Katniss Everdeen by Patti Dineros

Gown NOT designed by Vera Wang.

G3 has had some issues with Wonder Woman lately. Not the character, but her title. V. summed it up very well in a heartfelt post about her frustration with the comic book’s direction in recent months.

I was OK with writer Brian Azzarello’s dark vision for the Amazons and his revamp of Wonder Woman’s origin, so this isn’t about being anti-change. However, after seeing Diana do something ridiculously gullible in issue #8 and slogging through a disappointing #9, I wonder what happened to the thrilling reboot that came leaping flawlessly out of the gate.

One problem is that the Greek gods have started to crowd Diana out of her own comic, making Wonder Woman more of an ensemble affair than a solo book with a strong central character. You might as well call it Wondy & the Gods. Every superhero needs a good supporting cast to play off of, but the key word is “supporting.” A little bit of Lennox goes a long way.

Azzarello seems barely interested in Diana who, having been shot with a love-drug bullet from Eros’ gun, is being prepped for her wedding to Hades. She’s basically inert here, making bland, tearful conversation with Persephone and playing the role of a dutiful bride-to-be. She’s just plain boring. Most of the airtime goes to assorted deities and Zola, the pregnant woman Diana traveled to hell to save. That’s fine if you didn’t sign up to read a comic book about Wonder Woman.

Cliff Chiang’s only visible contribution is the stunning cover, luminously colored by Matthew Wilson. Most of fill-in artist Tony Akins’ work is perfectly fine, especially the scenes showing the lean, mean Strife, and Hades’ grotesque throne. However, something goes awry in the rendering of Zola. Her face changes from panel to panel, resembling that of a bratty child in some places and a frumpy, middle-aged woman in others.

What troubles me more than disliking an issue of Wonder Woman is not caring — and I’m beginning to worry it may come to that. Like Action Comics, this title got off to a rousing start, then began morphing into something very different from the comic book I fell in love with. Nine issues in, I still don’t have a clear idea of who the character is beyond an awe-inspiring warrior given to bouts of naiveté. There’s a lot happening around her and to her, but it’s deeply frustrating that Diana herself remains at arm’s length. Grade: D+

Morgan le Fay by Jessica Oyhenart-Ball

Loki by Phobs

Writer-director Joss Whedon swung for the fences, and the result is a consistently fun, exciting action movie that makes the most of a strong cast. The Avengers doesn’t just throw a bunch of comic book characters onto the screen and then blow stuff up real good. Whedon takes care in defining the players and showing how they come together to execute their first mission.

The objective is to take down that villainous Asgardian diva, Loki (Tom Hiddleston), who pays S.H.I.E.L.D. an unwelcome visit to steal the Tesseract. The glowing cube is central to his plot to rule humanity via alien invasion, and Nick Fury, played by the stoically cool Samuel L. Jackson, knows he’s going to need more than one big gun to stop him. One by one, the future Avengers begin assembling, but it’s a bumpy ride.

Could it be otherwise? Powerful people have big egos and generally are not given to compromise, so Thor (Chris Hemsworth) and Tony Stark (Robert Downey Jr.) are not going to un-puff their chests to work toward a collegial solution. At least not at first. Not everyone is wild about taking on the job, either. Most reluctant is Bruce Banner (Mark Ruffalo), whose priority is keeping his raging inner Hulk at bay. Formidable as the heroes’ combined power is, prickly relationships threaten to undermine the cause.

Killer action sequences and impressive special effects? Check. More importantly, The Avengers is driven by top-shelf performances. No one will be surprised that Downey has some of the movie’s best one-liners and that he nails them. Chris Evans remains earnest as Captain America, but the strain of adjusting to life in a new century is apparent. Hiddleston, with his dazzling but scary smile, is perfectly haughty and petulant. Hemsworth gets to show that the mighty Thor has an unexpected, deadpan sense of humor.

The newcomers are no slouches, either. What a relief that Scarlett Johansson’s Black Widow shines as a highly skilled combatant with a sharp mind, not stereotypical eye candy. Mark Ruffalo does a particularly outstanding job, playing Banner as a scarred man who is calm but subtly dangerous. I wish Jeremy Renner’s Hawkeye had a little more to do, and there are a few head-scratchers — most notably a decision to leave Loki unattended (!) during what amounts to a hero hissy fit.

Though it clocks in at two hours and 22 minutes, The Avengers doesn’t have the bloated, indulgent feel of many blockbusters. It’s so well paced and frequently witty that the time flies. Let’s hope this inspires something of similar quality from the other member of the Big Two.

P.S.: Sit tight after the credits roll. There are treats. Grade: A-

Mind the Gap #1

Image Comics is on fire. Week after week, it’s churning out some of the most interesting and innovative comic books around, and Mind the Gap #1 is no exception. On one level, it’s a tantalizing mystery about how a young woman named Elle Peterssen wound up gravely injured and comatose in a hospital bed. But there is an otherwordly aspect to the proceedings that makes Mind the Gap more than a well-written whodunit.

Though Elle can’t move or speak, she is very much aware of the people around her: the best friend and boyfriend, the disapproving Tiger Mom and worried dad, and the detached younger brother who can barely be bothered to pay a hospital visit. She drifts back and forth between reality and a dreamlike limbo that serves as a stopover between life and death. Turns out that purgatory has a sizable population, and at least one tour guide.

There are so many tasty layers to Jim McCann’s story: Elle doesn’t know what happened to her, and there’s something rotten in the medical explanation. Who is the shadowy figure who keeps having ominous phone conversations about a “package,” and what is up with the frosty dynamic in the Peterssen family? As much as I’m itching to learn the what and why behind Elle’s circumstances, I really want to see how writer Jim McCann develops his cast of players.

This issue is perfectly paced, unexpectedly funny in places, and meaty. For $2.99, you get nearly 50 pages of story with nary a bit of filler — quantity and quality. Even better, those pages are graced by Rodin Esquejo and Sonia Oback’s sophisticated, comely art. It’s the little details that catch the eye, like strands of Elle’s hair intertwining or a pivotal character emerging not out of thin air but curling, white cigarette smoke. The artists obviously took a great deal of care in defining the characters and their surroundings.

With a strong story and a striking visual presence, Mind the Gap #1 makes an excellent first impression. Grade: A

The deal was that the rights to Watchmen would revert to Moore and Gibbons once the trade went out of print for a year. It became a huge success, so guess what? It never went out of print. Moore has been scathingly critical of DC ever since, though Gibbons’ attitude toward the 2009 movie and the prequels is much more charitable. Neither is participating in Before Watchmen, which will be written and illustrated by some high-profile creators — some that we adore.

Still, that smiley face with the bleeding bullet hole seems a perfect symbol of the shiny happy spin on an ugly story. Moore isn’t the most sympathetic character given his tendency to say that the comics industry has gone to shit since his heyday. But that isn’t the issue. If he and Gibbons were essentially cheated, regardless of whether they should have negotiated a better contract, is any project connected to Watchmen defensible without their combined blessing? Some say Moore is beating a dead horse, but he’s not the one who keeps bringing it back to life.

Other pertinent questions:

• Does a reader who buys this book, and any artist who signs on, cosign DC’s actions? Most of us buy stuff from (and have probably worked for) companies that do sketchy things.
• Does the fact that many creators have gotten a raw deal from the comics industry make this case less noteworthy?
• As long as we get the comics we want, do fans care about the way creators are treated?
• What is to be gained, besides money, by revisiting a work that most people agree is brilliant and perfectly self-contained?

The new comics might so amazing that they shut up all the skeptics, though the bar for critical success seems almost impossibly high. So now we ask you a question, dear reader. Does Before Watchmen deserve a chance? After voting, please feel free to elaborate in the comments section.

Amid all the geeking out, the movie — filmed at San Diego Comic-Con in 2010 — acknowledges the elephant in the room: Comics have been relegated to the background of a giant convention with “comic” in the name, and that is now largely about mass entertainment. It’s unreal to look at old photos of the first Comic-Con in 1970 and compare those images to the huge scene it is today.

But Spurlock goes intimate, focusing on people with the kind of specific, heartfelt passion that defines fandom. Whether or not you’ve been to a major con, you’ll likely see a bit of yourself in the central characters and relate to the comments from anonymous con-goers and well-known creators like Joss Whedon and Kevin Smith.

Comic-Con IV: A Fan’s Hope follows a set of interesting players: Aspiring comic book artists Skip Harvey and Eric Henson, Mile High Comics owner Chuck Rozanski, gamer and amateur costume designer Holly Conrad, action figure enthusiast Anthony Calderon, and lovebirds James Darling and Se Young Kang, who met at Comic-Con the previous year. They all represent different facets of the event, but they’re united in their devotion to the things they love. Tone is important, and Spurlock never mocks his subjects or their pursuits.

Harvey and Henson bring their lifelong dreams and their portfolios to the Comic-Con, and despite their talent, there are critiques and hard realities to endure. Depending on your perspective, it’s either funny or a tad troubling to see Kang refuse to let Darling leave her side so that he can pick up the “Lord of the Rings”-inspired rock for the proposal.

Rozanski, who has been to Comic-Con 38 years in a row, talks about trying to sell comics at a convention where he can’t even use the loading docks at the back of the building (LucasFilm owns them now). Making a decent profit would be nice, but he’d really like to sell an extremely rare, mint Red Raven comic with an asking price of $500,000 to alleviate his financial burdens. Rozanski also has the most memorable line of the documentary:

“When a woman tells you to grow up, that’s God’s way of telling you to get new woman, especially if she tells you to get rid of your comics. There’s three billion women on the planet and not a lot of great comics, so it’s an easy choice.”

What Comic Con IV: A Fan’s Hope does well is to tap into the child-like glee that fans get from temporarily living out their fantasies, meeting their favorite creators or acquiring something cool. Calderon has a sparkle in the eye as he talks about his quest for an 18-inch Galactus figure. When he says he’s not leaving without it, you believe him. Conrad wants to bring Mass Effect alive by re-enacting a scene from the game before a con audience. There are happy and hopeful endings, and some tears.

I do wish the documentary had devoted more time to Comic Con’s evolution from a comics-focused event to the wide-ranging juggernaut it is today. Rozanski hints at the conflict between the old-timers and the Hollywood machine that has overtaken the event, but it’s mostly glossed over. And while I certainly understand the fan mindset, some viewers might be left wondering why someone would spend countless hours preparing to do a five-minute skit based on a video game, or devote an entire room in their house (and a safe) to toys. But maybe Spurlock wanted to avoid pathologizing his fellow geeks by psychoanalyzing them. Is it really that big a deal if someone wants to be Deadpool for a few days out of the year?

Will con veterans learn anything new from this movie? Probably not. Still, as someone who has been in hotel lobbies full of Stormtroopers, Steampunkers and Snapes, I found it charming and full of satisfying human drama. If you’ve never been to a con, don’t be surprised if you have the urge to dig up a cape and get to one soon. Grade: B

Matt Murdock and Elektra Natchios, Malta, 1983

“What are the consequences for women when they are strong, and when they are the central actors of their own lives?”

It isn’t hyperbole to say that every comic book fan should see “Wonder Women! The Untold Story of American Superheroines,” the excellent documentary that premeired last month at the South by Southwest Film Festival. But you needn’t own a single comic book to fully enjoy this film. Thought-provoking and frequently moving, “Wonder Women!” examines the history of fictional heroines in popular culture, and how their highs and lows have reflected the lives of real American women since the 1940s.

It’s full of insightful commentary from activists, artists and scholars like Gloria Steinem, Trina Robbins, Lynda Carter and Bikini Kill lead singer Kathleen Hanna, as well as the stories of everyday men, women and children who are inspired by the most iconic heroine of all — Wonder Woman. Director Kristy Guevara-Flanagan graciously provided Girls Gone Geek with a copy of “Wonder Women!,” which is not yet in wide release. It’s so good that V. and I are on a mission to spread awareness in the hopes that it eventually becomes available for all to see. In the meantime, you can view a clip on the movie’s website.

“Wonder Women!” delves into Wonder Woman’s backstory as well as that of her eccentric creator, William Moulton Marston. Imagine being a kid, especially a girl in 1941 and seeing this powerful superheroine flying an invisible jet and knocking bad guys around like bowling pins. “She was the only hero who made you feel good about yourself,” Steinem said, reflecting on her own girlhood discovery of the character.

On the homefront, American women discover their own power by making and even flying planes while the men fight World War II overseas. But after the war, as women are expected to put down their rivet drills and go back to the kitchen, Wonder Woman’s commanding image suffers.

It’s not just her. Lois Lane dreams of becoming Mrs. Superman. Batwoman, who fights crime with a special makeup compact, is portrayed as incompetent and is frequently lectured by Batman. Even Catwoman is tamed, temporarily renouncing her career as a jewel thief.

Steinem shares a great anecdote about Ms. magazine’s campaign to restore Wonder Woman to glory after the character was de-powered and turned into a clothing boutique owner/martial artist in the late 1960s. (Wonder Woman famously appeared on the first issue of Ms. magazine in 1970, striding across the landscape in her original costume.)

“I remember the person in charge of Wonder Woman calling me up from DC Comics, and he was so annoyed,” Steinem recalled. “He said, ‘OK, she has her magical powers back, her lasso and bracelets; she has her invisible plane back and she has a black, African sister named Nubia. Now will you leave me alone?’ ”

Carmela Lane, an immigrant from Brazil, draws inspiration from Wonder Woman.

It’s fascinating to see the progression of the heroine in comics, television and film over time — characters like Buffy, Xena, Ellen Ripley and the Bionic Woman, all represented here. Lynda Carter, who is Wonder Woman for a generation of fans, tells some interesting stories about her time that role. She was stunned by one person’s opinion that female viewers would end up hating her, a prediction that obviously turned out to be dead wrong.

“Wonder Women!” has a strong point of view, and it isn’t afraid to embrace feminism or to ask hard questions about the treatment of women in the fictional realm and the real world. Modern-day sexism in comics doesn’t get a pass, and I want to high-five author Jennifer K. Stuller for putting to rest, once and for all, the old chestnut that male and female characters are similarly portrayed.

“People who say that men are just as hypersexualized or hyperidealized in comic books, in movies and/or television – that’s just bullshit,” Stuller said. “I would say that men may be drawn as muscular and handsome, but they’re also shown being active. They’re shown saving the day. Women are shown in very little clothing and being tortured, raped and murdered, so (men) are not subjected to that same sort of treatment of their bodies.”

But what gives “Wonder Women!” emotional depth is the commentary of fans like Katie Pineda, a fourth-grader whose confidence shines above her speech impediment; Andy Mangels, founder of the annual Wonder Woman Day project, which has raised more than $89,000 for battered womens’ shelters; and Carmela Lane, an immigrant from Brazil who is trying to making a better life for her daughter in the U.S. — and possesses some epic Wonder Woman tattoos. When you look at the footage of women and girls of all races and body types in Wonder Woman cosplay, it’s clear that they feel empowered just by wearing the costume. The Amazon Princess is more than a character in book; she’s a real source of inspiration for people of all genders and ages.

The question remains: Where did Wonder Woman go? She still has an ongoing comic book, but she hasn’t occupied the general public consciousness in a major way since the 1970s. We’re inundated with stories about male superheroes. Wonder Woman remains a unique and important symbol of female strength, one that — to echo Steinem — can make girls feel good about themselves.

“It’s time for DC to come forward. We’d love to have a full feature, live-action Wonder Woman movie,” said one fan, proudly dressed in full Wonder Woman regalia at a convention. “It’s time.”

Miss Martian by Olga Ulanova.

In comics, every teen hero reaches a point where he or she wants to prove capable of saving the world, or at least the day, without adult supervision. It’s a timeless theme that has fueled many excellent stories.

But what if the elders are completely out of the picture, maybe for good? What becomes of the sidekicks, to say nothing of the world, that they left behind?

Those questions are at the center of Danger Club #1, which is yet another top-notch offering from Image Comics. The Earth’s young capes are in a dark place after the disappearance of their mentors, who were last seen departing for space to fight a yet-unnamed evil. Apollo, a super-teen with a god complex, has exploited their fears so well that some are falling all over themselves to follow him. But the members of the Danger Club, led by Kid Vigilante, are not having it. Actually, Kid Vigilante isn’t having much of anything. Confident and extremely tough, he provides the book’s most shocking moments. The first rule of Danger Club? Do not make him hit you.

Writer Landry Q. Walker sets a fast pace and doesn’t waste a lot of time with setup or character introductions. This is an efficient, action-packed story that makes the most of the comic’s premise. Left to their own devices, a bunch of agitated, powerful youngsters are fighting among themselves, jockeying for position and abandoning their ideals. With apologies to The Who, the kids are not alright. I’m thinking “Lord of the Flies,” only with teleportation, giant robots and sonic blasts. Walker has created quite an interesting cast of characters to develop.

Eric Jones’ art here is fantastic. Check the opening page, done retro style. The scenes in the arena where Apollo holds his messed-up auditions for sycophants hum with energy. Most importantly, Jones never lets us forget that children are the players. Everyone looks about 14, tops, making the violent scenes uncomfortably unforgettable. The color scheme is too heavy on blues, purples and grays for my liking. However, there are bursts of color that burn brightly against the moody backdrop.

With a smashing first issue to its credit, Danger Club has all the makings of a high-quality hit. Join up.

A version of this review appeared previously on Newsarama.com.

Betty and Veronica who?

It takes quite a romance to make a love triangle that’s more than 70 years old seem irrelevant. But that’s precisely what happened when Archie and Josie and the Pussycats guitarist Valerie rocked each other’s world in 2010, making headlines as Archie Comics’ first interracial romance, ever. This was no bland nod to progress, either. Writer/artist Dan Parent made their courtship sweet, believable and, dare I say it, pretty hot. After years of being a card-carrying member of Team Betty, I’m all about this new direction.

Valerie and Archie parted ways when the Pussycats hit the road, but she’s back in town and the sparks resume flying. While Veronica hates from the sidelines, Betty faces reality. “I’m not sure he’s our Archie anymore.” But wait! There’s more. As Valerie’s family settles into their new Riverdale digs, we’re introduced to her cute brother Trev, whose presence sets off a nifty chain of events I sure didn’t see coming. Real surprises in an Archie book? Believe it.

Archie Comics seems to be genuinely invested in these two. In issue #633, we’ll see a possible future in which Valerie and Archie marry and have a daughter. But for now, Parent simply allows the two to pick up where they left off. Cartoon hearts abound, and the characters are so permanently snuggled on a park bench that Jughead quips, “I thought a new statue had gone up.” Valerie’s touring lifestyle could make for some good storylines as she and Archie deal with occasionally being apart. It will also be interesting to see how Trev’s character figures in future issues, especially in light of the aforementioned plot development.

As an illustrator, Parent has a style that’s simple, clean and classically “Archie.” I really appreciate the fact that Valerie isn’t a photocopy of Betty and Veronica, colored brown. Parent took the time to give her slightly different features and hair, and a style that’s a little bit edgier than theirs. He definitely has a way with character expressions. I’m thinking of one panel in particular where Valerie fixes Archie with the Icy Glare of Death after he talks about Betty too fondly. Digikore Studios provides bright, cheerful colors that pop.

Teenage romances aren’t known for their permanence, but some of Parent’s dialogue suggests that this one has legs. Archie #631 is a sugary good time.

— A version of this review appeared previously on Newsarama.com.

Batwoman and The Question by Kathryn Lano.

Katniss Everdeen, woman of action.

“In two weeks, 23 of you will be dead.”

One of the many uncomfortable things about watching The Hunger Games is that moment when you realize, “I’m watching The Hunger Games.” The story may be fictional, but it’s nonetheless almost physically unsettling to see children on the verge of killing or being killed.

For the five people who haven’t heard of Suzanne Collins’ wildly popular dystopian series of novels, the Hunger Games are annual contests in which 24 young people ages 12 to 18 must battle to the death until only one is left standing. Worse, it’s all packaged as a festive reality show by the wealthy Capitol, which rules the nation of Panem. A few critics have knocked the film version for not having the guts to look this forced savagery in the eye, but I disagree with that assessment. Even the shaky-cam approach can’t soften those first moments in the arena when you see it dawning on these kids, some of them heartbreakingly small, that a violent death is possibly just seconds away.

Being entertained by a movie about killing as entertainment is, well, complicated. But as a movie-going experience, The Hunger Games is a very good one. A single feature film can’t include all the elements that made the book such a fantastic read, and some hardcore fans (I consider myself one) might be displeased by some of the shortcuts and slight deviations. However, most of the important things remain intact. The movie has many gripping moments and is respectful of the source material.

Jennifer Lawrence nails the role of the reluctant heroine Katniss, giving her the stoicism and contained vulnerability that the role demands. She offers herself up as a “tribute” to save her little sister, whose name is called in the grim lottery (the “reaping”) that determines the games’ contestants — one boy and one girl from each district. The movie captures the gray, thoroughly depressing aura of the districts, and the oppression is palpable on reaping day. Even when she’s all dolled up for the pre-Games festivities, a combination of the Olympics opening ceremonies and the Miss America pageant, Lawrence comes across as a relatable young woman.

The reaping also introduces us to her male counterpart, Peeta (Team Peeta!), sympathetically played by Josh Hutcherson. Realistic about his chances, Peeta still has the presence of mind to play to the crowd in the Capitol so that he can stay alive as long as possible, and maybe help Katniss do the same. Hutcherson makes Peeta instantly likeable even if, as in the book, his intentions aren’t immediately clear.

If the movie has a noteworthy weakness, it’s that there isn’t enough time to develop Katniss and Peeta’s relationship, which was such a compelling part of the book. Their survival depends not only on their prowess in the Games, but their ability to be believable as star-crossed lovers from the same district. The movie doesn’t deal much with the question that defined their partnership in the novel: Just how real are their feelings? Gale, Katniss’ hunting partner and more-than-a-friend back home, has precious little screen time. What’s most important, though, is that the film stays true to Collins’ characterization of Katniss as a woman of action who can take care of herself.

The movie brings to vivid life the disgusting, opulent circus surrounding the Games. The Capitol is filled with people who decorate themselves like Christmas trees and view the spectacle as great fun. Donald Sutherland oozes evil as President Snow, and Elizabeth Banks personifies the clueless frivolity of the Capitol citizenry in her role as Effie, Katniss and Peeta’s cloying escort. But the real action takes place in the woods of the arena, crawling with hidden peril, short-lived alliances and senseless tragedy. Even if you know how the story ends, the sprint to the conclusion is intense, frightening and often just plain sad.

This is a film that should (mostly) satisfy the book’s fans, and it surely will inspire more than a few people who are new to the party to grab the books and get up to speed for the sequel, Catching Fire. See you at the multiplex! Grade: B+

Lona by Ryan Kelly

An exceptional comic book leaves readers thinking not only about the story’s potential, but also the brilliance of what it has already delivered. Saga #1 is that kind of comic. From the beginning, it is obvious that writer Brian K. Vaughan and artist Fiona Staples have created something special, and what a rare joy to read a highly anticipated book that delivers on every level.

The title promises a sweeping, ambitious narrative, which is exactly what Vaughan and Staples deliver: forbidden love, war, a tense manhunt, political intrigue and sex — all in an exciting sci-fi/fantasy package. But the reader needs characters to care about above all, and one cannot help but become attached to married couple Alana and Marko. Together, at the worst possible time, they are trying to flee the destruction of the fighting between their homelands. On top of that, their union is an intergalactic incident and, apparently, an abomination. Marko is described as “a monster;” Alana, who has just given birth to their child, is dubbed “a whore.” The odds against them are terrible, and yet, the warmth and tenderness between them shine through the gloom. They have some playful and sweet moments, even as they dodge capture with a newborn in tow.

(As for that guy who was upset about the sight of a nursing baby on the cover, there are a couple of panels in this book that would make his head explode. Aside from the fact that there is nothing remotely offensive about breastfeeding, I hope he’s figured out by now that this a book for a mature audience.)

Juxtaposed with this intimate story is a large-scale war, and Vaughan does an excellent job of showing the reader the forest and the trees. The fighting between the planet of Landfall and its lone moon, Wreath, has been outsourced to other places, engulfing other planets far and wide. There are so many layers, which the writer puts together without needless exposition. At 40-plus pages — not a single one wasted — Saga #1 gives the reader a meaty narrative that’s complex but not confusing. Who would expect anything less from the guy who wrote Ex-Machina and Y: The Last Man, which is only my favorite comic book series of all time?

Artist Fiona Staples became a favorite of mine after Mystery Society, and her impeccable, elegant work here is a knockout. The players are so strongly defined, ranging from the otherworldy yet very human Alana and Marko, to fearsome beasts worthy of Star Wars, to robots that are a freaky combination of technology and humanity. Whether in small moments or grand, show-stopping panels, Staples’ illustrations and rich colors make Saga a highly memorable visual experience. Fonografiks’ artful lettering really enhances the book, especially during the moments of narration. All the ingredients blend so well that the reader is never left thinking, “This is such a good comic, but I wish the (insert artistic element here) were better.”

For $2.99, you’re not going to find a better single-issue read anytime soon. Rich in story and beautifully executed, Saga’s first chapter sets the bar very high for the rest of this series. Somehow, I think this creative team is up to that challenge. If you didn’t grab this last week, what are you waiting for? Grade: A+

— A version of this review appeared earlier on Newsarama.com.

I could rattle off many reasons to watch this show, from the stellar cast to Dean Pelton’s penchant for drag and extreme political correctness (The school mascot is the Human Being). But “Community” is more than a great comedy in the general sense. It may be the geekiest show on television. This is not a knock against “The Big Bang Theory,” a show that I watch and enjoy. However, where “BBT” takes a much broader approach in serving up nerd culture, “Community” is more sly and, in my opinion, sharper with its comedic delivery. And boy, does it deliver. We’re talking zombies, dead-on action movie sendups, the “Doctor Who” knockoff “Inspector Spacetime,” an “Earth-2″ United Nations and much more. This is a show that expects the viewer to be on his or her pop culture game, and that may be one reason it’s not a ratings juggernaut. Hell, there are probably dozens of geeky asides that have flown over my head, but that just gives me an excuse to re-watch. No wonder this show has inspired several comic book-style tributes.

Still on the fence? Check out some of the Greendale’s geekiest highlights and then go watch this show. Tonight. Seriously.

Don't invite Chevy Chase to game night.

“Advanced Dungeons and Dragons” (Season Two)
Along with the classic paintball episode, this comedically rich installment is one of my favorites. When a long-suffering student cruelly nicknamed “Fat Neil” falls into despair, the normally self-absorbed Jeff (dubbed Jeff the Liar, son of William the Barely Known) intervenes by pretending to be interested in Dungeons & Dragons, one of Neil’s passions. Before long, almost the entire gang is drawn into the game: Annie the Day Planner, Troy the Obtuse, Shirley the Cloying, Abed the Undiagnosable and Britta the Needlessly Defiant. When the chronically racist/sexist senior citizen Pierce is left out (He’s not called Pierce the Dickish for nothing), things get really ugly and equally hilarious. The narrator calls it “the most important game of Dungeons and Dragons ever,” and I’m inclined to agree. Abed’s turn as an elf maiden is worth the price of admission alone.

“Introduction to Statistics” (Season One)
There’s a lot to like about this Halloween party episode, but the shining star is Danny Pudi as Abed as Batman. Even though Abed is rocking a Party City costume, he is fully committed to the character, employing a gravelly Christian Bale growl and ominous monologues: “Wherever there are masks, wherever there’s tomfoolery and joy, I’m there. But sometimes I’m not cause I’m out in the night, staying vigilant. Watching. Lurking. Running. Jumping. Hurtling.” Pierce, dressed as the Beastmaster, pops some mysterious pills to stave off feeling old and winds up freaking the hell out. Despite Shirley’s Harry Potter costume, everyone assumes she’s dressed as Steve Urkel. Lots of funny hijinks, but it’s all about the Batman. And his Chapstick.

“Foosball and Nocturnal Vigilantism” (Season Three)
Bested by a gang of asshole foosball players from Germany, Jeff is on a mission to master the game and defeat them. (Best line, from one of the Germans: “You are now so on that things have become very much like Donkey Kong.”) Since the saintly Shirley’s got foosball skills, she offers to train Jeff — and then it’s revealed that they have some very unpleasant history. This culminates in an epic foosball battle between them that is depicted “Dragon Ball Z” style. My jaw dropped when I saw this because it was so wonderfully WTF, even by “Community” standards. Remember, this is a show that did a whole Christmas episode in stop-motion. Even better, Abed returns as Batman as he investigates the loss of his collectible $299 “Dark Knight” DVD signed by Christian Bale.

Worst housewarming gift ever.

“Remedial Chaos Theory” (Season Three)
Bromantic duo Troy and Abed invite the gang to their new apartment for pizza and Yahtzee, but once the die is rolled, the timeline fragments into seven separate realities. This is a beautifully executed episode that exemplifies the kind of mundane/absurd mashup that “Community” does so well. While some things remain the same in each timeline, such as Pierce’s crass anecdote about having carnal knowledge of Eartha Kitt, others go into wild and unexpected directions. Then there’s The Darkest Timeline, which ties up with an ending that must have made Star Trek fans everywhere smile. It’s trippy and innovative, and it had me singing “Roxanne” for days.

To those of you already on board, what’s your favorite episode?

The Joker by Francis Tsai

Kick-Ass by Ricken

OK, not really. But I’m pleased to announce Blair J. Campbell’s costume redesign won Superhero of the Month’s most recent contest, in which V. and I served as guest judges. For me, it was a tie between Campbell’s costume and Michelle Scuito’s, which was V.’s favorite.

In case you missed it, here’s what we had to say about our two top picks:

Blair J. Campbell's winning redesign.

V: This design is simple, functional, and still a bit cheeky. The hair isn’t overdone, but still represents the signature flame. The costume works for the character. I can see Koriand’r zipping around in this. Whether fighting a villain in space or poolside; Campbell’s design strikes a happy medium.

E: I love the streamlined simplicity of Blair J. Campbell’s design. It’s clean, fresh and youthful, and it would work for Starfire as a kid (think Teen Titans cartoon) or an adult. While it’s certainly eye-catching, it doesn’t completely overshadow the character. With Starfire, there seems to be a great temptation to gild the lily, so to speak. This costume goes in a completely different and refreshing direction.

E: Kory is an alien, and this striking, full-body costume conveys her other-wordly qualities and power. While there are plenty of details, like the green jewel embellishments, it isn’t overdone. Sciuto’s lovely design hits some very high notes, so for me it’s a dead heat between hers and Campbell’s.

V: This design is my favorite. When I think of Starfire, I think of her battling Lady Styx in space. This looks like a royal space uniform. I am a fan of simplicity, and this one is simple and pretty. The jewels make for an appropriate embellishment. This, too, is a happy medium as I could see a young Starfire wearing this, as well as a more mature, curvier rendering. Basically, this is an awesome space suit! And the hair, while a bit over the top, looks fantastic.

As V. said earlier, few characters need a new look as badly as Kory. This is not about looking down upon a female character who expresses her sexuality. We got no problem with that. What I do have a problem with is that the current costume is tacky and seems designed solely to inspire ogling. Nevertheless, the whole thing got me thinking about the difference between raising a legitimate complaint in this area and being prudish. I reached out to Sue at DC Women Kicking Ass to get her take, and she summed it up well:

“Are the men and women drawn in a similar fashion? Is the woman posed unnaturally or have a body shape that is unnatural (i.e. Boobs don’t work that way)? Is your eye drawn to the page or to her boobs? Does she seem to have agency in the moment? I like cheesecake when the women are in on it. See Amanda Conner to see what I mean.”

(By the way, it would be fantastic to see Conner come up with some new threads for Kory. I’m just putting that out there.)

Congratulations to Campbell for nabbing the top spot, and major props to her and Scuito for coming up with such imaginative, fresh designs. What do you think?

Art by Chiaura Bautista

Wonder Women!, which makes its debut at the South by Southwest film festival next month, could go a long way toward changing that. This buzz-worthy documentary, feauturing interviews with artists and icons like Lynda Carter, Gloria Steinem and Trina Robbins, examines the evolution and history of female heroes in comic books, television and film. Directed by Kristy Guevara-Flanagan and produced by Kelcey Edwards, the movie got a huge boost from two successful Kickstarter fundraisers, which made it possible for the movie to be completed and polished for prime time. I’m dying to see it, and based on the response to the fundraising effort, it’s clear that many others are, too.

I interviewed Guevara-Flanagan for the CNN.com Geek Out! blog, and she’s clearly committed to bringing the stories of these heroines to light. Carter even tweeted about it, urging her followers to get behind the project.

“Thank you, Lynda Carter!” Guevara-Flanagan said. “We have been floored by the support, and as we are cranking away into the wee hours, it really cheers us on to know that our story is important, that people really are hungry for stories about strong women, and to know that there will be an incredible audience for us when the film launches.”

Even though the documentary has reached its fundraising goal, you can still contribute through March to help the filmmakers bring Wonder Women! to other cities and promote it further. I certainly plan to.

Guevara-Flanagan gave the scoop on the documentary, and why society still struggles with superheroines.

Q: What inspired the film?

A: We have been working on the film for over three years. I remember a few years ago reading an article about Gail Simone, who was writing the Wonder Woman comic at the time. I was surprised to discover that she was really the first woman to ever actually pen the super-lady. That really made me think about all the other Wonder Woman-like characters out there. Who created them? Why? And why were there so few of them that seemed really empowering?

Q: Did you grow up reading comic books? Who were your favorite characters?

A: I actually was not as much into superhero comics growing up as the more indie comics. I adored Love and Rockets. In fact, that is where I really got hooked into the graphic art form, and that was back in high school. And of course, I loved the strong female characters and Latino themes (I am half-Mexican.) From there, it was Hate, anything by Julie Doucet, Maus, Eightball and eventually everything by Adriane Tomine. I still love those kinds of story-driven comics and look forward to the Best American Comics anthology every year!

Q: What do you think accounts for the lack of acknowledgment of female superheroes in popular culture, and how do their stories mirror the lives of real women at various points in history?

A: I think we as a culture still have a hard time with the powerful female figure. Look at how we cover and report on our female political leaders. Much is made of the way they look, how they dress, their hair and makeup. I think strong women are continually brought down in this way, by focusing on their physicality instead of their real merits.

Female superheroes are treated the same way. They can’t be too butch or they won’t be love interests for the majority of the male readership and hence, too threatening. We like these women to kick ass, but we also seem to need them to be potential romantic figures. And so, they need to dress and look a certain way.

Of course, when the superwomen first emerged in the ‘50s and ‘60s, they were married to other supermen or were related to them. They didn’t even get to exist in their own right. With the women’s movement and other societal gains that came about in the ‘70s, they were finally able to be characters that weren’t birthed from Adam’s rib, so to speak. Today we have some female superheroes, but there still are not a ton. They are sexually liberated but they also tend to be incredibly sexualized in the way they are drawn and how they pose.

Q: What makes Wonder Woman the ideal symbol of the film?

A: When I began, I had no idea of Wonder Woman’s early origins or even that she had been around for as long as she had. She was fairly inspired and inspirational in the beginning and that made sense, since American women themselves were, for the first time, asked to work outside of the home and join the war effort (during World War II). As the women’s movement gained traction again in the ‘70s, she became a symbol of female empowerment, both because of the TV show’s success and because the women of Ms. Magazine heralded her as an icon.

Today, she is mostly that same symbol of strength for women. Many don’t know her real story or mythology, and younger audiences don’t even remember the TV show. It would be nice to see her story come back in a major way, and the fact that there is yet to be a Wonder Woman feature film is crazy to me.

Q: After SXSW, what are your plans for the film?

A: We hope to play at festivals all over the globe and to secure a broadcast deal so we can screen on TV. From there we would really like to do some community outreach: screenings at schools and colleges, panels at conferences about comic arts and women in the arts, and to develop some educational, interactive component online where teachers, parents, young and old can find out more information about the forgotten real and fictional female heroes out there.

Damian by Peter Nguyen.