Thanks to NetGalley for providing me with an eARC of this book!
Ever since I was a little girl, I have loved Catwoman and Selina Kyle. I’ve mentioned before that I had Batman Returns sheets, I was Catwoman for Halloween the year it came out, and I had my Catwoman trapper keeper that I held dear to my heart. My love for Selina is a double edged sword, however. Because i love her when her character is done justice it gives me all the happy feels. But, on the other hand, if Selina and Catwoman are written in ways that I don’t like, I will hate it forever. There’s a reason I put down Sarah J. Maas’s “Soulstealer” after a couple of chapters and refused to continue. I haven’t been reading the Batman stories in the Rebirth arcs of DC, though I’ve been following them peripherally. I was elated to hear that Batman and Catwoman were going to get married, but then crushed (and not really too surprised) when I heard that the wedding didn’t happen. The good news that comes from this, though, is that it means that Selina gets to have some stories for herself, and not find herself pin holed into being Batman’s Wife first and foremost. Because as much as I would LOVE for DC to actually explore how these two characters would (and I argue TOTALLY COULD) properly function as a married couple, I think that first Selina needs to get some time on her own, and to give Bruce the time to learn how to be both Batman AND Bruce Wayne. And that is where “Catwoman: Copycats” comes in. After leaving Bruce at the altar Selina has rushed away to Villa Hermosa in hopes of escaping her guilt, and that is SO Selina and so heartbreaking to see. I’ve always loved Selina because of her determined independence, but also because part of her drive to be independent is because she doesn’t feel like she CAN fully give herself to anyone, even if that person is her one true love Bruce Wayne. She is irrevocably broken in some ways, but what I liked about this arc is that Jones doesn’t apologize for it. True, she shows the sadness and damage that Selina feels, but she also explores it beyond the romantic relationships and looks into the relationship that Selina had with her sister Maggie. It gives Selina more depth, and lets us see into her motivations more than we did when they were based solely in Bruce’s and her relationship. It allows us to see Selina’s vulnerability without making it look like it only comes out because of a dude. Her love for Bruce hasn’t been what makes her scared of loss; it goes much further back than that. And she has to confront both of those relationships in this, as her guilt over both has started to come to a head.
We also finally get to see a villain who is worthy of Selina’s focus. True, there are copycats running around making her look bad, but the true Big Bad of this story is all too familiar: it lies within corrupt political circles. Raina Creel is Selina’s nemesis, and as the Gubernatorial First Lady of Villa Hermosa she has an image she presents to the public, while she hides a literal aged, rotting frame underneath the glitz and glam. And, of course, the ways that she maintains her ‘youth’ are not at all ethical, as she takes blood transfusions from people who have little to no recourse to fight back. Because of her place of power, the rivalry between her and Catwoman is far more based in cat and mouse intrigue (pun unintended) than usual. Jones has made sure to let the stakes build up at a proper rate, and also draws some parallels between the two women who have both chosen to do improper things in order to get what they want. I also kind of wonder if Creel is something of a sly nod to Sharon Stone’s character in the dreadful Halle Barry “Catwoman” movie. They both have obsessions with youth and beauty, and will got to drastic measures to attain both. If so, that’s a cheeky and fun reference.
The artwork is also done by Jones, naturally, and it continues to be stunning and splashed with life and color. The vintage designs are right up my alley, and Jones is easily one of my favorites in the business because her artwork is always so on point. It’s really wonderful that she is also a superb writer, especially when it comes to her women characters. What I also really appreciate is that Jones draws Selina in a way that doesn’t make her seem like a total sex object. Sure, she wears sexy outfits and looks chic as hell, but rarely (a couple times it did get close, but rarely) did I see her as drawn like she’s meant solely to be desired for sex; she just looks great and powerful without being a total fuck fantasy for male readers.
Overall, I really enjoyed “Catwoman: Copycats”. I am very interested to see where Jones takes Selina next, and I know that she will be in good hands....more
Ever since I was a kid I’ve been completely taken with the Persephone and Hades myth. I’m not sure if i(originally reviewed at thelibraryladies.com)
Ever since I was a kid I’ve been completely taken with the Persephone and Hades myth. I’m not sure if it’s because Hades is the original Depressive Demon Nightmare Boy, or that I’ve always loved the idea of a Queen of the Dead, but their romance and (part time) joint rule of the Underworld is one of my favorite pieces of mythology. As such, I’m always looking for adaptations of it. Sadly, I haven’t really found many to my liking outside of a few children’s stories (side note, if you have recommendations, send them my way!), and it saddens me that the myth is a bit underappreciated. But that’s why I wanted to spotlight “Persephone” by Allison Shaw, because the moment I started reading I knew that I was going to really enjoy what was done to the characters that I love so much.
The story that Shaw makes takes influence from the original Greek mythologies and updates them a bit to be, shall we say, less problematic than the source material. While it’s important to remember the historical and cultural context at the heart of these stories, the idea of a guy kidnapping a woman and making her his bride doesn’t sit well anymore (even if it’s all a metaphor for growing up and leaving home for a new family AND the changing of the seasons). So Shaw makes Persephone not only the main character, but Hades conflicted about his attraction to her (thanks in part to an errant arrow from Eros) as he doesn’t think that she would be happy with him in the Underworld. Persephone, too, approaches their romance in a different way, as her infatuation slowly grows and is VERY real by the time she and Hades disappear while a domineering Demeter panics. Side note: even as a kid I thought it was strange that Demeter was SO overprotective/controlling of her grown daughter, and found it creepy that she’d stop things from growing in a blackmail effort to get her kid back; I’m glad that authors of newer adaptations are willing to point out that this, too, takes away Persephone’s agency and has it’s own toxicity about it. Their characterizations are also quite strong, and you get a sense of their motivations and personalities pretty easily. She is bubbly and optimistic and kind, and he is sarcastic and dour and a bit lonely, and the differences round each other out well. The romance is very cute as it builds, and yes, it’s also pretty damn sexy. There is a reason this book is described as ‘mature’. It transforms original moments of potential violation in the original story and turns them into moments of very intentional consent, with very, shall we say, steamy results. Now I’m not one who reads that much romance fiction, but I know good smut when I see it, and for the most part “Persephone” has good smut. There’s one moment that seems a bit tacked on as an afterthought, but who am I to complain about love scenes within a love story, especially if they’re between one of my favorite fictional couples of all time?
There are also VERY fun references to other Greek myths and characters, from a lecherous and obnoxious Apollo being a creep to a determined Artemis taking Persephone under her wing, to a snarky Eros who is dealing with his own conflicted feelings about Psyche, and oh can we please, PLEASE get an adaptation of that one next?! IT’S MY SECOND FAVORITE GREEK MYTH!! Persephone and Hades have interactions with all of these characters and act in ways that seem totally true to how their characters would act. I do wish that the story had been longer so that we could have had even more exploration of all of these characters, but I think that it’s better to be left wanting more than to feel like a story is slogging along at a snail’s pace.
And finally, I really loved the art work and the character designs. From Persephone’s voluptuous frame to the fact that Hades has his own speech bubble type, I thought that artwork was unique and fit the tone of the story.
I greatly enjoyed what Allison Shaw did with the Hades and Persephone myth. “Persephone” was a sweet and satisfying adaptation of a myth that I have always held dear to my heart.
We’ve come to the point that I have been dreading basically since I first picked up the “Bombshells” bo(originally reviewed at thelibraryladies.com)
We’ve come to the point that I have been dreading basically since I first picked up the “Bombshells” books: the end. At first I dreaded the end because I loved the stories so very much. I remember the absolute joy I felt when reading the very first collection, “Enlisted”. I was blown away by the creativity, the feminism, the diversity, and the optimistic spunkiness, all being showcased in an alternate WWII universe. But once we got into “Bombshells: United”, and the series was abruptly cancelled by DC, my dread became less about missing the stories, and more about how much they had to wrap up in a short amount of time. And, unfortunately, my fears were not unfounded. “Bombshells United: Taps” was an unfocused and rushed mess of an ending.
But first, as always, let’s look at the positive. And there is a good amount of positive before I get to the negative, specifically the entire first half of this collection. The second to last arc of the series not only brings back The Bat Girls, but it also ropes in The Suicide Squad, Black Canary, and introduces Bumblebee! When a mysterious signal is going out over a pirate radio station, it turns listeners into violent, hypnotized automatons. The Batgirls, specifically Alyssa and Felicity, just want to know who has incapacitated their friends. The Suicide Squad has orders to take out Black Canary, as it’s her radio station AND her lover Oliver Queen has gone missing. Two scrappy side teams with very different ethos converging in Hawai’i was a very fun and suspenseful storyline, and anything that is going to showcase Dinah Lance is going to get positive snaps from me. Both the Batgirls and The Suicide Squad have different approaches on how to handle this situation, but as they all start to lose friends to the mysterious radio waves they have to find a way to work together to try and take it down. This side story was a fun one, and the solution harkened back to an older storyline, which I quite enjoyed seeing wrapped up in such a way. It felt like an appropriate send off for The Suicide Squad and The Bat Girls before this series has it’s final farewell, and a nice arc for Dinah Lance that fits her at times morally ambiguous personality.
But the last half, which is the final wrap up of the entire series, was confounding. I want to make clear that I do NOT completely fault Bennett and the other creative minds behind “Bombshells: United” for how this all went down. After all, to be cancelled so suddenly with so many open storylines and brand new ideas had to be not only devastating, but daunting. How could they properly wrap up so many things with such limited time left? It’s a monumental task no matter how you slice it. But instead of perhaps focusing on the core group of women and characters who started out the story, and giving them proper, well thought out send offs, instead it was decided that EVERYONE needs to be addressed, and that we need to wrap up the ENTIRE WAR in spite of the fact we left off in 1944, and we’ve barely addressed much outside of the Western Front! So the final wrap up jumps from Wonder Woman and her gang in one place, to Harley and Ivy in another, to Supergirl and her gang in another, AND YET STILL FEELS A NEED TO INTRODUCE NEW CHARACTERS AND THREATS, in the forms of Parademons, The Black Lanterns, and Lena Luther who happens to be an ALIEN (oh and so is LEX). Oh, and guess who else decides to show up? THE JOKER. As if it wasn’t already a bit nuts that Joker’s Daughter, whom we haven’t seen since the original Bombshells series, pops back in in hopes of snatching up Zatanna AGAIN. No, we also have to throw in THE JOKER, just so Harley can have her ‘I REJECT YOU, YOU BAD BOYFRIEND!’ moment that didn’t feel at all necessary, especially since her relationship with him was barely touched upon AND didn’t seem to have any kind of baggage remaining until this very moment. Why are you wasting time with this when there are so many Bombshells that need addressing? Oh, and The Flash even shows up for a couple of frames, and gets her own wrap up at the end for some reason in spite of the fact she for real pops in, and pops out, and everyone is like ‘who was that?’ So we are STILL introducing new Bombshells when I feel like the focus really ought to be on trying to do justice to the ones you already had, especially when you only have a couple issues to wrap up an entire war and a plethora of storylines. And so unfortunately, when you have a lot of characters and a lot of storylines that need to be wrapped up, none of them feel like they get their due, and a number of them get killed off in unceremonious berserker ways like Family FREAKIN’ Tyrell in “Game of Thrones”. But even there at least they got a send off; for some of our Bombshells that we’ve been following since the first arcs, it happens off page and barely gets a note of acknowledgement. And then we get an “American Graffiti’ style wrap up with a ‘here is how they all ended up’ montage. It’s fine, but it’s a bit twee, and it is another reminder that there was so much going on, and so many characters who were barely given anything to do in the last story. It’s Selina who wraps everything up for us as she’s prepping Bruce Wayne to become a ‘space age’ superhero, while reminding him that, essentially, he ain’t shit compared to the ladies she’s seen in her day (oh and since his parents aren’t dead he was raised with hope and love, because remember, there is nothing more powerful in this universe than the power of LOVE).
Look, ultimately I am going to have fond, fond memories of “Bombshells” as a whole, because while the ending was rough, I can’t place all blame on the creators. And the entire first series was so inspirational and important. Hell, the “United” series has some solid moments as well, some of which are in this issue. I think that the unbridled ambition came back to bite it in the ass, as nothing is guaranteed in this very unfair world where you can keep rebooting tired male superheroes/villains over and over, and women characters need to be ten times more interesting to be even given a shot to keep going. It’s unfair. It’s frustrating. But it doesn’t change that the ending to this series was lackluster, and that isn’t just on the injustice of it being cancelled too soon. Goodbye, Bombshells. You will definitely be missed....more
I have read a couple of graphic novels that Nate Powell did the artwork on, and given that one of those(originally reviewed at thelibraryladies.com)
I have read a couple of graphic novels that Nate Powell did the artwork on, and given that one of those was the stupendous “March” Trilogy I hold him in high regard. I first heard about his new graphic novel, “Come Again”, at work, when a coworker had requested it and couldn’t remember why. When she told me what it was about and who wrote it, I requested it myself. Not only was I interested in a supernatural story that takes place on a commune in the fading days of communes, I was also curious to see what Nate Powell would do as a writer as well as an illustrator.
“Come Again” has a number of themes that it addresses, and some of these themes work better than others. I will start with the aspects that I liked, because I liked them a lot. Our main character, Haluska, has lived in an Ozark based ‘intentional community’ (or as some laymen may call it, a commune) with her close friends and son Jake for the greater part of the 1970s. The idealistic 1960s are long over, though when Hal, her ex Gus, and their friends Adrian and Whitney first started living there it was 1971, and the world seemed filled with possibility. Now we are at the end of the decade, and though the community remains it has shrunk considerably, and Hal has been carrying on an affair with Adrian that is based in an underground cave they found in the forest. Their affair doesn’t seem to have much joy or passion to it, though neither seem willing to give it up, even though they have to take it literally underground. Haluska certainly feels guilt, but not enough to end it, and her attachment to a comfortable relationship that may not be what it used to be resonates within the greater storyline. The ideals of the Love movement, and the commune itself, are fading away, and with that change comes uncertainty and the impulse to cling harder to something that may not be there anymore. There was a moment that I found to be quite powerful, when Hal and Adrian go into town to sell goods at a farmer’s market. Their somewhat strained relationship with the ‘traditional’ town has been buoyed by the give and take system they have with each other. But on this specific day, a local band has been booked to perform. They happen to be a punk band, and their angry song of rebellion angers the townsfolk, but connects with Hal in ways she may not totally understand in that moment. Knowing that the 80s are coming, and the cynical and predatory social changes that are in store, it feels like a greater reflection of what’s to come, though Hal may not know it. These aspects of this book, of isolation, and guilt, and the secrets we keep from even the ones we love most, worked supremely well for me.
It was the dark fantasy and supernatural elements that fell a bit flat. There is something living in the cave that Hal and Adrian use, a disembodied voice that sinks into the various pages. After Hal’s son Justin and Adrian’s son Shane find the cave, Shane is lost within the depths, depths that may not be there all the time. This, of course, helps feed into Hal’s guilt about her affair with his father, but then it becomes clear that something supernatural is going on that only Hal can see. While I usually really like strange supernatural elements (and am enough of a ghoul that missing people is a theme that I like), I didn’t feel that this part of the book was as strong as it could have been. We don’t know what it is that is living in this cave, we don’t know why the spell it casts manifests in the way that it does, and as we see the consequences of the disappearance and spell start to unfold, we don’t really get answers as to why or how it’s happening. I understand that ambiguity is a key component of a story like this, and I can appreciate it to a point, but in this story I was left more confused than anything else. It ultimately leads to a sacrifice that Hal has to make, and though I understood the resonance of the sacrifice it also felt a bit like a cop out when it came to her having to own up to some of her past mistakes (and the mistakes that others have made as well). I think if the story had leaned in more to the magical or supernatural system I would have liked that part more, but it could have easily functioned as a historical fiction meditation on self, secrets, and guilt.
But Nate Powell’s style is still very unique and stands out in my mind. I liked seeing how he used shades, shadows, and a semi-realistic stylization to tell this story. I especially liked how the disembodied voice of the monster/whatever was written, in ways that made it seem like it was literally floating on the wind.
“Come Again” was a book that didn’t quite give me what I want from the premise and author. It certainly had strong moments, but overall it didn’t have to ghostly oomph I expected....more
f you were to ask me what my favorite movie was, I would immediately say “Wet Hot American Summer”. Thi(originally reviewed at thelibraryladies.com)
f you were to ask me what my favorite movie was, I would immediately say “Wet Hot American Summer”. This wacky ensemble camp comedy is a cult classic, and has so many people in it who either were comedic favorites at the time (Janeane Garofalo and David Hyde Pierce) , or became comedic favorites as time went on (Paul Rudd, Amy Poehler, Bradley Cooper, the list goes ON). In 2015 Netflix produced a prequel miniseries called “First Day of Camp” in which almost the entire original cast came back to reprise their roles, and I loved every minute of it. They somehow managed to recapture the charm, irreverence, heart, and humor of the cult classic in spite of the fifteen year gap. Then in 2017 they tried again with a sequel series called “Ten Years Later”… And I wasn’t terribly impressed. At that point it felt forced, and like it was beating a dead horse. So when I heard about a graphic novel story about “Wet Hot American Summer”, with a whole new plot but familiar characters during the same 1981 summer, I was stoked, but hesitant. While I welcome new WHAS content, it wasn’t the original writers. Would it go the way of “First Day of Camp”, or “Ten Years Later”?
I’m happy to report my fears were for nothing. Because “Wet Hot American Summer”, the graphic novel, was mostly a delight. The plot is pretty simple, even if it’s outlandish. Which, as a WHAS story, it needs to be. A night on the town from the teenage counselors leaves a local woman scandalized, which leads to a camp inspection. Camp Firewood has one day to fix all of the problems of the camp will be shut down for good. Is there any suspense about whether or not this will happen? Of course not. Is it fun seeing various characters have a week’s worth of nonsensical misadventures in one day’s time? Hell yes. Christopher Hastings, the writer, does a fantastic job of creating ludicrous situations and tidbits that feel like any of the random non sequiturs that the original creators and writers would have done. From a long forgotten boy’s wash house of spa like proportions to a number of campers who go feral, the antics are at a very outlandish, and therefore WHAS level. And while the stakes in terms of the eventual outcome of the camp’s survival aren’t exactly high, Hastings still built suspense regarding friendships and interactions, which did keep me a little nervous and on edge. My dear sweet sweethearts Ben and McKinley are fighting?! NOOOO!
In terms of the characterizations of the cast, Hastings overall did a pretty good job of writing them the way they are supposed to be. Coop is still a hopeless idealistic, Susie is still a theater obsessed control freak, Andy is still a bad boy doofus, and Gene, well… is Gene. It felt like David Wain and Michael Showalter themselves brought us a whole new story, they were all so spot on. If I did have an issue with this book, it would be that the distribution of character focus was a little unbalanced. While we would get a lot of focus on Andy, or Ben and Susie, or Beth and Gene, we barely saw anything from other characters, and sadly it was mostly women, like Katie and Lindsay and Abby Bernstein. I know that you can only do so much with a huge swath of characters, all of them amazing, and only so many pages, but it was still a little disappointing that it was women who were more likely to fall to the wayside. Especially since Lindsay played such an important role in “First Day of Camp” (whether this followed the canon of “FDOC” isn’t very clear; there are some hints but nothing is said outright in reference to it).
I also should probably mention that if you have no working knowledge of WHAS and what it tries to do, this will probably seem nonsensical and insane. It is definitely written for fans of the movie and various shows, and while it nails it for the fans, if there is no familiarity of it from the reader they will almost assuredly be lost, and perhaps frustrated. There are tiny throwbacks and Easter eggs within the narrative that make it extra fun for people like me, but I can’t imagine that the completely ridiculous plot and exaggerated characters will resonate for those who have never seen the movie. And along with that, if the wackiness of the movie didn’t appeal to you, there is no way that this graphic novel would.
The illustrations, done by Noah Hayes, are the perfect design for the tone of the story. They feel like a mix of YA favorites such as Raina Telgemeier and the over exaggerated emotions of manga or manga inspired narratives that Bryan Lee O’Malley might make.
“Wet Hot American Summer” was a funny and heart filled revisit to my favorite summer camp. I would love it if Hastings and Hayes teamed up to bring us more stories from Camp Firewood, but even if this was it, I’d be happy with what we have....more
When I saw that Katie O’Neill had another graphic novel coming out, I knew, I KNEW, that I had to read(originally reviewed at thelibraryladies.com)
When I saw that Katie O’Neill had another graphic novel coming out, I knew, I KNEW, that I had to read it. I loved “The Tea Dragon Society” so very much, and gentle and vibrant cuteness was something that I was needing after a stressful couple of weeks. While aquatic mythical creatures may not catch my attention as much as dragons do (unless it’s a sea serpent, as those are basically water dragons if we’re being honest), the cover alone had me screeching with joy. A girl riding some kind of weird water unicorn Pegasus thing?! The contrast of this with the horror graphics on my to read pile was striking!
But the thing that I noticed about “Aquicorn Cove” from the get go is that there is a far more bittersweet undercurrent running through this story than there was with “The Tea Dragon Society”. While the imagery is just as cute and serene as the imagery in that book, the premise here is a bit darker. Lana is a girl whose mother was killed during a violent ocean storm, and that is why she and her father left their hometown in the first place. They are coming back to visit her maternal Aunt Mae as well as clean up the wreckage after another bad storm. Lana has a genuine connection to the ocean like Mae and her mother did, even though being back is painful for her and her father. When she finds an injured baby aquicorn she wants to nurse back to health, her love of the ocean has a tangible element it can attach to. Mae, too, has a connection to the sea, given that she is a fisherwoman and she makes her living because of it, but there is always going to be the painful reminder that the thing she loves took her sister away. They are both coping with the trauma of the loss, but they cope in different ways.
The Aquicorn society that Mae and Lana interact with has it’s own issues that it brings to the story. Aure, the head of the community, has struck up a long time friendship with Mae, as they have helped each other in various ways. Mae has taken objects and products from Aquicorn Cove and has helped her own community thrive. But the give and take relationship has started to crumble, as Aure thinks that the cost for her community has started to become far too great. O’Neill has found a relatable and easy way to show kids the importance of giving back to the environment, and while you understand Mae’s need and want to keep her community alive, you see the cost it has to Aure’s and the reef. There was one panel that is especially relevant where, when pushed back on by Aure, Mae says that her community shouldn’t have to change it’s ways because ‘this is how it’s always been’, and THAT struck a chord. Mae is never presented as a bad person, per se, just someone who is unable to see the consequences that her actions have for others.
The other big theme in this story is the importance of ocean conservation, and how it can be a matter of life and death not only for sea creatures, but for the human communities that live on the seashore. Aquicorn Cove’s reef is sick and starting to die, and without the protection of the reef that can help buffer the strength of ocean storms, the severity on land is becoming more and more devastating. Climate change scientists postulate that storms will become worse and worse as time goes on, and with more of these natural buffers dying off or disappearing the costs and the losses will be higher. At the end of the book O’Neill listed a number of ocean conservation resources, as well as information for the readers on what they can do to help restore the tenuous ecosystems. What I liked about this section was that it was easy to understand for kids, and while O’Neill did simplify it she never made it seem like she was talking down to her readers. She really hits home that we may feel like in our smallness we can’t make a difference, but how we can connect to our community, which can connect to other communities, and how that can help amplify our voices for change. The message was loud and clear, and I really liked it. And let's note how adorable the drawings in this book are. The gentle design and all around charming style made the art pop and had me smiling from ear to ear.
“Aquicorn Cove” is another lovely graphic novel by Katie O’Neill, and with it’s important messages and themes it stands out from the crowd....more
Even though horror has almost always had stories with some kind of hidden themes within their works, I(originally reviewed at thelibraryladies.com)
Even though horror has almost always had stories with some kind of hidden themes within their works, I feel like as a genre people are starting to really realize the possibilities of metaphor for greater ills beyond a monster or a ghost. With books like “Lovecraft Country” and movies like “Get Out”, we are starting to see more expansion and room for not only POC characters, but also critiques of racism within our culture and society. “Infidel” by Pornsak Pichetshote is the most recent story of this kind that I have come across, and I can tell you that I was waiting very impatiently for my hold on it to be filled at my library. Given that NPR listed it on their ‘100 Greatest Horror Stories of All Time’ selection, my enthusiasm and anticipation was greater than most other books I request. It was also a lofty claim to make, and while I was open to the claim I wondered how much my own final opinion of it would line up with it.
Our story follows Aisha, a Muslim American woman who has recently moved into an apartment building with a tragedy attached to it. A few years before, a Middle Eastern man’s homemade bombs went off, killing a number of the tenants. Aisha and her friends, most of whom come from non-white backgrounds, are aware of the history, and aware of how the white tenants aren’t as welcoming to them as they are to non POCs. What Aisha and her friends don’t know is that the building is haunted by a very angry and aggressive set of ghosts. It’s Aisha that first sees the twisted and violent entities that haunt the complex, their rage focusing on her. The visual manifestations of these things are truly horrific, as they are warped and filled with rage and able to cause serious physical harm. Much like “Lovecraft Country”, racism and bigotry is the true villain of this book, with the ghosts targeting Aisha because of her Muslim faith and their association that gives them to the man whose bombs were their demise. Aisha isn’t the only one who has nasty encounters with the ghosts, as their ire holds a lot of the other characters hostage and puts them at risk as well. It starts slowly for all of them, noticing it bit by bit and making them wonder if they ACTUALLY saw something, or if it’s just a figment of their imaginations, a direct metaphor for those who are victims of racism in our day to day lives.
But the other kind of racism that Pichetshote shows in this book isn’t just the over the top obvious kind in ghost form; rather, it’s mostly micro-aggressions and fear based on ignorance and paranoia. Aisha is dating a while man named Tom, who has a daughter named Kris from a previous relationship. Kris’s mother is dead, and Kris is very connected to Aisha. Tom’s mother Leslie has just started warming up to Aisha and seems to be trying, though in the past she’s shown discomfort and flat out hostility towards Aisha and her culture. Aisha is more inclined to give her the benefit of the doubt, though Tom and her childhood best friend Medina are not. There are also other tenants in the buildings who are more mistrustful of Aisha because of her faith. From a neighbor who is convinced she saw Aisha committing a crime (though Aisha herself at this point is a clear victim), to a woman who is actually in Aisha’s circle of friends but still doesn’t trust her fully, it’s these interactions that left me a bit more unsettled than the ghosts that pop out of the walls. These moments are based in realism, and show how people can be influenced by fear and prejudice even if they think they are open minded and accepting.
The artwork is stunning. There is a certain jarring atmosphere that the artist, Aaron Campbell, creates, with lots of vibrant colors and use of shadows. The ghosts within the building are especially grotesque, their distorted features harkening to disease and decay. At one point Medina refers to racism as a cancer, and the entities absolutely reflect that.
I think that one of the few criticisms I did have about this book was that it ended a little too quickly. I realize that this was very much a mini series, as it was only five issues all together, but for it to build slowly and complexly and then to be wrapped up very fast left me a little feeling unsatisfied. There were a couple of plot points that were tossed out into the fold that sounded like it would take a lot of work to get through, only to be resolved quickly, sometimes off page. Because of this, I did close the book wanting more.
“Infidel” is an effective story with some genuine scares. I highly encourage horror fans to pick it up, but know that it may feel a bit rushed by the end. That said, I am very much looking forward to see what Pornsak Pichetshote brings us next....more
Victor LaValle is an author whom I greatly enjoy, as I don’t think I’ve read one thing by him that unde(originally reviewed at thelibraryladies.com)
Victor LaValle is an author whom I greatly enjoy, as I don’t think I’ve read one thing by him that underwhelmed me. I really liked his mental institution horror story “The Devil In Silver”, I found “The Ballad of Black Tom” to be a fun deconstruction of a racist Lovecraft tale, and I REALLY liked “The Changeling” and how it made a modern day dark fairy tale out of New York City. So when my friend Tami told me that he had written a graphic novel that decided to take on “Frankenstein”, I absolutely had to read it. It was a long wait at the library, but when “Destroyer” finally came in I sat down and devoured it in one setting. Even if it ran me through the wringer and then some. I guess I never thought about how “Frankenstein” could be combined with present day socio-political themes, and yet LaValle meshed them so well that I was blown away.
The Monster has emerged from the Arctic in modern times, and his former longing of being included and understood has been thrown out the window. He is a beast that is intent on destruction of the human race, as he believes that it has wronged him, as well as everything else around it, and does not deserve to go on. In contrast, we meet a modern day descendent of Victor Frankenstein. Her name is Dr. Baker, and she, too, has her heart set on destroying the society that she has continuously wronged her. For her, though, that is mostly because she lost her son Akai after a witness mistook his little league bat for a gun, and police killed him. Her science experiment has brought Akai back from the dead, though her scientific genius has made him a wonder of modern technology as well as an undead twelve year old. It’s the perfect metaphor for the rage and despair that parents like her have felt over and over again, and her urge to destroy every part of the racist society that destroyed her life. Her rage and plotting is utterly terrifying, but damn does it make sense. I loved Dr. Baker, as you get to see her life before Akai’s death through flashbacks, including her time at a top scientific research organization (that basically fired her when she got pregnant, because heaven forbid a woman in a STEM profession want to start a family). That organization has also stolen her ideas and technology and intends to use it against her, which is another indictment of power structures stealing ideas from groups that it wrongs. LaValle does a very good job of showing how she could go from a bright eyed and enthusiastic young scientist to a revenge intent victim, and while I don’t think he ever makes it seem like her urge to kill everyone in society is correct, he makes you really understand why she’d feel that way.
Dr. Baker a great juxtaposition to The Monster, who has also decided to take a path of destruction because of his grievances. It takes those themes of science gone too far and what makes a monster and applies them to a T. Hell, the other little homages are also on point, like the names of the agents Percy and Byron, named for the two men to whom Mary Shelley first shared her vision of a Modern Prometheus. The Easter eggs are plentiful, and I had a hell of a time finding them. It’s a really fun thought exercise about what The Monster would possibly be like today if it finally left the Arctic, and boy is it bleak. I don’t know if I really like the idea of The Monster being reduced to, well, a monstrous/brainless being, because far too often has Shelley’s vision been misinterpreted from the thinking, and therefore plagued, creature of her intention. But in this case, I think that LaValle does it in a way that would be a potential foregone conclusion, and it does add to the symbolism all the more.
I really enjoyed the art work that Dietrich Smith brought to this story. It felt sufficiently comic book, but it also had bits of depth and darkness and shadow that conveyed various points of tragedy and sadness. I also liked the more abstract design of the cover (done by Micaela Dawn), though the drawing style inside was the design that I preferred. The details from the gore and the violence to the varied facial expressions are very well done.
“Destroyer” is a superb reinterpretation of a classic story of horror and tragedy, and LaValle has once again shown his talent and retelling stories with a socially conscious lens that reflects today’s ills. It’s another update of “Frankenstein” that I think Mary Shelley would appreciate....more
I’m feeling a bit morose that this is going to be the second to last “Bombshells” story collection for(originally reviewed at thelibraryladies.com)
I’m feeling a bit morose that this is going to be the second to last “Bombshells” story collection for the foreseeable future. I’ve moved on from being angry to depressed when it comes to this series being cancelled, and I’m thinking that I’m moving closer and closer to acceptance. There are a couple of reasons for this acceptance that are more on the unfortunate side, but more on that in a little bit. Because at the end of the day I still think that it is a damn travesty that DC cancelled this title just because of how unique it is and how it covers a vast swath of characters who come from diverse backgrounds and give diverse voices to the stories they are telling. And now it sounds like I’m reverting back towards anger, so before that happens let’s get to the nitty gritty of what worked, and what didn’t, in “Bombshells United: War Bonds”.
It’s been a little while, but we once again have caught up with Kate Kane and Renée Montoya, aka Batwoman and The Question. They have moved on from their final battle and have ended up back in Spain, where they first met and fell in love. But it’s also where they lost their adopted son Jasón, when mercenary The Cheetah murdered him for the hell of it. The loss is still gaping, and while Kate and Renée have found each other again the pain lingers. I liked that we got to see their grief in this way, as something that will always be with them, even if it isn’t as all encompassing as it had been initially. This theme of grief is where the crux of this story comes in, post-Franco Spain,’s new ruler is a whole new tyrant that we know as Black Adam, who is also haunted by a terrible loss from his past. He is looking for a way to resurrect his dead queen Isis, and has heard of a pit with magical powers that can bring people back to life. But it’s Kate and Renée who stumble upon it first, finding this Lazarus pit in the middle of an underground labyrinth. And who else do they find there, but Talia Al Ghul and Cheetah. And Cheetah is there because she has brought Jasón back to life, as she is now driven by guilt and a need for forgiveness and redemption. Okay folks, it’s real talk time. I really, REALLY appreciate that Bennett is trying to think beyond the usual physical and violent conflict resolution that we see in superhero stories, and I understand that it’s a fun way to show that women’s roles and stereotypes of being peacemakers and nurturers can be subverted into something powerful enough to stand up against super villainy. But, for the love of God, this is the fourth time that a nemesis has seen the evil of their ways thanks to spending time with the Bombshells (or in Cheetah’s and Paula Van Gunther’s cases, just kind of needing the conflict resolution to fit an upcoming plot device), and it is getting old. I am all for redemption arcs, and I think that it’s especially important that bad women in fiction get these arcs since it feels like men do when it suits the storyteller. But I want them to be complex and interesting, not just tossed together in a moment because of peace love and understanding. It also makes it so that our cast of villains becomes smaller and smaller, and you instead need to introduce new (albeit familiar) antagonists to stir the pot, like Black Adam. I will admit that I’m not as familiar with him, as Shazam (aka Miri Marvel as she is in this story) was never a title that I got into very much. But even if I had been into him, I feel like introducing a new huge big bad at this point was just another example of fantasy bloat that “Bombshells” is starting to see more of.
That makes it sound like that I didn’t like anything about this turn of events, and that’s not totally true. Like many stories with similar themes that come before it, Kate and Renée will have to contend with the unforeseen consequences of Jasón’s resurrection. Though it isn’t full on zombie Jasón or anything like that, you do get the sense as the story goes on that perhaps things won’t be as happily ever after as Cheetah intended it to be. I also liked that for Kate and Renée, Cheetah’s actions weren’t automatically welcomed with open arms. They didn’t forgive her automatically because of this, and I thought that that was a realistic and refreshing turn of events. It’s one thing of the Batgirls or Wonder Girls are able to take a former enemy into the fold and show them compassion. But Harvey Dent and Clayface didn’t murder their kids just for the fun of it. I thought that Bennett hit that nail on the head, that atonement doesn’t automatically earn forgiveness.
The art in this collection worked better for me than it did in “Bombshells United: American Soil”, mainly because it didn’t feel as cutesy. There were also nice moments of pondering or waxing poetic on mythology that felt more muted and subdued, and I really took to it. Maybe it helped that during one of these sequences Kate ACTUALLY ACKNOWLEDGED THAT MAGGIE SAWYER IS STILL BACK HOME WAITING FOR HER. In any case, I thought that the design worked well and added a lot to the retro style narrative.
As mentioned above, we are only getting one more collection of “Bombshells United” before it’s over. One more. There are so many things that haven’t really been addressed across the other characters, and given that there has been a new explosion of characters I’m worried that the focus is in no way going to be brought back to where it needs to be to have a totally satisfying ending where all loose ends get tied up. And while that is in part certainly the fault of the cancellation (I’m sure that Bennett had lots of really good ideas and paths on how and when she was going to take them on), it’s also in part an example of why exploding character rosters and plot lines can come back and bite you in the butt. As I slide closer to acceptance that this series has ended, I hope that in the next, and final, issue I will walk away with some satisfaction. And that Kate, Diana, Kara, Harley, and all the rest are given their due that they so richly deserve....more
A popular definition of ‘insanity’ is repeating the same behaviors and expecting a different outcome ea(originally reviewed at thelibraryladies.com)
A popular definition of ‘insanity’ is repeating the same behaviors and expecting a different outcome each time. In this regard, I can call myself ‘insane’, because even though I wasn’t totally taken in by “Monstress” in it’s first volume, I went into “Monstress (Vol. 2): The Blood” thinking that perhaps this time something would be different. I really want to like this series, because it has so many features that draw me in: the art is beautiful; the world is dark and foreboding; two of the main characters are a Fox/human child and a necromancing CAT! Plus, monsters. Like, a seriously CREEPY monster. And yet, the joy that others get from “Monstress” continues to elude me.
I will start with the positives of this volume of Maika’s journey. Marjorie Liu has certainly made a creative world that her characters roam in. It continues to be complex and intricate, and it just keeps expanding. This time we get to spend time with a band of pirate Arcanics (those that are part human and part Ancient, and tend to have Animal characteristics), and on a mysterious Island of Bones where an Ancient creature named Blood-Fox resides. Maika is desperate to get answers about her mother, and perhaps figure out how to get rid of the Monster that’s living inside of her. All the while she’s being pursued by the Dawn Court’s Warlord, a military leader who also happens to be Maika’s Aunt. Ultimately, “Blood” isn’t really about the blood of battle, but the blood that runs in our veins and whom it connects us to. I liked seeing Maika try to find out some answers, and I liked that both Maika AND the Monster inside of her have to confront truths about their pasts that make them both uncomfortable. I also still have a great affection for Maika’s sidekicks, the sweet and adorable Kippa, and the sarcastic and somewhat mysterious necromancing cat Ren. As these three continue to travel together, they become more connected to each other, and they all balance each other out.
The art also continues to be gorgeous. There is less time in urban settings in this volume, in favor of taking it to the high seas and to a creepy as all get out island, which means there’s a bit less Art Deco influence. But Takeda’s style remains intricate and sumptuous, and I found my breath taken away a number of times as I turned the pages. The style for her characters also feels so unique, as all of the characters are stark contrasts from each other in their designs. I was especially impressed with the ghostly imagery that’s found on and near the Isle of Bones, as the ghosts are both ethereal but very present.
But, like with the first volume, “Monstress: The Blood” still hasn’t made me fall head over heels for this series. I like the characters and the art, but the high fantasy aspects have not worked for me, and I found myself not as interested in it as I had hoped I would be. As the world continued to expand, I wanted more focus on the witches we’d seen in the previous volume. I’m connected to Maika as a character, but I’m not really invested in her story, which is hard for me to wrap my head around. Ultimately, it just comes back to my tastes about high fantasy, and how limited they are. That isn’t “Monstress”‘s fault.
And yes, I’m going to keep going. Even though I have been kind of left cold by the first and second volumes of this series, I REALLY want to like it, and I think that there are shades within these two volumes that make me think that I still can. So I’ve put Volume Three on my request list. And maybe next time I will have a more positive review to give. For now, know that my opinions of “Monstress (Vol. 2): The Blood” probably don’t and shouldn’t reflect the merits and positives of this series. So, like I said in my previous review, if you like high fantasy that has a bit of a darkness to it, you should absolutely check this series out. It will probably work for you better than it does for me....more
Even though Science Fiction isn’t really my preferred genre, if there is an excellent horror theme to i(originally reviewed at thelibraryladies.com)
Even though Science Fiction isn’t really my preferred genre, if there is an excellent horror theme to it I’m assuredly going to be game. So it most likely isn’t shocking that I love both the movies “Alien” and “Aliens”. Not only does it have a solidly excellent female protagonist (Ellen Ripley for LIFE!), it also has a very scary adversary in the Xenomorph, a creature that is essentially a giant parasitic space bug that you COULD fight, but you have significantly better odds if you just run away. The first two movies in the “Alien” franchise are awesome, and while I love them both my heart probably belongs to “Aliens” the most. Not only does Ripley get to kick more butt, but she picks up a rag tag group of friends along the way, specifically the Colonial Marine Corporal Hicks, the android Bishop, and the orphan Newt, a girl saved from an overrun colony. “Aliens” ends with the Alien Queen vanquished, and Ripley looking forward to taking her life back with her new found family in the wake of the one she lost while drifting in space post “Alien”.
…. And then “Alien 3” happened, and it completely trashed that perfect ending by crashing the ship, killing off Hicks, Newt, and Bishop, and throwing Ripley into a new clusterfuck of a PRISON COLONY SETTING because apparently she doesn’t get ANY breaks whatsoever. What does this have to do with “Aliens: Nightmare Asylum and Earth War” you may ask? More than you’d think. SO, after “Aliens” came out, Dark Horse created two mini series set within the “Alien” universe, focusing on Hicks, Newt, and Ripley a few years after the action in “Aliens”. But when David Fincher’s dark for the sake of dark “Alien 3” came out, Dark Horse decided that it had to be retconned because HEAVEN FOR FUCKING BID THAT HICKS AND NEWT REMAIN ALIVE IN COMIC FORM. So Dark Horse went back and changed the names of Hicks and Newt to Wilkes and Billie, and they were SOMEHOW not Hicks and Newt in spite of the fact they were CLEARLY Hicks and Newt, and re-released the two series with a brand new ‘now agreeing with film continuity!’ seal of approval. Given how “Alien 3” ended and what happened to Ripley, what with her DYING, I don’t understand why the comics decided to change Hicks and Newt to fit THEIR deaths, but let Ripley come back unaffected. But whatever, what do I know? Happily, in 2017 Dark Horse went back and righted this wrong, and both “Nightmare Asylum” and “Earth War” were re-released in a hard cover collection with Hicks and Newt back in tact. And now that this “Short Brief History” has concluded, let’s get to the review.
I’ll start with “Nightmare Asylum”. Ripley wasn’t seen much in this story, but I was surprisingly okay with this because it gave Hicks and Newt some time to shine. Set a fewish years down the line from “Aliens”, Newt is now a young woman, and has been living as a surrogate daughter/sister/friend to Hicks. They have been floating in space, as Earth has been taken over by the Xenomorphs and they escaped by the skin of their teeth (along with an android named Butler with whom Newt has been in a relationship). But unfortunately they run afoul a crazed General named Spears, who has gone full General Kurtz and thinks that he can make an army of Xenomorphs to fight against the Xenomorphs on Earth, namely by torturing and trying to condition an Alien Queen to make her control her brood lest he destroy her eggs. And while Ripley is nowhere to be seen for the most part, I REALLY enjoyed “Nightmare Asylum”, if only because Hicks and Newt (her in particular) had some fantastic story lines and moments of riveting action. Given that I have ALL the love for both Hicks and Newt, I am a-okay with the focus being on the two of them. For Newt it’s because she has taken on the role of the determined and scrappy Ripley character, and it shows how she has gone from scared orphan girl to be saved to an adult who is out to save the world. For Hicks it’s his continued journey of being a tough and competent soldier who is more than happy to let the tough ladies around him take the reins. He had the utmost respect for Ripley and trusted her, and he has the same respect for Newt. And also, Hicks was played by Michael Biehn, who was foxy as HELL in the role, so yes, my libido has SOME influence over my affinity.
But I also REALLY liked the main plot with the crazed General trying to use the Xenomorphs to his own ends. Any “Alien” fan worth their salt is going to know that this is a TERRIBLE idea, but it feels original enough that it could totally fit within the hubris that we see so often in this universe. And with new but familiar protagonists coming in to deal with it it doesn’t feel like just another instance of ‘Ripley is right AGAIN and why doesn’t anyone listen to her?’. Ripley can be right til the cows come home, but admittedly it would get a bit old. And yes, Ripley DOES show up, right at the end, so it doesn’t feel like she’s been forgotten or thrown to the side. One note I do have, though: I didn’t like that there were so many sexualized drawings of Newt. Sure, she’s an adult in this story arc, but was it REALLY necessary to have multiple shots of her in skimpy underwear and spread legs?
“Earth War” was next, and that one brings Ripley more into the fold. As she, Hicks, and Newt (along with other brave fighters) gather together to try and take Earth back, Ripley also has to contend with her leaving Newt and Hicks behind after “Aliens”. I liked the device that was used in this case, as it doesn’t feel too cheap (like “Alien 3” did, and no I will NOT shut up about how much I hate that movie) and also feels wrenching. To Ripley Newt was sort of seen as a stand in for her daughter, who died while Ripley was in hypersleep out in space, and so it was important to give a GOOD explanation as to why Ripley would have disappeared after “Aliens”. “Earth War” absolutely achieves that. But I think that the reason I found it to be the weaker of the two, in SPITE of Ripley’s presence, is that it feels very rushed. While the smaller story of “Nightmare Asylum” works in four issues, trying to cram a reunion for Ripley and her friends, information as to where she was that whole time, AND a battle to take Earth back from the Xenomorphs in the same number feels VERY rushed. Plus, I think that for me there was a HUGE disconnect from the artwork between the two, and I much preferred Den Beauvais versus that of Sam Kieth. I generally like Kieth (I REALLY like his work on “Sandman”), but I didn’t feel like it fit in as well with the content at hand. Which means I was taken out of it a bit more than I would have liked.
All that said. this collection is FINALLY back the way it is supposed to be, and I am SO happy that I finally got to read it. “Aliens: The Original Comics Series” gives “Alien” fans the stories that we’ve always deserved, and it gives Ripley, Hicks, and Newt a lot to do without getting dour or unnecessarily bleak. I greatly enjoyed this series as a whole....more
I’ve been a long time fan of “Batman”, as you all are well aware. I also have a very special place in m(originally reviewed at thelibraryladies.com)
I’ve been a long time fan of “Batman”, as you all are well aware. I also have a very special place in my heart for “Archie” comics, and not just the horror comics that have been so genius as of late. When I was a little girl I loved old school Archie adventures, and really liked following stories involving Betty and Veronica. When I saw that Paul Dini, a writer for “Batman: The Animated Series” AND one of the creators of Harley Quinn, had written a new Harley Quinn and Poison Ivy story with Marc Andreyko, I was already pretty on board. But when I saw that it was a crossover with Archie Comics, and it was ALSO going to star Betty Cooper and Veronica Lodge? Awesome.
Far be it from me to disparage goofy crossovers. As a former fan fiction author I have indulged in a number of crossover stories, some of which make absolutely no sense whatsoever, and I think that amusing and fun is one of the most important elements to do it successfully. But what makes the idea of Harley Quinn and Poison Ivy meeting up with Betty and Veronica so excellent is that they are all the epitome of gal pals, in positive and negative ways. While Harley and Ivy are definitely supportive and caring friends to each other, they are morally ambiguous if we are being generous (and if we aren’t they’re straight up criminals). And while Betty and Veronica are pretty normal and functional people, they are best known for their portrayal of being frenemies all because of a boy (who is a total DUD, I might add). So to give these two sets of friends a little wiggle room to explore the depths of where their personalities can go, and therein critique their base portrayals they are pigeonholed into, is kind of genius.
Deriving a plot that is part buddy crime comedy and part “Freaky Friday”, “Harley & Ivy Meet Betty & Veronica” is really just a comedy of errors and some fun fan service for people like me. I don’t know what a Venn Diagram of people who love Harley and Ivy vs people who love Betty and Veronica would look like, but I know that as someone in the overlap I found this to be an entertaining romp. Once the full body switch happened and we got to see Betty and Veronica dealing with the hot mess that is Gotham, and Harley and Ivy letting loose at Riverdale High, I just sat back and enjoyed the ride for what it is. I liked seeing Betty and Veronica completely aghast at Gotham and the ridiculous crime it harbors, just as I liked seeing Ivy and Harley have to contend with Cheryl and Jason Blossom, a whole different kind of enemy than they are used to. There is also something incredibly satisfying about seeing Ivy and Harley have NO interest in Archie WHAT. SO. EVER. The banter and situational comedy the two sets of gal pals get into while in the body swap is entertaining to be certain, and they bring a new zest to some of the tried and true tropes of both fandoms. There are also other fun little shout outs and meet ups for members of the “Batman” and “Archie” fan bases: Sabrina Spellman getting to hang out with Zatanna was a delight, and the idea of Smithers and Alfred Pennyworth being old friends was super sweet.
The art is fun and a nice mix of both worlds. Laura Braga of “Bombshells” art fame is at the helm this time, and she has a style that kind of suits both universes. It’s chic and stylistic, but it also lends itself to superhero situations, or perhaps supervillain situations is a better description.
But I think that one of the weaker things about this collection was that it really does read like fan fiction. That isn’t to say that this is inherently a bad thing; like I said, I used to write that stuff and still dabble even if I don’t publish it anymore, and I do like a fun nutty crossover. What I mean by that is that sometimes I felt like plot points happened less because of the plot at hand, and more because Dini and Andreyko thought ‘wouldn’t it be cool if…?’. And that tended to make for a weaker story. I’m thinking mostly about this whole strange subplot with Reggie dressing up as Joker for a party, losing his memory, and then believing that he WAS Joker. I didn’t really understand what this did outside of ‘look, it’s like The Joker is here but he isn’t actually, isn’t that FUNNY?!’ As far as I’m concerned, Joker is a little played out these days, Mark Hamill excluded. Plus, why is it that we feel like whenever there is a Harley Quinn story Joker should show up in some capacity? I am willing to give Dini a little slack here since he is Harley’s creator, but honestly, it’s not necessary and I’m starting to get sick of it. ESPECIALLY since Harley and Ivy are pretty solidly a couple in the DC verse now, and that wasn’t very clear in this, now that I think about it, which ruffles my feathers a bit. Again, Dini can get a LITTLE leeway since he’s the creator, but COME ON.
So while “Harley & Ivy Meet Betty & Veronica” was definitely a bit of fluff and fun, I had hoped that it would be more than that. It gave me joy in the moment, but I wish that it had a little more substance....more
It’s been awhile, but we’re diving back into graphic novels. I neglected to check back in on the “New S(originally reviewed at thelibraryladies.com)
It’s been awhile, but we’re diving back into graphic novels. I neglected to check back in on the “New Super-Man” stories by Gene Luen Yang for a long time, and by the time I did there were two volumes out, much to my excitement (and guilt that I’d waited so long). I know that while I am a DC Fan Girl I tend to come down on them when it comes to their Rebirth on going series, but “New Super-Man” is one that I’ve greatly enjoyed with little to no complaints. I chalk that up to Gene Luen Yang being excellent, but also to DC being willing to give him the room and trust to tell the story he wants to tell in the way he wants to tell it. When we last saw our flawed but intrepid hero Kong Kenan, China’s answer to Superman in the Justice League of China, has lost his father, and wants to know who killed his parents (as he was told his mother died in a plane crash years before). I was definitely anxious to see where Yang was going to take his characters, as not only are we following Kenan, but also Wang Baixi (Bat-Man), and Peng Delian (Wonder-Woman), both of whom I had grown QUITE fond of.
I don’t know what took me so damn long to get back to this series, because the moment I picked up “New Super-Man (Vol.2): Coming to America” I was yanked right back into this creative and deeply engrossing world that Yang has created. Kenan remains incredibly flawed, which is a really intriguing counterpart to the original Superman, as Clark is basically a boy scout. Now he’s driven by grief and the need to find out who has destroyed his family, and his impulsiveness is more understandable, but also amped up. What I think is MOST interesting about Kenan as a protagonist is that he isn’t terribly likable, but you root for him anyway, and you get to see him evolve into a better person. In this series he has to tamper down his impulsiveness and start to train to try and tap into all of his powers, and his impatience is in direct conflict with that training. It’s going to be quite the journey for him. Especially since he’s going to learn some disturbing and hard truths about what ACTUALLY happened to his mother, and then later his father. We ended on a HUGE cliffhanger in this regard, and it will be VERY interesting to see where this is going to go from here.
We also get to see some new information about Baixi and how he became Bat-Man. Turns out, he was part of an extensive training program, as he was picked the best choice from a number of candidates who were also training. Going back to that group proves to be a bit more confrontational that Baixi anticipated. I really enjoyed learning more about his home life, especially about his relationship with his little sister Jiali, who serves as a foil that I am REALLY hoping we see more of. But it’s Delian’s story that reiterates the uniqueness of this series. A fair amount of Delian’s background, like Diana’s, is based in folklore and mythology (though this time Chinese as opposed to Greek). I don’t really want to spoil it, but what I will say is that it takes influence from the Legend of the White Snake. The parallels of origins for Delian to her counterpart was a really neat surprise, given that Kenan and Baixi have very different origins to theirs, and it made her feel all the more special as a character. Using this myth is just one of the ways that Yang brings forth and showcases the Chinese culture, bringing a voice and representation to readers who have grown up within it. At the same time he makes this culture and experience accessible and relatable to those who have not grown up within it, and does it by blending it in with a somewhat familiar superhero story. That is why to me “New Super-Man” is one of the most important titles that DC has going on right now, because lord knows comics need more representation.
On top of the original content, in this collection The Justice League of China finds itself intermingling with familiar faces and places. That’s right, mega businessman and always shady Lex Luthor has entered into the picture, cozying up to The Justice League of China and taking advantage of Kenan’s vulnerable emotional state. God that Lex is such a bastard but I’m always SO happy to see him. And not only that. We go to Metropolis, which means we get a cameo from Superman himself!!! Seeing Clark and Kenan interact was such a joy, as Kenan is a total fan boy and Clark is ever so kind and patient.
“New Super-Man: Coming to America” keeps this unique and compelling series on a steady and satisfying path, and if you haven’t already checked it out I implore you to do so. Gene Luen Yang is a treasure and this series needs to be spared from hasty decisions that DC tends to make with the titles that I find most important. ...more
Halloween is next week, readers, and that means that this year’s Horrorpalooza will be coming to an end(originally reviewed at thelibraryladies.com)
Halloween is next week, readers, and that means that this year’s Horrorpalooza will be coming to an end after the next “Fear Street” post. While you’ll still be getting an influx of horror stories in the coming weeks, given that I have plenty of reading I haven’t even addressed yet, I wanted to save one of the most unique and fun horror reads for the week before the highest of high holidays in my mind. And “Behind You: One-Shot Horror Stories” is absolutely unique, and one of the most creative horror reads I’ve read in a long while. Brian Coldrick’s stories got their start on Tumblr, and though I left that platform long ago I will say that you can find some really awesome blogs and websites on there that showcase some really great art and creativity, and “Behind You” is a great example of that.
Coldrick’s stories are minimalist in some ways, and yet very detailed in others. They are one frame and one image (they move on Tumblr, and alas they do not on the pages of this book), and that image tells a story that can range from simply unnerving to full blown nightmare fuel. The image also gives the reader a lot of leeway to create their own context and background. Is this person waiting in an alley meeting a friend? A lover? Family? Who used to live in this house and why is it that there are all these twisted silhouettes on the walls? I like the freedom that this gave me, and it also made it so I would linger on the page a bit longer than I might have were I just reading a single panel that had all the answers. It reminds me of a visual version of the classic Hemingway minimal story “For sale: baby shoes, never worn”, as in such little space you get such vibrant and clear cut stories.
The design of the panels in this book also really elevated the stories, and I liked the wide range of stories that these single panels told. There are numerous protagonists and antagonists, and they all seem pretty original and unique in their designs. The style reminds me of a mix between Edward Gorey and a New Yorker cartoon, and that lends both a creep factor and kind of a cute quirkiness as well. Given that this book is a collection of various narratives, all separate from each other (except for a running panel of a figure being followed by a ghost that pops up occasionally throughout), there isn’t much to say in terms of content. I do think that there is something lost when the images don’t move, like a number of them do on the Tumblr blog. There are a few that could work either way, but some really are more effective with slight and uncanny movements. That said, I do think that there is something to be said for just being able to sit down and page through a bound copy of these panels and stories. I think there’s something a little more tactile in that, especially if you are wanting to sit down on a creepy autumn night and give yourself a case of the willies.
“Behind You” was an enjoyable read for an autumn night, and I think that the best way to experience it would be with a cup of cocoa, bundled up in a blanket, and trying not to notice the shadows outside or on the walls of your home....more
A special thanks to NetGalley for providing me with an eARC of this book!
Though I feel like I watched a good amount of Hanna-Barbera cartoons as a child, one character that I don’t have specific memories of is Snagglepuss. I remember him existing, and I remember a few of his quirks (like his catch phrase ‘exit, stage left!!’ and his smooth personality), but I don’t think I ever saw a full cartoon with him as the star. But even with my passing familiarity of the character, I still knew that I ABSOLUTELY needed to read “Exit Stage Left: The Snagglepuss Chronicles”. It’s not exactly an obvious premise: Snagglepuss is a closeted Southern playwright in 1950s New York during the McCarthy Witch Hunts and the Lavender Scare, and finds himself and his friends targeted for their lifestyles. Is this a story I thought I’d see Snagglepuss in? No. Is it one of the best, if not the very best, graphic novels I’ve read this year. Heavens to Murgatoyd, yes.
The thing about Snagglepuss as a character is that he was written at a time where gay characters were coded into entertainment, and they were usually portrayed as villains, buffoons, or, if people were feeling progressive, tragic victims who couldn’t survive the story if they wanted to be true to themselves. Snagglepuss is fussy, dapper, has a smarmy affectation, and acts ‘flamboyant’, so it’s probably safe to assume he was coded as gay, and meant to be laughed at. So to take this character and to give him this story is a very neat deconstruction of what the character was initially, especially since this story is set within the same general time frame that Snagglepuss first was introduced to the world (if not a little before). Mark Russell, the man responsible for other DC/Hanna-Barbera edginess like his take on “The Flintstones” and “Scooby-Doo”, has given Snagglepuss a similar, dark treatment where people thought darkness couldn’t possibly be found. But darkness there is, as Snagglepuss finds himself caught up in the fear of the House of Un-American Activities Committee, with it’s head Gigi Allen setting her sights on him specifically. Through this backdrop we get to explore and examine the hypocrisy, corruption, prejudice, and rampant fear that had the American Government and people in an uproar. Snagglepuss himself is reluctant to become a symbol of rebellion; on the the contrary he’s perfectly content living his life as a success on Broadway, meeting up with his lover at the Stonewall Inn and basking in his fame as an intellectual elite. What I liked the most about him as our main character is that he is thrust into this role of rebellion, and his complicated feelings about it make him a well rounded character who has his OWN privileges that he hides behind when others can’t. He is a compelling iteration of the original character, and someone who can’t accept how bad things have gotten until it’s too late.
Other familiar faces pop up in this story, from Hanna-Barbera stallwarts to actual players during the Red and Lavender Scares. We get cameos from the likes of Marilyn Monroe, Lillian Hellman, and the Rosenbergs, whose execution is one of the darker plot points within this book. At the end of the graphic novel Russell has put together a handy dandy set of notes on various people and moments he includes in the story, and I found that to be very helpful and thoughtful of him (I had never heard of the great Cornfield War between Khruschev and an American farmer. Look it up, it’s hilarious!). On the Hanna-Barbera end, Quick Draw McGraw and Squiddly Diddly play key roles and have their own forms of prejudice to contend with (Quick Draw being a closeted cop on the Stonewall beat and Squiddly being an immigrant), but the stand out is Huckleberry Hound. Huckleberry is Snagglepuss’s childhood best friend, and has become a well known Southern Gothic novelist whose marriage has fallen apart because of his sexuality. They are exact opposites, with Snagglepuss being flitty and carefree and Huckleberry being anxious and depressed. The way that their relationship grows and changes, and how they cope, or don’t cope, is one of the saddest aspects of this book, and the one that had me weeping openly of Hanna-Barbera characters. I never thought I’d see the day. But that just goes to show how excellent Russell is as a writer: he takes two dimensional cartoon characters and breathes life into them, redefining them and bringing relevant social concepts to life through them.
The artistic style that Mike Feehan brings to this story is also incredibly compelling. The characters look realistic, with Snagglepuss absolutely designed like a mountain lion in stature and gait, but not out of place within the real world they are mingling in. The animals are the right amount of anthropomorphized without feeling uncanny or eerie. “Exit Stage Left: The Snagglepuss Chronicles” feels timely because the rise of paranoia and corruption within our current administration, and the constant Othering of various groups that don’t fit into the mold that they deem as ‘true Americans’. It feels like a warning, and it makes it all the more intense and powerful of a read. But it also feels like you’re reading about familiar friends, and are learning a great deal about them that you never knew, even though they were always like this. It’s ingenious and effective, and I loved every bit of it. And it’s stories like this that make me run back to DC Comics, because this is by and large one of, if not the, best graphic novels I have read in a very long time. I have my issues with DC, but I stand by the fact that I find some of the stories they tell to be incredibly ambitious and outside the box. And, heavens to Murgatroyd, I cannot recommend “Exit Stage Left” enough....more
Thus, we being with the first collection of the final series of DC Bombshells. I’m still livid and bitt(originally reviewed at thelibraryladies.com)
Thus, we being with the first collection of the final series of DC Bombshells. I’m still livid and bitter that this series was cancelled, but I’m going to see it through and enjoy it/support it until the very end. What I found most fascinating when I read about the “Bombshells United” series is that this one isn’t going to just look at the ills that foreign nations committed during WWII, but also the rotten things that happened on the home front, and in the country that The Bombshells swore to protect. To me, it’s refreshing that Marguerite Bennett decided to turn scrutiny on the United States for this next arc, because we did some absolutely shameful stuff during WWII. The big theme of “Bombshells United: American Soil” is that of Executive Order 9066: Japanese Internment. And given that we seem to have forgotten our own history, it’s an important reminder that we are not unfamiliar with grievous civil rights abuses. Especially since we seem to be on the path to repeating them.
We get to see Wonder Woman back at the forefront at the start of this new series, and it is always a breath of fresh air to see her. Diana Prince is truly one of the most pure and good DC Superheroes, and it felt fitting that she would be the Bombshell to be confronting the evils of the Japanese Internment. It allows us as a reader to measure up our very imperfect (and in this case horrendous) policies to Wonder Woman as the ideal we should strive for. But what makes it a bit more interesting is the introduction of Donna Troy and Cassie Sandsmark, two Wonder ladies in their own right (both of them filling the Wonder Girl role at different times). Cassie and Donna in this both have vested and personal interests against the Japanese internment, as they are both Japanese American (though Cassie is white passing, she still would have been imprisoned based on the law). You throw in Emily Sung and Yuri and Yuki, and you have a group of marginalized people who are participating in the dissent and the resistance, which in turn makes it so Wonder Woman doesn’t act solely as a white savior. It’s pretty well done, and I liked the dynamic that Bennett created between them and Wonder Woman (as they eventually form to become The Wonder Girls) that allows them to fight against heinous domestic policy. In fact, at the end of this arc in the collection, Bennett lists a great number of resources people can look up regarding the Japanese Interment (along with some additional resources about how Indigenous peoples were treated during this time; Dawnstar does show up, and while I liked how powerful and important she was I’m a LITTLE afraid that Bennett is kind of falling into the ‘magical Indian’ trope with her).
HOWEVER, there were a few stumbling moments in this series to me. The first involves the introduction of Clayface. He is the face of antagonism in this series, as he’s a former soldier who is very in favor of the internment. It all comes back to him seeing the American Ideal that must be protected at all costs, and he is obsessed with Wonder Woman because to him, that’s what she represents. This in and of itself is a very intriguing concept and metaphor for blind nationalism. But my problem is less to do with that and more to do with the pay off. For those who don’t want to know, we have our usual SPOILER ALERT:
Clayface, of course, sees the light through compassion, empathy, and the selfless sacrifice of Wonder Woman. This does two things: it makes it so the Wonder Girls get a little bit more to do in their own story (which is fine), but it also trades in one really well done and rounded character at this point for five new characters who are brand new to the story and not very complex as of yet. Donna is the exception, but the rest of the Wonder Girls as of now could VERY easily get lost in the crowd, which is a similar problem with the Bat Girls in previous issues. Speaking of the Bat Girls, the story of Harvey Dent going from villain to ally all through the power of love has basically been regurgitated with The Wonder Girls, as now Clayface is fighting on the side of good. We’ve seen this already! And I want to see more of that kind of thing with Harvey, if I’m being honest! Oh, and it happens with Baroness Paula van Gunther, as she ALSO shows up for about three seconds to say that SHE TOO has seen the error of her ways! WHY? In execution it’s because of Dawnstar, but in terms of why it has happened characterization wise, that remains to be seen. The good news is that Wonder Woman isn’t gone for good, as she has pretty much reappeared by the end of the collection (SORT OF, she’s kind of become a hybrid of Diana and Donna, it’s complicated), but it definitely feels like she may be stepping aside. Which I have a lot of feelings about.
On top of that, it has become very clear that even MORE Bombshells are going to be added to this universe. The heartening thing about that is that Bennett really wants to give all these awesome ladies their due, but the worrying aspect is we are getting VERY close to fantasy bloat territory here. I worry that by adding all these characters, they REALLY won’t be able to shine properly because they will always be competing for page time. Especially since the series was so unceremoniously cancelled before it could go as far as it wanted to. But hey, there is some good news in this slew, and I mean SLEW, of new faces: BLACK CANARY IS HERE!!!!!
So overall, BOMBSHELLS UNITED was an important collection with an important story, but I’m starting to worry that this series is getting overcome with the number of characters it has. I really don’t want it to get bogged down. But that said, I’m excited to see where it goes next!...more
Kara Danvers, aka Supergirl, has recently had something of a pop culture renaissance. The success of th(originally reviewed at thelibraryladies.com)
Kara Danvers, aka Supergirl, has recently had something of a pop culture renaissance. The success of the CW show “Supergirl” has had a huge hand in that, as it has brought Kara to the forefront for the past few years. I enjoy “Supergirl” for the most part, and I think that it does do Kara justice, but what we didn’t get from that show was Supergirl’s teenage years, instead putting her solidly in her early twenties when it began. I think that part of the appeal of Supergirl initially was that she is a teenager, and therefore has the usual trials and tribulations that a teenage girl would have (though back when she was first created a lot of that was steeped in sexism of the time). So while I’ve enjoyed the TV version of Kara, and the “Bombshells” version of her as well, I was really hoping to get a new take on a teenage Kara eventually. And my hopes were answered thanks to Eisner Award Winner Mariko Tamaki, who wrote the mini series “Supergirl: Being Super”.
Mariko Tamaki has been at the graphic novel game for awhile, with one of her more notable books being “This One Summer”. This story is about early teenage girls spending the summer at a cabin, and focuses on coming of age themes as well as learning about some sad truths about the world. It’s a quiet and emotional story, and therefore Tamaki is the perfect person to helm a Supergirl origin story. This version of Kara has loving family and good friends, but her powers have been kept secret from most people in her life. While she understands why they need to be kept secret, we’re told in bits and pieces the cost of hiding her identity from those around her has had in her life. Life is hard enough when you’re a teenager trying to find yourself, it’s even harder when you don’t know where you came from, you don’t know why you are the way you are, and you have to keep it inside. Much like “This One Summer”, “Supergirl: Being Super” has a lot of heartbreaking and poignant themes and moments, with Kara going through loss and and identity crisis at the heart of the story. After a horrific trauma happens to her and the rest of the town, and someone close to her dies, Kara begins to spiral. The pain that she is going through, as well as seeing her parents trying to help her get through it while letting her know her pain is valid and real, led to many a teary eyed moment as I read this book. Kara is flawed and angsty, but she is also bright and friendly and very real, and I loved the arc that she followed in this story.
Tamaki also created a lovely cast of characters to be in Kara’s life. From her parents to her mentors and her friends, the supporting characters are all well rounded and add depth and vibrancy to the story. The two who I would argue are the most important are her two best friends, Liz and Dolly. They are all on the track team together, and their conversations and interactions were all very true to life and familiar to me, as someone who was a teenage girl once. Additionally, I liked that while they are all best friends with similar interests, they are also pretty different as well, having their own unique personalities that contribute different things. And even the antagonists in this book (and there are a few) are so well structured and characterized that the reader can see where they are coming from, and why they do the things that they do, even if they are ultimately terrible things.
And do not worry. Krypton plays a large role in this story too, even if Kara is well beyond her time on that doomed planet. It isn’t a Superman or Supergirl story unless Krypton is involved, and Tamaki made it feel fresh and original.
The artwork is done by Joelle Jones, who I have reviewed here for her “Ladykiller” series. I love Jones’s artwork and style, and I think that she brings such vibrant detail to these characters, as well as making them all so original and unique.
I cannot recommend “Supergirl: Being Super” enough. I love the story that Tamaki and Jones have given Kara, and while I know that there are no official plans for Tamaki to continue the story I am holding out hope that DC will beg her to come back and give us more....more
Rarely can you find an author who can jump from genre to genre with ease. A lot stick within their stre(originally reviewed at thelibraryladies.com)
Rarely can you find an author who can jump from genre to genre with ease. A lot stick within their strengths, which may be limited to one or two genres. It’s true that sometimes you get some who can shift between them and be strong in all of them (Stephen King and J.K. Rowling come to mind for me), but I wouldn’t necessarily expect it of an author, great ones included. So Marcus Sedgwick just keeps completely surprising me. He has written dark fantasy (“Midwinterblood”), straight up horror (“White Crow”), speculative Science Fiction (“The Ghosts of Heaven”), and realistic crime fiction with a literary zest (“Saint Death”). And he does a good job in all of them. Now we can add children’s graphic fantasy to his already impressive list of genre jumping, with “Scarlett Hart: Monster Hunter”. Given that the last book I read by him was the brutal and violent and depressing “Saint Death”, I thought that he couldn’t POSSIBLY make a realistic shift to a fun fantasy for children.
And yet “Scarlett Hart: Monster Hunter” is exactly that. Scarlett is a mix of Anne Shirley and Buffy Summers, as she’s a plucky monster hunter with a lot of heart but also a bit of sad baggage. She is determined to follow in the footsteps of her parents, both renowned monster hunters in their own right who died in the line of duty, but is too young according to The Royal Academy for the Pursuit and Eradication of Zoological Eccentricities (T.R.A.P.E.Z.E.). With the help of her guardian/former servant Napoleon White she breaks the rules, wanting to make her parents proud. I loved Scarlett, for her tenacity and her recklessness, and I loved how she and Napoleon banter and work together in their monster hunting. Napoleon himself is a fun stereotype/send up of the stuffy Gilded Age British butler, with his worry about the state of his car and restrained frustration with Scarlett’s antics. Their interactions are both funny and sweet, and you get a good sense of both their motivations and devotions to her late parents as well as his devotion to her because of a sort of surrogate parental instinct. It’s very Buffy and Giles.
The monsters themselves are pretty standard villains, but they have some fun tweaks and twists added to them. We’ve all heard of the Hound of the Baskervilles Church Grims, and mummys and gargoyles. But while they are presented as menacing and definitely scary, the tone is lighthearted enough that kids who may not like scary things will probably be able to enjoy the monster hunts themselves. The true villains of this story are Count Stankovic, who was the arch rival of Scarlett’s parents and hates her just as much, and, in some ways, society. T.R.A.P.E.Z.E. is a very strict group, seeming to be mirrored off of old Victorian secret societies that you might see in other books like this, and one of the rules is that Scarlett is too young to officially hunt, under threat of punishment if she is caught. But given that is her main source of income now that she has been orphaned, she has little choice, especially since women during this time period (Victorian? Edwardian? I’m not totally certain) really didn’t have many options if they were on their own. Seeing her fight against norms of the society she lives in is fun and encouraging, and I think that a lot of people, kids and teens alike, will find a lot to relate to with her.
I also really enjoyed the artwork for this book. It’s cartoony enough to be entertaining to the audience it’s written for, but there is a lot of depth to it as well. I’m not too surprised, given that Thomas Taylor was the original artist for the cover of “Harry Potter and the Philosopher’s Stone” in the U.K. He’s made a career for himself beyond that, but he was the first. And his talents are definitely on display in this book.
“Scarlett Hart: Monster Hunter” is a comic that I think will be perfect for end of summer reading for kids and teens alike. Heck, if stories about spunky orphans getting into some daring do is your thing, you’ll probably like it too! Marcus Sedgwick has now branched his writing talents into the middle grade community, and I think that he is going to fit in just swimmingly!...more
I didn’t realize it when I reviewed our previous “DC Bombshells” Collection that “War Stories” was the(originally reviewed at thelibraryladies.com)
I didn’t realize it when I reviewed our previous “DC Bombshells” Collection that “War Stories” was the last in the first large series within this alternate historical universe starring the awesome ladies of DC. I also didn’t realize that the second series, “DC Bombshells: United” was cancelled about a year into it’s run. Trust me, if I had known these things when we last visited this series, I would have gone on a long rant. In fact I’m pretty sure that I will be ranting before this review is through. But for now I’m going to try and focus on the big finale and pretty solid wrap up that was “DC Bombshells: War Stories”. Let’s see how long it takes me before I start going off. I’ll try to keep my cool.
When we left off, Ivy and Harley were in Russia helping civilians out, Raven had stowed away with them to try and find her father, Zatanna and Constantine were trying to find her, and Kara and Lois Lane had tracked down Hugo Strange and found that he’d used some of Kara’s DNA to make a clone of her, whom he called Power Girl. Also there was another captive they rescued, named Superman. And The Suicide Squad showed up, led by Batgirl and including Frankie, Killer Croc, Enchantress, and Ravager. So in this volume, all of these stories come to a head. Sadly, this means that Wonder Woman, Batwoman, The Batgirls, and Mera are all absent from this final volume in this large arc/first series, and to me that didn’t sit right. I know that all of them are going to have more to do in “DC Bombshells United” as the focus turns to the home front and the ills the American Government commits against it’s own citizenry, but this was a significant end and shift, and I think they should have shown up in some capacity. But the stories here as they are are all pretty satisfactory in spite of this glaring absences. I especially enjoyed the Suicide Squad mission, which took our team into a German Sub in hopes of finding Luc, Batgirl’s long lost paramour. I liked this storyline because while it continued the themes of Nazi occultism and mystic plotting, we got to see Edward Nygma and a few Lovecraftian-esque threats. Plus, this Suicide Squad is pretty excellent, all of them with a 1940s flair, which means that in my mind Killer Croc has a Mid-Atlantic accent and that just tickles me. Along with this already bonus storyline we get another one involving some of the Batgirl of Burnside characters, mainly Frankie, Qadir, and Nadimah dabbling in some magical mischief. It was a one off and didn’t really add much to the overall plot, but it was still enjoyable and fun to see more characters appear in this alternate timeline.
The climax of this series, however, comes with the Battle of Leningrad, as the Bombshells have to come together to not only fight Hugo Strange, Killer Frost, and the Nazis, but to try and save Leningrad and the people there. I liked seeing all of the ladies come together in one place, and I felt like they all got some decent moments to shine within this final battle. That said, it wouldn’t be a pivotal battle of a series if there wasn’t some sadness and sacrifice, and while it never reaches levels of Stargirl loss here, there are definitely repercussions and moments of sadness for some of our characters, which all were executed with deft emotion and feeling. What I love about this series is that it shows that sadness and pain are not weaknesses in our characters,, and it’s refreshing to see that some characters do get lost in their emotions, both in good ways and in bad ways. But even when it’s in bad ways you never get the sense that these emotions are bad to have, just that they need to be used in less destructive ways. Its a theme we see a lot in these stories and it makes me wonder if a comic that was starring the males of DC would be so bold as to take that stance. I think I know the answer to that, sadly.
And finally, there is a whole new threat that comes from the Russian side and brings more storyline to Kara and her origins: Faora Hu-El from Krypton has arrived once more (seen previously WAAAAAY back when Supergirl and Stargirl were being used as Russian Propaganda), and boy has she brought some serious baggage to our finale. And since I want to discuss it here, this is our SPOILER ALERT moment that almost always pops up in this series. One of the things that “DC Bombshells” has done is made this universe and it’s characters and storylines very female centric, and that has altered some backstories here and there. The biggest alterations to date are pretty Kryptonian centric. Not only is Superman a clone of unknown origins created in Strange’s lab (as far as well know at this juncture), Kara’s own origin story is shaken up with the arrival of Faora, who tells her that she is a perfect being created by Faora, Alura, and Lara. It’s pretty neat and ballsy to reveal within this final battle that Supergirl, the last true Kryptonian (given Superman’s new origin) and most powerful being in the story, is the product of three women and Kryptonian science. I have this image of ‘well actually’ toxic nerdboys pitching a HUGE fit about this. But that’s what “DC Bombshells” has always been about: it’s about women at the forefront, women supporting and loving and fighting women, and women as the main components of a story, with guys playing the traditional roles that women have played in comics for years. Frankly, it’s genius.
Which is ALL THE MORE REASON THAT IT SUCKS THAT DC HAS PULLED THE PLUG. Representation in comics is so important because representation in all types of media is important. With women being in the lead, women of all races, religions, and sexual orientations, “DC Bombshells” has been one of the best comic series DC has when it comes to representation (especially since apparently “Batwoman” is ALSO getting axed! Sure, I wasn’t a fan, but BATWOMAN IS IMPORTANT)! DC is still going to toss a whole lot of bank into it’s middling AT BEST movies (“Woman Woman” not included, and holy SHIT is THAT ironic given the context of this rant) and keep rebooting Batman and Superman over and over AND bastardize Alan Moore’s “Watchmen” universe for funsies, but it can’t throw a bone to a series where women are at the forefront and aren’t sexualized and objectified through a male-only gaze? IT’S UNACCEPTABLE!!!!
Well, regardless, this first arc of “DC Bombshells” comes to a solid close in “War Stories”, and while I know that “Bombshells United” isn’t as long, I’m going to really, REALLY savor it as I make my way through. These DC women continue to create a better world filled with compassion and justice, and I know that even though it’s ending that won’t change the importance of this series as a whole.
Oh, and is Black Canary going to show up in this next series? Asking for a friend....more
Given that I enjoyed the first volume of “Lady Killer” by Joëlle Jones, it was a long and difficult wai(originally reviewed at thelibraryladies.com)
Given that I enjoyed the first volume of “Lady Killer” by Joëlle Jones, it was a long and difficult wait for “Volume 2” to finally come out. Assassin Housewife Josie Schuller was a character that went above and beyond my expectations in the initial tale, an archetype that could have easily fallen into sex kitten kitsch lie so many other ‘badass’ women before her (Harley Quinn, anyone?). But the strength of her character lies within her complexity, and her multifaceted life and personality makes her an intriguing and fascinating protagonist, and I was excited to see where the choices she made in the previous book took her.
When we left Josie she had broken ties from the group that hired her on as an assassin. In a rather, uh, flamboyant way. Now she and her family (consisting of her husband Gene, her twin daughters Jane and Jessica, and her suspicious mother in law Mrs. Schuller) has moved to Florida, and Josie is working as a free agent assassin as well as maintaining the role of a perfect homemaker. By day she throws cocktail parties and barbecues, by night she’s killing targets. The duality of an ideal 1960s housewife and a cold blooded killer is both hysterical, but a bit barbed as well. Even hit women need to juggle it all, and have certain facades to maintain just as many women today feel a need to do so. I love seeing Josie interact with both her targets and her family. Her love and devotion to Gene is lovely to see (especially since he’s so clueless about who she is and what she is capable of), and little interactions with her daughters shows the fierce love she has for them and keeping them safe, be it from physical dangers or loutish, inappropriate men and their ‘humor’.
One of the realities of Josie’s new life, however, is that by working solo she doesn’t have the support she had in the past, which makes flying under the radar more difficult. It was one thing to take out a target and have others there to clean up for you; it’s quite another to have to deal with it yourself, especially if you are a petite lady. I like that Jones was realistic in that Josie, capable assassin or not, struggled with body disposal and clean up, and had to turn to a shady character from the past, Irving, to help her with it all, as well as finding herself approached by another group that may want to strike a partnership. I like that Josie is frustrated that she needs help, and wants to continue her career on her own terms. But of course, with everyone having ulterior motives and underestimating the excellence that is Josie Schuller, nothing can come easy, and she finds herself the victim of the toxic assumptions that even though she’s a trained killer, ultimately she’s a woman, and therefore exploitable. The themes are evergreen, aren’t they?
Speaking of underestimating women, Josie isn’t immune to it. We get some background to her crabby and suspicious mother in law, Mrs. Schuller, who up until now Josie has seen as a mere thorn in her side. Turns out, Mrs. Schuller has a lot of stuff she’s been hiding, and some of her knowledge and backstory sparks off some dangers for Josie, and in turn their shared family. I am going to go into this a bit because I have a lot to say and dissect with this revelation, so consider this your warning for spoilers: As it turns out, Mrs. Schuller used to work as a clerk for the Nazis. She’s now living a secret life in the U.S., hiding her past from those around her. I personally was uncomfortable with this revelation. While I like that it helped propel another plot line further along, it feels gross to me that this woman is pretty much getting off scott free as of now for being an honest to God Nazi. I appreciate the device of her being able to recognize ‘badness’ when she sees it, and that it means that she has some, um, skills that may come in handy down the line, but ultimately I really dislike that she is a foil to Josie. It’s a monster recognizing a ‘monster’ kind of situation, and I find it hypocritical that she wants Josie away from her son and grandchildren when she actively helped commit genocide. It’s a huge blip in what had, up until that point, been a stellar story, and sets it off kilter for me. But if we are willing to set aside the whole Nazi thing, it does show some interesting parallels between Josie and her mother in law, and how they both love their family fiercely in the face of hiding very large and very dangerous secrets. Secrets that can’t keep sustaining themselves.The idea that Gene will forever be in the dark about Josie’s profession is a tedious one, and I was worried that we would continue to see Josie making roasts, stirring martinis, and keeping him in the dark to a laughable degree. But Jones makes a pretty ballsy decision in this volume that lays the groundwork for Josie’s perfect facade to start cracking as things become more and more out of control. We are left on a pretty big cliffhanger and potential gamechanger about this, as well as the return of someone who could REALLY mess things up for Josie’s personal life.
So Nazi storyline aside, I really enjoyed “Lady Killer: Volume 2”, and the growth and shift that Josie Schuller maneuvers within in. I had to wait so long for this volume, and I have the feeling the the next one will also be a wait. It’s one that I am more than willing to wait for, though. However impatient I may be....more
It’s funny coming off of the Cameron Stewart “Batgirl” Series and jumping into the new “Batgirl and the(originally reviewed at thelibraryladies.com)
It’s funny coming off of the Cameron Stewart “Batgirl” Series and jumping into the new “Batgirl and the Birds of Prey” series, if only because the same character is interpreted in such different ways. As much as I did like the more quirky and insecure Batgirl that Stewart created, a self assured and assertive Batgirl is more in line with what I am looking for in Barbara, and the Benson Sisters are really delivering in that regard. When we left off, Batgirl, Huntress, and Black Canary had reformed the Birds of Prey, with a new Oracle by the name of Gus. Gus is a hacker who seems to be a HUGE fan on Batgirl and her adventures, and is capable with the computer. Of course, is anything ever that easy in Gotham? Rarely. So along with the new faces in this series, we also get to see some old ones, faces that I was VERY happy to see when all was said and done!
The first thing that really struck me with this volume was that while Batgirl is the leader of this rag tag group of kick ass ladies, it definitely gives a lot of time to her compatriots. We saw a lot of Huntress and her backstory in the previous volume, but this time some of the attention and shine was focused on Black Canary, aka Dinah Lance. You all know how I feel about her so I will spare you yet another screed on her excellence, but it was nice seeing her get some meaty plot points this time around. Not only does have a lot of opportunities to show off her entire repertoire of fight skills, she also has moments of emotional growth and pathos. It’s easy to forget that of the Birds, she is the only ‘metahuman’, aka person with supernatural powers. Even though she’s a member of the team, she is the Other, and while Babs and Helena may see past this, Dinah is always aware of it. When other metahumans are being targeted and manipulated by a mysterious villain named Blackbird, Dinah takes it upon herself to go forth, undercover, and try to take her down. I loved this storyline because Dinah not only had a lot to do, but we got to see some of her insecurities, and she moved beyond being the sarcastic badass that she usually is within these stories. Also? ALSO????…… Oliver Queen, aka Green Arrow, shows up, and his main purpose is to look on at Dinah lovingly. There is a moment where he is encouraged to think about what he loves most in this world as his motivation, and he repeats ‘Dinah’ over and over and over again. As a gigantic Dinah/Oliver shipper, this turn of events was quite excellent.
But it’s not just Oliver that makes an appearance I wasn’t expecting! Because two of my very best lady anti-heroes of DC also decided to drop in for fun, Catwoman and Poison Ivy! And these appearances harken back to older Birds of Prey realities, in some ways, as while Catwoman has always been a potential ally to the heroes and heroines of Gotham (if you’re willing to risk a future backstab), Poison Ivy has been in the Birds of Prey rotation in past iterations of the team. For her to come back and have a role, and hints at future interactions, is great not only for nostalgia, but also for the concept of girl power. DC has been KILLING IT in the girl power departments, as between this series and “DC Bombshells” ladies are taking charge and getting shit done.
And finally, we are now seeing some hints about Gus, our new Oracle. I was open minded about Gus as a member of the team (in spite of the fact I was hoping that Frankie was going to be Oracle), though it was obvious at the end of the last collection that he was perhaps hiding something. All of that comes out in the open in this collection, and while I don’t want to spoil TOO much, I do feel like it should be stated that one of the major components involves mental illness. I’m always worried that in stories, particularly in comics or more adventure-y tales, mental illness can be used in an irresponsible way to either bring in conflict or to give excuses for bad or violent behavior. But when it comes to Gus’s issues, it is made clear by her partners that not only is he still one of the team, but that he isn’t broken and that they will try to support and understand him in any way that the can. So not only do we have a character who has a disability, we have other characters who are willing to break down the stigma and still treat him as an equal. It was very heartening to see.
But sadly, it was recently announced that “Batgirl and the Birds of Prey” was cancelled by DC. So my love and enjoyment of this series has an expiration date. With this information, I’m considering just stopping my reading journey with these characters right here. It wraps up in a way that was personally satisfying to me, and knowing that it’s going to end (and with rumors of some questionable plot twists that make my blood boil) makes me feel like I should quit while I’m ahead. DC, as per usual, you are really, REALLY making it difficult to be a fan of yours (AND YES I’M STILL PISSED AS HELL THAT YOU CANCELLED BOMBSHELLS!!!!)! I swear, the moment they kill Catwoman to give Bruce some man pain (AND I WOULDN’T PUT IT PAST THEM!), I am OUT, so help me GOD!!!
For now, I’m just happy that I did get to spend some fun arcs with some great chicks who kick serious ass. “Batgirl and the Birds of Prey”, you burned brightly, and did justice to characters that I love....more
The reboot of Batgirl that happened during The New 52 tweaked the Barbara Gordon that had less dark doo(originally reviewed at thelibraryladies.com)
The reboot of Batgirl that happened during The New 52 tweaked the Barbara Gordon that had less dark doom and gloom angst, and more intrepid spunky quirkiness. But when Rebirth was announced, that meant that this reboot, too, was coming to an end, and that the character was going to move on. So now I come to the end of Batgirl’s time in the New 52, with “Batgirl: Mindfields”.
I liked the emphasis on team work and female friendship in this collection, as Barbara has to bring more excellent ladies to her team as her mind starts playing tricks on her, all because of a super villain named Fugue. She starts having memories that may or may not be real, and Frankie, Black Canary, and newcomers Spoiler and Bluebird make it their mission to help Barbara figure out who the mysterious Fugue is. I am always going to be happy to see Dinah Lance pop up, and while it took me a little while to get on board with Spoiler and Bluebird I eventually found them to be fun superheroes that I would like to see more of down the line. But the supporting character that really gets time to shine in this arc is Frankie, Barbara’s techie roommate who brings not only a great new character to the scene, but also some always welcome diversity. It was fun seeing her start out as a roommate and friend, and watching her turn into a much appreciated and needed ally. Frankie and Babs have a realistic and imperfect friendship, but they always have each other’s backs and will always be there for each other.
But even though I liked those aspects of this collection, I will admit that for me this was the weakest of the series. While it had some interesting elements of gaslighting and memory manipulation, I found myself barely invested in the Fugue storyline, and was kind of disappointed that ultimately, Batgirl herself had very little to do. Yes, I do like the power of female friendship, and yes, I liked the ladies that Barbara has brought into circle of friends and allies, but as I read it I felt that Batgirl herself had the smallest role yet in a series that is supposed to be about her at the forefront. Had this reboot of Batgirl gone on for more than three issues I probably would have been just fine with the spotlight being shared as much as it was. But this was basically a third of the Batgirl of Burnside series that didn’t feel like a Batgirl story, but a Birds of Prey story (don’t worry, I will be going back to that series soon!). It also felt like Stewart and Fletcher were trying to make a very special finale by bringing back almost all of the antagonists that we saw through the run, to end in a Battle Royale of them vs Batgirl’s Team. But it didn’t feel as satisfying as it could have specifically because a few of them were fighting superheroines that they wouldn’t have any beef with! What is the pay off of having Yuki and Yuri, the cosplaying villains from earlier in the series, fighting with SPOILER, who just showed up? That isn’t satisfying to me, it feels like padding out the plot.
Also, we barely saw any Luke Fox in this. If you are going to make a huge thing of Barbara choosing Luke over Dick Grayson (I’m still a bit sore about that. I really like Luke and he and Barbara are perfectly fine together, but Babs and Dick is one of my OTPs in the DC Universe), you had better make her relationship with Luke something more than a couple of after thought moments that feel more like ‘oh yeah she’s with Luke, they should probably hang out’. I’m not saying that Batgirl needs a man, nor that a relationship with a man should be a HUGE component to this arc, but why the whole song and dance of her picking him if it’s just left off page?
I think that the ultimate weakness of the Batgirl of Burnside arc was that it was trying a bit too hard to be DC’s answer to “Ms. Marvel” when it should have been trying to be it’s own thing. “Ms. Marvel” works because Kamala Khan was a brand new character that had room to grow and evolve without any expectations or constraints on her, so she could be the spunky young adult with relatable personal problems while still feeling genuine. When you try to apply this model to Barbara Gordon, who has been through so much already, it might feel a little odd to see her fighting manic cosplayers or taking selfies for social media clicks. I do like that DC is trying to reach out to new audience members, and I think that Batgirl is a great way to do that. But I also think that sometimes they tried to make her something that she wasn’t, and it therefore rang false.
I am glad that Barbara got to go beyond the angst and live her life a little lighter. As “Batgirl: Mindfields” wraps up her time in Burnside, I am very interested to see what she gets to do on her own in the Rebirth Arc. I was ultimately satisfied with the series as a whole, and hope that an even better iteration can be created now that a more fun loving Batgirl has been introduced to us....more
One of my all time favorite movies is “Clueless”. When I first saw it in fifth grade (my mom brought it(originally reviewed at thelibraryladies.com)
One of my all time favorite movies is “Clueless”. When I first saw it in fifth grade (my mom brought it home for us to watch together), I was immediately drawn to Cher Horowitz, our well meaning but flawed protagonist. I wanted to be her, wanted to live her life and be as clever and kind as she was. As an adult I still aspire to live up to her standards, so when I saw that a new graphic novel about Cher and her friends was coming out, I was SUPER excited. The story picks up shortly after the movie ends. Cher, Dionne, and Tai are starting their senior year of high school, and Ms. Geist challenges them and the other students in her class to determine what their post high school goals are by the end of the year, and to figure out what they want to be in the world. After this, we follow not just Cher, but also her best friends on a journey of self discovery that was both incredibly charming and completely empowering. In spite of my excitement over this book, I was also nervous because I hold this movie so close to my heart (and “Emma” as well, the Jane Austen book that it takes inspiration from). I was worried that it was going to perhaps rehash the movie in some way, or throw in drama for drama’s sake. But I am very happy to report that Amber Benson and Sarah Kuhn absolutely did justice to the film and it’s characters.
I first want to talk about the characters and the arcs themselves. I worship Cher Horowitz, but it’s important to remember that even though she gets her life together at the end of the movie, she’s still a teenager who is going to have moments of stumble along with moments of triumph. I was very worried about her relationship with Josh, the Mr. Knightley analog who is played by Paul Rudd in the movie. Cher and Josh are perfect together, but happy bliss usually means no conflict. And hey, I am aware that stories need conflict (even if that’s an easy grab for conflict). But I am happy to report that while I do wish that Josh had been around a bit more (but that’s all I will say), Benson and Kuhn took their relationship on a trajectory that felt realistic for the characters, but didn’t completely decimate the lovely romance that lives at the heart of it. And it was done in a way that we got to focus on Cher learning how to define herself without basing it all on Josh and his needs. But the thing that caught me the most off guard in the best way possible was that we got similar treatments for both Dionne and Tai, Cher’s partners in crime but sidekick status only in the film. Dionne starts to suss out what it is she wants to be outside of a good friend and girlfriend, and gets interested in civics within the high school by running for class president. And Tai has a tough decision to make when she is accepted to art school, but a family tragedy makes her second guess what her priorities should be. This enabled them to move from “The Best Friend” (Dionne) and “The Ditzy One” (Tai) and become well rounded, three dimensional characters just like Cher. The justice given to these ladies was so, so satisfying.
A number of tributes to the movie are sprinkled throughout the comic, which varied from being absolutely adorable to kind of ham fisted and distracting. The not so good were the kind of glaring references that didn’t feel like they really belonged (yes yes, Cher does wear Alaia in the movie during the robbery scene, but referencing Alaia in the way this graphic novel did was kind of awkward), or were misused completely. But smaller Easter eggs were far more entertaining (Dionne’s campaign signs saying that Murray is ‘toe-up’, for instance), and I liked seeing them. I was also a bit sad that so many classic characters from the movie were missing. Mel, Christian, Lucy, Mr. Hall, and Elton were no where to be seen, and given that I love ALL of the side characters in the movie I was sad when none of those arguably important faces could even muster a cameo.
I really liked the artwork for this book too. Not only did Siobhan Keenan really capture the styles and imagery from the movie, be it through outfits, faces, or background, she brought a fun and bubblegum pinache to the illustrations. With some potential manga influences as well just for funzies.
Bottom line is that if you like “Clueless” the movie, this graphic novel will never meet your standards of perfection. But it comes pretty close, and does a great job of carrying on the stories of these excellent teenage girls. I would say that it definitely improves upon the characters of Dionne and Tai, which is so excellent to see. Definitely check it out. If you miss it, I assure you, you’ll be totally buggin’....more
So okay, my last foray into the “DC: Rebirth” world left me feeling a bit cold. Batwoman deserved so mu(originally reviewed at thelibraryladies.com)
So okay, my last foray into the “DC: Rebirth” world left me feeling a bit cold. Batwoman deserved so much more than that. So when I saw that my library had “Batgirl and the Birds of Prey: Who Is Oracle?”, I was hopeful that another series near and dear to my heart would get some better treatment within the “Rebirth” series. I’ve been feeling kind of meh towards it as a whole, between Batwoman’s progression and the whole ‘let’s take Alan Moore’s characters and put them into this new series even though he no doubt hates that‘ thing (and I could rant forever, but I shan’t). But I’m willing to give it a chance, as a DC fan through and through. So thank goodness that “Batgirl and the Birds of Prey” feels so, so right.
This is yet another origin story for the Birds of Prey, but Julie and Shawna Benson do a good job of starting from partial scratch without dismissing the original intent of the group. See, originally the Birds of Prey had Barbara Gordon as Oracle at it’s center, and that’s important because that was when Barbara was still wheelchair bound. When she was Oracle, she was arguable they most important member of the Bat Family, and also was great representation for those who have disabilities. Then Barbara’s paralysis was ret-conned so she could be Batgirl again, leaving Oracle behind. In this telling, Babs and Dinah “Black Canary” Lance formed the team when Barbara was still Oracle, but then disbanded shortly thereafter. It is NOW that they are coming back together that we are introduced to the other member of the band, Huntress, who is the other best known member of this team through the years and versions. But the motivations for them are darker this time around. Barbara is angry that someone calling themselves ‘Oracle’ has started sending her messages in a game of cat and mouse. And Huntress has her own personal vendetta that brings her into the fold.
It is definitely darker than other iterations of the Birds of Prey, but I feel that as a reboot, it works pretty well. I like that the motivations aren’t built out of pure nobility, and that Barbara’s relationship with her alter ego Oracle is complicated as hell. I personally love Oracle and I love that after Alan Moore (him again!) basically tried to destroy Batgirl in “The Killing Joke” when Joker shot her in the spine, Barbara Gordon came back more powerful and more essential than she had been before. But I also think it’s important to remember that Barbara turned into Oracle because of the horrifically traumatic experience of being shot. Barbara’s link to Oracle is a double edged sword, and I think that this series has done a pretty good job of addressing that thus far. I also like that Huntress is given some pretty brutal traits in this narrative, as Huntress has always been a bit wild but this story gives that wildness a reason and a very rough origin. There is also a stark contrast between her brutality and her Catholic faith, which has been touched upon a bit and I hope we see more of it. And then there is my girl Black Canary, one of my favorite members of the DC Universe with her snark, sarcasm, and determination built from abandonment. We get a bit of her backstory and motivation as well, and I like that she gets to do a bit more than be the sassy and brassy lead singer of a punk band (I had such high hopes for that series). Plus there’s a panel of her going to town on a plate of nachos and I felt such a kindred connection to her in that moment. The Benson Sisters are giving these girls some good stuff to work with, and I couldn’t be happier.
Plus, the art is super fun. It does a good job of being dark and dour, as well as putting splashes of color to give it a bit of spunk.
I will admit that the eventual reveal about Oracle left me a little cold. I’ve mentioned before that I have my OWN opinions on who should fill the Oracle role now that Barbara is back in the cowl. But I’m going to be open-minded and stick it out to see where this goes. This is a series that has it’s talons in me, no question.
“Batgirl and the Birds of Prey: Who Is Oracle?” is a very strong start to a series that I am very excited to follow. I’m finally invested in a “Rebirth” arc storyline, which has let me breathe a sigh of relief when it comes to the future of DC....more
I first want to extend a special thank you to NetGalley for providing me with an ARC of this book!
It’s almost Valentine’s Day! While the hubby and I are pretty low key when it comes to the holiday, I do enjoy the little bits of romance that I see here and there. Given the holiday, it’s an appropriate time for me to talk about one of the cuter romances that I’ve read as of late! Before I saw it on NetGalley, I hadn’t heard of “The Prince and the Dressmaker”, and I requested it on a whim. I sat down one day thinking I’d at least start it, and then ended up reading the whole thing in one sitting.
Jen Wang has created a very gentle and quiet story about friendship and identity with “The Prince and the Dressmaker”. Within it’s pages we meet Frances, a quiet but ambitious dressmaker, and Sebastian, a Belgian Prince who also likes to dress in womens clothing and become Lady Crystallia. While Sebastian’s gender identity is kept vague, I am going to refer to them with they/them pronouns and as gender non-conforming/non-binary. I liked how Frances and Sebastian both interacted with each other and how they found a mutual understanding and respect within their Prince/Dressmaker relationship. Their friendship is sweet and simple, and I loved how it progressed as the story went on. While it did ultimately end in romance (Spoiler alert I guess?), I think that Wang approached it in a way that didn’t feel schmaltzy or in a way that negated the friendly, non romantic intimacy that had existed between the two of them at the start. I also feel that it’s important to have representation of more non-binary and gender non-conforming characters in stories, especially in positive, non-tragic ways, so Sebastian’s story arc was a story that I was happy to see. I will, however, say that as a cis straight woman the lens through which I approached this book and the story it tells is probably not the same as someone who would identify in other ways, and therefore I’m not sure that I can gauge whether or not it’s a good representation.
Frances’ story arc was the weaker of the two character progressions, but I still found it to be one that was engaging. She wants to become a designer, but as a woman (and a lower class one at that) she has very little agency and control over her life. She sees this arrangement with Sebastian as a way to get her work out there, and then finds herself in a place of power that she cannot speak of, lest it betray Sebastian’s secret. I also enjoyed her quiet but strong willed personality. Her strength may not be loud, but it is there nonetheless, and her moments of triumph were undoubtedly satisfying. And I don’t know why it struck me, but I loved that her hair is purple. Her entire character design just struck me as resonant for some reason. Possibly because I, too, like to wear my hair in a side braid and have thick eyebrows. Her expressions and facial designs really get her emotions across, so even though she was a bit more soft spoken I felt like I always knew what she was feeling.
The art, too, was fabulous. It fit the mood of the story well, simplistic and soft but popping off the page. There seemed to be some influence from manga and anime, but Wang also has made a mark of her own with the design. The imagery also harkens back to the time period of the regency (I think?) era. The fashion styles are absolutely gorgeous and delightful, with lots of colors used for Lady Crystallia’s dresses that just made me smile.
Overall, I found “The Prince and the Dressmaker” to be a calm and charming story with a complex and heartfelt relationship at the heart of it. If you are looking for something to read this Valentine’s Day, seek this one out....more
One of my favorite memories of going down to Iowa to visit my grandparents was what my sister and I wou(originally reviewed at thelibraryladies.com)
One of my favorite memories of going down to Iowa to visit my grandparents was what my sister and I would do after the rest of the house had gone to bed. We would lie on the pull out couch turned bed, turn on the TV (low so as to not disturb anyone), and watch “Nick at Nite” well into the wee hours of the morning. Sometimes our Mom would watch with us at least for a short while, and I remember the night that I first saw Andy Kaufman. “Taxi” was up next on the schedule, and my Mom was visibly excited for it. When an awkward mechanic came on screen and spoke in a strange and high pitched voice, she said to me “That’s Latke. He’s hilarious.” And he was. As I got older I learned a bit more about Andy Kaufman, his beloved characters as well as his not so beloved characters, and I wasn’t totally sure of what to think of him. I knew I thought he was funny. But I also knew I thought he was nuts. “Is This Guy For Real?” is a graphic biography that examines both aspects of Kaufman, from his childhood years until his untimely death from lung cancer.
Brown is probably most known for his graphic biography about Andre the Giant, and this book is kind of a similar set up: it tries to strip down the affectations and public persona that Kaufman had, and show what drove him. It mainly focuses on his wrestling career, in which he first started wrestling women and then eventually started a ‘feud’ with Jerry Lawler, a popular Tennessee wrestler. Kaufman was VERY MUCH a heel, or a villain character, saying sexist shit about women and playing up the ‘Hollywood Elitist’ persona that really pissed off the wrestling fandom, especially those in Tennessee. To the public he was a complete jerk who harassed and abused people for a laugh. It was kind of a pattern in a way, as one of his characters, Tony Clifton the obnoxious lounge singer, was also excessively cruel. But by all accounts from those he was closest to, this was not who he was in his personal life. I think that Brown does a good job of framing his performance art personality by juxtaposing his love for transcendental meditation and yoga. The other ‘well known’ take on Kaufman’s life is the movie “Man on the Moon”, a Milos Foreman biographical story starring Jim Carrey. “Is This Guy For Real” almost feels a bit more subdued, as it is less about the conflict that Kaufman created with his antics, and more about the drive and creativity behind it. When you see the thought process and the need to entertain and create that was behind it, it puts Kaufman in a new light, and makes his untimely death all the more poignant.
What struck me about this book is that it’s main focus is on Kaufman’s wrestling career, which was controversial in many ways. I actually had no idea that his ‘feud’ with Lawler went on for as long as it did, and that they had been hyping each other up from the beginning and all the way up until Kaufman’s illness. We got to see how Lawler started out as well, and how even though he was a heel himself he and Kaufman crafted a role switch for him. I, too, had no clue that Kaufman was so engrossed in wrestling that it probably could have become a second career for him had he not become ill. It doesn’t focus as much on his time on “Taxi”, nor does it touch on the fact he was banned from SNL, or that he had a very public meltdown on the show “Fridays” (the veracity of this meltdown is disputed, however: some say that it was all planned). This book definitely takes the position that while a lot of people, Lawler included, didn’t really ‘get’ Kaufman’s motivations and performances, or his need to perform in such a way, he was ultimately far more self aware and grounded than his reputation would imply, and his relationship with Lawler is evidence of this. I don’t know how I feel about Brown leaving that more controversial stuff out, though. It felt a little dishonest to omit these abrasive and unpleasant facts about him.
I do have to wonder, though, how much of that is actually the case. In the last few pages of this book Brown refers to a conversation he had with Michael Kaufman, Andy’s brother, in which Michael says that he didn’t like “Man on the Moon” because it portrayed Andy as a self centered buffoon who was lost in his own performances, and he didn’t agree with that. I do concede that that film, as much as I like it, definitely had to pull out a narrative of conflict, and that’s a popular angle to take when talking about Kaufman. But Bob Zmuda, Kaufman’s comedic partner and close friend, had a HUGE hand in that movie. It kind of hits home that perhaps neither Zmuda NOR Michael really had a grasp on who Kaufman was at his heart. There was also one little ‘fun fact’ that I had a problem with, and it’s only because I have deep feelings about it. Brown says that none of Kaufman’s “Taxi” co-stars were at his funeral, and that’s not true. While most of them didn’t go, thinking he was playing a cruel joke on them, Carol Kane did attend. She played opposite Kaufman on the show, and by all accounts they got along very well. So to erase her from his life like that, even if it was just a side note to make a point about how misunderstood he was, felt wrong.
The artwork is pretty cool too! While Brown’s style is kind of simplistic in some ways, I think that it’s very unique, and just kind of adds to the whimsy that is already abundant. All in all, “Is This Guy For Real?” was an enjoyable graphic biography about an entertainer that I really love. I feel like I learned more about him, and that perhaps I understand him a little bit better. Maybe. Because who knows with Andy Kaufman?...more
Ever since I discovered the “DC Bombshells” series, I’ve kind of been waiting for the other shoe to dro(originally reviewed at thelibraryladies.com)
Ever since I discovered the “DC Bombshells” series, I’ve kind of been waiting for the other shoe to drop. Far too often do I find a comic series that I love, and inevitably have to have that moment of ‘oh, that was kind of lame’. It happens for most series and it’s by no means a bad thing! Sometimes there will be volumes that feel out of step with the others, and I’ve come to expect it and by no means hold it against the series as a whole. But for five volumes running, “DC Bombshells” hasn’t lost it’s step or it’s groove, and now we are at “The Death of Illusion” and I am STILL thrilled with almost everything about it as a whole.
We are now at the point where we can’t cover all of the characters in each volume, as there are too many and the cast is ever expanding. So while Batwoman, Wonder Woman, Renee Montoya, and the Gotham Batgirls sat this one out for the most part (more on that in a bit), we refocussed on a few familiar faces who had been away, some for a long time. Most importantly to me, we see the returns of Ivy and Harley, who are now an established lesbian power couple and leaving Atlantis to try and stop a famine in Russia, as Ivy plans to grow food for them. I already have to gush and geek out about this. I LOVE that in these stories, there is just as much creation as there is destruction. The women in this series are not only fighting to save the world, they are also trying to nurture the world back to life. It’s lovely and positive and a testament to the power of ladyfriends! With this plot line we get to see the less talked about ravages of war, specifically the starvation in Leningrad.
We also get the return of Supergirl, which was both excellent and bittersweet. Kara is still very much in mourning over her sister Stargirl, and she and Steve Trevor find themselves in the clutches of Doctor Hugo Strange. Supergirl teams up with Lois Lane, who has her own reasons for wanting to take revenge on Strange, and they both have to face their pasts and those that they are mourning if they hope to defeat this madman who has violated them both in various ways. I liked that Kara’s trauma regarding Kortni dying is still very present, as it shows that she is very much human as well as Kryptonian. With war comes loss and with loss comes grief, and I love that Bennett is showing that these costs take great tolls, even on the strongest of us all. And along with this plotline comes the first of the two debuts that made me freak out. I don’t really want to spoil it here, because it was a gasp worthy reveal, but…… OKAY FINE, SUPERMAN IS HERE, GUYS!! SUPERMAN IS HERE!!! But worry not, because while he has made his debut, much like Arthur Curry he does not step on any toes while doing so. While I’m sure it’s tempting to make him the focus, as he is, after all, the iconic Superman, this is still very much more Kara’s story than his, and he is staying in his lane as of right now.
Our universe expands again in this volume, as we go back to see Amanda Waller, who is one of the leaders of the Bombshells. She is tracking down a reclusive figure, a French woman who was a flying ace during WWI, but then disappeared into the swamps of Louisiana after her lover Luc vanished and was presumed dead. She hires Frankie Charles to go and find this strange woman. And who, is this strange woman?
Guys. Batgirl has arrived.
And not only is she here, but her storyline opens up a whole new set of possibilities involving her, Waller, Frankie, and The Suicide Squad. That’s right, WE ARE GETTING THE SUICIDE SQUAD!!!!!! I was admittedly hoping a bit for Secret Six (if Scandal Savage ended up in these pages I would absolutely DIE), but this is also excellent.
So yes, the shoe has not dropped yet and “DC Bombshells (Vol.5): The Death Illusion” has only upped the stakes when it comes to this series. It’s flying so high, and while I’m still terrified that it’s going to come crashing down, it has yet to do so. It oozes positivity and girl power, and it continues to be one of the most empowering and fun comics out there....more
It’s been awhile since I picked up the “Outcast” series. Almost exactly a year, as a matter of fact, an(originally reviewed at thelibraryladies.com)
It’s been awhile since I picked up the “Outcast” series. Almost exactly a year, as a matter of fact, and though it was awhile from the past volume I had high hopes that I would easily fall back into it. Especially since I had overall really quite enjoyed the previous collections, and like the variety and creativity that Kirkman has brought to what could have been a typical possession story. So after reminding myself where we left off in the last volume, I came back to Kyle, Anderson, and Sidney ready for more. But unfortunately, the bloom has kind of come off the rose for me when it comes to “Outcast”.
I am fully willing to admit that perhaps I let too much time pass between readings. A year is a very long time to leave a storyline hanging, especially one that moves at a slow and meticulous pace such as this one. But as I was reading through with the promise of ‘answers given’ and ‘secrets revealed’, I felt like I was once again just kind of waiting for an explanation that didn’t really come to fruition. One of the biggest complaints that people seem to have with this comic is the steadily parsed out pace that it takes, and up until now that hadn’t really bothered me. But I think that when it does move slow like this, you really do need to start giving people more to keep coming back for, be it answers, or explanations. We’re getting a lot more questions thrown at us instead. And implications of a conspiracy that seems to be far more in depth than we as readers could have ever imagined, but I was more frustrated by this revelation than compelled by it.
I will say that I did enjoy getting background on Sidney, our resident ‘demon’ and main antagonist. By getting this background, we did get a little insight into who these possessions can affect their hosts, sometimes in more positive ways than we may think. Sidney is by no means a good person, but we find out that before he started housing his ‘companion’ he was leading a very violent and destructive life. Once he was ‘possessed’ (if one can even call it that. We’re definitely moving away from Biblical thoughts of demonic possession), some of those more violent urges were, according to him, quelled. It definitely twists the thought that demonic possessions can only make a person worse; and it definitely makes the readers start to wonder just what is going on, and what kind of role ‘outcasts’ play in this world. There is a particular scene between him and Anderson that might be a hint as to what exactly Kyle is dealing with here, but it’s still wrapped in vagueness and secrecy.
The other significant storyline in this was that now Amber, Kyle’s daughter, may be in some sort of danger from the group that Sidney has formed. Now that we are past the ‘Kyle tried to kill her’ storyline, as Allison knows the truth of all that, I’m hoping that we’ll get a bit more from Kyle’s daughter, and that perhaps there are some shared abilities between him and her. I still contend that this series needs to give the women a bit more to do, so if we could give Amber and Allison more than just be held on a pedestal for Kyle to worry about, that would be great.
Also, not enough Megan and Mark. I wanted more than just a few pages of them, as I sitll find them to be some of the more compelling characters in this series.
My plan for “Outcast” going forward is to pick up the next volume ASAP and see if it can jumpstart my interest. As of now, I could see myself letting it fall to the wayside again because of how slow it continues to move, but my hope is that given where some things ended up in this volume, the next one will have some major moments in it....more
Now see here, I may be the resident horror/thriller/true crime/all things macabre blogger, but I, too,(originally reviewed at thelibraryladies.com)
Now see here, I may be the resident horror/thriller/true crime/all things macabre blogger, but I, too, am sometimes in need of a break from those things. While I do love me all the dark, dank, and creepy of the world, every once in awhile I yearn for a serious palate cleanser to take me down from a self made anxiety tower where I find myself perched all too often. So while at the desk at work the other day, my dear friend Tami (who is also the children’s librarian at my library) handed me this book and said “You are going to love this.” Boy oh boy, was she right, and was “The Tea Dragon Society” everything I needed in that moment!!! Hell, the cover alone gave me a vocal and physical reaction the moment I saw it.
“The Tea Dragon Society” is a calming and quiet graphic novel for kids, though I would argue that it’s suitable for all ages of youth AND adult as well. It takes place in an unspecified fantasy world, where there are dragons and goblins and animal creatures, and while none of it is really explained in depth, it really doesn’t have to be. This is just the world the story takes place in and it needs to explanation. We follow Greta, the daughter of a blacksmith who finds that her passion in life may actually be centered on Tea Dragon rearing. Tea dragons are dragons who grow tea leaves on their horns. Different kinds of dragons produce different kinds of tea. From Jasmine Dragons to Rooibos Dragons to Ginger Dragons, these creatures need love and attention to make the best leaves. IS THIS NOT THE CUTEST THING YOU’VE EVER HEARD? Maybe I’m biased, as I love love LOVE dragons, but the creativity and the gentle sweetness of it just hits me right in the feels.
And let’s talk about those who blacksmith and those who raise tea dragons, and what that means for gender roles in this world. Right off the bat we are introduced to Greta’s mother, who is teaching Greta how to blacksmith. Greta’s mother is implied to be one of the best blacksmiths around, and it is Greta’s father who is the artist within the family. It was so refreshing to see a mother teaching her daughter a craft that is often associated with masculinity, and teaching her the family business. While Greta has some reservations about blacksmithing and her personal devotion to it, it’s never because of her gender. Along with that, the people who raise the tea dragons are two men, Hesekiel and Erik (though Heseikiel is some kind of animalesque being, kind of looking like a llama?). Erik used to be an adventurer, but after an accident those days are behind him. However, he is never shown as being weakened or at a disadvantage because he lost this previous life. On the contrary, he’s settled into a new life of dragon rearing and gardening as well as maintaining the home that he and his partner Hesekiel share.
We also get some really good diversity in this book, as Greta and her family are darker skinned, as is Erik. Along with that, Erik is in a wheelchair because of an accident in his past. As mentioned before, Erik and Hesekiel are romantic as well as business partners, and their relationship is so lovely and shows years of devotion and caring. Minette, Erik and Hesekiel’s ward, is also representative of a different ability set, and while I don’t really want to spoil it here, I will say that she also shows that with these inherent disadvantages she can still do what she loves. In the picture of the previous Tea Dragon Society there was also diversity, showing that just about anyone could take on this life and be successful at it. While I do think that explicit discussions of why diversity matters, and being explicit about these differences in these stories are important, I also like seeing normalized diversity such as in this world. Especially since fantasy and sci-fi does have a diversity problem within the stories that are told. This goes to show that it can be done and that it should be done.
And yes, we need to talk about the dragons. Because holy crap are they just the cutest things ever. There are so many designs for these different kinds of dragons, and O’Neill made it so that they do kind of represent the various teas that their horns produce. The Chamomile Dragon always looks a little relaxed and sleepy. The Rooibos Dragon looks spiky and rambunctious. The Earl Grey Dragon looks dignified and regal. And so on. To make these dragons so varied and yet still similar amongst themselves is such a great design, and it goes to show that dragons don’t always have to be big and daunting and fearsome. Though hey, I’m never going to complain about those kinds of dragons either.
“The Tea Dragon Society” was the right bit of fluff I needed in my life to give me an overdose on cuteness while building a lovely fantasy world. I can’t recommend it enough to not only children and parents, but also to people who like fantasy. Or those like me who really just need a relaxing read once in awhile. While O’Neill says that the story has concluded, I would be so pleased if someday she decides to revisit these characters and the lovely world that they live within....more
I want to extend a special thank you to DC Comics and NetGalley for providing me with an ARC of this bo(originally reviewed at thelibraryladies.com)
I want to extend a special thank you to DC Comics and NetGalley for providing me with an ARC of this book!
This should have been a slam dunk on paper, guys. When I read that DC’s “Rebirth” series was going to jump start Batwoman (after cancelling her during the “New 52” run), I was happy. When I found out that it was going to be written by Marguerite Bennett of “DC Bombshells” fame, I was ELATED!! Not only do I love the “DC Bombshells” series, as you all know, I really love what has been done with Batwoman/Kate Kane within it. Kate Kane is a super great and super important superhero, as she is tough as nails and also an out and proud lesbian, and seeing her get a series again is great. I love Kate Kane and I love that she is getting page time.
But sadly, I don’t love how her story has picked up in “Rebirth”. In fact, I was pretty underwhelmed by it. AND I DO NOT UNDERSTAND IT BECAUSE IT IS BATWOMAN AND IT IS MARGUERITE BENNETT!
I think that my mistake was thinking that since Bennett was taking the lead that it would have a similar tone to “Bombshells”. It decidedly does not. In fact, this is some pretty dark and gritty stuff going on on these pages. I’m vaguely resentful because I gave up on “Batwoman” during her “New 52” run because it was so bleak, dark, and scattered, and I hoped that it would bring focus back to Kate, Bette, and Maggie Sawyer. But, alas, Bette and Maggie are mentioned only in passing, and Kate is on the hunt for traffickers of Monster Venom, which has spiked in usage and is causing a lot of trouble. The group is called the Many Arms of Death, and Kate is on the case! This, however, brings us to a spike in Kate’s own past, as she returns to an island that she spent some time on with Safiyah, the leader of a rowdy band of outlaws, during her search. Safiyah and Kate were lovers during Kate’s stint (captivity?) on this island, and now Safiyah has disappeared… Though some old faces remain, and are determined to cause trouble for Kate, just as a looming corporation has plans for the island. I mean, fine, okay, but I kind of liked it when Batwoman was doing her own thing in Gotham, and wasn’t being told what to do by Bruce Wayne. International drug traffickers and corrupt executives doesn’t really get my goat in my comics, and I couldn’t really bring myself to get invested in this entire storyline. I did like seeing Julia Pennyworth, Alfred’s daughter, acting as Batwoman’s sidekick. She provides some very fun humor and snark to go along with the brooding angst that Kate brings us (there’s a rather funny joke she has regarding ‘creepy twin bingo’ and a square that says ‘weird incest vibes’). But it was a small solace in a storyline that just had me more bored than anything else.
AND THEN, after we got through that bit (for now) and finally made our way BACK to Gotham, we jumped ahead to some kind of strange dystopian future where Batwoman is helping fight against some new, corrupt Batman (who is not Bruce Wayne). I’m sure that this will all play out and make sense as time goes on, but I’m not so sure that I’m at all interested in THAT kind of storyline either.
I do want to reiterate that I love Kate Kane. I love that she has been changed from an inept and shallow love interest to Batman to a strong, driven warrior in her own right. I also like seeing her woo and court and kiss and flirt with so many ladies, as that’s the perfect mirror to the original ‘Bruce Wayne As Playboy’ trope that she initially was written to fall for back in the day. I want to love these new stories for her because I want Batwoman to succeed and live up to her awesomeness. But the way it’s happening here outside of “Bombshells” just isn’t meeting the wants and needs I have for an entertaining comic, and I’m very sad about that.
I should mention, however, that some of the art in this is absolutely beautiful. Stephanie Hans did this issue in the collection, and I just love the dreamlike quality to it.
I’m sorry to say that the new “Batwoman” arc in “Rebirth” just may not be for me. I have some time before the next trade comes out to ruminate on whether or not I’m going to continue, but as of right now I may just need to stick with “DC Bombshells” for my Kate Kane fix. I wish her all the best and all the success that she deserves, though....more