I enjoyed BBC’s Sherlock when it aired. Like any long-running show, it had its ups and downs; its good parts and its bad ones. While the last season of the show may not have been great, its earlier brilliance was not erased. In fact, I believe the show peaked in its second season. Those three episodes were Sherlock working on all cylinders. This is what interested me in this manga adaptation of the season’s first episode, A Scandal in Belgravia. Adapted and illustrated by Jay, this volume adapts the first half of the episode. As an adaptation, it’s fine. The artwork is neat and much of the episode’s wit is retained, but some of the show’s charm and visual flair are lost in translation. (4 out of 5 wands.)
Sherlock: A Scandal in Belgravia Part One (written by Steven Moffat, adapted and illustrated by Jay) Fresh from confronting Moriarty in the end of The Great Game, Sherlock Holmes (Benedict Cumberbatch) and John Watson (Martin Freeman) are called to save the royal family from blackmail at the hands of Irene Adler (Lara Pulver), a dominatrix known as “The Woman”. Adler pulls Sherlock into a complex web of mysteries involving the CIA and the MOD, with secrets that could threaten to threaten international security and topple the monarchy.
I’m always on the lookout for new comics. I don’t follow the industry particularly closely, so a lot of titles slipped my attention. But I kept hearing about Nnedi Okorafor’s LaGuardia. It was part of Dark Horse Comics’ Berger Books imprint, a line of titles spearheaded by Karen Berger of Vertigo Comics fame – an editor whose work I’ve adored. It was a sci-fi comic that imagined an alternate Earth where aliens had integrated themselves among humanity – a premise that’s right up my alley. And it just won Eisner and Hugo Awards. So, I finally read it. And, man, it’s good. While I wish it was a bit longer, LaGuardia is a superb read. Featuring gorgeous artwork and intriguing world-building, it’s reflective of our current societal problems and a wildly captivating read. (4 out of 5 wands.)
(NOTE: This review may contain spoilers.)
LaGuardia (written by Nnedi Okorafor, illustrated by Tana Ford) In an alternate world where aliens have integrated with society, pregnant Nigerian-American doctor Future Nwafor Chukwuebuka has just smuggled an illegal alien plant named Letme Live through LaGuardia International and Interstellar Airport…and that’s not the only thing she’s hiding.
She and Letme become part of a community of human and alien immigrants; but as their crusade for equality continues and the birth of her child nears, Future—and her entire world—begins to change.
I enjoyed the first season of Netflix’s The Umbrella Academy. Sure, it wasn’t entirely faithful to the comics, but they did a great job at capturing what felt like the spiritual essence of what Gerard Way and Gabriel Bá did in the comics. And a lot of the character work in the first season was excellent. So, of course, I was excited to see what a second season of the show would look like. After all, season one’s ending had departed so far from what the comics did that I genuinely had no idea where the show would go after that. Well, as it turns out, season two would go on to loosely adapt the comics’ second arc, Dallas, to mixed results. It retains all the positives and negatives of the first season, with the positives being even better and the negatives being more blatant. It’s an enjoyable, if flawed, watch. (4 out of 5 wands.)
Five warned his family (so, so many times) that using his powers to escape from Vanya’s 2019 apocalypse was risky. Well, he was right – the time jump scatters the siblings in time in and around Dallas, Texas. Over a three year period. Starting in 1960. Some, having been stuck in the past for years, have built lives and moved on, certain they’re the only ones who survived. Five is the last to land, smack dab in the middle of a nuclear doomsday, which – spoiler alert! – turns out is a result of the group’s disruption of the timeline (déjà vu, anyone?). Now the Umbrella Academy must find a way to reunite, figure out what caused doomsday, put a stop to it, and return to the present timeline to stop that other apocalypse. All while being hunted by a trio of ruthless Swedish assassins. But seriously, no pressure or anything.
There will always be something devilishly fun about multi-Doctor stories. I don’t know if it’s the knowledge that, in-universe, they’re just not supposed to happen or if it’s the joy of witnessing multiple incarnations of the Doctor interacting with each other at the same time. Whatever it is, it’s fun to witness. So, the moment I heard that Titan Comics’ ongoing 13th Doctor line would feature an arc where the 13th Doctor, Yaz, Graham, and Ryan meet up with the 10th Doctor and Martha Jones during the events of Blink, I was super excited. It sounded like a bucket and a half of fun. And, having read the arc, it was exactly as much fun as I’d have liked – though, as always, I wish it was a bit longer. (4.5 out of 5 wands.)
(NOTE: There may be mild spoilers for A Tale of Two Time Lords ahead.)
Doctor Who: A Tale of Two Time Lords (written by Jody Houser, illustrated by Roberta Ingranata) The Thirteenth Doctor is back with her friends – Yaz, Ryan and Graham – in a brand new time-travelling adventure. This time she faces the horrific Weeping Angels – who else can help her out but one of her previous incarnations: the Tenth Doctor himself! Landing in the swinging 60s, the Thirteenth Doctor and fam are stranded in the middle of a territorial battle between the Angels and the creepy Autons, all the while having to avoid her former self and causing the universe to implode! What could go wrong?
Making an audio adaptation of The Sandman seems like a great idea. There’s a lot of ways to convey fantasy settings using just sound and it feels like the perfect medium for The Sandman. I mean, it’s a series about the power of stories and what better way to experience the story than to close your eyes and let the sounds wash over you, right? And, in all honesty, that’s basically what Audible’s adaptation of The Sandman is – though, I’d argue it skews a bit closer to an audiobook than a true audio drama, but for most people, that’ll be just fine. For me, I enjoyed the adaptation but I wish it embraced the power of audio dramas a bit more than it does and relied less on narration to explain the “missing” visuals. (4 out of 5 wands.)
(NOTE: Mild spoilers may follow.)
The Sandman (written by Neil Gaiman, adapted by Dirk Maggs) When The Sandman, also known as Lord Morpheus—the immortal king of dreams, stories and the imagination—is pulled from his realm and imprisoned on Earth by a nefarious cult, he languishes for decades before finally escaping. Once free, he must retrieve the three “tools” that will restore his power and help him to rebuild his dominion, which has deteriorated in his absence. As the multi-threaded story unspools, The Sandman descends into Hell to confront Lucifer (Michael Sheen), chases rogue nightmares who have escaped his realm, and crosses paths with an array of characters from DC comic books, ancient myths, and real-world history, including: Inmates of Gotham City’s Arkham Asylum, Doctor Destiny, the muse Calliope, the three Fates, William Shakespeare (Arthur Darvill), and many more.
I don’t normally review screenplays – and I especially don’t normally review screenplays that were never produced. But I am making an exception here. Neil Gaiman’s The Sandman has had a long road to being adapted for another medium. A film version languished in development hell for 20-some years before finally getting turned into an upcoming Netflix TV series and an Audible audio drama. One of the writing teams attached to the film was Ted Elliot and Terry Rossio, most famous for writing Shrek and the Pirates of the Caribbean series. In 1996, they wrote a draft of a Sandman film. That draft is publicly available for reading on their website, Wordplayer. It is for this reason that I feel comfortable reading and reviewing the script – the writers have put it out there and, at that point, it’s fair game to be looked at. And, in all fairness, I actually think their attempt at adapting The Sandman is a relatively good one. Obviously, those comics are better suited for a TV series, but as far as film adaptations go, it’s pretty solid. (3.5 out of 5 wands.)
From the first time I read Neil Gaiman’s The Sandman in 2013, I adored the series. It felt like this beautiful mixture of traditional prose literature and graphic novels and it was something I hadn’t seen in any of the comics I’d read to that point. The series is as much a story about Morpheus, the Lord of Dreams, and his other siblings as it is about stories, themselves. It’s one of those series that has remained popular over the 30 years since it first debuted – and for good reason. So, in light of the imminent release of Audible’s audio adaptation of the series, I felt it a good time to go back to those first few volumes (those that are being adapted for the series) and take a look at how they read seven years after I first read them. In short, they still hold up remarkably well, even if parts of them haven’t aged the best. The Sandman is a great series and it’s impressive how much of its magic is present in these first twenty issues.
(NOTE: There will be mild spoilers for the first 20 issues/three volumes of The Sandman.)
A rich blend of modern myth and dark fantasy in which contemporary fiction, historical drama and legend are seamlessly interwoven, THE SANDMAN follows the people and places affected by Morpheus, the Dream King, as he mends the cosmic–and human–mistakes he’s made during his vast existence.
I didn’t know what to expect when I started reading Killadelphia, Rodney Barnes and Jason Shawn Alexander’s new comic. I had been a fan of Barnes’ work on the second season of American Gods so I was eager to take a dive into some of his other work. Killadelphia looked really interesting because I love a good vampire story and it seemed like Barnes had a unique take on the genre – and boy did he ever. Killadelphia might just be the best comic I’ve read all year. It’s this perfect blend of absurd-yet-scary horror and gritty, grounded, realistic drama. In many ways, it feels old fashioned and reminiscent of film noir, but in other ways it feels startlingly modern and poignant. (Five out of five wands.)
(NOTE: This review may contain spoilers. Read at your own risk.)
Killadelphia, vol. 1: Sins of the Father (written by Rodney Barnes, illustrated by Jason Shawn Alexander) When small-town beat cop Jimmy Sangster returns to his Philadelphia roots to bury his murdered father, he stumbles into a mystery that will lead him down a path of horrors and shake his beliefs to their core. The city that was once the symbol of liberty and freedom has fallen prey to corruption, poverty, unemployment, brutality…and vampires.
There’s a reason they say you can’t go home again. Welcome to Killadelphia.
If you travel in certain parts of Twitter and Tumblr, you’ve probably heard of Check, Please! – though you’ve likely heard it referred to as “that story about the gay hockey players.” And, to be fair, that’s totally true. But it’s not all that the comic is. It’s a well-written, immensely enjoyable rom-com, and it’s also a delightful exploration of male friendship, a really funny coming of age story, and an exciting look into the softer side of hockey culture. Obviously, I really loved this comic. And the best part about it? You can read it right now for free!(5 out of 5 wands)
Check, Please! (written and illustrated by Ngozi Ukazu)
Eric Bittle may be a former junior figure skating champion, vlogger extraordinaire, and very talented amateur pâtissier, but being a freshman on the Samwell University hockey team is a whole new challenge. It is nothing like co-ed club hockey back in Georgia! First of all? There’s checking (anything that hinders the player with possession of the puck, ranging from a stick check all the way to a physical sweep). And then, there is Jack―his very attractive but moody captain.
I’ve read a lot of Gerard Way’s comics in the past. The Umbrella Academy ranks among my favorite comic series. I’ve also read some of Shaun Simon’s work with Gerard, namely The True Lives of the Fabulous Killjoys. However, I’ve never encountered much of Mikey Way’s stuff outside of his work in My Chemical Romance. It’s not surprising to see him venture into comics – it’s always seemed to be something he and his brother shared in common. But when I heard about his comic, Collapser, I was really interested. The premise was intriguing and I like weird science fiction ideas. However, after reading it, I have to say that I didn’t really like this comic. And it’s a big shame because the premise sounded so interesting. A guy, Liam, ends up with a black hole inside his chest that gives him the power to alter reality as he sees fit. What’s not to like about that? The answer: the execution. (2.5 out of 5 wands.)
(NOTE: Mild spoilers follow!)
Collapser by Shaun Simon and Mikey Way, illustrated by Ilias Kyriazis There’s a voice in the head of Liam James questioning everything he does—from his job at the nursing home to keeping his relationship with his girlfriend afloat. Liam suffers from anxiety, and the only thing that quiets it is music, which makes a weekly DJ gig his one saving grace. But Liam’s life changes forever when he receives a black hole in the mail (yes, you read that right), one that takes up residence in his chest, grants him insane superpowers, turns him into a celebrity and draws him into a cosmic conflict beyond his wildest imagination. Where did this black hole come from? Why Liam? Is power the cure? Or will superstardom turn Liam into a black hole himself?