Kira Reads Comics

One girl's introductory journey into the intimidating world of comics and how great it can be once she discovers what's out there.

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Sketches

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Rapid Review: Mother Panic #1

Writer: Jody Houser Illustrator: Tommy Lee Edwards Letterer: John Workman Publisher: DC Comics

Mother Panic feels like Blade Runner. It’s got that dark, futuristic, noir feel, complete with a disillusioned and gritty narrator taking on corruption between flashes of high-technology.  But instead of Harrison Ford, the hero is Kelly Osbourne.  This first issue of Mother Panic introduces Violet Paige, a “family-brand” celebrity who dons the striking, angular costume shown on the cover. And though the details are only teased between heavy flashbacks to her youth, she’s  clearly trying to bring down some crime thread in Gotham that starts with a man named Hemsley. basically just rich, powerful and an asshole. But Hemsley is connected to what I assume is the first true villain of this story. And while Violet, her alter ego and her slowly revealed past are quite interesting, this antagonist is, unfortunately, not. [SPOILER] I can’t be the only one tired of psychopathic artists using murder victims as their art, right? [/SPOILER]

But, Mother Panic is still good and I think Violet’s story is well set up to explore some interesting story arcs, especially in the familiar stomping ground of Gotham city. The art is certainly a treat, being bold, sketchy and angular. The black-line cityscapes are truly impressive. As is Mother Panic’s costume, featuring heavy boots and gloves to really add weight to her attacks.  Personally, I won’t be adding it to my pull box though. Mother Panic is part of DC’s Young Animal arc, which I believe is aimed towards teens. And it certainly feels like it. While I would have adored this in high school and, in fact, encourage readers of that age to check it out, I found there wasn’t anything in it that current-me hadn’t already seen before. 

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Rapid Review: Circuit Breaker

Issue: Circuit Breaker #1  Publisher: Image Comics Writer: Kevin McCarthy Artist: Kyle Baker Circuit Breaker certainly has a lot of potential. Everything about this comic is inspired by Japanese animation, especially those of the fighting mecha and magical girl types. And that’s just scratching the surface. There’s a LOT going on in this single issue. The story is presented in large info dumps of monologue from one character. Additional characters, plot points and world building are just bluntly stated instead of being shown or connected to anything. Facts are fired towards the reader at a rate I couldn't consume and often had me going back to clarify things. There’s an immaturity to the writing and I find it a detriment to what seems like the start of a solid idea. Apocalyptic relations between humans and robots with a secret teenage robot soldier in the middle of it. Sounds awesome, right? But instead of being engaged in a story, I felt like I had just read a pitch for a new JRPG. It had that much resonance with me.  It’s not awful. It’s just... not there yet. Circuit  Breaker tried to jam too much into their first issue and ended up with the comic equivalent of a history pamphlet. You’ve got one shot to capture a new reader with a first issue. Don’t waste it with a setting description.  Meep Meep! 

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#ratedteen

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Jem and the Holograms Ending in April, Comeback Planned

All things must come to an end, and IDW has revealed that April's Jem and the Holograms #26 will be the final issue.

I was pretty much devastated when I first heard this news. Jem and the Holograms are the highlight of my pull box and I thought for sure the world was ending when it had been cancelled. 

Now, I know that getting upset over a comic seems silly but this series will always have a special place in my heart. It got me into the comic stores, desperate to get my hands on another issue. It showed me that the local comic shop wasn’t just a boy’s club anymore. And it introduced me to one of my favourite artists and continuing inspiration, Sophie Campbell.  But, the clerk at my comic shop informed me that the return date is already slotted for July. So, while there’s no news on if the creative team will remain the same or which artist will be drawing the girl’s new adventures, but at least a return is definitely coming and quite soon as well! 

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22 - French - Art Student Red and Black Warrior ♦ don't repost my art or remove my caption

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Rapid Review: Vamplets

Issue: Vamplets: The Legend of the Ghost Pony Writers: Gayle Middleton & Dave Dwonch Artists: Amanda Coronado & Bill Blankenship Publisher: Action Lab Comics Do you like Monster High, Ruby Gloom or Emily Strange? This comic has that “scary cute” vibe that is very popular with Tweens right now and fits in with the previously mentioned “Goth-lite” brands. I ended up grabbing a free preview copy of Vamplets last Halloween (2016). I knew it wasn’t going to be something I read regularly since this is totally a comic you can judge by its cover but “free” was a great price tag for a little romp through that made me smile. Just like Halloween candy... However, Though, this issue does drop the reader into the story rather abruptly, I had to do a quick google to figure out the core plotline, as the preview didn’t cover it. But The art is sweet and spooky, with lots of pinks and purple and an obvious anime influence. But there’s really nothing else here. It’s silly, spooky fluff but if you're looking for some innocent, Burton-esque, brain candy to add to your shelf, there’s apparently a hardcover trade out now. Meep meep! 

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Monstress Vol. 1

Publisher: Image Comics Artist: Sana Takeda Writer: Marjorie Liu  Letterer: Rus Wooton

I’ll be honest. I picked up Monstress on a whim. I want to say that I read a good review (and I honestly think that I did) somewhere but honestly, I just really liked the art. The cover caught my eye immediately when I was browsing my local comic shop. How could it not? It’s like a sort of art nouveau steampunk style with a heavy Asian reference. Lines are light and airy but details are dense and everything seems to be coloured in jewel tones. Each panel is a miniature work of art. There were several times where I just sat with a page for a few minutes, exploring everything that was packed into its borders. The architecture is stunning. The fashion is so gorgeous it is to die for. And all of it lovingly rendered by Sana Takeda. Normally, I find myself loving punchy, graphic art like that from Sophie Campbell and Babs Tarr. But Takeda’s work is too beautiful, too detailed and delicate, for me to NOT like it. Just looking at these pages show a passion, patience and skill that many artists lack. But the art isn’t the end of it! Oh no. As gorgeous as this comic is, the writing is JUST AS GOOD. It didn’t take me long to fall in love with Liu’s characters and world building as much as I did the art.

Monstress features a matriarchal world in which two factions are at war; the Arcanics, beings of magic who possess animal features and the Cumera, powerful sorceresses who can use the Arctics lives to fuel their magic. Our protagonist through this journey is Maika, an Arcanic girl with a strange tattoo and a missing arm while she hunts for the truth of her mother’s death and the secret to the dark being that lurks within her body. We follow Maika as she discovers who she is and who she can trust in a world where she is constantly dehumanised.

The story of Monstress will not coddle you. The story hits the ground running and does not stop. There is slavery, racism and cruelty, a true examination of human behaviour. We might not be mixed with animals or have access to magic but war is the same everywhere. And it is much the same here. It is deep and touching and painful but very worth reading as the story is also gripping and enthralling. The characters of Monstress are what really drive this book home. The relationships are complex and nuanced, with everyone introduced playing their part in the whirlwind of confusion. And most of them are between women. It actually took me a while to realize that most of the men in this comic are either background characters to add some flavour or supplement to a more fleshed out female character. And once I realized it, I was thrilled. Monstress is a powerful, enthralling story about women without being super obvious and preachy about it. It just is. And it’s great. Whenever I come across good stories that focus on the relationships between women, I always realize how thirsty I had been for them. And the ladies in Monstress don’t mess around. They don’t sit around sipping tea, gossiping about eligible bachelors. These women start wars and assassinate their enemies. Some do it with words, some with magic and some don amour and a sword. But none of them are idle. And it just makes me so, SO happy to read it. 

It also has a wonderful representation of people of colour and a few queer relationships, between the family and friend ones. Maika and her family are visually Asian, as are a large portion of the characters since Monstress seems to be set in an alternative-reality Asia. But there are also a variety of other characters who fall under the POC umbrella, as important and developed as Maika is, from her best friend to the enemies she faces.

I do have one little issue, though. I guess nothing can be perfect and here’s the flaw in this little gem. The cruel, fat prison guard. I hate this stereotype. The fact that the guard is a woman makes it worse, as fat women are especially at the brunt of these awful archetypes. She enters the scene to torture Maika for talking back, which prompts a mystical response from Maika. I understand WHY the scene needs to happen. But the fact that the guard is drawn as “ugly” and overweight when all the other characters (evil or not) are of a normal weight and quite beautiful, draws the comparison that fat people are cruel because nowhere else are overweight individuals seen doing anything, negative or positive. Not to mention that this throwaway character who appears on five of the total pages, one of which she is killed violently, just seem to reinforce every stigma associated with being considerably plus-sized. It’s particularly disappointing when the rest of the comic has such careful consideration taken to representation and fair depictions. In short, Monstress is one hell of a ride and I highly suggest picking up a copy. I intentionally tried to leave the plot and other delightful details vague in the hopes that when you do read (and re-read) your own copy, you get to go on the same journey I did. In the few short hours I devoured this volume, I became completely enthralled. I cannot wait for the next instalment!

Also, do you like cats? That talk? And are sassy about it? Because you should read it for them.

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Black Canary #1-12 (Full Arc)

Writer: Brendan Fletcher Artist: Annie Wu Publisher: DC Comics I really like Black Canary. But it does seem that she’s more often a background character in other people’s stories than the lead of her own story. And while she has had a few self-titled runs of her own, popping up as a supporting character seems to be how she rolls, more often than not.

I’m not really sure why. I mean, she’s quite badass and certainly has enough personality to carry her own story. Of course, this might be because she’s got a very involved and complicated history, with an absolute ton of stories to go through considering she’s one of the oldest female superheroes. I, myself, am only just starting my journey with Black Canary with the help of my comic-historian friend and still making my way through the earliest stuff (from the 40s) alongside the modern comics I’ve been picking up. But I’ve still managed to fall in love with this ass-kicking heroine.

To me, Black Canary is stubborn, independent, and aggressive. I first met her when I was watching the Justice League Unlimited cartoon and immediately fell in love with her. Her super-human ability is referred to as the “Canary Cry,” a high-powered sonic scream which could shatter objects and incapacitate enemies. But, I’d even argue that it’s not her greatest power. Impressively, she’s known as one of the absolute best martial artists in the DC universe and yet still manages to  be feminine and sexual. I mean, just look at that Veronica Lake hairstyle.

The Justice League Black Canary could hold her own against the big names like Batman, Superman and Wonder Woman, fighting alongside such historical tyrants. But she was never seen to be in their shadow or intimidated by their presence. When she sees a wrong she needs to right, nothing can stand in way of achieving her goals. The same could be said about her approach to romance. Justice League Unlimited has her meeting and desiring Green Arrow. And she is often paired romantically with this character, even going so far as to having him as her husband. She’s one of the few female characters that is shown in a loving, dedicated marriage that doesn’t change or diminish her as an individual in her own right. She’s not just a wife. She’s a hero.

So, with this experience with and tentative knowledge of Black Canary, I eagerly bought her latest story arc. And I really, really wish I could say I loved it. Don’t get me wrong. I didn’t hate it. But there are a few issues that certainly diminished my enjoyment of one of my favourite super heroines. What really sold me on this comic arc was when I initially stumbled across this page (which I highly recommend you check out) and I was immediately sold on the idea of Black Canary fronting a band, leading them her superhero name and performing herself under the moniker “DD”. Why not use that sonic voice for some kick-ass vocals? The flavour of those three songs, coupled with Annie Wu’s sketchy, bold art was right up my alley.

And the comic, once I had it, started off so great. Dinah Drake (Black Canary’s real name) was removed from the classic Justice League group and instead surrounded by grungy, unique women and grittier experiences. Her brawling with troublemakers at the show just screamed (hehe) of youth punk shows and feminist strength.

Some of my favourite moments from this comic arc are entirely related to band shenanigans, with a bit of superhero bizarreness tacked on. [SPOILERS] The late tour bus being attacked by bad guys on motorcycles, dealing with the jealous ex-frontwoman who got her own Canary Cry to compete with Dinah, discovering that your bandmate is the physical embodiment of an alien species made of sound, and especially when the band is hired to play at a Gotham criminal’s birthday party. I was even on board when the absence of sound, pure silence, became a monster intent to crush the world. These stories are fresh and fun, bizarre but still relatable.

But that only seemed to be the first half of the arc. The second half, around issue #7, seemed to lose it’s way, story wise. First of all, Dinah leaves the band, which in my opinion is  huge mistake. The band, those women and stories, were FAR more interesting. Why spend all that time building up those characters and experiences only to pull her from that environment? 

Secondly, Dinah left the band to deal with secrets from her mother’s past. I’m vaguely aware that The Black Canary persona has been passed down from mother to daughter in some complicated comic history that probably involves time travel and clones, but I don’t have any knowledge of the details. And the second half of the comic arc feels like you need to know that history in order to understand what is going on. I had to go back and reread things so many times, trying to figure out what I missed or how things related. And the villain of this part was somehow related to Diana’s mother but was also an immortal but weakened demon, vampire creature? I’m still not totally sure what was going on there. [/SPOILERS] Compared to the first half, with the band, this additional story felt confusing and fell flat for me.  Can Dinah Drake go back to leading the band now? The real star of Black Canary is really Annie Wu. Her graphic, sketchy art is absolutely perfect for the punchy, rough and tumble 80s rock band aesthetic and the fight scenes are fluid and powerful. Wu’s art feels like a neon-lit kung-fu action movie with the appropriate music blasting into your ears. Wu also does a fantastic job of taking Dinah’s regular “superhero” costume and translating that into appropriate fashions an edgy, dark front woman.

So, in conclusion, I’d say that Black Canary started off spectacularly and while I’m disappointed that the story and her character didn’t go where I wanted her to, I’m really hoping that Dinah finds her way back to Black Canary.

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On the Nose: Sophie Campbell Talks Bodies and Blaze

Wet Moon creator and former Jem And The Holograms artist Sophie Campbell talks about body diversity, her design process, and queer talent outreach.

Interview with one of my favorite artists. 

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Batgirl: Volume 1 Batgirl of Burnside

Writers: Cameron Stewart & Brendan Fletcher Artist: Babs Tarr Colourist: Maris Wicks Letters: Jared K. Fletcher Publisher: DC Comics Ever since the art of the new Batgirl costume was dropped, I have been excited to see it in action. It was so nice to see a super heroine in Doc Martens instead of heels and a realistic leather jacket instead of curve hugging spandex. Her costume is realistic but hasn’t lost any of it’s appeal, with it’s smattering of yellow amongst the blue and black and the stylish hip holster style pouch addition to the utility belt. It’s young and fun without being overtly sexy.

And another plus was that Babs Tarr had been pulled into the project. I am a HUGE fan of her art. And some of you might be as well. Her fanart of the Sailor Moon girls as a biker gang brought lots of attention. Her art is colourful and dynamic, with a bit of an anime flair and a detail for fashion. 

And she’s brought all of that fresh, vibrant vibe to Batgirl, making her feel as young, hip and cool as she always should have been. And as fashionable. Some of those outfits? Perfection.  Batgirl of Burnside opens with Barbara Gordon (Batgirl’s secret identity) moving from Gotham to Burnside (Which, I think is like moving from NYC island over to Brooklyn.) She’s got a new roommate, a new apartment and a new city to protect. And she’s struggling with issues that are so, SOOO familiar to me. Right off the bat (hehe), she wakes up from her housewarming party the night before, to find a strange but very attractive boy that she had spent the night furiously making out with and promptly forgetting in her alcohol induced haze. Her bank account is overdrawn. Her funding for her graduate school thesis is delayed. And her best friend is worried about her. Her laptop was stolen, with all her school work on it. Not to mention that she’s regularly called upon to perform heroic feats as Batgirl. Besides that last one, I’ve been there. Barbara and her friends have problems I can relate to because I’m living them right now. She could be any one of the people I know. And that instantly makes her endearing to me. 

Another thing keeping it young, this Batgirl story is sprinkled with references to technology, apps that are essential to my generation. Tinder has become HooQ, Starbucks is now Chiroptera and Instagram has become Pixtograph. The first villain she fights is stealing computer data to mine it for secrets to publish on his blackmailing site. As his views go up, he posts more secrets. [SPOILERS] She defeats him by Snapgrabbing (Snapchatting) him a QR code that wipes his literally, internal database.

Barbara battles with not only technology but with identity, as is seen by the other villains she faces. Besides some spectres from her childhood and a faux Batgirl, the story culminates in Barbara essentially fighting a digital version of herself, the hurt and pain in her past manifesting in this software as a hatred for herself. With twisted computer logic, Digital-Barbara decides that she needs to save Gotham by ridding the world of Batgirl and of the people of Gotham city. A little stereotypical, sure, but Batgirl shines in it’s interaction between the characters and the youthful, fresh world that has been built around her. Falling back on tropes has to be the Batgirl comic’s biggest flaw. Besides the computer trying to wipe out humanity, the biggest issue has to be with the Faux Batgirl. In a bridge-top battle, it is revealed that Faux Batgirl is a male artist by the name of Dagger Type. What I think was supposed to be a critique of modern artists and the branding of celebrity became just another “crossdressing psycho.” The reveal of Dagger Type’s identity and gender comes across as a slap in the face to trans readers and stinks of privilege and transmisogyny. 

The Mary Sue wrote up a brilliant article covering this issue far better than I could, as a cis-woman. It can be found here. This article also covers the way in which the creators responded to this criticism, which I think was handled really well. They listened and acknowledged and apologized, legitimating the feelings of the trans community and promising to take their concerns into account in future projects. Besides the thoughtless villain portrayal, Batgirl does really well with diverse representation. Frankie, who starts as Barbara’s roommate and develops into a close friend and Oracle-like sidekick to Batgirl, stands out to me. She’s black, bisexual with a preference for women, and struggling with a chronic illness. But she’s bold, stubborn and sassy. I love her. The supporting cast has a great range of ethnicities, from muslim, east indian and asian. Alysia, Barbara’s old roommate and reoccurring character in the series, was previously established as trans, becoming a vital part of valid representation in the comic industry. (In later issues, we get to see her marriage to another woman and it’s everything a wedding should be!) Black Canary also makes a large appearance in this trade, as a precursor to her own series (Which is next in my review list). Though I’m totally lost as to the events that caused her and Batgirl to reunite in this series with tension and anger, they fall into a friendship that is great to see between two female superheroes. It’s not about the men in their lives. It’s about how they relate to each other, both desire to fight crime and the problems that arise out of that.

In short, I love Batgirl. I love Babs Tarr art. I’d totally recommend Batgirl of Burnside to any millennial (or any age, really) looking to break into the more mainstream published comics and especially the Bat Family. Or really, to any one looking for a young, fresh, upbeat take on a classic.

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Creators: Chad Colpitts & Matt Garbutt Publisher: Self-published Twitter

So, it’s probably no secret at this point that I ascribe to quite a few feminist leanings and inclusion and representation in media is really important to me. I chose to read the comics that I do because there’s often some element of that within them. So, with that in mind, I was surprised when I was asked to read and review a small indie comic called “The Streaker.” I’m going to start off by saying that this comic wasn’t really my thing and everything I say should be taken with a grain of salt. First of all, it’s just not my type of humour. I hate modern comedies and prefer my drama of the melo and angsty variety.  Overall, it reminded me a lot of the “Captain Underpants” series that seemed popular when I was in junior high. So, if similar puerile humour is your thing, then you’ll probably like this comic. “The Streaker” follows the story of a man who at some point had an accident with, what I assume, is a nuclear facility of some type. As a result, anything he touches immediately burns up, including his clothing. So, yes, he’s naked all the time. He also happens to glow in the dark. At first glance, he reminded me of Marvel’s Radioactive Man, whom I am familiar with since he showed up in the Black Panther cartoon that’s on Netflix currently. 

Radioactie Man - Marvel But while they share a colour scheme, these characters are very different. The Streaker opens with our protagonist seeking asylum at a nudist recreation centre. As he does, the centre is attacked by other nudists, who seem to adopt more of a “terrorist” philosophy when it comes to nudity. They believe that people should be nude all the time while the people at the centre believe it should only be an occasional thing. The nudist terrorists decide to settle this  disagreement with a bomb. As to why they were attacking a group of people who seemed to at least somewhat agree with their philosophies is beyond me. But, The Streaker happens to be in the right place at the right time and foils their plans, more by fumbling through it than anything else. After accidentally rescuing the nudist group, the naked janitor who witnessed everything has to blackmail The Streaker into becoming a super hero. As to why he cares so much about what The Streaker does isn’t really made clear, but the janitor offers him a place to live and to keep his secret if The Streaker promises to continue to try helping people. As you’ve probably guessed, it doesn’t go well.

The Streaker The part of where this comic completely lost me is in the second issue. The first woman in the entire series appears, as a background character, a victim in which The Streaker is supposed to save. Is she being mugged? No. The first woman in the comic and she’s in danger of being raped. But The Streaker fixes all that with his laughably small penis, which makes him unworthy to save her. (Which doesn’t really make sense since earlier in the comic, he accidentally burned an impression of his penis into an attacker’s face and the resulting burn wasn’t that tiny.) I’lll state again that this isn’t my type of humour. Dick jokes, fat shaming, body shaming, rape jokes are all things that can immediately turn me off of something. So can poor representation of women. While the janitor, whom I assume is going to be a reoccurring main character, is black, (and possibly the one female) there are no other visible ethnic minorities represented. I will admit, that even if it’s not really my thing, the art style is fun and reminiscent of Saturday morning cartoons (Or even similar to Penny Arcade). The lifework is bold and graphic, clearly defining characters and expressions. The backgrounds could use some texture, as everything seems a little flat but action is easy to follow and dynamic. The placement of speech bubbles and sound effects are well done, since they are easy to follow without cluttering the scene. Though the comic is marked as having mature content and 90% of the current cast is naked, genitals are never depicted. I’d have to say that the art had me more engaged than the writing. So, yeah. It’s not really my jam. But, what isn’t for me might be better for someone else. If that is the case, then perhaps The Streaker is for you.

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The Myth of Sexy Superman and the Search for Superhero Beefcake

2011 was a good year for superhero beefcake. Not in comics, of course, but at the movies. And not in terms of quantity, but in terms of quality. What I'm saying is that Chris Hemsworth took his shirt off in Thor, and it was great. All right, Chris Evans took his shirt off as well for his Charles-Atlas-ification in Captain America, and I understand Ryan Reynolds was briefly featured in his scanties before having his body replaced with a cantaloupe-skinned wire-frame in Green Lantern. That was it, though. The bar for superhero beefcake is set pretty low. And the bar is set low because the source material -- actual superhero comics -- has never been fertile ground for the shameless sexual objectification of men.

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Grayson Volume 1: Agents of Spyral

This is the cover I have and I’m really not a fan of it. The cover is by Andrew Robinson, while the internal art, which is the art style I highly prefer, is done by Mikel Janin Writers: Tim Seeley & Tom King Artist: Mikel Janin  & Stephen Mooney Inks: Jonathan Glapion Colourist: Jeremy Cox Publisher: DC Comics

I love Dick Grayson. (Insert dick joke here) But, really, I do. I started with knowing him as Robin. I remember him from the Batman Forever movie but it was really the Warner Brother’s cartoons that won me over as a fan. I watched a smattering of Teen Titans, though completely out of order and probably missing a bunch of episode in-between but what really sold me on him was Young Justice which I devoured in two days when it went up on Netflix. In Young Justice, Dick Grayson goes from being a twelve year old Robin in the first season to an adult Nightwing in the second. And for some odd reason, I just completely fell in love with the earnest, sassy, talented kid and the confident, dedicated man he became. I’ve probably come across other incarnations of Dick Grayson, through movie or cartoon but Young Justice was really the sticking point for me. (And yeah, I’d recommend watching it. It’s a lot of fun and surprisingly engaging for a “kid’s show.”)

Young Justice, and the depictions from that, led me to try out the first two trades of the New 52 reboot of Nightwing. (The series featuring a black and red costume instead of the more iconic black and blue one.)  I didn’t get much further than that though, because the series had finished being created a while ago and finding the middle issues had proved difficult. I do hope in the future to find the rest and finish that story arc. I had considered reviewing Nightwing first, but I lent my trades out to a friend. (Some chronological reviewer I am. Sheesh. ) Luckily for me, Grayson can stand on it’s own. 

 One of the things I really appreciate about Volume 1 of Grayson is that the first several pages is a summary of Dick Grayson’s story, from his acrobat origins, relationships, moving from mentorship under Batman, to becoming Nightwing, taking on the cape and cowl of Batman for a little while before returning to the persona of Nightwing. It also tells the story of his downfall, how Nightwing is unmasked on live television to thousands of viewers and then brutally murdered in front of his friends. In truth, once his true identity and face were revealed, he faked his death and joined the secret organization called Spyral, in order to bring down it’s mysterious head figure known only as Mr. Minos. The person who sent him as this clandestine mission is none other than his mentor, Bruce Wayne, the only one who knows that he is still alive. When playing double agent to Spyral, he is assigned a handler, another agent by the name of Helena Bertinelli. The two of them are sent out on missions by the mysterious Mr. Minos himself. Specifically, they are tasked with making contact  and containing with several individuals with unique and mysterious powers, whether they desire that contact or not. I will admit that at times the plot can be a little loose but it hits all the right points to echo the spy thrillers it’s obviously based on. But more importantly, it’s Grayson’s story. He’s essentially taken on the role of James Bond and all the suave, sophisticated mannerisms that comes along with that job. But we also get to see the young man behind that facade. He’s still young and foolish. He makes mistakes. He is swayed by his hormones and struggles with his identity now that his mask is gone. He still clings to his old life and his old friends, none of which know he’s alive. When reporting to Batman, it’s obvious he still seeks his mentor’s guidance but is conflicted over his neediness. He’s trapped between two states of change. And I think that’s why he’s so relatable. He’s just like any other millennial, faking it until he makes it. He just happens to be incredibly athletic, good at reading people and ridiculously, ridiculously good looking. (It’s totally a super power.) And, I will admit, that’s another big part of why I decided to read Grayson. He’s attractive. It’s a guilty pleasure, reading a comic about someone appealing. It’s a running theme throughout the comic, especially when the running joke is just how fine his ass is. It is such an ass that even the villain’s recognize it. 

Contrary to what it looks like, that’s not Batman recognizing dat ass. The writer/artist of Dick Grayson must have come across the same phenomenon that the writers of Supernatural did. They set out to create a character that appeals to young men and find instead they’ve created something more appealing the the female gaze. He’s essentially evolved a male sex symbol and DC doesn’t seem to be afraid of subtle pandering to that fact. I’m just glad that Grayson seems to embrace that phenomenon. I mean just

LOOK

at all

this beefcake. Comic Alliance published a great article exploring further into what makes Dick Grayson so sexy, so if you’d like some further reading on the subject, they’ve done it better than I. And though I do enjoy being pandered to, I will admit there are a few things that bother me about Grayson. For one, Dick seems to have… well, a cursed dick. [SPOILERS] The woman he gets intimate with end up dead, in what seems to be a pretty classic fridging move. She does return later, having faked her death since she’s a double agent for a different organization but that’s much later on. But her death at that moment didn’t seem to serve the plot other than to give Grayson some angsty man pain. [/SPOILERS] Another point is Helena Bertinelli. One hand, I’m super pleased that they redid her design to make her look more Latina and realistic. It took me forever to make the connection that she’s actually the same character as Huntress, who I know through the Justice League Unlimited cartoon. 

Quite the appropriate update, in  my opinion. The thing that bothers me about her isn’t her characterization. On the contrary, she’s badass and commendable. It’s the fact that much like any story that features two characters of the opposite sex, sexual tension is built between her and Grayson. It’s unnecessary and frankly, it’s boring. The other female characters, such as a old mentor figure or horny sorority girls, fall disappointingly into stereotypes. So, if you’re looking for representation, for good female characters or diverse minorities, this isn’t the book for you. Nor does it contain complex or powerful stories. It’s not groundbreaking or enthralling. But it is fun. Just some good, clean, fun. I enjoy Grayson, because it’s my guilty pleasure. And, sometimes I like to indulge in some candy between meals. If that’s your sort of thing, I’d recommend it. If not, there are certainly other (and probably better >.<) comic books out there.

[kira-reads-comics]

Jem and the Holograms Volume 1: Showtime

Writer: Kelly Thompson Artist: Sophie Campbell Colourist: M. Victoria Roberts Publisher: IDW If Rat Queens is what got me into the comic book store, Jem and the Holograms is what kept me coming back. It’s no exaggeration that this comic series is hands-down my absolute current favourite. There’s just something so engaging, dynamic and fun about it that I had to rush over to my local store anytime a new issue came out. Though, it did take me an embarrassingly long time to bite the bullet and purchase the first trade, I’m so glad that I did. As the name implies, Jem and the Holograms is a comic reboot of the classic 80s cartoon show. I had watched the majority of the old cartoon, when Netflix had the series up on it’s site, mostly because it’s was light and uncomplicated with amazing visuals and costumes of a bygone time, but still managed to sneak in an episode here and there with deep messages and melodramatic plot lines. It embraced fashion, pop music, hairstyles, glitter and fame, all things that were considered feminine, and made it admirable. It’s a story about girls, for girls. 

The comic follows in the cartoon’s footsteps, but is updated for a modern audience. Jem and her bandmates are still as vibrant and ambitious as they were in the cartoon, but more nuanced and multifaceted. The basic story follows the same lines as the original. When Jerrica tries to launch the band she has with her sister’s into the limelight, she discovers that she can’t work past her crippling stage fright and all four sisters worry that their dreams of success are slipping from their grasp. Enter Synergy, a sentient computer who can project holograms in real time, created by their late father. With Synergy’s help, Jerrica crafts the stage persona Jem, able to perform under this new identity with a pair of earrings that project holograms around her. But the sister’s fear what the world might do with Synergy’s technology and decide to keep both Jem’s true nature and Synergy herself a secret.  

Enter the Misfits. In the cartoon, the Misfits are the obvious antagonists to the Holograms and spend most of their time trying to thwart Jem and her sister’s attempt at Stardom. In the comic, the Misfits are introduced to the Holograms through their own sponsored battle of the bands contest and are cast more as rivals than villains. Pizzazz still has her anger issues and jealousy still runs rampant in both bands. But the Misfits are much more sympathetic than they had previously been. Like the Holograms, they each have their own problems and personalities. The stories of Jem and the Holograms are incredibly engaging, even as the overarching rivalry between the two bands remains at the core. Female friendships are vital, even if they occasionally become strained. Each character is her own person, with a unique personality and views. Identity is also a highly explored topic, as Jerrica wrestles with aligning her alter ego and her own desires. Rio, her love interest from the comics, also makes an early appearance, but is happily placed in the same background role that many female love interests in other works of media occupy. In fact, this heterosexual relationship takes a back seat to queer Romeo-&-Juliet- esque the one between Stomer (the Misfits) and Kimber (the Holograms). Let me tell you, I’ve never shipped anything faster. There’s such a sweetness to their relationship, even if it’s filled with drama and frustrations.

But let me talk about the real gem (hehehe) of this series; The ART! Campbell quickly became my favourite artist as I completely devoured this trade. Her line art is bold and dynamic, lending movement to both the characters and the scene. The way she renders music, in this surreal, flowy style, really gives you an idea of what it’s supposed to sound like. There are so many “band performance” full page spreads that I really wish I could buy posters of. Also, the way Campbell renders facial expressions are simply fantastic. I particularly love Pizzazz’s scrunchy angry face, Kimber’s large soulful eyes, and Stomer’s full lips.

And speaking of Stomer, she’s quickly become my favourite character because she’s bold and beautiful while still being undeniably plus-size. It seems like such a small thing but it’s so important. I have always felt a little alienated by the same pin-up physique all women seem to have in media, being of short stature and ample curves. Women weren’t allowed to look like me within comics. But not only is Stormer unapologetically plus-sized, she’s desired and admired. And that is so important.

In fact, there’s a huge range of body types within this story, making each girl identifiable by their silhouette alone. Even Aja, who also has some curves while being kick-ass athletic, is different from Stormer. There is more than one visible racial minority, with both African-American and Asian woman making up the bands. None of these girls have the same bodies or the same facial features. They’re diverse. And they are diverse in their styles as well.

If the outrageous hair and flashy fashion in the original cartoon thrilled you, the comic will continue to do so. Campbell works absolute magic with the clothing and hair within her art, rendering both simple, casual outfits and dramatic stage costumes with similar flair. I know that I certainly covered several of the garments (especially shoes) that Campbell has created. And if only my hair looked a fraction as fabulous as the colourful and intricate styles the girls manage to rock. This comic is worth it for the style inspiration alone. (I particularly want a pair of the buzzsaw earrings that Pizzazz wears in the concert near the end of this trade)

And while I’m discussing the art, I have to mention the colours. They are utterly fantastic. Jem and the Holograms deserves a punchy, in your face style and the colours completely support that. They’re bold and vibrant, being both eye-catching and totally in sync. There’s one moment of great colourization that I love in particular. After Stomer and Kimber’s kiss, Stomer arrives with minutes to spare at the band’s performance. In the scene previous, she is wearing blue lipstick while Kimber wears red. When she appears in the new scene, there is a smear of purple in the centre of her lips, subtly betraying just what she was up to before meeting the band. It’s a great little nod to continuity and symbolism of their budding relationship. I guess, what I’m trying to say is that everyone needs to read this comic. It’s bright. It’s fun. It’s engaging. It’s silly. It’s serious. In short, it’s beautiful. It’s my favourite for a reason. If you’re looking to get into comics or you’ve been reading them for a while, please take a chance on this series. You won’t regret it!