COMIC STORY ARC

A INQUISITIVE REVIEW ON: COMIC BOOKS*GRAPHIC NOVELS *ALSO AN OCCASIONAL COMMMENTARY ON THE MEDIUM OF COMICS.

Name:
Location: washington, D.C., United States

I am a comic reviewer for www.comiccritique.com. I enjoy reading mainstream and independent comics. I have interviewed various artists, and writers in the comic community. such as Joe Kubert, Frank Beddor, and Nate Barlow, and others to come. I have been a comic collector for over thirty years. I still have the same excitement today when I read my first comic title. I hope to present the same vigor to the readers of this blog. JD

Sunday, February 25, 2007

Too MAX for Me!


Barracuda #1
Publisher: Marvel/Max series
Writer: Garth Ennis
Artist: Goran Parlov

Sending out and maxing out the wrong message!
By John L. Daniels Jr.

I am dismayed, but not surprised in this new era and time in the comic book industry that a writer the caliber of Garth Ennis could resort too writing and portraying an African- American as a gangster thug and find this is a stereotypical male in the world of crime. I am appalled and ashamed to read this material.

As an African-American, critiquer of comics and one who notes an article “Comics of Color” which reviews creators and comic periodicals of different ethnicities, this book is very disheartening to view. I am a fan of previous works of Ennis, however the content and characterization of the characters destroys all the effort for positive portrayal of people of color, but my view this story can be presented in a better fashion, and the editor has the opportunity to take the initiative to do so, if he wanted.



The editors and the creative team must really think the character Barracuda is a hero to African-American teens and their peers. Another score for MAX to insult and give it justification to continue to MAX Out, Gross-Out readers for a Mature series and to use vulgarity to make Marvel/MAX subscribers believe that “without using such language it will take away the depth of the character or story! Hogwash!

Barracuda #1 the Max line of Marvel is what u read is what u view.

This title deserves an Inquisitive rating of one. The only reason Barracuda #1 receives this rating is that this issue can be used as a tool for “How to do everything against the comic book code and get away with it.”

Return of a comic book detective Icon!


The Spirit/Batman #1
The Spirit #1 and #2
Writer/Artist: Darwyn Cooke
Inker: J. Bone
Colorist: Dave Stewart

The Season of the Spirit!
By John L. Daniels Jr

The late and great comic book artist Will Eisner created a character in 1939 that was very popular. He was courageous, mysterious, and clumsy. He was a sucker for gorgeous women on the other side of the tracks. He was an investigator and a good one at that. He brawled and always solved mysteries that had so many twists and turns you constantly required a map. The man wore a disguise that was quaint for the times nothing fancy; he wore a blue suit and a blue mask. Now Darwyn Cooke writer and Artist of the successful series The New Frontier, re-introduces fans to Will Eisner's Award-Winning character known as THE SPIRIT.

If I were going to re-introduce a character that was as popular as the Spirit was in the 40's and 50's who would it be? Ah yes I know as well as DC and D.C. (hey they have the same initials) knew who to match him up with, why no other than The Batman. Both batmen and The Spirit had comparable qualities, both wore masks, both answered to a police official, and both were experts at sleuthing. So bringing them both together to the joy of many of The Spirit and the Batman fans was enjoyable.

Darwyn Cooke took the reader into both worlds of each character sharing each other's doubts about the other, and a vision of each other's unbelievably that the other even exists; each thought the other was a myth. The backdrop of bringing them together at a convention of police chiefs from varied cities was fantastic. Respected chiefs came to the convention, the love bug had bitten Dolan and Commissioner Gordon both, and they were also in danger. So who could save them both? Could it be Batman and the Spirit?

I enjoyed this exciting tale. Maybe we will see more team-ups with The Spirit and other characters from the D.C. Universe. Ok I am putting my three cents in could you imagine The Phantom Stranger and The Spirit together. Oh yeah!

Next up the Spirit #1 vol 2.



When the popular and attractive newscaster Ginger Coffee is kidnapped, The Spirit jumps into action to save her from the treachery of Amos Weinstock.

Next and the most current is The Spirit #2 vol 2.



An Attractive woman from The Spirit's past has just married Prince Farouk. Her dreams for a long marriage are not in the plans. The Spirit has to unravel her reason for why she wants to marry the prince.




The most current issue of The Spirit #3 vol 3. Cooke updates The Spirit’s Origin.






Why does the Spirit always fall for the gorgeous women with the hourglass "I dream of Jennie" body? Because, The Spirit is the troubadour of justice. These are fine tales with that old feel of a Saturday morning serial. Fans do not look for a Spirit movie or anything on reel; the closest thing to the Spirit on film is one of my favorite serials The Masked Marvel by Republic Pictures. He wore a mask and a suit and fought villain with his fists. So maybe that is the draw that I have to the Spirit, a detective, who is not jazzy, but snazzy.



The entire stories have lots of actions, intrigue, and sensually drawn woman (That is the lure of romance if you did not know). Gosh! I would like to have a blue mask and a blue suit, but my wife will fill out the Looney hospital forms out on me.

Hey! I realized Halloween is seven months away, excuse me readers, Oh Honey! Guess what I want to be for Halloween! And I have the perfect outfit for you!

I am excited about this remarkable new series for a new generation of fans and you will too. The Spirit/Batman #1, The Spirit #1 and #2 and #3 deserve an Inquisitive rating of five.

Saturday, February 10, 2007

THE GREATEST TRADE IN MODERN HISTORY!



Captain Gravity and the Power of the Vril
(Trade paperback)

Publisher: Penny-Farthing Press
Writer: Joshua Dysart
Artist: Sal Velluto
Inker: Bob Almond
Colorist: Mark Garcia

Captain Gravity and the power of the Vril is the Greatest Trade Paper Back in Modern Comic Book History!
By John L. Daniels, Jr




As a comic book reviewer, you are regularly searching for the ultimate comic book to read and review. In 2005, I found and reviewed that publication. The opportunity to read, review, and interview the creative team concerning one of the greatest comic book series about an African-American super hero was one of great joy and gratification.

In the city of Hollywood, a hero emerges and saves the world from a powerful supernatural force during World War II.

This man has the rule to defy gravity. He is the embodiment of what this country's principles evoked during the conflict. Helping friends during the time of war and preventing a crisis. This individual is noble in core and strong in spirit. He is concerned about the welfare of a friend and colleague, the famous actress Ms. Chase Dubois.

Ms. Dubois is smitten with a brand new friend, Mr. Jan Gunther. Mr. Gunther had strange philosophies about life. Mr. Gunther adores his newfound girlfriend, Ms. Dubois. On the other hand, our warrior was not too impressed with the debonair German born archaeologist. At dinner between Mr. Gunther and Ms. Dubois, the talk centered on the symbol that is present through out Mr. Gunther's mansion, The Swastika. The swastika symbol appears in many cultures as the brand of infinity. As the hero looked upon the symbol, he recognized that it is the logo used by Hitler's German Army. After the meal with Mr. Gunther, unknowingly our hero would be getting ready to experience one of the most incredible adventures in his life.




This incredible story is the work of a distinctive creative team composed of Joshua Dysart (writer), Sal Velluto (Artist), Bob Almond (Inker), and Mike Garcia (colorist). Together they produce one of the most awe-inspiring series and now the sensational trade paperback Captain Gravity and the power of the Vril.

The comic series and the trade paperback is a masterful collaboration by a skillful team and a publisher who has a deep understanding of how to produce a comic periodical into a stunning achievement. The Captain Gravity and the power of the Vril trade paperback aligns itself into comic book lore. The book has received many accolades including: In November 2006, The Art Directors Club of Houston awarded Penny-Farthing Press with the Gold Medal for Illustrations and Penny-Farthing Press won the Bronze Medal for Book and Cover design for Captain Gravity and the power of the Vril. Penny-Farthing Press also won an honor with the Society of Illustrators for their latest and greatest Captain Gravity and the Power of the Vril graphic novel! They were selected to appear in the Society of Illustrators Museum of American Illustration in New York and our work will be published in the annual book ILLUSTRATORS 49. (Approximately 500 were chosen out of 5,000)




Captain Gravity is the definitive hero, a peoples champion and savior. Would America accept him as he is behind the helmet? Is his prowess enough for the nation to accept Captain Gravity's ethnicity? Readers have so many questions about a hero who seems so real. The Captain Gravity character becomes real and tangible, because of the powerful writing of Joshua Dysart, the explosive artwork by Sal Velluto, definitive inking by Bob Almond and the vibrant coloring by Mark Garcia. Readers will believe in all the characters, the sub-plots, the critical era in time when the story unfolds. Readers can witness the cruel behavior of the half-men and animal monstrosities loyal to the sorcerer Jaeger of the Reich. An extra issue is included with the origin of Captain Gravity's nemesis Jaeger. Readers are able to read for the first time issue 4.5 not published in comic book form. This is an incredible story that lays the foundation of the sorcerer Jaeger.



Captain Gravity and the Power of the Vril trade paperback is a jewel in Modern American Comic Book History. Penny-Farthing Press deserves praise for this presentation of an American hero, as well as, the creative team for presenting a real hero that readers can believe in and be proud of for all time.

This trade paperback deserves an outstanding rating of five.

I had an opportunity to interview this outstanding creative team.

EXCLUSIVE INTERVIEWS AND REVIEW WITH CAPTAIN GRAVITY CREATIVE TEAM!

When I had the chance to review Captain Gravity and the power of the Vril comic book, the first thing on my mind was to interview the creative team. Therefore, when I got responses from Bob, Sal, and Joshua I was enthusiastic and very grateful for them to take time out of their busy schedules to do the interviews.

Therefore, I want to thank them for all their patience; it has been a monumental experience and an honor to interview to them. This creative team is the best in the industry.

Readers here are their thoughts and chat concerning one of the greatest comic achievements in the industry. Get ready to read insights about the Captain Gravity and the power of the Vril book and Trade paperback from this incredible group of artisans.

I hope you enjoy the interviews as much as I did interviewing them.

John L. Daniels, Jr
The Inquisitive Critiquer!

Friday, February 02, 2007

Joshua Dysart Interview!

Writer: Joshua Dysart

In writing Captain Gravity, did you take any of the aspects from the original series?

I kept the full cast and held true to their shared pasts, but that’s about it. Tonally the two stories are very different. The original Captain Gravity was more of an homage to pulp serial films, while ours has its roots firmly in Golden Age WWII adventure comics. I even ended up tweaking Captain Gravity’s origin story. I turned the aliens who first brought the source of CG’s power to earth into Atlanteans. Mostly because I’m tired of people attributing the great accomplishments of our species (even fictional ones) to external forces. I’m too much of a humanist to believe it was beyond our reason to build the pyramids or create primitive batteries or tap into some source of universal power. So I guess once I screwed with the origin I was pretty much walking away form the original series, for better or for worse.

How did you want to perceive this version of Captain Gravity?

How did I want to perceive it? Uhm… well, I don’t know how I wanted to perceive it. Only how I did perceived it. I’ve always really been into the imagery of the Golden Age comics but never indulged in the voice of the Golden Age as a writer myself. My personal creative choices tend to automatically lean towards the very dark, which is counter-intuitive to Golden Age storytelling, so I saw this job as an opportunity to consciously go against my natural tendencies and instead wallow in the ideas of heroism, positivism and innocence. But even with this conscious intention I still had a hard time reigning in my darker creative intuition. At one point young Jeager was going to be working in a slaughterhouse in Munich in 1925. Meaning that every time you saw him he would be covered in blood and we’d have all this imagery of him slaughtering animals and of gore running down gutters and severed parts hanging everywhere. I thought it would be a great way to foreshadow the madness that Jeager and his fellow German Worker Party members were about to unleash on the world. But Sal didn’t think that kind of imagery was true to the piece, of which 95% had already been written, and he was right. That element in the story would’ve seriously undermined my original intent.

Apart from all of that, I also wanted to create an allegory for atomic power and the coming of the Cold War, but I didn’t want to beat people over the head with it. Vril energy became a perfect pulp vehicle for me to explore the political and social implications of the discovery of Atomic power. Historically, Hitler really was racing to get “the bomb”… which in our story is the Power of the Vril. That’s why we end with the Cuban Missile Crises, that moment when the Doomsday Clock was the closest it had been to midnight ever before. That’s also why, at the end, we see that both Russia and America have acquired the Vril power.

Do you like writing pieces that have some type of history and historical events?

Oh yeah. For two reasons. One, the research is inspiring and compelling and forces me to continue my education well into my adult years. The history of our species, despite all of our wars and great capacity for cruelty, is extraordinary and every story you could ever tell is already hiding in the past, just waiting to be unearthed. But the other reason I love writing from a historical perspective is that there’s an ethical obligation to it. I have to fit this fantastic story, where people fly and ancient races pass down mystical knowledge, into a place and a time where real people lived, loved and died. For instance, I just couldn’t see myself writing about Germany between the wars unless I mentioned the German resistance to Hitler. Otherwise I’m mischaracterizing the full German experience during that time. I like having that responsibility. It forces me towards empathy and makes me a better person and, therefore, a better writer.

Too lay your foundation of the story what type of historical research did you do concerning the insignia of the swastika?

I had done a lot of that research on my own some time ago, long before I had any idea I’d be writing Captain Gravity. I’ve been fascinated with symbols and their role in our conscious and unconscious communication process for some time now. And you can’t really go through even the most informal study of symbols without stumbling over the Swastika or Whirly Gig or whatever you want to call it. I mean the damn thing is everywhere. So I’ve been pretty intimate with the history of the Swastika since I was a kid. Picking up and reading books here and there as I found them. I’ve long desired to reclaim the symbol from the memory of the Third Reich and reinvest it with its source meanings, which are all very positive, but that’s an understandably difficult agenda. People simply do not want to have that conversation. The symbol has been profoundly tainted. So I just sort of lost my passion for trying to rehabilitate it. A decade later, I was sitting around trying to think up a pitch for this Captain Gravity project and I had just re-watched some of Kenneth Anger’s films. I was really into how he used imagery in his movies to essentially invoke spiritual forces and cast magic spells. I suddenly realized that I might be able to redress the swastika in its original, positive meaning, at least a little bit, if I splashed it across virtually every page of a comic book and made its history an actual dramatic element of the storyline. So that was all very intuitive stuff that I already had internalized and was ready to spit out. I just needed the inspiration of Anger’s work to plant the seed.

Any actual research I did for the series was more concerned with Germany’s social and economic structure between the wars than with the Swastika.

What were some of the qualities that you based the character of Captain Gravity around for instance characters in the history for in your own personal life?

Captain Gravity is me. This was my first paying gig on something that wasn’t a T&A book (I worked for Chaos for about a year) and I was hardly a hardened comic book creator. I had a lot of doubt. Doubt that I was any good as a writer. Doubt that I could make my living doing this. Doubt that I even had a super hero story in me. So all that doubt that Joshua Jones has about being a superhero, that’s my doubt about being creative for a living, and all those scenes of him learning how to use his powers, those are about me learning how to write a commercial, superhero comic book that I could be really proud of. That’s just how I handled the main character. And I feel closer to him than any other character I’ve written because of it.



The story is very intriguing and emotional. One of the most incredible panels displayed was the reinsurance of Captain Gravity showing an African American navy sailor that he was African American and that he was a hero of the nation. What was one of your favorite panels of the story?

Thanks, yeah, I love that scene. It’s the only real nod to racism we do in that series (except for a few lines the Nazis say, but hey… they’re Nazis). I really wanted to keep that crap light for the sake of the narrative.

But in answer to your question, my favorite panel in the whole trade is in the new chapter. It’s the splash of Jeager as a young man leaping into the fistfight at the German Worker’s Party Rally in Munich in 1925. There’s the swastika flag behind him. This moment is the first time that Hitler and his people have decided to use it as a symbol. This is at the beginning of things. Before the Swastika is turned into a symbol of evil, before Germany rises from the ashes only to fall again. This is a single snapshot of when these men still felt clean and pure and idealism was the order of the day. And Jeager is yelling, “I’m the Hero!!” But the reader knows he’s not. The reader knows that what we’re seeing is the very birth of villainy. That to me is the moment in which the book sings the most. Sal and Bob rocked that page.



How was it to work with Bob Almond and Sal Velluto two exciting artisans on this project?

Profoundly satisfying. I love their work. I cannot praise it enough. They make me a better writer. Before I talked about an ethical imperative to be as real and fair to history as I can be, even while writing pulp. Well, Sal and Bob, they unconsciously seem to understand that ethical imperative. They gave love to every detail of the period in this work. They were like documentarians. And then, when it came time to turn on the more fantastic elements, like mutant Nazis, underwater kingdoms, that kind of jazz, they nailed that too. Plus their character acting is impeccable. That’s the least developed skill you see in comic book artists, their character’s acting abilities (with panel to panel story telling coming in at a close second). I can’t believe that Sal and Bob don’t have to beat editors away for work. I’d really love to work with them again.

Would you like to work on another Captain Gravity series for the fans?

Yes. Absolutely, there’s another idea that Sal and I will be collaborating on this time. We’ve bounced a few things back and forth and think it’s going to be very, very cool. It’s just a matter of finding mutual time in our schedules. When things are right and in place, there will be more Captain Gravity. As long as Penny Farthing Press is down for it.

The release of this trade paperback containing new material is exciting. What would like fans to come away with reading Captain Gravity?

I’d just like them to have fun. This is the most laid back and careless writing I’ve ever done. Yet at the same time it’s the most rich thematically and it has an energy about it that I hope is infectious.

Also, it wouldn’t be so bad if while enjoying an epic super hero tale, maybe the reader gained a little unobtrusive knowledge about how the interconnectivity of all things permeates history, but only as long as it’s not at the expense of enjoying a ripping adventure yarn.

What are your feelings towards this amazing accomplishment? For what I feel is the greatest comic book novel series I have ever read.

Wow, you’re awesome. I’m glad you liked it.

I, personally, feel very good about it. I‘ve grown a lot as a writer since I wrote it back in 2002, and there are things I would do differently if I were to have another go at it, but this book represents the last time I would have a single project on my plate at one time. The last time I would give every single waking moment to one idea, one plot, one cast of characters. There’s something to be said for that, and looking back on it, I can see where my obsession with the march of history made it onto the page. In fact, all my concerns regarding classism, racism, capitalism, fascism… they all made it in there, and for once in my work, they didn’t act as speed bumps slowing down the drive of the story. So I’m very happy with it. There are single issues of other comic books that I’ve written which I feel this way about, but this is the first time an entire trade has really made me completely proud.

Sal Velluto Interview!

Artist: Sal Velluto

Did you design the current Captain Gravity?

Not completely. I was inspired by some unpublished pages done by fellow-artist Mike Lilly. I’ve pushed his concept a little further by adding some more definite Art-Deco elements. For some reason, I vaguely remember an old “Rocketeer” VHS tape being involved in the process, but I can’t remember why...

Did you base your design on the previous by the original series by Steven Vrattos, Keith Martin, Rober Quijano?

Sure. Why not? I wish those guys could produce more stuff, especially Rober who I remember for his talent and enthusiasm, even before he got into the business.

Do you feel Captain Gravity is a memorable series such as the Black Panther series you both you and Bob Almond won accolades for your artistic talents?

Not yet. But it can be. Like the success with Marvel’s Black Panther came mainly because of “word of mouth” Captain Gravity is coming to the attention of more and more readers. Both the character and his story environment have potential for a greater fruition, and have even sparked the interest of a few executives in the larger entertainment business.

Who were some of the artists that influenced you in the comic book industry?

Hal Foster, Alex Raymond, Stan Drake, Neal Adams, John Buscema, Austin Briggs, Sy Barry... Can you see a trend there, beside the fact that most of them have passed on to Cartoonists’ Heaven?

What was your first assignment?

My first published comic book in the US was Marvel’s Power Pack # 37. (June 1988)
It was inked by the late Stan Drake (“Blondie”, “The Heart of Juliet Jones”) one of my idols.

The spread pages for the Captain Gravity series title popped with action and realism, how do you define your art style?

I would call it... “Popping Art” since the term “Pop Art” is already taken. Would you like extra butter with it?



How important is it to have a nucleus with the inker and the writer?

I categorically deny any “nuclear” involvement with those guys. However, I’m proud of my 10-year collaboration with (inker extraordinaire) Bob Almond and am pleased to have worked with Joshua Dysart on one of his early scripts. After CG, Joshua has produced very good stuff for high profile titles like “Swamp Thing” and “Conan”. However, in the “Power of the Vril” story you can see the seeds of his successful writing career.

Would you like to work on another Captain Gravity series for the fans?

There have been plenty of talks. There have been proposals for another graphic novel and beyond. The good intentions are there, but as the saying goes, “you know what” is paved with good intentions.

The release of this trade paperback containing new material is exciting. What would like fans to come away with reading Captain Gravity? What are your feelings towards this amazing accomplishment? For what I feel is the greatest comic book novel series I have ever read.

My question is: “Why don’t you like it?” Joking aside, I think readers will get their money’s worth. There’s enough entertainment value in the book to capture the interest of a wide audience of readers. Some of them might even get so involved in the story that they’ll be able to hear the soundtrack we have subliminally inserted in the book...

Bob Almond Interview!

Inker: Bob Almond

How did you get involved in the inking of the Captain Gravity title?

In my third year of BLACK PANTHER for Marvel I was contacted by former-employers Penny-Farthing Press to work on (unbeknownst to me at the time) this series inking over an artist but I had to decline. Time passed, the BP run came to an end, and the inker that PFP had subsequently hired for CG went his own way and left them inkless so I was contacted again and I jumped on. But soon thereafter PFP removed the original pencil artist from the series and sought out a new pencil artist. I highly suggested my pal Sal to fill the spot and thus we were reunited again.

The process of inking comics is very fascinating to some readers and some do not realize the intricate process for inkers. Could you explain the procedures of inking and the techniques involved?

It’s all about editing and elaborating in order to play up or enhance the aspects of space, weights, textures, contrast, definition, and composition & design. My job is to capture & enhance the intentions of the pencil artist by what’s laid out in the pencil art. This is done by redrawing the art in ink by clarifying shapes and using line weight s, often with the use of lightsources. I try to be somewhat faithful but I also try to bring something to the table. Besides the tools I use to do this (see below) some techniques applied to the inking may include dry brush, ruling lines with a quill and with curves or a straight-edge, and textural things like smudging and spattering with ink, using found objects, scraping razor blades through inked areas, etc.

What type of instruments do you use to ink boards?

I presently use a Windsor-Newton series 7 size 1 brush (although I used a Raphael Kolinsky 8408 before that), a Hunt 102 nib for ruling lines, Sakura micron markers,
Faber-Castell Pitt markers, straight-edges, french & flexi curves, templates for circles & ellipses, Pro White correction fluid, zip-a-tone, tooth brushes, erasers and much more….a literal bag of inking tricks.

Readers recognize the Black Panther series, which you and Sal Velluto worked on, as the premiere run of this title. How special is it to work with Sal on the Captain Gravity title?

Well, some of my most memorable projects have been those where I was teamed up with Sal and after ten years many fans look forward to more Sal & Bob gigs. Like a successful marriage we communicate a lot and we know what’s in the other’s head and what we’ll each bring to the project and this kind of synergy often develops into some cool, magical stuff.


Do you think the Captain Gravity series surprised and received the acclaim it has from readers who knew about the series or new readers?

Probably both. There was another CG series before ours, plus a one-shot, so some readers had followed the character to each project. But at the same time, some of those Sal & Bob fans who enjoyed us on BLOODSHOT, or BLACK PANTHER, or JSA followed us to PFP to this character that they knew nothing about. And then there’s always the indie readers who simply like period or genre sagas who probably tried it out.


Who were some of the inkers that influenced you to start inking comics?

My original intent had been to be a penciller. Until the last few years very few artists entered the biz coveting to be an inker/ embellisher. But my pencil samples didn’t get me in the door of any publishers so I tried inking samples and that did the trick but it was a lot of the ‘right place, right time’ stuff. As a childhood reader & fan, I had always appreciated the work of many Marvel inkers from the bronze to modern-ages like Joe Rubenstein, Terry Austin, Klaus Janson, Mark Farmer, Tom Palmer, and Bob Layton among others so I knew who’s work to reference when I hesitantly got started and needed some ideas and help.


While inking the title Captain Gravity what were some of the most memorable panels for you in the story?

I enjoyed handling the historical figures like Adolf Hitler, Ian Fleming, JFK, etc. because I have rarely had an opportunity to do that before and I enjoy well-done period stories like that as much as the next guy. That and handling anything with Nazis, skull-headed villains, ancient relics, exotic locales and beautiful women.



Would you like to work on Captain Gravity series for the fans?

Yes. Especially with Joshua & Sal.

The release of this trade paperback containing new material is exciting. What would like fans to come away with reading Captain Gravity, and what are your feelings towards this amazing accomplishment? For what I feel is the greatest comic book novel series I have ever read.

It’s a fun quasi-historic jaunt that, as many have said, plays out like Indiana Jones meets the Rocketeer so it’s filled with action, mystery, intrigue, and a whole lot of fun. But at the same time one experiences the racism & hateful backdrop of the war-frought era in contrast to the themes of love, faith, sacrifice, hope, and the human condition. So in many ways it’s an epic period piece with a timeless aura to it when one looks at where the world is today.

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