Tuesday, November 26, 2024

Eight-Month-Old Comics!: The March 13 Top-Shelf Edition - Part Two (HERE BE SPOILERS!)

ThunderCats #2:  If I didn't have an almost 600-issue backlog, I'd consider hanging in here.  As ridiculous as it is to say about anthropomorphic cats from another planet, though, Shavley's ThunderCats aren't all that believable.  For example, they occasionally speak as if they're characters in Shakespearean fanfic yet other times speak "normally."  It's emblematic of what seems like Shavley's uncertainty about the story he's telling.

In this issue, Shavley takes a page from the 2011 cartoon series and introduces Calica as his version of Pumyra.  Panthro is rightfully suspicious when they stumble upon her and asks questions that could fairly easily verify whether she's truly a Thunderian.  But Lion-O's hormones get in the way; after confronting Panthro, he whisks Calico to a separate room to tell her about Thundera's fate.  Calica is somehow Mumm-Ra's thrall, which Panthro would've likely discovered if not for Lion-O's plot-convenient horniness.

In other words, I'm going to get while the getting is good.  It makes me sad, because I really enjoyed the idea of this series but I don't have time to hang in there.

Transformers #6:  To quote Kathy Griffin, holy fuck balls, you guys.

Johnson hurls us right into the action as the Autobots retreat from Devastator as he blocks their access to the Ark.  Contemplating the terror that is Devastator, Sparky remembers Jimmy telling him, shortly before his shuttle launched into space, that nothing bad was going to happen to him.  

As the Autobots retreat, Cliffjumper arrives with Carly, who thankfully convinces him not to drive directly at Devastator since they're the small ones and instead redirects him to a separate access point in the back of the Ark.  As Starscream revels (throwing devil horns, no less) in Devastator scaring the Autobots, Optimus lands a kick in Starscream's face and clears the way for the Autobots to enter the Ark.  A furious Thundercracker opens fire at them, screaming at them that they'll pay for what they did to Skywarp (heh).  

Optimus shields Sparky from the gunfire, and then Optimus, Sparky, Arcee, Jazz, and a crawling Ratchet enter the Ark.  However, Devastator manages to grab Optimus' leg and yanks him from the Ark.  As Devastator pummels Optimus, Arcee and Jazz open fire on him.  Arcee manages to get hold of Optimus and drag him into the Ark as Jazz continues to fire.  Devastator grabs Ratchet's good leg, and Ratchet has Jazz close the door on it, shutting out Devastator (and his leg).

It's intense, y'all.

Before Devastator destroys the Ark in his pursuit of the Autobots, Soundwave tells him to dig his way into the Ark from the mountain's backside.  Meanwhile, Cliffjumper and Carly enter the Ark only to come face to face with Starscream.  

In a scene familiar to anyone who had their heart broken watching "Transformers:  The Movie" in 1986, Optimus tells the Autobots that he's dying, something Ratchet confirms.  A morose Optimus laments that he thought they still had hope and acknowledges that Jetfire was right.  A devastated Arcee begs him not to die, and Optimus removes the Matrix, which he drops onto the floor.

In a totally unexpected development, Sparky wonders aloud, "If there only was a way..." as he looks at the Matrix.  When Ratchet questions what he's doing, Sparky says that every time something bad happened — to his men, to Jimmy, to Spike — he thought to himself, "If only I could have taken their place."  As he hears Devastator knocking through the Ark's walls, Sparky tells Optimus that he knows Optimus is going to care for the world like he cares for his boys.  Asking Optimus to watch over Spike for him, Sparky begins to enter the Matrix.  Before he disappears, he asks the Autobots to tell Spike how proud he is of him.  Sparky then fully disappears into the Matrix, and Optimus is healed.

Pledging to protect Spike and Earth, Optimus is ready to take on Devastator, who's made his way into the Ark.  He tears off Devastator's finger, opens fire with his gun and Megatron's cannon, and then kicks him in the face.

Elsewhere, Cliffjumper gets the jump (heh) on Starscream and wonders aloud what it'll be like to get the revenge he's dreamt about getting.  In the end, though, as he stands over Starscream, he can't pull the trigger, telling Carly that he's tired of all of it.  It's a devastating moment, seeing a warrior surrender to his grief, just as Optimus did moments earlier.  Johnson really uses these moments — and Thundercracker's grief over Skywarp — to convey just how weary the Transformers all are.  But Starscream is nothing but wily and grabs Carly to facilitate his escape.

Meanwhile, Optimus uses his alternate mode to lead Devastator from the Ark and then transforms to continue kicking his ass.  In a fantastic moment, he uses a charging Devastator's momentum against him and hurls him over his head, where —in possibly the best splash page I've ever seen — he crashes into Starscream.  Cliffjumper manages to grab Carly, who's furious at him for not ending it all by killing Starscream, and the Constructions grab Starscream and flee.

In yet another unforgettable moment, Optimus stops Soundwave and tells him that he just wants them to try to save their home.  Soundwave considers Ravage, whose body he's cradling, and then hurls a punch at Optimus, who tells him that he wants peace but is no fool.  Soundwave watches Optimus wordlessly as Thudercracker carries them into the distance.

As if all that isn't enough, we end with Spike awakening and asking where his dad is.

In other words, it's just a spectacular issue from start to finish.  I've loved the Transformers for a long time, and it's really wonderful to see them treated so well.

The Weatherman (Vol. 3) #3:  LeHeup should've titled this issue:  "This Is Why We Can't Have Nice Things."

The issue begins in the city of Tharsis on Mars, not exactly where I expected us to be given how we ended last issue.  The Farmer (i.e., the Cowboy from the first series) is looking for someone named "the Dream Master."  He shakes down someone to get the Dream Master's location and then finds a strung-out Cross lying between some garbage bags in a back alley.

Later, Cross awakens with a start in a bed in a cabin.  After her initial confusion, she wears a look of shame when she sees the Farmer's boots on a railing outside her window.  She wraps herself in a blanket and heads to look at the inlet the cabin overlooks.  She asks the Farmer how he found her, and he responds, "Redhead nemo junkie gettin' into bar fights so she can lose 'em?  Easiest job I ever had."  She asks where they are, and he tells her that he lived here once with a woman and her son after the service.  He tells her that the woman had a calm way about her and taught him how to see the world in color before, of course, the virus took her and now all he sees is red.

Cross asks the Farmer if Jenner is right, and the Farmer acknowledges that it feels that way sometimes, "bunch'a doomed idiots that can't stop hurtin' cuz they can't stop hurtin.'"  He asks if she really wants to know whether people deserve to die or she does, specifically.  She admits that she can't stop thinking about Nathan and corrects herself to say Ian.  Since she couldn't bring back her son, she broke him, and she admits now she'd do anything to save him.  She then asks why he thinks Nathan stayed alive after Earth, and the Farmer says that he doesn't really now, just that maybe Ian thought he'd gotten a raw deal.  But he notes that this Ian has no hope, which makes him a dangerous man.  But, to the Farmer's mind, if she can find her fight again, she might help Ian find his.

Elsewhere, Burga is discussing the election with her advisor and notes that Jenner's Giant Cartoon Doomsday Clock is timed to when Mars will announce the results of its presidential race.  She laments that a Trumpian figure who "represents the worst of humanity — tribalism, fear-mongering, greed —" is going to win because she hasn't delivered Jenner's head on a platter.  We learn Jenner is after something that is "safely secured inside a top secret Marine base in the heart of the Venusian wasteland."  She comments that, so long as she doesn't get a call that the "something" is no longer "safely secured," they have an election to win.  Then, the phone rings.

At the Venus hypergate, Cross, the Farmer, and White Light are waiting at a traffic jam after some of the hypergate's anchors failed, which means the gate is susceptible to drift and can fry anyone in its path.  Their hope is to find Ian's tracker so they can get a read on Jenner's trail.  The Farmer hands Cross some food, and she reacts violently.  The Farmer looks upset, and White Light hilariously writes, "He tried to make something nice!!" on a white board, prompting Cross to tell him that she loves it.  It's an adorable moment in a series with few of them.  Of course, the joy ends instantly when the Farmer asks Cross if she wants seconds and she realizes that a second sample exists.  

(Cross makes this realization when she remembers that Djinn told her in issue #1 that Ian wanted to wipe his mind for a "second reason."  Cross (and I) initially thought she meant Sadie, but, as we see below, Cross realizes that it's because Ian knew where the second bomb was.)

On Venus, Jenner and his team have broken into the facility Burga mentioned.  Ghost is taking on the troops outside while Alice is hacking into the system and Molly, Jenner, and Ian are making their way through the facility.  A dying guard begs Ian to save him and Ian hesitates, only for Jenner to smash his face dramatically, asking Ian who's really innocent.  (When I saw graphically, I mean graphically.  Like, his foot moves in the viscera.)  A guard pumps Jenner's back full of lead, which he somehow expels from his body before killing the guard via electrocution.  Continuing his tirade, Jenner notes that most people are looking for a better world but are "unwilling to sacrifice even the most modest of comforts to achieve it," which I guess means no one is innocent in Jenner's eyes.  

At this point, Alice is using her butterflies to control an engineer to open the vault with the virus.  Jenner notes that Cross lied to Ian — telling him Jenner had the virus sample when he didn't — just to get her revenge.  Jenner says the innocent know they're not innocent once their distractions —their shows, their championships — end.  As he approaches the virus, he says he will end their suffering for real.

As they race to Venus, Cross is screaming at Burga on a call, telling Burga that she told her (Cross) that Burga destroyed the virus and observing that they only have eight hours to save Mars.  LeHeup then connects the dots when he returns to a mystery from last issue, namely why Jenner was so blasé when Ian failed his psych scan.  Cross (correctly) hypothesizes that Ian learned where the second sample was when he stole the first one, but he and Jenner had their "falling out" (i.e., Jenner committed genocide) before Ian told Jenner where it was.  As mentioned above, it's the second reason why Ian wanted to erase his memory.  Since he failed to do so, though, Ian retained that information, which Alice then read.  Burga reinstates Cross, and she, the Farmer, and White Light head to the base.  As Cross says, "[If] we die, we died being awesome."

Hitting the ground, White Light takes on Ghost, who's basically Transor-Z at this point, as Cross heads to the control room and the Farmer to the vault.  White Light transforms their ship again (see "The Weatherman," vol. 2, issue #5), so we get a fucking awesome Transformers match-up here, which I wasn't expecting.

As Cross enters the base, she sees Ian holding Sadie (the dog) on his shoulders, with Alice noting, "This did not age well.  And you think we're messed up."  (Fair point, honestly, Alice.)  Meanwhile, the Farmer is ready to assassinate Jenner and looks at a locket with photos of, presumably, the woman and her son that he mentioned earlier.  Back in the control room, Alice switches the image that Cross sees to Sadie (Ian's daughter), commenting that Cross has already immersed herself in a horrific reality so she (Alice) didn't need to do anything else.  Alice puts Cross' gun to her (Alice's) head and tells Cross to pull the trigger, but the Farmer observers this development in time as, in reality, Cross has her own gun under her chin (due to Alice's manipulations).  Forgoing taking out Jenner, the Farmer assassinates Alice.  (Cross comments, "Thought you didn't care," and the Farmer responds, "Don't tell White Light.")  Later, Jenner finds the locket that the Farmer left.

Outside, Molly, Jenner, and Ian bolt for their ship as Ghost is handing White Light her ass.  However, White Light sacrifices her ship to sneak into Ghost and set off a bomb, destroying him.  Cross shouts at Ian as he and his crew depart, asking him not to do what they're going to do, and Ian stares out her furiously.  Cross, the Farmer, and White Light just watch them go.

It's a fucking ride, y'all.  You know, as I've said before, I'm not sure we're getting a happy ending here.

Monday, November 25, 2024

Eight-Month-Old Comics!: The March 13 Top-Shelf Edition - Part One (HERE BE SPOILERS!)

Napalm Lullaby #1:  I love Rick Remender, but, oof, this issue is a lot, even for me.

A couple named Paul and Brenda are leading a rally in Norfolk, Nebraska.  Around sunset, they send the participants home and themselves head home in their pickup truck.  Given the cross hanging in the truck's rear-view mirror, it seems like Brenda is talking about God and/or Jesus when she tells Paul that they need to enforce "his" will.  Before they can finish that discussion, however, a light appears, and they crash into a tree.  

From a portal, a leonine robot emerges with futuristic troops in pursuit.  After the troops take down the robot, one of them refers to it as the "last of the Mechawombs."  They open the robot and discover a baby in a nest, Kal-El style, inside its chest cavity; they then argue over who's going to kill the baby.  Before they can, the baby's glowing eyes explode, eliminating the troops.  Paul and Brenda approach the baby and bring it into their car, with Paul telling Brenda that "he" heard her prayers.  As Brenda cuddles the baby, she says that "he" answered them, and we learn that "he" is an entity named "Glokor." 

Fifty years later, a brute that looks like the X-Men's Caliban murders three priests and steals the halos that hover over their heads.  As he walks through a slum, a beggar on "pilgrimage to the Crystal Temple" asks him for "protein."  A man at Old Nan's Funhouse calls him "Hork the Penniless," and Hork passes the wheelchair-ridden Nan on his way to a room.

He enters an Olympus-inspired garden, where a woman named Rose meets him.  Hork warns Rose about entering (presumably the Palace) with "dead priest haloports," predicting she'll be in one of the "straightening camps" by morning.  Agreeing that a deal is a deal, Rose strips down and begins to have sex with him, but the hologram is interrupted when someone pounds on the door.

It becomes clear that Hork and Rose are in cyberspace as the man banging on the door in reality enters the room.   The man wears a habuki-inspired mask, and Rose later calls him Sam.  Rose herself is dressed in black and white, with an all-black visor.  She warns Sam that he can't wake her like so abruptly, and Sam says that he couldn't "feel" Hork's lust any longer.  Hork pulls a knife to attack Rose, and Sam launches a pick-like object into Hork's head, mortally wounding him.  (He was aiming for his arm.). However, Sam is emotionally connected to Hork as he slowly dies, and, calling Rose "Sarah," asks her to sedate him.  Sarah is furious at him, since they're low on sedatives, but complies.

At that point, Nan and the doorman enter, and she orders the doorman to swipe the haloports.  Sarah asks Sam for the pen that dispenses the sedatives as they flee the doorman, who corners them quickly.  Sam offers him the haloports, but the doorman stomps Sam's head instead.  Sarah leaps for the gun that fires the pick-like objects, but the doorman breaks her back over his knee before she can grab it.  The doorman returns to Nan's and gives her the bag with the haloports, and she exposits that she'll finally make the pilgrimage with them.

Meanwhile, Sam and Sarah are alive, escaping on a motorcycle with a sidecar.  If I'm following correctly, the sedative they used while fleeing the doorman allowed Sarah to create the illusion that the doorman killed them and swiped the haloports, so they're trying to escape before he and Nan realize the truth, that they still have them.  Sarah is concerned that they only have one dose of sedative left, but sam tells them that it doesn't matter since the gates are only open a little while longer.  As Bandal gives us a view of the city, full with the spectacular Palace and smaller gates, Sam opines, "How do you prepare to kill a god?"

Having just read "Mistborn:  The Final Empire," I'm guessing that we're facing a similar story, particularly given Remender's backmatter treatise.  However, Remember doesn't quite deliver the same excitement as he did in "The Sacrificers" #1.  Although we were also dropped in media res in that issue, the emotions that Pigeon and his family felt about his impending sacrifice grabbed you by the lapels.  Here, we're given little insight into any of the characters, watching them mostly responding to external events.  I'm happy to hang in here, but I think we need some better focus in the next few issues to make this story as gripping as Remender's other series.

No/One #8:  At this point, I'm hard pressed to see how Higgins and Buccellato are going to wrap up this story in two issues, given it just got even more complicated.

Three weeks after Gill slipping capture, the cops still can't find him.  Chief Mixon correctly points out Gill was working service industry jobs and likely didn't have the resources to evade capture this long without help.  Before the meeting adjourns, Singh tells Mixon the Ledger "has the story" about the .38 Special; Mixon thanks Singh for the heads-up and comments that he'll warn Ben.

At a coffee shop, Teddy approaches Julia to tell her that he meant what he said on the podcast — about how he hadn't intended to hang out Julia to dry but acknowledges that he did so all the same.  Julia thanks him, but, before they discuss the podcast, their phones buzz.  At Ledger HQ, they learn Ben Kern's training officer, Jack Sherman, used the .38 Special 35 years earlier to shoot and kill a kid named Daryl Graves.  In the series of news clips that fill the next two pages, Graves' parents say their son never owned a gun and a salesman says he sold Sherman the gun.

Later, at a diner, Sherman meets Ben and leaps across the table to make sure he wasn't wearing a wire.  Sherman accuses Ben of telling people what they did, and Ben says he only ever told his wife.  Sherman wisely notes Aaron could've overheard him, and Ben tells Sherman he accepts the consequences for their actions, namely that Sherman shot an unarmed kid and they lied about it.  Meanwhile, outside the diner, the Weiss Macht Brotherhood (WMB) are preparing to go after Ben.  (They're also demanding the authorities nullify the convictions they won based on Ben's infiltration of the group.)  Of course, Chobsky is with them.

Despite how badly it ended with Ben, Sherman calls him to warn him the WMD is outside the diner.  Revealing he's holding a gun, Ben tells Sherman that he plans to face them.  (At Major Crimes, Singh gets a call — likely from Sherman — that the WMB have pinned down Ben.)  As the WMB approaches Ben, No/One arrives and knocks off a guy on a motorcycle charging at Ben.  Ben jumps in No/One's car, and No/One berates him while evading the pursuing WMB bikers.  Ben swears he's already dead, and No/One tells him to find purpose in finding someone who needs help, saying, "You of all people should know that!"

Two days later, Ben calls Julia and promises to tell her everything about the gun.  First, though, he goes to Chuck's and tells him to tell him everything he remembers about Clarity because, in his words, he needs to know "if there's someone still waiting for her to come home."

OK, let's get down to brass tacks.

First, as Julia notes, both Harrison Gill and Aaron Kern used the .38 Special.  In his conversation with Sherman, Ben hypothesizes that either Aaron and Gill were working together or Gill got his hands on the gun somehow after the cops arrest Aaron.  In other words, it underscores that we really have no one what connections exist among the Accountability Killer(s), including the two Copycats we never mention.

Second, Ben's visit to Chuck implies that he thinks that the Clarity connection is more important than we've seen so far.  That makes sense, though you have to wonder why the Killer(s) didn't go after Coach Cade first in that case.  That said, given the (s) at the end of Killer(s), it isn't clear which killer might have the connection.  Is it Aaron?  Is it Harrison?  Is it one of the two Copycats?  Is it No/One?  It's possible that No/One's motivation for exposing corruption was the fact he knew people covered up Charity's death.  Or did Aaron or Gill or the Copycats get involved because they have a connection to Charity that we haven't yet seen?

Third, we still don't even have a hint about No/One's connection to the Killer(s).  All we know is that No/One started the campaign with his data drops but isn't (in theory) responsible for the Killer(s) starting to off people.  I think we're supposed to believe that No/One adopted his costumed identity to take responsibility for his actions.  In other words, he was initially content with the drops but took on the identity to stop the Killers from reverting his work.  But I don't think Higgins and Buccellato have even made that clear.

Finally, it's getting to hard to believe there is a connection here.  I'm worried it's going to feel hand-wavy at the end, like all the "victims" were members of the same BDSM club or something.

The podcast doesn't really shed much more light on the issue other than Ben publicly confirming that Sherman shot the kid, which Sherman denies in a preemptive press conference.  (I was figuring he was going to pin blame on Ben, which he doesn't here though may later.)  Notably, Julia is on the podcast, so we're all friends again, it seems.

In other words, as I said before, we have a lot to go with only two issues left.

The One Hand #2:  It's apparently murder mystery week this week!

The issue opens with Ari visiting an informant, Juice, after he (Juice) witnessed a murder.  Juice tells Ari that he watched some clubbers beat up a kid and douse him with paint thinner.  When the kid shut down completely, they got annoyed and set him on fire.  Juice can't get over the fact the kid just stood there and let them burn him alive; as Ari is leaving, Juice reveals the kid kept saying, over and over again, "Can't get out."

At the precinct, Ari is upset when the person answering the phone at the brothel doesn't know who Nemone is.  He ends the call, and Mac approaches his desk.  Mac tells Ari the Department has "the new guy from crypto" working on the cipher, though Ari views it as a waste of time.  As they're leaving the precinct to interview last issue's victim's next of kin, Ari is served papers as the District Attorney is reviewing his conviction of the previous One Hand Killer.

At the victim's house, the victim's wife is somewhat ambivalent about his death, telling the detectives that he was an unremarkable man who you could forget was there.  She explains she only went on a date with him because she spilled a drink on him.  Ari looks around the room and sees one of the ciphers in the way a set of photos are arranged.  (It's unclear if we're supposed to conclude the Killer actually uses items close to the victims as inspiration for the ciphers or if Ari just sees the case everywhere.)  

As Ari and Mac are leaving, Ari asks the widow if she loved the victim.  She slams the door in their faces.  Mac is annoyed at Ari, but Ari makes the point the Killer might  be targeting the people who live in the gaps in society.

Along those lines, Ari heads to the brothel, and the maintenance guy tells him they overhauled the operation the previous day.  He brings Ari to storage, but Ari doesn't find Nemone there.  Instead, he finds flyers for a lady who runs a gallery and comes to the brothel for parts.

Ari heads to the Marker-Vaugn Art Gallery, where a decadent party is in full swing.  A drunk man accosts Ari after he recognizes him from the papers, and Ari starts to leave but notices a faceless person in the crowd seemingly with a sixth finger.  Ari tries to follow him, but security has him to leave since he's causing a disturbance.  When he exits the building, the skyline is green, the result of a chemical truck that overturned.  He returns a call from Mac who informs him they have another case.  Mac comments that he feels like he stepped into a "murder room" as a rookie and "can't get out."

I'm definitely down with Ram V is going here.  Plenty of cop stories deal with people on the margins, since they're easy victims.  But it feels like Ram V is making the point that more of us are in those gaps than we think, that really only the movers and shakers matter.  I'm not sure how that's going to play into the mystery, but it feels relevant at this point.

Also Read:  Star Wars:  Darth Vader #44