[Note: The following was written prior to the announcement of the Batgirl #41 Variant cover being rescinded.]

The Killing Joke is first and foremost, a Joker story. It is secondarily, a Batman story. Alan Moore and Brian Bolland created a book that sought to examine the relationship between these two indelible mirror-imaged characters and the inevitability of that relationship’s outcome. Despite that, this particular work has also gone on to define the character of Barbara Gordon for 27 years and that is, to turn a phrase, some whack shit.

Every time DC has a chance to have Barbara move on and allow her to forge her own identity (countless Crisis’s and reboots and solo runs) they drop the ball and return to defining her as the ultimate victim. And maybe you haven’t read The Killing Joke in a while or maybe you read it at a time when you couldn’t fully understand everything that was happening in it or from the perspective of someone who isn’t as sensitized to its depictions, but here’s the deal: the Joker shoots Barbara Gordon, strips her naked and photographs her. That’s the whole deal with that book’s cover, you guys. Stronger, further assault could be interpreted from the work, but at the very least this particular sequence of events is 100% evident right on the page. It is a violation of the highest order. So, it’s problematic within the work itself, sure, but it can lead to a civilized and academic dissection of the work at least. The story itself was never meant to be in continuity and hell, Alan Moore himself has said “I don’t think it’s a very good book. It’s not saying anything very interesting.” This can lead us into a conversation into authorial intent, which would be a digression from the main point here: The Killing Joke was entered into DC continuity proper and has sadly been an inescapable part of Barbara’s character for nearly three decades when it need not be. Let The Killing Joke exist on its own twisted little island by itself and let Barbara Gordon and her fans (especially her new fans) allow her to forge her own identity as something other than the perennial victim.

So let’s talk about this new Batgirl #41 variant for just a little bit. For starters, if you don’t see that cover as anything other than “the Joker being the Joker” then okay, fine. But do not dismiss anyone else who interprets it as being something far disturbing and hurtful. Given the loaded context of that image, the fact that these two characters are the perpetrator of a sexual assault and his victim, to say that someone is “overreacting” is beyond insulting. If you want to go ahead and be the person telling an actual victim of assault who sees something horrifyingly familiar or triggering in that image, knock yourself out at being a garbage person. That cover is a picture of Batgirl, our heroine and one who recently went through a very refreshing redesign to appeal to a larger more diverse audience, looking absolutely frozen in terror at the hands of her abuser. She is again, bound forever to Moore and Bolland’s work and is made to be powerless and completely devoid of agency. I’ll call bullshit on anyone saying that if it was Robin on that cover that no one would say a word because a) it’s not a robin on that cover and b) this is the only cover that even remotely puts the hero into that position of violation. This is the only one. Look, I love Rafael Albuquerque’s art and I think this particular image is well rendered and obviously, hugely impactful. It just so happens to also be a very short-sighted decision on editorial or marketing’s part. The fact that no one who saw this image before approving it for printing thought that perhaps, just maybe, it sends the wrong message is ridiculously troubling. DC, guys, The Killing Joke was published by your company. You do remember what happens in it right? At best this was a lapse of judgement and at worst it was an obliviousness that gets to the root of what is wrong with those in charge of current Big Two comics.

The Joker is a tremendously fascinating character. I love the Joker, I do. One of my favorite things was what Morrison did with him in his Batman run wherein he defined the character as having a super-sanity to explain his myriad personality depictions in over six decades of existence. However, if you’re one of those folks who borderline worship the Joker as the avatar for chaos or the personification of anarchy, I’d tell you this: Grow the fuck up. That concept is fine to some degree (Nolan and Ledger set a high bar), but it’s about as mature as most “mature titles” are. Namely, not very. There’s nothing particular mature or adult to me about taking characters that were created to entertain children and injecting them with gratuitous violence, rape and language for nothing more than to convince stunted adolescents that what they like is suddenly validated. There are lots of mature titles that handle these subjects very well, they just don’t typically advertise their “explicit warning” quite so prominently.

Allowing your love for the character, particularly as the agent of chaos persona, to blind you to the idea that this new Batgirl cover could even be interpreted as something other than “crazy evil guy being evil because comics” is gross. “I don’t see it that way, so that means everyone else is overreacting” is a garbage mindset. Don’t do that. If someone else says something is hurtful, even if you don’t understand why, then shut up and listen instead of shouting back. Go back and look at The Killing Joke again, specifically (warning for link to potentially disturbing images) this page. And then consider the fact that it almost looked like this. That’s right, Bolland had to tone down the art because it was originally a step too far. Now think long and hard if you really find it so hard to believe that the character in those pictures, with agony and fear and humiliation and hate in her eyes and face, was made into a victim for the sake of another character’s story. And how this has been shackled to her character for years when there’s been a plethora of opportunity to finally put it past her. Let The Killing Joke die already and let Barbara Gordon live.

Let The Killing Joke Die Already was originally published in All-Comic on Medium, where people are continuing the conversation by highlighting and responding to this story.

Publisher: KaBOOM!, an imprint of BOOM! Studios
Writer: Christopher Hastings
Artist: Ian McGinty
Cover Artists:

Main Cover: Shelli Paroline & Braden Lamb
Subscription Cover: Cathy Le

Price: $3.99
Synopsis: Finn gets into the dungeon-making scene and meets fellow dungeon masters, some of whom are villains from Finn’s past!

Originally published at All-Comic.com.

Preview: Adventure Time #60 was originally published in All-Comic on Medium, where people are continuing the conversation by highlighting and responding to this story.

Retailer Advisory: Valiant’s BRITANNIA #4 Conquers Again With A Second Printing in January!

As Valiant’s magnum opus enters its 10th astonishing printing, don’t miss your chance to experience the bone-crunching finale to this season’s runaway hit!

Valiant is proud to announce that BRITANNIA #4 (of 4) — the fearsome final chapter of Valiant’s prestige format epic from comics master Peter Milligan (Detective Comics, X-Force) and incendiary artist Juan Jose Ryp (Ninjak) has sold out at the distributor level and will return to store shelves with the BRITANNIA #4 (of 4) SECOND PRINTING on JANUARY 25th!

On the fringes of civilization, the world’s first detective is about to make an unholy discovery…

Ruled by the Fates. Manipulated by the Gods. Commanded by Caesar. In the year 65 A.D., one’s destiny was not his own. At the height of Nero’s reign, a veteran of Rome’s imperial war machine has been dispatched to the farthest reaches of the colonies to investigate unnatural happenings… In the remote outpost of Britannia, Antonius Axia — the First Detective — will become Rome’s only hope to reassert control over the empire’s most barbaric frontier…and keep the monsters that bridge the line between myth and mystery at bay…

Fans and critics everywhere have decreed it so: Valiant’s uncanny supernatural epic is a comics triumph!

“✮✮✮✮✮… Thrilling… Another must-read.” — Geeked Out Nation

“✮✮✮✮✮… A compelling tale… BRITANNIA goes out with a bang.” — All-Comic

“✮✮✮✮✮… Simply superb!” — GAMbIT Magazine

“✮✮✮✮½… Another home run from one of the best comic book publishers around.” — Graphic Policy

“✮✮✮✮… Valiant’s best mini-series of 2016.” — Multiversity Comics

“One of [Valiant’s] most surprising comics… [A] Game of Thrones-ian mixture of politics and violence with a novel approach to crime stories in a historical setting…” — io9

“A superb horror fantasy series…” — Uproxx

Antonius Axis may be bringing his first spirit-chasing case to a close, but the rise of civilization’s first detective has only just begun… On January 25th, join acclaimed creators Peter Milligan and Juan Jose Ryp as they conjure an encore presentation for one of 2016’s most acclaimed new series with the BRITANNIA #4 (of 4) SECOND PRINTING!

For more information, visit Valiant on Facebook, Twitter, Tumblr, Instagram, and ValiantUniverse.com.

For Valiant merchandise and more, visit ValiantStore.com

BRITANNIA #4 (of 4) SECOND PRINTING
Written by PETER MILLIGAN
Art by JUAN JOSE RYP
Cover by CARY NORD (NOV168684)
$3.99 | 32 pgs. | T+ | VALIANT PRESTIGE | On Sale JANUARY 25th (FOC — 1/2/16)

BRITANNIA #4 (of 4) SECOND PRINTING — Interior Art by Juan Jose Ryp with Jordie Bellaire

BRITANNIA #4 (of 4) SECOND PRINTING — Interior Art by Juan Jose Ryp with Jordie Bellaire

BRITANNIA #4 (of 4) SECOND PRINTING — Interior Art by Juan Jose Ryp with Jordie Bellaire

BRITANNIA #4 (of 4) SECOND PRINTING — Interior Art by Juan Jose Ryp with Jordie Bellaire

BRITANNIA #4 (of 4) SECOND PRINTING — Interior Art by Juan Jose Ryp with Jordie Bellaire

BRITANNIA #4 (of 4) SECOND PRINTING — Cover by Cary Nord

Originally published at All-Comic.com.

Retailer Advisory: Valiant’s BRITANNIA #4 Conquers Again With A Second Printing in January! was originally published in All-Comic on Medium, where people are continuing the conversation by highlighting and responding to this story.

Valiant Unveils Massive X-O MANOWAR #1 Gatefold Insert in December 2016 PREVIEWS — In Stores Tomorrow!

Valiant’s most important first issue of all time is slamming into shelves early with a one-of-a-kind sneak peek in Diamond Comics Distributors’ December 2016 PREVIEWS catalog — available in comic shops everywhere now!

Before the all-new X-O MANOWAR #1 arrives in stores on March 22nd, experience the brutal journey that awaits Valiant’s most enduring icon in the December 2016 PREVIEWS catalog — featuring a stunning, six-page, 24″ x 11.5” gatefold insert, bound directly into Valiant Entertainment’s catalog listings! Find out everything you need to know about the FIRST ISSUE of THE EPIC NEW ONGOING SERIES from New York Times best-selling writer Matt Kindt (Divinity, Ninjak, Mind MGMT) and a rotating cast of powerhouse artists — including Tomas Giorello (4001 A.D.: War Mother, Bloodshot Reborn), Doug Braithwaite (Armor Hunters, Bloodshot U.S.A.), Clayton Crain (Rai, Carnage), Ryan Bodenheim (The Dying & The Dead), and Mico Suayan (Bloodshot Reborn) — that together will span the series’ first year in 2017 and beyond!

Born under the oppressive thumb of the Roman Empire, Aric of Dacia learned warfare at an early age. It was amid such violence that he was abducted by an alien race. Forced into slavery, he survived where others perished. His escape would come from bonding with a weapon of immeasurable power: the X-O Manowar armor. With it, he returned to Earth…only to find himself stranded in the modern day.

But that was a lifetime ago.

Now, far from home on a strange and primitive new world, Aric has begun a new life. Liberated from his past, he tends to his crops. Free from war. Free from violence. Free from the armor.

But the machinery of death marches his way once again. Conscripted into an alien army and thrown into an unforgiving conflict, the fury inside him finds voice as he is forced to embrace the armor once more. With it, he will decimate armies, topple empires and incite interplanetary warfare as he rises from SOLDIER to GENERAL to EMPEROR to VISIGOTH. They wanted a weapon. He will give them war!

In the wake of “SOLDIER”’s staggering assault in issues #1–3, X-O MANOWAR then continues in 2017 and beyond as a superstar cast of Valiant’s most acclaimed artistic talents chart Aric’s path from SOLDIER to GENERAL to EMPEROR to VISIGOTH for a vicious, year-long journey of bone and bloodshed born from the battlefields of a herculean alien empire:

X-O MANOWAR #1 | “SOLDIER” — PART ONE
MATT KINDT | TOMAS GIORELLO
MARCH 2017

X-O MANOWAR #4 | “GENERAL” — PART ONE
MATT KINDT | DOUG BRAITHWAITE
JUNE 2017

X-O MANOWAR #7 | “EMPEROR” — PART ONE
MATT KINDT | CLAYTON CRAIN
SEPTEMBER 2017

X-O MANOWAR #10 | INTERLUDE
MATT KINDT | RYAN BODENHEIM
DECEMBER 2017

X-O MANOWAR #11 | “VISIGOTH” — PART ONE
MATT KINDT | MICO SUAYAN
JANUARY 2018

“Over the course of the winter and spring, Valiant will be putting an unprecedented amount of resources behind X-O MANOWAR #1 — a series that is already on course to become our single biggest launch title of all time,” said Valiant Publisher Fred Pierce. “From editorial to marketing and sales, X-O MANOWAR #1 represents the largest and most aggressive coordinated effort we’ve ever undertaken, and with good reason: This is a damn good series, and we want everyone to be aware of just how exceptional X-O MANOWAR will be. As we push harder than ever to showcase this truly stunning title, you can rest assured that this gatefold insert is just one of the many exciting promotional plans we have in store.”

Packed with blistering artwork and a complete guide to innovative new offerings like the X-O MANOWAR #1–3 PRE-ORDER EDITION BUNDLE and X-O MANOWAR #1 BRUSHED METAL VARIANT COVER — printed via special process on real-life brushed aluminum — get the jump on the seminal series of 2017 as X-O Manowar’s journey from “SOLDIER” to “GENERAL” to “EMPEROR” to “VISIGOTH” starts here with this one-of-a-kind countdown to Valiant’s latest ongoing series — printed on a massive, six-panel gatefold and only available in PREVIEWS catalog #340!

Plus: Valiant is also rewarding fans who reserve copies of X-O MANOWAR’s complete opening story arc in advance with their local retailer with the X-O MANOWAR #1–3 PRE-ORDER EDITION BUNDLE!

Available only as a pre-order set, the X-O MANOWAR #1–3 PRE-ORDER EDITIONS must be ordered as a complete bundle at your local comic shop by the initial order date of January 26th, 2017! Released monthly from March through May, featuring exclusive covers by series interior artist Tomas Giorello and clocking in a colossal 48 pages each, every PRE-ORDER EDITION comes packed with trade paperback-style extras and bonus content, including creator commentary, behind-the-scenes looks at the creation of the comics, process character designs and artwork, and first looks at upcoming issues.

The only way to reserve these exclusive copies is by pre-ordering all three issues at your local comic shop by January 26th, 2017. Further copies will not be available beyond that date and subsequent issues will not be offered in later solicitations, so don’t miss your chance! Simply copy one of the pre-order coupons included in this month’s Previews catalog or in every issue of Valiant’s January-shipping comics releases and present it to your local comic shop to reserve your X-O MANOWAR #1–3 PRE-ORDER BUNDLE.

For more information, visit Valiant on Facebook, Twitter, Tumblr, Instagram, and ValiantUniverse.com.
For Valiant merchandise and more, visit ValiantStore.com

X-O MANOWAR (2017) #1
Written by MATT KINDT
Art by TOMÁS GIORELLO
Cover A by LEWIS LAROSA (JAN172113)
Cover B by KENNETH ROCAFORT (JAN172114)
Interlocking Variant Cover by MICO SUAYAN (JAN172116)
X-O Manowar Icon Variant by J.G. JONES (JAN172117)
Brushed Metal Variant Cover by MONIKA PALOSZ (JAN172117)
$3.99 | 40 pgs. | T+ | On Sale MARCH 22nd

X-O MANOWAR #1–3 PRE-ORDER EDITION BUNDLE
Written by MATT KINDT
Art & Covers by TOMAS GIORELLO (JAN172115)
X-O MANOWAR #1 PRE-ORDER EDITION | On Sale MARCH 22nd
X-O MANOWAR #2 PRE-ORDER EDITION | On Sale APRIL 26th
X-O MANOWAR #3 PRE-ORDER EDITION | On Sale MAY 24th

X-O MANOWAR (2017) Gatefold Insert — Part One

X-O MANOWAR (2017) Gatefold Insert — Part Two

X-O MANOWAR (2017) Gatefold Insert — Part Three

X-O MANOWAR (2017) Gatefold Insert — Part Four

X-O MANOWAR (2017) #1 — Cover A by Lewis LaRosa

X-O MANOWAR (2017) #1 — Cover B by Kenneth Roccafort

X-O MANOWAR (2017) #1 — Interlocking Variant Cover by Mico Suayan

X-O MANOWAR (2017) #1 — X-O Manowar Icon Variant Cover by J.G. Jones

X-O MANOWAR (2017) #1 — Brushed Metal Variant Cover by Monika Palosz

X-O MANOWAR (2017) #1 — Interior Art by Tomas Giorello

X-O MANOWAR (2017) #1 — Interior Art by Tomas Giorello

X-O MANOWAR (2017) #1 — Interior Art by Tomas Giorello

X-O MANOWAR (2017) #1 — Interior Art by Tomas Giorello

X-O MANOWAR (2017) #1 — Interior Art by Tomas Giorello

X-O MANOWAR (2017) #1 — Interior Art by Tomas Giorello

X-O MANOWAR (2017) #1 — Interior Art by Tomas Giorello

X-O MANOWAR (2017) #1–3 PRE-ORDER EDITIONS — Covers by Tomas Giorello

X-O MANOWAR (2017) — Pre-Order Editions Coupon

Originally published at All-Comic.com.

Valiant Unveils Massive X-O MANOWAR #1 Gatefold Insert in December 2016 PREVIEWS — In Stores Now! was originally published in All-Comic on Medium, where people are continuing the conversation by highlighting and responding to this story.

By Rafer Roberts, Juan Jose Ryp, Frankie D’Armata, Darick Robertson, Richard Clark, and Diego Rodriquez.

“Do not think of knocking out another person’s brains because he differs in opinion from you. It would be as rational to knock yourself on the head because you differ from yourself ten years ago.”
― Horace Mann

Valiant Entertainment’s Harbinger Renegade #2 (written by Rafer Roberts) is well constructed with multiple layers of character depth. It is a quality continuation and expansion of the Harbinger story (the present version which began in 2012) that pays respect to its own history. It also continues with introducing new characters such as Alexander Solomon (who first appeared in Harbinger Renegade #1) and Tamara (who is suspected to have first appeared in Book of Death #1). The pacing is appropriate, and there are a number of flashbacks which support plot development and fill in the gaps following the events of Harbinger and Harbinger: Omegas.

Artwork was handled by two separate art teams: a prologue by artist Juan Jose Ryp and colorist Frankie D’Armata, and the main story by penciler Darick Robertson, inker Richard Clark, and colorist Diego Rodriquez.

For the prologue, (the normally hyper-detailed) Ryp demonstrates a level of artistic restraint, drawing each character or setting with clean lines an appropriate amount of contour hatching. Perhaps the best example of Ryp’s work is one that artists often struggle with; face consistency. Many artists find it difficult to draw the same character panel after panel, page after page with noticeable variations in the consistent appearance and proportions of a given character’s face. Ryp does not suffer from this, and manages complete consistency from start to finish. His pages depicting Solomon and the Bleeding Monk are particularly effective uses of minimal pencil and ink to focus on the characters and their interaction with out distraction. Those pages are brought to life by colorist D’Armata who provides textured color backgrounds with color gradation for shading and lighting. Visually speaking, the artwork demonstrated in this prologue is arguably superior to the artwork of the main story.

For the main story, Robertson pairs with Clark for pencils and inks. The art team has its moments; however, there are a number of artistic variations in Pete’s face, often with cartoonish proportions and odd neck dimensions. Solomon’s facial appearance (and beard) is significantly different towards the beginning of the main story from what is seen later (he goes from looking like boxer Roy Jones Jr to later looking like actor Idris Elba. With movie plans in the future, it would make sense to tailor Solomon to Idris Elba similar to how Marvel tailored Nick Fury to Samuel L. Jackson) and Faith’s face is so swollen that it almost looks as if she is having an allergic reaction. The little girl Carolyn appears creepy and strange. Robertson does shine at time, specifically for pages that feature Pete in space; however, Robertson demonstrates a lack of research on Torque as during his fight, he start bleeding from his nose all over the place. The problem is that Torque is a 100 pound crippled boy inside a larger psychic projection shell, and (assuming for a moment that such a thing were real) it is not possible for a psychic projection shell to bleed. Any blood would be internal to the shell, and contained within in the same way that the real Torque is contained within the shell. Understood, drawing blood is cool and is more interesting to look at; however, Robertson would do well to maintain the consistency that Valiant is well-known for. Clark’s inks are clean and show Robertson well. Colorist Rodriquez uses the same color palette as Harbinger Renegade #1 which provides a familiar and quality appearance. Environments look organic, and color gradation is used well; especially for each character, to provide depth and dimension to each.

Harbinger Renegade #2 succeeds as an entertaining, well crafted story filled with compelling characters and a promising future. Artistically, there is room for improvement so that this story can achieve the greatness that it rightly deserves.

Originally published at All-Comic.com.

Harbinger Renegade #2 was originally published in All-Comic on Medium, where people are continuing the conversation by highlighting and responding to this story.

By Jeff Lemire, Doug Braithwaite, and Brian Reber.

“We’re born alone, we live alone, we die alone. Only through our love and friendship can we create the illusion for the moment that we’re not alone.”
― Orson Welles

Valiant Entertainment’s Bloodshot U.S.A. #3 is a complete success both visually and in writing. Writer Jeff Lemire brilliantly incorporates plot styles and elements from his work on 2014’s The Valiant mini-series to drive forward character development and interaction. There is a psychological focus to this story, though there’s no shortage of action. Lemire creates a story where (presently) it appears that there may not be a positive outcome where good triumphs over evil, but rather one where characters are faced with only bad choices for the (debatably) best outcome. Lemire also adds a new (complicated) layer to Bloodshot’s relationship(s) that is unlikely to end without creating new baggage or emotional problems. These elements blend together to create a strong story, that is both visually stunning and an enjoyable read.

Artist Doug Braithwaite demonstrates in no uncertain terms why he is one of the best artists working with Valiant Entertainment today. Braithwaite is both detailed and consistent when drawing characters, and is able to capture the nuanced masculine and feminine physical differences. He also depicts characters at multiple ages and levels of physical development, which is often a difficult task for many artists. Action panels flow well, and character emotion is depicted appropriate to the story and scene. Colors are provided by Brian Reber, who is on Valiant’s A-List of creators and artists. Characters are colored with a minimum of three shades to provide dimension and life-like appearances. Backgrounds are vibrant with color gradation providing depth to each panel with smoke, fire, and computer blue hues all in the correct places.

Bloodshot U.S.A. is Bloodshot Reborn. It is the next chapter in Lemire’s epic that is no where close to finished, and promises so much more in the future. After rebuilding the Bloodshot character in The Valiant, Lemire has consistently given fans and readers a relatable and respectable protagonist, who has been rendered by some of the very best artists Valiant has to offer. Artists Doug Braithwaite, Lewis LaRosa, and Mico Suayan each have given their version of Bloodshot, and each has knocked it out of the park without even once disappointing. Obviously there are differences with each artists’s interpretations of how each character should look; however, there can be no debate about the quality of each. Braithwaite’s version of former Special Agent Diane Festival is (arguably) the best of of the series (to include Bloodshot: Reborn).

If you are looking for a well-crafted, multi-layered story with quality artwork depicting ninjas, zombies, and giant robots fighting in New York with a backdrop of impending romantic doom, well, you need to be reading Bloodshot U.S.A.

Originally published at All-Comic.com.

Bloodshot U.S.A. #3 was originally published in All-Comic on Medium, where people are continuing the conversation by highlighting and responding to this story.

The first standalone Star Wars movie that is separate from the main series has arrived in the form of, to give it its full title, Rogue One: A Star Wars Story. This stands aside (but not disconnected) from the rest of the series as Godzilla director Gareth Edwards gives us what is essentially the best prequel film yet. Edwards finds the perfect mix of nostalgia and freshness as he sets the stage for A New Hope, giving the story an exciting momentum that builds to a spectacular finale and establishes Rogue One as one of the best blockbuster movies of 2016. It takes the audience on a rollercoaster ride from start to finish in a crowd-pleasing movie experience that casual movie goers may like or even love, the Star Wars fans that will get the most out of this one, which manages to balance its fan-service with an excellent narrative that makes it well worth the admission price.

The film itself is possibly the closest the series has come to the “War” part yet, with no Jedi featured and no Sith aside from Darth Vader, who is restricted to one memorable sequence that will become an instant favorite for many. Instead the film puts the spotlight on the rebellious, anti-authoritarian Jyn Erso (Felicity Jones), who finds herself teaming up with a band of Rebels including Captain Cassian Andor (Diego Luna), Chirrut Îmwe (Donnie Yen), Baze Malbus (Wen Jiang), and K-2SO (Alan Tudyk) in order to steal the plans to a newly operational starkiller base known as the Death Star, which was built by Jyn’s father, Galen (Mads Mikkelsen).

Donnie Yen takes the fight to the Stormtroopers in Rogue One.

The characters are an interesting bunch. Felicity Jones’ Jyn Erso is the most memorable of the lot alongside the great K-2SO (Alan Tudyk), and Riz Ahmed plays his part well as a defecting Imperial fighter pilot Bodhi Rook. However, this is where the problems start coming in that other Star Wars movies don’t suffer from, because of the increased main cast there is less time to develop the characters, and while they all get their moments in the sun, they don’t really feel as memorable or iconic as say Luke Skywalker and Princess Leia. They don’t even feel as memorable as Rey, Poe, and Finn do, for example. That said, the actors are well cast and there isn’t a bad performance here, with this being a case of much like Captain America: Civil War and Star Trek Beyond where the ensemble is greater than the individual.

On the villainous side, Ben Mendelsohn is impressive. Mads Mikkelsen may not play as vital part as I’d have hoped going into the movie, but he impresses in his role with the opening sequence. Featuring Galen and a young Jyn, as well as Mendelsohn, this is an excellent opening scene that really sets the stage for Jyn’s character and introduces her very well. And also, isn’t it great to have a Star Wars protagonist who doesn’t come from a desert planet for a change?

The movie is well paced, with several scenes spent setting the stage for the final fight. Whilst it is true that most of this movie is about setting up the events in A New Hope the film is perfectly viewable as a standalone movie. After watching Rogue One one thing that it really will make you want to do is revisit the Star Wars movie that started it all, because it lays down the groundwork so well for that film, putting the places into play and answering several unanswered questions, chief among them being why the Death Star has such a big flaw to its design system. There are also cameos from original series characters and actors that really work, with CGI being used to bring a couple of characters to life. It does have mixed results with one character working better than the other, at the end of the day, it’s just so cool to see them worked into this film in a way that really works.

Refreshingly different from other blockbuster movies in that it doesn’t have a horde of enemies descending out of a sky portal, Rogue One culminates in a final act that is possibly one of the best final acts of a Star Wars film that I’ve seen. The battles both on the land and sea are glorious, making Scarif an instantly memorable location in the Star Wars universe with a great concept that sees all the major players involved. It’s a pure delight, and is handled so well it’s easy to see why that Gareth Edwards was the director of choice for this film.

Rogue One: A Star Wars Story is a movie that fans will love and serves as a crowd-pleasing entry into a fantastic series. It may not go without its flaws, but for the most part, it overcomes the distinct lack of Jedi incredibly well and leaves an instant impression as probably one of the best blockbusters of the year, alongside Star Trek Beyond, making it an excellent year for both franchises.

But at the end of the day, it’s a Star Wars film. Of course you’ll want to see this one on the big screen.

Originally published at All-Comic.com.

Rogue One: A Star Wars Story was originally published in All-Comic on Medium, where people are continuing the conversation by highlighting and responding to this story.

This is huge in every way.

The second volume in the popular “fanthology” Star Wars: Tales from the Far, Far Away is available and it’s 100% free! That’s right — over one hundred pages of professionally made comics created “by the fans for the fans”. This is the truest form of fan fiction, complete with a short prose story at the end, but created by expert writers and artists that elevate the overall quality and then some. This is Volume Two, so be sure to check out our review for Volume One too, which also contains a free link.

Star Wars is the kind of thing that makes fans want to contribute to the stories they love so much. Star Wars is also perfect for building on since it’s always been told in a manner that outright suggests there’s more to the story then we’ve been told so far. So a bunch of professional comics makers got together to produce some rock solid comics with their fellow fans in mind. On the one hand these folks are having a blast, it’s obvious, but on the other hand, they’re taking this serious and you can tell it’s a sincere work of love and not just for novelty’s sake. Honestly, Star Wars: Tales from the Far, Far Away rivals the mainstream “official” comics big time.

Included within this second anthology are eight stories total, each with it’s own creative team. There are over twenty artists, colorists, and letterers, all pros, working together to bring this stuff to life. That’s a lot of talent in one book and the writing all comes down to just two writers Tim Daniels and Michael Moreci, both of which do some seriously heavy lifting. Just think of the responsibility in staying true to the source material while also having fun with the playground that the Star Wars universe is. No matter the challenges, the results are truly magnificent. This collection’s offering packs a lot into its pages, and each story contributes to the overall value.

You can’t have this much content without taking responsibility and ownership for some of the new threads the writers have set in motion. Fortunately, that’s exactly what they’ve done. Here you get the best of both worlds: existing universe, and all new stories that are free of any constraints imposed by a big publisher, but not without a sense of uniformity that makes the entire project worth reading. More than just being fun or interesting, this is a brand of Star Wars unique to the creators behind the anthology. No, they don’t stray so far from the things we appreciate most about Star Wars as to alienate fans and no, they don’t abandon any of the classic elements. The branding is in their ability to meld new stories into current ones, spanning generations and skipping around without relying on gimmicks, inside jokes or anecdotes. These are well written fully realized tales that might as well belong in this universe already, and make this anthology work as a complete package. Maybe you’ve read the Dark Horse stuff, and maybe you’re reading the Marvel stuff, but Tales from the Far, Far Away is something else. Best part is, the stuff is free and that’s as much proof as anything, that the intent here is to give back, both to the franchise and to the fans. When they say this fanthology is a passion project they genuinely mean it.

Eclectic artistic styles, with a diverse group of artists and colorists working together on a subject they each appreciate equally, is a rare thing to find. See, this comic isn’t a traditional work for hire, and one could easily assume that it’s a great honor to get the chance to contribute to such a project. It’s Star Wars and it’s comics, and it’s as much about being a fan as it is about having something to be a fan of. For a world so far, far away, this one really hits home. What are you waiting for? Click the link below and see what’s in store!

Originally published at All-Comic.com.

Star Wars: Tales from the Far, Far Away Vol. Two was originally published in All-Comic on Medium, where people are continuing the conversation by highlighting and responding to this story.

By Tim Daniel, Kendall Goode, Matt Battaglia, Adam Wollett, Michael Moreci, Morgan Luthi, Jordan Boyd, Dee Cunniffee and Jim Campbell

In 2015 a Star Wars comic book passion project was launched “by fans for fans”, and it has proven to be a huge success. Not only is it a must read for Star Wars fans, but it’s also an amazing achievement in comics making. It’s free and we’ve got the link!

Leave it to the fans to do right by Star Wars and to create some of the finest unofficial extended universe comic stories you can come by. In the first volume of Star Wars: Tales from Far, Far, Away readers are treated to two high quality short stories that are as clever as they are entertaining. Both fill in gaps from the movies, which works incredibly well despite taking liberties. These aren’t fanboys with a chip on their shoulders taking it upon themselves to rewrite what they may consider less than perfect plot lines from the movies. This isn’t the sort of fan fiction that merely pays tribute to the beloved franchise either. No, what we have here in this collection is the work of expert comics creators who have developed considered storylines that enrich what we already love about Star Wars.

“Beyond the Dune Sea” is a sort of forgotten history piece that takes place immediately following Episode III, as if it were always a part of the overall story. It doesn’t connect episodes, but it does support the lore while adding to it with a nice self-contained moment. A small moment, told in a way that doesn’t ignore the greater impact on the galaxy by the newly formed Empire. It’s a story that doesn’t have to exist, but be glad it does, if only for the manner in which it was executed. With a distinctly considered approach, this story may be the result of equal amounts of research and genuine fan knowledge alike. Writer Tim Daniel tells the tale of Jedi Master Obi Wan Kenobi’s arrival on Tatooine, but it takes an unexpected turn that is as imaginative as it is realistic. What’s more, it leaves us wondering what other stories Daniel may have up his sleeve, whether they’re about Kenobi or not. Artist Kendall Goode and Colorist Matt Battaglia craft a look that is mildly, if not appropriately, reminiscent of Genndy Tartakovsy’s Clone Wars cartoon series, without sacrificing their own style. The line work is loose, whimsical even, but detailed and full of dynamism. The colors are both soothing and intense, conveying the correct emotion at the correct time. There is a grit and texture to the art that makes it feel like a story that takes place on a desert planet, even if we didn’t already know better. With professional lettering by Adam Wollett the comic is as entertaining as it is legible. Consider this first installment the perfect introduction to an acclaim-worthy and original take on the universe we know so well.

“The Hunter’s Bounty” takes place during more than one film from the original trilogy, using the bounty hunter Boba Fett as a vehicle. And although it may put a slightly more outlandish spin on a very well-known Star Wars scene, it’s so well done, not to mention downright fun, that you’ll be hard pressed to find fault. With all of the mainstream Star Wars comics already in print, it’s fascinating that a story can come along so late in the game with such an impact. Michael Moreci writes a terrific script with a twist that will put a smile on your face. The story is well thought out and clearly written by a fan with other fans in mind. Star Wars is as know for its main characters as it is for is supporting cast. It’s one thing to do Fett justice, but to bring the best out of an even lesser explored character is very impressive.

Drawn and colored with a professional touch, there’s as much to admire in this final segment’s illustrations as there is in its story. Artist Morgan Luthi is able to create a sense of newness while taking purists right back to memorable scenes and locations without skipping a beat. Colorists Jordan Boyd and Dee Cunniffee give us a perfectly saturated comic book with all the intensity and emotion regular collectors expect, while keeping it rooted in the Star Wars universe. With so much familiarity it would be a sin to stray too far. Although Luthi, Boyd and Cunniffe absolutely manage to tap into our sense memory and give us good old-fashioned Star Wars, they also remind us it’s still a comic with interesting visuals and bright, intense palettes. Letterer Jim Campbell likewise does his part in the storytelling process to create a rhythm that keeps us engage instead of distracted, and allows the entire piece to work in harmony.

Want to read some great Star Wars comics? Tales from Far, Far Away is for you. Want to read some Star Wars stories that fill in the gaps from the movies and then some? Just hit the link below and find out what you may have missed. A hearty “well done”! to the team involved, each of which deserve our thanks as Star Wars and comic book fans alike.

Find it here and enjoy: https://app.box.com/s/2aom7tt9yig4ennj6i301jvp56wfqvrx

Originally published at All-Comic.com.

Star Wars: Tales from Far, Far Away Vol. 1 was originally published in All-Comic on Medium, where people are continuing the conversation by highlighting and responding to this story.