Review - Superman: The Man of Steel Vol. 1

Raised in the idyllic farming town of Smallville, Clark Kent leaves home to become a champion and protector of innocent lives. Upon embarking on his new endeavor as the superhero known as Superman, he quickly makes enemies in the form of the egotistical Lex Luthor and becomes the singular obsession of the intrepid reporter Lois Lane.

Superman: The Man of Steel Volume 1 collects The Man of Steel #1-6, written and illustrated by John Byrne.

Under John Byrne’s pen, Superman’s world and mythos was redesigned for a then-modern audience following the continuity-altering Crisis on Infinite Earths. The six-part The Man of Steelbegins with Kal-El’s escape from Krypton and chronicles his earliest adventures as Superman. The most significant reinvention Byrne establishes is to Krypton. It’s portrayed as a cold, sterile world where science advancements have devastated the planet so thoroughly that it is on the verge of destruction. It feels like a cautionary tale of what could happen to Earth if we do not protect the environment and the planet’s resources. Aesthetically speaking, Byrne also gives Kryptonians a new look. Jor-El and Lara-El look androgynous, with their hair and bodies hidden behind concealing fabric. It’s an interesting visual choice that compliments the overall themes that Byrne is tugging on. The time spent on Krypton is brief, which is unfortunate since I think Byrne was doing something really unique with it. Instead of spending more time elaborating upon this world and its occupants, we’re quickly taken to Smallville and a feverish jaunt through Clark’s childhood and adolescence. Once more, Byrne doesn’t pace himself properly and it results in a frantic form of storytelling where none of the characters are able to develop properly. It’s possible that this first issue is so poorly paced as he was certain his audience was already familiar enough with these characters and this world.

The rest of this collection is focused on showing readers a few of Superman’s firsts – his first encounter with Lois Lane, his first article for the Daily Planet, his first team-up with Batman, and his first conflict with Lex Luthor. All of these are effective and engaging stories that are self-contained in singular issues. Byrne’s approach is opposite to what Frank Miller and George Perez would do respectively with Batman and Wonder Woman Post-Crisis. He gives readers little vignettes that are easy to digest rather than a full-on arc with a singular villain and primary conflict. This allows him to develop the characters by dropping them into different situations. One of the most interesting issues in the bunch is The Man of Steel #3, where Superman and Batman have their first team-up. They join forces to stop the thief Magpie from committing any more of her violent crimes. The story is full of tension as it explores the different approaches Superman and Batman have to vigilantism. Their personalities contrast quite well and Byrne does a spectacular job of portraying both. In contrast, Byrne’s reinvention of Bizarro (though he’s not called such) is a bit of a letdown. He strips away all of the iconic elements of the character and instead portrays him as a mute science experiment that perishes at the end of his debut issue. There’s also a whiff of ableism in terms of how the subplot involving Lucy Lane’s disability is handled.

The real star of The Man of Steel actually isn’t Superman. Lois Lane is. From the very first time she bursts onto the page, she’s a firecracker whose every piece of dialogue sparks on the page. She’s tough, stubborn, resourceful, single-minded, and funny. No other character manages to be quite as interesting as Lois. She makes Superman seem like a troglodyte in comparison because she’s that dynamic. Her willingness to put herself in danger to secure an interview with Superman and the scene in which she tears into Lex Luthor for not respecting her boundaries are standout moments for Lois. It also helps that Byrne portrays her as an incredibly stylish woman and draws her in such a way that she pulls focus whenever she’s in a panel.

This first volume of Superman: The Man of Steel by John Byrne reads like the first few episodes of a television series. It’s less cinematic than other origin stories for Superman and instead takes a more episodic approach to his earliest adventures. The small-scale conflicts that take place in these issues don’t contribute to any epic event or world-threatening battle. In some ways, this allows for more character development and enables Superman to slowly grow as a hero. It also means that the opportunity for larger conflicts is there, but hasn’t been exhausted. It’s an enjoyable read, but far from being the best Superman origin story out there. If anything, it’s most worth reading for all of the Lois Lane bits.

RATING: B

Review - Avengers/X-Men: Bloodties

Tensions between the human and mutant populations on Genosha have reached their peak. The Avengers have been instructed to stay away from the island nation out of fear that they may interfere with attempts at diplomacy. They ignore this order for personal reasons – the daughter of the Avengers Crystal and Quicksilver has been kidnapped and taken to Genosha by the fanatical Fabian Cortez. They infiltrate Genosha and team-up with the X-Men to rescue the innocent girl caught in the crosshairs of the human-mutant conflict.

Avengers/X-Men: Bloodties collects Avengers#368-369, Avengers West Coast#101, X-Men #26, Uncanny X-Men#307 and Black Knight: Exodus #1, written by Bob Harras, Dann Thomas, Fabian Nicieza, and Scott Lobdell. It includes art by Steve Epting, Dave Ross, Andy Kubert, and John Romita Jr.

Bloodties largely builds upon storylines set in place in the X-books, such as Mutant Genesis and Fatal Attractions. A desperate Fabian Cortez has lost his place among Magneto’s Acolytes and seeks to make a name for himself by kidnapping Magneto’s human granddaughter. He’s completely unhinged and is living in fear of retribution at the hands of the immensely powerful Exodus. This places him directly in conflict with the X-Men and the Avengers, who join forces in order to stop him. Since the narrative depends so heavily on previous X-Men arcs, it feels as if the Avengers have been dropped directly into the X-Men’s world and are forced to deal with issues they otherwise would be oblivious to. They’ve long stayed away from fighting for mutants and protecting them, but here they see what their inaction has resulted in – extremism on both the human and mutant sides. Since the Avengers are an officially sanctioned organization that has to follow the orders of certain authorities, it creates an interesting contrast against the X-Men. Xavier’s mutant band of heroes are freedom fighters who are able to fight for what is right without being entangled in any bureaucratic red tape. The opposite is true of the Avengers. They’re reactive and are essentially weapons pointed at whatever big problem governments may have.

The character who stands above the rest in this crossover is Crystal. With her daughter Luna in the arms of a maniac, it is her desire to rescue Luna that drives the plot forward and gives the arc its emotional throughline. She’s portrayed as a mother unwilling to sacrifice or compromise in finding her child, which means that she has ignore the orders the Avengers have been given from the authorities and infiltrating Genosha. We get a lot of great character moments between Crystal and some of the other cast members. She and her estranged husband Quicksilver put aside their differences to work together. Furthermore, Crystal spends the bulk of her time with her sister-in-law Scarlet Witch by her side. I really love their dynamic as Wanda’s sisterly concerns and supportiveness help to counterbalance Crystal’s more frenetic state of mind. Another character that manages to steal the spotlight is Sersi. In the middle of this crossover, she has an explosive battle against Exodus. It’s intense, vibrant, and showcases just how powerful Sersi is. It’s quite possibly the most memorable scene from this arc.

The art for this crossover is surprisingly very consistent, even though there were multiple artists working on it. Steve Epting and Andy Kubert’s work is really quite similar. This provides a similar aesthetic between the Avengers’ main title and the adjectiveless X-Men book. I’m fond of their styles as it’s very streamlined and the uncomplicated nature of their pencils allows for the colours to truly pop on the page. They’re also very expressive artists and excel at capturing all kinds of emotive states. John Romita Jr. has a style all his own, but it works in tandem with Epting and Kubert’s pencils. It’s a little more sophisticated and kinetic. Romita Jr. is especially fond of doing splash pages, which can be really effective for action sequences. Dave Ross is probably the weak link of the bunch. His artwork in the pages of Avengers West Coast is passable, but feels very ‘90s. The lines aren’t as crisp and clean, while characters often look permanently angry.

The ‘90s was a decade that provided crossover after crossover for the X-Men books, many of which were overdone and overstuffed. Avengers/X-Men: Bloodties is a nice change of pace in comparison. With just five parts to it, it’s a shorter crossover and places its focus on the characters affected most by Fabian Cortez’s actions. This gives this arc a more intimate feel to it and also ensures that its personal approach to storytelling elicits sympathy and engagement from the reader. Bloodties has a lot of memorable action sequences too. The Sersi vs. Exodus brawl alone is spectacular. Crossovers between the X-Men and the Avengers are rare, so Bloodties is a really nice treat and one that fans of both teams should check out.

RATING: B+

Review - Avengers: Assault on Olympus

In the aftermath of the Masters of Evil’s assault on the Avengers’ Headquarters, a comatose Hercules is spirited away to Olympus at the behest of his father. Zeus chooses to blame the Avengers for the condition his son is in and declares war on Earth’s Mightiest Heroes. Faced with doing battle against actual gods, the Avengers must find allies within the pantheon itself in hopes of surviving the wrath of the Olympians.

Avengers: Assault on Olympus collects Avengers #278-285, written by Roger Stern and John Buscema, with additional work done by Bob Harras and Bob Hall.

Assault on Olympus picks up where Under Siege left off. Some of the Avengers are in critical condition following their battle with the Masters of Evil, with Hercules in the most precarious position. The Wasp has resigned and the Avengers must elect a new leader. Issue 279 focuses largely on Captain Marvel, who has been offered the position. She consults her parents on the subject and then proceeds to aid in the Avengers in a rescue effort. It’s a gorgeously written (and drawn!) love letter to Monica Rambeau as it summarizes much of what makes her such an intriguing, multi-dimensional character. Her interactions with her parents, which emphasize the warm and open dynamic they have, help to distinguish her from other heroes who have either strained relationships with their parents or been orphaned. We also get to see her insecurities and vulnerability as she struggles with accepting the fact that she’s truly a great hero, while the cave rescue sequence cements her as a symbol of hope and as a hero who can be depended upon. This singular issue stands up well and is mandatory Monica Rambeau reading.

The bulk of this collection, however, focuses on Zeus’ abduction of the Avengers and his plot to eradicate them for their perceived culpability in Hercules’ comatose state. Much like Under Siege, this arc sees the Avengers facing seemingly impossible odds and it forces them to get creative in their approach to defeating their enemy. In this case, it’s decided that they must turn the Olympians most likely to disagree with Zeus’ actions to their side. It’s a brilliant choice on their part. It’s a storyline filled to the brim with fantastical action and it takes our heroes through various mythical locales, which gives John Buscema plenty of room to show off his skills as a veteran sword and sorcery artist. With that said, it’s a little light on character work. Aside from the occasional shady thought bubble from Doctor Druid, this arc doesn’t do much to develop the characters. It’s a bit of a shame considering it’s Captain Marvel’s first big hoorah as the leader of the Avengers. It’s a fantastic “The Avengers kick ass” read, but it’s not as soapy or dramatic as it could be.

Avengers: Assault on Olympus is yet another victorious collection of stories from the superstar team of Roger Stern and John Buscema. The majority of the stories are perfectly tailored to Buscema’s style and we get to see some of his best work on the Avengers in those issues. From his portrayal of the Olympian Gods to the various mythical realms we get to see, it’s packed full of fantastical imagery. Issue 279 is a standout for me and is quite possibly the best story within this trade, but what follows is exciting and bursting with action. It’s a worthy of any Avengers essential reading list that’s for sure.

RATING: A-

Review - Cardcaptor Sakura (Manga)

Upon awakening the mystical beast Cerberus, fourth grader Sakura Kinomoto learns that she possesses the magical abilities necessary for capturing the enchanted Clow Cards that have been unleashed on Tokyo. With the help of Cerberus and her best friend Tomoyo, Sakura must capture all of the cards so that she may become their master. 

Cardcaptor Sakura is a manga series written and illustrated by CLAMP, originally published in 50 chapters in the pages of Nakayoshi from 1996 until 2000.

At its core, Cardcaptor Sakura is a simple magical girl series that approaches the genre with just the right amount of cheekiness and sincere innocence. It is divided into two arcs, with the first focusing on Sakura’s pursuit of the Clow Cards and the second detailing her mastery of them. Our titular heroine is tested throughout, constantly having to think and act creatively in order to capture and control the cards. This is emphasized by their unique abilities and the variety of personalities each seems to possess. CLAMP smartly approaches each capture differently and the vast majority are done while Sakura is dressed in insanely cute costumes (designed in the story by her best friend Tomoyo). They’re also to be commended for the mythos behind the Clow Cards and the gorgeous designs for each, fusing western with eastern aesthetics.

In a rather genius twist, CLAMP opt to focus on the interpersonal relationships rather than the magic and action of Sakura’s Clow Card adventures. This helps to relieve the narrative of any predictability. Rather than building each chapter around the capture or mastery of a Clow Card, CLAMP will often treat such an action as a subplot or even forego it altogether. Instead, they explore the complicated relationships that young people engage in while in school. For instance, the second arc spends a lot of time devoted to Syaorang’s love for Sakura and his many attempts to confess his feelings to her. There are also chapters that focus on Sakura’s attempts to win over or impress her crush Yukito. What is most fascinating, however, is the way in which CLAMP involve taboo themes into Cardcaptor Sakura without passing judgment on them. Queer relationships and feelings figure into the narrative through Tomoyo’s love for Sakura and the relationship between Sakura’s brother Toya and Yukito. There’s also the engagement between Sakura’s classmate Rika and their much-older teacher. CLAMP’s emphasis on personal relationships helps to create an intimate and relatable narrative, thus distinguishing it from other works in the magical girl genre.

There’s no denying that Cardcaptor Sakura is an essential read and is almost without peers. However, it has a significant chink in its armor. The magical girl genre had been redefined in the years leading up to the publication of Cardcaptor Sakura, drawing it away from the childish plots in the vein of Sally the Witch to action-oriented superhero stories pioneered by Pretty Guardian Sailor Moon. Since Cardcaptor Sakura features a preteen heroine whose adventures lack a distinctive antagonist, it leaves the series with very little direction to the story. Tension often takes place when new characters are introduced and their motives remain a mystery – as with Syaorang, Mizuki-sensei, and Eriol – but is often deflated once we learn the truth. As such, it leaves the reader with very little payoff. Even the ending is bound to leave readers disappointed depending on their feelings towards the pairing of Sakura and Syaorang. If your favourite character is Tomoyo like she was for me, there’s a sense of dissatisfaction when (SPOILER!) it becomes clear that her feelings for Sakura will remain unrequited. She is unwaveringly loyal and understands Sakura better than Syaorang does, which makes her seem better matched. Unfortunately, CLAMP plays it safe and leave Tomoyo hung out to dry.

I thoroughly enjoyed reading Cardcaptor Sakura. It is a breezy and entertaining series that calls back to a more innocent time. The art is breathtaking too. From Sakura’s costuming to the Clow Cards’ designs to the recurring visual motif of flowers, CLAMP delivers an absolutely stunning series that is arguably unmatched in the manga industry. This goes beyond the superficial elements as well, since they are able to set the tone of each panel with their art and successfully orchestrate the reader’s emotions through a variety of expressive reaction shots and epic action sequences. What further elevates Cardcaptor Sakura is its rich mythology that remains iconic within the genre and a narrative that dares to explore taboo subjects through an almost-objective lens. While I found the ending a bit contrived and anticlimactic, and wished there had been some kind of antagonist, Cardcaptor Sakura kept me engaged from start to finish and left me wanting more.

RATING: A-

Review - Avengers: Under Siege

Assembling a new incarnation of the Masters of Evil, Baron Zemo leads a devastating assault on the Avengers’ headquarters. As most of the Avengers fall at the hands of the Masters, the responsibility of stopping Zemo and his henchmen falls squarely on the pint-sized shoulders of the Wasp.

Avengers: Under Siege collects Avengers #270-277, written by Roger Stern and illustrated by John Buscema.

Often hailed as one of the greatest Avengers storylines of all-time, Under Siege is an absolutely brutal arc that is best known for portraying the crushing defeat of the Avengers at the hands of the Masters of Evil. The calculating and conniving Baron Zemo concocts the perfect plan to bring the heroes down. Upon putting together his team, he storms the Avengers Mansion while the heroes are away and methodically picks them off one by one as they return to their headquarters. It’s a visceral narrative that includes a lot of intense action and is unusual in its depiction of how easily (and pitilessly) the villains overcome the heroes. In some ways, it’s a precursor to what we’d see in the ‘90s with events such as The Death of Superman and Knightfall.

What is most impressive about Under Siege isn’t just its action, but rather its remarkable character work and its ability to weave it into the mayhem. The Wasp is arguably the star of the show. At the time of this storyline, she is the leader and chairwoman of the Avengers. This has caused some tension within the team, particularly from Hercules. He feels emasculated by the Wasp’s orders and childishly refuses to acknowledge her authority. His lack of respect for the Wasp ultimately plays right into enemy hands. Similarly, Black Knight’s apparent unrequited feelings for the Wasp make him an easy target for the Masters. Despite feeling inadequate as a leader and uncertain of her capabilities, the Wasp proves herself in a spectacular conflict against Titania and the Absorbing Man. With the help of Ant-Man (spoiler… I guess), she manages to take them down and this drastically turns the tide in the war between the Avengers and the Masters. Another character who stands out is Captain Marvel. Though she’s detained for a good chunk of the arc, once she manages to escape (on her own I might add), she returns to the fight with a fury and loses her cool as she chases down Moonstone. It’s a rather small moment, but it’s an important one. Thus far, Captain Marvel had been amongst the most levelheaded members of the team, so this brief spate of anger shows that she is as infallible as her teammates. On the subject of Moonstone, she too receives some attention when it comes to development. While most of the villains are fairly one-dimensional, Moonstone is notable for her attempts to undermine Zemo’s authority. It sets her apart as one of the more independent and intelligent members of the Masters.

John Buscema’s art is top-notch in Under Siege. Given the severity of what is going on story-wise, he manages to create really evocative panels. He errs on the side of subtlety during the more gruesome moments of the narrative (i.e. the scenes where the Masters assault Jarvis and Hercules). The action is superb as well, especially the sequence where the Wasp and Ant-Man take down Titania and Absorbing Man. However, what I recall most is the really gorgeous work that is put into depicting the emotions of the characters involved. Buscema really captures the fury and toxicity of Hercules’ character each time he bristles at being seen or treated as subordinate to the Wasp. Captain Marvel’s fury-filled pursuit of Moonstone towards the end is another great example of this emotiveness. However, the panel that is forever seared into my mind is the close-up of the Wasp after she’s taken down Titania and Absorbing Man. With her steely gaze and slight sneer, she declares that the Avengers will have their revenge on the Masters of Evil for what they have done. It’s absolutely chilling and my hat goes off to Buscema for creating such an unforgettable shot.

Of the Avengers storylines I’ve read, Under Siege is quite possibly the best of the bunch. It’s got everything you need – an epic (and brutal) battle between heroes and villains, intricate character work, and outstanding artwork. It’s also surprisingly quite accessible. You don’t need to have read every Avengers issue in existence to understand or enjoy it. Beyond that, it also puts its female characters front and center. The Wasp, Captain Marvel, and Moonstone (even Titania to some degree) all get to be multi-dimensional individuals who play crucial roles in this arc. Of course, as a Monica Rambeau fan, I’ll always be biased towards anything that features her.

RATING: A

Review - Ultimate Spider-Man Volume 10: Hollywood

A big budget blockbuster about Spider-Man is being made with Doctor Octopus’ ex-wife as its consultant and the villainous scientist couldn’t be angrier. He escapes from prison intent on wreaking havoc on the film’s set and abducts Spider-Man in the process. Tired of having his life dictated and defined by others, Doctor Octopus is desperate and eager to eliminate those who hold him back.

Ultimate Spider-Man Volume 10: Hollywood collects Ultimate Spider-Man #54-59, written by Brian Michael Bendis and illustrated by Mark Bagley.

Hollywood is a tongue-and-cheek meta storyline that sees real life events being tied into the world of the fictional Spider-Man. Film producer Avi Arad announces the production of a Spider-Man movie directed by Sam Raimi and starring Tobey Maguire, which is set to film in New York City. It’s a comical to see this transpire within the Ultimate Universe and comes so close to breaking down the fourth wall. Instead of being overjoyed at being the subject of a blockbuster, Peter is annoyed. He’s miffed that people are profiting off of him and that he has no control over his narrative. The producers offer him an opportunity to get involved, but the one caveat they have for him is that he must reveal his identity to them first. Peter refuses and broods for the rest of the production. Amidst this somewhat lighthearted narrative there’s the story of Doc Ock breaking out of prison and leaving a path of destruction in his wake. He crashes the set and kidnaps Peter, taking him on a plane and torturing him. It’s a rather grim turn of events and it’s rather unexpected. This storyline makes it quite clear that Doc Ock isn’t a goofy villain or some kind of a henchman to a bigger boss. He’s quite scary all on his own.

Despite some memorable action sequences (particularly the final showdown between Spider-Man and Doc Ock) and some engaging humour, I found myself once again most interesting in Gwen Stacy’s side of the story. We see that she’s still processing the loss of her father and that she still blames Spider-Man for it. She becomes more and more unhinged as the arc goes on, which contrasts her usually cool demeanour. With all the hoopla of Spider-Man facing off against bad guys in intense grudge matches, it’s fascinating to me that what I find most compelling and memorable are what Bendis and Bagley do with the supporting characters. To me, that’s what elevates an otherwise disposable storyline.

Ultimate Spider-Man Volume 10: Hollywood is an entertaining read that checks all the boxes of what you’d expect from a Spider-Man storyline. It’s got the classic hero versus iconic villain showdown, reminders of how powerless Spider-Man is in controlling his own narrative, humour, and plenty of interpersonal drama. With that said, it is somewhat predictable and isn’t as exciting as it could have been. We’ve already seen Spidey and Doc Ock throw down more than once, so there wasn’t anything new there. The movie plot point was interesting enough, but there wasn’t adequate commentary done on the subject (as Gail Simone had done in her two-parter where Hollywood attempts to make a movie about Wonder Woman). Hollywood is fun, but it won’t leave the reader remembering more than an extracted tooth and a rather intense Gwen Stacy.

RATING: B-

Review - Magic Knight Rayearth (Manga)

Transported to the magical world of Cefiro, three teenage girls from Tokyo discover they are the legendary Magic Knights destined to save the Princess Emeraude from the clutches of the nefarious Zagato. With the help of the sorcerer Guru Clef and the adorable Mokona, the Magic Knights embark on a life-changing quest that will grant them unimaginable power and make them into the best of friends.

Magic Knight Rayearth is a manga series written and illustrated by Clamp, originally published in the pages of Nakayoshi from 1993 until 1995.

Magic Knight Rayearth is a genre-bending masterpiece that plays out like an epic fantasy roleplaying game. Much like the early entries in the Final Fantasy franchise, Clamp’s breakthrough series follows a group of legendary warriors as they traverse an expansive fantasy world in search of incredible weapons in order to free the land from a despotic sorcerer. Elements of the mecha genre flavour the latter half of the narrative, while our primary protagonists are effectively prototypical magical girls. This merging of genres distinguishes Magic Knight Rayearth as an incredibly unique manga that engages with fictional tropes and plays with them in a distinctive self-aware fashion. An example of this would be the girls’ magic evolving armour and weaponry that don’t require them to acquire new ones, which is atypical of the genre and is something the characters point out. They also call out magical spells that are unique to the individual, which is more akin to the Sailor Guardians from Pretty Guardian Sailor Moon than the black mages of Final Fantasy.

Despite its rather simple premise, Magic Knight Rayearth manages to be an engaging read that is both funny and emotional. Its central themes of fate and friendship play out through a narrative that sees three strangers becoming best friends through their shared destiny as the legendary Magic Knights. This kinship makes them stronger heroes and more capable of fulfilling their destiny as the saviours of Cefiro. For instance, Fuu is ready to sacrifice her life in battle for her friends and this willingness ultimately unlocks a greater power within her. That said, it’s important to note that Clamp employs a very episodic structure in how they tell the story of Magic Knight Rayearth. It’s likely done purposefully to mirror the way in which fantasy RPGs require its protagonists to go on missions to acquire new weapons and powers in order to defeat boss characters. Each chapter of this manga follows that formula. The main characters, whether in unison or individually, are tasked with learning magical spells, acquiring weapons, finding a special mineral, evolving their equipment, and then taking control of the legendary Mashin. During each mission they must either defeat or overcome the threat of a boss character. Remarkably, Clamp makes such a formulaic narrative fun, fresh and exciting with the use of humour and clever plot twists.

The characters of Magic Knight Rayearth are a huge part of what makes this manga so enjoyable. Clamp smartly creates three protagonists who are distinctive in their personalities, appearances, and roles within the narrative, which ensures that readers are able to relate to at least one of them. Hikaru Shidou is the red-haired tomboy who gains mastery over the element of fire. She’s unusually short for her age, which becomes a running gag early on, and is good with animals. She’s the most naïve of the main characters, but she makes up for it in her unwavering bravery. Fuu Hououji is the flaxen-haired archer who controls the element of air. It is her knowledge of roleplaying games that becomes key to the Magic Knights understanding the world of Cefiro. Despite being the brains of the group, Fuu is not very intuitive and this becomes a source for many jokes throughout. She is also the only character to be given a romantic interest in the form of the roguish Ferio and her spells are the most versatile in that she’s capable of both healing and fighting offensively. My favourite of the trio would likely be Umi Ryuuzaki. The blue-haired hydrokinetic Umi is an elegant and straightforward individual whose upper class upbringing and fencing abilities make her seem aristocratic. However, she’s perhaps the most comedic of the main characters. She has a remarkably short fuse and is constantly losing her cool, particularly due to her lack of patience with their guide Mokona. Her outbursts are always played up for comic effect and it makes her an endearing character because of this.

Aspects of Magic Knight Rayearth’s story will feel familiar, largely because Clamp pays homage to (and parodies) roleplaying games and the fantasy genre in general. The episodic storytelling can be problematic, particularly since it could seem monotonous under a less talented creative team. However, as far as manga classics go, Magic Knight Rayearth stands the test of time. It is an entertaining read that is tethered with the perfect balance of comedy and drama. Clamp conveys their central themes effectively to their audience through an engaging narrative and relatable characters, while the art compliments this through its ability to shift from moments of whimsy to slapstick humour. The art in its detailed nature serves Cefiro to readers as a palpable world, while the characters are gorgeously rendered with distinctive and memorable appearances. If anything, the only glaring fault that Magic Knight Rayearth has is that it’s too short and ends abruptly without tying up its numerous loose ends. Thankfully, Clamp recognized this and provided fans with a sequel shortly after its conclusion.

RATING: B+