Tuesday, April 30, 2013

Injustice: Gods Among Us #16 - A Review

Injustice: Gods Among Us #16 is a problematic book  At the very least it's problematic for me as a critic, as I can't discuss its' flaws without discussing certain details of this issue's ending and the plot of the video game.  So for those of you who have not completed the Story Mode of Injustice: Gods Among Us, let me say that while I enjoyed the story of this issue, I feel Mike S. Miller's artwork - while skillful - is not appropriate to Tom Taylor's script.    Do not venture past this next image if you wish to remain unspoiled. 

Continuing the story from last issue - as Batman and Nightwing have to contend with both their allies in The Justice League as well as the inmates of Arkham Asylum during a jail-break orchestrated by Harley Quinn - this issue reveals the "how" of one of the biggest and best plot-twists in the storyline of the Injustice video game - the death of Dick Grayson at the hands of Damian Wayne.  This creates an interesting paradox in that this issue runs the risk of spoiling the story of the game for those who haven't completed it, yet those who have completed the game will already know about this issue's "shocking twist" before it happens.  Even more interestingly, Tom Taylor foreshadowed the precise method of death several issues earlier! 

The larger problem with this issue is Mike S. Miller's artwork.  Now, I'll be the first to say that Mike S. Miller is a great artist.  His pencils are clear and his character designs good.  And for the earlier part of the comic, which is filled with a good deal of slapstick humor alongside Tom Taylor's perfect take on many characters, he is a good choice for depicting the action.  But Miller's style is far too cartoonish for some of the gorier moments Taylor's script describes at the end of the issue.  Remember the now infamous panel of Superman punching through Joker's chest?  There's another moment very much like that one.

In the end, your enjoyment of Injustice #16 is dependent upon your ability to appreciate the parts of a work over the whole.  Taken on its' own merits and ignoring the game, the story is a good one.  The artwork is good but the artist's style is at odds with the story the writer is telling at times.  I'd still recommend it but with those caveats firmly in mind. 

Little something for the Blue Beetle and Young Justice fans...

... because I can't believe nobody had done this one yet.

Classic Fantastic: Kevin Smith's Green Arrow - A No Flying, No Tights Review

There’s one question I’ve been getting a lot recently, both as a librarian and as a comic book historian – where should I start if I want to read some good Green Arrow comics?  It’s a fair question but it’s also a difficult one for me to answer fairly.  Despite being around for over seventy years, Green Arrow never had a solo comic book series until the late 1980s and most of those comics have never been collected in a trade paperback edition.  Many of the stories which have been collected haven’t aged particularly well, with the Dennis O’Neil penned Green Lantern/Green Arrow comics of the 1970s being particularly cringe-worthy with their groovy dialogue.

For this reason, I usually recommend Green Arrow: Quiver and Green Arrow: The Sounds of Violence.  These two trade paperbacks collect all the stories written by the man who brought Green Arrow into the Modern Age of Comics – Kevin Smith.  Better known for his work as a filmmaker, Smith was a rather prolific comic book writer at the turn of the century best known for his inability to meet deadlines and his outspoken personality.  Love him or hate him, one can’t deny the impact that Smith had on Green Arrow.

What’s it about?

As Quiver opens, we are introduced to Oliver Queen – the man behind the mask who fought corporate criminals and corrupt civil servants as The Green Arrow.  This introduction comes through the eyes of his loved ones as they reminisce upon the impact he had on their lives before his untimely but heroic death.  Death?  Yes, as this story opens Oliver Queen is dead.  Or is he?  There’s a familiar green-clad figure running around the roof-tops of Star City who begs to differ and his oldest friends in the Justice League agree this new Green Arrow sure looks and sounds like Oliver Queen did ten years ago.  But even if Green Arrow has come back from the dead, how did he do it and for what purpose?  And why are his memories and personality those of a younger Oliver Queen than everyone remembers?  The search for answers will lead the newly resurrected Green Arrow and his allies on a wild ride through the spiritual side of the DC Comics universe.

The Sounds of Violence continues where Quiver ends, with a newly resurrected Oliver Queen trying to get on with his life.  His new job overseeing the Star City Youth Center has given him purpose beyond his nightly patrols and it’s offered him ample time to bond with Connor Hawke – the illegitimate son he never knew he had.  But Ollie worries that with the world having moved on there may not be a place for him anymore.  At the very least, he worries there’s no place for him in the life of the lady he most wants to be with – long-time girlfriend Dinah Lance, a.k.a. The Black Canary.  And even as Ollie seeks to rebuild, a new villain plans to end Ollie’s crime-fighting career before he can truly restart it.

Notable Notes

Two things stick out above all others in Kevin Smith’s scripts – his love and knowledge of the DC Comics universe and his twisted sense of humor.  From the very first scene, we know we’re in for something special as we see Superman and Batman – not as the Big Blue Boy Scout and the dour Dark Knight but as two friends snarking about their first memories of feeling cold (Batman’s involves a sleigh ride and Superman asks if the sled was named ‘Rosebud’).  Despite this story being built upon some rich history, it is easily accessible to anyone who has never read a comic book before, much less a Green Arrow comic.  Long-time comic readers may get more out of reading this series, spotting references to Neil Gaiman’s The Sandman among other things, but one needn’t have a copy of Who’s Who in The DCU on standby to get through it.

The artwork is all-around amazing.  Penciler Phil Hester, who collaborated with Smith previously on a comic based on Smith’s film Clerks, proves an unorthodox but credible choice to bring Smith’s characters to life.  Hester’s previous works tilted heavily in favor of the horror genre, which proves fitting given the direction Smith’s story takes toward the end of Quiver.  Inker Ande Parks further adds to the dark and spooky feeling with some atmospheric inks.  Writer/Artist Matt Wagner, who painted the covers for each of the monthly comics and the cover of the TP collections, also deserves high praise.


This series catapulted Green Arrow into the spotlight and kept him there for the better part of a decade.  The monthly series began to wane after Smith’s departure but Green Arrow’s newfound popularity extended into other media, particularly the various animated adaptations of the Justice League and Batman comics.  This eventually led to Ollie becoming a series regular on the Smallville TV show and probably had a hand in inspiring the current Arrow TV series.


Fans of Smith’s movies will love these books for their humor.  Fans of superheroes looking for an easily-accessible entryway into the DCU will also find this series enjoyable.  It’s also the first thing I’d recommend to fans of the new Arrow show, who want to know more about the comics that inspired the show and how different the two worlds are.

I would offer a brief word of warning regarding the series’ content.  While there’s nothing in this series that would make experienced comics readers blush, the fact remains that this is a Kevin Smith story.  Those of you familiar with his films will know what to expect.  For the rest of you, let me say that there are several depictions of extreme violence, references to drug use, an attempted rape and a far more frank depiction of Oliver Queen and Dinah Lance’s sex life than some may be comfortable with.  Suffice it to say there is much innuendo and while nothing is shown, Oliver Queen is depicted giving oral sex to his girlfriend twice over the course of the series.  Taken all together, I’d rate this series as being a T+ (16 and up).

Why should you own this?

Strictly speaking, these are among the few Green Arrow comics that are easily accessible to a new reader.  Sadly, they are out of print and even used copies are going for five-times the original price on-line.  Hopefully the success of the Arrow TV show will inspire DC Comics to put these stories back in print, despite their lacking relevance to the New 52 universe.

Sunday, April 28, 2013

Doctor Who, Series 7 - Episode 10 - Journey To The Centre Of The TARDIS.


This is one Journey where everyone involved should have stayed home.  The script reads like someone trying to write a Douglas Adams novel and failing miserably.  This would be bad enough if the whole affair didn't feel subtly racist and sexist while also being tedious.  The first definite miss of Series Seven, Part Two.   


The Doctor is attempting to acclimate The TARDIS and Clara by offering the later a driving lesson of the former when The TARDIS is injured by a magnetic tractor beam.  With The TARDIS wounded and Clara lost inside, The Doctor will force the greedy wreckers responsible to help him save the day... even if he has to blow up The TARDIS to do it.


* This episode has something a Douglas Adams feeling to it.  Ignoring The Doctor's quite specific request "Don't Panic" and the plot device of a Big Friendly Button (no doubt inspired by "Don't Panic" being written in "Large friendly letters" on the cover of The Hitchhiker's Guide To The Galaxy), the story itself has many Adamsesque ideas and themes.  Chief among these are the unchanging nature of man no matter how advanced technology becomes (i.e. Even once we achieve space-travel, people will still be jerks to one another for no good reason), advanced technology failing to work properly in a spectacular fashion (i.e. The Doctor fakes a self-destruct only to discover that the TARDIS is going to blow up anyway) and the general absurdity of the universe.

* The rooms of the TARDIS interior we get to see (including the oft-mentioned but never before seen library) are quite neat.

* More nods to the classic series.  There's a lot of dialogue borrowed from older episodes and we get to see The Eye of Harmony - the star on the verge of becoming a black hole that powers the TARDIS.  At least, that's what it is at the moment.  Seriously.  Go read up on the ever changing nature of just what The Eye of Harmony is and marvel at how this explanation, while possibly explaining everything, may not actually satisfy anyone.


* When you get right down to it, this episode was just a lot of running down the same hallway set while being chased by the monster of the week.  While that can be said of many Doctor Who episodes from the classic era, the show has largely progressed beyond that and all the timey-wimey talk in the world can't hide that.

* While the above might have been tolerable had the episode tried to play off of the meta-plot and have some fun with things, it doesn't.

* The subplot with Tricky being a human tricked into thinking he's an android - while a nice twist on the sci-fi theme where it turns out a human is really a robot - is wholly unnecessary to the larger story.

* The Time Zombies (as they are credited in the show credits) are lame, resembling a slightly higher-budget version of The Putties from Mighty Morphin Power Rangers.

*There's several aspects of the story that don't make sense in retrospect.  In no particular order...

** How can Tricky sense the TARDIS is in pain if he isn't really an android?  Is mechanical empathy a standard option that goes along with having mechanical eyes? 

** If so, why don't his brothers pay more attention to what he's noticing about the dangers of the TARDIS with his enhanced senses?  And why are they so committed to keeping their joke about their brother being an android going in the face of almost certain death? 

** Why are the Van Baalens so greedy/stupid as to start trying to take apart the ship from the inside after having been shown they can't escape it?  Even if they don't believe The Doctor will make good on his promise to see them paid with the haul of a lifetime, it's not like they can get away with what they're stealing having already proven they can't break the lock on the TARDIS exit and their tools can't cut through her exterior.

** Why is The Doctor so committed to forcing The Van Baalen Brothers into helping him find Clara in the first place?  Why doesn't The Doctor have them split up immediately after clearing the toxic fumes out of the console room?  Does he really expect three men to be able to find Clara in an infinite space any faster than he can do it alone without them knowing the territory and needing to be watched so they don't get lost/cause trouble?

** Why is The TARDIS able to shift itself around and keep Clara moving back to the safe areas but unable to clear a pathway to its' heart, thus saving The Doctor a rather lengthy and dangerous journey through zombie-infested corridors? 

* While I doubt this was intentional on the part of the casting director or anyone involved in the show, it is slightly worrying that this week's supporting cast - a group of dishonest scrap-scrounging ship thieves - is portrayed exclusive by black male actors.

* Clara is largely reduced to the role of "Panicky Girl #1" for the greater part of the episode, even if she does get to punch The Doctor several times for being an ass. Case In Point - what the hell was up with The Doctor making this smug face after Clara asked if he was putting the TARDIS in basic mode because he didn't think a girl could drive and he said "no"?  Maybe the intent was suggesting he was amused at being accused of sexism or at Clara's pouting but that wasn't projected well.


Most of the episodes of Series Seven, Part Two have felt like Classic Doctor Who for all the right reasons.  This one felt like all the old episodes we'd rather forget about.  Strip away all the Douglas Adams references and Timey-Wimey bits and ultimately this episode is just a lot of running around the same corridor over and over, whilst being chased by a monster in an unconvincing costumeAll that was missing was a chase through a quarry.  The whole affair feels contrived and there's a lot of logic problems in the script.  Throw in the problematic aspects with Clara being a damsel in distress for most of the episode and the undoubtedly evil intergalactic scrappers being cast with black actors and you have an episode that everyone will probably skip over when rewatching the series later.

Thursday, April 25, 2013

Arrow Reviews: Season 1, Episode 20 - Home Invasion

For a summary of the episode guide layout & categories, click here. 

Deadshot is on the prowl again in Starling City and John Diggle is ready to bring him to justice, despite a threat from his friend Lyla at ARGUS about staying far away from this case.  Thankfully, the Starling City Vigilante is on the case so Diggle can keep his distance.  Or is he?  Laurel's most recent case has seen her clients murdered by an assassin known as Mr. Blank and their seven-year-old son is the only witness.  When Laurel takes the boy into her own home, putting herself and Tommy in danger, Oliver will have to make a fateful choice about which assassin he will focus on - Deadshot or Mr. Blank?

In The Glades, Roy Harper is obsessed with tracking down The Hood, sensing a kinship with the vigilante who saved his life that he can't explain.  Will Roy's new relationship with Thea be imperiled when his search for answers puts him on the bad side of Detective Lance yet again?

On the island, Shado begins to teach Oliver the fine points of archery so that he can cover her and Slade as they raid Eddie Fyers' camp.  There is a brief hint of romance between the two, but Ollie - citing his love for Laurel - cuts things off after one brief kiss.

Green Arrow: Year One (the island sequences), Mike Grell's Green Arrow (the training scenes with Shado), Cyrano DeBergerac (love triangle where one man realizes the woman he is attached to would leave him in a heartbeat if she knew the truth about their friend's secret nobility), Witness (the hero protecting a young boy who is the sole witness to a murder), Serenity (With his professional manner and habit of talking to his targets, Mr. Blank could be an ancestor of The Operative), and various Errol Flynn swashbuckler movies (Ollie's fencing with a poker before a fireplace)


Deadshot makes a big deal about not killing Diggle because nobody is paying him to do it.  While this does correspond to the code of ethics employed by Deadshot in the comics (he always made sure his contracts were fulfilled if he got paid and wouldn't complete any contract where the money didn't come through) it doesn't jibe with what we've seen of Deadshot elsewhere in the episode or in the show so far.  He was perfectly willing to gun down both The Hood and Diggle before (3) even though they weren't his targets and he was perfectly willing to gun down the ARGUS agents trying to ambush him.

How has Diggle not been arrested by ARGUS for interfering with an investigation by the episode's end?  Lyla warned him before about getting anywhere near Deadshot at the start of the episode and it's unlikely she'd let it go even if Diggle did save her life. 


Yay Laurel finally getting a storyline devoted to her work and doing something besides supporting her dad or her boyfriend! Laurel taking charge of protecting an endangered child is very true to Black Canary's character in the comics and it was nice seeing that reflected hereKatie Cassidy plays the mama bear role to the hilt.

There's a magical little scene where Colin Donnell talks with the young witness about Tommy's mother's death and how he sees her every time he closes his eyes.  Should the unthinkable happen and an American version of Doctor Who ever get approved by the BBC, I'm going to immediately start a petition for Colin Donnell to play The Doctor based on this scene. 

For that matter, I want Paul Blackthorne to play Samuel Vimes in any upcoming films based on Terry Pratchett's Watch books after this episode.  His speech to Roy Harper about the problems with vigilantes - in terms of tone - totally a Vimes moment.

Honestly, there's so many little things in all the performances this time I could spend another five hours trying to write about them all and still not cover everything.  See the Dialogue Triumphs section for the many, many, many examples of what went right with this episode.


The script, which gives a lot of good material to the entire ensemble cast.  Even Moira gets a few brief but nice moments.

The fight scene between Oliver and Mr. Blank is very well choreographed and artfully shot, with perfectly timed lightning strikes and effective noir-esque use of shadows.


Felicity is not a natural blonde.

Oliver is a skilled enough shot that he can shoot two arrows at once through the windshield of a stopped mini-limo and pin the shoulders of a man sitting in the back of the limo without  hitting the driver.

Diggler's friend Lyla's call-sign is Harbringer.  Harbringer is also the name of a superheroine whose real name was Lyla Michaels.  A servant of the Monitor (the life-affirming cosmic being who sought to save all reality during Crisis On Infinite Earths), Harbringer had the power to create multiple reality-hopping duplicates of herself as well as flight, super-strength and also possessed an orb that told her the history of the multiverse.  It was she who traveled to the various Earths, gathering the heroes and villains needed to thwart the Anti-Monitor.
Detective Lance refers to Roy Harper and Thea Queen as "The Wonder Twins".  Best remembered from the Superfriends cartoon (despite repeated attempts to introduce them into the actual DC Comic books with no degree of success), The Wonder Twins were a pair of alien fraternal twins named Zan and Jayna.  Zan had the power to transform into various objects made of ice or water.  Jayna had the power to transform into any animal, including alien species unknown on Earth.  They were not criminals but most people found them as annoying as Detective Lance undoubtedly finds Roy and Thea.

Dialogue Triumphs

Diggle: So when did you become, ah.. "lunch dates" with Laurel? 
Ollie: Look... we're just.... *sighs* We're friends.
Felicity: Friends are good. 
Ollie: ... But?
Felicity: Couldn't you be friends with someone less complicated than your ex-girlfriend, who's you ex-best friend's current girlfriend?  
Ollie: I wear a hood and I put arrows into criminals.  So when it comes to complexity, I grade on a curve.

Quentin: Ok.  Look, I'm gonna park a patrol car outside your place.
Laurel: Fine.
Quentin: (To Tommy) And you.  You look after them, alright?
Tommy: I spend most nights at your daughter's anyways.
*long silence as everyone glances at one another*
Tommy: There was probably a better time to tell you that.
Quentin: Probably not.

(Talking to Taylor about his mom)
Tommy: Every time I close my eyes, I can see her.  Every time I go to bed, I see her in my dreams...Try it.  Close your eyes... Whenever you are sad or scared just remember that they will always be there. 

Mr. Blank: It was the badge that gave me away, right?
Laurel: You know, my father's a cop?
*Mr. Blank spins around to where he heard Laurel's voice and fires, looking surprised when Laurel returns fire with a shotgun*
Laurel: And that's not all he taught me!

Quentin: Hey!  I think you've got something that belongs to me.
Roy: You set this up just to get your radio back?
Quentin: Well, I DO love that radio.

Shado: You're thinking too much.
Ollie: Nobody ever accused me of that before.

Shado: I see my target in the distance.  I feel the variation in the wind.  I hear the bowstring tighten.  And I let go.  Give in to your senses.  Don't think.
*Ollie and Shado kiss a moment but Ollie pulls away*
Shado: You're right.  This is definitely not the time or place.
Ollie: No, it's.... no... There's someone... and it's a mile past complicated, but... I can't.
Shado: She knows how much you love her? 
Ollie: I suspect right now she doesn't.  But as soon as I'm home, she will.

(Looking at old pictures with Laurel)
Moira: I remember Oliver telling me once that he wished your father would let him come over to your house more often.  That being there made him feel less like Robert Queen's son and more like himself.  I liked who my son was when he was around you.

(As Detective Lance shows Roy Harper the body of a man killed by The Hood, trying to scare him straight)
Roy: Maybe this guy deserved it.
Quentin: Maybe he did.  But that's not how justice works.  You see, the vigilante?  He doesn't have to answer to anyone but himself.  That's a dangerous power for one man to have.
Roy: He saved my life!
Quentin: How do you know that tomorrow he won't just as easily take it?

Tommy: You still love her, don't you?
Ollie: It doesn't matter how I feel.  Because of what I do... I could never be with her.  So you don't have anything to be afraid of.  She is never, ever going to know my secret. 
Tommy: It doesn't matter if she knows.  I know.  And I don't know how to be with Laurel knowing the entire time... that if she ever found our who you really are... she would choose you.

(After Tommy dumps her)
Laurel: You can't be serious.
Tommy: This is me serious, Laurel,
Laurel: But... it doesn't make any sense.  I mean... Why now?  Why even at all?
Tommy: I thought I wanted this... you.  The other night made me realize I don't.
Laurel: .. you're lying.
Tommy: I am not a liar.
Laurel: If you've changed and I know that you've changed... then you... you would never do this!
Tommy: Then I guess I haven't changes as much as people thought, then.

(Roy and Thea discuss why Roy is trying to find The Hood)
Roy: I can't stop replaying that night in my head.  The night I got kidnapped by that psycho.  I just... I thought I was going to die.
Thea: But you didn't!
Roy: Yeah.  Because of him.
Thea: You don't owe him anything.
Roy: You're wrong.  I owe him everything!  I can't go back to the way things were, Thea.  I can't just go back to being nothing!  You're the one who keeps telling me that I can be better than who I am and... this... this is my chance to be.  I can't explain it.  It feels... like my life is connected with his.
Thea: So let's find him.
*Roy looks up, surprised*  
Thea: I can tell this means the world to you.  And you mean the world to me.  So let's find him.  You and me.

Oliver: I want us to get back on the same page.
Diggle: Oliver, we're not even in the same book, you and me.  Not anymore. 

Dialogue Disasters

Mr. Blank: The child got away. 
Rasmus: Got away? Did he see you?
Mr. Blank: No, Mr. Rasmus.  All he saw was the face of the man who will reunite him with his parents.

Thea: Do you have a police radio in your pocket?
Roy: No, I'm just happy to see you.

Mr. Blank: What happened to you on that island?
Ollie: You're about to find out!


Oliver refers back to his promise to help Diggle bring down Deadshot (19).  Diggle meets with Lyla from ARGUS, last seen in 19.  Starling City patrol officer's badge numbers begin with a 0.  Lieutenant badge numbers begin with a 1. Quentin says he thinks Laurel should consider moving, indirectly referring to the last few times her apartment was destroyed by criminals because of a case she was involved (2 and 13).  Roy Harper and Thea Queen are apparently officially a couple, after their falling-out in 18.  Deadshot has a rule against killing people unless he's being paid to do so but he has a space reserved for John Diggle's name next to his brother's on his body just in case.  The Hood's official murder tally with the SCPD is 26.  Yao Fei leads Fyers and his men to Slade's base.  

The Fridge Factor

Totally averted.  When Mr. Blank storms Laurel's apartment, it's Tommy who takes the traditionally female role of hiding with Taylor while Laurel takes the fight to the assassin.  Granted, this does make sense given that we know Laurel's taken gun use/self-defense classes but it's still nice to see the cliches being avoided.

The Bottom Line

Arrow needed to come back with full force after it's most recent break.  It didThere's not a false note or a bad performance in the whole episode.  Even the Roy/Thea subplot - which feels somewhat tacked-on relative to the rest of the interwoven story-lines in this episode - pays off big in the end.  One of the best episodes of the series so far.

Wednesday, April 24, 2013

Arrow #29 (Web Comic) - A Review

Arrow #29 is an enjoyable issue that fills in the blanks of what happened off-camera in a previous episode of the Arrow TV series.  If Shado Of The Past has a flaw past  its' pun-ishing title, it is that a little under half of its' pages are devoted toward specifically depicting events that fans of the show have already seen.  While some recapping is necessary to establish setting for those who might wander into this issue having not watched the show (Remember the Stan Lee rule - write every comic like it's someone's first comic), this does seem a bit excessive.  Particularly since this only delays the main attraction of this issue - learning how Shado came to the island of Lian Yu.

Once the action of the issue starts, it is incredible.  Marc Guggenheim's script is action-packed and well-paced.  And do I really need to explain the beauty of Mike Grell's artwork when I can just show you a scan and let you see for yourselves?  I think not, but I will anyway.  It's always a joy to see Grell at work but there's a special resonance to this issue, seeing him draw this new version of Shado - a character that he created for the Green Arrow comics.  I'm still curious as to why she has a Japanese name when she's Chinese in this universe but I'm hoping this point will be explained at some point in the future.

EDIT NOTE: Marc Guggenheim himself contacted me on Twitter and said that Shado's mother is Japanese.  So there you go.

You're not likely to find a better bargain this week for $1.00.  With artwork by one of the greatest artists in comics history and a script by one of the most prolific writers of superhero stories in Hollywood, you know this is going to be a quality product.  I declare this book a must read for all Arrow fans!

Justice League #19 - A Review

It is a credit to Geoff Johns' skill as a writer that he manages to do in two pages what Scott Lobdell and Judd Winick failed to do in two years - make Jason Todd into a sympathetic figure.  This is perhaps the most minor of the subplots we see in Justice League #19 yet it is perhaps the most compelling.  It's certainly more interesting than watching Ronnie Raymond and Jason Rusch arguing with one another (honestly, didn't we get enough of this in Brightest Day?) or the revelation that the new Atom can use her powers to play her favorite MMORPG from the inside... I think.  That sequence isn't particularly clear, though it is a nice nod to the old Sword of The Atom series.

The actual meat of the issue is more enjoyable, with Batman coping with a burglary in the Batcave that bodes ill for the entire team and Wonder Woman encouraging Superman towards a more proactive approach to crime-fighting.  There's a lot going on here and Johns is no doubt setting things up for the upcoming Trinity War storyline.  Thankfully, he does a good job keeping his ducks in a row.  I just wish he hadn't bothered with some of the story-lines that do little to develop the already well-established characters.

Ivan Reis continues to flourish as the series' new penciler, despite being somewhat crippled by a team of three inkers.  Does the book look bad?  No, but you can tell that three different artists were handling the inking duties.  There's little sense of continuity and cohesion visually.  Any who doubt the power of an inker to completely change the feeling of a penciler's work would do well to check out this issue.

I shan't bother offering my two cents on the Shazam back-up anymore.  You all know what I'm going to say at this point and I'm sick of saying it, over and over and over again..  Johns' script is good, but I loathe the new take on Billy Batson, who doesn't feel at all like he should.  Gary Frank's art is far better than the story deserves.  They had to call this Shazam because this mess sure isn't Captain Marvel.  Blah blah yakkity smackity. 

Conan The Barbarian #15 - A Review

Last month, I wrote a fair bit about Robert E. Howard, his view of women and the thin line between chivalric Romanticism and sexism.  This was inspired, in part, by a story that centered upon the character of the pirate queen Belit without really involving her directly in the action.  Conan The Barbarian #15 is a similar beast, despite Belit being directly involved in the action of the story.

Brian Wood tells a tale of two romances in this issue.  These romances are, perhaps, not worthy of the name by modern terms and the characters involved lack the words to describe their emotions in those terms.  Hyboria is not a land that inspires sweet words of woo but it is a classically Romantic place, where passions run wild and the power of nature and natural things is greater than any civilization.  It is a place where love is forged amid lust when a pirate queen watches a barbarian rogue fight her men to a stand-still single-handed.  It is where love blossoms where a slavegirl is purchased by a warlord's son with more gold than sense, to be freed rather than to be used.  This later story, we find out later, is the origin of Belit's parents but it offers echos of Conan and Belit's own romance later on, when Conan meets Belit's father and discovers why Belit has returned to the Shemite fortress where she was born.  I've never thought of Conan as a romantic hero, in either sense of the word, but Wood's dialogue firmly establishes Conan as both.

All of this is lovingly illustrated with equal boldness by Andrea Mutti, Pierluigi Baldassini and  Dave Stewart.  Mutti's pencils are detailed without being dirty and Baldassini's inks offer just the right amount of definition and shade.  Stewart's color palette, while being largely a collection of greys and browns, proves quite rich and visually inspiring in spite of that.  This book is as visually amazing as it is well-written and if you aren't reading it now, you should start immediately.

Tuesday, April 23, 2013

Injustice: Gods Among Us #15 - A Review

Injustice: Gods Among Us is currently the highest-selling e-comic in the world.  And that was before the long-awaited video game came out!  I put this down to the excellent writing of Tom Taylor, which manages the neat trick of sneaking a fair amount of fun and comedy (note the distinction) into this title amid the serious drama. 

The situation at the heart of this comic is undeniably serious, being built around a confrontation at Arkham Asylum between Batman and Nightwing and... well, pretty much the rest of the Justice League.  Despite the tense situation, there is a fair bit of comedy.  Robin, for instance, completely blanks on who the hell Calendar Man is as he's listing the various baddies that Batman is fighting to protect.  Calendar Man is naturally offended even before Wonder Woman doesn't remember their "date".  There's also a humorous bit built around Nightwing's knowledge of the staff at Arkham Asylum and which members should not be left alone an inmate - even if they are in handcuffs. 

Tom Derenick is back on the art duties this week.  He does as fine a job as ever, with one small problem.  I don't know if it's a continuity issue or we're just mean to assume that Harley was able to slip her fake mustache on between panels.  Either way, the story could have benefited from either depicting Harley in the mustache from the very beginning or taking a moment to show her slipping it out of her glove and onto her lips.  If this seems an odd thing to single out, trust me - this is incredibly important to the plot!  Really!

If you do plan to pick up this issue of Injustice, be sure to download last week's issue as well.  This issue is an immediate follow-up to that story and the flow of the action will be highly improved if you've read both issues.  And believe me - you'll want to read as many issues of this comic as possible if you haven't been reading it already!

Doctor Who #8 (IDW Vol. 3) - A Review

Doctor Who #8 begins with a helpful recap for those who might have missed Issue #7.  It's a nice touch which harkens back to the classic days of comics and it doesn't seem at all awkward as it comes from The Eleventh Doctor talking to himself out-loud about what's just happened and how he can deal with it.  It sounds very much like Matt Smith and Joshua Hale Fialkov deserves praise for that nice touch.  Sadly, that's one of the few things I can praise him for.

I mentioned in my review of the previous issue that the drama of the story rang false, given that the main problem (i.e. The Doctor is trapped on a dead ship in Earth orbit surrounded by flesh-eating monsters that thrive on darkness) came about because of a completely unexplained event that flew in the face of established characterization (i.e. The TARDIS sealing itself so The Doctor couldn't get into it).  That problem continues in this issue, when we find out the Vashta Nerada still managed to get inside The TARDIS despite it sealing itself so they couldn't get inside. 

How?  Because the story says they need to so there's a little more drama after The Doctor and his Special Guest Companion Cosmonaut Alexey Leonov solve the problem of moving a dead rocket out of Earth orbit and into the gravitation pull of the inert TARDIS.  It's a minor point, but it does make the whole story feel forced.  Honestly, the story would have worked just as well without the Vashta Nerada being involved at all.

Thankfully, the art team is still top-notch.  Andres Ponces and Horacio Domingues doe a bang-up job of caricaturing Matt Smith.and a young Alexey Leonov.  Inker Ruben Gonzales utilizes just the right amount of shadow to highlight and darken everything.  I may grouse about the plot of the book but I have no complaints about the artwork.

On the whole, this issue is worth picking up if you already got last month's issue.  You have to know how the story ended, right?  However, if you're a newbie Whovian who is just getting into the comics, I'd advise you to download the first two issues of the current series instead of this two-parter. 

Red Sonja #74 - A Review

To quote Robert E. Howard, this issue of Red Sonja left me "with gigantic melancholies and gigantic mirth"As eagerly as I am anticipating Gail Simone's upcoming run on this series, I will miss the writing of Eric Trautmann, who wove many a complex tale and gave Sonja companions as interesting as herself.  This penultimate issue gives Trautmann a chance to begin guiding everything towards an epic conclusion, as Sonja orchestrates what promises to be an epic clash of multiple armies.

So where are the gigantic melancholies I spoke of?  In the artwork of Marcio Abreu.  While this comic is not quite as offensive as previous issues in terms of odd twistings of the spine and neck, we are "treated" to another miracle school-girl panty shot on the very first page!  I will admit that my complaining about cheesecake artwork in a Red Sonja comic is a fool's errand but other artists who indulge in this sort of thing do keep things within the realm of realism.  Sonja's traditional costume does allow ample opportunities for fan-service but panty shots are not one of them!

If you're looking to get into Red Sonja, consider some of the TP collections or just wait two months when we're sure to get a rollicking good introduction under Gail Simone's pen.  This issue is good for what it is - cheesy artwork aside - but it's hardly a good gateway issue into the wild and weird adventures of Hyboria's favorite daughter.

Monday, April 22, 2013


Greetings United States gov,

We are the Internet. Again, you are trying to pass this ridiculous CISPA law in order to control and censor the people. This will not stand. You already control the media, the economy, the criminal underworld, your national plots and our energy. YOU WILL NOT GET OUR INTERNET!

The U.S. law that would turn Google, Facebook, and Twitter into legally untouchable government spies just passed the House.

This bill affects everyone — not just U.S. citizens. Anyone with a Facebook account could now have their data shipped directly to the U.S. government. That’s why Internet users overwhelmingly oppose this bill. Over 1.5 million people signed petitions against it. But Congress didn’t listen. This law broadened the state terror and repression of the people. By allowing corporations to track our every action on the internet the state and corporations will be merged and that we have seen before: it is called fascism.

We are going dark on MONDAY April 22nd at 6 AM GMT for 24 hours to protest your illogical and terrorizing bill against the Internet itself. Even with the whole Internet crying out to stop this BILL, the US House of Representatives failed to do so blinded by lobbyist's money and cum in your eyes. So we will take action ourselves and open your eyes. Every popular/mainstream websites will be black until you, Mr. DronObama promise us to use your VETO power to stop this bill at Senate. Take this as a protest or a warning, as you wish. One thing is for certain, neither you or anyone else in this world can control the Internet, so don't even try. Stop wasting taxpayers' money into doing these kind of shenanigans.

We are Anonymous.
We are Legion.
We do not Forgive.
We do not Forget.
Expect us.

Follow @SageAnon on twitter for updates.

Join The Fight!

Sunday, April 21, 2013

Doctor Who - Prisoners of Time #4 - A Review

It's been a few months since I picked up Doctor Who: Prisoners of Time.  As you may recall, I was less than impressed with the first issue and the cost of the issues ($3.99 each) left me thinking I might be better off waiting for the inevitable trade collection.  Still, the Tom Baker incarnation of The Doctor is my favorite and my Friendly Local Comic Book Shop saw fit to set aside a copy of this issue for me.  So I decided - why not?  I'll give it a go again.  And I'm quite pleased to have done so.

Visually, this book is a definite improvement on the first issue.  I found the style reminiscent of that used for depicting the adventures of The Fourth Doctor in the old Marvel UK Doctor Who comics.  The established characters are all well caricatured and the action of the issue flows well from panel to panel.  Hats off to Gary Erskine and Mike Collins for a job well done! 

In terms of story, this issue is on par with the first and continues the idea of telling previously untold tales of The Doctor's past with elements from the new series being added in.  The plot focuses upon The Fourth Doctor, his best friend K-9 and his current companion - the savage warrior woman Leela.  The trio must locate a stolen jewel before the planet they are visiting is torn apart by the Judoon mercenary police officers who have been brought in to locate the gem at any cost.  The script by David and Scott Tipton is fun and well-paced, perfectly capturing the spirit of all the established characters.

I'd rate this comic as a Must-Read piece of work.  The artwork is good, perfectly capturing the feel of a classic Doctor Who comic.  The story is action-packed and interesting.  Really, there's no good reason not to get this comic if you're a fan of Doctor Who in general and The Fourth Doctor and Leela in particular. 

Saturday, April 20, 2013

Doctor Who, Series 7 - Episode 9 - Hide


Another solid episode in the Classic Who mold, with a seemingly standard genre story being twisted around into a science-fiction epic that works on multiple levels.  Those who were disappointed by last week's episode not contributing much in the way of character development for Clara or continuing the storyline regarding The Doctor trying to solve her mystery will not find this episode as lacking.


It was a dark and stormy night on November 25, 1974, as Professor Alec Palmer and his assistant - the psychic Emma Grayling - are investigating reports of a local ghost known as The Witch of the Well.  They are surprised - but not displeased - when a mysterious Doctor (who knows far more about them than even The Ministry should) shows up with his assistant, Clara.  He goes along with their guess that he's come to make sure everything is going okay on behalf of the government.  But Emma can't shake the feeling that there's more to it than that and that there's a cold liar's heart behind the joking exterior of The Doctor.  Worse, she can't shake the feeling that The Witch is talking to her.  And then there's the matter of a strange, crooked man lurking in the shadows of the house...


* The Classic Who fans will have a field day with this episode.  Neil Cross' script feels like an old Robert Holmes piece in all the right ways, with lots of dark, mysterious elements.  There's also another Pertwee-era reference, as The Doctor requires a blue crystal from Metebelis III (which The Third Doctor was continually trying to take Jo Grant on a day trip to visit) to build a stargate.

* Lots of amazing visuals, particularly the images of the various points in time with The Doctor moving around time while staying in one space.  There are many moments in this episode that, captured in still-frame, would make a brilliant wallpaper for a phone or computer background.

* The mystery of Clara and her relation to the other Clara's deepens quite a bit in this episode.  Ignoring the revelation that she is psychically ordinary at the end, we also see more evidence that Present Clara is quite different than The Snowmen Clara.  Last week, we saw that she was actually willing to follow The Doctor's orders about staying put and not wandering off on her own.  This time, we see her actually being scared to go off even when The Doctor asks her too - a definite change from most of the companions in the Modern Doctor Who stories

* Despite Clara showing a cowardly streak, the banter between The Doctor and her is much improved.  Indeed, I dare say the interplay between Matt Smith and Jenna-Louise Coleman is the best we've seen since The Snowmen.


* Some of the digital effects are a bit dodgy, particularly the wormhole. 

* Similarly, The Crooked Man costume also doesn't look that great when we get a clear look at it.  Thankfully this doesn't happen until the very end.


Like Cold War last week, Hide is another formulaic episode reminsicent of many classic Doctor Who episodes.  What it lacks in originality, it makes up in everything else.  The acting is wonderful across the board.  The on-going storyline for the half-season progresses beautifully.  The only weak spots are the special effects and the costume, which are far from the worst the series has ever seen.  A great episode!

Hawkeye #9 - A Review

There is no small irony that Hawkeye #9 should leave me unsatisfied on the same week that the series was nominated for multiple Eisner Awards.  The sad fact is that this issue has little of the humor or action that made the previous issues so enjoyable.  Dead.  That's the only word I can use to describe it.  This book is dead.

Generally, I hold a preference for DC Comics heroes over Marvel Comics's simply because I find so many of the Marvel heroes - particularly those among The Avengers - disagreeable as characters.  I accept that heroic characters need not always be likeable nor do they always need to act in admirable ways but I read superhero books to be inspired and to get away from unreasonable personalities.  This is not to say that this issue is badly written.  Far from it.  It's just a matter of what I enjoy reading and this issue... well, this issue wasn't enjoyable.  There's none of the fun that previous Hawkeye issues held.

With two exceptions - Black Widow and Kate Bishop, I found every character in this issue to be wholly unsympathetic.  Clint Barton spends the entire issue moping around his apartment while the women in his life are investigating - and cleaning up - the latest mess in his life.  Mockingbird shows up to finalize their divorce paperwork on Valentine's Day and adds insult to injury by calling attention to that fact.  And Jessica "Spider Woman" Drew is revealed to be a physically abusive girlfriend.  Thankfully, Clint refuses to tolerate this (and a good thing too considering she has super strength), so kudos to Matt Fraction for refusing to play this scene for laughs.  Regardless, this issue is low on action and high on unpleasant people being rude to one another.  If I wanted to read that, I could go read the comments on any Yahoo News article. 

At least the artwork by David Aja and Matt Hollingsworth is as fine as ever.  I struggle to find words to describe Aja's distinctive style, which is unlike any artist I can think of.  Hollingsworth's coloring, as always, adds another unique level to the issue's proceedings.  While the story left me flat this month, I have no complaints about the artwork.

Can I recommend this series?  Yes.  Would I recommend this issue?  No.  In terms of story, nothing of note happens until the last page and in terms of character nothing happens apart from it being made clear that Clint Barton is once again single in no uncertain terms.  Go pick up the TPB collection of the early issues if you want to see what all the excitement is about.  There's no excitement to be found in this issue.   

Thursday, April 18, 2013

Superman:The Movie - Live Tweet Commentary

In honor of the 75th anniversary of Superman and Lois Lane's first appearance in the comics, I watched the first Superman movie and Live-Tweeted my comments.  Here now is my commentary.

Does the old logo looks weird now to anyone else?

Just now looked up Geoffrey Unsworth, to whom the movie is dedicated. Cinematographer on , 2001 a Space Odyssey and many more!

Still get chills at this opening after all these years. Like I'm five years old and watching it in my Superman Underoos again.

Forget the Star Wars theme or Harry Potter. THIS is the best thing John Williams ever wrote.

Mars. The Red Planet. Wait, no that's a star. Great Rao! That's Rao!

The first spoken words in this movie, not counting the boy at the start reading Action Comics #1, are "This is no fantasy".

I love how Marlon Brando pronounces Krypton "Crypt-Tin".

Wow, the vote to condemn someone of treason has to be unanimous? And I thought the Super Majority in the US Senate was stupid.

Um... Zod? Not helping your case if you tell Jor-El to join you in treason in front of the rest of the council. Just saying...

This whole sequence with the Phantom Zone looks like a prog rock album cover.

I'm trying not to make like , but it's so hard not to make global warming jokes listening to Krypton's High Council.

And I wonder, not for the first time, if Al Gore is building a baby-size rocket somewhere.

"Why Earth, Jor-El?" Because a man named Jack Knight gave me the coordinates when I was a teenager!

Given the level of FX at the time, the destruction of Krypton is good. Even if it does now remind me of The Poseidon Adventure.

So is way more advanced than Earth, yet little Kal-El is STILL being taught about Einstein and Chinese writing?

Why? Are those pre-school topics for Kryptonian toddlers? Or was Jor-El the quiz bowl champion of Krypton?

"Remember what Doc Fry said about that heart of yours." FORESHADOWING!

Nice practical effect with the baby Kal-El holding up the car.

Love the actor who plays Teen Clark. Even if he does look well past his teens. You can tell he really wants to punch Brad.

And yeah... just realized I missed a golden opportunity for a "Brad" joke there. Sorry.

Love that quick little gag with a young and her family on the train. "Nobody ever believes me!"

So here's a question - why did the crystal just now start glowing now? Was it waiting for Clark to start needing direction?

Boy, the death of her husband aged Ma Kent quickly.

Nice as it is for Clark to arrange for his mom to have help on the farm... couldn't he fly back and do all the chores in seconds?

Then again, that would leave all the people in Smallville wondering how The Widow Kent was getting on without help. So... yeah.

Plus I don't think he knew he could really fly then. Not that fast, anyway. So never mind.

Boy, Clark intuited the directions on how that crystal worked pretty well, didn't he?

Step One: Throw as far as you can. Step Two: Wait. Step Three; Enjoy your new crystal palace.

Truly Krypton was an advanced civilization! They evolved beyond the need for contractors. Just throw a crystal and BOOM! Housing!

"My son. You do not remember me." Well, yeah... I was like 14 months when I last saw you!

"It is time for questions to be asked." "What, like why I've got hair on..." "Not those questions!"

Carl Sagan's Cosmos. As read by Marlon Brando.

So... Clark spent 12 years standing in the Fortress of Solitude getting more tutoring from Jor-El? That seems... excessive.

"There's only one 'p' in rapist". Man. I'm surprised they let that into a nominal family movie back in the 70s.

"And don't call me sugar!" Nice twist on the usual gag from the comics. Surprise the fans a bit.

Christopher Reeve was a highly underrated actor. He played dorky Clark Kent so well. Made him seem real.

Also, Margot Kidder as . The way she handles the mugger? Dropping her purse only to try and kick the guy? Perfect.

And the whole bit with Clark knowing precisely what is in Lois's purse? And saying it was a lucky guess? Perfect.

- The best moment is in the Donner cut of SII when he's tricked by Lois. Just a simple change in body language and he changes.

@GeekyGeekyWays  Oh yes. It's very subtle how he changes. Even in the split second when he's grabbing the bullet to save her.

Is there an entry on for a Law of Henchman Stupidity? All genius villains must employ only total idiots?

I ask because if Lex Luthor was that smart, you'd think he'd get better help than Otis. He's even worse than Beastman for Skeletor

200 is significant to you and me Otis!

  Ah for the days when 200 was considered grossly overweight.

distant memories

"When I was six years old, my father said to me -" "GET OUT?!" "Hahaha. Before that!"

"Why does the world's most brilliantly diabolical leader surround himself with total nincompoops?" My thoughts exactly, Lex!

The obvious answer? Lex isn't nearly as smart as he thinks. He just keeps an idiot around to make himself feel smart.

I reread 's Birthright earlier today and now I'm wondering- how many origins involve a flying vehicle crash?

- I'm a big believer that, in all incarnations of the origin, the first time the public sees Superman, he should be flying.

-  I remember us talking about this years ago. Total agreement. It's what he is.

i don't think that always a case with Superman what make superman a hero is do right thing and inspired other

We weren't talking about what makes him a hero, we were talking about what visually works for an introduction.

@EdTheRevelator - in order to clearly convey to humans he is "super?" Not criticizing, more asking for clarity

- Because to most people, that's the most magical thing about him, that he flies.

Thanks for answering!

Of course he didn't fly originally.

No, but it's become his quintessential power. because of its' sheer impossibility. A man lifting a car or surviving a bullet wound can be easily faked. But a man flying? Now that's something...

Do you say that because that signature image sets up his uniqueness or because that sets up the story to come?

The former. To most people, that's his defining and/or most awe-inspiring super-power.

  It's also the one that can't be easily explained by trickery. The one that lets you know "He Is Real".

More than that. Flying is "something wonderful". Hitting people, or getting hit, whilst a big part of what he does, isn't as inspiringly hopeful as a flying man.

  I get irate when he's shown hovering over people, he's not Miracle Man, he'd land.

@GeekyGeekyWays  It's a lot of things. The most god-llike power. The most hope-inspiring. The hardest to fake.

Even in 1978, they were making jokes about there being no phone booths for to change costume in.

And here we are. 1:11 in and we're just now seeing clearly in costume.

Truly a perfect scene

#ManOfSteel needs to have a scene of looking for a place to change & seeing a line of people standing outside on their cel phones.

"Statistically speaking, of course, it's still the safest way to travel." BWAHAHAHA!  

And now comes the part where Clark shows off and the movie starts to veer into territory.  

Case in Point: The cat burglar who suddenly finds a guy standing on the wall above him. "Something wrong with the elevator?"  

"They say confession's good for the soul. I'd listen to what this man has to say. Take him away!"

Of course as pointed out, that doesn't really work. Nothing to stop the burglar from avoiding self-incrimination.  

"A big red cape with bright red boots!" Love how the cop fixates on that and not the red underwear over blue tights!  

Ah, the casual drunk Irish cops. There's a stereotype you don't see anymore.  

Haha! Child abuse is funny!  


"You... enjoyed it." Oooooh. You're gonna get it now, Clark!  

Ha! I love correcting his dad's hologram on how many hours are in an Earth day.

"My son, I could embrace you in my arms." "If I had arms... I'm just a big damn head. Bit of a design flaw, that..."  

"gen-yoo-wine article" Ye gods, that accent.  

Umm... just a, just a...." Yeah. Reeve may sound like Superman as Clark, but the words are all wrong.  

Again, Reeve was a great actor. Developed Clark and Superman as two different beings physically and verbally.  

"Sorry to drop in like this, Miss Lane..." That joke would be a groaner if anyone else had said it back then.  

"I never drink when I fly." Or that line.  

"How big are you? I mean, how tall are you?" Hee hee.  

"Do you... eat?" then "What color underwear am I wearing?" Oh, you naughty minx....

And the way is smiling after he puts Lois off balance when he answers her underwear question. Hee hee.

"Do you like pink?" "I like pink very much, Lois."  

How sad is it I have an explanation for why doesn't freeze to death during the flying sequence during ?  

Same reason can fly with just holding her hand. His invulnerability aura is also protecting her.  

I know some hate it, but I like the whole "Can You Read My Mind?" interlude from .

"Can you read my mind? Can you picture the things I'm thinking of?" Yes, and you should be ashamed of yourself, !  

Seriously, it's a very sweet magical scene. allowing herself to be vulnerable and being surprised at how good it feels.  

It's nice because is such a strong character and she usually hates being in a position of weakness.  

And here she is, in over her head, out of her element... and she loves it.  

I want 's library in this movie.  

I do like Gene Hackman in this movie but I don't think he plays a good Lex Luthor. because this character isn't really Lex Luthor  

There's no mad science involved. He's a brilliant criminal, no doubt. But here isn't very Lex like.  

Case In Point: The real would have his minion drive the get-away ambulance while he reprogrammed the missile.  

Still, give this guy points for being able to improvise on the fly and getting a hold of a cowboy outfit on short notice.  

Jimmy Olsen wears a now. Bowties are cool.  

Wait... just sent Young Olsen on his first assignment? How do you keep him on staff and just NOW send him out on an assignment?  

There isn't a lot of Jimmy Olsen in this movie, now that I think of it. Certainly not enough for him to be considered a Pal.  

Actually... wait, he hasn't met once in this thing! He isn't Superman's Pal at all! And he only got Clark Kent coffee once!

Phenomenal practical effects here... walking through fire.

"I don't need a geography lesson from you, Luthor." Wow. And they say is never sarcastic or rude.  


I'll say this for - you don't see many bad guys who set up a tile floor map for their evil gloating.  

#YouDiseasedManiac! "I'll mold this lead into your prison bars!" Damn. is hard-core.

I'm still amazed by all the practical effects and model work in this movie that looks so real.  

Nice non-verbal acting from Reeve. Looking satisfied at a job well done, then his face changes as he hears in trouble.  

I can't imagine how amazing this must have been at the time... the idea that failed to save .

@GeekyGeekyWays it was crazy! Really weird thing to see as a kid

So here's a question... if he can go back in time to save , why didn't he also go back to save his dad?  

And that little sigh gives as begins shouting at him. Because he knows she's all-right.  

#Superman isn't spinning the Earth backwards to reverse time. He's flying around it super-fast.

And that iconic moment. The sun rising from Earth orbit as flies around to face it.

Small wonder they chose that to represent Louis finally being able to see the sun in a movie in