Review: Avengers - The Private War of Doctor Doom

Following their recent victories against Kang and the Squadron Supreme, the Avengers return home and are faced with the task of settling on a new roster. No sooner do they announce their line-up than the once-dead Wonder Man returns to the fold. Then, they must face off against Atlantean menace Attuma in his latest plot to best Namor the Sub-Mariner.

Avengers: The Private War of Doctor Doom collects Avengers #150-156 and Annual #6, and Super-Villain Team-up #9, written by Steve Englehart, Gerry Conway and Bill Mantlo with art by George Perez and John Buscema.

This collection follows the events of The Serpent Crown and almost immediately sees the departure of Hellcat and Moondragon (boo!), as well as Avengers mainstay Thor. With their new roster, the Avengers must investigate the circumstances behind the resurrection of Wonder Man. At the same time the Living Laser is busy plotting his revenge on the Avengers and intends to use the unstable Nuklo to do so. After that, the Avengers are captured by Attuma and are forced to attack Namor’s Hydrobase. When they arrive, however, they discover the base is being run by Doctor Doom and they are swiftly bested by the Fantastic Four foe. In order to defeat Attuma, they must form an uneasy alliance with Doctor Doom.

As a trade, The Private War of Doctor Doom is densely plotted and is continuity heavy with plenty of references to past events. It lacks excitement and depth, as it falls into the rather generic box of “supervillains trying to take over the world using some kind of experimental device.” The collection begins with a tedious re-telling of the Avengers’ rosters’ various origins and then transitions into the re-introduction of Wonder Man. Understandably, his return creates conflict between Scarlet Witch and the Vision since the latter’s brain patterns were based off of Wonder Man’s. While there may be a smidgen of tension between the newlyweds throughout this trade, that’s about it for character development. The dialogue for the Beast is strong and we get some really great action scenes involving Scarlet Witch on a solo mission, but everyone else feels depressingly generic and they all fade into the background over the course of the collected issues. It also feels dated, given the fact that these stories occur during a time period when Scarlet Witch and Quicksilver were canonically viewed as the children of the Whizzer and Miss America.

The highlight of this collection is the art done by George Perez and the late John Buscema. Perez delivers dynamic work that features an active expressiveness, while also showing off his skill at drawing the male form (we get a rather strong panel of Namor flying through the air towards the end). Buscema, meanwhile, has a distinctive moodiness to his style that emphasizes some of the more emotional aspects to these characters. Notably, there’s a series of panels in which the Scarlet Witch is distraught and turns for comfort from the Wasp when she’s given the cold shoulder by her husband.

Avengers: The Private War of Doctor Doom isn’t the most impressive collection of stories featuring Earth’s Mightiest Heroes. It’s an awkwardly plotted series of stories that follow on the heels of Steve Englehart’s remarkable run on The Avengers. Where his stories often included social commentary and soapy interpersonal drama, The Private War of Doctor Doom restores the status quo of paint-by-numbers supervillain conflicts. Attuma and Doctor Doom make for great opponents for the Avengers, but the narrative never attempts to do something new with them. It’s also mildly irritating that Hellcat and Moondragon were written out, since both had been standouts in the preceding trade Avengers: The Serpent Crown. Though we get some notable art from Perez and Buscema, The Private War of Doctor Doom is skippable.

RATING: C-

Review: Jem and the Holograms Volume 2 - Viral

After being signed to the same label as their musical rivals, Jem and the Holograms must learn to navigate the murky waters of working in such close proximity with the Misfits. Meanwhile, the shifty Eric Raymond is assigned as the new manager of the Misfits. His first order of business? To dig up dirt on the competition. What Eric finds out may very well mean the end of Jem and the Holograms.

Jem and the Holograms Volume 2: Viral collects Jem and the Holograms #7-10, the Outrageous Annual 2015 and the 2015 Holiday Special, written by Kelly Thompson with art by Jen Bartel, Sophie Campbell, Agnes Garbowska, Corin Howell, Rebekah Isaacs and more.

Following their splashy concert opposite the Mistfits’ Vs. competition, Jem and the Holograms are riding high on a new level of popularity and acclaim. However, Jerrica is finding it increasingly difficult to manage the group while her sisters and bandmates are off pursuing their own interests. This leaves her alone to make the big decisions – like signing to the same label as the Misfits and agreeing to open for them on tour. Unbeknownst to Jerrica and the others, the Misfits’ new manager Eric Raymond is working tirelessly to ensure that Jem and the Holograms are nothing more than a flash in the pan. These developments make up the bulk of Viral, which build upon the events that preceded it in Showtime. Writer Kelly Thompson continues to show off her knowledge and affection for the classic cartoon through this introduction of Eric Raymond (that snake!) and she even has Shana pursuing fashion design. However, she adds new layers by digging into more realistic emotional components. Namely, we’re seeing Jerrica struggling to keep the group going and Kimber remains very much hung up on Stormer.

For the most part, Viral continues to build on the events that preceded it in Showtime. Thompson does this through the introduction of new characters (the aforementioned Eric Raymond, as well as the slimy hacker Techrat) and by rolling out new plot developments. Thompson’s pacing is impeccable for the vast majority of these issues in that respect. She knows how to tease out a series of dramatic reveals, all of which lead into an explosive Halloween-themed issue that ends with two incredible cliffhangers. Not to spoil anything – but Thompson’s twist regarding a beloved character hikes the tension up to an unbearable level. Unfortunately, what proceeds it is a rather oddly plotted issue that focuses almost entirely on Rio and explores his past and present relationships with the Misfits and with Jerrica. Thompson does almost nothing with the dangling plot threads from the issue that preceded it, with the only sense of progression being when Jerrica agrees to tour with the Misfits.

The annual and Christmas special are placed at the beginning and end of this collection, which contribute to an overall sense of filler to this chunk of stories. This, of course, isn’t a fair assessment as these are bonus stories intended to be enjoyed outside of the main narrative. Regardless, both are super fun. The annual features a series of dream sequences wherein the Holograms imagine themselves in parodies of iconic movies (i.e. Jerrica in Teen Wolf, Aja in Mad Max), with each sequence drawn by a different artist. The issue doesn’t exactly develop the characters, but it does have a lot of fun dialogue and it showcases their personalities really well (especially Aja’s). The Christmas special feels less tacked on, as it is clearly set shortly after the events of issue 10. The Holograms go to a holiday party thrown by their record label and are unwittingly forced into doing a Secret Santa with the Misfits. What follows is a really sweet and heartwarming exchange that shows readers a different side of the Misfits – without undermining their reputation, of course.

Overall, Jem and the Holograms Volume 2: Viral is not quite as poppy and electric as the volume that preceded it. The absence of Sophie Campbell on art duties is felt and diminishes the overall aesthetic quality of this collection. That said, Emma Vieceli (who handles the bulk of the pencils here) is an excellent replacement. Her style is similar to Campbell’s, though it’s admittedly less whimsical, and the characters look beautifully expressive throughout. The same cannot be said for Corin Howell, whose work on issue 10 is extremely rough and clashes entirely with the aesthetic of Jem and the Holograms. Thankfully, Thompson is on point for the vast majority of the issues collected here. Her dialogue and character dynamics continue to be captivating, thus cultivating a very loveable cast. She gets bonus points for her cliffhangers, but a slight demerit for issue 10’s maddening halting pace.

RATING: B

Review: Ultimate Spider-Man Volume 1 - Power and Responsibility

After being bitten by a spider on a field trip, teenager Peter Parker develops superhuman abilities. Though he initially uses his newfound powers for personal gain, Peter is forced to re-examine his responsibility to others when his uncle is gunned down during a home invasion gone awry. Donning a blue and red webbed costume, he becomes the vigilante Spider-Man and vows to protect New York City from any ne’er do wells.

Ultimate Spider-Man Volume 1: Power and Responsibility collects Ultimate Spider-Man issues 1-7, written by Brian Michael Bendis and Mark Bagley.

When Brian Michael Bendis and Mark Bagley embarked on their now-legendary run on Ultimate Spider-Man, they ignited a new Marvel universe with a poignant and modern retelling of Spider-Man’s origins. Where Spider-Man’s debut occurred in a singular issue (1962’s Amazing Fantasy #15), here it is spread out over the course of seven issues. This gives the creative team and their cast the opportunity to develop organically, enabling readers to care for and invest in these characters. When Uncle Ben inevitably perishes, his loss is felt tremendously. In a similar vein, we get to see more of Peter Parker before he becomes Spider-Man. This helps us to better relate to him and it also gives us a starting point for marking his character growth as the events of this collection unfurl. Bendis and Bagley also notably reinvent Mary Jane Watson and Harry Osborn. The former is a frumpy brainiac while the latter is a dashingly handsome bad boy, which contrasts sharply against their canonical appearances in the primary Marvel universe. Harry’s family life is elaborated upon and he is a character we can feel sympathy for, so the alterations to his character aren’t tremendously outrageous. With Mary Jane, her growth is limited due to how she’s been pigeonholed into seeming too nice. Part of what made the character so compelling previously was that she was aloof and had an edge to her. When all of that is removed from the equation, the romantic tension with Peter isn’t as intense or as interesting. She’s just kind of blah.

The narrative for these first seven issues is strongly plotted. As alluded to previously, it takes pulls inspiration from Amazing Fantasy #15 and reimagines it for a contemporary audience. It also draws from the canon in general, adding in characters that weren’t initially part of that origin. The nerdy Peter Parker goes on a field trip to Oscorp, where he is bitten by a spider that is part of an experimental program spearheaded by Norman Osborn. Though the bite should have killed him, Peter makes a miraculous recovery – much to Osborn’s surprise. He then begins to develop superpowers, which prompt him to stand up to his bullies, join the basketball team and take up wrestling as a means of cashing in on his newfound abilities. After Peter fails to stop a theft, his Uncle Ben is murdered by the thief he let go and Peter thus vows to use his abilities only for the greater good. Now patrolling the streets as the vigilante Spider-Man, he encounters his very first villain in the form of a mutated Norman Osborn. This origin is carefully and patiently crafted, giving its characters room to breathe and for tension to build. It has a clear sense of direction due to its overarching nature, which is something Spider-Man’s original adventures lacked.

Power and Responsibility is to Spider-Man what Year One is to Batman. It is a timeless retelling of an iconic superhero’s origins that is both engaging and full of relatable characters. As a team, Bendis and Bagley creatively reinvent beloved characters and plot points in a manner that is fresh and exciting. As such, it’s really no surprise that Sam Raimi’s 2002 film adaptation is so similar. Ultimate Spider-Man would go on to become a seminal series for the wallcrawler and would serve as the starting point for the Ultimate Universe. While this line of books eventually went off the rails and its universe was destroyed during Secret Wars, Ultimate Spider-Man Volume 1: Power and Responsibility remains as an incredibly strong entry into this universe and continues to be a must-read for Spider-Man fans.

RATING: B+

Review: Secret Six Volume 3 - Cat's Cradle

Amanda Waller is determined to bring Deadshot back into the Suicide Squad and there’s nothing she won’t do in order to achieve her goal – including murdering Deadshot’s current teammates in the Secret Six. Then, Catman goes rogue when his son is kidnapped by a group of sociopathic mercenaries.  Deadshot, Scandal, Ragdoll and Black Alice take off after Catman, leaving Bane and Jeannette to assemble a new Six to fulfill another contract.

Secret Six Volume 3: Cat’s Cradle collects Secret Six #15-24 and Suicide Squad #67, written by Gail Simone and John Ostrander with art by Jim Calafiore.

It should go without saying that Gail Simone’s Secret Six is like the spiritual successor to John Ostrander’s Suicide Squad. As such, it’s really no surprise that a team-up between the two writers should be nothing short of brilliant. Ostrander flies solo on issues 15 and 23 of Secret Six, while the two share writing credits for issues 17-18 and Suicide Squad #67. This union sees a crossover between their individual creations as Amanda Waller orchestrates a plan to wrest Deadshot from the Secret Six and bring him back into the fold at Belle Reve. What follows is a rather impressive set of action sequences, illustrated by the capable Jim Calafiore, as the Secret Six face off against the Suicide Squad. The dialogue is impeccably well-done with an edge of dark humour that is a trademark for Gail Simone’s body of work. Of course, it is naturally Amanda Waller that steals the show. Her ruthlessness is the stuff of legends, while her interactions with many of the other characters (particularly Scandal) are electric. There is also a level of unpredictability due to the presence of Black Alice, who was added to the team by Simone in issue 16. She adds in a little comic relief, particularly when paired with Ragdoll.

Simone takes the wheel fully for the four-part “Cats in the Cradle.” It’s an arc that really fractures the team – Catman goes AWOL, Bane and Jeannette form a new Six, and Black Alice loses it on Scandal. Simone also delves into Catman’s past, revealing an abusive childhood that left him shattered and with darker impulses than any of his teammates could have guessed. It’s not an arc where a whole lot happens, as it is light on plot, but it’s heavy on character development. “Cats in the Cradle” is basically just Catman going off the deep end and seeking bloody vengeance on the captors of his son, while his teammates unsuccessfully try to pursue him in order to bring him home. Amidst all of this action though is a whole lot of insightful, and often funny, dialogue that reveals a lot about the cast. We’re able to sympathize with Black Alice through her father’s illness while we finally begin to see Ragdoll as more than just comedic relief. As mentioned previously, Black Alice and Ragdoll are paired up with one another. It’s a totally batty combination, but it works due to Simone’s quirky dialogue. It works as yet another example of Simone’s near incomparable ability to create engaging team dynamics. From the palpable homoerotic subtext between Deadshot and Catman to Scandal’s relationship with an erotic dancer to Bane’s overprotective father vibe, Black Alice and Ragdoll are just yet another endlessly amusing gift that just keeps on giving.

As a whole Secret Six Volume 3: Cat’s Cradle is crazy good. It’s an entertaining read practically bursting at its seams with intense action and hilarious dialogue. The characters continue to be relatable, which is kind of messed up since they’re all violent monsters in one way or another. Ostrander and Simone’s Secret Six/Suicide Squad arc is incredibly satisfying, while “Cats in the Cradle” helps to both tie up loose ends and to introduce new team dynamics. While it concludes with two regrettably forgettable filler issues, this collection features high quality storytelling. Though I selfishly wish the insanely talented Nicola Scott were able to remain the permanent artist for the entirety of Gail Simone’s run, Calafiore’s pencils for the bulk of the issues collected here are expressive and match the overall tone of the series.  Cat’s Cradle is dark and bloody in all the right ways, making it a must-read for anyone with a twisted sense of humour. More importantly though, it has a cast that is distinctive and multi-dimensional.

RATING: B+

Review: Power Rangers Wild Force

After a chance encounter with the peace keeping Wild Force Power Rangers, a young man named Cole Evans discovers that he is destined to become the Red Wild Force Ranger. Under the tutelage of the powerful Princess Shayla, Cole and the other Rangers are tasked with defeating the ancient Master Org and his horde of heartless creatures before they can destroy the Earth.

Power Rangers Wild Force is the tenth season of the Power Rangers franchise, airing originally during 2002. It stars Ricardo Medina, Jr., Alyson Kiperman, Phillip Jeanmarie, Jessica Rey, Jack Guzman, Phillip Andrew and Ann Marie Crouch.

Without a doubt, Power Rangers Wild Force is one of the most impressive entries into the storied Power Rangers franchise from the Post-Zordon era. It is rich with depth and builds a fascinating mythology around its characters. Taking point from its Super Sentai counterpart Hyakujuu Sentai Gaoranger, it follows the adventures of five fierce warriors who use the powers of ancient animals to do battle against the evil Master Org. The series explores a variety of themes – such as revenge, morality and issues of environmentalism. It is concisely written and is carefully plotted in order to maximize story arcs, thus minimizing the usage of filler episodes. Wild Force is also notable for its relatively small cast of villains, as well as its tight focus on its protagonists. Unlike many of the preceding Power Rangers series, Wild Force takes its time to develop each member of the main cast and maintains a pace that keeps its audience engaged.

Wild Force is not afraid to make its characters unlikeable at times. Taylor is at times over serious and often acts outwardly aggressive when faced with situations that are outside of her control. Likewise, Merrick is cold and distant, especially towards Princess Shayla. Though this may initially make them seem unworthy of sympathy, their portrayals turn out to be the most multi-dimensional and relatable on the show. Despite her mean streak, Taylor is incredibly competent and is arguably the most dedicated member of the team. In fact, given her experience and overall comportment it’s a little puzzling as to why she didn’t remain as the leader of the team once Cole arrived. With Merrick, we understand his behaviour through the exploration of his past and we come to accept his lone wolf behaviour as endearing. That’s not to say the other characters aren’t interesting. Danny is loveable in an awkward kind of way, calling to mind Raita from Choujin Sentai Jetman. Alyssa, meanwhile, is unapologetically sweet and caring. Her boundless optimism and the emotional support she provides the others make her into the unheralded nucleus of the group. There’s also a rather clever narrative with her character, emphasizing the importance of her education and her pursuit of knowledge. Even Max’s dopiness and insecurities make him memorable as a character. Unfortunately, the curse of the dull Red Ranger syndrome continues with Cole. While his love for animals and ability to communicate with them, as well as his strict moral code, help give him depth, he’s still less interesting than the others on the show.

The biggest surprise for me with this series was its adherence to story arcs, which is something previous seasons were rather stingy with. Where other entries relied heavily on filler episodes, Wild Force packs its 40 episodes with development and plot twists. A notable example of this is the Zen-Aku arc, which begins early on in the season. It helps to introduce the mysterious and powerful Org Zen-Aku, as well as the sixth Ranger Merrick. Wild Force is further supplemented by subplots, such as Cole’s search for the truth about his parents’ fate, and character-centric episodes that see our heroes gain new Zords (often by overcoming their fears or by proving themselves). The abundance of multi-part stories and subplots really helped to add a sense of gravity and direction to the series. For the first time, a Power Rangers season actually built up towards its finale and came to a satisfying climax (complete with a decently executed denouement). With Wild Force, it finally seemed like the writers knew where they were going and weren’t simply wandering around aimlessly until the final few episodes.

Power Rangers Wild Force does have its share of flaws. The acting is still questionable (Toxica – I’m looking at you, girl), the CGI is really dated, there are far too many Zords to keep track of and some cheesy sequences (many involving the syrupy Princess Shayla singing). Despite this, it’s hard not to love Wild Force. From a plotting perspective, it’s quite possibly the strongest entry in the Post-Zordon Era. It was the perfect way to close out this particular era, providing fleshed out characters and more engaging storylines. If that weren’t enough, it features not one, but two, Power Ranger team-ups (the two-part “Reinforcements from the Future” and the anniversary episode “Forever Red”). After the lackluster Lost Galaxy and Lightspeed Rescue, Wild Force and its predecessor Time Force proved that the Power Rangers franchise could move beyond a simple monster-of-the-day formula and instead present a legitimately entertaining season-long narrative.

Review: JLA - Volume 1

When a group of mysterious aliens known as the Hyperclan settle on Earth, they begin righting the many wrongs that have befallen Earth’s inhabitants. However, their help comes at a great price. After uncovering the nefarious intentions behind the Hyperclans actions, Earth’s greatest heroes – Batman, Superman, Wonder Woman, the Flash, Green Lantern and Martian Manhunter – band together to defeat this alien menace as the new Justice League of America.

Then, before they can even begin to settle in as a team unit, they must combat the fallen angel Asmodel and long-time foe the Key.

JLA Volume 1 collects JLA #1-9 and Secret Files and Origins #1, written by Grant Morrison with art by Howard Porter and Oscar Jimenez.

The Justice League is arguably the most iconic superhero team in existence and perhaps no incarnation is more beloved or celebrated than Grant Morrison’s late-‘90s take. Teaming up with Howard Porter and John Dell, Morrison re-introduced the Justice League in the best-selling series JLA with a pared down roster and with a distinct focus on global threats. The introductory arc is classic in and of itself, with Morrison and Porter crafting a tried-and-true alien invasion story featuring the enigmatic Hyperclan. This four issue storyline is every bit as epic as it was intended to be and even features a rather clever twist during its climax, one which helps to further develop the oft-forgotten Martian Manhunter. The action is spectacular and the enemies powerful enough to be genuine threats to the God-like members of the Justice League. Morrison even appears to reference the narrative structure of the early stories from Justice League of America by having the heroes split up to divide and conquer over the course of the narrative. The four-part opener is then followed up with a single issue storyline involving a character named Tomorrow Woman, an android whose inventors were responsible for creation of Amazo and Red Tornado. It’s a satisfactory and breezy read that plugs into the theme of free will within an electronic mind. This collection is then capped off by two two-parters, the first detailing the League’s fight against Asmodel and the second involving them being trapped in a sort of virtual reality by the Key. The latter storyline is particularly interesting, as Morrison offers up alternative takes on the main cast. For instance, he presents Superman as a Green Lantern, references Wonder Woman’s iconic mod era and then explores a potential future where Batman marries Catwoman.

As a whole, JLA is an action-first book and delivers this type of storytelling in spades. Porter is well-suited to this task as well, drawing detailed and well-choreographed sequences that emphasize the high octane nature of Morrison’s narrative. While character development is not at the forefront or even a priority in JLA, it is through these scenes that we see the glimmering hints of the personalities behind the characters. Green Lantern and Wonder Woman especially shine during fights, with the former creating constructs that emphasize his youth and interests while the latter is shown to be a formidable fighter whose presence in the battlefield is awe-inspiring. Morrison further supplements the action with dialogue that seeks to counteract the missing component of character development. An example of this would be the contrast between the youthful Green Lantern and veteran heroes like the Flash. He’s portrayed as far more flippant and this implies what the others are like by comparison. It goes without saying that Green Lantern is the most colourful and memorable character in this set of stories.

There are a few shortcomings to this collection. For one, it highlights the rushed nature of JLA as it breezes through its first nine issues with a hectic pace that provides no room for defining the overall team dynamic. The prime example for this being that by issue five the League are already in the process of expanding membership, which shouldn’t be done until the reader has adjusted to the current line-up. Yes these heroes are iconic and six of them had their own comics at the time, but their roles and personalities within the team needed to be established first. The other major failing in JLA is that it is forced to accept and run with the changes made in the characters’ individual books. For instance, the blue Superman is thrown at the readers without any explanation and it’s especially jarring for those who are reading the book in retrospect. Another personal gripe of mine would by how Porter illustrates the John Byrne redesigned Wonder Woman costume. It looks dreadfully dated in most shots, drawn with ridiculously high cut briefs, and she appears to be spilling out of the bodice in far too many panels. Porter illustrates her with a beautiful face and an impressive muscular physique, but she looks uncomfortable and out of place standing next to her Justice League cohorts.

JLA Volume 1 is an entertaining collection of stories that offer a glimpse into what made JLA DC Comics’ best-selling series during the 1990s. It’s an action-packed trade that proves why the Justice League is as legendary as they are by giving them incredibly powerful enemies. The stories themselves are quite memorable, while the dialogue and art gives the reader just enough glimpses at the personalities of the characters. It then goes without saying that this is an important trade for any DC Comics fan, especially those who grew up on and were fans of the Justice League cartoon.

RATING: B

Review: Jem and the Holograms Volume 1 - Showtime

With a deadline looming for entries into a music contest, singer-songwriter Jerrica Benton is gripped with anxiety and strage fright. Facing the prospect of dropping out and letting her bandmates down, Jerrica overcomes her fear by transforming into the glamorous Jem with the help of a holographic computer program created by her late father. After a splashy online debut, Jem and the Holograms achieve viral popularity – much to the chagrin of the spastic Misfits.

Jem and the Holograms Volume 1: Showtime collects issues 1-6 of Jem and the Holograms written by Kelly Thompson and illustrated by Sophie Campbell.

As a team, Kelly Thompson and Sophie Campbell were charged with a rather challenging task – update an iconic (and totally outrageous!) ‘80s cartoon for today’s comic book readership. What they accomplished was spectacular and inspired. They hit the ground running by telling the origins of the titular Jem and the Holograms, eschewing the villainous Eric Raymond and Starlight Records in favour of having their popularity stem from a music contest held by the Misfits (who have been seemingly established as an A-list rock group in this version). Thompson’s dialogue improves upon the characters we know and love from the cartoon, particularly giving them more distinct personalities that help the reader relate to them more. Aja is more sarcastic and has constant playful banter with Kimber, while Kimber herself is seen as an always-late flake that is as loud as she is talented. Shana sits comfortably as the voice of reason, filling the role of mediator whenever arguments arise. Interestingly, Thompson seems to lose Jerrica’s voice and personality in the process of fleshing out her sisters. I love the new dimension of Jerrica suffering from anxiety as it makes her easier to relate to personally and her relationship with Rio seems much more organic than it did in the cartoon, but she isn’t as pronounced as a savvy businesswoman and her quietness makes her seem dull in comparison to her bandmates.

From their debut onwards, Thompson and Campbell unravel a series of events that serve to develop the characters further. Kimber begins a secretive relationship with Stormer of the rival group the Misfits, Jerrica must contend with Rio’s negative perception of Jem (basically he thinks Jem is selfish and not a team player), and the Holograms pull double duty trying to prepare for the Mistfits’ music contest and a charity event for which they’ve volunteered their talent. The pacing is great as it moves the story along with a jaunty pace – occasionally tossing in splashy musical scenes artfully rendered by Campbell. The mix of interpersonal drama and their musical exploits is handled well, thankfully never veering too far into the melodrama box its animated predecessor often did. Thompson and Campbell work well together in this respect, as they’re able to balance camp with serious drama. Kimber’s relationship with Stormer becomes an emotional focal point for the readers. While there’s a humorous side to the subplot, it’s played straight (pardon the pun) and we see an impeccably well-written relationship that feels neither exploitative nor forced. It’s a development I love and one which helps to, not only endears me to, but relate to both Kimber and Stormer. On the other side of the equation, Thompson and Campbell do not pull back from the absolute insanity that is Pizzazz. They allow her to have epic meltdowns, often cumulating in fits of rage. It gels with her animated persona and it’s absolutely hilarious to see, made all the more gut-busting by Campbell’s unrivaled expressiveness.

While Thompson’s dialogue and plotting is flawless throughout, not nearly enough can be said about Campbell’s work as the book’s artist. It’s vibrant, outrageous, colourful, expressive, dynamic, glamorous, punk, girlie, sexy and a million other things. Everything from the way she draws hair to the special care she takes to create characters that are visually distinct from one another makes this book truly extraordinary. Part of what I love about this book is how inclusive it is. Not only is it explicitly and unapologetically LGBTQ+-friendly, but Campbell came up with a series of character designs that speak to today’s modern society. She gives the cast different body types, all of which more accurately reflect what we see in the real world. For instance, I adore that Stormer is portrayed as a desirable love interest for Kimber and as the key to the Misfits’ success (she writes their songs) rather than as the sassy or supportive best friend archetype as would usually be the case based on the body type Campbell draws her with here.

As one can imagine, it’s difficult trying to adapt the seminal Jem and the Holograms three decades later. Thompson and Campbell capture the fashion, aesthetic and nostalgia surrounding the series. The comics obviously lack the same structure, given the fact that each episode of Jem contained music videos and are comics a strictly visual medium, but does an admirable job of trying to stay true to the essence of the outrageous cartoon. There’s camp and drama – but most importantly there’s glamour, glitter, fashion and fame. Thompson and Campbell make me invested in these characters, while the latter especially creates a gloriously technicolour world full of distinctive musicians and crazy fashions. While it’s not a facsimile or a continuation of the original cartoon, Jem and the Holograms Volume 1: Showtime is a vibrant update on a classic. It’s clear that its creators have respect for the source material, so much so that we see little nods to the series via cameos (Ba Nee! Ashley! Lindsey Pierce!) and fashion choices. I thoroughly enjoyed this first set of issues and look forward to the rest.

RATING: A

Review: Avengers - The Serpent Crown

When Hawkeye goes missing, Thor and new Avenger Moondragon must travel into the past in order to recover their arrow-slinging ally. There, they must confront the villainous Kang as he schemes yet again to conquer Earth. Back in the present, the remaining Avengers duke it out with the Squadron Supreme after uncovering a plot by the corrupt Roxxon Oil Corporation.

Avengers: The Serpent Crown collects Avengers #141-144 and #147-149, written by Steve Englehart and illustrated by George Perez.

With the superstar talent of Englehart and Perez behind it, The Serpent Crown stands as one of the most notable collection of stories from the early Bronze Age Avengers. Set during the Beast’s probationary period with the Earth’s Mightiest Heroes, this trade collects two concurrent storylines involving the Avengers’ conflicts with Kang the Conqueror and the Squadron Supreme (AKA Marvel’s “tribute” to the Justice League). It’s a tightly written, dynamically drawn seven issue arc that is packed with character development and incredible action. Englehart’s scripting sets the tone by creating an electric chemistry between the characters and sticking to a set theme of corporate corruption, while Perez’s pencil work fills each panel with expressiveness to match.

There are a lot of developments in The Serpent Crown, which is perhaps what has marked it for collection purposes above many other story arcs for the Avengers from the 1970s. Notably – Captain America re-joins the team after a lengthy leave of absence, Hawkeye departs from the Avengers to pursue a (mostly) solo career out west, and Patsy Walker makes her debut as the superheroine Hellcat. As mentioned previously, it’s also set during the Beast’s early days adventuring with the Avengers, which itself is important as it’s shortly after he turned his iconic blue hue. In fact, it is the interplay between Hellcat and Beast that makes this arc as interesting as it is. The habitually bickering duo is at odds with one another, which adds a layer of humour to their dynamic. Beyond all of that, Englehart and Perez seem to be setting new precedents for the portrayal of women in comic books.

Aside from a questionable line in which Hellcat declares that she’s no “women’s libber,” The Serpent Crown seems to be concerned with the pursuit and control of power when wielded by women. Newcomer Moondragon is unashamed and confident in her incredible psychic gifts. She employs them with a mastery that was often unseen amongst female characters in comic books. In fact, she seems to consider herself an equal to Thor and even questions why he (and by extension her) is “slumming” it with the mortal Avengers. Similarly, Scarlet Witch is seen embracing her status as a true witch and her power set seems to have grown exponentially as a result of this. A key scene in this collection involves Wanda becoming the caretaker for the Serpent Crown and must use her formidable willpower to free herself from its evil influence. Though Vision tries to intervene and “rescue” her, it’s clear that Wanda needs no one but herself to save the day. It’s an internal battle that is portrayed earnestly through Perez’s art and is a moment that is not to be overlooked, though it might be easy to do so given the incredible physical feats accomplished by the men in this book.

As much as we see Moondragon and Scarlet Witch embracing their fierceness, the slightly dippy Patsy Walker still has a ways to go. In fact, The Serpent Crown is very much her story and focuses on her rapid maturation from silly romance heroine to sassy superheroine. Much is made early on about how burdensome Patsy is as she accompanies the Avengers, with some members laying blame on her for their predicament when they are captured by the Squadron Supreme (namely, Vision). Through flashbacks, we see that Patsy lived a relatively unfulfilling life in a small town and that her marriage was disastrous. We learn that she’s always dreamed of being a hero and that she’ll do anything it takes to be one. By the time she finally dons the Cat costume, she’s adamant about dedicating her life to heroism. It’s admirable and her spunk is infectious, though the disdain from her male cohorts (and concern – on Captain America’s part) looms heavily over her. Thankfully, she does appear to prove herself and she’s shown to be quite fearsome in battle (though it’s implied that the suit may be doing most of the work for her).

The Serpent Crown is an enjoyable – albeit dated – read. Englehart and Perez make for a great team, one which suits the tone and aesthetic of the Avengers. As with his previous work on the title, Englehart always adds an angle of social relevance to the book and taps into themes that can be related to even today. His dialogue is satisfactory, though verbose at times, and he has a good grasp on the characters involved. I’m also rather impressed by how he handles the many women present in this collection. It also goes without saying that Perez’s pencils are gorgeous to look at. Given that this represents some of his earlier work, the art is not quite as defined or detailed as it would be later in New Teen Titans or Wonder Woman. There are minor issues with proportions and perspective every now and then. If anything, The Serpent Crown represents a strong showing from an era oft forgotten by comic book fans. Plus – it’s got Hellcat and Moondragon in key roles!

RATING: B

Review: DC Comics Bombshells Volume 1 - Enlisted

With World War II in full swing, government bigwig Amanda Waller puts together an elite squad of untapped resources – women – to contribute to the war effort. Dubbed the Bombshells, these incredible heroines are sent behind enemy lines in order to undermine the Nazi regime.

DC Comics Bombshells Volume 1: Enlisted collects issues 1-6 of DC Comics Bombshells, written by Marguerite Bennett and with art by Marguerite Sauvage, Laura Braga, Ming Doyle, and various others.

Based off of the popular DC Collectibles line of statues, DC Comics Bombshells re-imagines the iconic women of the DC Universe as World War II era heroines. While the statues were quite obviously created to superficially portray them as little more than sexy 1940s style pin-up girls, the world that Marguerite Bennett and her artists build in this series is nothing short of brilliant. Bennett takes cues from the statues – such as initially portraying Batwoman as a baseball player – and manages to create something wholly unique in the process.

Enlisted largely serves as an origin story for the Bombshells. It introduces each member individually, but focuses primarily on the narratives of Batwoman, Wonder Woman and Supergirl. Batwoman, as mentioned previously, is portrayed as a baseball player who spends her nights combatting crime as a masked vigilante. She is one of the first to be recruited by Amanda Waller and is tasked with venturing to Europe in order to rendezvous with Contessa Selina DiGatti (the DC Comics Bombshells version of Catwoman).  Bennett writes a wonderfully layered Batwoman, examining her relationship with Maggie Sawyer and utilizes her as an almost James Bond-esque kind of a figure within the narrative. Standout moments include her banter with Selina, as well as the gorgeously drawn vignettes of Kate’s time with Maggie prior to her enlistment (Marguerite Sauvage is a total artistic goddess!). Wonder Woman, perhaps as a result of already being a World War II era creation, is left largely unchanged within this universe. Her story plays out much the same – Steve Trevor lands on the Amazons’ island and Diana going off to fight bad guys in Man’s World. What is different here is the inclusion of Mera as Diana’s closest friend and the Amazons seem even more disconnected than usual. Finally, we have Supergirl – who crash-landed in Russia rather than America. Kara, along with her adoptive sister Kortni, enroll in the Night Witches program. When she is discovered to have superpowers, she and Korti become the Russian heroes Supergirl and Stargirl. It’s a fascinating twist, particularly since it allows readers the opportunity to see beyond the American or British involvement in the Second World War. Bennett clearly shows that she’s done her research in that respect. I also love that she seems to reference Justice League Unlimited (or at the very least Justice League United) by linking Supergirl and Stargirl in this way.

I thoroughly enjoyed Enlisted. Its focus on the women of the DC Universe is great, but it’s ultimately the world that Bennett and her artists build that drew me in. I found myself curious as to how she’d re-imagine each Bombshell and seeing how she’d take inspiration from their statues. For instance, Zatanna is a cabaret performer in Berlin who works under duress due to her Jewish-Romani heritage. Bennett also rather hilariously works in Constantine being turned into a rabbit (a rather prominent feature of Zatanna’s Bombshells statue). Beyond that, the dialogue is a major strong point of this series. Bennett really captures the punchy way in which we often envision this era, which creates a constant electric interplay between the characters and injects the book with some rather clever (and often queer) double-entendres and subtexts.

DC Comics Bombshells is fairly unusual as a series for quite a few reasons. It’s outside of the main canon, it’s set in an imagined past and it has a high rotation of artists. That last point is somewhat contentious, as it invites quite a bit of inconsistency in terms of quality. Some artists, unfortunately, aren’t as good as others in this collection and it ends up taking away from the overall aesthetic of the world being built around these characters. That said, I absolutely adore the sheer amount of female talent that explodes out of this book. Bennett is joined by a host of ridiculously talented female artists and, if anything, it ends up proving that badass female artists are not as hard to come by as the industry pretends they are. Marguerite Sauvage handles the art chores in the first issue and totally knocks it out of the park. Her style is very fresh and cute. It seems strange, but I’m also in awe of how she draws hair. Another favourite of mine is Mirka Andolfo, who brings us the art for Harley Quinn’s section of the book. Her style is extremely expressive and vibrant. She’s a perfect match for the zany Harley. Then there’s Bilquis Evely, who is primarily responsible for the Supergirl and Stargirl sections. Her aesthetic is sketchier, but there’s a quality to it that seems to mimic the setting in which those sections are set. Other standouts include MLSanapo and Laura Braga, both of whom get to draw Wonder Woman. Their style is much more traditional in its approach to comic book art.

Aside from the inconsistency in quality brought on by rotating artists, I could not find or admit to a single flaw in DC Comics Bombshells. I love the direction, tone, and dialogue present in this title. Bennett creates an absolutely fascinating world of whimsy and wonder, which is further brimming with a pop art sensibility thanks to its talented artistic creators. There’s also a welcome sense of gravity to it, as Bennett further explores the harsher realities of World War II since some of the book’s characters are Jewish (notably Batwoman and Zatanna) and since a queer character is placed at the forefront (again, Batwoman). As someone who fits squarely into an LGBTQ+ readership, Bennett and DC Comics Bombshells itself offer a sense of both representation and of normalcy amidst such a turbulent setting. In essence, this is the book we need and deserve. DC Comics Bombshells Volume 1: Enlisted is quite possibly one of the best comic book trades I’ve read in a good long while! It’s a must-read for sure!

RATING: A+

Review: X-Men - The Wedding of Cyclops and Phoenix

Having captured Sabretooth following a violent murder spree, Professor Xavier seeks to rehabilitate the villain. The X-Men are uncomfortable with the situation, with Jean Grey in particular questioning her mentor’s sanity. Before she can commit to a future with her long-time love Cyclops, Jean must assuage her doubts and confront the violent creature living amongst them.

X-Men: The Wedding of Cyclops and Phoenix collects X-Men #27-30 and Annual #2, X-Men Unlimited #3, Uncanny X-Men #308-310 and Annual #18, X-Men: The Wedding Album, and What If? #60. It is written primarily by Scott Lobdell and Fabian Nicieza, with the art talents of Andy Kubert, John Romita Jr., Ian Churchill and Mike McKone.

The Wedding of Cyclops and Phoenix is assembled as a loose collection of stories leading up to the titular nuptials of two of the X-Men’s most iconic members. It picks up immediately after the events of Fatal Attractions. While the X-Men are still grappling with the defection of Colossus and Wolverine’s departure from the team, they are sent on a mission to apprehend Sabretooth and stop his murderous rampage. Upon doing so, he is locked in their basement and is given treatment by Professor Xavier. The purpose is to rehabilitate him, as was done previously with Wolverine and Rogue, though the X-Men are not convinced Sabretooth is worth the trouble. Jean Grey is the most reticent, her doubts magnified by her distaste for Xavier crossing the line when he psychically lobotomized Magneto and by her own sorrow regarding the absence of Wolverine around the mansion. She must reconcile all of these feelings before her engagement and eventual wedding to Cyclops. It's a nifty story arc for both Xavier and Jean Grey, giving both characters some much-needed panel time.

Since the stories in this trade weren’t originally planned or composed as a neat six-issue arc, the quality and focus varies from issue to issue. For instance, the events of X-Men #27 seem out of place and disjointed with the overall narrative due to its introduction of the character Threnody and the inclusion of Mister Sinister. Neither character plays any kind of substantial role in the proceeding issues. While it is poignant in its thematic usage of the Legacy Virus, it is also unrelated to just about everything else in this trade. If anything, it emphasizes the overall nature of storytelling during the 1990s. Each individual issue features a self-contained story that builds on or, at the very least, references events that have occurred previously. This makes it less accessible.

As a team, Lobdell and Nicieza introduce a lot of interesting developments. The rather brief “Sabretooth is imprisoned by the X-Men” arc from the animated series is expanded upon here and is used as a plot device in order to create a schism between Xavier and the X-Men. With Sabretooth living in the mansion, we get a lot of great moments that develop the characters further. Jubilee begins having nightmares, Psylocke finds an unsettling similarity between herself and the villain, and a connection between he and Gambit is hinted at. This insight into their characters helps readers to relate to them and allows for further speculation regarding the directions they may take in subsequent issues. The best moment, however, occurs in X-Men #28. With Sabretooth demanding psychic pacification after deeming Psylocke’s offering too paltry, Jean Grey ventures down into his cell to fulfill his request. It is a tense scene in which the “good girl” is placed in such a seemingly vulnerable position against one of the X-Men’s deadliest enemies. The implications of what Sabretooth might do to her are uncomfortable and scary. However, such fear turns out to be unfounded. Nicieza and artist Andy Kubert defy expectations. Jean shows no distress and is confident in her superiority to Sabretooth. She unleashes the totality of her psychic abilities on Sabretooth, owning him and essentially turning him into a whimpering dog. It’s brilliant and it’s a moment that helps to define who Jean is as both a hero and as a woman. She's tough and showcases just how much of a boss she can be when need be. She's all too often underestimated or overlooked as a character (especially during this era), so it's great to see her being the powerhouse that she's built up to be. She would have another standout moment two issues later when she used her powers in an entirely different way – by lifting Xavier into the air so she could dance with him at her wedding.

The most contentious aspect of The Wedding of Cyclops and Phoenix rests with those responsible for pencilling the issues collected here. While Andy Kubert had previously done impressive work in preceding issues, there’s a distinctive decline in his art here. He especially seems to have difficulty in the all-important wedding issue. His perspective is wonky in numerous places and any panels featuring numerous characters look extremely rough, with many posed awkwardly or are drawn lazily without defined hands or feet. John Romita Jr.’s art, featured in Uncanny X-Men, fares better. His characters are more distinctive and he experiments with his splash pages, but the colours laid on top of his work aren’t the best and sometimes there’s an unfinished quality to the art. There are also a couple of issues drawn by Mike McKone and Ian Churchill when they were still early into their careers. Churchill’s effort is the more impressive, particularly as it seems McKone had yet to figure out how to properly place facial features (i.e. Rogue appears with a rather puzzlingly large forehead).

The overall direction of this collection is well-done and the character work achieved by the writers is fairly impressive. They engage with some tough subjects, particularly regarding morality and the ability to change for the better, which is reminiscent of what Chris Claremont would do during his legendary run on Uncanny X-Men. One of the only shortcomings would be their usage of such a large cast, as it makes it difficult to develop each character for the readers. In other words, not everyone gets their moment in the spotlight. The focus of this trade is also primarily on the patented soap opera drama the X-Men are synonymous with, so don't go expecting lavish or epic action scenes. As mentioned previously, this collection also isn’t the most accessible and is probably best read in succession with X-Cutioner’s Song, A Skinning of Souls and Fatal Attractions. Even still, there are quite a few moments here that are not to be missed (i.e. Jean Grey vs. Sabretooth and the titular wedding).

RATING: B-