Showing posts with label Daphne Ashbrook. Show all posts
Showing posts with label Daphne Ashbrook. Show all posts

Monday, October 7, 2013

POBB: October 1, 2013

The Pick of the Brown Bag
October 1, 2013
by
Ray Tate

This week in Pick of the Brown Bag, I review Action Comics, Batwing, Detective Comics, Earth 2, Forever Evil and Swamp Thing, but first my thoughts on the government shutdown and other diarrhea of the mouth.

I've never had any use for the elected representatives of the Republican Party.  I've always considered them to be racist, misogynist, classist bastards, and they've done nothing to make me reconsider that position, but we're not getting rid of these monsters any time soon.  So, I have a proposal.  Let's pay the Russians to be our enemy again.  

The Cold War kept Republicans out of trouble.  I'm not saying they were good at fighting the Cold War.  They weren't, but ever since detente, Republicans have been looking for an enemy.  The Middle East is too complex an area for the Republicans to figure out.  You need an erudite, born peacemaker to deal with the shades of gray there. 


Republicans however are intrinsically antagonistic. No wonder they like to fellate the National Rifle Association so much.   Like spoiled bullies, they need something to fight.  Their paranoid delusions were far safer than the megalomaniacal ones they now hold dear.   

The crackers in the Republican party hate the very idea that a black man could have been popular enough to be elected let alone re-elected, especially over their Ayn Rand approved Rombot.  Worst of all, every one of the President's policies attempts to promote tolerance and help the poor and middle class.  The Republicans of today abominate women, the LGBT community, minorities and of course everybody else that's not a Republican.  Republicans in short are inimical to tolerance.  


Speaker of the House John Boehner weeps that he's just as upset about the government shutdown as you.  That's what's called a lie.  He could end the shutdown in a heartbeat just by stop being a prima donna and suck up his egregious idiocy.  He just needs to declare this whole ploy insane, promise no reprisals for any Republican who sides with the Democrats to bring a clean bill to President Obama's desk, ally with the Democrats himself and apologize for being a horse's ass.  This won't happen.

In the end, the Republicans stick together no matter how lunatic the policy.  They should change their symbol from elephant to lemming.  Like the myth, they're all willing to commit mass suicide just because one particularly stupid lemming decides it's a good idea.


Dumbest Canadian on the Planet

Despite the GOP collectively possessing the intelligence of a below average ficus plant, the Tiara of Sphincterhood doesn't go to anybody in the higher echelons of government.  No, we must turn local in order to award this uncoveted noisome prize to...

Old One-Term himself...Governor Tom Corbett, who compared gay marriage to marriage between brother and sister.  

What a dick.


Now onward to the comics...

Last week, "Villain's Month" put the kibosh on most of the selections.  I picked up Wonder Woman because it seemed necessary for continuity.  Brian Azzarello revealed the secret of the First Born.  Turns out, he's Hyena-Tarzan.  Zeus abandons his son on the plains of Africa where he's found by a mama Hyena, instead of Kala the she-ape.  I expected a little more imagination.  

Since the First Born's a god, he can screw hyenas.  Yeah, just go with it.  The Hyena-Men plaguing Wonder Woman are his descendants.  Yuck.  Even factoring in the disgust, the revelation was pretty small potatoes considering the build up, and during this process Apollo, the celestial Stuntman Mike, wastes three women he turns into oracles.  This was death for no good reason.


Polar bears played a part in last week's Captain Midnight.  To even the score with Midnight, Fury Shark threatened Charlotte, the granddaughter of the Captain's former assistant, with polar bears.  Fury Shark's father fell victim to World War II polar bears, and Fury Shark blames Captain Midnight for not rescuing her father.  Captain Midnight was a decently written issue with the usual excellent artwork, but nothing to write home about.  About the only thing we learned is that Fury Shark's father held unrequited respect for Captain Midnight because he too was an inventor.  Also a Nazi.  So tough.

The Wake was basically Gill-Men gone amok.  It wasn't scintillating, and strangely unmoving.  I think that's because I don't believe that the humans should have gone into the Gill-Men's habitat in the first place.  In Aquaman's "The Trench," the Piranha Men are the invaders.  In The Wake we are.  

The best book of last week was Bart Simpson.  The comic consisted of three stories, all of which were hilarious.  In John Zakour's "Treehouse of Monkeys" Professor Frink's enhanced simians wage a war against Bart and Milhouse over Bart's treehouse.  


Slapstick comedy ensues along with a superb guest appearance by Homer J. Simpson, livening up the story by just being himself.  He has the same effect in television episodes that do not focus on his antics.  So good job, Mr. Zakour for replicating the time honored formula.  Zakour includes another guest from The Simpsons cast, and he amps the tale by catalyzing the violence.  During his scene, colorist Art Villanueva accents John Delaney's and Andrew Pepoy's depiction of action with visual effect.  The stand-out moment compliments the smooth Simpsons modeling present in the whole banana.


The second tale by Nathan Kane casts the kids as little leaguers.  Lisa employs mathematics to score the team's win, albeit in a perfectly absurd way.  The art is valid but in the style of Mike Kazaleh not what we're used to seeing on the tube.  For once, that only facilitates the funny.  The wild takes and an overall expressiveness fits right in with an example of The Simpsons' flexible reality.
In the final tale by Max Davison, Bart uses Milhouse as his guinea pig in a quest to gain superpowers.  A lot of the things that Bart tries would have killed the young Dutchman in real life, but this comic book plays by The Simpsons rules.  So survival ties into the relative toughness of cartoon characters.  Artists Nina Matsumoto and Pepoy relish the opportunity to demonstrate screwball send ups of well known superhero origins.


This week ephemeral soon-to-be-found in the quarter box "Villain's Month" ends.  The lenticular cover fever passes, and DC creates a nettlesome theme with Forever Evil.  Don't misread, Forever Evil is still better than nearly anything from the post-Crisis, but it relies on the idea of the Justice League being eliminated from the equation.  That means the other titles offered this month take place in the past.  

Forever Evil already put an end to the inconsequential storylines running in Nightwing and Batgirl, but rather than start fresh, DC is allowing the writers to finish up what we already know.  Fortunately, Action Comics and Detective Comics both entice with something new for the reader, despite their stars being incapacitated or missing, with respect to Forever Evil.

Forever Evil answers the question about one of the Justice League's whereabouts, and it makes for an exciting cliffhanger.  Before that though, writer Geoff Johns demonstrates just how evil the Crime Syndicate can be, in addition to the shades of their evil.  No, not 50 shades.  

Johnny Quick and Atomica are just psychotics.  They remind me of the way Beatniks were portrayed in 1950 Republican films.  These sort of hedonistic teenagers digging poetry and bongos that for no reason at all pull out switchblades and threaten a self-made business man in a suit and tie.  Republicans hate young people.  They see youths as threats.

Owlman wants to rule the earth and as such demands the cities and the government to be taken over not dismantled.  It's easier to be a cuckoo in somebody else's nest.  Johns also establishes a goofy triangle between Owlman, Superwoman and Ultraman that is kind of the goofy triangle that DC attempted to suggest between Batman, Superman and Wonder Woman, in their marketing.  Different kind of Trinity.

Our homeland antagonists start establishing opposition.  Lex Luthor dons some familiar duds and releases an even more familiar weapon.  Johns however anticipates the possibility that you just might root for the villain and orchestrates a nasty end for another character with ties to the Superman mythology.  

If we're going to cheer for any villain in these books it's likely to be the Flash Rogues, who as I suspected intend to step up to combat the chaos.  They're organized bank robbers, and that's all they want to be.  Steal money to buy stuff.  Live within a code of conduct while doing it.  They're not as amiable as Charlie's Crew from The Italian Job, but they're the ones closest to sharing the same sensibilities as the heroes, who suffer even more this issue.


Superman combats the Psycho Pirate in Scott Lobdell's Action Comics.  This is largely a by the numbers altered reality story.  Superman experiences his memories twisted by the villain in episodic fashion.  Lobdell doesn't dwell on these fragments, but it's still tiresome.  However, he rewards the reader with one helluva cliffhanger.  I wonder if Ron Frenz got paid for that.

Jon Layman's and Justin Fabok's Detective Comics is exciting from page one to the near finish.  It almost reads like a giant monster movie with Batman taking the role of Godzilla or Gamera, and the Wraith positioning himself at the opposite end of the versus.  

Like the stars I just mentioned, the Dark Knight displays little difficulty when beating the crap out of the villain.  That's how it should be.  This issue is also the crux in which the Gotham City police, and not just Commissioner Gordon, accept Batman wholly.  If not for an epilogue  which promises the return of the adle-minded creation Emperor Penguin, this would have been a perfect issue.  Still, it's impressive.


When last we left Batwing the neophyte hero was falling to his death, courtesy of assassin Lady Vic.  Jimmy Palmiotti and Justin Gray explore the many facets of Lucas Fox's life as he ups the game against his enemy.  Along the way, Gray and Palmiotti produce spectacular characterization for Batman during his cameo and conceive cool new toys for the Batwing arsenal.  

Batman probably wouldn't have employed such tools.  He doesn't need any help when instilling fear, but Batwing isn't a figure of fright.  Instead, he's a young, techno adventurer given style through Eduardo Pansica's and Julio Ferreira's artwork.  Paul Mounts colors really pop when Batwing drops in on the ladies, and they humorously don't take too kindly to the invasion of their belfry.

Another perennial Batman foe makes his new 52 debut in Charles Soule's Swamp Thing.  Alec Holland protects new interest Capucine, the immortal French fighter who previously encountered the various Green's avatar, from the Seeder.  The Seeder previously created havoc with Whiskey Tree, and he also broke Capucine's arm.  That tale was weird.  This beginning of a new story is actually comedic. 

The leafy Parliament reveal some unsavory facts about the Seeder and hedge their bets to generate some really funny moments as Alec realizes what's been happening.  

The finale allows illustrators Andrei Bressan and Matt Wilson to firmly root the most riotous moment in Swamp Thing's entire history, not just the new 52.  


Finally, James Robinson's Earth 2  runs like clockwork going through the motions of Nicola and Trevor Scott's lovely artwork and Peter Pantazis' iridescence.  The wonders of the parallel world band together to save lives, except Alan Scott, the Green Lantern who consumed with revenge for his lover Sam takes on the evil New Gods by himself.  Things happen as you expect, and then Robinson reveals who lies behind the Baron Karza mask leaving you completely flabbergasted.

That's all for now.  Tune back next week for fresh reviews. I'll also be sharing my Comic-Con photos.  Right now, here's my autographed picture of lovely person Daphne Ashbrook, in her Doctor Who 1996 opera dress.  She's inadvertently sitting in seventh Doctor Sylvester McCoy's chair. 




Monday, September 30, 2013

Welcome to the Very Best Day of My Life


Regular readers of the POBB; or my reviews at Comics Bulletin/Silver Bullet; hell, even the reviews of Doctor Who media on the old rec.arts Usenet boards should know that the lady casually draping her arms around me is none other than Daphne Ashbrook, the link between classic Doctor Who and new Doctor Who.  




The vivacious Daphne portrayed the one that got away, Dr. Grace Holloway, in the 1996 special simply titled Doctor Who.  It is in this episode that we discover that the Doctor is "half-human, on his mother's side," later corroborated, however you please, in the new series story "A Good Man Goes to War," and likes to kiss girls, corroborated about a million times on the new series, incarnation regardless.  


Who on earth can blame him? Daphne is warm, kind, friendly and generous with her time.  She was only too happy to listen to me gush over her.  She is why I came to the Pittsburgh Comic-Con.  I didn't care at all about the rest of the con.  In fact I didn't see a lot of it.   Sorry.  I came for her.  I haven't been to a con since 1981, but thanks to Daphne making the experience absolutely wonderful, I just might go to the next.  

Daphne knows her Doctor Who.  She freely conversed about Doctor Who 1996 and the implications of the plot in the context of the new series with me.  She spoke like a pro not a layperson whose eyes glaze over when you start explaining what a sonic screwdriver is.  This is not a criticism.  My eyes glaze over when somebody tries to explain football or baseball.  To each her own.

I nearly fainted when we posed for that picture and Daphne got that close, but this is exactly how she is.  She's not at all how you imagine a celebrity to be, but she's exactly how you hoped Daphne Ashbrook would be.  

I was immensely gratified to see that I wasn't alone in my admiration.  Daphne has many fans, and despite the impressive number, the quantity present at the con probably only represents a mere scraping.  I even spoke with one young woman, dressed as Black Canary, who said that she became a Doctor Who fan after watching the 1996 special.  Because of Daphne.

  Fan-Tastic!

Doctor Who 1996 was not always lauded as the groundbreaking episode it really is.  The followers of the books hated it for daring to defy their beloved carefully laid out coddle-flop that the professional fan fictioneers called continuity.  Doctor Who 1996 instead supported the source material.  

The Doctor leaves Gallifrey in a faulty TARDIS with his granddaughter Susan.  Turns out the Doctor wasn't the product of an artificial genetic blender called the Loom but in fact a biological product from a mother and father.  Susan was part of his bloodline, not just some demented dolly who kept calling him grandfather.

These bad book lovers furthermore hated the idea of the Doctor being romantic with a companion.  The writers of the books in fact liked to emphasize the Doctor's complete disregard for sex.  

I was an old Doctor Who fan, having seen every episode, and all I could say when I saw the first kiss was "Of course."  The chemistry between Daphne Ashbrook and Paul McGann, the eighth Doctor, sold the whole thing.  

Without Daphne, the sophisticated evolution of Doctor Who we love never would have come to be.  She is ultimately why I am still a Doctor Who fan, and Daphne is just about the most personable piece of history I'm ever likely to meet.  So September 27th was indeed the very best day of my life.  Thanks, Daphne.


For more of Daphne Ashbrook, why not pop in on her website: http://www.daphneashbrook.com




Monday, September 2, 2013

POBB: August 28, 2013

Pick of the Brown Bag
August 28, 2013
by
Ray Tate


This week in the Pick of the Brown Bag, I discuss the many merits of All-Star Western.  I highlight the surprises in Justice League and delve into a build-up of Gotham continuity in Catwoman.  We discover the identity of the Reverse Flash.  Doctor Who: Prisoners of Time features the return of one of this reviewer's favorite companions while the cast of Futurama experience a whacky time loop.  Aquaman goes to war against the Scavenger, and the young Superman and Batman find themselves on Earth 2 combating a mischievous spirit.  We start though with Captain Midnight and Superman.


Captain Midnight is an entertaining read with typically excellent artwork courtesy of Fernando Dagnino.  Unfortunately, this issue does not advance the story until the near end.  Mind you, the Captain's indignation about Nazis like Fury Shark joining American society is perfectly in character.  I also liked the Captain's out of principle beat down on Agent Jones, the shady government operative who held him in custody.  I'm guessing the Marvel Universe never had a Project Paperclip.  I would expect to see such umbrage from Captain America and Namor but haven't.  Good on writer Joshua Williamson.

Superman is a place holder not really coming alive until the conclusion which reintroduces a classic villain from the Bronze Age. Readers do however learn of Lois Lane's fate.  She was tossed out a high story window in the Superman Annual.  The consequences are reasonable, but a lot of people are going to call foul over weak tea.  They might be disappointed that she didn't actually die.  Wouldn't have mattered anyway.  Somebody would have brought her back.  Still, there is a blunting of impact.  I would have preferred the whole thing be a projection on Lois' part, who was infected by the psionic virus that unites the Twenty, the former captives of Brainiac.



Superman makes a more potent presence in Justice League.  The conclusion to the Trinity War does not disappoint and intrigues with a light years of improvement over the typical piss-poor post Crisis plotting I have come to expect.

Writer Geoff Johns answers all the questions you may have with fairplay solutions.  What's affecting Superman ties into why he appeared to have killed a member of Justice League of America.

The revelation of the spy's identity is brilliant.  Best of all, the entire story is a double bluff.  DC's advertising was actually a deception.  The idea of Batman, Superman and Wonder Woman coming to a head over the Superman/Wonder Woman relationship was a ruse that's only slightly played up a few moments in the book.

Readers thought the Trinity War consisted of the three teams clashing over Superman's actions.  That however turned out to be a complete fake-out.  At the penultimate hour, Johns introduced the Pandora Box, but this device also proved to be a red herring.  True the box affected the heroes, but it really didn't stain the membership enough to warrant calling this skirmish a war.


So, now, in the conclusion, Johns unveils the whole enchilada.  It is absolutely vital that you read this book before all the others because DC strongly hints at the truth in the new advertisements for Forever Evil, which results from the Trinity War.  Oh, and forgo the Comic Shop News while you're at it.  Batty and Beggers spoil the surprise.

The Justice League writers deserve a lot of credit for the success of this con job, but I would be remiss if I didn't mention the artists.  Uniformly, Trinity War benefited from breathtaking artwork.  This issue Ivan Reis contributes duplicitous expressions, massive big budget action and a remarkable moment of the shocking grotesque followed by a marvelous expression from a character who was mostly expressionless in the post-Crisis.  Onward to Forever Evil.


Jae Lee's artwork becomes more concrete in this issue of Batman/Superman.  That illustration of Wonder Woman is truly beautiful and unique.  It's not a pose swiped from a magazine.  It's not a depiction of a traditional Wonder Woman stance.  It's simply the consolidation of what Wonder Woman is in a single artistic caption.  The rest of the art isn't nearly as successful, but it's still worth viewing.  The visuals furthermore sport a better blend of shadow, light and color than the silhouettes too prominent in the last issue.

Writer Greg Pak's plotting is decent, with a mcguffin in the hands of the U.S. government secretly preparing a defense against against Superman, but Pak's characterization is the main attraction.  The dynamics between Batman and Superman and their younger selves as well as Wonder Woman and Lois Lane entertains with one-liners and oil and water relationships.  Even the long time friendship between Superman and Batman of Earth 2 hits a bit of enjoyable turbulence.


Perfection by Paul Pelletier, Sean Parsons and Rod Reis

Arthur and Mera create some waves in Aquaman.  The Scavenger took over Atlantis.  His mercenaries fight Atlantean soldiers.  The Ice King sends Mera's people after the escaping water-breathers.  All of this turmoil just serves to reunite Aquaman and Mera, and Aquaman's proclamation transcends common melodrama.

Mind you.  Things appear to settle into a predictable pattern, but stick with Aquaman.  It seems likely that the Scavenger's comeuppance will wait for another chapter.  It seems likely that an effective death will go unanswered for, but Aquaman's declaration is an indication that Johns isn't doing things like he used to do.  The new 52 re-energized Johns' batteries, and he's writing with all the verve he demonstrated in Stars and STRIPE.  Aquaman pulls a stunt that's unlike anything you've seen, and that's really the theme of all the new 52 books.  We're going to wow you.  Consider me wowed.

Francis Manapul's and Brian Buccellato's artwork in The Flash floors you.  It would be enough attraction to warrant a purchase, but the rendering alone isn't The Flash's only asset.  Manapul and Bucellato also provide a satisfying reveal of the Reverse Flash's secret identity.

Readers should be so used to the identity of the Reverse Flash being Thawne, Barry's time traveling descendant, and that familiarity helps with the surprise.  I didn't expect a cast member to be the Reverse Flash.  

The Flash never had to deal with anything like the Reverse Flash before.  In terms of raw power, he's far worse than Thawne, and the artwork emphasizes the velocity and ferocity of the attacks.  Our Scarlet Speedster must also contend with Dr. Darwin Elias, the two-faced science wunderkind who manipulated the Flash since day one.  Elias thanks the Flash for saving his life by trying to kill him.  What a sphincter.

Manapul juxtaposes the battle between good and evil with the more domestic concerns of Patty Spivot, Barry's live-in lady love, who waits for him to show at her parents' anniversary party.  Patty knows Barry is The Flash, but this is her first taste of a hero's duty overwhelming personal responsibilities.  Traditional companion Iris West also enjoys a moment in the spotlight that's unlike anything previously seen.  Once again Manapul and Buccellato keep the reader rapt through a melding of fierce artwork, strong story crafting and choosing not to follow in the slipstream of history.


When it comes to time travel, Jonah Hex hates it.  His transport to the present of the new 52 Gotham City is a kind of extreme karmic payback for his doubting Booster Gold's story about being from the future.  Nevertheless, Hex adapts.

Already, he's wanted by the law for escaping Arkham Asylum and killing Dark Knight Returns menace the Mutants.  Hmmn, does this mean that Jonah Hex prevented the future of Dark Knight Returns?  It would certainly make sense.

Writers Jimmy Palmiotti and Justin Gray aren't just interested in entertaining you wildly with Hex's foray into his future.  They also make some astute social commentary through Hex's scarred lips and effortlessly create two winning female personalities that could have come straight from the grindhouse. With Moritat at the art wheel, they also appear to have peeled themselves from the noses of WW II bombers.  It occurs to me that other writers and artists might have just used these two characters for sex objects, but Palmiotti and Gray display their wits, a surprising understanding of society and unusual dimension that expands their roles quite naturally.


In addition, Gray and Palmiotti once again demonstrate that Jonah Hex is a hero, and he deserves to stand midst the champions of DC comics, not Vertigo or some other off cape and cowl imprint.  Perhaps that's why in the cliffhanger he's given such sterling legal defense.


In 1989 BBC Controller Michael Grade fulfilled his wet dream.  He canceled Doctor Who.  In the interim, numerous books similar to those tying into the various Star Trek series hit the racks.  The difference however lay in the perception.  Frequently the authors felt that they were writing the canon of Doctor Who; basing a staid shared universe on a plan that was rejected by the series' producers.

Occasionally, you would get something from Paul Cornell, Keith Topping, Martin Day or Jon Peel that was as smooth and rich as Swiss chocolate, but by and large, the majority of Doctor Who books sucked and inflicted an enormous amount of pain.  The Doctor became a villain in these books.  His companions loathed him.  The hacks came up with ludicrous mythology for the Time Lords and the Doctor that had the audacity to contradict the very first episode of the series, in which viewers first encounter The Doctor and his granddaughter Susan.


Doctor Who however cannot die.  In 1996 much to the consternation of the professional fan fictioneers, Doctor Who returned and confirmed that the books were not canon at all.  The 1996 special entitled simply Doctor Who reintroduced the Doctor without changing a whit of what had come before.


The seventh Doctor regenerated into the eighth Doctor, Paul McGann, who became my favorite Doctor.  Not only wasn't he asexual as suggested in the books, he showed an interest in girls, and them, specifically Dr. Grace Holloway portrayed by Daphne Ashbrook, in him.


The 1996 special is the underlying fuel of the Russell T. Davies revamp.  Daphne Ashbrook was the right actress at precisely the right time.  She was pivotal to the series, opening a door that viewers were ready to enter.  As far as I'm concerned, she and Paul McGann helped steer Doctor Who from a fate worse than cancellation.  She's partially why I am still a Doctor Who fan.

Daphne Ashbrook's and screen writer Matt Jacobs' Grace Holloway returns in Doctor Who Prisoners in Time.  This wasn't Grace's first return.  She and the Doctor reunited for the Doctor Who Magazine comic strip, acknowledged in an afterword by then DWM alum Scott Gray.

Frankly it's wonderful that Grace is here.  The premise in the Prisoners of Time mini-series is that an unknown entity is kidnapping the Doctor's companions, from each of his incarnations.  For example, in the splendid first issue the figure snatches Barbara and Ian at the finale of a winningly sprightly first Doctor's adventure.  The enemy dares to capture Leela from the fourth Doctor's care.

Doctor Who 1996 wasn't always as highly regarded as it is now, and Grace was frequently dismissed, but in this story, she stands with the companions.  The producers of the comic book could have created a new companion for the eighth Doctor.  They could have used one of his companions from the BBC audios.  Instead, they chose to go with authenticity.

The Doctor returns to earth to ask Grace to join him.  She decides to go for one trip.  One trip with the Doctor can last a life time, and the Doctor proceeds to show her the many wonders of the universe before landing into trouble.

The plot is simple and takes a page from the episode "State of Decay," but instead of vampires, the Doctor finds a different menace.  Grace and her chemistry with the Doctor makes the story amenable.  Writers Scott and David Tipton replicate the dialogue and attitude of Daphne Ashbrook and Paul McGann, and you can often hear an echo of their voices as you read.


The writers and former DWM and Muppets artist Roger Langridge capture the easy, subtle humor of the duo.  They bring about the conflicting feelings to the pages.  Something few grasp is that Grace went through a whole gamut of experiences in Doctor Who 1996 that it sometimes takes a companion a whole season to experience.  In this chapter of Prisoners of Time, the Tiptons and Langridge display Grace's conflicting emotions in a whirlwind tour that never really feels rushed.


In the series, Grace is the one that got away.  The idea of the Doctor returning for her conveys depth to their relationship.  She's testing the waters in this adventure, deciding whether or not she can cope with the Doctor's breakneck lifestyle.  She can be afraid, but also express courage and never lose her intellect in the process.

In the end, whether or not the Doctor can convince her to join him is moot.  Like in previous adventures, Grace ends up in the hands of the enemy, and it's a more meaningful move in the enemy's game because Grace wasn't made up for the comic book.  She wasn't a kinda, sort of companion from the audios, or cosmos forbid, the books.  Grace is the eighth Doctor's only companion, and that's what gives the finale its punch.

You know.  I was torturing myself on how to review Futurama Comics.  There's no way to do it without really divulging the plot.  So...

S
P
O
I
L
E
R













A
H
O
Y
!
The Professor invents a device to wipeout the memory.  This device resembles a washing machine, and it features a unique "on" button that's easily one of the most half-assed conveniences in the history of science fiction mishaps.  It even tops the handy device on the TARDIS known as HADS, a System that Displaces the time machine away from Hostile Action even if the occupants aren't inside.

Anyway this story is likely to give you a headache as it takes the guise of a Moebius Strip.  Fortunately, laughter is the best medicine, and you get good doses of endorphins between bouts of pain.  In lesser artists' hands visual continuity would be the first casualty.  Congratulations to Mike Kazaleh, Nathan Hamill and Karen Bates for being able to keep up with this topsy-turvy script from Patric M. Verrone.

Catwoman blows the mind in a different way.  Selina's goal is a simple one.  She's seeking to find the man who saved her life in the bowels of old Gotham City.  The Feds up above decided to cease rescue efforts for a fallen gang member and cement the hole that Penguin created in his bid to kill Catwoman.

It turns out there's a whole world beneath Gotham City, and I've been a sucker for such real world inspirations since the second pilot for  Kolchak: The Night Stalker aired.  Believe it or not, a city lies preserved beneath Seattle.  The maniacal, old god worshipping Richard Drew is a fancy, but there really is a city down below.


So given what we learned about Gotham City in All-Star Western and the whole giant cavern of bats beneath Wayne Manor, it's no surprise to find something awesome under the feet of Gothamites.

Writer Ann Nocenti milks this idea for all its worth and Rafa Sandoval gains beaucoup points for illustrating a convincing background for the pliable Selina to prowl in.  In addition, Nocenti surprises by picking up a seemingly discarded idea from a previous issue and using it as the catalyst for the upheaval in the finale.

Nocenti once again brilliantly characterizes Catwoman as a padding the line character.  We see her quite willing to act as ambassador to a marriage of diplomacy and as a spy for her tech contact Alice but unwilling to allow bacterial weapons in the wrong hands.  Accompanied by a strong narrative voice, Catwoman proves to be a winner, and I'm glad I rode out the issues in which Nocenti was just finding her footing.