to any of the characters. That’s because all of the dicking around DC did with their universe invalidated these characters, so here Snyder needs to reintroduce them. Am I, as a casual fan who hasn’t regularly read a DC comic since six months into “New 52”, supposed to know that? Evidently, yes, and that’s where my enjoyment of the title started to plummet.
There are a few things that I liked about the issue, a couple of flourishes that brought a smile to my face. Batman riding a dinosaur was a neat little touch and came completely out of nowhere. I also liked Cyborg saying “Booyah,” his catchphrase from the Teen Titans cartoon. I don’t think it would have been possible for me not to hear Khary Payton’s voice in my head as I read that. Besides that, though, I was wholly let down by Dark Nights: Metal. The story didn’t do enough to grab me, the exposition was boring and the concept made me roll my eyes.
As a limited “Elseworlds” type series, I could see Metal being something interesting but as a multi-title crossover spanning six months and set in regular continuity, it just sounds dreadful. I do hope I’m wrong, however, and that the story produces some great lore but after the first issue, I’m not confident that will happen.
Grade: C+
REVIEW | The Batman Who Laughs – #1
REVIEW | Doomsday Clock #4
Review | The Lost Path by Amélie Fléchais
Emerald City Conversation with Jen Wang
REVIEW | Doomsday Clock #2
Top 10 Comics of 2017
We’re getting on the hype train with more Funko exclusives at this year’s San Diego Comic Con. Well, SDCC adjacent, we should say. Following up on the success from last year, Funko will be hosting another Pop-Up Shop at this year’s SDCC. According to Funko, it will be held at 448 West Market Street in the Marina District. Though the shop will be open for all four days of Comic Con, it will only have hours of 10 AM until 3 PM and, knowing Funko, will likely be a madhouse.
So if you’re not able to get into Funko’s booth at SDCC, at least you have the opportunity to purchase something from them.
Second Reveal
– June 29
Daku Con 2018 Photo Gallery
Daku Con 2018 Convention Recap!
PAX South 2019: Splitgate Arena Warfare, World of Horror, JackQuest, and Disjunction
PAX South 2019: Jump Force, Skellboy, A Fold Apart
PAX South 2019: Devil May Cry 5, Young Souls, Magequit
