Wonder Woman #8 (from The Batmom April 2012)

COVERGIRL: When Cliff Chiang gives me an awesome cover, I want to scream.

HollerHowlShriekWailYelp.

Also, inexplicably, swear. Happily swear. Yell FUCK YEAH! really loudly in the middle of Harrison’s and lustily high-five the gang in the New Comics section.

But usually I’m with my 6-year-old, and plus I have never yelled FUCK YEAH in my entire life. I once yelled FUCK, and it was when I was in college, and it was in front of my dad, and it was because I spilled hot coffee on my leg. But now I’m 41, and my FUCK-yelling days (well, 1 day) are long gone.

So instead of bellowing profanities, I just enjoy the tiny leap my soul takes when Cliff Chiang wows me once again.

Inside StoryWonder Woman and Hermes away to hell, where the scene is ever-changing depending on Uncle Hades’ whim. Today, it’s London, a wickedly welcoming nod to Diana.

Speaking through his minions, who are everywhere taking the form of everything, Hades tells Diana he’s keeping Zola until he gets what she promised him: a queen.

(Digression: Not sure if Azzarello or Chiang conceived of this riff on Hades, but he’s genius, a small, armored child with candles atop his head, the wax of which obscures his eyes. As Stink Moody would say, double freaky-deaky!)

Diana and Hermes battle their way into a hellaciously imagined version of Zola’s Virginia farmhouse, where Zola and her ballooning belly are shacked up, emerging only to fire blasts at who/whatever Hades sends to torment her. Hades arrives soon after his niece and nephew, bringing along an army of Walking Dead extras for backup. He tells Diana if she won’t get him a queen, he’ll take Eros’ guns in exchange for Zola.

She agrees, whereupon Hades shoots at her. Wonder Woman’s bullet-deflecting wristbands offer no protection against the bullets from the golden pistols, and so she falls wounded at Hades’ feet. It seems the little devil wants to marry her.

Before Diana passes out, she instructs Hermes to take Zola away, but we the reader can’t be sure he does.

Ramble: Issue 7 caused a lot of controversy, what with the myth-smashing, sperm-stealing, baby-tossing turn the Amazonians took. Comic book critics were criticizing all over the place.

Is this month’s (have I said awesome?) cover an answer to these critics? While she’s wielding Eros’ shiny golden guns, Diana on the cover has little to do with Diana’s story inside, which ends with a bullet-holed Wonder Woman lying weak on the ground at Hades’ feet. She’s saved Zola, but at what cost?

So maybe the cover is aimed at the critics. Kablammie in your kvetching faces, Ye of Much Dissatisfaction. I am Diana and I am Something Else Altogether. Shut the Fuck Up and Read!

 

Batwoman #8 (from The Batmom April 2012)

COVERGIRL: Batwoman #8 is artist Amy Reeder’s last issue. This cover’s a gorgeous farewell.

INSIDE STORY: Once again, like 6 and 7, divvied up by character.

Using her DEO high-tech, Batwoman prepares to destroy the freak-beasts that threatened at last issue’s end. She pauses when Medusa ringleader Falchion threatens one of the children Medusa’s holding captive (to what vile end, we don’t yet know).

Batwoman also pauses when Agent Chase asks her to mine her girlfriend Detective Maggie Sawyer for info. After a tiny, somewhat unconvincing hissy fit, Kate calls Maggie and arranges a date. Despite her mild protestations, Batwoman is just as determined to bring down Medusa as Chase is. While she seems genuinely fond of Maggie, in that detached way bats have of being affectionate, she likely wouldn’t be above prodding Maggie for scoop even without Chase’s directive.

She certainly isn’t above prodding Maggie with a tranquilizer, which she does while breaking Sune out of police custody. Sune, a Medusa operative, quickly turncoats (is that a verb?), going so far as to sling arrows at her former Medusa teammates, motivated, one assumes, by a desire to save the children.

Via flashback Maro, Medusa penultimate honcho, nabs a child molester/murderer and melds his twisted soul with that of the evil Ashoth, a maleficent hook-dwelling spirit. Commingled, the molester and the hook become the blood-thirsty thug who hacked up Flamebird/Bette. Speaking of, Cousin Bette still rests in a coma, Uncle Jake Kane sitting vigil.

RambleI feel the same way after reading Batwoman as I do after shopping at Market Basket: satisfied (by a full narrative/a full pantry) and battered (in both cases, by a whole cast of characters flying at me in rapid succession).

Batwoman’s story is complex enough to necessitate an extensive review of past issues before proceeding. This bothered me at first, but while the issues still seem overly busy to me, I’ve grown more accepting because I like Batwoman (the character and the book).

However, the busyness relates to an item on my exceedingly long to-research list: How do comic book companies and their creators balance the desire for rich storylines and the need to draw in new readers? Is the primary reader-grab occurring at issue 1? From then on, is the #1 goal to keep existing readers? Are mid-run readers considered a bonus? Or are comic book companies actively seeking to draw in new readers well into a series’ run?

Most folks could jump into Supergirl right now, at issue #8 (hits stands tomorrow!) and understand it, but I find her story and character simplistic to a fault. Batwoman sits far away from Supergirl on the complexity scale, but possibly also to a fault. I struggle every issue to reposition myself back in her narrative ganglion and would guess a new reader might be put off by the complexities.

Unrelated, Maggie Sawyer and Agent Chase both grew softer and more traditionally feminine of face under Reeder’s pen, which I didn’t like. They were who they were, and while Agent Chase was, IMHO, hotter than Sawyer in an andro-dyke kinda way, neither was traditionally feminine of face. Why the facelifts?

 

Wascally

Hoppy the Marvel Bunny

Hoppy the Marvel Bunny

My kids don’t expend much wonderment on the Easter Bunny. Anyone who brings sugar into our home is heralded as a minor deity, but for lack of compelling backstory, the bunny is nothing more than a glorified delivery guy. Comic Book Son and Daughter talk far more about his dope than they do about him.

Give us our candy and scram, Pink Ears.

Not quite, but almost.

As I began to gather sugar in his name, I thought about the difference between my children’s love for Santa and their near-indifference to the Big Bun.

Some of it’s my influence. I come from a family of Santa freaks.

My grandfather adored Santa. When my mother was young, he hired a friend to arrive be-jollied in a horse-drawn sleigh on Christmas morning, wowing my mom and her sisters.

When I was young, 35 years later, he hired another friend to show up be-jollied at his house on Christmas day, wowing me and my sister. Until one day when I peeked out an upstairs window and saw “Santa” driving away in a dilapidated station wagon.

Kids will forgive equine Dashers and Dancers. A Chevy Chevelle in lieu of a sleigh, not so much.

Despite the station wagon let-down, I still push Santa, so my kids naturally find themselves wondering about him.

I could give a bunny bean about the rabbit and yet, ‘tis the season to be hoppy, not jolly, and so to push the cause of buns I turn to the bold, the few, the big of ear and brave of heart: The Rabbit Heroes. (A sampling. Not a compendium.)

Hoppy the Marvel Bunny

I knew about Hoppy from my forays into comic book history. Hoppy is comic book royalty, a member of the Marvel family, born at long-since-shuttered Fawcett Publications in the early ’40s.

Everyguy Billy Batson says “Shazam” to turn into superhero Captain Marvel. So too Hoppy utters the magic word to become Captain Marvel Bunny and take on various villains, including penthouse-dwelling gangster wolf Slimy Sam and the evil Captain Black Bunny.

Hoppy currently lives with the folks at DC, who inserted him into a recent issue of Tiny Titans, where Comic Book Son, Daughter and I discovered him napping with Streaky the Supercat, Krypto the Super-Dog, and Ace the Bat-Hound.

Trivia (as if the rest of this isn’t): Like Clark Kent, Hoppy has an unrequited crush: Millie the rabbit. Like Lois Lane, Millie only has eyes for Hoppy's superhero alter ego.

Captain Carrot

Captain Carrot

Captain Carrot

Leader of the Amazing Zoo Crew, a 1980s DC foray into the funny animal genre, chipper-looking Captain Carrot faced such punny, anthropomorphic villains as Bow-zar the Barkbarian, Armordillo and Frogzilla. He saved the day in fewer than two dozen issues, though he and his furry buddies resurfaced in the middle of last decade for a three-issue run.

Trivia: Captain Carrot’s alter ego’s name was Roger Rabbit until the movie “Who Framed Roger Rabbit?” hit the big screen, at which point Captain Carrot’s alter ego was renamed Rodney.

Trivia in the Form of Coincidence: Comic Book Husband and I used to live downstairs from Gary K. Wolf, who wrote “Who Censored Roger Rabbit?” which became the movie. He and his lovely wife Bonnie are extremely friendly, great hosts with awesome tchotchkes and cool cats, Boris and Natasha. Go read his latest, Space Vulture, co-written by John J. Myers, Archbishop of Newark.

Thunderbunny 

Thunderbunny

Thunderbunny

First off, I’m claiming Thunderbunny as my rink name for when I join a roller derby team.

Secondly, Thunderbunny possesses my favorite lapine superhero moniker. (Can you be obnoxious and use “lapine” and “moniker” in the same sentence? I’m beer-emboldened, and so will go for it. Also, beer is made of hops. HOPS! Get it?)

Like Captain Carrot, Thunderbunny has a young alter ego. Oddly, his young alter ego is human.

None of these bunnies look particularly heroic, but this creation story reads stranger than the rest.

Bobby Caswell, human teenager, sucks up the energy force of dying hero Thunderbunny, who hails from an alternate, animals-only universe.  From this point forward, Bobby can transform into Thunderbunny by clapping his hands. Clap on! Clap off!

Things must get hairy at concerts.

While I’d expect a superbunny to leap tall buildings in a single bound, Thunderbunny flies.

Trivia: Though Bobby likes his superpowers, which also include super strength and invulnerability, he is not keen on the rabbit aspect of the gig.

Who can blame the guy? Billy Batson turns into a buff crusader. Clark Kent transforms into a man of steel. And Bobby … becomes a pink bunny.

RAMBLE: I’ve enjoyed this little hop around comic book history, though I’m not wowed by the rabbits. Their big teeth and general goofiness, especially when wearing superhero duds, likely made for some good kid-friendly comedy, but I'm not sucked in like I am when looking at old superhero comics.

I’ll hide the eggs tonight, and I’ll enjoy watching my kids find them tomorrow, but as for rabbits, I’ll save my praise for the occasional cottontail we spot hopping along the side of the road.

And for Darius.


Royal Rodent Rescue

A couple bedtimes ago, my Daughter A and I snuggled down to read “Royal Rodent Rescue.” Part of DC's popular (in our household) Super-Pets series, the book features Supergirl’s Super Cat Streaky facing off against evil Rozz, Catwoman’s feline sidekick.

The reading started strong, with A pointing out the Green Lantern logo on the back cover and correctly and excitedly identifying Gorilla Grodd, furry Flash nemesis.

I became engrossed in the animal adventures, wherein Streaky rescues Prince Zouli the hamster. About a quarter of the way through, I realized A was neither engrossed nor snuggling, but instead was attempting to insert herself into the slim space between her bunk bed and the wall.

Images of children dying after hiding in trunks and closets and chests whirled through my head as I pulled daughter out and chided her, hysterically using the words “you could die.”

In retrospect, I might have been engaging in fear-induced hyperbole.

A immediately grew hysterical herself, sobbing that she wouldn’t die. Dying, as she recently explained to a friend, is the act of leaving home, going back home, and leaving again. Kind of like college.

She moaned pitifully while I, remorseful, patted her and attempted to re-snuggle. We returned to Streaky and Rozz, but the magic was dead. Streaky saved Prince Zouli, but my daughter could have cared less.

Super Mom I ain’t.

 

Et Tu, Azzarello? Debating the New 52 Amazons

This is not the post where I dive headfirst into superheroine backstory. On that day, I’ll swim through pop-history like Aquaman swims through water: masterfully, beautifully, heroically. (The coffee shop is out of decaf, and so I find myself supremely self-assured, if shaky of hand.)

For today, I’m trying to understand the negativity generated by Wonder Woman 7, and so will share only a small bit of her traditional back story.

But first, a note: There are different versions of WW’s original mythology reported online. Which speaks to the great importance of fact checking. Triple-check those facts people! So says the former fact-checker.

Right now, I’m going with fast and easy, Google-led research. Will save the hard-core fact checking for later.

Wonder Woman’s original mythology, circa 1940s

The all-female Amazonian warriors lived in Ancient Greece, and were led by mighty Hippolyta, made even mightier by her magic girdle, a gift from Aphrodite. (I too have a magic girdle, a purchase from Spanx.)

Buff and insecure, Hercules takes on the Amazons, seduces Hippolyta, steals her girdle, and imprisons a bevy of warrior-women. Aphrodite helps the women escape to far-off, man-less Paradise Island, but forces them to wear silver bracelets as a constant reminder of the foolishness of submitting to man.

On Paradise Island, the Amazons retain their warrior skills in case of attack, but also create a peaceful society, invent technologically superior devices, and achieve eternal youth. Today, they’d have a PR person and be the stars of “Keeping Up with the Amazons.”

Though Hippolyta is surrounded by an army of sisters, she wants a child. For lack of a sperm donor, she fashions a baby of clay. Sympathetic Aphrodite brings the child to life. Hippolyta names her after Diana (actually her Roman name; known as Artemis in Greece), goddess of the hunt, the moon, and, interestingly, childbirth.

The New 52 Mythology, circa Right Now

Brian Azzarello’s New 52 Wonder Woman smashes this mythology to bits.

A few issues back Diana discovered that she was not born of clay, but rather of a hot-and-heavy illicit commingling of Hippolyta and Zeus. Not only did Hippolyta break the Amazonian vow of manlessness, but she also betrayed a woman, Zeus’ wife Hera.

Some readers found this as unsettling as Diana did, but I’m the Virgin, not the Historian. I didn’t read it as a change because it was all new to me. Also, the storyline made for more drama, especially where Hera was concerned.

Finally, while I wish Hera hadn’t obliterated Hippolyta and every last Amazon except Diana, I am too enamored of the Olympians to miss the Amazons very much.

The bigger change, and the source of the loudest complaints, occurred in last week’s issue. The Amazons were revealed (to Diana’s horror and mine) to be a band of succubi, who thrice a century lured seafaring men into bed for sperm-harvesting. The men were then dumped overboard to watery deaths.

Wham, Bam, Drown You, Sam.

Those Amazons who bore female babies 9 months later were celebrated. Male babies were ripped from their mothers’ arms and delivered to Hephaestus (the Smith) in exchange for weapons.

Some phallic commerce going on here – exchanging men for swords – but never mind that for now.

Their Take

Azzarello really changes the back story, but does changing up = f***ing up?

A few arguments that it does (quoting directly – I suggest reading these in full, all excellent and highlighting positives as well as criticisms):

Tim Hanley of Straitened Circumstances, “Wonder Woman #7 Review OR That Was An Odd Choice

• I mean, how does Wonder Woman not know about this?  Was she literally JUST born?  Or did she just not notice all the babies, and everyone ducking out every 33 years?  It’s not a big island. 

• The Amazons are strong and independent women who have been a remarkably progressive and feminist presence in the DC universe since it began. And now they’re jerks. 

• … Wonder Woman was never dark or tortured or trying to deal with a screwed up history.  That’s what made her different.  She wasn’t a hero to excise her demons or because of a psychological break cause by serious parental issues, she was a hero because she’s an Amazon and that’s just what they do.  But now she’s a hero despite being an Amazon, and that’s bumming me out some.

Susana Polo of The Mary Sue, “How Wonder Woman #7 Left A Bad Taste In My Mouth

• Presenting the Amazons as murderers and slavers of men … fails to subvert the, yes, still pervasive notion that if you put a woman in charge of something she’s going to oppress men (with more regularity than if the genders were reversed).

Kelly Thompson of Comic Book Resources, “Wonder Woman #7

• How can Diana be who we know her to be -- good and proud, strong and brave, honest and true, full of compassion and power -- and come from and/or agree with the supposed ways of Azzarello's Amazons? … If Diana did not know, as Azzarello's story seems to imply, then we must assume Diana to be a naïve fool at best and galactically stupid at worst. If Diana is a naïve fool unaware she was raised by killers, rapists, liars and abandoners, how can we believe that she would she (sic) grow into the honorable, heroic and compassionate person she is when these are the people who raised her?

My Take

As I’ve stated before, one of the beauties of this comic book universe is the constant riffing.

Brian Azzarello’s riff is bold and allows him/us to explore a different Diana.

I still love her. I still want to be her. I don’t find her any weaker or stronger as a result of the changes in mythology. I’m still extremely interested in future issues.

And now for a Big Old But (not mine – I’m wearing my girdle!):

Diana stood out from my other four reads because of her mythological background, and also because she was, I thought, raised by women who told her she was morally and physically strong, who were themselves morally and physically strong, and who instilled in her the idea that she was the bomb.

The women in Batwoman’s life were murdered by men.

Batgirl’s mother deserted her.

Supergirl’s mother is dead, and all she talks about is her dad anyway.

I loved that Wonder Woman was part of a larger family of strong women. Even when she learned the truth about her birth, even when she felt let down by her mother and her sisters, she was still of them in some sense, and they were still admirable, if flawed.

Now they’re reprehensible.

This serves to isolate Diana further, and in doing so, to bring her into the 21st century lonely-hero pantheon, a group of mighties who turn personal tragedy into world-saving triumph, who spend quiet hours soul-searching and who also avoid soul-searching by kapowing villains.

But does Diana need to be like all the other superheroes? I loved that she wasn’t. That she was allowed to have a semi-functioning, super supportive super family.

(I say “semi” because those Amazons who were cursed to be born heterosexual were just SOL, and discounting heterosexuality is just as repressive as discounting homosexuality. Hear that Aphrodite? I mean, I don’t condone Hippolyta’s sleeping with a married man, but the poor thing hadn’t had heterosexual intercourse for centuries.)

Upshot: Like the folks I've quoted above, I don't like these particular changes, but until I'm more grounded in the Wonder-verse, I'm objecting on grounds of personal preference (my personal preferences shaped, in part, by my feminism).

I loved the Mighty Brave Warrior Amazons. I do not like the Cheesy Murdering Kidnapper Amazons.

Upside: Now that the Amazons have proved vicious, I’m okay with Hera turning them to snakes.

 

Wonder Woman #7 (from The Batmom March 2012)

ww7.jpg

COVERGIRL: Ding Dang the Chiang is back! The artist Chiang, the gold-penned Chiang! Ding Dang the artist Chiang is back!

 Diana the Warrior, fierce of face, has returned!

INSIDE STORY: Hermes, Diana and Lennox seek out gun-toting hottie Eros in Italy, where he’s pointing a gold-plated gun at the temple of a dissatisfied client. You wanted the guy, you got the guy, he tells his love-weary client. The guy is now driving you crazy? Not my problem.

Then he turns and embraces Uncle Hermes.

The gang wants Eros to lead them to The Smith, aka Hephaestus, here a red-eyed, mannish creature with a fierce overbite. Eros obliges, and the gang asks Hephaestus for weapons with which to battle Hades, who’s got Zola in his underworldly clutches.

Hephaestus runs a forge, and as the gang talks lassos, a Hades-sent hell-beast bursts out of a fiery pit and snatches the Smith between its jaws. Wonder Woman cracks her whip, saving the day, then looks around and realizes she’s surrounded by human men, the Smith’s workers.

Here the whole Wonder Woman mythology blows up. BIG TIME. See Ramble; I’ll stick to plot points now.

Turns out, the Amazons go sirening thrice a century, climbing aboard ships and then aboard the men on those ships, harvesting seed and giving the men the ride of their lives before dumping them overboard.

The lucky Amazons grow girls and are heralded for their good work. Those who deliver boys are rewarded for their labor by having their newborn sons snatched from their hands and delivered to the Smith.

Poor Diana; she thinks she’s made of clay but she’s actually born of dalliance. That she has only sisters, she assumed was due to divine intervention, but really, her sisters and aunts and cousins rip babies from each other’s arms and ship them to the forge.

Disillusioned and disgusted, Diana decides to set her brothers free, tying up Hephaestus so they can run away from the forge. Turns out, they love Hephaestus and consider themselves artists.

Diana is wrong. Again. And again and again and again. The issue ends with Wonder Woman weak, for the first time, clutching her muddled head in her hands.

RAMBLE: So when I set out on this pop-artful journey, I vowed to avoid criticism and commentary until I had settled in; until I had met my chosen superheroes and spent a little time with each. “A little time” turns out to mean 8 issues, at which point I will have blown you all away with my stunning Catwoman commentary and be caught up with the books as they appear on the shelves.

Even shielding my eyes, I picked up on some Twitterverse upset with this issue (@TimHanley@girlsreadcomics). Even a superheroine’s most devoted fan allows for riffing; it’s part of the genre. But with Wonder Woman #7, the riffing has spun out of control, distorting the mythology beyond acceptable limits. So they argue.

I’m only passingly familiar with Wonder Woman’s original mythology. For Wednesday, I’m going to read 5 or 6 commentaries on this issue and read some background myth.

But for now … I don’t like it.

I know the superhero walks alone. And certainly smashing Diana’s world-view to smithereens heightens her loneliness. The narrative succeeds supremely as a device.

But do the admirable Amazons need to be debased, transformed from a mighty warrior band into a tribe of succubi who rip babies from the still-shaking hands of their sobbing mothers? Diana’s already realized she’s not of them; does she need to hate them? Do we need to hate them? Because I do.

And while I loved the art in general, and hail the return of Cliff Chiang, the sequence with the Amazons in the boats seemed ripped from a lesser episode of "Love, American Style."

On a more positive note, the constant introduction of new Olympian family members delights. Each has his own personality and look: Life-weary War’s long white beard and tired clothing stand in sharp contrast to his brother Appollo’s club attire. Similarly, Apollo’s buff love-me-ladies body poses a distinctly different allure than the all-gender-encompassing beauty of his nephew Eros.

To veer again into the negative, while I love the way these family members come together to bicker and bond, Diana’s starting to seem the weakest link. Physically, of course not, but she lacks the pizzazz of some of her siblings.

I’m not calling for a Diana with jazz hands or puns, but a little bit of me wants a little bit more of her.

 

Batwoman #7 (from The Batmom March 2012)

COVERGIRL: Nice angle, positioning readers close to the bad guy’s face, smashed into the glass floor of a submarine. Like my kids making pig noses on car windows. But violent.

 Can almost hear the “oof” leaking out from between his thuggish lips.

 Also, Batwoman’s orange isn’t Batwoman Orange anymore. Amy Reeder Hadley joined the team a few issues back; maybe she’s responsible? Or perhaps its simply because the colors pale when viewed through seawater? In any case, I miss Batwoman Orange, on fierce display on the cover of issue #1, to your right.
 

INSIDE STORY: 7 repeats the organizational concept of 6, divvying the book up by character. And for each character, a bullet:

• Jake Kane continues his bedside vigil, talking to his coma-swaddled niece Bette about his twin girls Beth and Kate, the former full of energy, the latter possessing marked determination. Beth is now dead. Kate is now a superhero.

• Batwoman’s daytime persona Kate is enjoying a chi-chi sushi date with Detective Maggie Sawyer when, mid-maki, she spots Abbott the Werebeast skulking outside the restaurant. (Aside: Abbot bears a passing resemblance to Fables’ Bigby.) Villain cartel Medusa is trying to run him out of town. Abbott offers to help Kate run Medusa out of town, but Kate calls him “freaky” and returns to Sawyer. Not sure of the backstory, but Kate’s being a rudey. At our house we keep a “positive points” chart, and Ms. Kane will NOT be earning any today.

• A week after her fancy Kate-date, Detective Sawyer swat-teams into a Medusa-den and captures Sune, sister of Maro, Medusa’s second in command.

• A minute later, Agent Chase (who I view as Sawyer-competition, though she has yet to reveal a fondness for Kate or, for that matter, humanity) orders Batwoman to retrieve Sune for the DEO.

• Batwoman does not pursue Sune, but instead takes on Medusa kingpin Falchion and his army of horror-movie freaks, including a fiercely goofy killer crocodile with the most awesome name of Waylon Jones. Bloody Mary also is especially striking, having crawled off the set of Carrie and arrived in Gotham with fiercely manicured red claws, all the better to pierce you with, my dear.

RAMBLE: Visually creative, especially the opening pages where Batwoman physically addresses the clawed thug who gutted her cousin Bette. Each character’s section features a distinct set of colors and presentation style: “Chase’s story” looks very clinical, while “Kate’s Story” presents our heroine as a bright spot in an otherwise drab daytime Gotham.

Whenever Chase appears, I worry for Kate’s relationship with Maggie Sawyer, though neither Kate nor Chase has given me any reason to fret. However, Chase beats Maggie in the hots department; she’s a sharp-dressed drag-ging Madonna to Sawyer’s middle-aged state senator. Not suggesting Kate go for the looker, just wondering what the creators are saying about each character. This is a visual medium, and I’m paying attention.

Favorite sequence comes at comic’s end. Supremely cinematic – all the horror-show freaks zombie-stepping towards Batwoman and Batwoman verbally tossing them aside:

“This is just getting ridiculous. Falchion! Let’s get on with it!”

 

Wonder Woman #6 (from The Batmom March 2012)

COVERGIRL: Meh. Not yuck. Just meh. Let’s see what my kids think:

Comic Book Son, Age 6.5: I like it and on every cover I think it describes what happens in the story.

(So what is happening in this story?) It looks like she’s fighting a giant dinosaur black polar bear. I think it’s cool.

(Do you like Wonder Woman?) I don’t really read about her a lot.

(Why not?) Because I’ve got a lot into Young Justice and Batman and I’m starting to wonder about Superman and Green Lantern.

(Who is your favorite female superhero?) I don’t have any favorites. I don’t read female superheroes.

(Why not?) Because I don’t. There is a woman in Young Justice.

(Who?) Miss Martian. She can fly and she can turn invisible and she can do shapeshifting.

(Can you come up with another female superhero?) In Tiny Titans I like Batgirl because she’s a kid. She doesn’t really do anything.

Comic Book Daughter, Age 4:  (Do you like this cover?) No. But I do like Supergirl.

(Why don’t you like this cover?) Because it has a red eye.

(What’s happening in this picture?) Wonder Woman is opening a giant poo-poo head’s mouth.

(Do you like WW?) Yes. I like Supergirl better.

(Why?) Because in this picture WW doesn’t have a cape and Supergirl has a cape.

 (What about cool things she can do?) I do like how her magic lasso can make people tell the truth. Can I go back in and watch tv?

INSIDE STORY: Diana and her brother Lennox convince their uncles Poseidon and Hades to share Zeus’ crown, vacated when he disappeared, presumably into Zola’s belly. Poseidon can rule heaven by day, Hades by night. Same-same! The brothers share the heavens plus the bone-us Diana tosses them: They share Hera, their befeathered sister-in-law.

Diana and Lennox entice ever-raging Hera into the discussion, whereupon Diana blinds her in the name of protecting Zola and her unborn Zeus-spawn, aka Zeus (confusing).

Hades and Poseidon give up the game, or so Diana and Lennox think until they discover Zola wandering starry-eyed toward her mother. Who is dead.

NOOOOOOOOOOO!

Yes. Mom morphs into Hades, grabs Zola, and tells Diana he won’t give her back until Diana engineers the time-share of heaven she earlier proposed.

RAMBLE: Still missing Cliff Chiang, but great story. Also, funny words once again spurting from the spurned mouth of mad-both-ways-mad woman Hera, she who coined the alliterative gem “Cockless Coop” to describe Paradise Island in issue 2.

“Heaven has left his (Zeus’) throne wanting an ass to warm it. And though both of you certainly qualify in that regard, neither of you measure up to mine.”

Quippy clever, and the more so considering she’s naked except for the feathers. I couldn’t stay wry with my cha-chas unfettered.

In fact, Hera’s personality shines through stronger than Wonder Woman’s this issue. While speech-sparing Diana’s never been one for expounding, she certainly delivers her superhero's share of dialogue.

Perhaps she got lost for the action … fun and fighty action to be sure. Perhaps I’m pining for Chiang’s Diana. Or perhaps the creators once again have allowed the story to be the star. Although while the narrative shared double-billing with Diana in issue #1, here it pushes her to the background.

America's First Superhero (from The Batmom March 2012)

Nathaniel Hawthorne, author of English major staples “The Scarlet Letter” and “The House of the Seven Gables,” lived in Salem. I can see the house in which he wrote the former from my kitchen window. It’s pale green and has been divvied up into The House of Seven Condos.

Nattie H. (who added the “w” to the Hathorne family name) not only is my geographic, if not temporal, neighbor, but also created America's first superhero. Seriously!

The Scarlet Letter was originally worn not by adulterous Hester, but by a customs house worker who, at night, donned a cape with the letter “S” and prowled the docks of Salem, protecting the town’s fair citizens from thieving wharf rats and the like.

Not really.

But really - Hawthorne wrote a story, included in his “Twice-Told Tales,” called “The Gray Champion,” in which a ghostly spectre arises to protest a British officer’s abuse of power. He’s not a superhero in the modern sense, but several sources (see below) cite him as the first American superhero.

I can dig it: Mysterious provenance. Inspiring oratory. Protecting the little guys from the Big Bads.

A company called Dozerfleet Comics planned a comic book riff on the Gray Champion, though the books were never published. Or maybe they were. Dozerfleet boasts a confusing array of websites; sound and fury signifying nothing. Google them. You’ll see what I mean.

Let’s end with a superheroish bit from Hawthorne, shall we? It’s rather thick and threatens dull, but it’s majestic, too.

“And who was the Gray Champion? Perhaps his name might be found in the records of that stern Court of Justice, which passed a sentence, too mighty for the age, but glorious in all after-times, for its humbling lesson to the monarch and its high example to the subject. I have heard, that whenever the descendants of the Puritans are to show the spirit of their sires, the old man appears again. When eighty years had passed, he walked once more in King Street. Five years later, in the twilight of an April morning, he stood on the green, beside the meeting-house, at Lexington, where now the obelisk of granite, with a slab of slate inlaid, commemorates the first fallen of the Revolutions. And when our fathers were toiling at the breastwork on Bunker's Hill, all through that night the old warrior walked his rounds. Long, long may it be, ere he comes again! His hour is one of darkness, and adversity, and peril. But should domestic tyranny oppress us, or the invader's step pollute our soil, still may the Gray Champion come, for he is the type of New England's hereditary spirit; and his shadowy march, on the eve of danger, must ever be the pledge, that New England's sons will vindicate their ancestry.”

(From “The Gray Champion,” Nathaniel Hawthorne, 1835)

 

Wonder Woman #5 (from The Batmom March 2012)

COVERGIRL: If there is a good way to be smacked in the face, the previous four covers of Wonder Woman smacked me in the face, especially issues 1 and 4. This one, no smack.

I’ve said it before, I’m not a visually oriented consumer, but I found myself editing this cover: tighter focus on Diana, trident, and tentacles; crop the mustachioed spike-o-saur. After my mental editing session, I noticed that artist Cliff Chiang’s name had been replaced by artist Tony Akins’ name (who inks for Fables, which I just started and LOVE - visuals and story). Perhaps Akins doesn’t know I relish a good smack in the face from my covers. 

INSIDE STORY: Back in London, Diana, Hermes and Zola are enjoying an al fresco snack when a band-aided, big-necked mystery man shows up and starts talking about Zeus’ disappearance. Mr. “You can call me Lennox and by the way I’m your brother” warns that in Zeus’ absence, some of his kiddos might try to fill his Olympian loafers. Fight over the loafers, even.

Zola doesn’t like Lennox; she calls him “that creep.” But Wonder Woman takes his warning seriously, and obeys his order that she be waiting on the Tower Bridge at 6 p.m. At which time hell-horses burst through the surface of the rain-spattered Thames, impressively (if not explicitly to anyone but Diana) announcing the imminent arrival of Poseidon, Zeus’ brother and therefore Diana’s uncle. Poseidon, by the way, is the giant beast on the front cover. Aside from his scary size, he looks like a Grumpy Old Man of the Sea.

Diana politely requests an audience, which Poseidon rudely denies her before claiming himself new lord of the heavens.

Diana surprises Poseidon and the reader by telling her sea-dwelling uncle that Hera has already claimed the heavens for herself. The last panel reveals this news is also a surprise to Hera, who issues a “What?” earning self-constraint points for not adding "the fuck?"

RAMBLE: Riffing is one of the great joys of the comic book universe. Each superhero exists at the center of a huge, gorgeous tangle of riffs teasing out different threads of her mythology. This makes for a rich history that both celebrates what is the same from one story to the next (Diana is an Amazonian warrior from gynocentric  Paradise Island) while allowing each new writer and artist team to test the character in new situations (Diana must protect Zola, who is carrying her unborn half-sibling).

I can’t wait to read more takes on the characters I’m quickly growing to love, but what interests me today is the mid-comic riff. These changes don’t involve radically different storylines and whole new comic books, but come about within the run of one comic due to changes in staff.

With Wonder Woman #5, Tony Akins replaces Cliff Chiang as artist. From the small bit I’ve read on Twitter, this is very common. This switcherooing makes no sense to me, but I’m also uneducated at present and perhaps it’s just how a company keeps a comic book fresh. Or comic book creators creatively happy. I don’t have a problem with the practice; I just don’t yet understand it.

Having said that, I miss Chiang's take on Wonder Woman.

I thought the colors this issue perfectly represented an overcast London day and I appreciated the war sequence with Lennox, but Akins’ Diana looks like a raven-haired Barbie. The visible power that gripped me last issue is gone, not from her personality but from her face. She’s grown more physically bland. And Hera, who only shows up once, at issue’s end, looks like a member of Samantha Stephens’ extended family. I.e. campy. And the campy is the enemy of the fierce.

I still love Diana and I loved issue 5’s story. But something about her new face made me love it just a tiny bit less.

 

Wonder Woman #4 (from The Batmom March 2012)

COVERGIRL: Forget finding a superhero to read; I want to BE Wonder Woman. To risk sounding too Christian Siriano, Diana is fierce. Hera is bonkers mad and wearing some sort of stunning, PETA-taunting peacock cloak and her eyes are glaring batshit-crazy red and she has a huge motherf*&%er of a knife and Wonder Woman is ROARING.

 Bring it ON, crazy bird lady. Lemme hear you squawk.

Actually that’s what I would say faced with a pissed-off goddess with a big, bloody knife. In response, Hera might well die laughing.

Wonder Woman doesn’t need words. Just … ROAR.

INSIDE STORY: Wonder Woman lets her superguard down and sways with the crowd at a London club. Hermes doesn’t get it; Zola explains she just wants to feel part of a community for a moment. Zola turns out to understand a lot about Wonder Woman: the absent dad, the disappointing mom.

But Zola’s mom is dead, and Zola wishes she hadn’t been so hard on her. Wonder Woman realizes she needs her own mom, and rushes home to discover her Amazons turned to snakes and her mother, to stone.

Also, before leaving for Paradise Island, she smashes a broken champagne glass into Strife’s hand. Which Strife totally deserves.

Meanwhile, Apollo – the buff, oil-slicked dude from issue 1 - arrives in Darfur to chat with his weary, blood-spattered brother War. Apollo tells his brother the Weird Sisters told him that somehow Zeus, their dad, has yet to be born. In his absence, Apollo wants the crown. War says he could care less, but notes that war always rules the day.

RAMBLE: Not sure why Strife is following Diana around. Perhaps because she wants to keep an eye on her newest sibling, still gestating in Zola’s ridiculously flat belly; or perhaps because the baldy wants some of whatever Diana’s having that makes her hair so ridiculously luxuriant. The skull-stubble suits Strife, but she’s the jealous type.

Hippolyta’s fate, to be ever-frozen gaping in horror, serves to break Diana’s similarly stony countenance; when she sees her mother’s stone-cold face, she crumbles.

Touching moment and a suitable ending for this issue, but Azzarello and Chiang refuse to go for the easy close. Instead: the Darfur bit with War and Appollo. I loved the contrast between the brothers; one dark and slick with golden, glowing, mesmerizing eyes; the other old and grey, with flat, black, dead eyes.

Once I catch up, I’m diving into Greek mythology to re-acquaint myself with classical versions of these two and their clan; for now, I’m much satisfied with this iteration.

 

Wonder Woman #3 (from The Batmom March 2012)

COVERGIRL: I’m a sucker for a simple cover, and this one fits the bill. Diana has, presumably, looked upon the face of Medusa and turned to stone. Or the artist is riffing on her clay creation myth, shattered at the end of last issue when Strife claimed Diana as a sister. Or Diana the goddess is about to be revealed as a mere human; the clay idol is shattered. Or Paradise Island is a nest of vipers. Or Diana is made of red licorice and the adders have an insatiable sweet tooth.

Getting carried away with the Ors.

Enough.

INSIDE STORY: Strife tells the truth: Hippolyta admits to a fling with Zeus, with Diana the sole souvenir. As Diana berates her mother, the other Amazons mourn their dead, the many who perished when Strife turned them against one another and who are now ceremoniously stacked on funeral pyres.

While most simply grieve, one angry cohort blames Diana, who storms in, burns all her dead sisters, knocks down a bunch of trees, announces she’s leaving, demands no one ever call her Diana again, and proclaims herself Wonder Woman.

RAMBLE: The Zeus-Hippolyta love scene was too cheesy for my taste, mostly due to Hippolyta’s extravagant word choices: “We were glorious. Strength supporting strength. Sinews entwined. Absolute control … given up.”

Days of our Olympian Lives. Or maybe All My Illegitimate Children.

However, Hippolyta is a goddess, and goddesses are allowed to embrace the grandiose in a way we mortals are not. And they are forgiven for their seeming lack of humor. Because if we don’t forgive them, they will smite us.

Otherwise, another comic book victory. All superheroes have estranged or dead relatives in their past; here, Diana is the one rejecting her mother, by choice. Neither criminal (Batman), terrorist (Batwoman), nor planetary explosion (Supergirl) has robbed Diana of her family; she is choosing to be alone. She is leaving Diana on Paradise Island and declaring herself a new person: “I am Wonder Woman.”

Wonder Woman #2 (from The Batmom February 2012)

COVERGIRL: Gone is Diana of the powerful yawp; this superhero is shocked, either at the dead blue people floating beneath her or the red soup tarnishing her shiny boots.

And who is this lavender Robert Palmer woman? Is Simply Irresistible right there with WW or is she superimposed? If she’s a backup dancer, as her pose suggests, why the dagger? Not a clue what’s going on. No connection I can see to the last issue, except perhaps the blue arm belongs to Hermes?

INSIDE STORY: Simply Irresistable’s actual name is Strife, and she’s the daughter of Greek goddess Hera. Mom is PISSED because Dad, aka Zeus, can’t keep it in his mythical breeches. His latest spawn sits gestating inside last issue’s plucky, pants-less Virginian, Zola.

Wonder Woman transports Zola and wounded Hermes to Paradise Island, her home. Her people, mighty women in earth-tone beach volleyball uniforms, chafe at the male presence. Even Diana’s mother, Queen Hippolyta, registers a righteous WTF? Wonder Woman explains that she is siding neither with adulterous Zeus nor scorned Hera, but seeks to help clueless Zola.

Also seeking to help, or at least educate, clueless Zola, Hermes shares Diana’s creation myth: Barren Hippolyta fashioned a child out of clay, then fell asleep. The next morning she awoke to baby Di.

Strife arrives on the island; her mere presence sets the warriors to fighting one another. Despite her unsubtle name, the giantess swears she’s there for a family visit with her sister … Diana. So much for the Claymation Creation.

RAMBLE: Mythy with a satisfying dose of pithy.

Several hot spots of humor, including a nod to Hera for referring to man-less Paradise Island as a “cockless coop.” But the award for Best Mid-Drama Comedy goes to the Hermes-Zola duo, discussing Zola’s impregnation by the King of Gods.

Hermes: When Zeus consorts with a woman other than his wife, he chooses a form that will inspire an uncontrollable lust in them. Do you remember what Zeus came to you as?

Zola: A truck driver. Or a pool hustler. He coulda been in a band. I hope he was that guy.

Brilliant, imagining the big guy locking his thunderbolt in the cab of his rig and planting his epic seed in Zola at a highway-side Motel 6.

Also, Diana still rocks. Verbally economical; well-endowed with might. In terms of pure heroic awesomeness, she currently holds my vote.


Wonder Woman #1 (from The Batmom February 2012)

COVERGIRL: I have to swear now because I fucking love this cover. Wonder Woman is so fierce, yelling and raising her fist into a volley of arrows, I want to sound my Amazonian yawp along with her. Maybe I’ll try raising my fist into a volley of cart-wielding seniors at Market Basket tomorrow.

INSIDE STORY: First we meet a buffed up, slicked down, purpley-black dude with glowing golden eyes. He’s a man of myth, for sure, and maybe the NFL, too; a handsome well-built devil hanging out Singapore-high-rise-poolside with three party girls.

Zip Skip Page Flip to a farm somewhere in the Old Dominion.

In the barn two … gods? Devils? They slaughter two horses and take possession of their bodies.

In the farmhouse human Zola confronts a skinny, feather-footed blue guy. Zola’s plaid shirt and way with a rifle presumably signify southern pluck. Her lack of pants signifies her lack of attention to detail, or perhaps simply the artist’s desire to show us her shapely gams.

Zola flaunts both pluck and rifle at the blue guy, who tosses her a key as the newly minted Pegasi (awesome word) crash through the farmhouse door.

Zip Zap Page Flap and Zola’s in London at Wonder Woman’s bedside.

WW, aka Diana, gets dressed, though thoughtlessly fails to offer Zola a pair of pants. The two pop back to Virginny where the Pegasi immediately attack. WW triumphs but feather-foot, aka Hermes, is dying and needs to spill some mighty big beans: Zola is pregnant by Zeus. News to Zola.

Her grandmother appears, telling Zola that if she only wore pants like a good girl, perhaps she wouldn’t find herself in this mess.

Not really.

Just like Addie Bundren, Hermes lays dying in the south a nd the action flashes back to Golden Eyes on the Singapore roof. He’s transformed the party girls into the Weird Sisters and they’ve told him his father has yet to be born. All coming together … .

RAMBLE: First, Naked Notes. Double Dubs is sleeping naked, something my husband pointed out as I explained that flaunty Catwoman was more offensive than awesome Wonder Woman. But why is Wonder Woman naked? he asked.

Good question. Does Batman sleep naked and stand around naked during crucial conversations naked? Naked naked nudey-tudey bat-assed naked?

Maybe he does. I need to read a few guy superheroes too, except I’m already behind a gazillion issues because I keep digressing like this.

I didn’t even notice WW’s naked because I was engaged. The naked glory was secondary to the compelling story and the somewhat mysterious superhero.

Wonder Woman as she appears in the now-discontinued Super Friends spouts preachy aphorisms such as “Be proud of what you are, not jealous of what others are” (Issue #5). She comes off as mighty, yes, but also as a bit of a nudge in red go-go boots.

No preaching in her New 52 iteration. Hallelujah.

In fact, Wonder Woman doesn’t say much at all. Golden Eyes and the Weird Sisters provide the dialogue boxes that overlay the scenes in which the Amazon kicks equine ass. I love that Brian Azzarello and Cliff Chiang luxuriate (in comic book terms) in their story. Wonder Woman remains a mystery, much more so than if she had brooded verbally all over the page.

We all know she’s the big cheese, but here she shares double billing with the story.

Bravo!

Batwoman #6 (from The Batmom February 2012)

COVERGIRL: Love the closeup. Bold, like Batwoman. Agitated hands on temples efficiently express 1) extreme angst; 2) intense focus; 3) bad hangover; or 4) Slurpee headache.

INSIDE STORY: Detective Sawyer gets chewed out by a grief-stricken parent, who claims Sawyer doesn’t understand loving a child because she’s gay. Jake Kane reads to unconscious Flamebird. Llorona myth is revisited. Kate refuses to share personal info. with her new GF Sawyer. Batwoman and Agent Chase kick ass, seeking Llorona’s young victims.

RAMBLE: Divvying up the book into character-focused sections (e.g. “Kate’s Story,” “Chase’s Story”) makes for streamlined consumption of gross quantity of narrative information.

Something I Noticed (from The Batmom January 2012)

Something I Noticed

When my son reads his "practice reading at home" books to me at night, he reads the words, then spends time looking at the pictures before turning the page.

When I read a comic book, I barely look at the pictures my first read-through. I suck up the words, skipping from one black-and-white bubble to the next, eager to inhale the story.

This is a fault. I’m going to try and be more patient and take in the image with the word.

It’s like eating M&Ms and corn nuts. It takes a little more effort to mix them together, but when the salty and the sweet meet in your mouth … manna from 7-Eleven.

Tonight I’m reading Batgirl #5 and I’m going to mix the pictures and the words together. And then I will achieve comic book umami.

Batwoman #5 (from the Batmom January 2012)

COVERGIRL: A cover of many faces. A conclusion is near, what with Llorona (who appears to have descended from a prehistoric boar) and Batwoman facing off. The lack of eyeballs on Batwoman’s face is worrying, but the determined set of her mouth is reassuring.

Unlike the last cover, which had too much going on, this cover is both complex and coherent. Less busy and more powerful for it.

INSIDE STORY: Batwoman confronts Llorona and her own demons, at least the devil nagging her about the death of her sister-turned-villain, Beth/Alice.

While Batwoman dispels Llorona, she learns that someone, or something, called “Medusa” set Llorona to her deadly task. Soon thereafter, Agent Chase and her boss Skullhead set Batwoman to a task: finding Medusa, which turns out to be a global criminal cartel. If Batwoman won’t take on the challenge on behalf of the Department of Extranormal Operations, Skullhead will throw Jake Kane in prison on traitorous charges.

Batwoman agrees to help, turns down Batman’s offer to join Batman, Inc., and suffers a small lecture from the Batman.

RAMBLE: The opening panels of Kate meditating, with various details of the Llorona case swirling around her, attest to her mental strength. We knew she was clever, but this small series reveals that she shares one of Batman’s roles, that of skilled puzzle solver.

More and more, I’m coming to appreciate the varied and efficient means by which comic book creators “describe” their creations: This short exposition speaks volumes about Batwoman.

Per usual, the art blows the mind’s eye, especially in the first half, where Batwoman defeats Llorona. But it’s Batwoman #5’s narrative structure that warrants extra praise.

In shutting the Llorona case, in allowing the Weeping Woman to achieve peace, the writers have at once pulled seemingly random story threads together and opened up what promises to be a much broader, more involved story: Batwoman taking on an underground organization while trying to balance a bevy of interests and trying not to step on Batman’s sensitive toes.

The overlapping closure of one thread and unfolding of another is a work of structural beauty, and raises the book yet another notch above average.

WHO THE HELL ARE THESE PEOPLE?

Kate Kane: Survived a brutal kidnapping by terrorists that killed her mother and turned her sister into a crazy villain. West Point student, expelled under Don’t Ask Don’t Tell.

Batwoman: Kate’s awesome superhero alter-ego.

Beth Kane: Kate’s twin sister. According to Kate, Beth turned bad after the terrorist kidnapping and transformed into villain Alice, who drowned in Gotham Harbor.

Jake Kane: Kate’s dad and military big-wig. Kate won’t talk to him, though he’ll talk to her. He claims Beth died at the hands of the kidnappers.

Bette Kane/Flamebird: Kate’s cousin/Batwoman’s mentee, member of Teen Titans/tennis star.

Agent Cameron Chase: Agent for the Department of Extranormal Operations. After Batwoman.

Skullhead: Agent Chase’s skull-headed boss. Not sure of his real name. Remniscent of X-Files’ Cigarette Smoking Man except without skin. 

Detective Sawyer: Police detective on the Llorona case. Kate’s love interest.

Llorona, aka the Weeping Woman, aka Maria Salvaje: Demon spirit who sucks children’s breath. Born when Maria Salvaje, alcoholic mother, drowned herself after the drowning deaths of her neglected children.

Medusa: Mysterious, evil organization.

Batman: Batman.

]

Batwoman #4 (from The Batmom January 2012)

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COVERGIRL: I miss the sea-green of the previous 3 cover palettes and in general, this one’s too busy for me. I like a bold cover without too many details. While Flamebird superimposed atop Batwoman neatly addresses both Flamebird’s defiance and Batwoman’s presence watching over her, the flaming bird (Phoenix) and hooked hand are, in my opinion, visual overkill.

But then again (and I say it again), I’m new to the genre. This might be standard practice, this excess of detail, and if so, in time, I won’t notice.

INSIDE STORY: Flamebird, full of piss and vinegar, takes out her anger at Batwoman on Gotham thugs, but ends up lying bloody in the snow, hooked in the gut by a messy slob of a minor villain. Agent Chase picks her up, impersonating a nurse. After correctly identifying the superhero as Batwoman’s sidekick, Chase coaxes Kate Kane’s name from Flamebird’s near-death lips

Sawyer and Kate have sex, and while Kate fully enjoys the experience, Sawyer’s distracted by thoughts of Llorona and her victims. Kate puts on her Bat-duds and returns to work soon thereafter, discovering Llorona is likely the spirit of Maria Salvaje, an alcoholic whose neglected children drowned under the boathouse. Maria took her own life, descending beneath the waves after her dead children.

RAMBLE: Another gorgeous issue. For me, the most powerful sequence of pages comes at book’s beginning. Flamebird, fierce in maroon with a yellow-orange flame of cape billowing around her, takes center stage as she goes it alone. Everything around her is muted and dull: dirty snow, grey buildings, bad men in black and mustard and khaki. Flamebird burns brightly, a stark contrast to her surroundings whether she’s kicking ass or bleeding unconscious, the blood-red of her outfit seamlessly melding with the bloody red snow.

This is Flamebird's moment, and the action and images speak beautifully and sharply to her inner turmoil. Flamebird (Bette Kane) wasn’t prepared to leave Batwoman’s side, but her cousin forced her out. She’s determined to remain in the game, and so she goes it alone. She allows her anger to rule the day. While she proves a fierce and worthy opponent for a typical street-roaming thug, she’s not nearly ready to battle the bizarre darkness at the heart of Gotham’s underworld. Her foolish bravado, born of a grudge, may cost her her life.

Black-and-white frames of Kate Kane having sex share these pages. The juxtaposition tells a third story, beyond Flamebird’s injury and Kate’s ecstasy; a quintessential superhero tale in which the job comes first and the superhero sleeps alone.

Kate, a seeming control freak, finally lets go. She accepts bliss and loses herself. But Kate’s a superhero, and letting her guard down means letting Flamebird down. At least that’s how Kate will likely read it when she finds out Bette’s been hooked.

The use of color (credit due, I assume, to Eisner Award-winning Dave Stewart) and the final panels in the opening series — Flamebird bleeding above, Kate climaxing below — amazed me. As the red seeps from Flamebird, Kate’s previously black-and-white self tinges pink. Life flows into Kate as it flows out of Flamebird.

Regarding Kate’s relationship with Sawyer and the life of the villainous hooked thug – I’m predicting both are short-lived.

Sidenote: I’ve never written about sex before. I feel a little bit the giggling girl in junior high. I had best get more comfortable with it, because Catwoman’s in the queue.

 

Batwoman #3 (from The Batmom January 2012)

COVERGIRL: I’m starting to crave the Batwoman red against sea blue-green.

The image of Agent Chase dragging Batwoman from the waves while waving a gun neatly tends to the plot. But the brilliant stroke lies at cover’s bottom, where a woman’s face stares upward. I suspect she’s Batwoman’s sister (Beth)-turned-villain (Alice).

She’s genius; a showgirl ripped from a 1930s theater poster, with lips of faded Batwoman red and ocean’s-blue tears streaming from her eyes. The bubbles floating past her cheeks read “all dead,” but her eyes and mouth beg doubt. The eyes might be locked, lifeless, on Alice’s last vision or perhaps she’s seeking … her sister Kate Kane/Batwoman, her father Jake Kane, her next victim. Her mouth opens ambiguously, reaching for a last gasp of air that’s not there, screaming for help, or laughing at her sister’s imminent death beneath the water.

INSIDE STORY: Wow, I was wrong. Not Beth-turned-Alice. The ’30s poster girl on the cover is Batwoman.

As Batwoman sinks beneath the waves, Llorona wraps bony fingers around her arms. In the villain’s clutches, Batwoman descends into a younger, softer self with blond curls, then re-emerges a fierce superhero, socking it to Llorona before pulling herself onto dry land … where Agent Chase awaits.

Chase accuses Batwoman her of plotting terrorism. Batwoman delivers a WTF in the form of much kicking, then runs home to tell her mentee, Flamebird/Bette, she’s no longer willing to work with her.

I presume Batwoman ditches her superhero cuz for fear of Flamebird’s safety, but she’s mean about. Flamebird takes the diss as a challenge: In the book’s last panel, she’s uniformed and lurking atop a gargoyle.

(Digression: I love the gargoyles of Gotham and the opportunities they present for sky-high brooding.)

In other news, Kate misses a date with Detective Sawyer because she’s beating Chase’s goons but she makes up for it with a kiss. Later, Chase confronts Jake Kane with the knowledge that he’s fathered a bat.

RAMBLE: Again with the art. These comic books boast diversity and beauty and what I assume are astoundingly short turnaround times and superior synergistic relationships between artists and writers. The scenes featuring Batwoman as Batwoman, only 3 issues in, have a signature aura about them. The artists – JH Williams III (artist) and Dave Stewart (colors) - set them distinctly visually apart from the other panels.

Gorgeous art aside, I found myself repeatedly perplexed this issue. Who was Batwoman morphing into while in Llorona’s grasp, and why was Llorona referring to meeting her again? Is Batwoman protecting Flamebird, or is she protecting herself from building meaningful relationships?

I’ve found myself lost repeatedly since I’ve entered this universe, a place I’m quickly coming to love but in which I still feel a stranger. Plots sometimes confuse me, and I wonder if it’s because I haven’t learned to navigate a comic book. I also lack a historical perspective. The New 52 is all about a clean slate, but I’ve still added “Ink-Stained Amazons and Cinematic Warriors,” “The Supergirls,” and “DC Comics Covergirls” to my Amazon Wish List.

Some days, the writers I’m following online (including @dcwomenkicknass, @geekgirlcon, @inkamazon) ground me; other days, they make me feel the neophyte I am.

I’m writing into the wind with not much ballast at my back. Like a bat, I’m winging it. And for now, that’ll have to carry me through.

 

Batwoman #2: Hydrology Part II: Infiltrator (from The Batmom January 2012)

COVERGIRL: Very much in keeping with cover #1. Tonal victory! Same fiery reds and watery greens, but unlike the bold pose she struck on cover #1, this Batwoman is fighting to keep her head above water.

INSIDE STORY: Batwoman and Flamebird kick bad-guy ass while chatting about Batman. Speaking of the dark Broodmeister, he appears in a gorgeous spread, full of foreboding.

(I’d like to see an episode in which Batman’s totally full of shit, talking nonsensical trash about Alfred and Robin while swigging from a Mickey’s Big Mouth.)

He warns against Agent Chase, who works for the Dept. of Extranormal Operations, a secret government agency with a penchant for unmasking Batpeople. He warns against allowing Bette to help with the Llorona case.

Meanwhile, Agent Chase corners Detective Sawyer saying she’s a prime Batwoman suspect. Sawyer’s not Batwoman, but wants to catch her. She does catch Kate Kane, at least long enough for a date. Kate wears an adorable elvish newsboy outfit. Sawyer’s sporting duds borrowed from Cagney’s closet. No surprise Kate declines to spend the night.

(I realize I’m critiquing clothing right after a post decrying excess attention to superheroine body parts. I’m complex that way. Or merely confused.)

Actually, Kate’s dropping Sawyer to pursue the Weeping Woman. Sea-green Llorona has sucked the breath of another young victim. Batwoman must catch her, and fast. But where?

Poking through police files, BW learns the Llorona biz started at “the boathouse.” She heads to the mountains forthwith. Not really. I just wanted to say “forthwith.”

She heads to the boathouse, but not before shoving Detective Sawyer, who tattles to Agent Chase. Under the boathouse, in the water, Batwoman looks purposeful … until she’s dragged down by the waves. Just like her dead twin sister.

RAMBLE: I am a word girl. When I look at art, I translate image into narrative. I read the notes at art exhibits. I appreciate Frank Lloyd Wright thanks to T.C. Boyle. I like Picasso because of Gertrude Stein.

For me to stop and gape at the art like a highway rubbernecker … uncharacteristic. But I just keep returning to the first few pages of Batwoman #2 for another visual hit of comic book smack.

I love Batwoman’s signature red-orange. It’s fire and it’s power and it’s not Primary Superhero Red.

I love the x-ray boxes at impact points: Where Batwoman’s fist hits bad guy ribs; where Flamebird’s elbow hits bad guy radius; where Batwoman’s fist hits bad guy jaw. Not only do the boxes carry through on the skeletal theme, but they also serve as visual sound effects. There are no words, but the images convey KRAK PAKKK KRAKOW. I’d show you, but the DC Guy told me if the image is not on their site, I am not allowed to post it.

I love everything about the title page: the silent, shadowy Bat army; the retro look of the teal-suited bad man; Batwoman’s orange against canary yellow; the thick, black, lightning bolt lines dividing frames; the small-fonted Kate Kane bio in the bottom left corner.

During the action, Batwoman tells Flamebird that Batman wants her to join Batman, Inc., a new “worldwide organization of Batmen.” The visuals conjure the Bat-verse more than any words could, and also connect Batman’s long-storied past with the present.

I’m going go all English Major and pretend the title pages means this:

The ’60s-evoking bad guy represents the past, what with his doctor’s bag full of buckaroos and his fedora. (That or he’s some famous bad guy I don’t recognize.) Batwoman, who is so bold she middle-fingered the military by refusing to bow to Don’t Ask, Don’t Tell, represents the present and future. She is kicking the be-jesus out of Ye Olde Baddie and smashing outdated notions of what a superhero is, what with her girlfriends and her sensibly-heeled AND sexy boots.

Can a co-op led by an old-school, man-in-charge superhero like Batman accommodate The Batwoman?

I hope so. I’d like to see Batwoman rattle some belfries.