A thoroughly enjoyable side-story in a popular action-adventure franchise.
This comic-book expansion of the Gatchaman universe centers on archvillain Berg Katse.
Japanese animated series Science Ninja Team Gatchaman—or simply Gatchaman—aired in the late 1970s and early ’80s. It may be better known to Americans by the title of its dubbed and re-edited version, Battle of the Planets, but this latest comic iteration, from an American publisher, returns the characters and organizations to their Japanese names. This volume collects four comic-book issues, written by Orlando and illustrated by Lobo and Qualano. Berg Katse (called Zoltar in Battle of the Planets) is the commander of Galactor, an evil group whose mission claims to be in Earth’s best interest: By seizing all the planet's resources, they assert, humanity can be saved from itself. But when a poisoned meal nearly kills Katse, he must uncover who’s infiltrated his organization. It doesn’t take long for him to track down his would-be assassins: the last members of an organized crime family he thought he eradicated years earlier, shortly before founding Galactor. The gang’s plan has been years in the making—and they have a secret weapon: a mutant family member strong enough to take on Katse. This comic is created by a different team than the one collected in the recent Gatchaman Vol. 1, and it avoids most of that series’ problems. At one point, Katse goes undercover to infiltrate Galactor’s ranks and, in a few panels, it becomes hard to discern which character is Katse. Aside from this, however, the panels have room to breathe, and strike an ideal balance between dialogue and action. The color palette is cohesive, leaning heavily on the reds and purples of Katse’s outfit. Notably, the Science Ninja Team is absent from this comic, other than a brief glimpse at the start (in which someone in a fleeing crowd says, “I’ve seen all their vids—got all the bootleg DVDs,” in a knowing wink to longtime fans), but it never feels that anything is lacking. Instead, this work effectively fleshes out an established character with an absorbing, artfully executed backstory.
A thoroughly enjoyable side-story in a popular action-adventure franchise.Pub Date: Feb. 25, 2025
ISBN: 9781545815892
Page Count: 104
Publisher: Mad Cave Studios
Review Posted Online: Feb. 3, 2025
Kirkus Reviews Issue: April 1, 2025
Review Program: Kirkus Indie
BOOK REVIEW
A not-very-illuminating updating of Chaucer’s Tales.
Continuing his apparent mission to refract the whole of English culture and history through his personal lens, Ackroyd (Thames: The Biography, 2008, etc.) offers an all-prose rendering of Chaucer’s mixed-media masterpiece.
While Burton Raffel’s modern English version of The Canterbury Tales (2008) was unabridged, Ackroyd omits both “The Tale of Melibee” and “The Parson’s Tale” on the undoubtedly correct assumption that these “standard narratives of pious exposition” hold little interest for contemporary readers. Dialing down the piety, the author dials up the raunch, freely tossing about the F-bomb and Anglo-Saxon words for various body parts that Chaucer prudently described in Latin. Since “The Wife of Bath’s Tale” and “The Miller’s Tale,” for example, are both decidedly earthy in Middle English, the interpolated obscenities seem unnecessary as well as jarringly anachronistic. And it’s anyone’s guess why Ackroyd feels obliged redundantly to include the original titles (“Here bigynneth the Squieres Tales,” etc.) directly underneath the new ones (“The Squires Tale,” etc.); these one-line blasts of antique spelling and diction remind us what we’re missing without adding anything in the way of comprehension. The author’s other peculiar choice is to occasionally interject first-person comments by the narrator where none exist in the original, such as, “He asked me about myself then—where I had come from, where I had been—but I quickly turned the conversation to another course.” There seems to be no reason for these arbitrary elaborations, which muffle the impact of those rare times in the original when Chaucer directly addresses the reader. Such quibbles would perhaps be unfair if Ackroyd were retelling some obscure gem of Old English, but they loom larger with Chaucer because there are many modern versions of The Canterbury Tales. Raffel’s rendering captured a lot more of the poetry, while doing as good a job as Ackroyd with the vigorous prose.
A not-very-illuminating updating of Chaucer’s Tales.Pub Date: Nov. 16, 2009
ISBN: 978-0-670-02122-2
Page Count: 436
Publisher: Viking
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Sept. 1, 2009
PERSPECTIVES
Immensely enjoyable.
The debut graphic novel from Mohamed presents a modern Egypt full of magical realism where wishes have been industrialized and heavily regulated.
The story opens with a televised public service announcement from the General Committee of Wish Supervision and Licensing about the dangers of “third-class wishes”—wishes that come in soda cans and tend to backfire on wishers who aren’t specific enough (like a wish to lose weight resulting in limbs falling from the wisher’s body). Thus begins a brilliant play among magic, the mundane, and bureaucracy that centers around a newsstand kiosk where a devout Muslim is trying to unload the three “first-class wishes” (contained in elegant glass bottles and properly licensed by the government) that have come into his possession, since he believes his religion forbids him to use them. As he gradually unloads the first-class wishes on a poor, regretful widow (who then runs afoul of authorities determined to manipulate her out of her valuable commodity) and a university student who seeks a possibly magical solution to their mental health crisis (but struggles with whether a wish to always be happy might have unintended consequences), interstitials give infographic histories of wishes, showing how the Western wish-industrial complex has exploited the countries where wishes are mined (largely in the Middle East). The book is exceptionally imaginative while also being wonderfully grounded in touching human relationships, existential quandaries, and familiar geopolitical and socio-economic dynamics. Mohamed’s art balances perfectly between cartoon and realism, powerfully conveying emotions, and her strong, clean lines gorgeously depict everything from an anguished face to an ornate bottle. Charts and graphs nicely break up the reading experience while also concisely building this larger world of everyday wishes. Mohamed has a great sense of humor, which comes out in footnotes and casual asides throughout.
Immensely enjoyable.Pub Date: Jan. 10, 2023
ISBN: 978-1-524-74841-8
Page Count: 528
Publisher: Pantheon
Review Posted Online: Oct. 26, 2022
Kirkus Reviews Issue: Nov. 15, 2022
PERSPECTIVES
PERSPECTIVES
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