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+

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

See, when I started buying comics, Wonder Woman was the first and only title on my pull list. I somehow fell into a group of friends who had collections of comics and trades to borrow for YEARS (I still haven’t read all of their libraries), but I wanted to support Wonder Woman. It helped that Gail Simone would be writing the character soon after, but I did it for Diana. Since then, many books have come and gone from my pull list. Wonder Woman is the only title that has been constant. For better or worse (JMS), I have been buying and reading Wonder Woman every month since I jumped down the comic book rabbit hole.

I am also one of many who, as a little girl, watched episodes of the TV series and did my damndest to spin into something more wonderful than my four-year-old little self.

"When I grow up, I want to have an invisible plane!"

The character and qualities of Wonder Woman inspired me then and has come to mean something very special to me today.

In the last three issues of Azzarello’s Wonder Woman, I find myself less than inspired. What started off strong is now bringing diminished returns in the form of Diana’s intellect, or lack thereof. Diana is repeatedly being tricked or lied to in some monumental way, and she’s falling for it.

I recall a conversation I once had with my grandmother. As matriarchs do, she had questions about the guy I was dating at the time. I answered her questions, but she was skeptical about him. While she would never dictate who I date, she did look me square in the face and say, “You are very smart, Vanessa. Don’t you dare dumb down for him!”

I didn’t.

We aren’t together anymore.

Now, everyone isn’t my ex-boyfriend, and I am certainly not Wonder Woman. As Azzarello’s Wonder Woman is selling better than the title has in a very long while, I wonder: Is a naive and easily manipulated Diana more palatable to the masses? Do we like our Wonder Woman better stupid?

"OMG! Did Hades just trick me?"

"Yup. Hades totes tricked me."

"I was born yesterday. The Amazons have been doing what for centuries?"

"What's Stockholm Syndrome?"

"Dead people attacking me. In hell?"

Yeah, Diana. I'm shot through the heart too ... with that damn look on your face. Also, Hades tricked you. Again.

I know there are various methods in fiction writing that make the protagonist interesting. One of them is creating conflict and struggle in order to build the character back up, and to give the audience something to root for. But Azzarello’s “deconstruction” of Diana’s personality is irritating the living shit out of me. Diana of Themyscira as a dumbass has got my goat far worse than the vilification of the Amazons. Apparently being one of Zeus’ bastards throws Athena’s wisdom out the door. Perhaps it’s a punishment from Hera.

How do you grow up in a culture and not know the Amazons give away their sons? How do you worship, study and interact with these gods, yet not know how treacherous they can be? How do you go to hell and be duped in such a grand way when you once walked through Hades blind? Why the fuck did you hand Hades Eros’ guns!!!?

At the beginning of Azzarello’s run, I was singing the praises of his Wonder Woman. She seemed capable and self-possessed. Even with the revelation that her birth was not divine magic, I did not feel that was forced or incongruent with the Diana that we know and love. But the barrage of naiveté in Wonder Woman is just plain disappointing.

I look at her counterparts in the DCU. Batman is inherently flawed, so maybe that’s why the masses worship him so. Superman’s easy. Corn-fed white boys are always in style in America, even if they don’t know it. But Wondy’s key persona has been put through the wringer over the past two years in an attempt to sell books or reinvent the character, and I am tired of it.

Let me make it easy for you. Wonder Woman is compassionate. She is skilled at war and diplomacy. Wonder Woman is brave. She is strong – physically and mentally. She is fair. Wonder Woman is determined. She is regal. Wonder Woman is wise.

Azzarello, you may very well be a genius writer. OR … you could be a Blorgon in disguise. I sure as hell don’t know. I don’t know you. But I want you to know what you are dealing with. Yes, Bat-followers are just about every dude in America and Supes fans are far and wide. But Wonder Woman fans are different. She is our leading lady, and there are few in all of fiction as powerful as her. So, we are invested in her future.

Kevin Smith can write Bruce admitting to pissing his pants, and it gets laughed into the ether. We’ve all but forgotten about Superman walking. But I have a feeling what you are doing with Wonder Woman is going to stick. You are moving books for DC on this title for the first time in a long time (save #600), and that means money. Money means power. Power to do what you will with Diana. I know you’ve got the ending planned already, but I hope to see her offered a bit more wisdom and grace along the way.

Please take care of our Amazon Princess. Not for her (because she can take care of herself), but for us.

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

“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.”

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.

Alpha Girl #2

Imagine if Archie were a grindhouse film, The Walking Dead met Strange Girl, or Pee Wee from Porky’s rolled up an issue of Chew … and smoked it. These are the things I think of as I read Alpha Girl, but Alpha Girl #2 isn’t quite any of those things. With a zombie apocalypse on the horizon, this intentionally gratuitous tale of a 17-year-old girl tries really hard to be fun. Maybe too hard.

Alpha Girl #2 is just another day in the life of Judith. The super-cute, foster-home bred, chain-smoking protagonist works at the local book mart. We know she’s totally indie because of her black A-line cut hair and Ramones t-shirt. From one panel to the next, the story goes straight to the gutter when her co-worker inquires whether or not her urine is diluted. She is selling it to him. To supplement her income, Judith is in the business of selling bodily fluids to the highest bidding pervert (or in this case, just friends in need of some clean pee). We also get the pleasure of a full exposition of her “inventory.” Her festive entrepreneurial skill is punctuated by a bunch of rabid women on the loose, ripping out the jugulars of men with their teeth. As infrastructure and sanity go to hell, the reason Judith is to become Alpha Girl is set into motion.

What set off this particular zombie apocalypse? A cosmetics company’s attempt at placing pheromones in perfume turns women into raging zombies. I sense an attempt at a powerful allegory here … or not. A young girl who’s had a tough life is being set up to probably kick some major zombie ass. Perhaps, she will develop into something other than a pixie not-so-dream girl cliché … or not.

Alpha Girl #2 starts with a clear trajectory as it focuses on developing the main character. As the momentum picks up and there are some attempts at action sequences, the pacing and story become disjointed. There are panels that cut to seemingly random moments and people. I’m not sure why they are relevant to the story or how exactly we got there. I wanted to keep reading, in hope that there would be some payoff. That didn’t happen. For a book that clearly doesn’t take itself too seriously, it was proving to be a lot of work just to make sense of things.

While the story leaves some things to be desired, Robert Love’s stylized, quirky art is quite enjoyable. It is the redeeming quality of Alpha Girl #2. The ridiculously gratuitous plot is tempered by the colorful, expressive, cartoonish art. From Love’s pencils to Diego Simone’s color, the art of Alpha Girl is fun and campy, successfully.

My only gripe about the art is the cover. How they go from the striking cover of Alpha Girl #1 to this is beyond me. The cover to issue #2 is a snapshot of a new character that appears in this issue, but it seems completely out of context. It does nothing to sell the book, and belongs in an interior panel.

I am certain there is an audience for this book. I am also sure that said audience would enjoy it. Does that make it a good comic? Not necessarily. The creators of Alpha Girl get an Anarchist “A” for effort. I can sense their desire to make this story stand out and be entertaining, but the execution is flawed.

— 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.

Snyder’s Detective
You can catch me almost anywhere complaining about how Batman is overrated and over exposed, so I tend to steer clear of most Batman books. Comixology had a stellar sale on Snyder’s Detective Comics, issues #871 thru #880. I bought them. I know, I am super late to the party, but wow. Snyder’s Detective is suspenseful and interesting. I love how Snyder shows that while Dick is a good Batman, he is no Bruce … and people notice the difference. Also, Snyder gave me a new appreciation for Commissioner Gordon. I think Jock’s art is great, but Francesco Francavilla is AMAZING. I know I am late to that party, too. It’s not that I am not familiar with Francavilla. I am. He has been killing it on cover art. But within the pages of Detective Comics, telling the story of Gordon’s son; he really strikes a superb aesthetic. This is good stuff people. You probably already knew that. Now I do, too.

My Stash This Week …
Wonder Woman #7, Birds of Prey #7, Fables #115, The Infinite Vacation #4, Strange Talent of Luther Strode #6

Birds of Prey FTW!
Seven months into “The New 52,” and DC books are dropping from my pull list like flies. Only a few remain, and they remain because they are that good (and maybe one out of character loyalty). Birds of Prey remains because Duane Swierczynski and Jesus Saiz are doing a bang up job. I have sung the praises of the Birds, but it keeps getting better. Issue #7 is in the thick of the arc that has been going on from the beginning. You could jump into this issue, it would still be a damn good read. But go back to the start, and read Birds of Prey from issue #1. You’ll thank me for it.

Fables
This month’s cover of Fables #115 might be one of my favorite covers … ever.

Fables has spent the better part of ten issues “seed planting,” and Willingham is slowly doling out the fruit of that. One of Snow’s seven offspring, Therese, has found her way to the land of Discardia where she is to be Queen. While Snow heads off to search for Therese, the dynamic among the cubs continues to develop as things change at home. Nurse Spratt has been found in the dungeons of Castle Dark, and is shoveling quite the snow job on the returning Fables. You can sense the awful coming. As is they way of Fables, darkness is always just around the corner. These characters eat Murphy’s Law for breakfast, lunch and dinner. I keep eating it up, too. My amygdala likes it.

Speaking of My Amygdala …
Have you read The Strange Talent of Luther Strode!? JESUS. H. CHRIST. This one punched me in the gut. It’s a six-issue mini by Justin Jordan and Tradd Moore. A geeky guy gets super powers, and the consequences of that are … intense. I devoured the first five issues when I discovered it, and was rabid for the final issue. Jordan tells an unforgettable and unexpected story and Moore’s art makes the violence palatable. Sort of. The trade comes out in April. This one might make my best of 2012 list.

The Infinite Vacation
This book is an example of how no matter the length between issues, I am still going to get it (à la Lady Mechanika). Also, issue #3 was so bloody memorable that it will be burned into my brain until death … or dimentia. Fret not, issue #4 will let you keep your lunch. There is more movement through universes and less human torture. Nick Spencer is a really smart man. I don’t know how much of this story is based on actual scientific theory or he just pulled it out of his ass, but it all works believably well. Aside from being a total smarty-pants, Spencer combined with the brilliant art of Christian Ward, make a comic unlike any other. And they do it in every issue. Aside from a few panels in this issue that come off a bit rushed; Ward’s art is stunning. His use of color, shapes and perspective is breathtaking. The Infinite Vacation is equal parts crazy and beautiful. Crazy beautiful.

Wonder … Whoa!
Welcome back Cliff Chiang! I missed you on art duties for Wonder Woman. Your work is stellar, as usual. Props to Matthew Wilson, who’s color compliments Chiang’s art and the story superbly. As for the ongoing saga of the Greek gods, Brian Azzarello is pulling no punches. For all of the prevalence of male on female violence, this story flips that script in a ritualistic mass-rape kind of way. Check Erika’s quick review of Wonder Woman #7, and read this issue. I’d love to know what you think about yet another twist on our darling Amazon’s heritage.

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 read Amy’s blog post addressing her departure from the book. I also read some entries posted on JH Williams III’s blog. One directly discusses the change; another is a bit more abstract. Also, it is my understanding that there are Batwoman pencils by Reeder that will not see print. So, she was in the middle of working on an issue when they pulled her off? Seems … emotional. That makes me wonder if the “differences” were between Williams and Reeder … as in Williams is a tough act to follow.

I LOVE Amy Reeder’s work. She is one of my absolute favorite comic artists. When I heard she had paired with Williams (another favorite artist) on Batwoman (a favorite character), my brain nearly ‘sploded. BUT Reeder has her own style, one that I think works well for Kate Kane. Her work in Batwoman #6 and #7 is beautiful. Much of it has Reeder’s signature hints of Manga and rich expressiveness, but some of the panel layout and flow are very … Williams. Even if his art does not appeal to your aesthetic, it is still absolutely brilliant. I even think that may be an understatement. There is no one out there who does sequential art the way he does.

I know it is kind of in the job description, but what must it be like to take direction as an artist from another artist? Not just any artist, but JH mothafucking Williams III.

I have gathered from things that Williams has written on his blog, the way he writes Batwoman, and looking at his art that he is very meticulous. Maybe he’s even got a streak of extreme perfectionism (which a lot of artists have). So, perhaps taking direction from Williams (on a character whose image he essentially defined) is no cake walk. I wonder if that didn’t stress Amy all to hell. Maybe her style didn’t jibe with Williams’ vision. Maybe Williams ran out of patience. Given his legendary status, maybe he just wasn’t having it anymore.

That is, of course, just a theory.

We may never know the real reasons behind the change-up, at least not in any official capacity. No one owes us an explanation, either. I certainly can appreciate that all parties involved — DC, WIlliams, and Reeder — seem to be minding their manners, and there has been no mud-slinging. Professionalism is good. That doesn’t do much for the disappointment I am feeling, though. It is not just because I am a fan of Reeder, but because that’s one less lady working on a major title in comics. Talent absolutely should be the reason for hiring a person on a book, and I assume that is why Reeder got the Batwoman gig in the first place.

But still.

Amy, I love that you drew one of my favorite characters, and you will be sorely missed on Batwoman. I look forward to whatever you do next. I will buy any book you draw … because you are drawing it. Best of luck!

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?

My Pull List
Wonder Woman #6, Fables #114, Birds of Prey #6, and Peter Panzerfaust #1.

PANZERFEST!
Peter Panzerfaust is a new title from Image Comics, and the first issue is a delight. Inspired by the characters and moments of the well-loved Peter Pan, writer Kurtis J. Wiebe introduces a unique take on the fairy tale that is shining with potential. My knowledge of Peter Pan is peripheral at best. I haven’t even watched Hook in its entirety. But the little that I do know gives Peter Panzerfaust a subtle familiarity while still being very much its own story.

Aside from having a fantastic title, the quick dialogue and reckless abandon of Peter Panzerfaust is endearing. I smiled from ear to ear several times while reading, not only from the story, but from the art, too. Tyler Jenkins’ style is absolutely charming. He graces us with a cheerful splash page introducing Peter Panzerfaust to the world, as well as some brilliant moments with the other characters – Felix, Julien, Alain, Claude, Maurice, and Gilbert, who will come to be known as the Lost Boys.

I have no loyalty to Pandom, but I plan on getting at least the first arc. So, I think that tried and true Peter Pan lovers will especially enjoy this title.  Show some love to the creator-owned PETER PANZERFAUST.

Filling In
Wonder Woman and Birds of Prey both had fill-in artists this month. Tony Akins on Wonder Woman and Javier Pina taking on the Birds. I am still not fond of Akins’ work. He just makes Diana look SO SEVERE. From the bulging muscles to the sharp angles of her face; it’s all a bit much. Still, he manages some great actions sequences, and killer art on the Greek gods. I miss Chiang, though. On a lighter note, Pina killed it on Birds of Prey. He’s as good as Jesus Saiz. He may miss some detail in a few panels, but overall, Pina’s work in this issue is impressive. Both books are working with some kick ass colorists, Matthew Wilson and June Chung, respectively.

Back on Track
Fables was starting to piss me off as of late, but we are back on track now. Juicy tidbits about the North Wind are revealed. Buckingham delivers a pretty stellar splash page of what Snow and Bigby’s cub Winter may grow up to be. The Fables are moving back to Fabletown, which is now Castle Dark. AND there is a beautifully drawn back-up short by artist Shawn McManus set in Oz. All in all, a satisfying issue. For those of you getting the single issues of Fables, we are finally starting see the following revelation unfold …

Alright. I have to go pack. Talk to you next week, lovelies.

Girls Gone Geek has the distinct pleasure of being guest judges over at Super Hero of the Month for the Starfire redesign contest. E. and I both agree that few characters could use a fashion makeover as much as Starfire. She has been rendered many ways over the years, but almost always wearing very little. Her most recent incarnation in Red Hood and the Outlaws might be the most ridiculous version to date.

E. sums it up perfectly …

My problem with the costume is that it’s garish – like a futuristic stripper ensemble. She’s a powerful character trapped in a teenage boy’s idea of a sexy outfit, and it’s damn near impossible to take her seriously.

So, in the spirit of creating a heroic image – Come one, come all! Submit your redesigns for the lovely Koriand’r from Tamaran. Erika and I look forward to your submissions!

Submissions are due by Wednesday, February 22nd. Click here for further details.

This week’s haul …

So Sweet
If you get your comics from your LCS every week, you know it isn’t cheap. Prices ranging from $2.99 and sometimes up to $4.99, multiplied by four or five books a week. Well, you do the math. Some books are more than worth it, others are not. The titles that are worth it hit hard and make you anticipate the hell out of the next issue. Titles that do that for me are Batwoman, Chew, Uncanny X-Force … and now Sweet Tooth.

Rewind a couple of months.

One of my besties lent me the first trade of Sweet Tooth, a title that was on the long list of things I want to read. I devoured it. Next trade, please. I also read that voraciously. On to the third, Sweet Tooth: Animal Armies. It is probably one of the most intense stories I have ever come across in a comic. It ranks up there with moments in Y: The Last Man and something else really awesome that I can’t think of right now. But then I had to wait for the fourth trade. That was more than I could handle.

I decided that once the fourth trade hits, I’m getting the single issues. That little doe-eyed, antler-having, coming-of-age in a post-apocalypse kid stole my damn heart. Also, from a sociological standpoint, the story speaks volumes. Sweet Tooth falls firmly into the “worth it” category. Of the many comics currently on the shelves, I’d bet that Sweet Tooth is one of the best. So, if you are looking for something else to read, check it out. Digital issues are only $1.99.

Issue #30 came out this week, and it was stellar. I reviewed it for Newsarama … check it.

Awesome in Otherworld
For the spandex portion of the show, Uncanny X-Force #21 did a fine job, once again. Rick Remender is on a roll with that book. I reviewed that, too.

Exhausted From All the Action
Morrison’s Superman story has gone from interesting to convoluted. I literally got tired trying to read Action Comics #6. I am not going to sit here and hash out the overuse of time travel or pretend like this isn’t what Morrison does. It is. I’m just not sure if it is working for me. Erika is much more eloquent about these things than I am. Check her review.

Xombilicious
One of the most tragic casualties of the DC relaunch was the cancellation of Xombi. John Rozum and Frazer Irving made a deliciously odd and beautiful book. I love, love, LOVE Irving’s art and colors. There is nothing else like it. Rozum’s story isn’t perfect, but it has this bizarre abruptness that plays out quite well. It’s adventurous. Also, there are nuns with guns. If you missed it, the trade came out this week.

Fables

Fabletown’s angriest health care professional absolutely deserved a verbal thrashing, but Snow White’s intervention on Beauty and Beast’s behalf went very wrong, and fast. After telling the nurse that she was a nasty person, which is true, Snow pointed out that Mrs. Spratt had the misfortune of being “an unattractive woman in a community of — well, without trying to be vain: of extraordinarily beautiful women.” Oh, but it gets better.

“One can get away with being a bitch if she’s also pretty. Not fair, but true just the same. Conversely, one can also get away with being ugly as a troll, if she’s also pleasant. … But one thing no one get ever get away with is being both ugly and mean.”

OK.

We’re to believe that Snow was trying to transfer the nurse’s wrath from Beauty and Beast onto her, but I call bullshit. She could have adequately served Mrs. Spratt without mentioning her “misfortune” or delivering a lecture about how the non-pretty are obligated to smile at all times. Plus, Beast had already referred to her as a “fat, ugly cow.” Enough, already. Comic books are filled with impossibly beautiful female characters, so is it really necessary to have one of them brag about the benefits? I can’t imagine a male character saying to another, “You’re ugly, so you don’t get to be an douchebag.”

This was the first time and so far only time that Fables, a series I’d long enjoyed, raised my hackles. I thought it was just me until, following a recent post about my waning enthusiasm for certain comics, two readers pointed out their own annoyance with that scene.

Is there a harsh truth in Snow’s comments? Sure. If someone believes that physical appearance has nothing to do with the way people are treated, I hope that rock they’re living under is cozy. I’m pretty sure that a Joe Manganiello lookalike gets way better restaurant service than the average person, and if we’ve learned anything from Naomi Campbell, it’s that you can get away with outrageous behavior (at least for a while) if you’re outrageously beautiful.

But one of the biggest problems with this bit is that there’s no context for Mrs. Spratt’s horrid personality. She’s a one-dimensional harpy and no match for Snow, a fully developed character who is beloved by readers. Other than bringing forth a chilling semi-revelation about the demise of Boy Blue, that exchange is ridiculous. When Mrs. Spratt later expresses her hatred of pretty people to Mr. Dark and asks him to make her beautiful in exchange for her allegiance, we’re left to believe that her extreme rancor stems solely from her desire to be hot. That’s not just unworthy of Fables. It’s downright ugly.

Sometimes, the decision is obvious: The comic’s quality plunges or goes in a direction you don’t like. Maybe the writer and/or artist changes and their work doesn’t move you.

But let’s say you’re reading a book that you’ve enjoyed for a long time, one that is still solidly good and has had its moments of genius. It’s still better than many comics you could be wasting your money on and you’ve made it this far. However, you’ve had the sneaking suspicion lately that something’s missing. Whereas you once couldn’t wait to fetch it from your LCS and dive right in, you’re now putting it aside and thinking, “I’ll get to it eventually.” Then when you do, your attention drifts. It’s not that the book is bad or even mediocre, but it just doesn’t excite you anymore.

A variation on this theme is character loyalty. Sometimes you’re so invested in a particular character that you’ll buy their title regardless of quality. I’m like that with Wonder Woman and doubt I’d ever drop that book unless something truly dreadful happened. But unless you’ve got money to burn, is it better to spend that $2.99 or $3.99 elsewhere — perhaps on that up-and-coming series that you’ve left on the shelf week after week?

The first scenario illustrates where I stand with Fables. I don’t say that lightly, because this is a series that I have been buying in trade and enthusiastically recommending to friends for a long time. Who can forget the classic 1000 Nights of Snowfall? The excellent concept, well-written characters and knock-your-socks-off storytelling enthralled me for years. Fables is still a fine series, but somewhere around Vol. 13, The Great Fables Crossover, the fire began to dim. I’ve been trying to put my finger on exactly why, because it’s not like there hasn’t been some exciting stuff since then: the entrapment and subsequent escape of the deeply scary Mr. Dark, Frau Totenkinder’s transformation and rock star heroism, and Rose Red’s recovery from her deep, pitch-black depression come to mind. Maybe it’s because the bar was set so high early on, but when I picked up Vol. 16 two weeks ago, I wasn’t dying to read it. I still haven’t. That makes me a little sad.

Tim does not have time for your drama.

As for character loyalty, it also pains me to say that I’m thinking about chucking the relaunched Teen Titans. Tim Drake is still the man. Unfortunately, this is the only book in which he’s playing a lead role, and it isn’t grabbing me. I had a tiny glimmer of hope after reading the second issue, but with the exception of a few panels like the one above, Teen Titans #4 was a letdown. A big fistfight between Wonder Girl and Superboy, complete with silly inner monologues? An epic argument between Tim and Bart over (and I am not making this up) a borrowed sweatshirt? What would make it even more difficult to drop this book is that I so appreciate the diversity of the characters. Plus, it’s the Teen Titans! I just don’t have much confidence that I’m going to fall in deep like with this book, even with Red Robin starring.

And then there’s my dear Nightwing. This comic book is actually entertaining, but not so entertaining that I’d buy it if it were about any other hero, aside from Wondy. The story is solid and Eddie Barrows’ art is very appealing. Still, I have yet to finish an issue and think, “I can’t wait to see what happens next.” Meanwhile, I am all about the excellent Daredevil, despite never having even a passing interest in the character. I want to be just as enthusiastic about the Nightwing comic, but how much time and money do I really want to spend while waiting for that to happen?

Have you guys ever reached a similar crossroads with a once-beloved comic book or ditched a favorite character’s title? What did you do?

I heart Birds of Prey … Except For David Finch’s Covers
Starling got my unabashed vote for Friday Favorite last week, and for good reason. She is the best part of Duane Swierczynski’s Birds, but she is not all that is good. Duane is writing a kick-ass team book. All characters are distinct and intriguing in their own way. There is a great mix of mystery, action, punchy dialogue, strong character moments, and the chemistry between Starling, Black Canary, Katana, Poison Ivy, and Batgirl is working beautifully. The most impressive thing about Birds of Prey is that for five months in a row, Jesus Saiz has delivered consistently beautiful art. A couple more issues and he’s going to be like Calafiore on the Six and it just won’t feel right if anyone but Saiz draws BoP. Also, I think we might have another LGBT character in our midst. I am not sure, because there is not a great deal of exposition. Starling shows up unexpectedly at another woman’s home, and says she knows she is not supposed to be there. The woman touches Starling’s hand, and blushes. I get the definite impression that that situation is not platonic. Maybe Ev Crawford is gay, maybe she is bi. Either way, it works for the character. I wouldn’t be the least bit surprised, and it wouldn’t feel contrived. It’s good writing people.

Rawr Frau

Are We There YET?
Why must you taunt me Fables? Why? We know who is going to replace Mr. North as the North Wind; can’t we just get on with it already? I love a good Frau Totenkinder flashback as much as the next fangirl, especially when it is drawn by Adam Hughes. But I am REALLY anxious to know what happens next in the main story. Hurry it up!

Since we are at anticipation station; the same thing goes for you, Morning Glories! Nick Spencer is taking due diligence to another plane. The exposition is either so slow or so complex that I am going to go grey before I figure out what the hell is going on at that damn academy. It’s issue #15! Hurry it up!

COLBY COLBY COLBY
I review Chew fairly regularly over at Newsarama. It’s a fun book to write about. Chew just screams, “Please make bad but awesome food puns in your review! PLEASE!” Maybe not. I digress. Lately I have been jonesing for some John Colby, Tony Chu’s rascal of a partner. Well, former partner now. He’s been outside the arc for an issue or two. I’d like to think The Mighty Layman did it just for me (probably not), but Chew #23 has so much Colby it’s like Christmas … right after Christmas.

John Colby says brilliant things like, “This fucking USDA gig sucks enormous syphilitic monkey balls.” Also, he will sleep with anyone. Literally, anyone. Maybe even anything. He’s like a white Axel Foley who took a butcher knife to the head and got a digital brain upgrade. He’s kind of perfect.

Art by Rob Guillory

I knew Starling was a pistol as soon as she burst onto the scene. And by burst I mean drove an antique car through the wall of a church. She’s a girl after my own heart.

What girl doesn’t want to be a super hot vigilante with all kinds of classified knowledge, general ass-kicking abilities, a sleeve of tattoos, and a penchant for one-liners? According to the Canary, “Ev Crawford is a master strategist who can drive, shoot and talk her way out of practically anything.” Also, she is wearing the hell out of that ponytail.

Starling is a force to be reckoned with and brings some awesome chemistry to the dynamic of the Birds (something I thought would be lost with a new team). But mostly, she makes me laugh. Out loud.

This Friday the 13th is dedicated to one of the best and brightest to come out of the relaunch. Here’s to Starling!

Action Comics #5

It’s the “New 52,” and the new Action Comics, and inevitably we revisit fall of Krypton. But how many ways can Krypton be annihilated? In Grant Morrison’s take on Supes’ origin, he makes subtle tweaks to how it all went down in the House of El. With minor adjustments to previous continuity, Morrison paves the road for a plethora of possibilities for future stories. We press pause on the events of issue #4 and focus on baby Kal-El making it to a planet with a yellow sun and less gravity, so he will be super. Superman’s chunky, little baby self is escorted in a rocket powered by an artificial intelligence Jor-El calls Brainiac. It is Brainiac who narrates this issue, entitled, “Rocket Song.”

Morrison telling the story from the rocket’s point of view is rather brilliant. The Brainiac technology has traveled across galaxies and has a penchant for arrogance. “Jor-El of El, the father of such a mind!” Brainiac’s mind, I presume. “Apes with atom bombs” is the way it refers to humans as the military descends upon the crash site. There is a matter of factness in the narration that feels stoic and extreme, perhaps what we imagine an alien to be. It works well in this context.

As many of you know, I am an admitted Morrison apologist. I find his reference-heavy, symbolic writing to be thought-provoking. Up to this point, Action Comics has seemed a bit more straight-laced than what we usually get from Morrison, and I’ve been waiting for the weird. Well, it is time to put your thinking caps back on, kids. Action Comics #5 is bringing the converging plotlines and a bit of time-travel fancy. Morrison will ties it all together, magically, at some point, but we are going to have to wait for it. In the meantime, issue #5 does give us a few “a-ha!” moments regarding the previous four issues.

What was that clothed goat creature that Lex thought was an alien in issue #2? Where IS Krypto? Um, is Superman’s cape indestructible? How did the U.S. Army get possession of the rocket? These questions are answered in somewhat satisfying ways. Still, for all the exposition in Action Comics #5, we are now faced with a heap of new questions. Who is the Anti-Superman Army? What the hell is Synthi-K? Wait. How is the Fortress of Solitude created? Is that the Legion? Did you just say “tesseract?”

Action Comics #5 succeeds by bringing richness and nuance to a long-loved story. But if someone picked up this comic and had not read any of the prior issues, they would be completely lost. This is where Action Comics #5 fails, because I thought that is what DC was trying to get away from. The purpose of the relaunch was to bring in new readers, particularly on flagship titles such as this. For a seasoned comic reader, the quirky, esoteric elements that Morrison adds to his stories are part of his charm. But the truth is, Morrison’s writing has made Action Comics insular after a few issues. You simply must go back to issue #1 to know what is going on.

Andy Kubert does a super job on art duties this month. He may have drawn one of most handsome Jon Kents I have ever seen. He has a knack for letting the eyes of the character tell the story in a panel. There is some really great expressiveness, which gives a lot of much needed emotion to the story. Where Grant goes off on a bit of an alien tangent, Kubert brings the issue back down to Earth with some classic (solid) comic art. I also think that Jesse Delperdang’s inks and Brand Anderson’s colors play a big part in the traditional feel of the issue.

While there is something fantastic in Morrison’s cryptic references and unabashed imagination, the feeling of “Oh my gosh! That was so good” does not dwell in these 20 pages. It is clever and interesting, but serves more as disjointed, ambiguous groundwork than an action comic.

A version of this review was published previously on Newsarama.

Life With Archie #16

This just in: Life With Archie is friggin’ awesome. Yes, I know the series is no longer new, but no matter how many times I read it, I’m surprised by just how juicy it is. Seeing Riverdale’s former teens as grownups who are grappling with real-life drama is fascinating. LWA has become the comic book version of the TV soap you don’t want to miss.

Writer Paul Kupperberg meets the difficult challenge of crafting two interesting, separate narratives: One in which Archie is married to Veronica, and another where he and Betty are hitched. Sudsy goodness abounds in both, but Archie’s strained marriage to Veronica yields some of the strongest storytelling in this issue. The two are separated, but Ronnie has been living it up as tabloid catnip, and conspicuously so. When she hogs the spotlight at war veteran Kevin Keller’s wedding (more on that later), Archie goes completely off and confronts her in a manner that’s a tad unsettling.

“Don’t worry, Reggie. She’s done dishing it out to me. It’s my turn to start giving her grief,” he says, angrily grabbing Veronica’s arm. Oh, damn.

There’s a certain shock factor that works in this book’s favor, but what makes it a satisfying read is that the emotion is genuine and relatable. You really feel for the characters as they watch their relationships sputter and crumble, worry about making ends meet and even face legal problems. Kupperberg takes them beyond the archetypes we grew up with and gives them a refreshing complexity. And who knew that Hiram Lodge, cast here as a scheming, manipulative tycoon, would make such a great villain? Or that one-time timid genius Dilton Doiley could be so creepy?

A book with more than 50 pages has room for a lot of story, and Kupperberg doesn’t waste a single page. Neither do illustrators Fernando Ruiz, and Pat and Tim Kennedy. One of the impressive things about their art is that they subtly make the characters look like older versions of themselves without departing much from the Archie house style readers are used to. Panels overlap and brim with detail but never seem cluttered. The scenes of Kevin leading his fellow Army soldiers through enemy fire in an unnamed Middle East territory are particularly striking, and the colors throughout are vivid.

Speaking of Kevin, he and his boyfriend, Clay, make comics history in this issue by tying the knot. The significance is obvious, so Kupperberg simply tells the story behind their relationship and treats their marriage like any other joyous occasion. (Spoiler Ahead!)

I have just one complaint. This is a series with grownup themes, and the big smooch is a given at any wedding. So the fact that there’s no scene of Kevin and Clay kissing is puzzling, and it’s a glaring omission. There’s nothing graphic or remotely inappropriate about that. But to be fair, it’s still a touching and undeniably progressive story, one that you don’t have to be an Archie Comics fan to appreciate.

Even if you have just a passing interest in the world of Riverdale, you should give this highly enjoyable series a chance.

A version of this review was published previously on Newsarama.

Miranda had a big 2011. The Many Adventures of Miranda Mercury hardcover graphic novel, written by creator Brandon Thomas and strikingly illustrated by Lee Ferguson, earned high praise after it debuted at San Diego Comic Con. The kudos are deserved, because it’s an exciting and beautiful book, the kind you read in one sitting. The fact that the heroine is dying from an incurable virus also hooks you right away.

Miranda isn’t exactly a new character. Archaia released the first and only issue of The Many Adventures of Miranda Mercury a few years ago, but there were a number of unfortunate events and obstacles that temporarily shelved it. Girls Gone Geek interviewed the very gracious Brandon Thomas about Miranda, the story behind the comic and his heroine’s successful resurrection.

Girls Gone Geek: Miranda is truly the Woman Without Fear. There is almost nothing she can’t do. How did you come up with the character, and did you know from the beginning that she would be black?

Brandon Thomas: Oh, absolutely, she was always black, and part of the reason I created the character was to challenge me as a writer, and really to challenge the industry I was working in. At the time I was feeling a little stifled and that I wasn’t getting the opportunities I wanted, so there came a time when I just had to go out and create the kind of comic that I would enjoy writing, and hopefully, that others would enjoy reading. The mission statement is that Miranda Mercury would never stop moving, never stop trying to improve the world she lived in, and that if I was going to keep up, I had to embrace something similar.

Miranda and right-hand man Jack Warning.

And as a black writer, the portrayal of characters of color, the advancement of creators of color and even the advancement of female creators, is all something I have a very personal stake in. Sci-fi and comics have become a bit notorious for having a lack of true representation, and maybe making Miranda a third-generation science hero, the product of a long line of black adventurers, was over correcting a bit, but it felt right in this case. In the universe Miranda lives in, no one cares that she’s black; it doesn’t come up. There is prejudice and intolerance, but it’s not always about skin color, and there’s no such thing as “black superheroes,” and I thought that was perfect.

Miranda Mercury is about celebrating and achieving the impossible, and I knew with that mandate, it was something I could write forever, and a project whose only limits were my own.

G3: Did that make the pitch difficult? For example, were you met with any concerns that the book wouldn’t be as marketable with a woman of color as the lead?

BT: You know, I think there was, but there was also some concern about a project coming in from two creators no one had really heard anything about. When you put everything we had working against us together, I can understand some of the skepticism we were met with. Important word there is “some,” and we did get a few puzzling/insulting/disappointing responses from a few of the publishers it was pitched to. But anything that’s a little different or is something people aren’t used to seeing is going to garner similar responses, and we’re just glad Archaia was bold enough to take a shot on it.

G3: Lee Ferguson’s art knocked me out, and he got key details right – like the hair! How did you work together to create the character’s look, and how did you wind up collaborating? I also can’t neglect to mention the beautiful work by the team of colorists.

BT: Well, thank you. It wasn’t our intention to have quite so many colorists on the book, but we do think it worked out very well and that we were able to find a lot of talented folks to contribute. And obviously, I’m a huge fan of Lee’s art as well. We met years ago when we got paired on a Luke Cage project for Marvel that never quite materialized, but it was clear from those few months working together that we had a lot in common and both loved the same things about comics. We swore to work together on something creator-owned and Miranda happened to be the thing that just seemed perfect on all fronts.

Coming up with her look wasn’t too difficult, we went through a couple passes of adjusting things like her suit, gear, and hilariously, bust size, before settling on her core look, which is always in constant flux. Pretty sure Lee’s wife was the one who suggested the final color scheme too, and the credit for her hair belongs entirely with Marc Deering. He actually wrote up an entire little feature on the MM website that explains his techniques and why it’s so important to him that it looks right and authentic.

G3: In your notes, you talk about how her doggedness in the face of impossible odds mirrors the book’s triumph over difficult obstacles. Can you elaborate on some of the challenges you had to overcome to get the book in readers’ hands?

BT: Hah, we always said that we were affected by a series of unfortunate events from start to finish. Finding a publisher was the first significant hurdle and something of a roller coaster ride. We were confident that it would go one place, as was our contact at that company, but after weeks of waiting and wishing, the deal never actually materialized. We had another publisher that literally shat all over the proposal with a few particularly harsh assessments that became “bulletin board material” for us. Then once we settled into Archaia and released one issue, they went through a restructuring that affected a lot of books, and idled our production process for so long that we lost our original colorist. We signed a replacement and he spent almost a month pretending to color the book when he really wasn’t, and if there’s one real regret about that first volume, it’s that we used so many different color artists throughout the book.

Bunch of other little things along the way, and real life stuff like deaths in the family, Lee learning his house was filled with Chinese drywall that was releasing toxic fumes, making him and his family consistently ill. I think some of this was just a byproduct of how long we worked on the project, and really anything that’s worked on over a period of years is going to naturally find a number of hurdles along the way. Some of our wounds were self-inflicted, and we’ve already got definite ideas of how to avoid some of this stuff when we move onto Volume 2.

G3: Right from jump, we know that Miranda is going to die, and that adds a great deal of urgency to the story. What was behind the decision to begin the story that way?

BT: It seemed like a great place to introduce this character and examine her role and influence throughout a larger universe. It also gave us a really great source of tension between her and her best friend/partner Jack Warning, which quickly became the anchor of this entire arc. And we wanted to try balancing the scales, since a lot of the stories dealt with showing how resourceful and how incredible her exploits were. Having the equivalent of a ticking time bomb in her blood, and an emotionally damaging incident in her past, helped in ensuring that she doesn’t feel entirely invincible ripping through these stories.

Yes, she is formidable and unflappable, etc., but she’s a person who kept a huge secret from the person she cares the most about, and she’s going to suffer some consequences for that decision.

G3: The close friendship between Miranda and Jack is really interesting in that it provides the few moments where we see the character being somewhat vulnerable. Most of the time she’s solving problems and kicking ass. Was it always part of the plan to give her a partner — a brilliant Robin to her Batman, so to speak?

BT: Jack was always supposed to be in the book, but his role did change somewhat. Originally, he was simply “the sidekick,” who would follow Miranda around on her adventures and chronicle what was going on, providing something of an impartial POV on all these impossible things that were happening around him. But once I got into actually writing the scripts, that kind of thing became less interesting and he became more and more entrenched into both the main plots, and helped create the emotional thrust of this first arc.

Without that friendship between the two of them creating an anchor for things, I think the book is really missing something, and the more I wrote, the more appropriate and pronounced that idea became. It was obvious that this is what the story was really about, examining how secrets and lies impact and change a relationship. And how two incredibly opinionated, intelligent, and stubborn people navigate a philosophical disagreement. Sometimes you think you know what your book is about, but once you start writing it, you realize it’s about something else entirely, and that definitely happened in this case.

G3: Another moving part in the book is when you go into Miranda’s grandfather’s past. You broach the topic of race in a brief but powerful way. Why was it important to you to make that part of the narrative?

BT: I knew pretty early on what the story of Miranda’s grandfather was, and that the experience would greatly inform her particular view of the world. This is teased a little in #296*, which was actually written shortly after Hurricane Katrina, and with the exception of that story, I intentionally shied away from offering any kind of statement about prejudice or intolerance. Because while understanding that part of Miranda’s history is important, I didn’t want it to become too overt or overshadow everything else, so there’s a reason it was saved for last. But it’s a critical piece no doubt, and I’ve had that image of a man from the future jumping through a time portal and lighting a bunch of racists on fire with a laser gun for years now!

And I always thought the idea that this heroic dynasty could only take flight in a galaxy far, far away with the only real “statement” needed.

G3: I get the sense that this book was your baby, so it must be gratifying to have it receive such positive reviews. Has this created new opportunities for you to tell more stories from Miranda’s past or to spin off books about her family members?

BT: It has been, and I think I can speak for all of us when I say that it means a lot that the book has been so embraced thus far. We’ve been working on this a long time and we’ve always maintained the belief that there’s an audience out there for this book, and more specifically, this character, and once we can get the book into people’s hands, they seem to really respond to it.

Right now, we’re just focused on getting another volume out there sometime next year, but the larger goal is to be able to tell present Miranda stories, along with an occasional mini or “flashback” issues that tell some of her past adventures. Be nice to have them trade off release-wise, so there’s always some Miranda Mercury out there, very similar to what David Peterson is doing with his Mouse Guard series.

G3: How did you get into the comics industry?

BT: I started writing a column called “Ambidextrous” for one of the premier comics news sites that was one part soapbox, one part discussion group, and one part journal. I wanted to break into the biz as a writer and I thought a column would not only be helpful, but would be interesting to kinda document the entire process, warts and all. After a few years at this, I’d developed some contacts in the industry that helped get my foot into some important doors, which eventually led to me being given a shot at places like Arcade Comics, Marvel, and later on, DC. My first comic was published at SDCC ’03, so I’m approaching my ten-year mark as a “professional writer,” and Ambi continues on today at my personal blog after a lengthy stint at Newsarama. And the only thing harder than breaking in is staying in, so that’s where I’m at right now, and hoping that this next year will bring some big changes that’ll turn this into a full-time gig.

G3: What are you working on next?

BT: Well, the Voltron book I’m writing for Dynamite (which came out in December) sold out of its first issue), so I’ll be continuing on that for the foreseeable future. I aso have two more Dynamite projects, one for the spring and the other likely for the summer, that should be getting revealed fairly shortly. And I’ve already started on the scripts for the second volume of Miranda, so I’ve got a busy few months ahead of me, as I make that push to fully transition into a role as a professional comic writer. Wish me luck!

*A note about the numbering: The comic begins with issue #295 to indicate that Miranda Mercury is a long-running series.