Review - Ultimate Daredevil & Elektra

During the first few months of her freshman year at college, life seems to be idyllic for Elektra Natchios. She makes new friends and falls in love with law student Matt Murdock. Everything begins to unravel for Elektra when one of her best friends is assaulted on campus. After the police fail to press charges against her friend’s attacker, Elektra decides to seek out justice on her own.

Ultimate Daredevil & Elektra is a four issue mini-series, written by Greg Rucka and illustrated by Salvador Larroca.

Ultimate Daredevil & Elektra reimagines the college years of the titular characters, plotting their romance from its beginnings to its end. While the series gives Daredevil top billing, it is Elektra who is undeniably the main character. It is through her perspective that the events are filtered through. It’s a nice reversal of her original introduction, where she was a supporting character in Daredevil’s narrative. Rucka and Larroca present Elektra as the daughter of a middle class businessman who owns a dry cleaning company in Queens. She enters college uncertain of what she’d like to study and spends much of her time building friendships with her roommate Phoebe and fellow student Melissa. During this time, she meets Matt Murdock and starts dating him shortly thereafter. Their relationship strains as Elektra’s focus shifts to exacting justice (with a slice of vengeance) for the sexual assault of one of her friends at the hands of a privileged rich boy named Trey Langstrom.

This mini-series reads like an episode of Law & Order: Special Victims Unit (there’s even a detective who resembles Mariska Hargitay’s Olivia Benson that shows up). Its remains focused on the central theme of how privilege and wealth are used as tools to evade justice, as well as weapons against those without or with less privilege. I struggled with the use of sexual assault as a plot point in this mini-series especially since it was used as motivation for Elektra, which taints the story with the whiff of fridging. I think that the creative team could have come up with a different reason for Elektra to go after Trey Langstrom, but I also understand that it could also be of importance to acknowledge the very real problem of sexual assault on campus colleges and how perpetrators often get away with their crimes. Rucka and Larocca do ensure that the story never strays too far from Elektra and her friends. The decision to have her supporting cast as two women and to portray them as layered individuals was smart. It was neat that Stick was reimagined as a woman as well, which helped to further populate Elektra’s world with a female presence. This is especially noteworthy as this character has largely been devoid of such friendships in the main Marvel Universe. It’s refreshing. It’s also nice to have an origin story for Elektra where she isn’t fridged at the end.

Larocca’s art pairs well with Rucka’s writing. He’s able to accurately present the necessary range of emotions that occur throughout this trauma-filled mini-series. While there aren’t many action scenes, the final fight sequence between (spoiler?) Elektra and Daredevil. One of the things that interest me most about Larocca’s work on Ultimate Daredevil & Elektra is his redesign of Elektra. She’s given a mane of curly hair, which recalls Mike Deodato Jr’s version of the character from the ‘90s. She’s also given a black leather costume that looks suspiciously similar to the one Jennifer Garner wore in Daredevil (which came out the year this mini-series was published). The costume is totally impractical as she’s bearing her stomach and it only has one strap, but it’s kind of cool. As a side note, we never actually see Daredevil in costume aside from on the covers, which is a bit odd and mildly anti-climactic.

Ultimate Daredevil & Elektra is an admirable attempt at updating Elektra’s origin story. It re-centers the narrative to be about Elektra and gives women the most prominent roles in the story. I like Rucka’s take on Elektra since she isn’t presented as an emotionless assassin without any interiority. As I said earlier, I’d have preferred if the narrative eschewed the use of sexual assault as a plot device and motivation for Elektra. That’s the one major issue I had with this otherwise topical and layered mini-series.

RATING: B

Review - Black Widow: Itsy-Bitsy Spider

While on a mission to apprehend a bio-toxin from a foreign government, super spy Natasha Romanoff is confronted by a woman claiming to be the new Black Widow. The tenacious Yelena Belova has been sent by Russia to procure the bio-toxin and eliminate her rival if necessary. Natasha must outwit and outmaneuver her successor every step of the way, while ensuring that the bio-toxin doesn’t fall into the wrong hands.

Black Widow: Itsy-Bitsy Spider collects Black Widow (vol 1) #1-3 and Black Widow (vol. 2) #1-3, written by Devin Grayson and Greg Rucka, and with art by J.G. Jones and Scott Hampton.

This collection is divided into two sections – the first collecting the “Itsy-Bitsy Spider” story arc that introduces the new Black Widow and the second that serves as a sequel titled “Breakdown.” “Itsy-Bitsy Spider” is a globe-trotting spy thriller that takes us to the fictional country of Rhapastan as Natasha Romanoff attempts to secure a bio-toxin that turns humans into monstrous super beings. Hot on her trail is Yelena Belova, the self-proclaimed Black Widow. She’s eager to usurp the name from Natasha and is willing to do whatever necessary to please her superiors back in Russia. “Breakdown” is a simmering and more intimate arc, which sees Natasha switching places with Yelena in order to manipulate her into giving up her life as a spy.

Devin Grayson handles singularly handles the writing for the first arc and is joined by J.G. Jones on art. Jones’ artwork is incredible and pairs well with Grayson. The work is expressive and Jones creates many dynamic action sequences. His creative perspectives and experiments with panels gives the overall story a cinematic feel to it. Though it’s easy to say that Jones’ artwork steals the show, Grayson is certainly no slouch either. She gives us complex character work that makes it easy to sympathize and understand our protagonist’s perspective. We get a few touching moments where we see Natasha’s emotions come through, which is rare for her character.

Grayson pairs with Greg Rucka for the follow-up “Breakdown,” with Scott Hampton providing the art. Where Jones’ bold artwork paired well with the explosive first arc, Hampton’s simpler style works well for the more Cold War era-tinged second arc. The usage of cooler tones and pops of warmth throughout provides an atmospheric vibe that enhances the story tremendously. While the narrative itself is loosely a sequel to “Itsy-Bitsy Spider,” it is more character-driven than its predecessor. We see Natasha really pushing Yelena to the brink of insanity through her machinations and it shows just how far she’s willing to go to spare her successor from going through half of what she went through. That said, the main plot device that supports the identity switch is really contrived.

Black Widow: Itsy-Bitsy Spider is an intriguing read and provides a nice little character study of Black Widow. While the two arcs included do very little to elaborate on her past or provide background information on the iconic redheaded spy, they do tip towards being accessible. This is a great collection of stories for fans of the character, especially those who enjoy the Marvel Cinematic Universe version.

RATING: B

Review - Wonder Woman Volume 2: Year One

With the outside world in peril, Princess Diana of Themyscira must leave her island paradise to do battle against Ares as he threatens to plunge Earth into darkness. She must depend upon the help of Steve Trevor, Etta Candy, and archaeologist Barbara Ann Minerva to navigate Man’s World and overcome the God of War’s malicious influence.

Wonder Woman Volume 2: Year One collects Wonder Woman issues 2, 4, 6, 8, 10, 12 and 14, written by Greg Rucka and illustrated by Nicola Scott.

When it comes to Wonder Woman, DC’s Rebirth initiative served as a much-needed palate cleanser for the character. Greg Rucka and artist Liam Sharp got the character back on track with TheLies, while Rucka’s partnership with Nicola Scott resulted in a revised take on the iconic character’s origins. Where The Lies was about undoing the damage done to Wonder Woman during The New 52, Year One is about providing a modern and definitive origin for her. There’s just one problem – she already has one. Though it’s been 30 years since George Perez rebooted Wonder Woman’s origins following the events of Crisis on Infinite Earths, it remains a classic and is thus difficult to top.

If there’s one thing that is consistent about Year One it’s Rucka and Scott’s acute understanding of Wonder Woman. It is a character-centric arc that plots her development as a naïve princess of a hidden island to a self-assured superheroine. Diana doesn’t have all the answers and she makes mistakes, but she also has the guts and bravery necessary to save the day. In a similar vein, Barbara Ann Minerva ends up being a standout character in her role as Diana’s pseudo-mentor. She’s really the one character who helps Diana understand Man’s World and it adds a really interesting dimension to her as she’d been consistently portrayed as a near-irredeemable villain prior to Rebirth. Rucka and Scott also incorporate Diana’s patron gods into the story, even going so far as to make them crucial to the final conflict. That said, Year One never quite manages to re-capture the magic of Perez’s iconic origins. Though the character work is strong and the overall tone is engaging, it’s remarkably light on action and the stakes are not quite as high as they were in the 1987 reboot.

Year One is buoyed by Nicola Scott’s flawless art. She draws readers in with her lush, detailed pencils. In many ways, Scott falls into the same titanic camp as George Perez and Phil Jimenez with her work. I’ve long said that Scott is one of the best when it comes to drawing Wonder Woman. She understands the costuming, the body language, and the optimism of the character better than most. She’s also adept at differentiating characters from one another, which is something many comic book artists often fail to do. I especially love how striking Queen Hippolyta is. I’d also be lying if I said I didn’t appreciate the fact that she gives us copious amounts of panel time of Steve Trevor in various stages of undress. It’s a really fascinating way of subverting the male gaze by catering more to a female (and gay male) gaze. It’s brilliant.

Wonder Woman Volume 2: Year One is a commendable redo of Wonder Woman’s origins. It’s accessible and entertaining with gorgeous artwork throughout. Though it’s light on action, it has a lot of great character moments that are enough to draw readers in. There have been many creators in recent years who have tried their hand at revising Wonder Woman’s origins – some have been successful (Renae De Liz), while others have been wildly off base (Grant Morrison). Thankfully, Rucka and Scott sit comfortably in the success end of the spectrum.

RATING: B+

Review: Wonder Woman Volume 1 - The Lies

Unable to return home, Wonder Woman seeks the help of an unlikely ally to get back to Themyscira. Venturing deep into the jungles of Bwunda, the Amazon Princess makes a deal with her one-time nemesis Cheetah in the hopes that she may be able to aid her in her quest. But first she must do battle against the God Urzkartaga and free Cheetah from his divine influence.

Wonder Woman Volume 1: The Lies collects Wonder Woman: Rebirth #1 and Wonder Woman #1, 3, 5, 7, 9, and 11, written by Greg Rucka and illustrated by Liam Sharp.

Superficially, The Lies reads as a deliberate retcon disguised as a storyline. It seems designed to erase the stories that preceded it from DC Comics’ The New 52 initiative, slowly washing away Azzarello and Cliff Chiang’s divisive take on Wonder Woman. On a deeper level, Rucka and Sharp are restoring Wonder Woman’s mythos to a more faithful interpretation while also keeping some of the elements that helped to modernize the character. For instance, The New 52’s controversial take on the Amazons is excised while Cheetah’s past as Wonder Woman’s friend remains intact. Rucka and Sharp are to be commended for their efforts as they have a clearer understanding of who Wonder Woman is and what a great Wonder Woman story should consist of, which contrasts their predecessors who seemed more intent on changing the character to suit the tastes of their audience. Furthermore, they have the creative talent necessary for taking what amounts to a retcon and transforming it into a well-crafted narrative.

The premise for this arc is simple enough. Wonder Woman discovers that something is amiss in her life and uses the lasso of truth on herself to figure out why only to find out that many of her memories are false. Now unable to return to Themyscira, she allies herself with Cheetah to find her way home. Along the way she does battle against a God and reunites with her former flame Steve Trevor. It’s a remarkably breezy arc that moves along at breakneck speeds, teasing out the mystery surrounding Wonder Woman’s manufactured memories in a way that keeps the reader engaged. Rucka impresses throughout, especially when it comes to the dialogue he writes for Wonder Woman. There are very few writers out there who truly “get” her and it’s thrilling to read. While there’s a lot of action in this arc, some of my favourite moments are the quieter ones. I love the exchanges between Diana and Etta, as well as the romantic interlude between Diana and Steve upon their return from Bwunda. Though I’ve never been a big fan of Steve and Etta is rarely given much to do by contemporary writers, I found myself genuinely interested in seeing more of them. The same could not be said for Cheetah and Veronica Cale. The former I felt was compromised and neutered, becoming an ally ended up diminishing why she’s such an effective villain for Wonder Woman. With Veronica Cale, it’s essentially an instance of Rucka trying to make fetch happen with her character. Wonder Woman doesn’t need her own Lex Luthor. If he was intent on having a strong, independent woman pulling the strings behind a shadowy organization, he could have gone with someone like Baroness von Gunther or Doctor Cyber.

Liam Sharp’s art really elevates The Lies and enriches the reading experience in a way that perhaps hasn’t been celebrated enough. Even without the words on the page, Sharp’s work tells a distinctive story. The way he composes his pages is cinematic and makes the reader feel as if they are watching a movie rather than reading a comic. For one thing, his settings are awe-inspiring. From the lush green jungles of Bwunda to the ominous ruins of Themyscira, there’s a richness and depth to this trade that is rarely found in comics. Sharp should also be applauded for his character work. While there are some issues with consistency, I’m sufficiently impressed by how unique everyone looks in this arc. Wonder Woman is vaguely reminiscent of Lynda Carter, Etta Candy receives a much-needed makeover, and Veronica Cale looks positively Emma Frost-ish.

Wonder Woman Volume 1: The Lies is a great jumping on point for new readers. It’s an accessible storyline that sheds the past few years of continuity in favour of re-establishing who Wonder Woman is and should be. Rucka and Sharp focus on the essential elements of the character’s mythos, trimming down her supporting cast, and giving us an engaging and straightforward narrative. It’s certain to please both new and old fans for this very reason.

RATING: A-

Review: Lazarus Volume One

In a dystopian version of North America, a feud between two rival families threatens to break into a war. To ease the tensions, the patriarch of the Carlyles sends his youngest daughter Forever – a living weapon known as a Lazarus – to offer an olive branch to the rival Morrays. What began as an act of peacekeeping becomes brutal when it becomes clear that someone within the Carlyle family is hellbent on inciting a war.

Lazarus Volume 1 collects issues #1-4 of Lazarus, written by Greg Rucka and illustrated by Michael Lark.

The Post-Apocalyptic world of Rucka and Lark’s Lazarus sets the tone for a nightmarish tale of medieval social inequality and science gone too far. From the word go, we’re introduced to a dystopic United States divided up into colonies controlled by what are known as Families. These individuals are few in number, but have the power and wealth necessary for keeping the rest of the population under their thumb. The Families each have Serfs – armies and scientists that work for them in their elite facilities. Everyone else, the poor and downtrodden, is classified as Waste. Forever Carlyle, the protagonist of the series, is a highly trained assassin classified as a Lazarus. She’s the youngest daughter of one of the most influential Families, but is shown to be increasingly aware of the oppressive regime around her and the differences between her and her siblings.

Lazarus is arguably one of the more stylized and complex comic books to come around in a while. Rucka, being a novelist, takes a decidedly literary approach to the title and writes it almost as if it were no different from straight-up prose fiction. He and Lark build a captivating world that stands on its own, which obviously necessitates quite a bit of explanation and exposition. For those observing the dystopic trend in young adult fiction, Lazarus takes a much darker and more mature slant. Rather than being injected into the lives of the disenfranchised, Rucka smartly positions the reader into the narrative of those in power. His heroine, the badass Forever, is part of the elite and her privilege impacts her in a way that differentiates her from the Katnisses and the Trises of young adult fiction.

Over the years, Greg Rucka has built a reputation for writing some of the most compelling women in the world of comic books. From his acclaimed run on Wonder Woman to his award-winning Queen & Country, he’s proven time and again that no one knows how to write a badass comic book heroine quite like him. Forever is no different. She’s the perfect mix of hard and soft, a gun-toting killer on one hand and a dutiful daughter on the other. She may be the ideal assassin, but there are still chinks in her armour. She plays a crucial part in the continued oppression of the Waste, yet she’s clearly unhappy with what is expected of her. The contradictions and introspective qualities to her character are what make her so interesting as a protagonist. Furthermore, the concept of her being engineered to be a living weapon, while unoriginal, helps to further distinguish her from the other characters in this world.

Lazarus has tremendous potential for growth. This first volume is brief, considering it only collects four issues, so the ball just gets rolling by the time the final page is turned. The characters are each very unique and all of them play an integral role in the dynamic to the book. From our protagonist to her scheming sister Johanna, Rucka’s cast is fascinating. Lazarus also features an abundance of memorable (and brutal) action scenes, deftly handled by artist Lark. It’s a great start to what appears to be promising work of dystopic fiction, one which has me itching to see what happens next.

RATING: A-

Top 20: Best Wonder Woman Stories, Part 2

From ancient witches to vengeful gorgons, Wonder Woman has battled some of the most unbelievable threats over the course of her illustrious career. This Amazing Amazon has proven her worth time and again in incredible stories that rival that of her contemporaries Superman and Batman. 

Picking up from part one, here is the second half of the top 20 greatest Wonder Woman stories.

10. Wonder Woman: The Hiketeia
 Written by: Greg Rucka
Illustrated by: J.G. Jones

In this modern Greek tragedy crafted by Greg Rucka, Wonder Woman is duty-bound to protect a young woman named Danielle Wellys. When she discovers that Danielle is responsible for the murder of a group of sex slavers, Wonder Woman must do battle against Batman as he attempts to bring Danielle to justice.

The Hiketeia is a brilliant example of the complexity of Wonder Woman's character. She is bound by ancient traditions that often conflict with modern laws and rights, which puts her at odds with some of her allies. Aside from that, The Hiketeia serves as a reminder that Batman is far from invincible and the Amazing Amazon is always ready to put him in his place (under her stylish red and white boots).

09. The Fist of Flame,
Wonder Woman v1 #201-202
Written by: Dennis O’Neil, Samuel R. Delany
Illustrated by: Dick Giordano

In this mod era adventure, Wonder Woman forges an unlikely alliance with Catwoman in order to procure an ancient artifact known as the Fist of Flame. After an initial cat fight (pardon the pun), the pair band together to defeat the forces of the villainous Lu Shan.

Of all of the mod era adventures, this one stands out as one of the most unique and ambitious. It blends globe-trotting 007-style intrigue with science fiction to create a memorable read for this time period. On top of that, it provides a rare team-up between two of DC Comics' most iconic heroines. I'll admit this choice is 100% biased since the story (as all were from this era) is quite problematic by today's standards.

08. Rise of the Olympian, 
Wonder Woman v3 #26-33
Written by: Gail Simone
Illustrated by: Aaron Lopresti

When an unstoppable menace known as Genocide threatens to destroy everything Wonder Woman holds dear, the Amazing Amazon is pushed to her limits and must go further than she's ever gone to bring down her foe.

In general Gail Simone's run on Wonder Woman was a satisfying read, but "Rise of the Olympian" managed to be an exceptional story from that era. Simone simultaneously created an incredibly terrifying villain and crafted an epic befitting of Wonder Woman's stature.

07. Gods of Gotham, 
Wonder Woman v2 #164-167
Written by: Phil Jimenez, J.M. DeMatteis
Illustrated by: Phil Jimenez

After the Greek Gods of terror, discord, and fear take possession of Gotham City's most dangerous criminals, Wonder Woman and Batman team up to stop this divine threat and rescue Harley Quinn.

By and large, Wonder Woman's supporting cast is often overlooked by the comic community. However, this four part adventure put them at the forefront and used Batman's cast to create an interesting comparison between the two "families." Beyond that, it proved that Wonder Woman's baddies are exponentially more dangerous than Batman's (just saying).

06. The Witch on the Island, 
Wonder Woman v2 #18-19 
Written and Illustrated by: George Perez

While touring Greece with her friends Julia and Vanessa Kapatelis, Wonder Woman is captured by the devious Circe and is marked for death by the witch.

As far as Wonder Woman villains go, Circe is arguably the most dangerous. In this introductory arc, her origin is detailed and she makes a rather big impact on the Amazing Amazon's life. From this point onwards, Circe would be treated as Wonder Woman's arch nemesis and would show up in nearly every succeeding major storyline.

05. The Medusa Saga, 
Wonder Woman v2 #196-213
Written by: Greg Rucka
Illustrated by: Drew Johnson

After penning a best-selling memoir, Wonder Woman comes under fire from the media for her beliefs and is targeted by the insidious Veronica Cale. To make matters worse, Circe resurrects the monstrous Medusa and pits her against the Amazing Amazon.

Often considered one of the best Wonder Woman writers, Greg Rucka outdid himself with this epic. This grouping of issues are an informal continued narrative held together by the presence of Veronica Cale, Circe, and Medusa. Rucka shows off his knowledge of the character rather well over the course of these issues and he rightly focuses on her status as an ambassador.

04. The Legend of Wonder Woman Volume 1: Origins,
Written and Illustrated by: Renae De Liz

As a mysterious darkness begins infecting Paradise Island, the young Amazon Princess Diana dedicates herself to finding its cause. This eventually leads her to America, where she takes up arms alongside the singer Etta Candy to fight the Axis during World War II.

The Legend of Wonder Woman is a colourful and whimsical retelling of Wonder Woman's origins that places an emphasis on the power of sisterhood. It is gorgeously illustrated and features some truly creative reimaginings of the Wonder Woman mythos.

03. The Witch & The Warrior,
Wonder Woman v2 #171, 174-176
Written and Illustrated by: Phil Jimenez

After Wonder Woman's arch nemesis Circe turns every male citizen of New York City into animals and unleashes an army of female villains to hunt them down, Wonder Woman enlists the aid of every known heroine on Earth to stop the wicked witch.

Aside from this being hands-down the best Wonder Woman vs. Circe story around, Phil Jimenez uses this arc to re-introduce the Perez-era character Vanessa Kapatelis to readers as well as a new Cheetah. This narrative acts as a beautiful tribute to the George Perez run and proves to be an excellent example of just how dangerous Circe can be.

02. The Princess and the Power,
Wonder Woman v2 #1-7
Written by: George Perez, Greg Potter
Illustrated by: George Perez

In this origin story, Princess Diana of Themyscira competes in a contest that earns her the right to travel to "Man's World" to battle the evil forces of the God of War. This unassuming Princess subsequently becomes the superheroine known as Wonder Woman and she brilliantly takes down Ares before he can unleash World War III upon the world.

This arc would serve as the beginning of George Perez's legendary run on Wonder Woman. It re-introduced the character for a new generation of readers and helped to revitalize the franchise. The supporting cast at this time was incredible and the stories were woven with the intricate narratives from Greek mythology. 

01. A Day in the Life, 
Wonder Woman v2 #170
Written by: Phil Jimenez, Joe Kelly
Illustrated by: Phil Jimenez

As part of a new assignment, intrepid reporter Lois Lane follows Wonder Woman around for one day in an attempt to uncover the Amazing Amazon's dirty laundry. Even though she initially sets out to write a cynical expose, Lois quickly discovers that the truth about Wonder Woman is that she's flawlessly imperfect.

Perhaps it's my own bias for Phil Jimenez speaking, but this single issue stands as the greatest Wonder Woman story ever told. In the pages of this one comic, Jimenez and co-writer Joe Kelly sum up the character so brilliantly and poignantly that it is sure to move even the most cynical of readers. Wonder Woman is more than just a superhero and this story celebrates that by showing that she is Gloria Steinem, Diana Princess of Wales, Marie Curie, and Angelina Jolie all wrapped up in a star-spangled one-piece.