Comics

Darth Vader #21

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Darth Vader #21Sending the murder droids after their missing creator, Darth Vader turns his attention on his new assignment from the Emperor: find rogue scientist Cylo who is building his own cyber-fleet of ships. Finding Aphra drunk in a bar in the Outer Rim, Triple-Zero and Beetee cause murder and mayhem on a large scale before finally convincing their former master to accompany them back to Lord Vader.

Vader’s journey takes him to the Crushank Nebulae in the Outer Rim where he forces Cylo to flee once again, but not before drilling his T.I.E. Advanced deep inside the traitor’s flagship where he will have to cut a large swath, and put down all obstacles placed in his path, to bridge the difference between himself and Cylo.

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The Flash: Rebirth #1

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Because DC Universe: Rebirth #1 centered around Wally West and his connection the lost pre-New 52 DCU, and did such an amazing job of reintroducing the character back into DC Comics, The Flash: Rebirth #1 feels mostly redundant. There’s simply nothing new for writer Joshua Williamson to introduce.

Covering the same ground of Barry Allen and Wally West’s reunion, the issue also sets up the Flash’s backstory. Sadly in this case, it appears our hero is stuck with his New 52 tragic life story and his awful New 52 costume redesign (complete with the unnecessary groves and yellow lines detracting from his far more simple, and elegant, original costume).

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Wonder Woman: Rebirth #1

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Still in the early days of DC Rebirth, DC Comics’ latest reboot which hopes to combine previous DC continuity with that of the New 52 into a new DCU, it’s obvious some characters are more aware of what is happening than others. Diana of Themyscira is aware of both her classic and (shitty) New 52 origins at the same time, using her Magic Lasso in an attempt to find out what is real she discovers she has been deceived. Have I mentioned yet how much I love the idea that the entirety of the New 52 was a super-villain plot to make DC suck?

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Civil War II #1

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Civil War II #1Apparently the House of Ideas is out of, well, ideas. Attempting to cash-in on the name recognition of one of Marvel’s biggest events, which coincidentally were just adapted for the basis of Marvel’s latest summer blockbuster, Civil War II offers a new story of the Marvel Universe heroes splitting into two “surprisingly” equal sides. While Civil War focused on what it meant to be a hero and offered debate about freedom and privacy versus safety and control, it’s sequel (as sequels are known to do) feels lightweight in comparison.

It all begins with an Inhuman who gets visions of tragic events yet to occur. With the Avengers, which apparently includes every single hero ever created by Marvel Comics at this point (except or Daredevil and Howard the Duck), the Inhumans are able to stop a Celestial from destroying the Earth. While Iron Man is reluctant to put his faith in one man’s visions of one possible future, and is squeamish for the moral implications of preemptively acting to stop a situation that might unfold differently than the Inhuman foresaw, Carol Danvers believes Ulysses’ abilities can help them save countless lives. Her choice to act on this knowledge creates the center of Marvel’s new rift.

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Moon Knight #3

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Moon Knight #3Having escaped the mental institution and made it into the subway with his friends and other patients, Moon Knight has to deal with a host of mummies and Egyptian figures attempting to trap him and return him to his prison. Writer Jeff Lemire continues to blur the lines behind what is actually happening and Moon Knight’s perception of it. Although the other mentally unstable characters aren’t much more reliable than our main protagonist, the fact that they too see the subway station full of mummies helps confirm the odd reality Marc Spector is trapped isn’t only in his mind.

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