Showing posts with label Wonder Woman Graphic Novel. Show all posts
Showing posts with label Wonder Woman Graphic Novel. Show all posts

Tuesday, January 23, 2018

Greg Rucka Tries To Straighten Out All The Lies In Wonder Woman, Vol. 1!


The Good: Coloring, Themes surrounding Diana and Barbara Ann
The Bad: Simplistic plot, Messy character conflict, Inconsistent artwork
The Basics: Wonder Woman, Vol. 1: The Lies tries to start reconciling all of the various incarnations of Wonder Woman for a mess of a story to start her part of the Rebirth version of the character.


Every few years, in recent memory, the DC Comics universe gets a reboot. After decades of the same characters progressing and developing, the executives at DC Comics decided to reboot the universe. There was a pretty close succession of reboots, though, between The New 52 and Rebirth and in recent years, Wonder Woman suffered more than most of the other DC Comics characters. Before The New 52, Wonder Woman had a year where her reality was altered and where the world's memory of her was eliminated by the resurrected Max Lord. So, it has been a while since readers have had a version of Wonder Woman who has lasted for more than a few years. The latest version of Wonder Woman for the Rebirth incarnation of the character begins in Wonder Woman, Vol. 1: The Lies.

Wonder Woman, Vol. 1: The Lies is a bit of a mess as Wonder Woman, now in a new outfit and not relying upon a sword, shield or her Lasso, finds herself with a slew of conflicting memories about her past. Diana recalls multiple versions of her backstory and, feeling so lost, she goes on a mission to attempt to discover the truth. Sadly, the seven-chapter volume goes nowhere.

Diana has a series of conflicting memories for her origin and other major events in her life. She has a vagie recollection of recent events, like getting the mantle of God Of War and taking the place of Ares. Wrestling with the conflict, Diana travels to Themyscira, but finds herself surrounded by automatons and unable to actually enter her old home. So, Diana seeks out the one person she believes might be able to find Themyscira: Barbara Ann Minerva.

As a result, Diana travels to Bwunda to find Barbara Ann. Diana encounters Cheetah and does all she can to pacify her. While Barbara and Diana journey through Bwunda, Steve Trevor and a small covert team head for the local warlord Cadulo. Cadulo has taken many girls prisoner from several tribes in Bwunda and Trevor's team, guided by Etta Candy stateside, attempts to liberate the girls. In the process, Wonder Woman makes a deal with Cheetah; Barbara Ann will help her find Themyscira, but in exchange, Diana must kill the god Urzkartaga to free Minerva from his control once and for all. When Cadulo and Urzkartaga capture and turn on Trevor, Wonder Woman finds herself drawn to him again.

Wonder Woman, Vol. 1: The Lies is a bit of a mess and it comes without any real sense of resolution to it at all. Beyond that, it is a frustrating tome on its own; Wonder Woman has no firm memories and is told that she has been lied to, but there are no truths to be found in Wonder Woman, Vol. 1: The Lies. Instead, Diana and Trevor are knocked from lie to lie without any sense of closure and without a strong adversary to confront. Even seeding Dr. Veronica Cale into the mix does not play out in an especially compelling way.

Thematically, Wonder Woman, Vol. 1: The Lies is generally good, but inconsistent. Diana once again stands up for the helpless, downtrodden women who are going to be exploited, which fits her character perfectly. There is even a whole Women Power aspect to the resolution of the Urzkartaga plotline in Wonder Woman, Vol. 1: The Lies. But, Diana and Steve Trevor have a heart to heart, in which she mentions being in a relationship with Superman and acknowledging Trevor's wife and daughter . . . but then kisses him! So, there are inconsistencies in the book's fundamental relationships.

The artwork in Wonder Woman, Vol. 1: The Lies is as inconsistent as the storyline and character conflict. Steve Trevor carries around a picture of Wonder Woman in which Diana looks like a 12 year-old girl and, new outfit aside, she never looks even remotely like that in the rest of the book. The coloring is good, but the sense of movement and even angles are inconsistent throughout the book.

Ultimately, Wonder Woman, Vol. 1: The Lies is a lackluster reboot to the iconic character that is hardly worth reading.

For other books with Wonder Woman, please visit my reviews of:
A Twist Of Fate
Odyssey, Vol. 1
Gods And Mortals

3.5/10

For other book reviews, please check out my Book Review Index Page for an organized listing!

© 2018 W.L. Swarts. May not be reprinted without permission.
| | |

Thursday, October 27, 2016

Wonder Woman Generica: Wonder Woman: A Twist Of Fate Is A Scattershot Graphic Novel!


The Good: Morality, Moments of conflict
The Bad: Very stale plot, Dull character progression and resolution, Lack of vibrancy to the writing or the character
The Basics: Wonder Woman: A Twist Of Fate puts Diana in the middle of two conflicts as the is buffeted around without actually developing.


Meredith Finch must hate Brian Azzarello. I'm not basing that assertion on anything I know about either person, but I can imagine how it would be to finally get the crack at writing an amazing character like Wonder Woman and be left with the momentum for the character headed in a direction that the editors say I could not abandon and be pissed by having no idea what to do with it. Meredith Finch's writing in Wonder Woman: A Twist Of Fate is the graphic novel equivalent of trying to draw clues in Pictionary when one has only the vaugest idea what the card they've been given is.

As a result, Wonder Woman: A Twist Of Fate tries to juggle Diana's roles as Queen Of The Amazons (epic fail - she barely spends any time on Themyscira in the book), member of the Justice League (doesn't happen in this book!), heroine on her own (a little bit) and God Of War (which she continues to be all talk, no action on in Wonder Woman: A Twist Of Fate). Finch was dealt a pretty shit hand when Brian Azzarello left the book with the brand new momentum of Wonder Woman having so many roles to fill and Wonder Woman: A Twist Of Fate makes it pretty obvious that Finch was not ready to write the character in the directions she was headed when she was given the writing responsibilities for the book. So, Wonder Woman picks up a new costume, hunts Donna Troy, is hunted by possibly the least-inspired tool of a villain yet, and is moved around yet again as part of a conspiracy involving Greek gods that allows for Diana to do exceptionally little to resolve the problems in which she finds herself.

Diana arrives at Mt. Olympus to talk with the imprisoned Donna Troy. After her brief visit, she sees Zola, Zeke, Hera and then gets a new costume from Hephaestus. Returning to Earth, she encounters a young man threatening to blow himself up if he does not get to meet Wonder Woman. Talking her way out of the fight the boy initiates gives him time to escape, arm himself with weapons that might give him a fighting chance, and then attack her later as she comes out of a night club in London. Aegeus is the young man and he has been equipped with arrows that might do harm to Diana and a pegasus. While Diana is trying to learn her assailant's identity, Strife releases Donna Troy from her prison.

To try to find Troy, Diana unsuccessfully enlists the aid of both Hera and Milan. Donna Troy uses her newfound freedom to track down the Fates in London, where she learns they have no ability to help her die. Tracking Donna, Diana runs afoul of Aegeus again and he is able to shoot her with an arrow before fleeing. While Diana is attacked by Aegeus, who wants to take over as God Of War, Donna rescues Violet from a violent man. But when Link kills Donna Troy and Aegeus catches up with Diana and turns Troy to stone, Wonder Woman's world spins out of control. And the god backing Aegeus finally shows up for a showdown with Diana!

Spoiler alert; Diana is not the one who resolves the conflict in Wonder Woman: A Twist Of Fate and when the book's true, entirely hapless, hero emerges it is one of the least satisfying resolutions to a volume I have ever read.

Almost immediately, Wonder Woman: A Twist Of Fate gets off to a bad start. Diana, feeling the time crunch of all her responsibilities, takes a break to fly all the way up to Mt. Olympus to visit the imprisoned Donna Troy. That's fine and it illustrates a moral core of super heroes almost never visited in comic books; Wonder Woman does not simply imprison Troy and throw away the key, she tries to be a part of her potential rehabilitation. Cool. But the "conversation" is two pages (with the bulk of the second page being Diana flying away still talking to Donna Troy!) . . . so it goes nowhere. It takes Diana longer to get to and from Troy's cell than the time she spends actually interacting with the prisoner. As a result, there is a sense that the book is playing lip service to Diana's ethics, as opposed to showing a depth or something truly original for Wonder Woman.

On the plus side, Diana is characterized in Wonder Woman: A Twist Of Fate as her usual moral self. The character does not change, but she is not diminished, either.

The artwork in Wonder Woman: A Twist Of Fate is good. The colors are vibrant, but the best panels are in the final chapter when Wonder Woman reverts to a prior costume and David Linch is given a chance to draw the Cheetah.

Every now and then, I encounter something that I experience, I say my peace, and I can't muster up the enthusiasm to evaluate more. In some ways, it is appropriate that that is where I fell with Wonder Woman: A Twist Of Fate, as reading the book gives the reader the sense that that is where Meredith Finch was as well. The anthology reads like someone who was given an assignment - "Wonder Woman is now God Of War and Donna Troy is being thrown into the New 52 Universe, do what you can" - and she just keeps circling the drain, fleshing out the pages by simply repeating the assignment. Donna Troy has a hefty scene touring London, Wonder Woman does nothing that is actually godlike in the theater of war, and it's a tough sell for the reader that as the new God Of War, Diana goes out dancing. But hell, Wonder Woman survived working at a fast food restaurant, she can survive this era of her history. But like Wonder Woman working fast food, it is hard to imagine anyone reading Wonder Woman: A Twist Of Fate and ever hunting the volume down to read it again.

For other Wonder Woman volumes from The New 52, please check out my reviews of:
Blood
Guts
Iron
War
Flesh
Bones

2.5/10

For other graphic novel reviews, please check out my Graphic Novel Review Index Page for an organized listing!

© 2016 W.L. Swarts. May not be reprinted without permission.
| | |

Saturday, October 15, 2016

Fractured Narrative, Fractured Art: Wonder Woman: War-Torn Gets Off To A Rough Start!


The Good: A few panels of artwork, Coloring, Character conflict
The Bad: Very choppy writing, Choppy narrative, Erratic artwork
The Basics: Wonder Woman: War-Torn reads like a good idea executed on a time crunch, attempting to do too many things . . . poorly.


I admire ambition in writing and with the graphic novel medium, I have come to appreciate both complexity and the skill that comes in making all of the various elements come together. A good graphic novel is like a good movie; the script may be translated into a magnificent work of art that expresses deeper themes and ideas well. A bad graphic novel is just a collection of comic books. Sadly, Wonder Woman: War-Torn is closer to the latter than the former.

Wonder Woman: War-Torn is a compilation of six comic books - issues 36 - 40, plus the Annual, and marks the beginning of Meredith Finch's term as lead writer of Wonder Woman. Finch teamed up with her husband, artist David Finch, for the chapters collected in Wonder Woman: War-Torn and it is unsurprising to me after reading the book that Meredith Finch has very few books under her belt including this one. The writing in Wonder Woman: War-Torn is exceptionally choppy and the transitions between scenes and panels are painfully abrupt. As a result, the process of reading Wonder Woman: War-Torn is very off-putting as readers find themselves flung between Diana's brief stints on Themyscira and equally brief adventures with the Justice League following clues surrounding apparent natural disasters that are swallowing whole villages around the world.

Opening with Diana in London being called to the Justice League, while on Themyscira, Clyemne voices an objection to men being allowed on Paradise Island. When an abrupt natural disaster wipes out tens of thousands of people in Thailand and nearby, Diana freaks out and attacks Swamp Thing in Thailand. While Aquaman talks both parties down, Diana continues to feel like she is being stretched too thin. Diana returns home to see how integration with the Amazon men is going and learns her mother has died. After her mother's death and another attack on Themyscira, the council on Paradise Island demands Diana return. The crisis with the Stymphalian Birds reaches its peak, Diana is called away again . . . just as an underground faction brings Donna Troy into the world to seize Themyscira.

When a dragon attacks Themyscira, Dessa is killed and Diana learns that as the God Of War, she is now a magnet for discord. But Strife has implanted that horrifying dream in Diana to shake her and in her rattled state, she is eager to leave. Recalled by Cyborg when a village in Peru is swallowed up, Diana is absent from Themyscira when Derinoe introduces Donna Troy to the Council. As Troy rallies the Amazon women against the men Diana brought to Paradise Island, Wonder Woman discovers she may be responsible for the natural disasters around the world. In trying to resolve the conflict, the Justice League learns of the aliens harvesting bodies below the Earth and after brokering a peace with the aliens, she returns to Themyscira to discover just how dangerous Donna Troy is!

Wonder Woman: War-Torn ends with a flashback story that finally fills in the backstory of Derinoe. Knowing the motivation of Derinoe only after her apparent death is almost as off-putting as the writing style and the lack of resolution for the main plot that allows the Justice League to get involved in the Wonder Woman book. In addition to taking the extraterrestrials living underground's word for everything, Diana (and the Justice League) illustrate a pretty powerful idiot streak by not resolving the essential problem they learn about. The aliens were influenced by the buried corpse of the First Born. So, the reader has a reasonable expectation that the body will be dealt with in some alternative form; instead, the story abruptly ends.

Wonder Woman: War-Torn is hampered immediately by a very choppy writing style. For example, the leap from the Justice League satellite to Wonder Woman attacking Swamp Thing is terribly abrupt. The reader is left to believe that Diana saw the carnage from orbit, arrived in Thailand still that angry, and attacked the first thing that moved?! There's character development and then there's just ridiculous redefinitions of the character and there are moments in Wonder Woman: War-Torn that are definitely the latter.

Equally troubling in Wonder Woman: War-Torn are the transitions between chapters. One chapter will end with Diana with the Justice League still in the middle of investigating a cataclysm in nature, the next will open with Themyscira under attack and Diana arriving back home in the middle of the battle. There is very poor flow for developing the story as the narrative hops around erratically. While Diana is feeling stretched too thin, the reader ought to be able to follow the logical progression of her story, but Meredith Finch's writing does not make it easy.

On the artwork front, Wonder Woman: War-Torn features generally good panels, but low flow between panels. In other words, each panel is rendered as a decent static shot of the action for the story, but movement within the panels and especially between the panels is choppy. This is the comic book equivalent of a movie with a long series of bad, hard cuts cobbled together.

What redeems Wonder Woman: War-Torn from being truly awful is the sense of the protagonist's morals. Diana continues to have a strong moral core and there is something refreshing about her turning around Bruce Wayne's chiding on the vigilante in their scene together. Diana wants what is best for Themyscira and she wants to be a part of the Justice League; she struggles to find her balance, but she is guided by ethics, even when she gets angry. While Derinoe is painted very thinly as an antagonist until the flashback, even she is motivated by a desire to save Paradise Island for the (female) Amazons.

Ultimately, Wonder Woman: War-Torn is a rocky start to the next phase of Queen Diana, God Of War's next chapter and Meredith Finch is given the unenviable task, like Wonder Woman, of trying to juggle a slew of plot and character elements already in play. It is, therefore, no surprise that the volume has a rushed tone and choppy artwork, even if fans would hope for better for the venerable hero.

For other Wonder Woman volumes, please check out my reviews of:
Gods And Mortals by George Perez
Wonder Woman: Challenge Of The Gods by George Perez
Beauty And The Beasts By George Perez
Destiny Calling By George Perez
The Contest By William Messner-Loebs
The Challenge Of Artemis By William Messner-Loebs
Second Genesis By John Byrne
Wonder Woman: Lifelines By John Byrne
Paradise Lost By Phil Jimenez
Paradise Found By Phil Jimenez
Down To Earth By Greg Rucka
Eyes Of The Gorgon By Greg Rucka
Land Of The Dead By Greg Rucka
Mission's End By Greg Rucka
The Hiketeia

4.5/10

For other book reviews, please check out my Book Review Index Page for an organized listing!

© 2016 W.L. Swarts. May not be reprinted without permission.
| | |

Thursday, September 22, 2016

Two Stories, One Book: Ame-Comi Girls Volume 2: Rise Of The Brainiac Is Mostly Fun!


The Good: Moments of character, Well-defined backstory for new characters, Wonderful artwork
The Bad: Odd story breakdowns, Short, Poor characterization of love/male influence
The Basics: Resolving the conflict of Brainiac, the gynocentric Ame-Comi Girls Volume 2: Rise Of The Brainiac then works to set up the next volume!


When it comes to my book reviews, I can think of no other work that pleasantly surprised me of late quite like Ame-Comi Girls Volume 1 (reviewed here!). Based on the oversexualized statue and toy line from DC Collectibles, the Ame-Comi book was one that I picked up on a complete lark, not at all expecting it to have any serious merit. I'm a big enough person to admit when I am wrong and I was wrong about Ame-Comi Girls Volume 1. Based on the strength of the first volume, I picked up Ame-Comi Girls Volume 2: Rise Of The Brainiac.

Right off the bat, Ame-Comi Girls Volume 2: Rise Of The Brainiac seemed like it was something of a misnomer; after all, Ame-Comi Girls Volume 1 had very powerfully introduced Brainiac to the narrative, so it seemed like readers already knew Brianiac was rising. Beyond that, Ame-Comi Girls Volume 2: Rise Of The Brainiac is an anthology of the first four Ame-Comi Girls comic books to follow the introductory ("featuring X Character") series and it picks up immediately after Volume 1. As such, it is a story in progress and it is impossible to review Ame-Comi Girls Volume 2: Rise Of The Brainiac without referencing where Volume 1 left off. Unfortunately, because only the first two (of four) chapters deal with the dangling plotlines left from Volume 1, Ame-Comi Girls Volume 2: Rise Of The Brainiac starts to feel like something of a cashgrab by transitioning awkwardly into the next story instead of having Volume 2 tell the whole next story. In other words, Ame-Comi Girls Volume 2: Rise Of The Brainiac is an awkward bridge between two stories; the fast resolution to one and the slow build to another (without any resolution or strong character development). That fracture makes it a tougher sell than it ought to have been.

Opening with Wonder Woman squaring off against the black Kryptonite-infected Supergirl, the battle between the heroes and Brianiac's forces seems to be going quite poorly. As Batgirl, aboard Brainiac's ship, searches for a weakness, Wonder Woman finds the possessed Supergirl's weakness and utilizes the Lasso Of Truth to turn the tide of battle against her. Seeing which way the wind is blowing Duela Dent abandons Brainiac's ship. While Brainiac activates the computer at the Earth's core and sends devices up to the surface all around the Earth, the heroes fight off Brainiac's drones in Kansas. Power Girl makes it to the Earth's core, but finds it filled with giant, mechanical bees controlled by Brainiac. After Power Girl manages to communicate with the drones, she discovers that Brainiac is already in the core waiting for her!

Gaining access to Brainiac's ship leads Brainiac to shut off life support. Rising to the occasion, The Flash passes through the door and hunts down Brainiac as Power Girl fights the Brainiac in the Earth's core. After battling Brainiac, the alliance between the heroes begins to fracture when Power Girl becomes determined to save Supergirl's life, regardless of Wonder Woman's advice. Forming a Justice League to come together should another threat to Earth arise, the group splinters apart to return to their own lives.

Following the Brainiac Incident, in China, the blind mountain-climber Jade Yifei is in the middle of an ascent when she is attacked by the Flying Guillotine. Before she can hit the ground, though, she is chosen by Oa to be the Green Lantern of Sector 2814. Saving her family and getting her attacker to flee, Jade takes up the mantle of Green Lantern with surprising ease. In the anti-matter universe, Parallax finds a way through to the matter universe and on Earth's moon, Carol Ferris finds a downed space ship belonging to a Star Sapphire and she becomes one of the ringbearers for the violet light. Returning to Earth, Ferris attends a party where she steals James Olsen away from Kara Jor-El, in the process revealing herself to be a Star Sapphire. After a fight between Power Girl and the Star Sapphire, Kara Jor-El enlists Avril Palmer (The Atom) to aid her in saving Supergirl's life. The volume ends with the set-up for the next major conflict with a backstory detailing the rise of Sinestra!

First off, and I couldn't truly discuss this when writing about Volume 1 as it came right at the end, the black Kryptonite is one of the coolest ideas that Jimmy Palmiotti and Justin Gray brought to Ame-Comi Girls Volume 2: Rise Of The Brainiac. The transformation of Kara Zor-El into a villain under Brainiac's control is a cool idea that is executed fairly well in Ame-Comi Girls Volume 2: Rise Of The Brainiac. In fact, Supergirl is only stopped by the Lasso Of Truth and that is treated as a temporary fix, with Kara Zor-El being in a state of mortal peril for pretty much all of Ame-Comi Girls Volume 2: Rise Of The Brainiac.

I was initially disappointed that Catwoman had survived the events of Volume 1 to participate in Ame-Comi Girls Volume 2: Rise Of The Brainiac. After all, the artwork in the first book made it look like dark Supergirl has snapped her neck and the potential casualty lent some weight to the somewhat light volume. In Ame-Comi Girls Volume 2: Rise Of The Brainiac, Catwoman's survival is blithely described as a function of using up two of her nine lives and that is a bit disappointing as there is nothing else in the text to indicate Catwoman had anything remotely supernatural to her. Keeping her alive is sadly pointless given that she has no substantive role in Ame-Comi Girls Volume 2: Rise Of The Brainiac.

There is something thematically disappointing about Steve Trevor's role in Ame-Comi Girls Volume 2: Rise Of The Brainiac. As Power Girl and Wonder Woman form the Justice League, Steve Trevor is the voice of pragmatism and reason, the only one in the room discussing the legal ramifications of non-U.S. citizens launching military-style missions from U.S. soil and the superhero team including minors (Barbara Gordon and Carrie/Robin). Trevor is also the only one who brings up the idea that members of the team could be killed and that leads to liability issues. While Trevor's counterpoints to the budding Justice League are a good place to finally address "Girls" (as opposed to "Women") in the title, it is troubling that Ame-Comi Girls Volume 2: Rise Of The Brainiac uses a male character to negotiate practical and rational elements in a female-centered super hero team. In the real world, there are enough problems with getting women to work together for their common goals; it would have been refreshing in Ame-Comi Girls Volume 2: Rise Of The Brainiac to see the female characters model it well for any young women actually reading the book.

In a similar way, Star Sapphire basically uses a love potion (mind control) on James Olsen and that pulls the reader way out of the narrative. In a book filled with accomplished, powerful women (including Carol Ferris, the way she is first introduced and described by Olsen), it seems particularly lowbrow that the Star Sapphire sells herself as the best looking woman at the party. It's a shallow reason for Olsen to want her and it does no service to the concept of love that the Star Sapphire is supposed to embody. For sure, the Green Lantern comics have had trouble reasonably and consistenly defining the Star Sapphires and their powers, but Ame-Comi Girls Volume 2: Rise Of The Brainiac is not doing any favors to the struggle by picking a pretty shallow portrayal of love with Ferris obsessed with Olsen. At least Kara Jor-El is rational enough to see Olsen's near-infidelity for what it truly was and not make the book go too far in the direction of melodrama.

On the opposite side, Princess Diana is presented in Ame-Comi Girls Volume 2: Rise Of The Brainiac as a refreshingly strong character. Not at all plagued by self-doubt or a sense of melodrama, she comes across as a natural leader. Similarly, Kara Jor-El is characterized well as a powerful, articulate woman not requiring the traditional trappings of stereotypical American relationships. Jor-El is not jealous and her protective nature of James Olsen actually comes across in Ame-Comi Girls Volume 2: Rise Of The Brainiac as her desire to see her boyfriend not be victimized by a woman willing to use mind control over him.

The addition of Green Lantern to Ame-Comi Girls Volume 2: Rise Of The Brainiac is an interesting one and the book has a decent re-imagining of the Green Lanterns. Jade's mantra is different and her story sends the book in an entirely different direction. Her backstory is dwarfed by the extensive backstory given to Sinestra at the very end of the book. Sinestra, having once thwarted Brainiac on her own, becomes the next great villain for the Ame-Comi saga . . . right before the book ends.

Ame-Comi Girls Volume 2: Rise Of The Brainiac is somewhat sloppily written in that Kara Jor-El (Power Girl) is referenced as Kara Zor-El (Supergirl) is a scene where the artwork is clearly of Power Girl in her mundane outfit and Supergirl is still in stasis elsewhere in Metropolis.

Ame-Comi Girls Volume 2: Rise Of The Brainiac includes bonus features, in the form of rough character sketches for Brainiac at the end of the book. Between the variant cover gallery and the sketches, the bonus features are mildly amusing, but leave the reader wishing there were more story (substance) as opposed to fluff.

Despite being terribly short and broken up to sell more books as opposed to finish and begin narratives at logical places, Ame-Comi Girls Volume 2: Rise Of The Brainiac is still worth reading and a fun book.

For other books featuring characters that had Ame-Comi reworks, please check out my reviews of:
Wonder Woman: Gods And Mortals By George Perez
Superman: Brainiac By Geoff Johns
Harley Quinn: Power Outage By Amanda Connor

5/10

For other graphic novel reviews, please check out my Graphic Novel Review Index Page for an organized listing!

© 2016 W.L. Swarts. May not be reprinted without permission.
| | |

Monday, September 5, 2016

Collectibles Become Comic Books With Ame-Comi Girls Volume 1!


The Good: Good characters, Good story, Some knock-out artwork
The Bad: Incredibly erratic artwork, Fractured story at points
The Basics: Against all my first instincts, Ame-Comi Girls Volume 1 becomes a joy to read and a set-up graphic novel worth championing as the DC Comics Universe as re-imagined in a gynocentric way!


A few years ago, when my wife and I were still living in Upstate New York, we made a day trip to Albany. I thought it would be fun to visit the state capital and we ended up doing a lot of generally geeky things, like visiting comic book shops, trying local restaurants (okay, that's not geeky) and going to the movies. While at one of the comic book shops, I came across a Wonder Woman figure that I had never before seen. The figure was the Ame-Comi Wonder Woman, the first one which featured a barely-dressed Wonder Woman holding the head of Medusa. At the time, $39.95 seemed a bit steep of a price for me, so I passed on picking it up (which was aided by my wife staring me down and asking me point-blank, "Where the hell would you display that?!"). I did not think much about the Ame-Comi toy line, despite occasionally seeing them in my sidebar advertisements and seeing the prices for some of the figures (like that Wonder Woman I passed on all those years ago!) going quite high. But, given how intensive September is turning out to be for Marvel Comics-based reviews, I figured that I would branch out a little bit with my DC Comics reviews and that was when I discovered that there were actually comic books based upon the Ame-Comi toy line.

The concept of building a supporting work around a collectible or toy is not a new one. As much as I loved Masters Of The Universe growing up, I know that the television series was based on the toy line, not the other way around. So, DC Comics is now creating supporting materials for the popular collectibles from DC Collectibles, like Ame-Comi Girls Volume 1 and a comic book based upon the DC Bombshells line of statues. Ame-Comi Girls Volume 1 is the anthology of the five volumes (three issues each) of the main characters - Wonder Woman, Batgirl, Power Girl, Duella Dent, and Supergirl - reformatted for the printing and without the "To Be Continued" line at the end of the chapters that would have delineated the original issues.

Opening with Steve Trevor briefing the U.S. President on the rumors of Themyscira hours in advance of Kasnia launching an attack on the island, Princess Diana of Themyscira trains in hand to hand combat with the minotaurs on the island. When the Kasnian army invades, the Amazons easily repel them, but when Queen Hippolyta realizes that the battle was turned by Diana, she is angered. Hippolyta wants to send an envoy to the strongest, most democratic nation on Earth and have the envoy trade protecting Themyscira for the Tears Of Panacea, the elixir that grants Amazons vitality. After dressing Diana in a surprisingly skimpy outfit and charging her with becoming the Themysciran ambassador to the world, Hippolyta sends Diana off to the United States to learn wisdom and humility. While Diana speaks to the United Nations, she is attacked by Cheetah. In the process of thwarting Cheetah, Diana saves the Kasnian Ambassador and Diana learns that even Cheetah does not know who hired her.

Right off the bat, Wonder Woman is characterized as strong and sassy in Ame-Comi Girls Volume 1. While training, she is a formidable opponent to three minotaurs, even if they claim she is vain and narcissistic. Despite the claims of her sparring partners, she is eager to defend her homeland and that selfless quality is one of the hallmarks of Wonder Woman. In that way, Ame-Comi Girls Volume 1 quickly asserts that while the art style might be new, the characters at the heart of the narrative are going to bear familiar traits. This makes sense as the volume generally tells a familiar origin story for Diana with new artwork in a moderately-altered setting.

Batgirl's origin story is second in the book and it features Barbara Gordon and her cousin Carrie heading out for a night on the town. After being seen off by the wheelchair-bound Jim Gordon, Barbara and Gordon go out as Batgirl and Robin to thwart some crime in Gotham. They do not have to go far, as Poison Ivy is in the park tormenting a young couple on their first date. While the pair is easily able to stop Poison Ivy, she is soon joined by Catwoman and Harley Quinn, who are being monitored by Duela Dent. Despite their best efforts, Batgirl is captured by the trio and taken back to Duela Dent's lair where they are joined by Cheetah. Robin has to rescue Batgirl, while Barbara does her best to learn about Duela Dent's new lair and who might be behind designing the futuristic prison she has built. While Barbara realizes that Duela has her aboard a spacecraft that she could not have possibly invented, Carrie goes to Steel (Natasha Irons) for assistance in mounting the rescue of Batgirl.

The female-dominated narrative of Ame-Comi Girls Volume 1 comes out very strongly in the second chapter. The reversals to the originally-established DC Comics universe are fun, like Jim Gordon being stuck in the wheelchair instead of Barbara. The idea of Barbara looking after Carrie, much like Bruce Wayne looks after the young men who become Robin is a similarly cool twist. But the Barbara Gordon chapter is either where the concept of the book starts to play as awkward or I am just out of touch. Carrie uses phrases like "the soundest crew in Gotham" and "Mom is tranquil" and dialogue like that either embodies youthspeak I have no experience with or it is intended to mimic bad translations in American comic books/Manga. Whichever, the second chapter features some truly off lines.

In addition, the Batgirl chapter has decidedly inferior artwork compared to the first chapter as the characters are rendered far more simplistically. The sense of movement, like the dialogue, is a bit off, which makes for a poor flow and a less enjoyable reading experience. How Batgirl survives being submerged in the death tank Duela Dent made long enough for the spikes to deploy makes less sense than Batgirl being able to dodge the spikes!

Duela Dent's chapter in Ame-Comi Girls Volume 1 offers the reader explicit backstory on the female steampunk Joker character. She is presented as the daughter of the Joker, who grew up in the twisted landmark House Dent. One night, while playing hide and seek with her father, she ended up in the attic, where she was attacked by bats and, in the aftermath, was forced to cut her hair and get rabies shots. Shortly thereafter, her father was killed (paralyzing Jim Gordon in the process) and Duela Dent began her reign of terror on Gotham City. Acting as an agent of pure chaos, Duela brought Gotham to its knees until Batgirl showed up. Duela Dent's backstory is well-conceived and illustrated enough to be captivating. It is also the first chapter clearly intended for more mature readers (as if Wonder Woman's outfit didn't make that clear in the first chapter of the book!). Duela Dent is a cunning, cruel adversary, who is surprisingly well-conceived.

Duela's chapter then flashes forward to where Batgirl's chapter ended, with Duela and her lackeys cornering Batgirl on the ship. After incapacitating Batgirl in a futuristic trap, Duela demands fealty from her crew. Catwoman resists and the two fight, leading Catwoman to be jaded when Duela reveals her ally. Duela Dent is working with Brainiac, who intends to reduce humanity (outside Gotham City and Atlantis) to savages before abandoning the planet for a few million years. While Duela revels in her plan to rule the world (or the ashes of it), Catwoman frees Batgirl and tries to get her off the ship.

The third chapter greatly expands the scope of Ame-Comi Girls Volume 1 by introducing Brainiac and The Flash (Jesse Quick). The artwork is erratic, but still better than the second chapter. While the character arc for Catwoman is fairly predictable, it works because many, many DC Comics volumes have been written on how super-villain societies have a tendency to fall apart because villains do not work well together. Catwoman is characterized as smart enough to understand the human desire for respect, whereas, Duela Dent is a somewhat monolithic agent of chaos who demands fealty. While the plot of Duela's chapter is somewhat predictable and a little fractured, it progresses the overall story of Ame-Comi Girls Volume 1.

The fourth chapter introduces Power Girl to the narrative as the Kryptonian Kara Jor-El rescues James Olsen from pirates he wants to interview off the coast of Kenya. After rescuing Olsen, Power Girl returns to Metropolis, the city of the future that she has built based upon Kryptonian technology and environmental practices. While giving a tour of her facility, she is attacked by the Silver Banshees who out her as an alien and attempt to kill her. The Silver Banshees are armored women working for (presumably) Lex Luthor, who has built a giant mech to lay waste to Metropolis, kill Power Girl and (in his mind) prevent a Kryptonian invasion. No sooner has Kara saved Metropolis than a ship carrying her cousin, Kara Zor-El, crashes down in Smallville . . . with Manhunters right behind!

The artwork of the fourth chapter is more stylized than the earlier chapters, with the pirates having bodies with proportions that are noticeably off. Similarly, after Power Girl melts their firearms with her heat vision, the guys keep holding the red-hot weapons, which looks utterly ridiculous. Ironically, Power Girl herself looks the most similar to her non-Ame-Comi rendition, which might be a statement in and of itself. In fact, Ame-Comi Power Girl might have more of a costume - whatwith her somewhat pointless leg armor - than her mundane comic counterpart. What does an indestructible woman need with armor? That is not made clear in Ame-Comi Girls Volume 1. Power Girl's chapter is such a disconnect from the other chapters that it makes Barbara Gordon's shock at aliens influencing Earth seem nonsensical as Kara is out and about as an alien in love with humanity. Fortunately, just around the time the reader is thinking "How are the Manhunters so bad at their job that they arrive in force to stop Kara Zor-El, but not Brainiac?!" Brainiac's ship arrives and reduces that qualm as the Manhunters recognize the Coulan ship instantly. The female Manhunters are well-rendered for the gynocentric reinterpretation of the DC Universe - their fire hair is pretty cool.

The final chapter of Ame-Comi Girls Volume 1 is Kara Zor-El, Supergirl's, chapter. Opening with a brief flashback to Jor-El and Zor-El appealing to prevent the destruction of Krypton (it's not clear why those characters weren't female scientists instead of Power Girl and Supergirl's fathers!), before they are condemned to the Phantom Zone, the story flashes back to exactly where the prior chapter ended. The Manhunters agree to pardon Power Girl and Supergirl in exchange for their aid in arresting or destroying Brainiac, which they set about to doing right away, much to the chagrin of Duela Dent and her team aboard Brainiac's ship. As Brainiac sends a legion of androids to slaughter Supergirl, Power Girl and the Manhunters, Earth's metahumans take a stand against them!

The final chapter of is a cliffhanger, which promises a change in format from the character-centered chapters that defined Ame-Comi Girls Volume 1. In many ways, Ame-Comi Girls Volume 1 is a set-up that brings together, essentially, a female-powered Justice League. It also raises the stakes in the final chapter by apparently killing one character (it would be hard to believe a mere human could survive the beating from an extraterrestrial!) and creating a new villain for the next book. And, while there is something troubling about the word "bitch" being used in such a pro-woman book (it comes up twice in Ame-Comi Girls Volume 1, the final time out of Wonder Woman's mouth, which is just disturbing!), for the most part, the book has a strong respect for girl power themes.

Somewhat understandably, Ame-Comi Girls Volume 1 is a series of origin stories. Duela Dent's is the most concrete and explicit and, given how she is more or less unique to the narrative, inherently interesting. The explanations for Power Girl and Supergirl together is handled well-enough to accept. Supergirl and Wonder Woman's origin stories are familiar and bookend the volume well. Indeed, Supergirl's story being infused with the story of Brainiac makes for a compelling introduction of Kara Zor-El.

The artwork in Ame-Comi Girls Volume 1, like the statues and toys upon which they are based, is fun, at the very least. I noticed, however, that the artwork became less detailed as each chapter went on. There are panels, for example, of Wonder Woman's fight with Cheetah that lack the richness of detail that were present in her fight with the Kasnian forces on Themyscira. By contrast, Duela Dent's chapter starts with amazing artwork to explore the architecture of her childhood house to further her characterization in a compelling way. By the time Power Girl's chapter ends, though, it is hard not to acknowledge that Ame-Comi Girls Volume 1 is very much a graphic novel for people who like breasts. That's not a dig, but the artists are pretty obsessed with rendering large-breasted women and somewhere there is a young teen geek who has a copy of Ame-Comi Girls Volume 1 stuffed between their matress and boxspring!

I was not entirely prepared to like Ame-Comi Girls Volume 1 when I sat down to read it. The statues upon which the book was made seemed exploitative and over-sexualized (which is fine, but that being a gimmick to rework characters from seemed like it would lead most naturally to a porn parody as opposed to a serious, compelling, work) and the artwork in Ame-Comi Girls Volume 1 mirrors that, especially in the final chapter. But Ame-Comi Girls Volume 1 isn't just softcore with a story; it is surprisingly character-driven and against all odds, it works. In the Ame-Comi incarnation of the DC Universe, Earth and Krypton are mere creations of Brainiac's and she is coming to Earth to feast and that raises the level of threat in the book far beyond Duela Dent or Cheetah.

It also makes for a strong adventure where young women are working together for common purpose to save each other and the world. Regardless of the artwork, it is hard not to champion that. Ame-Comi Girls Volume 1 is a decent set-up that makes for a fun read and makes the reader eager to continue with the story . . . for more than just the appreciation of the costumes and boobs.

For other books that contain the characters that the Ame-Comi versions are based upon, please visit my reviews of:
Wonder Woman: Blood By Brian Azzarello
Batgirl: The Darkest Reflection By Gail Simone
Supergirl: Death & The Family By Sterling Gates

6/10

For other book reviews, please check out my Book Review Index Page for an organized listing!

© 2016 W.L. Swarts. May not be reprinted without permission.
| | |

Sunday, March 20, 2016

Vignettes In Wonder Woman: Sensation Comics Featuring Wonder Woman, Volume 1 Underwhelms!


The Good: Moments of concept, Some of the artwork, Some of the themes
The Bad: Some of the artwork, Lack of continuity, character development or a cohesive story
The Basics: Various writers and artists try their hands at writing Wonder Woman in Sensation Comics Featuring Wonder Woman, Volume 1 . . . with very different results.


A few years ago, for one of the many anniversaries, DC Comics released a one-shot 100-page spectacular issue (reviewed here!). The issue, which did not entirely impress me, was a collection of short stories. The issue must have been commercially successful enough because now, amid all of the many reboots of DC Comics properties, DC Comics is publishing similar issues more regularly. The first five issues of the short stories are now compiled in Sensation Comics Featuring Wonder Woman, Volume 1.

Sensation Comics Featuring Wonder Woman, Volume 1 is a compilation of ten short stories that feature Wonder Woman from very different eras in her history. The stories range in both duration and quality and the only common element is Princess Diana (Wonder Woman) and her high-minded sense of morals. Unfortunately, some of the stories are so short and unremarkable that they do not get around to actually developing or revealing any deeper character or morals.

Stories in Sensation Comics Featuring Wonder Woman, Volume 1 include vignettes like Batman being mortally wounded and Wonder Woman swooping into Gotham City to clean up the streets, attacks by Artemis and Doctor Psycho, Wonder Woman as a pop star in a girl group, and Diana - sleep deprived - going to London to recover Catwoman. The book also includes an adventure to Apokolips where Wonder Woman has to rescue two lost Amazons . . . before realizing their sinister mission to the planet of the New Gods and having to thwart them.

The artwork throughout Sensation Comics Featuring Wonder Woman, Volume 1 is incredibly erratic, as is the writing. The retro-stories that feature a Golden or Silver Age version of Wonder Woman are written with such precise diction that they make the reader convinced they were written seventy (or more!) years ago. The artwork in the rock star and Catwoman vignettes is playful, more Manga-like and the dialogue is more flirty or preachy (though, it is wonderful that the book is trying to bring attention to eating disorders). Other stories are dull, though Sensation Comics Featuring Wonder Woman, Volume 1 starts off high with Gail Simone's Gotham City story (which allows her to pair Diana and Barbara Gordon, both of whom she had extensive experience writing).

The net result is that Sensation Comics Featuring Wonder Woman, Volume 1 is a take-it-or-leave-it book that varies greatly every few pages. For die-hard Wonder Woman fans, it is not at all essential.

For other Wonder Woman books, please check out my reviews of:
Spirit Of Truth
Bones
Contagion

4/10

For other book reviews, please visit my Book Review Index Page for an organized listing!

© 2016 W.L. Swarts. May not be reprinted without permission.
| | |

Saturday, November 28, 2015

Wonder Woman: Bones Ends The New 52 Wonder Woman Story Well . . . Enough.

The Good: Renewed focus on Diana, Moments of theme
The Bad: Very basic plot, Artwork
The Basics: Wonder Woman: Bones resolves the story began when Wonder Woman was rebooted for The New 52.


As The New 52 concept ran its course, storylines that were planned and developed reached their natural conclusions and arguably the most ambitious single-character title in The New 52 was Wonder Woman. The series reached its peak with Wonder Woman: Bones, which picked up right where Flesh (reviewed here!) concluded.

Wonder Woman: Bones refocuses the long-running story of Princess Diana of Themyscira on the heroine, who was largely neglected in the prior volume. Whenever Diana has been promoted to a god, the writers seem to have trouble figuring out how to maintain the story. In Wonder Woman: Flesh, Diana's long arc was basically to accept the change that had come out of the prior volume. Having finally taken up the mantle of God Of War, Diana advances in Wonder Woman: Bones as she retasks the Amazons as warriors intent on usurping the First Born.

As the conflict for Olympus heats up, the First Born enlists Cassandra and her minotaur to defend his perverse recreation of the home of the gods. Diana decides to use the Amazons to wage war on the First Born and she begins the philosophical argument with her people to accept her decision. To try to heal her people and to get them to accept Zola ansd Zeke's presence on the island, Diana has the male Amazons return to Themyscira. Charging Aleka with defending Zeke and Zola, Diana defends Themyscira against the animalistic forces of the First Born before she is captured by the enemy.

The First Born rejects Cassandra and tries to convince Diana to become his consort. Diana rejects the new king of the gods and holds out until Zeke's true nature is finally revealed!

Wonder Woman: Bones is better on the character front than on on either the plot or artwork fronts. The plot is very basic in the way it progresses and it neglects some significant aspects. For example, the males are returned to Paradise Island, yet Diana never actually interacts with any of them. There are no major male Amazon characters, which makes Diana's somewhat forced sociological progress much less personal or compelling.

The artwork is mediocre throughout and for a book filled with battles, Wonder Woman: Bones lacks a strong sense of movement. As well, some of the key moments are terribly misrepresented. For example, in a scene where the Amazons are talking about Diana behind her back - manipulated by Cassandra - there is a character who looks virtually identically to Diana!

Fortunately, though, Wonder Woman: Bones is moved forward enough by Diana and her character to make for a satisfying conclusion to the story begun when The New 52 reimagined the character.

For the rest of the New 52 Wonder Woman, please check out my reviews of:
Volume 1 – Blood
Volume 2 – Guts
Volume 3 – Iron
Volume 4 - War

5/10

For other graphic novel reviews, please check out my Book Review Index Page for an organized listing!

© 2015 W.L. Swarts. May not be reprinted without permission.
| | |

Wednesday, November 11, 2015

Modern Mythology: Wonder Woman: Flesh Progresses Diana's Story Generally Well!

The Good: Character journeys, It's a fast read, Plot comes together well
The Bad: Most of the artwork is pretty bad, Meanders before it becomes focused
The Basics: Wonder Woman: Flesh might minimize Diana, but her story comes into focus in the bridge story that forces her to accept her new place.


I've had a distinctly mixed relationship with the New 52 version of Wonder Woman, who remains my favorite character in comic book history. The New 52 remade Diana's backstory in a way I found entirely unappealing and unnecessary. Furthermore, writer Brian Azzarello altered Diana's voice in such a way that the character seemed more bitchy than strong, more confrontational than philosophical. And her books have seldom given her the space to actually lead the title because they are so busy packing in a whole pantheon of characters to fill a much broader story. And the artwork has oscillated, but has generally been sub-par compared to the pre-New 52 texts.

By Wonder Woman: Flesh, Azzarello and the whole DC team have succeeded with their strategy. They wore me down. By Volume 5 of the New 52 Wonder Woman, there's simply no point in bitching about the retcon and the rework. It's done. Sure, it's a lousy strategy - the endurance of the publisher banking on outlasting the anger of the fans - but it works for those who have a truly beloved character. Wonder Woman is that for me and with Wonder Woman: Flesh, the story meanders, but comes to a point where it is clear that there is something going on that has the potential to be truly interesting.

The biggest problem with Wonder Woman: Flesh is that it is, essentially, a holding pattern. The book - at its best - is a character journey for the protagonist from denial to acceptance. Unfortunately, that character journey is minimized amid bigger plot activities and packing the book with peripheral characters who move Diana around more than she influences events.

Wonder Woman: Flesh follows directly on the heels of War (reviewed here!) and it is impossible to discuss Flesh without addressing where War ended. That is largely because both books end with essentially the same thing. War had Ares being killed by Diana in the fight against the First Born, which gave her the mantle of God Of War; Wonder Woman: Flesh is about the confluence of events that force her to actually accept her new place in the pantheon of Olympian Gods.

Apollo, now the chief god among the Olympians, visits the Oracles, who tell him the story of the First Born. The First Born was cast out of Olympus and supposed to be killed, but was left to die. Raised by animals, he raised an army of animal creatures to make war on Olympus and now a prophecy indicates that either he or Apollo will rule Olympus and it appears Wonder Woman will be the deciding factor. Apollo calls a council of the gods and includes Wonder Woman, who denies her new mantle as God Of War. When Apollo refuses to restore Hera, Wonder Woman leaves the council and returns to London.

On Earth, Cassandra marshalls her forces to try to find the First Born, while Strife begins to sew discord between Diana and her allies. When Zola and her son take off, Diana enlists Artemis (Moon) to help her find her friend. The hunt comes to a head as Cassandra kidnapping Milan leads Orion to leap into action and the earthbound heroes come into direct conflict with Cassandra and the First Born's forces. But Apollo's demand for the First Born to submit leads to an unexpected result, which pushes Diana in a (somewhat) new direction.

When discussing the plot of Wonder Woman: Flesh it is germane to note that Diana's name seldom comes up. The reason for that is simple: Wonder Woman does not move the plot in Wonder Woman: Flesh. Instead, the other characters in the book have their machinations and eventually Diana starts a search for Zola and that puts her in the middle of, essentially, the conflict between Apollo and the forces of the First Born. It's not the most compelling Wonder Woman story.

What redeems Wonder Woman: Flesh is that in the course of the volume, Diana does make a choice and she finally accepts the potential realized in the last pages of War. The bridge story is not at all compelling on its own and it falls to the next volume to truly unlock the promise of Flesh, but it is enough to keep readers interested until that book.

The artwork in Wonder Woman: Flesh continues to be erratic. The characters are all recognizable, but many of the panels are under-detailed and the sense of movement between the panels and within panels is poorly rendered.

Ultimately, Wonder Woman: Flesh is just enough. It is enough story to justify itself, good-enough artwork to use the medium and enough to bring us back for the next one.

For the rest of the New 52 Wonder Woman, please check out my reviews of:
Volume 1 – Blood
Volume 2 – Guts
Volume 3 – Iron

5.5/10

For other graphic novel reviews, please check out my Book Review Index Page for an organized listing!

© 2015 W.L. Swarts. May not be reprinted without permission.
| | |

Tuesday, February 3, 2015

Wonder Woman: Spirit Of Truth Is A Mediocre Narrative With Stunning Artwork!


The Good: Great artwork, Good character study
The Bad: Virtually plotless, Repetitive
The Basics: It surprises me that it took so long to get around to reviewing Wonder Woman: Spirit Of Truth, which is a simple story that features the amazing artwork of Alex Ross.


Every now and then, I wake up to realize that something I have experienced remains unreviewed! It’s an increasingly rarer phenomenon for me, but it happens. In the realm of Wonder Woman graphic novels, one of the ones I read quite a while ago, but never got around to reviewing was Wonder Woman: Spirit Of Truth. This became especially clear to me when I picked up the book and began reading it and I continued to say to myself, “This seems awfully familiar.” I knew it was not only familiar from JLA: Secret Origins (reviewed here!).

Wonder Woman: Spirit Of Truth is not bad, but it is exceptionally simplistic. Unlike other works for which Alex Ross did the artwork, like Justice (reviewed here!) and Kingdom Come (reviewed her!), Wonder Woman: Spirit Of Truth is focused and fairly monotonal. It is, essentially, a character study of Diana, Princess Of Themyscira, after she is made Themysciran Ambassador To The United Nations.

Opening with a hostage situation wherein terrorists take civilian hostages, Wonder Woman easily rounds up the terrorists and saves human lives. She breaks up sweatshops, stops street crime and takes on super villains. But soon, her actions are misinterpreted as her imposing her will upon Man’s World. Retreating to Themyscira, Diana reports to her mother about her actions and tries to describe the motivations of those she encounters in the world outside Themyscira. Not fitting in there and feeling a mandate to return to Man’s World, Diana continues to stand up for people everywhere. Despite being misinterpreted, she stops a military tank from plowing over an innocent woman standing in its way in defiance. Wonder Woman’s crisis of faith continues when the woman she saves is terrified of her and she goes to Clark Kent for some advice. Continuing to do good works, Diana eventually makes a profound change in the way she tries to interact with the world, without losing her values.

There is no grand conspiracy in Wonder Woman: Spirit Of Truth, there is no exceptional narrative. Instead, Wonder Woman: Spirit Of Truth is a character study. The “episodes” in it are mostly one-panel vignettes that describe Diana’s exploits, as opposed to having complex stories with adversaries that are developed and motivated.

What is good about Wonder Woman: Spirit Of Truth, outside the predictably stellar artwork of Alex Ross, is the level of contemplation Diana experiences. Diana truly considers her role in the world and her exploring her self-doubt is an interesting take for the character. Paul Dini has a decent voice for the character. But the inability to combine such insights into a story that utilizes Wonder Woman’s abilities in a strong narrative is somewhat disappointing.

The result is a very average one-shot that has great artwork, but not enough substance to back up the buy.

5/10

For other Wonder Woman books, please check out my reviews of:
War By Brian Azarello
Odyssey By J. Michael Straczynski
Mission’s End By Greg Rucka

For other book reviews, please check out my Book Review Index Page for an organized listing!

© 2015 W.L. Swarts. May not be reprinted without permission.
| | |

Saturday, December 20, 2014

Climax To An Unworthy Story: Wonder Woman: War Is A Resounding Success!


The Good: Engaging story, Good pacing, Some good character moments
The Bad: Erratic and simplistic artwork
The Basics: Just as I was ready to write off Wonder Woman, the writers pull out Volume 4, War which is strong enough to give readers hope!


I would like to start my review of Wonder Woman: Volume 4 - War out with a big “fuck you!” to writer Brian Azzarello. Brian Azzarello has been writing Wonder Woman since the New 52 reboot over at DC Comics and he managed to take one of the most interesting characters in the DC Comics pantheon and utterly ruin her. Gone from being a magical, exceptionally ethical, warrior/diplomat, Azzarello rewrote the character as an unimaginatively rendered demi-goddess who is a fish-out-of-water warrior defending her extended family members on a world she is not entirely familiar with. Over the first three volumes of The New 52’s Wonder Woman, Azzarello and his team managed to mortgage almost all of my love for one of the greatest characters in comic book history. Then came Wonder Woman: Volume 4 - War.

And Azzarello pulled it out. Wonder Woman: War is an engaging story with a cool protagonist, compelling villain and enough twists to become an essential part of the new Wonder Woman story. Almost all of the problems that the first three books created are undone or swept to the side in Wonder Woman: War. Given how Wonder Woman’s heritage has been rewritten, by Volume 4 there is no real point in continuing to bitch about how that has happened. Wonder Woman has gone from being a magically-created, somewhat divine creature into a powerful demi-goddess created through a mundane heterosexual relationship between a god and an immortal, so by War, there is no point in fighting that lost cause any longer. Wonder Woman: War seems to acknowledge that because it wastes no time recapping the former volumes and instead, it plunges forward with the narrative and it does so in a fairly good way.

With Apollo figuring out the ins and outs of being the ruler of Olympus and relating to the gods who are now under his command, Diana and her allies regroup. While they figure out a name for Zola’s new baby, the First Born continues his march for dominance by taking Poseidon hostage and threatening him. Diana’s allies begin to abandon her: War and Lennox begging off as Orion hits relentlessly on Diana. With Poseidon and Hell cutting a deal with the First Born that puts their realms outside his quest for power, the First Born turns toward Olympus. But realizing that the baby poses the gravest threat to him, he and Cassandra make a bee-line for Diana’s crew.

With the baby menaced, Wonder Woman comes in in full force and only survives her encounter with the First Born when Lennox and Orion rescue her. Whisked off to New Genesis, Diana finds herself unable to heal on her own. Orion and Highfather get into a feud over jurisdiction with the leader of the New Gods unwilling to risk New Genesis should the First Born turn his attention there. Returning to Earth, Wonder Woman and the First Born get into their final conflict and the result is a fundamental shift in Wonder Woman’s status in the universe!

Wonder Woman: War is a set-up volume, but the set-up is so incredible that it does what none of the prior New 52 Wonder Woman books have done; it makes us want to read what comes next. Wonder Woman has gone through several paradigm shifts over the decades and one of the most problematic was her ascension to godhood, largely because she was assuming a position without a niche. Wonder Woman: War gives Wonder Woman a divine purpose and, in the full Greek tradition, she is given a specific position in the pantheon to take and it is awesome.

Moreover, Wonder Woman: War makes the transition make sense. The First Born is a cool villain who is tied to the peripheral characters in this incarnation of Wonder Woman. Motivated by vengeance toward Hera and with the weight of prophecy, the First Born is dangerous and realistically motivated. Moreover, he is created without any serious defects, making him virtually impossible to defeat, which makes for an engaging story.

Diana in Wonder Woman: War experiences loss and a sense of vulnerability uncommon to the super heroine and it plays well. Wonder Woman may be (largely) invulnerable, but as she and her friends are hunted, she gets seriously wounded. Not only physically beaten, Diana wrestles with loss at the hands of the First Born. There is an evolution in Wonder Woman: War; Hera has a sense of remorse, Diana loses, and Orion proves himself more than just a sleazy god.

What does not work as well in Wonder Woman: War is the artwork. Like so many of the New 52 books, the artwork is simplistic and blockish. In writing 52 books a month, DC Comics created a-list and b-list (and down) comics where they prioritized their best artists. Wonder Woman, unfortunately, seems to be down the list. The characters are rendered blockishly with sloppy lines and vivid, though not realistic coloring. This is like an animated series Wonder Woman where the artists don’t really give a damn about the background or the characters who are not talking at the time!

The result is a good story that makes very poor use of the graphic novel medium. Wonder Woman: War might be the indispensable New 52 Wonder Woman story, but it is not rendered in a compelling way. Ultimately, that makes it a tougher sell than it ought to be, but it is worthwhile and makes one want the next book!

For the rest of the New 52 Wonder Woman, please check out my reviews of:
Volume 1 – Blood
Volume 2 – Guts
Volume 3 – Iron

7/10

For other graphic novel reviews, please check out my Book Review Index Page for an organized listing!

© 2014 W.L. Swarts. May not be reprinted without permission.
| | |

Sunday, July 13, 2014

Wonder Woman: Bitter Rivals Finds Wonder Woman’s Adversaries Moving To Destroy Her!


The Good: Decent plot, Most of the artwork, Good fleshing out of the villains
The Bad: Some mediocre artwork, Light on character development for the protagonist.
The Basics: A transition graphic novel, Wonder Woman: Bitter Rivals has the enemies of Wonder Woman closing in on her as she tries to save Vanessa!


Having read so many Wonder Woman graphic novels , I’m getting to the point where I get asked who my favorite author for the series is. I have remarkably few graphic novels that I actually buy and the one that I want most does not exist yet because it has never been compiled in a way that preserves the entire story. That arc was written by Greg Rucka and, despite some issues with some of the artwork in some of the books he scripted, he is easily the author who wrote the most consistently good arc for Wonder Woman. My favorite story Rucka wrote for Wonder Woman involved the heroine getting blinded by Medousa and should that story ever be compiled in an omnibus that preserves the entire story arc as opposed to breaking it up over a few smaller books, then it will be the one Wonder Woman book I eagerly buy the day it comes out. Such a book would also make Wonder Woman: Bitter Rivals unnecessary.

Wonder Woman: Bitter Rivals is a bridge book that carries Rucka’s arc between the attack on the Themysciran Embassy and the Medousa arc where Wonder Woman is blinded. As much as I enjoy Wonder Woman books, Wonder Woman: Bitter Rivals is light on character development for Diana and it focuses much more on the villains who are closing in on Diana to ruin her. The book is billed on the presence of Batman, though his involvement in the graphic novel is little more than a cameo. Instead, Wonder Woman: Bitter Rivals is intensely focused on the catastrophes surrounding Diana and the villains who are motivated to wrong her. The book is a poor standalone graphic novel in that most of the volume deals with the fallout of an attack that is not being investigated. Wonder Woman: Bitter Rivals might have been far better had the incident and the investigation been part of the same book.

Wonder Woman: Bitter Rivals starts with a reinterpretation of the myth of Perseus and the Gorgons. Cassie Sandsmark (Wonder Girl) is babysitting at the Themysciran Embassy and she tells her two sugar-loaded wards the story of how Perseus defeated the Gorgons. Ferdinand notes that Stheno and Euryale are still out in the world and that the consequences of falling in love with a god can be devastating. The undertones in the first story foreshadow events in Wonder Girl’s story arc while the story of the Gorgons is essential to where Wonder Woman would soon go (but does not quite get there in Wonder Woman: Bitter Rivals).

Elsewhere, Themyscira falls out of the sky and amid the devastation, one of the freed Gorgons rescues Circe (who was, presumably, imprisoned on Paradise Island). Preventing Circe from drowning and getting her back to their lair, Stheno and Euryace charge Circe with repaying them with a boon. Elsewhere, Wonder Woman rescues Vanessa Kapatelis (the Silver Swan) after she attacks Diana. Diana discovers the demise of Themyscira when she teleports to the crashed island with the insensate Kapatelis. The Amazons are unable to offer assistance to the fallen Silver Swan as they are busy recovering creatures let out of the Themysciran prison when the island crashed. Wonder Woman returns to New York City where she discovers that the U.S. military is moving in on Themyscira and the Amazons are being pressured over the assassination of the head of Protect Our Children, Darrel Keyes on the steps of the Themysciran Embassy (which happened before this book).

After a sidestory that has Veronica Cale torturing one of her subcontractors and through that, she finally reveals the root of her problems with Diana. After Cale’s backstory is revealed, Diana tries to get Vanessa help and discovers that the best hope her friend has is Leslie Anderson, Cale’s partner at C.A.P. Amid pressure from Artemis for Diana to get the U.S. to recognize Themyscira’s territorial waters, Circe resurrects Medousa’s head and is prepared to screw over Stheno and Euryale when Poseidon appears in order to get her to finish resurrecting the Gorgon. Diana enlists Batman to investigate the death of Keyes and he soon finds that Doctor Psycho was involved. When Wonder Woman, who is immune to Doctor Psycho’s influence, arrives at C.A.P. to find the assassin and/or Doctor Psycho, she becomes the unlikely rescuer of Cale.

The fundamental problem with Wonder Woman: Bitter Rivals is that the book is very much a plot-centered transition volume that does not lead to any sense of resolution. The reader learns who killed Darrel Keyes through the cameo from Batman, but the investigation is one of several plot threads in the book. The volume is entirely filled with unresolved threads, making it feel like a strangely busy book where nothing actually happens. For sure, Wonder Woman has a fight at C.A.P. and the reader learns what is going on in Cale’s head to make her hate Diana, but beyond that Wonder Woman: Bitter Rivals is entirely about setting up the storylines beyond this book. None of the villains get captured, there is no justice brought down and the next major villain is fully restored and prepared to hunt for Wonder Woman; the plotline with the U.S. recognizing the new location of Themyscira is not even resolved!

That said, Greg Rucka makes his mark with Wonder Woman: Bitter Rivals by continuing to make a solid arc with Diana on Earth in a surprisingly practical persona. She is an Ambassador and bound by international law. Her only real super powers utilized in Wonder Woman: Bitter Rivals are flight, super-strength, and using her lasso to see through Doctor Psycho’s mental manipulations. While Rucka does not have Gail Simone’s pen for banter, his serious take on Wonder Woman plays well opposite the villains who have a depth to them that is on par with Geoff Johns’s Flash villains.

But without reading the volumes that precede – and especially the two follow-ups dealing with Medousa and Wonder Woman’s blindness - Wonder Woman: Bitter Rivals would not be as compelling as it is. The entire book feels like a middle chapter in a much larger work. The artwork is simplistic compared to some comic books, but it is not bad. The coloring is vivid and the characters are all recognizable, but none of the artwork in Wonder Woman: Bitter Rivals is truly extraordinary. Fans of Wonder Woman will want to read Wonder Woman: Bitter Rivals to be prepared for the important Medousa arc, but on its own, it is a much harder sell.

For other Wonder Woman volumes in this incarnation of the Amazon Princess, please check out my reviews of:
Gods And Mortals by George Perez
Wonder Woman: Challenge Of The Gods by George Perez
Beauty And The Beasts By George Perez
The Contest By William Messner-Loebs
Wonder Woman: Lifelines By John Byrne
Paradise Lost By Phil Jimenez
Down To Earth By Greg Rucka
Eyes Of The Gorgon By Greg Rucka
Land Of The Dead By Greg Rucka
Mission's End By Greg Rucka
The Hiketeia

7/10

For other book reviews, please visit my Book Review Index Page for an organized listing!

© 2014 W.L. Swarts. May not be reprinted without permission.
| | |