Category: Reviews

Doctor Who in Review: Season Four, Episode #8 – Silence in the Library

Doctor Who in Review: Season Four, Episode #8 – Silence in the Library

The hit BBC series Doctor Who is now in its fourth season on the Sci-Fi Channel, and since we’re all big fans here at ComicMix, we’ve decided to kick off an episode-by-episode analysis of the reinvigorated science-fiction classic.

Every week, I’ll do my best to go through the most recent episode with a fine-tooth comb (or whatever the "sonic screwdriver" equivalent might be) and call out the highlights, low points, continuity checks and storyline hints I can find to keep in mind for future episodes. I’ll post the review each Monday, so you have ample time to check out the episode once it airs each Friday at 9 PM EST on Sci-Fi Channel before I spoil anything.

Missed a week? Check out the "Doctor Who in Review" archive or check out any of the past editions of this column via the links at the end of this article.

Keep in mind, I’m going to assume readers have already watched the episode when I put fingers to keyboard and come up with the roundup of important plot points. In other words, SPOILER ALERT!

Let’s begin now, shall we?

Season Four, Episode #8: "Silence in the Library"

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Review: ‘MuZz, Vol. 1’ by FSc

Review: ‘MuZz, Vol. 1’ by FSc

MuZz, Vol. 1
By FSc (Foo Swee Chin)
SLG Publishing, May 2008, $14.95

There’s a train that runs to MuZz – or, at least, it’s supposed to – carrying ideas and thoughts whose creators have lost interest in them. They’re all pretty odd and motley, as you might expect: a black whale, a phantom cat, and things I couldn’t even begin to describe.

But, on this particular train, there’s also a figure that looks like a teenage girl missing an eye. She’s Modorelin Farllee, she’s an actual human, and she’s not even dead. (Well, I don’t think she’s dead, but I don’t want to be too definite about any plot points concerning [[[MuZz]]].)

Farllee remembers nothing of her past, and wakes up on the train in such a frantic, grouchy mood that she shakes her elf guide to death and has to rely on the standard pamphlet and the advice of her fellow passengers to figure out what’s going on.

And so she quickly learns what I’ve just told you – she doesn’t believe that she’s actually a figment of someone else’s imagination, but she can’t prove that, and drops the subject. None of them are precisely sure what will happen to them in MuZz, but, for nearly all of them, it has to be better than their previous lives.

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Review: Futurama – The Beast with a Billion Backs

Review: Futurama – The Beast with a Billion Backs

Coming up behind their first direct-to-DVD film, “[[[Bender’s Big Score]]],” Futurama’s next title certainly fills the void that series junkies need but can’t get from running their season DVDs bare. And while “[[[Beast with a Billion Backs]]]” is certainly not as deep or emotional as “Bender’s Big Score,” there is definitely enough to keep you entertained for 90 minutes.

The premise of the “movie” (which is technically four interwoven episodes) begins up with a tear in the sky, seemingly to another universe. When panic ensues and the world’s two smartest minds battle it out to figure out who gets to explore it first, our hapless hero, Fry, jumps in the hole and stumbles across something Earth-shattering. There are several other subplots that all come together in the end a la [[[Seinfeld]]], but the main focal point is this interdimensional “beast.”

Each of these films seems to have a central theme, and if the theme of “Big Score” was time travel and friendship, the theme here must be love and jealousy. Even stated by Bender in the film: “You can’t have complete love without complete jealousy,” which may be poetic, but is still hilarious. The structure follows that of a cheesy romantic comedy, while still mocking itself by having the “romance” occur between the titular beast and every being in existence. (It’s your typical “beast meets everybody, they fall in love, everybody feels betrayed, they break up, then try to fix the relationship” story… but with robot pirates.)

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Review: This Week in ‘Trinity’ – Part 3

It’s time we talked about Kurt Busiek.

He’s the brain behind this weekly operation and, in case you’re new to comics, he’s one hell of a writer. And there’s one particular quality that sets him apart.

His comics matter.

I don’t mean this in the sense that he does event comics (although Trinity certainly qualifies as such). What distinguishes a Kurt Busiek comic book has always been that he immediately instills the material with a sense of importance.

His big projects, like Marvels and Astro City, are perfect examples, but even in his post-Infinite Crisis take on Aquaman Busiek quickly remade that book into one that had to be read, and had to be taken seriously.

I say all this because, for a few reasons, I don’t get that sense from Trinity. So far, DC’s latest weekly series does not feel important. So far, it doesn’t matter. 

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Review: ‘Bottomless Belly Button’ by Dash Shaw

Review: ‘Bottomless Belly Button’ by Dash Shaw

Dash Shaw has a strange habit of defining things, of explaining all the elements of his world in minute detail.

In his new 700-plus page graphic novel Bottomless Belly Button (Fantagraphics, $29.99), that microscopic focus takes on monumental scope as Shaw relates the foibles and piccadiloes of the Loony family when the patriarch and matriarch announce a divorce after decades of marriage.

The family (the parents, their three children, one spouse, two grandchildren) gather at the family’s beach house, and Shaw begins by explaining “there are many types of sand” before giving an eight-page summary of these types.

We’re then introduced to the family through a sequence of diagrams, charts and vignettes, quickly establishing their characters and relationship dynamics. In short, their behavior is befitting of their name.

Shaw told me recently that he uses such definitions to orient readers, and from this point [[[Bottomless Belly Button]]] truly takes off in a story that mirrors The Squid and the Whale while never falling into that film’s cold, intellectual trappings.

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Review: ‘The Joker: The Greatest Stories Ever Told’

This summer is a big one for Batman’s deadliest foe, the Joker, with the deceased Heath Ledger giving an apparently mesmerizing take on the clown prince of crime in [[[The Dark Knight]]].

And just in time comes the latest printing from DC of The Joker: The Greatest Stories Ever Told ($19.99), which offers some of the character’s legendary moments from his debut in 1940 in Batman #1 to last year’s macabre Christmas tale from Paul Dini.

First, lets dispense with the hyperbole of the title. There are some great Joker moments here, but several of the character’s biggest aren’t included. There’s nothing from [[[The Killing Joke]]],[[[ A Death in the Family]]] or [[[Dark Knight Returns]]], for example.

More than anything, this is a great primer on the Joker, charting his characterizations over his six-plus decades of existence as he became quite likely the most recognizable evil-doer in comics.

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Review: In Odd We Trust by Dean Koontz & Queenie Chan

Review: In Odd We Trust by Dean Koontz & Queenie Chan

In Odd We Trust
Created by Dean Koontz; Written by Queenie Chan & Dean Koontz; Illustrations by Queenie Chan
Del Rey, July 2008, $10.95

Odd Thomas, in a series of (so far) four novels from Dean Koontz, is a twenty-year-old fry cook in the small desert town of Pico Mundo, California. He has a tough girlfriend – Stormy Llewellyn, orphan and gun-slinging amateur detective – a great way with pancakes, many friends in town, and a secret: he can see the dead. The dead never talk, but they do find ways to communicate with Odd, and to get him to help them.

[[[In Odd We Trust]]] takes place when Odd is nineteen; it’s a prequel to the novels. Very early on, in a scene reminiscent of the great amateur “consulting detectives” stretching back to Sherlock, the local police chief, Wyatt Porter, comes to ask Odd for help. Joey Gordon, a seven-year-old, was killed brutally in a home invasion during the fifteen minutes between being dropped off after school by a neighbor and the arrival of his housekeeper/nanny. The killer left a cryptic note, made up of letters cut out of magazines, but no normal clues.

The police are baffled, as they so often are in stories like this. Sometimes I think the police exist in fiction merely to be baffled while the much smarter and more skilled amateurs do their legwork for them, and then sweep in at the end to do the actual arresting.

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Doctor Who in Review: Season Four, Episode #7 – The Unicorn and the Wasp

Doctor Who in Review: Season Four, Episode #7 – The Unicorn and the Wasp

The hit BBC series Doctor Who is now in its fourth season on the Sci-Fi Channel, and since we’re all big fans here at ComicMix, we’ve decided to kick off an episode-by-episode analysis of the reinvigorated science-fiction classic.

Every week, I’ll do my best to go through the most recent episode with a fine-tooth comb (or whatever the "sonic screwdriver" equivalent might be) and call out the highlights, low points, continuity checks and storyline hints I can find to keep in mind for future episodes. I’ll post the review each Monday, so you have ample time to check out the episode once it airs each Friday at 9 PM EST on Sci-Fi Channel before I spoil anything.

Missed a week? Check out the "Doctor Who in Review" archive or check out any of the past editions of this column via the links at the end of this article.

Keep in mind, I’m going to assume readers have already watched the episode when I put fingers to keyboard and come up with the roundup of important plot points. In other words, SPOILER ALERT!

Let’s begin now, shall we?

Season Four, Episode #7: "The Unicorn and the Wasp"

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Review: ‘Emiko Superstar’ by Mariko Tamaki and Steve Rolston

[EDITOR’S NOTE: This is the fourth in a series of reviews of the five books coming out from DC’s Minx imprint this year. Previously, Van Jensen reviewed Rebecca Donner’s Burnout, Cecil Castellucci’s Janes in Love, Brian Wood‘s The New York Four and Ross Campbell’s Water Baby. -RM]

There are no shortage of comics that feature an "ordinary" central character who decides to venture into the "strange" side of life. Emiko Superstar (Minx, $9.99) follows that well worn path, but it takes a surprising turn and ends up as quite a pleasant read.

Emiko is a teenage girl, something of a dork living a boring suburban existence. A summer of mindless minimum-wage labor is interrupted when Emiko sees a public outburst from an "art freak" and learns of an underground arts scene.

An outsider trying to break into a group of outsiders, Emiko unsteadily inserts herself into the scene, learning all the expected lessons (freaks are people too, you can discover yourself through art).

Ho hum, right? Except not quite, as writer Mariko Tamaki twists the book cleverly, pointing out that cool outsiders have as many problems as most people. That revelation is balanced by another, of the serious problems seemingly normal people have.

Life’s a big mess, Emiko learns, and sometimes you have to work hard to get through. Who can’t relate to that?

Van Jensen is a former crime reporter turned comic book journalist. Every Wednesday, he braves Atlanta traffic to visit Oxford Comics, where he reads a whole mess of books for his weekly reviews. Van’s blog can be found at graphicfiction.wordpress.com.

Publishers who would like their books to be reviewed at ComicMix should contact ComicMix through the usual channels or email Van Jensen directly at van (dot) jensen (at) gmail (dot) com.

Review: This Week in ‘Trinity’ – Part 2

Two weeks down, and things are already heating up in DC’s weekly series Trinity.

We left off last week with [[[Superman]]], [[[Wonder Woman]]] and [[[Batman]]] all under the gun from mysterious forces: A dwarf solar system appears in Metropolis, giant robots attack Washington D.C., and Gotham… becomes Olde Timey?

The main point of interest is the nature of the attacks, and the way in which each hero handles the threat. Superman saves civilians and acts tactically. Batman wills Gotham back to normal by refusing the vision. And Wonder Woman smacks the crap out of some robots.

Based on what we’ve seen so far, the central notion of this series lies in exploring the identity of these three main heroes (in the first issue, this came up in how each saw variations of the same dream). Clark is a protector, Diana is a fighter and Bruce is…

So far, writer Kurt Busiek is leaving that one open, as the bizarre transformation of Gotham could imply a lot of things about Batman. It’s also interesting that Bruce is the only one of the three to remark on the strangeness around him.

Why would Busiek only hang a lampshade with Batman? Maybe it has to do with him being the lone human of the Trinity, and thus a stand in for readers. Food for thought.

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