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Persuasion is Jane Austen’s last complete novel and a perfect blend of biting wit, sympathy, impressive insight, and terrific style. These aren’t the exact sentiments felt towards the latest Netflix film. 2022’s Persuasion is a more freely updated expression of the classic. It’s the Sparknotes film version for the folks that may be looking for a modern twist to the old English. This is not the best adaptation to come from a Jane Austen novel in this current renaissance of the Regency Era.
2022’s Persuasion is directed by theater director Carrie Cracknell. Based on the novel by Jane Austen, writers include Ron Bass (My Best Friend’s Wedding) and Alice Victoria Winslow in her feature writing debut.
The story follows Anne Elliot. Eight years ago she was persuaded to not marry and give up the love of her life, navy man Frederick Wentworth because he had no title and fortune. This film is about second chances. Wentworth comes back into Anne’s life with money and looking for a wife. Anne must put the past behind her or listen to her heart.
The film stars Dakota Johnson (Fifty Shades of Grey), Cosmo Jarvis (Lady Macbeth, 2016), Mia McKenna-Bruce (Get Even), and Henry Golding (Crazy Rich Asians). It also features Richard E. Grant (Loki), Nikki Amuka-Bird (Luther), Izuka Hoyle (Mary Queen of Scots), and Lydia Rose Bewley (The Royals).
When thinking of a Jane Austen-inspired film, there is emotion — a revelation. The latest adaptation of Persuasion is lacking in these departments. I don’t know if it’s the breaking of the fourth wall, the pacing, or the somewhat anticlimactic ending, but the emotional impact was missing. With any Jane Austen piece, the audience must feel something for the main characters or even one character. Persuading the audience to fall in love with or even care about these characters is a tough order.
If there is one character that played her role memorably, it would be Mia McKenna-Bruce as Mary Elliot or Mrs. Charles Musgrove. Mary’s pride and arrogance lend to the story very well when Anne (Dakota Johnson) comes to visit her upon her request. Mary is dramatic, sarcastic, and funny. She is overall ridiculous, but Mia plays her to the fullest.
Whether it’s being carried in the house by her husband after a long walk because she can’t stand to use her legs anymore or the consistent disregard for her children’s whereabouts, Mary is a character that highlights the correct Jane Austen portrayal of mothers that we so often see in her novels. A minor figure in the story, but a spotlight stealer nevertheless.
Dakota Johnson as the protagonist, Anne Elliot, was charming to start. Her British accent aside, she was convincing, at first, as the least favorite child whose family doesn’t think her beauty is of any consequence. The opening scenes showed a young woman who was sarcastic, smart, witty, and sensible, who had a sense of humor.
It’s an intriguing intro to the character, and you may want to know more, but it is quickly lost. Anne quickly goes from sweet and elegant to patronizing, and maybe even a bit pompous. Again, her direct addresses to the audience, even so far as to wink at the end like it was all a game that she knew she would win, takes away from the character of Anne that Jane Austen fans love.
Persuasion, on occasion, does manage to highlight that wit and sarcasm that Jane Austen was known for. Anne’s use of direct address and fourth wall asides highlights those moments, but to a point where it is unnecessary. The audience can discern sarcasm on their own. What should be funny, like Jim’s asides in The Office, comes across as disingenuous and disrupting to the audience’s flow of emotions.
We see what they were trying to do, but it didn’t work 100 percent as they hoped. The direct addresses make the film somewhat scattered. With not much to do, the film seems to drag along. Then comes Anne with a comment to the audience to get things moving. It’s uneven and boring at times.
The uneven pace makes the resolution unearned. It was rushed and sloppy. The way they treated William Elliot (Henry Golding) minimized what his character means to the story. They treated Lady Russell (Nikki Amuka-Bird) similarly. She should have been a formidable woman, influential, with integrity and honor. She should have been a more formidable antagonist to Anne.
The relationship between Anne and Lady Russell could have been much stronger and more interesting. Kind of a love-hate relationship because she is the one who wants the best for Anne but keeps her from being happy, to begin with. Overall the story could have been much stronger with character relationships leading the charge.
Jane Austen has come to be a popular writer whose stories are reinterpreted and adapted over and over again. Themes of love, loss, and love on your own terms can be found in Persuasion, but the story has always been much more than that. Feminism, politics, the economic position of women, class, and society are what fuel a Jane Austen story. I missed those in this version of Persuasion. This Rom-Com was not the Persuasion we needed today.
Persuasion will be released on Netflix on July 15, 2022.
Persuasion is Jane Austen’s last complete novel and a perfect blend of biting wit, sympathy, impressive insight, and terrific style. These aren’t the exact sentiments felt towards the latest Netflix film. 2022’s Persuasion is a more freely updated expression of the classic. It’s the Sparknotes film version for the folks that may be looking for a modern twist to the old English. This is not the best adaptation to come from a Jane Austen novel in this current renaissance of the Regency Era.
2022’s Persuasion is directed by theater director Carrie Cracknell. Based on the novel by Jane Austen, writers include Ron Bass (My Best Friend’s Wedding) and Alice Victoria Winslow in her feature writing debut.
The story follows Anne Elliot. Eight years ago she was persuaded to not marry and give up the love of her life, navy man Frederick Wentworth because he had no title and fortune. This film is about second chances. Wentworth comes back into Anne’s life with money and looking for a wife. Anne must put the past behind her or listen to her heart.
The film stars Dakota Johnson (Fifty Shades of Grey), Cosmo Jarvis (Lady Macbeth, 2016), Mia McKenna-Bruce (Get Even), and Henry Golding (Crazy Rich Asians). It also features Richard E. Grant (Loki), Nikki Amuka-Bird (Luther), Izuka Hoyle (Mary Queen of Scots), and Lydia Rose Bewley (The Royals).
When thinking of a Jane Austen-inspired film, there is emotion — a revelation. The latest adaptation of Persuasion is lacking in these departments. I don’t know if it’s the breaking of the fourth wall, the pacing, or the somewhat anticlimactic ending, but the emotional impact was missing. With any Jane Austen piece, the audience must feel something for the main characters or even one character. Persuading the audience to fall in love with or even care about these characters is a tough order.
If there is one character that played her role memorably, it would be Mia McKenna-Bruce as Mary Elliot or Mrs. Charles Musgrove. Mary’s pride and arrogance lend to the story very well when Anne (Dakota Johnson) comes to visit her upon her request. Mary is dramatic, sarcastic, and funny. She is overall ridiculous, but Mia plays her to the fullest.
Whether it’s being carried in the house by her husband after a long walk because she can’t stand to use her legs anymore or the consistent disregard for her children’s whereabouts, Mary is a character that highlights the correct Jane Austen portrayal of mothers that we so often see in her novels. A minor figure in the story, but a spotlight stealer nevertheless.
Dakota Johnson as the protagonist, Anne Elliot, was charming to start. Her British accent aside, she was convincing, at first, as the least favorite child whose family doesn’t think her beauty is of any consequence. The opening scenes showed a young woman who was sarcastic, smart, witty, and sensible, who had a sense of humor.
It’s an intriguing intro to the character, and you may want to know more, but it is quickly lost. Anne quickly goes from sweet and elegant to patronizing, and maybe even a bit pompous. Again, her direct addresses to the audience, even so far as to wink at the end like it was all a game that she knew she would win, takes away from the character of Anne that Jane Austen fans love.
Persuasion, on occasion, does manage to highlight that wit and sarcasm that Jane Austen was known for. Anne’s use of direct address and fourth wall asides highlights those moments, but to a point where it is unnecessary. The audience can discern sarcasm on their own. What should be funny, like Jim’s asides in The Office, comes across as disingenuous and disrupting to the audience’s flow of emotions.
We see what they were trying to do, but it didn’t work 100 percent as they hoped. The direct addresses make the film somewhat scattered. With not much to do, the film seems to drag along. Then comes Anne with a comment to the audience to get things moving. It’s uneven and boring at times.
The uneven pace makes the resolution unearned. It was rushed and sloppy. The way they treated William Elliot (Henry Golding) minimized what his character means to the story. They treated Lady Russell (Nikki Amuka-Bird) similarly. She should have been a formidable woman, influential, with integrity and honor. She should have been a more formidable antagonist to Anne.
The relationship between Anne and Lady Russell could have been much stronger and more interesting. Kind of a love-hate relationship because she is the one who wants the best for Anne but keeps her from being happy, to begin with. Overall the story could have been much stronger with character relationships leading the charge.
Jane Austen has come to be a popular writer whose stories are reinterpreted and adapted over and over again. Themes of love, loss, and love on your own terms can be found in Persuasion, but the story has always been much more than that. Feminism, politics, the economic position of women, class, and society are what fuel a Jane Austen story. I missed those in this version of Persuasion. This Rom-Com was not the Persuasion we needed today.
Persuasion will be released on Netflix on July 15, 2022.
BURBANK, Calif., (July 14, 2022) – Pixar and Walt Disney Animation Studios are prepping for Disney’s D23 Expo 2022 presented by Visa in Anaheim, California—a three-day extravaganza that kicks off September 9. Plans are underway at the animation powerhouses for an exciting weekend of announcements, first looks, sneak peeks, and presentations surrounding upcoming feature films and streaming titles—plus interactive displays, artist autograph signings, sharable photo opportunities, filmmaker Q&As, and giveaways.
LOOKING AHEAD WITH THE WALT DISNEY STUDIOS
Friday, September 9, 3:30 p.m., Hall D23
Disney Animation and Pixar are teaming up with Disney Live Action on Friday afternoon, welcoming thousands of Disney fans to Hall D23 for a special look at upcoming films and series. Pixar Animation Studios’ Chief Creative Officer Pete Docter and Walt Disney Animation Studios’ Chief Creative Officer Jennifer Lee will present never-before-seen footage, surprise announcements, musical performances, and appearances by all-star voice talent from the studios’ upcoming slate of original animated films and series. Fans will get an insider’s view at Pixar’s unique, perspective-shifting, long-form series Win or Lose, which launches on Disney+ next year. Pixar’s Peter Sohn, who helms the 2023 feature Elemental, will transport fans to a city where fire-, water-, land-, and air-residents live side by side. Disney Animation’s Academy Award®-winning director Don Hall will journey alongside fans deep into an uncharted and treacherous land with Strange World—releasing November 23—and Disney Animation and their collaborators from the Pan-African comic book company Kugali will reveal new details about Iwájú, a long-form sci-fi series set in Lagos, Nigeria, that launches on Disney+ next year. Cell phones, cameras, and all recording devices will be checked for this presentation.
SHOW FLOOR
September 9 through 11, 9 a.m. to 6 p.m. daily
As Walt Disney Animation Studios kicks off its 100-year anniversary celebration, the studio will showcase its past, present, and future throughout D23 Expo 2022. They’ll team up once again with Pixar Animation Studios on the show floor, creating an immersive animation experience for fans. The studios’ upcoming original feature films, including Disney Animation’s Strange World, releasing this November, and Pixar’s June 2023 release, Elemental, will be highlighted. A six-foot-tall red panda will greet fans, celebrating Pixar’s Turning Red, now streaming on Disney+, and a photo op with Buzz Lightyear and his robot companion cat Sox from the now-in-theaters film Lightyear will be available. Disney Animation will invite guests into the realms of Strange World, Encanto, and more through engaging photo experiences. Fans will also get opportunities to meet the teams behind the series and movies, with autograph signings of exclusive art and promotional item giveaways.
ANIMATION PANELS
Friday, September 9
“traceback”: Celebrating the People of Walt Disney Animation Studios is scheduled for 11:45 a.m.– 12:45 p.m. on the Hyperion Stage.
- The Walt Disney Animation Research Library presents “traceback,” a look at the lives and work as well as the artistic and technical contributions of women and employees of color throughout the history of Walt Disney Animation Studios.
Saturday, September 10
A Century of Storytelling at Walt Disney Animation Studios is scheduled for 2–3 p.m. on the Walt Disney Archives Stage.
- The Walt Disney Animation Research Library celebrates 100 years of Disney Animation storytelling by highlighting the stories and people behind key art and artifacts in its collection.
A Celebration of Disney Animation’s “Encanto” will take place from 3:30–4:30 p.m. on the Premiere Stage.
- Join the team behind Walt Disney Animation Studios’ Academy Award®-winning hit Encanto for stories behind the making of the film—and a few surprises!
Sneak Peek at “Zootopia+” from Walt Disney Animation Studios will take place from 6–7 p.m. on the Backlot Stage.
- Get a first look at the highly anticipated animated series Zootopia+, coming to Disney+ from Walt Disney Animation Studios, with directors Josie Trinidad and Trent Correy.
Sunday, September 11
100 Years of Treasures from the Walt Disney Animation Research Library is scheduled for 2–3 p.m. on the Backlot Stage.
- Never-before-seen clips, recording sessions, and live-action reference mark 100 years of Walt Disney Animation Studios as the Animation Research Library unveils newly digitized media from its collection and from its Oral History Project, in which the legends of animation have been interviewed.
A limited number of single-day tickets for Sunday of D23 Expo 2022 are available for $99 for one-day adult admission and $79 for children ages 3–12. Gold Members of D23: The Official Disney Fan Club can purchase tickets for $89 for one-day Sunday adult admission. Single-day Friday and Saturday tickets and three-day passes are sold out. For more information on tickets and D23 Expo 2022, visit D23Expo.com.
About Walt Disney Animation Studios
Combining masterful artistry and storytelling with groundbreaking technology, Walt Disney Animation Studios is a filmmaker-driven animation studio responsible for creating some of the most beloved films ever made. Disney Animation continues to build on its rich legacy of innovation and creativity, from the first fully animated feature film, 1937’s Snow White and the Seven Dwarfs, to 2019’s Frozen 2, the biggest animated film of all time, to our 60th animated feature, Encanto. Among the studio’s timeless creations are Pinocchio, Sleeping Beauty, The Jungle Book, The Little Mermaid, The Lion King, Frozen, Big Hero 6, and Zootopia.
About Pixar Animation Studios
Pixar Animation Studios, a wholly owned subsidiary of The Walt Disney Company, is an Academy Award®-winning film studio with world-renowned technical, creative, and production capabilities in the art of computer animation. The Northern California studio has created some of the most successful and beloved animated films of all time, including Toy Story, Monsters, Inc., Cars, The Incredibles, Ratatouille, WALL•E, Up, Brave, Inside Out, Coco, Soul, and Luca. Its movies and technology have won 40 Academy Awards®, and the films have grossed more than $14 billion at the worldwide box office. Lightyear, Pixar’s 26th feature, released in theaters on June 17, 2022.
About D23 Expo 2022
D23 Expo—The Ultimate Disney Fan Event—brings together all the worlds of Disney under one roof for three packed days of presentations, pavilions, experiences, concerts, sneak peeks, shopping, and more. The event provides fans with unprecedented access to Disney films, streaming, television, games, theme parks, and celebrities. For the latest D23 Expo 2022 news, visit D23Expo.com. Presentations, talent, and schedule subject to change. To join the D23 Expo conversation, be sure to follow DisneyD23 on Twitter, Facebook, Instagram, and YouTube, and use the hashtag #D23Expo.
About D23
The name “D23” pays homage to the exciting journey that began in 1923 when Walt Disney opened his first studio in Hollywood. D23 is the first official club for fans in Disney’s 99-year history. It gives its members a greater connection to the entire world of Disney by placing them in the middle of the magic through its quarterly publication, Disney twenty-three; a rich website at D23.com, with members-only content; member-exclusive discounts; and special events for D23 Members throughout the year.
Fans can join D23 at Gold Membership ($99.99), Gold Duo Membership ($129.99), and General Membership (complimentary) levels at D23.com. To keep up with all the latest D23 news and events, follow DisneyD23 on Twitter, Facebook, Instagram, and YouTube.
The post PIXAR AND WALT DISNEY ANIMATION STUDIOS TO SHARE NEVER-BEFORE-SEEN FOOTAGE AND EXPERIENCES AT DISNEY’S D23 EXPO appeared first on The Nerd Element.
In hip-hop, a bar is simply a 4-beat line delivered in a song, known for being impactful, clever, and attention-grabbing. A bar can tell you a lot about an artist, including their woes, self-worth, tastes in fashion, and of course: their fandom.
Anime has been a prevalent topic in hip-hop culture for decades. It’s no secret that rappers like Robb Bank$ and Denzel Curry are huge anime fans which often comes up in their popular music.Here are examples of ten times rappers incorporated clever, dexterous lyrics centered around Japanese animation.
Lupe Fiasco: “Touch The Sky”
Anime referenced: Lupin The 3rd
In Ye’s braggadocious anthem “Touch The Sky,” Chi-town’s Lupe Fiasco kicks off the third verse with an iconic anime bar:
“Guess who’s on third? Lupe steals like Lupin the 3rd.”
Here, Fiasco pays homage to the classic series Lupin the 3rd: an anime that follows the adventures of the master thief Arsene Lupin III. Fiasco delivered a clever simile that also acts as a double entendre — Lupe being on third is literal since his verse is 3rd on the track. It’s also a term used in baseball when a player is on third base.
Denzel Curry: “Ultimate”
Anime referenced: Dragon Ball Z
In his 2015 breakout hit “Ultimate,” Curry delivered not one but two anime bars making it a hit among rap weebs. Just as Curry is picking up speed from the explosive chorus, he delivers an anime bar so swift it may have gone over people’s heads:
“Let him get the Senzu bean, so he regenerates.”
Here, Curry is referring to the popular anime Dragon Ball Z when he mentions Senzu eans: a mystical food that helps the consumer regain strength and heal.
Ski Mask The Slump God: “Catch Me Outside”
Anime referenced: Naruto
One of the most talked-about anime bars comes from Florida rapper Ski Mask The Slump God’s 2017 single: “Catch Me Outside.”
“Naruto nine-tailed fox coat fur (Naruto nine-tail)”
This line references Naruto’s Kurama: an over-powered Tailed Beast sealed inside Naruto that grants him god-like powers.
Viktor Vaughn: “Vaudeville Villain”
Anime referenced: Fist Of The North Star
To catch this obscure anime bar from the late British underground rapper Viktor Vaughn (a.k.a MF DOOM) listen to this track straight through.
“Or between Hokuto Shinken and Nanto Suichō Ken”
Hokuto Shinken and Nanto Suichō Ken are two rival martial arts styles in Fist of the North Star. Otakus appreciate this line by Viktor Vaughn for referencing an anime rarely found in hip-hop lyrics.
XXXtentacion: “PROUDCATOWNERREMIX (feat. Rico Nasty)”
Anime referenced: DBZ / One Piece / Pokemon
Before the tragic death of new-age rapper XXXtentacion, he blessed his fans with a discography filled with highly skilled emo Soundcloud-rap. He was a hit among hip-hop anime fans thanks to his constant references to the art style in songs like “Shining Like the Northstar” and “Inuyasha.”
One of his best anime bars comes from the 2017 track “PROUDCATOWNERREMIX ,” which features the fierce Maryland emcee Rico Nasty. The song is filled with anime bars including references to Dragonball Z (“ Yeah, my flow’s on Destructo Disc”), One Piece, (“My money stretching like Luffy, uh”), and Pokemon (“I’m used to shockin’ these b****** like Pikachu”).
Robb Bank$: “Flex City”
Animes referenced: Pokemon, One Piece, Akira, Naruto, Dragon Ball Z
New York-born Robb Bank$ is a trap Cloud rapper known for being an anime fanatic. Bank$ often talks about anime titles in his interviews or his hot takes on other rappers’ anime lyrics.
Throughout his 6-minute single, “Flex City,” Bank$ makes countless anime references, using some of the most anime bars found in a single hip-hop song. Nothing beats the four anime bars at the end of verse two, where Bank$ manages to cite Akira, Dragonball Z, and One Piece effortlessly at the same damn time:
“Yea boy I got cha’ bike like Kaneda like
And I got it all in separate jars like Akira
SS super soldier that purple c****** what a n**** bleed
Like a Namekian, but if you really need
I got them handfuls wrapped up like Rock Lee.”
Denzel Curry: “Dark Tournament Ft. Soulja Mook & K-Trip”
Animes Referenced: Yu-Yu Hakusho, Death Note, Soul Eater, Naruto, Bleach
Not only is the second verse in this throwback filled with anime bars, but the song’s name, “Dark Tournament,” is also a nod to the hit 90s shonen Yu-Yu Hakusho. Curry starts us off with a bar about Death Note: an anime about a young man with the ability to kill anyone he writes inside of an enchanted book.
“Killer, killer, killer, hitlist or that Death Note”
Shortly after, he spits an impressive quadruple entendre at lightning speed that had otakus buzzing all over the comment section on Youtube:
“Left hollow like Ichigo, Grim Reapers, and Soul Eaters.”
The line “Left hollow” refers to the penetrating impact of hollow-tip bullets and a species of evil spirits in Bleach, where the character Ichigo is from. Simultaneously, Grim Reapers are a reference to both the Shinigami in Bleach and a principal character in Soul Eater called Death.
Xavier Wulf: “Wulf Titan”
Animes referenced: Attack On Titan
In this mellow three-minute track by Tennessee rapper Xavier Wolf, he hits us with a slew of anime references that fans of Attack On Titan noticed immediately:
“Call me Eren Yeager, when I swing they say ‘Ooh’
Damn boy, I bet you knocked the shoulder blade loose
I say ‘Hell naw, I’m like an Armored Titan, fool
Titan Armor, Wulf style, now what you gonna do?”
“Eren Yeager” is the main protagonist in Attack On Titan. He joins special military force, the Survey Corps, to eradicate human-eating Titans. In the series, the Survey Corps use specialized equipment that helps them “swing” and maneuver through the air. The “Armored Titan” is a superpowered Titan with hardening abilities that make him hard to take down.
Burning Bridges: “Azizi Gibson”
Animes Referenced: One Piece
In 2013, LA-based rapper Azizi Gibson dropped his debut mixtape Ghost in the Shell — an obvious homage to the popular anime film of the same name. His single “Burning Bridges” is a boastful track that features a few nods to the popular pirate Shonen One Piece.
If you listen closely to the continuous verse, you can catch Gibson comparing himself to the series’ main protagonist Monkey D. Luffy “I’m Monkey D, I’m going power”. Shortly after, Gibson makes a subtle reference to eating “devil’s fruit” which is a mysterious fruit in One Piece that grants people permanent superhuman powers.
Ro Ransom – Leap Of Faith
Anime Referenced- Soul Eater
New York’s own Ro Ransom wastes no time before hitting us with an anime reference in his 2012 single “Leap Of Faith.”
“Two girls with me like I’m Death The Kid”.
“Death The Kid” is a character in Soul Eater. In the series, Death The Kid travels with “two girls” who double as his weapons and help him defeat soul-devouring spirits. Kicking the song off with a rare anime reference added an extra layer of appeal for rap weebs who have admittedly replayed the song just to hear this line.
Despite the horrible state of the world, there is an insurmountable amount of content at the ready to be consumed. Just an egregious, impossible mountain of things to engage with. Escapism is always good, but when there are this many things to escape to it can be really daunting. We’re at the “want to watch something, but scroll through Netflix for an hour, then get tired and go to sleep” stage of content engagement. So that’s why I’m here. We’re gonna specifically talk about comics today, which is a medium in a true golden era for fantastic storytelling. But just like everything else, it can be hard to figure out where to jump in, and what’s worth your time. So strap in, and listen to me ramble about a few of my favorite comics of this year so far and dig into some of the craft elements that make them stand out to me.
Nightwing
Look, I love Nightwing as a character as much as the next fan, but there’s something truly special about this current run written by Tom Taylor and Bruno Redondo. Dick Grayson is dedicated to not just protecting the city of Blüdhaven as Nightwing but also ushering it into a new era of prosperity as Dick Grayson. My man is burning the candle at both ends in this one, but his smile never wavers, even with a new villain named Heartless who steals people’s hearts, or with Blockbuster trying to assassinate Dick at every turn.
I’ve said this many times over, but it really feels like an all-time, definitive run for the character and the entire creative team. We’ve yet to see a lot of Nightwing adapted into other mediums (which is a shame, to be honest), but when we do, there’s not a doubt in my mind that this Nightwing run will be mined for inspiration in a myriad of ways.
For starters, the thing that pulls me into every issue is how Taylor and Redondo put on a masterclass balancing act on providing levity and serious stakes that other comics miss at times. It is incredibly inspirational as someone trying to navigate writing in this field, and it’s really dope to see that these two seem to have such a symbiotic relationship. It elevates the book astronomically in my opinion. I can feel both of their equal agency in these pages, and I feel like more comics need to follow this approach.
Why You Need to Read it
I’ve talked in more detail about this Nightwing run before, but the aspect that’s my absolute favorite thing is the creative team’s dedication to Heart, Heat, and Hands. There’s heart at the middle of every story, absolute heat from Nightwing’s quips, and the hands of a fighter so skilled that sometimes it’s feeling like you’re getting your ass beat through the comic book page. But there’s been a fourth “H” that I’ve neglected to mention before, and that “H” stands for hope. Full stop, this is one of the most hopeful monthly Big Two comics on the shelves. It doesn’t shy away from the bleakness or the negativity of the world but opts to show us that there is a way through the existential dread or the nihilistic tendencies that so many find themselves drowning in. Issue after issue, I find myself full of hope, and I don’t even live in Blüdhaven.
I’m talking forever about this book, but I’ll just say one more thing. After more than ten issues into this run, I can safely say now that it’s incredibly paced from an individual standpoint, and as an overarching story. I can’t tell how long this particular run is planned out to be, but Taylor and Redondo do such a good job throwing twists and turns every issue that it doesn’t feel like an intentional wrench to stretch out the story just because. Everything feels really organic, and I honestly like that. It’s easy to telegraph where a story is going sometimes, but there’s never a point where I feel like I have to start to look ahead. Every time that even begins to happen in my head, there’s a turn in the story that sends us down a different direction. Nightwing really keeps its audience on its toes, and I’m not just talking about the yeeks.
So do yourself a favor, please. If you aren’t reading Nightwing, rectify that expeditiously. You’ll be mad at yourself for not jumping on this train sooner but happy with all the catching up you have to do.
The Thing: The Next Big Thing
Yancy Street’s very own pile of rocks is back in his own comic, and it’s an airtight, highly entertaining six-issue comic series. I know I just spent about 600 words gushing over the ongoing monthly masterpiece that is the Nightwing comic, but honestly, that book is an outlier for me. I’m at a point in my life where I can really appreciate a complete story. Get in, get out, and then reflect on how it made you feel.
That’s what we get from this recent run centered on Ben Grimm. Written by Walter Mosely, and Illustrated by Tom Reilly, The Thing: The Next Big Thing is a standalone story tucked somewhere in Marvel’s past where Ben is home alone at the Baxter building while the rest of the team is away on a vacation. He’s left to his devices, and gets into trouble with his girlfriend Alicia, and the law, landing him in prison. But something more nefarious is happening behind the scenes. The death God Mot seems to be manipulating things and making things difficult for our favorite pebble.
What really stood out to me while reading this story was how it read. In the first issue, it goes out of its way to inform the reader that this is a story that takes place sometime in the past, which really just told me that they wanted to tell a standalone story without having to pay too close attention to canon and current events of the other comics. Marvel doesn’t have Black Label like DC for stories like that, so I just thought this was a clever way to let us know upfront the level of connectivity that would be present (or not) in this story.
But what I found interesting was that the story also read like one of the comics of old. It had that somewhat over the top dialogue (even for The Thing), and the art and colors from Reilly really dug into that aesthetic from the Bronze Age. But with that, it didn’t lean into that aesthetic too hard. The structure of the story didn’t feel dated which was nice. I love old comics, but overwriting was way too common back in the day, so I’m glad this book didn’t have panels with nine pages, each filled with dialogue bubbles with 60 words.
It was also just dope to see The Thing in his element outside of the Fantastic Four. Often, that team has to lead on each other’s strengths to get the job done, and Ben was thrown into the fire without that crutch. It was fun to see how Moesely and Reilly navigated giving Ben obstacles in creative ways. It really helped with fleshing out the character and fleshing out his growth.
This was a character study through and through, and I love that for The Thing. It’s the main reason why I love self-contained stories. It can often be hard to see a character’s growth over the course of a fifty issue run. I know that sounds crazy, but it’s true. At least for me. With The Next Big Thing, Ben Grimm goes through an internal metamorphosis over the course of just six issues.
Like Nightwing, this book has a lot of heart as well. But at the center of it all, it’s a love story. I’m always here for a little bit of simpin’.
So if you want to read an old comic without reading an old comic, and see a pile of rocks smash things into smithereens while also progressing as a human being, this is the book for you.
Bolero
Do you like to cry? I’m not talking about a single tear down your face and one sniffle. I’m talk snot dripping, swole faced crying so hard that may or may not feature a few loud and involuntary wails. You’re probably answering no to that question, but that’s because you haven’t read Bolero from Wyatt Kennedy and Luana Vecchio. Because after reading this book, you’ll feel like you’ve been emotionally gutted and deep cleaned, in the best way possible of course.
Bolero is a story about the multiverse, but it’s really a story about being in love. The story follows a woman so broken after a break-up that she travels the multiverse, inhabiting her alternate selves bodies, in an attempt to make things right with her ex to fill the void in her heart.
If you like Everything Everywhere All at Once, you will love this comic book. Aside from being stories about the multiverse, they’re pretty different, but that deep emotional feeling you feel after finishing Everything Everywhere All at Once is very similar to how it feels to finish Bolero.
This was a book that was an easy sell for me. I love anything and everything about the multiverse, so with that in the logline, I was already in the bag. But I was not ready to feel as deeply as I felt while reading this. It hit me hard.
This is an incredibly vulnerable comic book, so know that going in. It’s going to make you confront some things about yourself, and it might bring up some painful memories. But I found it incredibly cathartic. Being heartbroken is one of the worst feelings you can feel, but it happens to be something that most of us have experienced, and seeing it conveyed in such a creative and inventive way can help you navigate parts of yourself you thought you’d locked way.
Aside from the tears, this comic book does an incredible job of having fun in the midst of the existential dread. Devyn (the protagonist) travels the multiverse, and gets to hang out in space, fight in medieval battles, attend Victorian balls, and hook up with anyone and everyone she so chooses. It’s a lot of fun, and Vecchio absolutely kills the visuals on the book. Each page is more stunning as the one right before it, which is hard to do when a book is five issues. I wouldn’t have cried nearly as hard as I did were it not for Vecchio’s art.
Whether you want to clean your tear ducts out or not, I still think you should read Bolero. You’ll feel better in the long run, I promise you.
There’s still an insurmountable amount of comics to read, and while reading this article, atleast a dozen new comics have dropped, but I hope you’ll give these three a try, or at least put them on a list to prioritize. You won’t be disappointed.
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