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Writer: Greg Pak / Artist: Gang Hyuk Lim / Marvel

If I had to describe my state of mind after reading War of the Realms: New Agents of Atlas #2, it would probably be along the lines of joyful or ecstatic: that type of full body happiness where you notice that you are smiling ear-to-ear and sitting up just a little bit straighter at attention. The inaugural issue of the mini-series was a rapid-fire introduction to all the players in this event. Greg Pak and Gang Hyuk Lim keep the momentum going by giving us the first American appearance of Sword Master and a proper introduction of Pele, Hawaiian Goddess of Fire and Lava, alongside Aero and my current favorite hero, Wave. Pak and Lim take all of this hype and carry it full steam ahead throughout the entire issue.

Picking up where New Agents of Atlas #1 left off, we find our favorite Asian and Asian-American heroes fighting a battle on two fronts: Shanghai and Seoul. Supernatural creatures have invaded both cities and our heroes are doing their best to protect civilians in beautiful form. Pak’s humor and dramatic writing skills, alongside Lim’s magnificent renditions of the heroes, allows us to further endear ourselves to them through simple quips and jaw-droppingly gorgeous panels.

We may not know these heroes but, based on how the background characters talk, there is clear mystique and legend surrounding them. We don’t need to know more beyond the fact that they are here to try and save the day from this supernatural threat. The action scenes are incredible, and each skirmish with Sindr’s forces drum up the pace to Amadeus Cho’s eventual gambit.

No One Hero

Throughout the text, there is a thematic note of “we have to work together”. It’s this simple, honest truism that breathes life into the book. The sentiment works because we see different fragmented coalitions doing their best, yet every page reveals that no one hero can solve this cataclysmic event. It all builds up to a grand, climatic moment fitting for the halfway point of the mini-series.

I have no idea what’s going on with the rest of the War of the Realms. Honestly, I don’t care. I do care deeply about the New Agents of Atlas and the beautiful character and narrative work that Pak and Lim are doing to bring this diverse cast of characters to a local comic shop near me. I do care deeply about the small interactions between heroes punctuating the grander scheme of a cosmic war being waged on earth. I do care about this series so much, and that’s more than enough for me.

9.7 “Elementals” out of 10

Reading War of the Realms? Find BNP’s other reviews of the series here.

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The post War of the Realms: New Agents of Atlas #2 appeared first on Black Nerd Problems.

What if Superman was a horror movie? An alien crash-lands on earth, is raised by loving human parents, and develops incredible powers—it’s a familiar story that we know and love all too well. But what if he doesn’t want to save the world, but rather, take the world? That’s the question explored in the horror-superhero mashup Brightburn, a splashy genre piece with some chilling themes and subtext.

The team behind Brightburn knows their superheroes and their horror. Producer James Gunn helmed the horror flick Slither and the superhero indie Super before graduating to the Guardians of the Galaxy franchise. His brother Brian Gunn wrote the script for Brightburn with cousin Mark Gunn, while David Yarovesky directs.

Elizabeth Banks stars as Tori, a Kansas woman trying and failing for a baby with her husband Kyle (David Denman). Their prayers are answered one night when a mysterious meteor crashes in the woods next to their house, and they find a baby boy inside, whom they raise as their own. Of course, all hell breaks loose when puberty hits. Jackson A. Dunn plays their son Brandon, a seemingly sweet and smart kid, who starts to rattle the chains on his idyllic childhood and parental control when he turns 12.

While that kind of rebellion is natural at that age, for Brandon, his acting out involves chanting mysterious incantations in a trance, yanking on the doors of the barn basement where the wrecked alien ship is stored. He starts to develop urges about women and girls, which his parents presume is normal hormonal changes in their boy. But his desires seem off, with graphic photographs of internal organs mixed up in the bra ads he stores under his bed. He becomes fixated on a girl in his class and when she rejects him out of fear, he crushes her hand. The resulting scandal and punishment for this act leads to a series of gruesomely bloody events that spiral throughout the small town of Brightburn, KS. Yarovesky does not hold back on the body horror that is inflicted.

All the while, Tori defends and protects her son. She’s unwilling to believe he could possibly have anything to do with the tragedy and horror raining down upon their town, while Brandon becomes increasingly remote, angry and dangerous.

Brightburn never focuses on what Brandon wants or why he’s doing this, which is a boon to the film. We know he’s a malevolent alien with powers of flight, laser eyes, and super strength, but we don’t know where he comes from or who he truly is. The only explanation, in allegory, comes from a science class where Brandon carefully explains the difference between wasps and bees—wasps are predators while bees are domesticated creatures. He’s simply programmed to be a predator, and eliminate all threats around him.

Dunn plays the part of the little psychopath well. One can’t help but think of Columbine killer Eric Harris, who similarly detailed his plans to blow up the world in his journals and notebooks, and managed to manipulate and fool the authority figures in his life. The kind of rhetoric that Brandon spews, about his superiority, what he is entitled to, feels like it was transcribed verbatim from a violent incel message board. While Brightburn certainly is a bloody horror flick, there are these metaphors and timely ideas simmering below the surface that make it more than just schlock and sensation.

Brightburn is rich with references and genre expectations. While the supervillain comic trope provides the narrative backbone, the film falls into the horror subgenre of the demonic child, like Damien from The Omen. But the puberty angle aligns him more with classic teen female monsters like Regan from The Exorcist and Carrie White in Carrie. Banks’ Tori, who starts out as a Cool Mom, starts to take on shades of Piper Laurie’s overbearing Margaret White from Carrie, who identifies evil in a child and tries to do something about it.

While Brandon might be imbued with superpowers, his rhetoric hits chillingly close to home. The kind of language that Brandon uses to justify his actions feels all too real, as he claims “good reasons” for his actions, and the dark, absolute sense of superiority that he asserts. But what he wreaks is gory, random, and ultimately devastating. If Brightburn tries to impart any message, it’s a warning, and an urgent one too.

3 1/2 stars out of 5

Image: Screen Gems

The post BRIGHTBURN is a Chilling Anti-Superhero Tale (Review) appeared first on Nerdist.

2019 ESSENCE Festival performers The Hamiltones are slowing things down to heat up your summer playlist with a new single titled, “Pieces.” Originally titled, “So Gone,” the track takes listeners […]

The post The Hamiltones Fight For True Love In The Video For Their New Single ‘Pieces’ appeared first on Essence.