Star Trek: Lower Decks

This past week (if not two) has been rather hellish from a reading perspective (pull list comics not withstanding.

Attempting to continue my limited time use of Comixology/Kindle Unlimited after Spider-Man: Renew Your Vows, I've attempted to read something else. However, a lack of time and access to my tablet (kids, huh?), has meant I've been lucky to get through more than a couple of pages every few days.

Fortunately, I'm not so prohibited with print and so, during this week, I've been able to read the newly acquired Star Trek: Lower Decks (gotta love birthdays) by Ryan North and Chris Fenoglio.

This first trade (presumably. There's a '1' on the spine) of the series see Starfleet's favourite junior rankers, while taking in R&R on a love journey to the Cerritos' next mission, accidentally create life on the Holodeck, resulting in some Moriarty level hi-jinks. However, this isn't the best time to form a sentient holographic vampire as Captain Freeman, setting off on her mission, finds herself in trial for violating the Prime Directive. Now her crew have to find a way to help her (although maybe she'll get lucky and another ship will show up and do it).

At this point, I don't think it's a secret about my thoughts from Star Trek. On top of watching every series (except Prodigy but 'Roll on Christmas Day!') I've read City on the Edge of Forever and Mirror Broken, Strange New Worlds and the Jackson/Kelly run. In each one, I think I've made it clear that I LOVE Star Trek!!!

Of all of the shows though, Lower Decks has got to be my favourite.

With this trade, it really feels like Ryan North has perfectly imbued every bit of wit, tone and colour into both the story and the world of the Cerritos. Reading this series is like watching a previously unseen episode, with North, who I'm currently reading over on Fantastic Four, seems to return to the humour used in the Unbeatable Squirrel Girl series I've heard such mad praise about, and utilise it to perfectly recreate this California-Class crew and their shenanigans.

This is mostly seen in the dialogue. North captures the distinct voices of Boimler, Mariner and beyond with incredible accuracy, as their language is so in keeping with each respective character that I can't help but hear Tawny Newsome, Jack Quaid and many other voices from the show as I went through it. Then, there is the additional exposition at the bottom of (almost) each page which helps bring more levity (if any was actually needed) while also, clearing up any complex techno-babble, scene cuts or even North's own inside jokes.

That said, this extra dialogue was also the biggest flaw for me as it was difficult to read and also hard to grasp whose perspective it actually related to. However, the fact I read it on a bus and the fact Britain's road are not pot-hole free may have had something to do with that.

Now I've said (or maybe more implied) that North perfectly encapsulated Lower Decks, but I have to confess that this is nothing compared to the stellar art of Chris Fenoglio. Having first encountered his work in the Hello Neighbour's video game's tie-in Graphic Novel, I've seen repeated posts on his social media of a perfectly rendered Lower Decks crew. Therefore, I think it is fair to say that no one was a better choice for this comic and, as a result, Fenoglio absolutely knocks it out of the park. So on point is his work and so in keeping with the series animation is his style, it feels more like this is some lost episode. In fact, if they were to bring him in to fill in the gaps, Fenoglio could probably convert into an actual part of the tv series and no one would ever realise.

I realise that I've rambled on a little bit but, long story short, thanks to this perfect confluence of story, art and even extras (this trade contains references to Star Trek episodes which themselves are referenced in the story), this was a tremendously funny read which feels like the perfect add-on to the Lower Decks universe.

I just hope that '1' on the spine isn't some tease and it'll come back for round two.

Now, I really want to watch Lower Decks (again).

Batman: City of Madness - Book Two

It feels like a lifetime ago that I read the first instalment of Batman: City of Madness (in reality, it's been a tad over two months). In fact coupled with Superman: The Last Days of Lex Luthor (where the first issue came out in August), I was beginning to wonder if I had it all wrong and that both of these Black Label books were simply one-shots (and not very good ones given a lack of definite end).

Of course, almost constantly checking League of Geeks website for new and future releases and confirming they are both mini-series put my mind at ease (even if the wait did frustrate me).

Fortunately, my patience (for Batman) has finally paid off as Batman: City of Madness Book Two has been released. Book two continues Christian Ward's of the Dark Knight investigating the apparent increase in certain villains' rageful temperaments. However, as the case continues, the Batman is approached by the Court of Owls with an offer: help quell this new evil infecting Gotham by defeating an monstrous doppelganger found in a very different Gotham.

Christian Ward builds on his prior issue, where my interest was only piqued, to an entry which was far more captivating. Ward really shows a great grasp of the characters in this issue, with the Noir-esque detective nature of Batman (I.e. the internal monologue, the greatest tool of all detectives) to full effect. Also, the dialogue of characters like Nightwing, Alfred and Bullock come across perfectly in my head (of course, thus may be a piece of good timing as I've recently started re-watching the animated Batman series on Netflix).

As for the plot itself, there is still a lot of mystery regarding many aspects of this series. Little focus has been given to the importance of the boy or even a rationale behind the evil influence over certain characters (some of whom felt perfectly utilised for this story). However, Ward dangles enough line in the water to have kept me on the hook.

Ward's artwork meanwhile, still as psychedelically breath-taking as before, is pitch perfect for the story he is telling (as if he built the story just to show off his drawing chops). It lets off just the right mood for this Gotham that's on the edge of a very different kind of abyss constantly. In fact, from the reveal of one very fluid villain to the audience with the court and even the Bat's arrival at a villains colourful nightclub (I need to know if that villain is new for this story because I've never seen him before), there are so many pages where the art is truly mesmerising.

Then there is the lettering by Hassan Otsmane-Elhaou. Normally, I don't speak much about lettering because, while letterers deserves as much praise as anyone, theirs is an invisible art, only ever seen when it is bad work. However, here the letters only enhance the art by imbuing the chaotic vibe from Arkham Asylum and series of that ilk. This results in the dialogue further showing this city and its occupants descending deeper into the titular madness.

This issue isn't a massive jump in its captivation, but it is certainly a step in the right direction. Christian Ward has left Batman: City of Madness nicely set up for a finale full of revelations and twists (I certainly hope). However, given how exquisite this issue has been to look at, the only thing which worries me is how long I'll have to wait until the end reaches me.

Fire and Ice: Welcome to Smallville #4

After reading Fantastic Four #14, my second (and final) pull list comic of the week was Fire and Ice: Welcome to Smallville #4.

Picking up from the shell-shocking ending of the last issue, things are frayed between Tora and Bea as both struggle to move ahead with their respective plans, the other seemingly threatening success.

After last issue feelings of failure towards this series, I must confess that I came to this latest instalment with a fresher perspective and it actually wasn't so bad. While another quiet issue, this one feels much more focused on the dynamic between Fire and Ice, their issues, fears and concerns toward each other. This certainly feels like a welcome change of pace after the Big Brother/I'm a Celeb-like tone of the past few issues.

Of course, Bea's 'Real World' reality show hasn't entirely gone and its joined by a gruff, intergalactic Bounty Hunter whom I have little love for (also, Charlie the bartender seems to have had a complete personality change since his introduction), none of this feeling very enticing to me. However, I really enjoyed Joanne Starer's re-focus towards the eponymous characters in this issue.

However, Natacha Bustos' artwork continues to be the main draw for me to this series. Her style, making me thinking more and more of the Dodson's work, is just really phenomenal as it gives this 'Batgirl in Burnside' vibe of real life. Meanwhile, Tamra Bonvillain's use of colours here continues to be the icing on the cake, especially as, again, the tones are used on Bea and Tora which perfectly match their power set.

While this wasn't a full 180 from the last issue, part four certainly renews my hope slightly in how this run will pan out. What I do hope though is that the hint of the larger story which has been hiding in the background comes to the forefront of the story next month and give the book an ending which is a little less hot and cold.

Fantastic Four #14

Picking up the comics from my pull list for the week, I've decided to change tack a little, putting Fire and Ice to second and, instead, starting my reading week with Fantastic Four #14.

It's been a year since the events of issue 1 (well, technically, it's been 14 months, but I suppose we've had a couple of 2 parters) and finally the Baxter Building and it's outlying area are set to return. However, when the FF return to the site of their former home, they discover a social media inspired task being developed, threatening their children's imminent return.

With this issue, I really felt that Ryan North was trying to infuse a degree of social commentary into this series. And while I have no trouble with that (I like when comics try to say something deeper), the out of the blue and abrupt nature of it didn't help this issue capture me like the series so far has.

Of course, that's not to say it was a bad issue, as the focus on the evils of wealth, how power corrupts and discussion of invasion of privacy are very contemporary topics and truly need focus and the four are socially conscious enough to be the advocates against such things, it just felt that its inclusion and, with it, its resolution felt a little forced.

Everything Else for me is less a complaint and more of a nit-pik; the Gen-Z versions of classic Spidey/FF villains (what can I say, I'm a Paste-Pot-Pete fan), the arrogant CEO, Johnny's 'tashe (seriously, man, just shave it already!). It's fortunate that North gets the personalities of the quartet (I mean quintet. Sorry Alicia), because their charm keep me invested despite my struggle.

What's also fortunate is the art. Ivan Fiorelli's style perfectly matches up with Iban Coello work as the two seem to seamless tag in and out without any notice. However, with this issue in particular, the visuals made me think of prior FF works by Dale Eaglesham and the great Mike Wieringo (whose run is also though of in terms of the greater story in that the FF are hated. Yes, it's happened before!). Also, what's great about this art is that Brian Reber's colours have this light/white hue to them which gives it this hi-tech/futuristic vibe (or certainly makes me think of such books), which works in favour given this teams activities.

At this point, I'm not going to lie but admit that I'm done with the loss of the Baxter Building and it has me wondering, did I struggle with this issue because it put that resolution off? Well, maybe. This is by no means a bad issue (although I fear my words prior tell a different story), but it certainly is the weakest of North's run so far. Hopefully, next month will be a return to form (as well as, finally, a return home).