What's the Deal with Doomsday Clock, Part 1 (SPOILERS)

Ever since DC announced they were bringing Watchmen into the mainstream DC universe, it's felt as though a lot of comic fans were holding their breath. How could DC bring one of the most seminal and beloved takes on superheroes into the DC universe, which was basically the main thing it was taking on in the first place? Of course, some of the anger faded once Geoff Johns, Chief Creative Officer of DC and writer of the event, explained his event would be both a sequel to Watchmen and a critique of it's impact on the comics industry, suggesting the take we're getting will hopefully be more intelligent than initial lead-up suggested. 

Previews came out, showcasing a world on the brink of war with a new Rorschach on an unclear mission, complete with elements of social satire and mystery that the original used so well, and many started to go, "Hey, maybe this event will be okay." 

And then the first issue came out, followed by two more in subsequent months before an announcement that the miniseries will be going bi-monthly to cover the complexity of the series. Since we're at that point now, I figured I could discuss my general thoughts on the series thus far. So, what do I think of this controversial sequel to Watchmen that threatens tarnish everything good and holy about the original? 

It's fine. 

Don't get me wrong, it's good, but it's neither amazing nor terrible. My big positives are the art of Gary Frank, which feels a lot like Dave Gibbons work from the original series in the 80s but does it's own thing at several points, and Johns's new additions to the Watchmen universe, particularly Mime and Marionette, a criminal duo that sort of resemble Joker and Harley Quinn, but with an added twist that Mime can't talk. You know, like a mime. The duo, formed as part of a team by Ozymandias to locate Dr. Manhattan, are incredibly entertaining and feel the most fleshed-out of any characters in the series. 

As for the negatives, it's, weirdly enough, a lot of the DC universe aspects of the comic. The stuff involving Batman, Superman, and an apparent backlash against superheroes as evidence suggests they were created by the government is interesting, but it almost feels like it's dragging down the story and would've been better suited to it's own comic. The fun of this should come from stuff like confrontation between Batman and Rorscach, where we get to see two iconic characters meet. 

My last negative is what the series does with the fate of the Comedian, the antihero whose murder set up the plot of the original series, and how it's an example of negative impact on the canon. (This is where the spoilers come in, by the way.)

After Edward Blake is hurled from his apartment window, Doomsday Clock reveals that Manhattan saved him and dumped into the main DC universe, where he now lies in wait for Ozymandias, his attacker, to show up so he can get revenge. The problem with this reveal is that a) nullifies the power of Comedian's death in the original comic and b) simply doesn't make an incredible amount of sense. It's nullifying because after so much of Watchmen focused on who he was as a person and how many of his peers have regrets surrounding their relationship with him before his death, it's simply been revealed that he was fine somewhere else. 

It's nonsensical because if Blake was transported somewhere else, what did everyone in the Watchmen universe see? They found his window smashed and his blood-soaked iconic button on the pavement, but was there a body? Did literally everyone just assume that the Comedian hit the ground and died so hard he exploded into a puddle of blood? 

Of course, maybe Johns will explain that in a later issue. After all, we're only three in at this particular point, so maybe I'm just dragging the series for something that will be clearly defined later. All in all, this isn't a terrible series by any stretch, and it's certainly a better event comic than anything Marvel has put out since Secret Wars, so I'm excited to do this again when Doomsday Clock hits the sixth, ninth, and final issue marks. 

Review: Happy! is hilarious and horrifying fun

What's fascinating about the media landscape is that while the cinemas are entirely slim pickings this time of year, networks take the opportunity to give limited runs to newer shows just to see if they'll take off. In this case of Happy!, Syfy premiered the show in late December with a finale coming this week. And frankly, it's a fun little shot of madness to cap off the new year. 

Happy! is based off a graphic novel by Grant Morrison and Darick Robertson, tells the story of Nick Sax (Christopher Meloni), a former detective turned hitman who has fallen on extremely hard times. (So hard, in fact, that the series opens with him imagining shooting himself in the head, then dabbing as blood gushes out of the gaping head wound.) One night, Nick kills Mikey Scaramucci, heir to New York's most powerful crime family, and finally gets his wish of death. Unfortunately for Nick, he's revived in an ambulance to find Happy (Patton Oswalt), a cartoonish flying blue horse floating over him. Happy explains that he's a young girl's imaginary friend, and Nick is the girl's only chance of rescue from a twisted kidnapper. Nick flees the ambulance, with both the NYPD and the Scaramucci's, who hope to learn of Mikey's last words before he died, in pursuit while he tries to rescue the girl before it's too late. 

Deeply, deeply messed-up hilarity ensues. 

What's most surprising about Happy! is how excellent the cast is. Meloni is absolutely brilliant, playing Nick with an arrogant and surly swagger while never letting the audience how forget just how broken he really is. Oswalt is a great foil, with Happy coming off as upbeat and annoying without ever being grating. The duo are effective together, contributing to the show's darkly comic feel. 

The supporting cast is also very good. Ritchie Coster as big bad Mr. Blue is intimidating without being over-the-top and forcing Nick, while Patrick Fischler as his top enforcer Smoothie is a particular highlight. Fischler oozes with creepiness and faux charm, and his back-and-forth conversations with Nick are often the show's highlight. Of course, the central villain, Very Bad Santa, is incredibly frightening, rarely speaking as he lumbers around every scene he's in. One particular scene with him and Hailey (the aforementioned girl) gave me chills and left me thinking about it for the remainder of the day without ever resorting to over-the-top violence or even being particularly gruesome. 

On the heroic side, Lili Mirojnick and Medina Senghore form an odd buddy team as Nick's former partner and the mother of the kidnapped girl, with their subplots never really feeling like pointless diversions or slowing down the plot as they work with and without Nick. 

And that's the strength of the show, ultimately. It's showrunners are Morrison and Brian Taylor, best known as the director of the equally absurd Crank franchise, and it shows. Even when the series has slower moments, it's still absurdly fun, with every episode having at least one dynamic action scene to show for it. (The fourth episode in particular has a spectacular brawl through Chinatown.) It's simply a show that throws everything at the wall and somehow manages make the vast majority of things stick. 

Happy! isn't for everyone, but for those that enjoy comedy as dark as a panther in a coal mine with some really great action scenes, it's a fun little palette cleanser to the overly saccharine early year programming. 

Zack Snyder and The Importance of a Support Crew

In the age where a lot of people are debating what a director even really does is, I think I should try to explain by using one of the most divisive filmmakers in modern cinema: Zack Snyder. For those unfamiliar with Snyder's body of work, he's best known for films such as the 2004 reboot of Dawn of the Dead, 300, Watchmen, and his work on the DCEU, where he also serves as a producer. Snyder's controversial largely for his "style of substance" approach to filmmaking, and he's got the mixed body of work to prove it. 

And for the record, he was only a producer on Wonder Woman, Rise of an Empire, and Suicide Squad.

But why, do you wonder, is reception to his work so varied? It's all because of who he works with and what material he's working on. Look at the reception of Dawn of the Dead, 300, and Watchmen in comparison to Sucker Punch and Batman v Superman. Do you want to know what the major difference is? Here's a hint: he didn't brainstorm the entire story of the first three. Dawn was written by Guardians of the Galaxy writer James Gunn, 300 is an adaption of a Frank Miller comic, and Watchmen is another comic adaptation written by David Hayter and Alex Tse. Whenever the story is left up to Snyder, he tends to go overly bombastic and largely nonsensical. 

The major point of this is that Snyder only works when he's with a team who are able to balance out his flaws. For instance, Snyder's frequent ally is Larry Fong, his cinematographer who, while not necessarily capable of cutting down his excess, makes the films shine, while the various writers he works with give him much better material than what he would normally make. When he's given weaker collaborators or works by himself, he struggles. For instance, compare the reception of Man of Steel (where he had Fong and was overseen by Christopher Nolan) to that of Justice League (where there was no Fong and Joss Whedon oversaw reshoots). 

While not great, it's better, right? Filmmaking is so much more than a solo vision: it's made possible by a team of people who get the vision and are able to make it work. Of course, it helps it if you have GOOD vision. 

Best of 2017, Part 3: The Comics

10. Dark Nights: Metal

Written by: Scott Snyder

Art by: Greg Capullo (Penciler), Jonathan Glapion (Inker), and FCO Plasciencia (Colorist) 

There wasn't any other series this year as unabashedly afraid to embrace the inherent silliness of comic books and take it to it's logical extremes. From giant Justice League robots to Plastic Man eggs, Metal totally works as a love letter to the wider DC universe, and is easily the most fun I've had reading an event from either of the big two publishers. 

Best Issue: Issue #2 is a thrilling issue-long chase that culminates in a final cliffhanger with the reveal of the titular Dark Knights: seven evil Batman, each based off a different member of the Justice League. 

9. The Defenders 

Written by: Brian Micheal Bendis

Art by: David Marquez (Penciler/Inker), Justin Ponsor (Colorist), Cory Petit (Letterer) 

In spite of his leaving for DC being largely abrupt, The Defenders feels a lot like a mic drop from Bendis, with him taking the chance to make his final Marvel book a tribute to the characters that made him the megastar he is. It's full of the classic Bendis wit and love for plot twists, but with the added combo of absolutely incredible art from Dave Marquez, who fills the series's fight scenes with dynamic movements and color that it makes the series exciting even during more expository bits. 

Best Issue: #7 contains a knock-down, drag-out brawl between Elektra and Iron Fist, and is then followed by an interrogation scene between her and Daredevil. Basically, it's Bendis and Marquez boiled down to their simplest components, enabling them to shine brightest. 

8. Doom Patrol

Written by: Gerard Way

Art by: Nick Derington (Penciler/Inker), Tamra Bonvillan (Colorist)

In many ways the closest thing the Young Animal line has to a flagship title, Way and Derington's reboot of the cult classic Doom Patrol is both a return to the title's oddball roots and a celebration of the massive continuity of the series. Doom Patrol is quirky (to say the least), but it never stops trying to take the reader on a journey with each new issue. It's oddly sweet in it's take on the power of good storytelling, and Derington's art makes everything pop with vibrant joy. 

Best Issue: #6, the conclusion to the first arc, reunites the entire team for a high-stakes mission that grounds them in a real world just minutes from catastrophe. Tense, but still funny and entertaining.

7. All-New Guardians of the Galaxy

Written by: Gerry Duggan

Art by: Aaron Kuder (Penciler/Inker), Ive Svorcina (Colorist), Cory Petit (Letterer)

Relaunched just in time for the release of the (also very good) Volume 2, All-New somehow manages to stay new and fresh with the characters by diving deep into the heart of the Marvel cosmic. The Grandmaster, Collector, Novas, Darkhawks, nothing is off-limits to Duggan, who also offers new perspectives on the team. (My particular favorite is pacifist Drax, who often finds himself hurting and killing people by accident despite his best efforts.) It feels as paradoxical as the team often does, with intimate stories showcased over epic scenes and backdrops wonderfully done by Kuder, and (in the case of the series of issues each focused on individual members) the occasional guest artists. If you're a fan of the films, I'd say start here. 

Best Issue: #5, which featured art by Chris Samnee, giving the story of Star-Lord's love of music a more simplistic feel and manages to combine the character's history with that of his film counterpart without feeling forced. The best in a set of one-shot stories. 

6. God Country

Written by: Donny Cates

Art by: Geoff Shaw (Penciler), Jason Wordie (Colorist), John J. Hill (Letterer) 

Arguably the work that put rising star (and now writer of both Doctor Strange and Thanos) Donny Cates, God Country is the simple story of a family struggling with an Alzheimer's ridden father that just so happens to be wielding a magic sword built by the last of the old gods. God Country feels so small, focusing on the entirely too-relatable issue of loss of a loved one, but also so large, as the last members of a pantheon attempt to retrieve the sword by any means necessary. Shaw's art reflects this, often playing the simple human designs off of the much more elaborate and Kirby-esque designs of the gods for comedic effect and the purposes of scale. It's funny, sad, scary, and often breathtaking. 

Best Issue: #6, in which the entire story ends the only real way these stories can. Tragic, but not without a note of optimism. 

5. The Unworthy Thor

Written by: Jason Aaron

Art by: Oliver Coipel (Penciler/Inker), Matt Wilson (Colorist), Joe Sabino (Letterer) 

While Aaron's entire run on Thor has been fantastic, this particular miniseries deserves acclaim for telling a self-contained story in which the Odinson sees a chance at redemption when a new Mjolnir is located following him being deemed "unworthy" of picking up his old one. What ensues is a roadtrip that goes unexpectedly cosmic as Odinson and a few friends battle a variety of foes to reach the hammer. While it's certainly big in scale, what's most surprising is that it's often very funny, with particular joy coming from the appearance of Thori, a hellhound with a lust for blood and mead. It tells a full story, and even sets up a new mystery in the form of the War-Thor, another mysterious heir to the title of Thor. 

Best Issue: #5, as Thor partakes in a brutal issue-long fight with the apparent big bad of the series and makes a choice regarding the new hammer. 

4. Moon Knight

Written by: Jeff Lemire, Max Bemis
Art by: Greg Smallwood (Penciler/Inker), Jordie Bellaire (Colorist), Cory Petit (Letterer), Jacen Burrows (Penciler/Inker), Mat Lopes (Colorist),

Since the 2014 Warren Ellis reboot of the character, Moon Knight has had a series of consistently good runs by various writers, and the two we got this year were no exception. Firstly, there was Jeff Lemire and Greg Smallwood's brilliant and emotional take on Marc Spector's twisted psyche, which gave the hero's backstory a much more tragic spin while taking him on a journey to simply get sane, which ended in one of the most satisfying final pages in recent memory. After Lemire left, we were graced with the work of Max Bemis and Jacen Burrows, who brought Moon Knights back to his gothic horror roots by pitting him against a terrifying evil counterpart and potentially shaking the entire status quo even further. So stylistically different, but so great in their own rights.

Best Issue: For Lemire, it's #14, which brings everything to a close, while Bemis has #188, which almost works as a one-and-done horror comic as it introduces Moon Knight's new foe and the doctor that tries to help him, to disastrous results.

#3. Black Hammer

Written by: Jeff Lemire
Art by: Dean Ormston (Penciler), Dave Stewart (Colorist), Todd Klein (Letterist), David Rubin (Penciler/Inker/Colorist)

That's right, back-to-back Lemire. It should be odd, but when you've had as busy a year as Lemire has, you're bound to take up a few spots. In this case, Lemire and Ormston continued the mystery of a team of superheroes stuck in a small-town with no escape by filling in some of the blanks and fleshing out the characters more. Black Hammer is entirely unlike any other superhero book on the shelves, choosing to focus much more on the people behind the masks and their struggles rather than pitting them up against any real baddies. It's brilliant slice-of-life work that just so happens to have characters like a talking robot and a gay Martian.

Best Issue: #9, which has beautiful work from guest artist David Rubin as we finally see the origin of the friendship of Walky Talky (the aforementioned robot) and Colonel Weird, a cosmic hero floating in and out of the inner workings of the universe. It's a deeply entertaining space story with a backdrop of tragedy.

#2. Kill or Be Killed 

Written by: Ed Brubaker
Art by: Sean Phillips (Penciller/Inker), Elizabeth Breitweiser (Colorist)

The best crime comic on the shelves at the moment, Kill or Be Killed expanded it's scope by pitting it's hero (if you can call a vigilante tormented by visions of a demon a hero) against both the NYPD and the Russian mafia. Brubaker is a master of tension, with each issue leaves us rooting for Dylan to succeed against overwhelming odds, while Phillips gives the series a moody, claustrophobic feel reminiscent of the 70's thrillers the team is clearly evoking. Hollywood clearly loves it as well, as we're apparently going to be getting a film from John Wick director Chad Stahleski, who seems like a perfect fit for this. Time will tell if he can bring it to the screen half as well as Brubaker and Phillips bring it to the page.

Best Issue: #9, which finally brings the Russians to Dylan's attention with a brutal shootout in an alley that leaves Dylan (and the reader) breathless.
#1. Mister Miracle

Written by: Tom King
Art by: Mitch Gerads (Penciller/Colorist/Inker), Clayton Cowles (Letterer)

It's fitting that on the 100th birthday of genre-bending genius Jack Kirby that the best tribute to him would be a total deconstruction of what might be his most ambitious work, the New Gods saga. The latest from possibly the best writer in the industry at the moment, Tom King, Mister Miracle, the story of master escape artist Scott Free and his wife Barda (better known to the world as Mister Miracle and Big Barda), opens with Scott bleeding out from a suicide attempt, and only grows darker and twistier from there. The entire series has a sense of dread throughout, be it because of the repeated "Darkseid Is." panels which warn of big bad Darkseid's influence or Gerards's art, which uses static effects and color distortion to make the audience question what exactly is real and what is simply a nightmare. What's most surprising about the series is it's handling of genre, veering from Lynchian horror to dark comedy to romance to war without ever feeling like a major shift. Honestly, is there anything Tom King can't do?

Best Issue: My favorite issue is actually #6, but that came out this year so it's disqualified, meaning #4, in which Scott is put on trial by his brother Orion for apparent treason. It's a handful of people sitting in a room talking, but it's probably the deepest issue emotionally and has the most to say about Scott's upbringing in a deeply personal fashion.

Best of 2017, Part 2: The Television

10. Legends of Tomorrow 

At one point the weakest of the CW's superhero offerings, Legends of Tomorrow really hit it's stride in it's second and third seasons by throwing aside cumbersome romance sideplots and boring characters (see ya, the Hawks) and embracing the inherent goofiness of it's source material. This left a series totally unafraid of careening through various genres and throwing everything at the wall. Normally, this kind of strategy would leave an awkward mishmash, but Legends is so sincere that you'll find yourselves caught up with the characters. 

Best Episode: There's so many to choose from, but "Gumball", a Spielberg-inspired 80's romp starring a young Ray Palmer is a favorite for both giving Ray, the show's idealistic chewtoy, a rare win, and packing humor, horror, and heart into a mere 40 minutes. 

9. American Gods

Neil Gaiman's work is supposedly unfilmable due to it's surreal, dreamlike nature, meaning that this was basically a perfect fit for Bryan Fuller after the end of Hannibal. American Gods is not just visually stunning, but also deeply intriguing, using it's everyman protagonist to slowly immerse the audience in the world and various deities that inhabit it. It's the rare adaptation that expands upon the source without souring it, and actually strengthens it at several points.

Best Episode: "A Murder of Gods" is probably the series's most fascinating take on the modernization of religion, largely due to it's portrayal of Vulcan as a profiteer off of America's gun culture, and honestly feels like it has the most to say without becoming preachy.

8. American Vandal

American Vandal started with a simple premise: it's a parody of the true-crime documentaries overwhelming the market at the moment. This would've been enough to entertain, but Vandal goes in a bold direction by choosing to not only take itself entirely seriously, but also discuss the often-ignored consequences of shows such as this. It's characters are very much people who don't enjoy being exploited and reduced to one-note interviews and side characters, and this is played for all it's worth until a tragic and unexpected conclusion. 

Best Episode: "Clean-Up", the season finale, is where everything really comes home, showcasing the emotional effect this documentary has had, and builds to a deeply sad ending that almost makes me not want another season. Almost. 

7. The Punisher

As a lifelong Punisher fan, I was deeply excited to see more of Jon Bernthal's Frank Castle, as he was often the highlight of the otherwise disappointing second season of Daredevil. Suffice to say, my expectations were met and exceeded by the brutal, surprisingly thoughtful solo series. Showrunner Steve Lightfoot takes the character of Frank and successfully modernizes him and his entire supporting cast, using them to tell a conspiracy thriller with a lot to say politically. Unafraid to discuss ideas like gun control, mental health, and the role of the veteran in society, Punisher was bold in ways I didn't believe Marvel could be. 

Best Episode: "Memento Mori" pits Frank against frenemy Billy Russo in a nightmarish final battle, tearing him down both physically and mentally, before ending on a deeply cathartic note that leaves the entire character arc of the Punisher on an uncertain note. 

6. This Is Us

Sometimes you needed a show that was a simple palate cleanser, and that's where This Is Us came in. It's sweet, funny, and often unafraid to tug at the heartstrings as hard as it possible, particularly with the story of Randal Pearson, the adopted son of the family who struggles with meeting his real father and adopting a daughter of his own. Is it all cliched? Sure. But has it reduced me to a weeping wreck regardless? Maybe. 

Best Episode: "Memphis", in which Randall takes his father to his home city, was a tour-de-force for both actors and ends with what the series had been building to all season, bringing the arc to an end with a heartbreaking final speech.

5. BoJack Horseman

After the end of the third season, it was uncertain as to where exactly Bojack could take it's self-destructive protagonist, who had seemingly been pushed to rock bottom. As it turns out, the only way was up. Season 4 often felt like a redemption story, with Bojack returning to right his wrongs and try to just do something, anything positive to prove that he's a better man than the one who fled Hollywoo a year ago. His relationship with his apparent daughter Hollyhock was a softer side of the character, giving him a rare opportunity to develop alongside the rest of the cast, who continued to grow without him in unforseen directions. (As it turns out, running for Governor wasn't the biggest thing to happen to Mr. Peanutbutter this season.) For once, you'll actually walk away from this show on a hopeful note, and that alone deserves endless acclaim.

Best Episode: "Time's Arrow" casts a light on the tragic life of BoJack's mother, Beatrice, and beautifully turns the idea of a flashback episode on it's head by putting it through the warped and troubled mind of a near-senile old woman.

4. Rick and Morty

After an excruciatingly long wait, Rick and Morty returned and immediately reestablished as one of the most brilliant shows on television. Besides the usual sci-fi sendups, the show continued to develop it's characters, showing a more sensitive side to Rick while giving his daughter Beth a much-needed story of her own. And of course, each episode was as wildly original and refreshing as the one before it, flying from a John Wick-esque action thriller (starring a pickle) to superheroes put through a deathtrap to Mad Max romp turned revenge thriller. In spite of what it's increasingly toxic fanbase claims, Rick and Morty isn't a work of genius. It's just a good show.

Best Episode: "The Ricklantis Mixup" sets up the idea of an Atlantis adventure, only to abandon it's main characters a few minutes in to tell the story of the various Ricks and Mortys scattered across the Citadel. Unexpected and totally haunting.

3. Legion 

Noah Hawley worked on two shows this year, and while Fargo was something of a letdown, Legion more than makes up for it. Legion, the first major X-Men television series, flew entirely under-the-radar before arriving in a burst of color and fun, which is a surprise given "colorful" and "fun" are very rarely used in connection with the X-Men franchise. Legion's dreamlike aesthetic pulled the audience into a side of the universe that rarely gets a light shone on it, where not every superpower is inherently useful in a fight and some mutants are simply seen as mentally ill. In spite of this, the vibrant, funny, dark, and tragic Legion felt the most like reading a comic out of any comic show this year. 

Best Episode: "Chapter 7", in which David gets some much needed answers, was visually stunning, segueing through animation and silent films as a battle rages through our heroes minds. 

2. Samurai Jack 

After years of development hell, one of the greatest sagas in the history of animation came to a close. Samurai Jack returned and fully embraced it's Adult Swim rating by taking the formerly noble Jack and breaking him down before piecing him back together in a touching journey. Every frame of the show drips with Genndy Tartakovsky's passion for color and scale, and he even proves his strengths of a storyteller as he tells the redemption story of Jack and his unexpected ally before bringing it to a close in one of the greatest finales in television history. 

Best Episode: "XCIII", which pits Jack against the supposed Daughters of Aku in a brutal, chaotic brawl through the woods and a nearby temple. While the initial carnage is great, it's when Jack is forced to flee and hide that the episode becomes truly thrilling, leaving you on the edge of your seat as Jack grows increasingly desperate to not get caught. 

1. Stranger Things 2

Just when Stranger Things backlash was starting to form, with many ready to dismiss it, as overly nostalgic, it returned with a vengeance and immediately shattered said criticisms. For it's second outing, the show goes bigger in scale but never fails to bring the emotional moments that made the first season work so well. More characters are introduced, but the returning favorites still get their chances in the spotlight. (Special shout-out for developing Steve Harrington from jerk boyfriend to selfless babysitter.) While there's so many fantastic thrills in this season, it's often the more quiet, character-driven moments that continue to stick with me, and for expanding without losing it's emotional heart, Stranger Things gets my pick as show of the year. 

Best Episode: "The Lost Sister" was obviously the season's stand-out.

Kidding! It's actually "The Spy", which focuses primarily on the Will and Dustin/Steve plots to weave a mix of chilling horror story and buddy comedy before ending in a fantastic cliffhanger.