Dark Night: A True Batman Story

With this rather odd book Paul Dini, the father of Harley Quinn, exorcises his demons from a brutal mugging that occurred nearly 30 years ago and changed his life. Being best known for his work on Batman, the co-creator of Batman The Animated Series contrasts the idealism and heroism of Batman with the stark reality of our world.

Trigger warning in this post!: violent mugging, low self esteem, self-loathing, post traumatic stress disorder, alcohol abuse

BTAS for me is the greatest incarnation of Batman. I first fell in love as a child with Adam West’s fabulous Batman of 1966, but BTAS rekindled a spark. I had known a fair bit of Dini’s involvement in the character, having read and heard several interviews with him. It was in one such interview with Kevin Smith on Fatman on Batman where Dini revealed the past trauma.

Alone

Dini was violently attacked, resulting in parts of his skull being powderised. He was lucky to be alive. The trauma was hard to bear as he worked on Batman. He couldn’t summon the spirit of heroism that Batman embodies, when he was at his lowest ever in his life with no one to save him when he himself was a victim of crime. Kevin Smith encouraged Dini to turn this experience into a story. Dini, perhaps as some form of catharsis, eventually took up this challenge.

Raw

Dini is very open with his emotions. I have heard him crying, voice quivering, several times during the course of his interviews when he touches upon subjects that are heartfelt. When he first opened up about this incident, it was perhaps the biggest breakdown of them all. And no wonder.

Alone

And this book is difficult reading in many senses. Frankly it isn’t a story, it’s more like going along to some else’s therapy session. There is a very strong sense of self-loathing and self-destruction from the outset. This all fits with a person who is not able to hold back their emotions. I feel this is a quality that could make for a great writer. But again, in this instance it isn’t a tale. More of a psychiatric report and it’s not much fun.

The club members didn’t greatly enjoy it eiter. Let’s start with Dan.

Typography is important to Dan

He had picked out that the cover was designed by Chip Kidd. But what a disappointment. It looked odd, with the 90s font (perhaps because the book is set during the 90s?) but worst of all the use of mixed case (the font trope for “crazy” I reckon). But not hitting the font notes with Dan is not a good start. Dan thought the dust cover was crap for such an expensive book. The cover underneath is much better.

Dan will never read this again. He had no idea what it was. Wibbling his hand side to side “weird” was how he described it. The beating up sequence scared the crap out of Dan. This wasn’t white middle class panic, as Dan isn’t one to judge a pair of hoodies (he wears many). It made him genuinely upset. Sadly I was oblivious that there were parallels to a similar experience in his youth. Sorry Dan 😞.

This scene to Dan seriously communicated clarity and helplessness. That was fascinating but pretty much the most interesting bit of the book. Batman was otherwise shoe-horned in. It didn’t need the characters as the human story was interesting enough. But Dan doesn’t usually like “real life/true crime” as a genre.

As for the art: Dan has never been a fan of Eduardo Risso, not having liked 100 Bullets. Frankly I didn’t either, nor his run with Azarello on Batman when they followed Loeb and Lee’s seminal Hush run. But I liked his work in this. Dan had mixed feelings where some of it was lovely, and some was so crap that he hated it.

Boo hoo

The biggest problem for Dan was that he couldn’t really sympathise with Dini’s plight. After getting beaten up, he should have learned something from it and become better. I sensed that Dan felt that he just gave in to being “damaged”. To be fair, Dan is a very chirpy and greatly optimistic fellow and I admire him hugely for having such a quality. It would need to be a far greater tragedy, I think, for Dan to see the despair.

Alone

The thing that bothered Dan the most was the lascivious depiction of Dini’s therapist. For him it served no purpose and was simple objectification.

Finally the house ads in such a beautiful book jarred. It felt to him like DC didn’t have enough faith in the book.

⭐⭐

It’s an odd book.

Dan

Trinity

Tom was initially pleased to read a “regular comic”, showcasing recognisable characters and starring one of The Big Three. He totally agrees with Dan about the dust cover. Was the book just too odd for Chip Kidd? Tom hadn’t read much of Paul Dini’s work and even had him confused with Bruce Timm(!). But Tom thinks that Eduardo Risso is great. He said that he’s good at leaving things out, like eyes in silhouette. But he described it as “not pretty - quirky” with personality and character. He preferred the solid black, pen and ink pages than the highly rendered, painted stuff. Tom mainly loved the Risso’s work on the book. His favourite panel was Joker’s pie in the face.

Alone

But when it came to the main character, Tom didn’t feel it was a story really worth telling.

He also noted the analogy where Joker is walled away “didn’t really have anything to do with anything”. And the end sequence where Dini proclaims that Batman had told him to pick himself up again. Tom questioned whether he really did.

⭐⭐⭐⭐

I think the art is fantastic. The story give or take really. – Tom

It’s not a masterpiece

Jake opened up by calling it a vanity project. He had initially liked the idea of mixing reality with Batman, but needed more to cling on to for the story than Dini’s personality. He also didn’t have the context of Dini’s stature at WB Animation, not knowing that he was a BTAS co-creator or developed Animaniacs for Spielberg. He just thought he was a hack 😄.

Jake also thought the beating visceral, but it lost power because he wasn’t rooting for Paul. And he found it jarring that the fictional characters were overplayed. The classic comic book problem of piling in the rogues gallery. Just The Joker and Batman would’ve been good. But it ended up feeling overcrowded.

It needed reigning in a bit, but because it was a vanity project (not in a personality sense) it didn’t gel. He pointed out that it needed an arc that concluded with redemption. But this was lacking. He also questioned what the lesson learned was.

He was supposed to be learning from these characters as they’re part of him but really they’re not. They’re just Batman characters.

⭐⭐

It wasn’t even a missed opportunity. It was his opportunity to tell this which wasn’t very good.

Jake

A fair judgement?

I didn’t feel that this was a strong story either. I enjoyed the art like Tom. However I was disappointed and felt I needed to defend Mr Dini for the harsh view all of my club mates had for him. They didn’t like his character as a self-pitying, self-loathing, self-destructive, leering basic human. But in being human, it’s sometimes human nature that a perceived “weaker” entity is viewed with disdain. My view is that Dini suffered mental health problems that he is never going to be rid of, the attack being his lowest ebb. I think his statement to hear Batman’s plea to “stand up” really is as simple as that. Just standing up and not being trapped in the despair he could have spiralled into. He just carries on. For some people that is a hard battle. His message to himself, and to reader, was clear to me. He was trying to not punish himself for what happened.

Alone

I’m not saying that I like Paul Dini. I don’t know him. My opinions on his mental health is gleaned from what I’ve observed. I fear that putting himself as the subject of a comic book story was viewed as a tale for entertainment, rather than a raw autobiography. There are uncomfortable moments in the book, such as the depiction of his psychiatrist and especially when he was trying to flaunt his meagre wealth at the superficial actress to make himself feel good. But perhaps he was being so overly open that this was indeed a deep-seated attraction? (I’m being defensive again 😏).

As a few of us have said this is an odd book. I had high hopes with the association to BTAS but have yet to pick a Batman book that the club collectively enjoyed. I did however love that Dini had his lasting legacy Harley Quinn appear and not in corset and hot-pants form (because that’s what the fanboys love), but the more innocent animated style jester costume. The real Harley. Although it only occurred to me as I was taking the pictures of the book to illustrate this review (months after our meetup), the connection between Harley and sultry psycho therapist. If Dini did not have an inappropriate (victim/saviour dynamic) crush on her, would we have Harly Quinn? Not so innocent after all…

Alone

As a BTAS nerd I pretty much already knew this story. I think I liked yet another insight into the time of BTAS’ creation. So basically I did enjoy it overall, but I am not clear how much of my enjoyment is due to this being around BTAS’ history. If it is, does that make me a fanboy? Perhaps I’m beating myself up too much for liking it 😅.

⭐⭐⭐

It’s not easy reading but I liked the art. I just want more Batman The Animated Series.

Chao Xian

The Divine

Continuing my mission to select books off the beaten track, I chose The Divine based solely on its cover (and a likely google search for well received OGNs). Knowing little about the content I ordered it at the same time as my last pick Sing No Evil and it also sat by my bed while I pondered whether appeared to be a good fit for the group.

The Divine OGN cover

The creators were new to me, another pair of creative twins to match Moon and Ba of my first pick Daytripper. Asaf and Tomer Hanuka are Israeli born, though the latter now lives in America. They each have individual styles as artists but their collaboration on The Divine (with writer Boaz Lavie) has produce a third unique vision.

The book came about after they saw a photograph of yet another pair of twins, this time young Burmese boys snapped in 2000. The photo was shocking as it showed the boy’s arrest following their taking 800 people hostage in a Thai hospital.

Johnny and Luther Htoo

The boys were 12 at the time and legends had grown around them as supernatural beings. This idea stuck in Tomer’s head and inspired him to paint a series of illustrations of the boys exploring their war torn upbringing and possible magical connections. Eventually with the collaboration of Lavie the story grew into the graphic novel, drawn by Asaf and coloured by Tomer.

We all found the story to be rather run of the mill, stewing in Hollywood tropes and genre traps. Kelvin said he didn’t engage with the lead character, struggling to recall his name, and found him two-dimensional. Jake said he and the other lead were unmemorable, though he enjoyed the setup and thought at first it would be a psychological story. The character Mark (I had to look) is an expectant father pulled into a money-making expedition with his ex-military hardass coworker. Flying to the (fictional) country of Quanlom to blow up a mountain, they encounter resistance from the locals as well as their supernatural friends.

Reservations about the plot and characters aside, I think the comic craft in the book is excellent. Asaf has a fantastic handle on the medium, laying out pages with varying panel sizes: compressing when things get talky or fast, and expanding for the money shot of a beautiful mountain or explosion. The early sequence of Mark’s aircraft flight away from his pregnant wife was particularly well paced. The angle turns in each panel as the plane ascends and she looks on, feeling discarded, and we all felt the blackness of a long-haul flight while looking at the simple aircraft alone on the following two page spread.

The Divine - Tomer's original illustrations presented at the back of the book

Dan, ever the contrarian, blurted out he hated the art! He wished the book had all been like Tomer’s original illustrations (seen in the back of the book). He thought the faces were lumpy and not good characterization. Tomer’s aesthetic is felt in the pages though, in his use of glorious flat as well as rendered colours. He uses simple palettes, different for each sequence of the story, and striking contrasts as well as dull tones to punctuate the magic and violence.

When things got bloody, the book excelled to Kelvin’s taste. The sparks of violence erupt from the pages and, in this modern age of graphic television, he liked the fact there was still things that made him go WOAH! Jake pointed out the section in the cave as particularly well illustrated, the darkness feeling oppressive with vision limited just to the path and immediate people. The shadows make it feel pitch black.

I enjoyed the fantasy elements of the story, though wished they had not been spoilt on the book’s gatefold cover flaps (and here now too I suppose, though I think we have all spoilt our books in these write-ups to date!). There were callbacks to AKIRA, and Princess Mononoke. Clearly the brothers were inspired by Asian comics as much as the Hollywood blockbusters the book seems to be aping. Dan liked the designs of these too, mainly again because they were drawn from those oft-mentioned original illustrations.

Ghost warriors

While we all appreciated parts of the story, we were also all troubled by the driving force behind the book’s creation. By including the photo of the two boys in the back of the book, the creators sought to paint them as Cool, however Jake said it placed the book on ethically dodgy ground. Kelvin said these characters were the only ones he felt for, but it was all distasteful sensationalism. Dan said it trivialized the lives of these true child soldiers, turning them into freaks with a smidgen of a backstory. We are made all too aware of our own privileged lifestyle in the western world when confronted by these realities. By seeking to build upon the rumoured mythology of the two boys, the Hanukas could be seen as exploitative.

Kelvin gave the book three stars; had the story been on a par with the art he said it could have been higher.

Jake felt the same, it was Kool with a K but too much pitched as a movie treatment a writer boshed out in a couple of days. Three Stars

Dan was more scathing, his two stars were solely for the illustrations at the back of the book. He also thought it was overpriced!

I give the book three myself as well. I feel I have found another fantastic alternative cartoonist to follow (the next steps for reading the work of Asaf Hankua is webcomic The Realist) but don’t agree with the praise apparently heaped on this book by the likes of Publishers Weekly and Yann Martel (author of Life Of Pi).

The Encyclopedia of Early Earth by Isabel Greenberg

Cover

The Encyclopedia of Early Earth comes with the disclaimer, ‘READERS! THIS BOOK IS NOT A REAL ENCYLOPEDIA’. I point out that neither is it a book about early earth. And it’s all the better for it.

Map

It is about an early earth however, one assembled from various mythologies, epic poems and folk tales and featuring a pantheon of bird gods invented by author Isabel Greenberg. She incorporates well known stories, like Noah’s flood and the voyages of Odysseus and retells them with wit and verve.

Cyclops

This is a book all about stories – our hero, a young man from the Nord lands is a storyteller, travelling the world and exchanging tales with other cultures, more often than not as a way of getting out of scrapes. It’s all framed by a beautiful story that explains how our hero from the north meets and falls in love with a woman from the south pole. But they can never truly come together due to a quirk in the earth’s magnetic field that keeps them several feet apart until their dying day.

Force field

Experiencing the Encyclopedia wasn’t like reading a linear book, it felt more like handling a three dimensional object to be turned over in your hands, and explored as you might a globe; travelling from north to south, stopping at points along the way and spinning off on unexpected tangents.

Run lads

I loved this book as did Tom and Kelv, appreciating its construction, lightness of tone and humour – particularly the skillful way Greenberg puts modern language in the mouths of gods and ancients without breaking the spell. Not an easy task we all agreed.

Moby Dick

Actually we didn’t all agree. Dan, although he ‘didn’t want to burn it,’ found reading the Encyclopedia like ‘eating a bag of marshmallows’. The colloquialisms particularly grated, pulling him out of the story. He conceded that a lot of skill and attention had gone into the book, but felt it didn’t hold together as a piece of sequential storytelling and wondered if it might have worked better broken into smaller chunks. However the rest of us found the experience entirely satisfying – despite the size of the Encyclopedia we all read the book in a couple of sittings.

The Gods

For Tom the stand out characters were the gods: Birdman (‘Top Cat, King and Cosmic Architect’) and his children, the Ravens Kid and Kiddo. In one of the book’s most most ambitious stories – a retelling of the book of Genesis – we learn how Kiddo creates early earth in her hair, before Kid spitefully cuts it off, leaving the world to grow out of control.

Humans

The Genesis story also takes in a retelling of Noah’s flood with Greenberg integrating the story of the Raven gods and their father into the familiar biblical narrative. This was Kelv’s favourite moment as he found the bickering siblings particularly satisfying and their acts of rebellion against Birdman quite poignant. Kelv also highlighted another memorable character: the Great Dag.

The Great Dag

She is the ruler of a tribe of very angry warriors and prone to furious outbursts. I was even more taken with her great grandmother the tough Old Crone, teller of one of the best stories in the Encyclopedia (which even Dan enjoyed), in which we learn how to tackle man-eating giants with sausage.

Sausage?

My pick was the section set in Migdal Bavel, an island city with pretensions of being a great civilisation. Here the Storyteller encounters a self-important map maker and his team of Genius monkeys from the island of What. In one of the book’s best comic moments we learn how he maps the world by sending these ‘hundred percent reliable’ monkeys away in ‘little pedalo boats with a sachet of paper and pens and jam jars’ to help him measure distances and map early earth.

Migdal Bavel

We all gave the Encyclopedia five stars, apart from Dan who scored it a three, making it the Comic Book Club’s highest scoring comic so far! Greenberg has recently published a sequel, The One Hundred Nights of Hero, which looks equally exquisite and continues in the same vein of what Page45 calls a ‘seamlessly stitched-together sequence of tales.’ It is bigger, brighter and next in my pile of comic books.

One Hundred Nights of Hero

The Encyclopedia of Early Earth is published by Jonathan Cape.

This post originally appeared on Jake’s blog tygertale.com

Mister X: Eviction

Radiant City - a city so experimental, so radical in concept, that its psychetecture slowly drives its inhabitants mad. The mysterious Mister X has returned to the sick city he designed to try and make amends.

The mysterious Mister X returns to Radiant City

Modern fiction has a long-held obsession with cities and the madness they induce. Therein lies Mister X: Eviction’s biggest problem - We’ve seen all of this before. And better. Much, much better.

It’s Warren Ellis’ urban-insanity epic Transmetropolitan with all the anarchic joy surgically removed, Chandler’s trench coat noir without any snappy hardboiled dialogue or Metroplis’ stark retro-futurism filtered through a cold, dull palette.

Disclaimer: Kelv had a few things on his mind before our latest get-together and was upfront in admitting he’d not managed to get all the way through. We’ll let you off this time Kelv :-)

What he’d managed to read had piqued his interest to a degree but he was most certainly not gripped by the stop/start structure. As Eviction is a collection of short stories based on characters Motter has worked with for almost 30 years, there’s no introduction to anyone. Things just started and, by the time any real nuance or characterisation appeared beyond ‘mysterious’, the whole thing was over.

Even the presence of giant demolition robots can't lift the story

Wake me up when it gets going

Most frustrating were the lengthy flashbacks that often entailed a page or two of small panels with loads of ‘typewriter’ text. Both Kelv and Jake were regularly derailed by these interludes finding them less than helpful in maintaining a sense of momentum in the storytelling.

The hardboiled noir-ish approach felt tired to all. One story in the collection about a kidnapped spoilt heiress was such a noir archetype that the whole thing felt redundant as soon as it had begun. We knew the story beats, and could easily predict where it would end up.

Mister X is mad like an accountant is mad

@tygertale

Draw your way out of this one Deano

Dean Motter’s simple, clean art had received rave reviews by a number of high-profile comic creators. Tom simply saw lesser versions of an art style perfected by other artists such as Matt Wagner and Will Eisner. He was deeply unimpressed with the design of the characters, the execution and the styling throughout the book.

I couldn’t help but agree with Tom’s assessment, although both Kelv and I found some joy in Motter’s graphical panels where his architectural background shone through.

Motter's more-graphically influenced panels are far stronger

Utilising the stark, minimalist style that define the Mister X books there are also some genuinely lovely splash pages and great covers to be found. Unfortunately these flashes of inspiration just accentuate the disappointment when faced with the loose, flat, confusing art that makes up the rest of the book.

There must be something…

So, in a book devoid of memorable moments, drenched in cliché and puns, that tells stories we’ve all heard a thousand times, were there any redeeming factors?

Not really. There’s one moment at the end which, whilst being the denoument of a very rushed conclusion, made me laugh out loud. I won’t spoil it for you.

See, smoking and drinking are good for you!

@dandineen

But that was pretty much it.

Mister X sans Motter

Kelv, Tom and Jake thought that Mister X might well stand a better chance in the hands in the hands of a creator other than Motter. This theory seemed to be borne out by a another anthology of Mister X stories by creators other than Motter which Jake enjoyed far more than Eviction.

Kelvin was excited to learn that the original Mister X series from the 90s was drawn by the Hernandez Bros. and thought he might give that a go instead.

Tom was not the only person to wonder whether the Hernandez Bros. had done more than just draw the original, with the unspoken suggestion being that Motter was nothing but the originator of the concept and occasional contributor.

All this was summed up neatly (if a little harshly) by Jake:

Dean Motter - Riding on the coat tails of more talented creators for the last 30 years

@tygertale

Ouch!

And so to the scores:


Dan - :star::star:


Tom - :star::star:


Jake - :star:


Kelvin - :star::star::star:


Wonder Woman Earth One by Grant Morrison and Yanick Paquette

On the night of the EU Referendum we took our mind off things to review Wonder Woman Earth One, Grant Morrison’s attempt at a feminist opus.

Hercule defeated

Jake started us off by commenting on how extremely light the book was, both physically and in terms of the contents itself. Although Grant Morrison goes to town on the Greek legends, he expected a deeper and darker storyline. This was super-light from the guy that did All Star Superman. I initially found it odd when Jake exclaimed that by about halfway through the book he’d “got fed up with all the women”, but then I realised he’d meant the barrage of pinup babes. “Then this man comes along and it’s all right” he said ironically. Story wise things got better once they moved on from Paradise Island, and entered what he coined the modern world.

Man appears

Here it turned into a bright, colourful TV show where WW’s buddies show up and Rebel Wilson is her BFF. A spark lit for Jake, but only briefly. The structure to the whole story was disappointing. There was no jeopardy: the trial that Diana faced didn’t work and the appearance of Medusa was ineffectual. Steve Trevor is turned to stone but you know he’s going to be turned back and fine. Jake wanted an adventure but didn’t think there was one.

Rebel Wilson as Beth Candy

Yanick Paquette’s art worked in some places for Jake. The thick black lines sometimes employed didn’t sit well though. The Greek motiffs were good and he liked Hercules’ enslaving of the Amazons and his subsequent defeat at their hands. He felt the art was beautifully composed but lacked real impact.

This Earth One graphic novel wasn’t enough of a shake up compared to Batman Earth One which Jake enjoyed (but I hated btw).

As research Jake downloaded Wonder Woman #1 from the 40s. This also had Hercules receive a good beating and an appearance of WW’s fat friend. This original Wonder Woman was quite enjoyable for an old comic. However Grant Morrison’s Wonder Woman Earth One isn’t vintage.


:star::star::star:

Overall I enjoyed it and read it quickly. Not all good but not all bad. Light Grant Morrison.

@tygertale


Tom said he liked the book as a physical thing. It felt grand and the texture was nice. Stealing Dan’s font bitching role, Tom made a good point about the cover’s messy typography. You can barely see the words “Wonder Woman”. Jake however pointed out that you can’t fail to figure who it is from the image. That got Tom to say a couple of things on it: that she’s clearly chained up but her expression is almost scowling. I felt it perhaps verging on mocking. By choosing to stay in the chains when she could easily break out, she is demonstrating that she is the one empowered. A riff, I feel, on the many images of Superman depicting his obvious strength by breaking his chains. This is much subtler. “The chains are for show. She could break out them at any moment - she’s in control” Tom noted.

Cover

Tom was not happy that the very first pic of WW within the book is also the very last. This also jarred with me when I read it.

First and last

Tom then revealed something amazing that gave this book some clearer context. Dan Didio had long ago promised to Greg Rucka that he could do his dream Wonder Woman story. But then it didn’t happen. I then frantically checked the flannel panel to see if Eddie Berganza is the editor on this book. Sure enough his name is there. We spoke about the fact that Greg Rucka has been given the Wonder Woman post-Rebirth gig, but that he would only accept if Berganza was not involved. Mark Doyle (of the Batman books!) is the current Wonder Woman editor.

Otherwise Tom coined the book the Yanick Paquette Show. He had really raised his game over the years since Tom saw his stuff in the New 52 Swamp Thing. Dan likened the art at the beginning of the book to JH William III. But Tom also made the obvious comparison to Adam Hughes and his poor imitation Terry Dodson. This time Paquette is almost reaching Bryan Hitch levels of detail. Stunning work but it took a long time. It’s clear that Paquette poured his heart and soul into this, but Tom prefers Cliff Chiang or Liam Sharpe’s take on Wonder Woman. Having also been shown Nicola Scott’s literally lovely Wonder Woman by Tom, I’m inclined to think that is my favourite portrayal that I’ve seen so far.

Regarding the characters, Tom pointed out that Beth Candy had already been revamped by Rucka into a black woman. They’ve reverted back to white for the Rebel Wilson. He thought it was interesting that Steve Trevor, a black soldier, was exposed to truth serum. This was a theme that occurred in Marvel’s first black Captain America story Truth.

Although Tom enjoyed it, the story didn’t feel like a Grant Morrison tale. “Almost anyone could have written it” Jake said. He certainly has a point. Tom has said that the Wonder Woman Rebirth is already better than this as it begins a telling of Diana’s Year One.


:star::star::star:

Didn’t deliver the expectations of a Grant Morrison story.

@tomwe


Dan set out what was his understanding of the book. An attempt by Grant Morrison to create a true feminist version of Wonder Woman. A woman who stands on her own as a character, in mythology and in her own graphic novel. No longer seen as just 1/3 of the DC Trinity. “So why are all the creators on this book all men?!?”. I got what Dan was saying but I felt suddenly uncomfortable and self-conscious of the fact that we 4 men were sat in the pub criticising the weak feminism of the book. But Dan wanted to see a Kelly Sue DeConnick or a Fiona Staples involved, creators associated with strong feminine characters. As much as I’d agree I find it highly unlikely DC could get it sorted under Eddie Berganza. There’s your answer Dan.

He also noted that all of the quotes on the back of the book were a out Grant Morrison and not the book itself, making one wonder if the book didn’t get good reviews or if the editorial team just didn’t care.

He didn’t feel that there was commitment to this topic. A Grant Morrison tale that was frothy, weird (how is Grant Morrison not weird? - Kelv) and clouded. It felt like a Grant Morrison vanity project. Mistreated or not seriously which hurts the whole thing. Lazy or not allowed.

The art was interesting at points in a JH Williams III kind of way but didn’t like the cheesecake. For a book about strong empowerment there was a lot of T&A. Dan was not a fan of the art - very “comic booky” he said (I think he meant mainstream superhero).

The story starts out in a sci-fi lipstick lesbian utopia. Dan likes all of these things but not in Wonder Woman Earth One. It was just not very interesting. “Where’s the crazy shit?” he lamented. “Where’s the crazy sperm that messes with your head?”. I suspect that’s a different book altogether Dan.

Dan did like the interesting race swap for Steve Trevor. He smirked and grimmaced at the scene when Diana hands him the S&M collar. But he wasn’t convinced by the “mansel in distress” schtick. He wasn’t really in distress. He got a bit ill. As for Beth Candy, it was irksome for Dan that Amazons had never seen a fat woman.

To judge this as the book it aimed to be, is it a good feminist comic? Dan suspects “no”. Is it actually a good comic? “It’s all right”. According to Honey, his 12 year old girl, she found it “Boring. Why did nothing happen?”. For Dan feminism is done better in comic form in Bitch Planet and Saga.


:star::star::star:

Disappointing.

@dandineen


Oppression by man

It’s rather damning I think that no one here really hated it or liked it that much. And it’s the first book that we have scored unanimously. So should you read Wonder Woman Earth One? If you want.