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: Uncanny X-Men Volume 4 - Vs. S.H.I.E.L.D.

Following a heinous Sentinel strike, the war bubbling between Cyclops’ X-Men and S.H.I.E.L.D. reaches a fever pitch. Unwilling to sit idly by while more mutants are harmed, Cyclops takes the fight to the international spy organization apparently responsible for the Sentinels’ actions. Then, Dazzler is finally freed from captivity at Mystique’s hands. Angry and bitter over what she’s been through, she intends to get revenge on the shapeshifting femme fatale.

Uncanny X-Men Volume 4: Vs. S.H.I.E.L.D. collects Uncanny X-Men #19-24, written by Brian Michael Bendis and with art by Chris Bachalo and Kris Anka.

This collection is typical of Bendis’ ho-hum direction on the X-Men titles during the Marvel Now! initiative. It’s all build up with no pay-off. The X-Men’s conflict against S.H.I.E.L.D. had been simmering since the onset of this title and “Vs. S.H.I.E.L.D.” attempts to resolve that as a four issue arc. After a Sentinel attack, an incensed Cyclops determines to hold S.H.I.E.L.D. responsible for their actions. This leads to a blow out on the front lawn of the Jean Grey School and the discovery of who is truly pulling the strings. The climax is unimpressive and the reveal isn’t terribly shocking, so the arc feels somewhat deflated as a whole. As can be expected from Bendis, there’s a lot of dialogue and some great character moments (there’s a great scene telepathic exchange between Cyclops and Maria Hill, for example). The primary narrative itself just didn’t click for me. Personally, the more interesting story here involves Mystique’s usage of Dazzler as her personal mutant growth hormone factory, but this is relegated to subplot status and is only referenced cursorily in the aftermath.

The “Vs. S.H.I.E.L.D.” arc leads into the tie-in for Original Sin, which is framed as a two-parter named “The Last Will and Testament of Charles Xavier.” In it, She-Hulk obtains Xavier’s will and is responsible for reading it to those named in the contents. Cyclops is hauled back to the Jean Grey School, where several “shocking” revelations are made about Xavier’s past. The quotes are necessary as Bendis seems to be putting in overtime to really try and surprise readers with plot twists. The problem is the twists are unwanted in every possible way. I was rolling my eyes so hard I’m surprised I didn’t catch a glimpse into the back of my brain. Consider this a spoiler warning. The first big plot twist is that Professor Xavier is married to Mystique and so all of his property now belong to her. It’s a really unnecessary development that feels like it’s either a remnant of the Ultimate Universe or was inspired by the First Class trilogy. Either way, it feels out of place and is just plain messy. It’s bad enough that Bendis treats Mystique like she’s the only damn X-Men villain around. The other twist is that there’s this uber powerful mutant that Xavier has kept secret for decades and now the X-Men have to go find him before he destroys everything. It’s a revelation that left me with a feeling of a déjà vu since it seems like a re-packaging of Proteus and Jean Grey.

Uncanny X-Men Volume 4: Vs. S.H.I.E.L.D. doesn’t ever reach its full potential. It’s bogged down by far too much dialogue and exposition, as well as puzzling plot twists. The artwork done by superstars Chris Bachalo and Kris Anka gives the book a premium feel, elevating the quality above what we’re getting on the story front. Though the cast is likeable and the plot elements are interesting enough, Bendis seems to be spending most of his time setting up future plotlines and recycling old ones rather than creating a compelling arc with an explosive climax.

RATING: C

Review: Earth 2 Volume 3 - Battle Cry

After staging a violent coup, Steppenwolf becomes the ruler of the nation of Dherain and immediately engages in a war with the World Army. The wonders of Earth unite against this threat, but Steppenwolf’s warriors may be too powerful for them to defeat. Meanwhile, Hawkgirl continues her search for answers regarding the death of Green Lantern’s fiancé.

Earth 2 Volume 3: Battle Cry collects Earth 2 #13-16, Earth 2 Annual #1, and Earth 2 #15.1, written by James Robinson and illustrated by Nicola Scott. Additional writing is by Paul Levitz and art by Yildiray Cinar.

Battle Cry is a bit of a mess. Where the previous two collections featured some solid character development, this one fails to deliver on that end and instead focuses on a war between the World Army and Steppenwolf that doesn’t quite get the build-up it needed. There are also numerous subplots – namely the introduction of a mysterious new Batman, Fury’s pursuit of Mister Miracle and Big Barda, and Hawkgirl’s investigation into the death of Sam Zhao. As such, Robinson is throwing too much at the reader and doesn’t spend nearly enough time developing the cast he’s reinvented. I would have preferred for him to focus more on Hawkgirl, Fury, and Big Barda since the few female characters in Earth 2 have very little to do.

There are some highlights to this trade. I really enjoyed Robinson’s take on Commander Steel (named Captain Steel in this series). He manages to reinvent the character’s origin in order to make him more relatable and to increase the diverse representation Earth 2 has become known for. He’s a character I’d loved to have seen more of, but he’s sadly not folded into the main cast. Robinson manages to get in a few good twists as well. The appearance of a new Batman adds intrigue (though the cover to this trade kind of spoils that surprise) and there’s a surprising reveal during the battle against Steppenwolf that I certainly didn’t predict. Finally, Nicola Scott’s art continues to be excellent throughout. The men she draws continue to be scrumptious and I’m glad that she’s finally given more women to draw besides Hawkgirl.

This is the final volume collecting James Robinson’s work on Earth 2 (he is replaced by Tom Taylor by issue 17) and he unfortunately goes out with more of a whimper than a bang. He began the series with a lot great ideas and concepts, reinventing Golden Age characters brilliantly for a modern audience. After two decently entertaining arcs, he stumbled with this collection and ended up delivering a lead-up to Taylor’s run rather than neatly tying up the loose ends of his own. The art and high octane action compensates for this, but the drop in quality is far too noticeable not to lament.

RATING: C+

Review: Pretty Guardian Sailor Moon Crystal (Season One)

After a chance encounter with a talking cat, 14-year-old Usagi Tsukino is transformed into the superhero Sailor Moon. She is charged with defeating the sinister Dark Kingdom alongside her allies Sailor Mercury, Sailor Mars, Sailor Jupiter and Sailor Venus, while also looking for the mysterious Moon Princess and the mystical Legendary Silver Crystal. Along the way she meets the dashing Tuxedo Mask, an enigmatic figure whose motives remain unknown.

Pretty Guardian Sailor Moon Crystal is the 2014 anime reboot based off of the manga series by Naoko Takeuchi. Its first season consists of 14 episodes and features the voice talents of Kotono Mitsuishi, Hisako Kanemoto, Rina Sato, Ami Koshimizu and Shizuka Ito.

Pretty Guardian Sailor Moon Crystal is the most faithful adaptation that’s been produced from Naoko Takeuchi’s seminal manga series. It adapts the original story chapter-for-chapter, using the dialogue and panel work from the first arc as its blueprint. This works wonderfully in order to set the tone and create a consistent pace. Tonally, Crystal is more dramatic than its predecessor and comedy is seldom utilized. At times this hinders the first season, particularly as it hinders character growth, but it also keeps things cohesive. It is also much darker in its imagery and finer plot details, particularly as we see the destruction caused by the enemy. This contributes to a feeling of maturity within the series, thus allowing audiences to take the characters more seriously and increasing the stakes and tension.

The narrative of the first season of Crystal unfolds seamlessly and without interruption or unnecessary subplots, unlike its filler-riddled predecessor. In the first episode, Usagi transforms into Sailor Moon in order to save her friend Naru from a monster. From there, Ami (Sailor Mercury), Rei (Sailor Mars) and Makoto (Sailor Jupiter) are introduced in rapid succession. This moves the plot along at a brisk pace and allows the audience to warm to these characters quicker. Their mission is clear from the onset as well – they must find the Moon Princess and the Legendary Silver Crystal. The Sailor Guardians don’t waste copious amounts of time merely reacting to enemy schemes nor do the villains embark on assignments that only serve to decelerate the plot. The original anime was most frequently caught in a monster-of-the-week storytelling formula that created uneven pacing and saw the introduction of numerous (often inane) villainous subplots. Where it took 34 episodes in the original to reveal the identity of the Moon Princess and the location of the Legendary Silver Crystal, it takes a mere nine in Crystal. This does mean that Crystal benefits from being binge-watched, since it is purposely plotted so that each episode leads into the next and not a second is wasted on filler. By following the manga more closely and through the benefit of retrospect, the first season of Crystal plays out like one long film. This is further emphasized by its explosive (stock footage-free) action sequences and timeless orchestral score.

While Crystal is very faithful to its source text, it also deviates in ways that help the series to feel fresh and new. For instance, many of the hyper stylized comical character reactions have been excised in favour of portraying the characters more realistically. The biggest change though is that the Shitennou are not killed off individually early on in the story. Instead, they survive the attacks lobbed at them by the Sailor Guardians and remain as a unified team until close to the season’s finale. This helps to contrast them against the versions we’ve seen in both the original anime and the live-action, where they were prone to in-fighting and never quite managed to work in unison. Crystal also makes canon the notion that the Shitennou and the Sailor Guardians were lovers in their past lives, which adds an interesting layer to their backstories. Additionally, it complicates matters for the Sailor Guardians. In their past lives they loved these men, but are now forced to do battle against them. Another change, which I found to be less effective, was made to Queen Beryl’s demise. Without spoiling anything, I’ll just say that I prefer her (rather gruesome) death in the manga rather than the somewhat contrived one she’s given in this series.

While its storytelling is on point, Crystal struggles with character development. On one hand, this series gives us one of the most organic and relatable versions we’ve seen of Usagi and Mamoru’s relationship. Usagi as a character feels much more tangible than other portrayals, as she grows tremendously from the first episode until the season’s conclusion. She’s not a walking caricature who vacillates from comic relief to fierce warrior at the drop of a hat. Similarly, Mamoru doesn’t come across as a one-note character whose sole purpose is to provide pep talks to the lead heroine. He’s a complex and tortured character, but he’s also warm and caring. Since both characters are portrayed more realistically, we’re able to take their relationship more seriously. As you can imagine, the scenes between these two characters are some of the best in the first season. On the other hand, every other character feels tragically underdeveloped. The dialogue and voice work do absolutely nothing to hint at distinctive personalities for the Sailor Guardians. Ami and Minako fare the best. Ami’s intelligence is utilized throughout, while we get to see Minako’s take-charge attitude and a bit of her goofy side. Even still, Crystal would have benefitted from injecting personality into their words and actions. This would mean making Makoto’s lines gruffer and having her be more impulsive in battle, while also emphasizing Rei’s distrust of men (which is mentioned in passing, but not elaborated upon) and playing up her cool girl demeanour. This personality problem is also relevant to the Shitennou. Since they’re given more screentime, it would stand to reason that the writers and producers would make more of an effort to actually flesh them out. Sadly, they don’t. They would have done well to heed Naoko Takeuchi’s character notes for them – Jadeite is the serious one, Nephrite is the emotional one, Zoisite is the manipulative one, and Kunzite is the quiet storm.

The elephant in the room when it comes to Crystal is its animation. Its rushed production seems to have translated into some rather rough work that does the first season absolutely no favours. The characters are so often awkwardly drawn that it makes it difficult to appreciate how good this first season is. It’s unfortunate since the aesthetic of the series is actually very strong and is far more cohesive than its predecessor. The character models are elegant and feminine while the overall look of the show is achieved through pale tones and more detailed settings, all of which help to contribute towards a whimsical feeling. The original anime was notable for featuring numerous animation directors, all of whom had very different styles, thus creating differing quality from episode to episode. Crystal has the same style throughout, but it’s undermined far too often by its aforementioned sloppy animation. As a side note, it also would have benefitted the animators to actually depict the Sailor Guardians with more meat on their bones. Naoko Takeuchi herself said she wished she’d depicted Usagi a bit chubbier and giving them larger frames would have actually fixed many of the awkward poses we see the girls in.

Overall, Pretty Guardian Sailor Moon Crystal’s first season is massively entertaining and rather addicting to watch. I admire and appreciate its adherence to the manga, as no other adaptation has been this faithful before. It allows wider audiences the opportunity to appreciate Naoko Takeuchi’s hard work on her epic and poignantly romantic first arc. In doing so, Crystal has the best pacing and narrative structure of any other adaptation of Sailor Moon. It also smartly improves upon some of the manga’s weaker points as well. The manga’s rather weak action sequences are elaborated upon and transformed into high octane spectacles, while its quick disposal of villains is ignored in favour of keeping the Shitennou around for a much longer period of time. If I judging Crystal solely on its story, then I’d say that it’s the best adaptation we’ve got thus far. Sadly, its animation and poor character development are glaring flaws that cannot be ignored. The first season is pretty damn good, but it’s also not the best it could have been.

RATING: B+

Review: Wonder Woman '77 Volume 1

Special agent Diana Prince is hot on the trails of a Soviet scientist. With her trusted partner Steve Trevor at her side, she must go undercover at a disco where a certain silver-clad villainess throws a wrench in her plans. Then, she must do battle with the new Cheetah and contend with a wannabe Wonder Woman.

Wonder Woman ’77 Volume 1 collects Wonder Woman ’77 #1-2, written by Marc Andreyko and illustrated by Cat Staggs, Jason Badower, Matt Haley, Drew Johnson, and more.

In the same vein as DC Comics’ Batman ’66, Wonder Woman ’77 acts as a continuation of the iconic television series starring Lynda Carter. As someone who had watched the television series long after it had finished airing, I had mixed feelings regarding its quality. I thoroughly enjoyed the first season, which was set during World War II and saw Wonder Woman facing off against Nazis, but found the second and third difficult to sit through due its inconsistent tone and unmemorable writing. The latter two seasons failed to adapt any villains from the comics, so the titular Amazon Princess faced off against generic villains in topical episodes that seemed to replicate the formula that made Charlie’s Angels a ratings juggernaut instead of focusing on what made Wonder Woman unique. With that said, Andreyko and company give readers the series we deserved all along with Wonder Woman ‘77. This first collection is ridiculously fun and is perfectly suited for fans of the show, as well as comic fans and newbies to Wonder Woman, since it really captures the essence of the character while also giving her adventures worthy of her status. Additionally, the artists working on the issues in this collection are immensely talented. They manage to gloriously capture the aesthetic of the time period and the stunning beauty of Lynda Carter.

From its very first story, Andreyko begins reimagining Wonder Woman’s rogues’ gallery to fit the tone and setting of the series. For instance, Silver Swan becomes a demented disco singer (in a fierce stage costume, I might add) serving the Soviet Union. He also introduces Cheetah as a villain outraged by a Wonder Woman exhibit at her museum and Doctor Psycho, who conjures up a faux Wonder Woman to trick the Amazon Princess into believing she is powerless. I really like Andreyko’s approach because he seamlessly introduces these characters into this world in a way that is believable and works for the era, but is somehow also timeless and would work for any time period. He also gets creativity props for doing a story with Solomon Grundy, which I felt was unexpected in a really great way.

For anyone looking for a great read, Wonder Woman ’77 Volume 1 is all kinds of fun. It never takes itself too seriously and embraces the camp that was inherent in its parent series while also doing its own thing. Marc Andreyko has a firm grasp on Wonder Woman’s character and really nails her voice. Just as importantly, he doesn’t disappoint on the villain front. He gives us Silver Swan, Cheetah, Doctor Psycho, Solomon Grundy, and a great new baddie named Celsia. Hell, we even get to see Giganta and Golden Age Cheetah! Even though the artists rotate, the art is of a high caliber throughout. This is especially important as the illusion of Lynda Carter is kept consistent from start to finish.

RATING: A-

Review: Green Lanterns Volume 1 - Rage Planet

When Atrocitus sights his sights on conquering Earth, rookie Green Lanterns Simon Baz and Jessica Cruz are the only line of defense against his Red Lanterns. They must overcome their shortcomings and learn to work together as partners in order to destroy Atrocitus’ deadly Hell Tower and save Earth from being transformed into a planet governed by rage.

Green Lanterns Volume 1: Rage Planet collects Green Lanterns: Rebirth #1 and Green Lanterns #1-6, written by Sam Humphries and primarily illustrated by Robson Rocha.

Rage Planet is light on plot, but heavy on character development. Not a whole lot happens in the six issues collected in this trade and the narrative seems to tread water until its rather abrupt conclusion. It’s a fairly standard invasion storyline where the Red Lanterns come to Earth in order to make it their new home world. To do so, they must install what is known as a Hell Tower, which infects the planet and all those living on it with unyielding rage. With the rest of the Green Lanterns out of the picture, newbies Simon and Jessica are the only heroes equipped to deal with this threat. There isn’t a whole lot of action or conflict until towards the end when Simon and Jessica finally face off against Atrocitus and his Red Lanterns. Prior to that, we mostly get scenes involving the rage infection and our protagonists’ reactions to it. If I’m being honest, it’s a bit of a paint-by-numbers zombie story (but with an alien force as the cause rather than some kind of radiation or virus).

Where Rage Planet really engages is in its character work. Simon was once unjustly imprisoned and is continually faced with the islamophobia directed at his family. He is an individual who feels he has something to prove as a result of the way the society around him wishes to discard and profile him. This makes him brash and impulsive. By contrast, Jessica is someone crippled by anxiety and who has spent the last three years of her life hidden away in her apartment following a traumatic event. She’s never sought help, but shows signs of either being agoraphobic or of suffering from PTSD. It remains a mystery to Jessica as to why she’s even a Green Lantern and Rage Planet is largely built around her inability to create constructs with her ring. The dynamic between the two characters is tense and argumentative, as can be expected based on how different they approach their new roles. While I quite like Simon as a character, it is Jessica who I relate to the most and find to have the most potential. This is someone who is really hindered by self-doubt and this is something that really prevents her from being the hero she needs to be. She has to overcome her fear. It’s refreshing to have a Green Lantern like her as the preceding ones have long existed in various stages of being messianic heroes (save for Guy Gardner).

As a whole, Green Lanterns Volume 1: Rage Planet is a fairly predictable (but enjoyable) start to Simon Baz and Jessica Cruz’s Post-New 52 life. The character work that Humphries puts into the story injects an otherwise unremarkable narrative with interest and engagement. I especially like what he’s done with Jessica, making her the real reason to read this book. On the artistic front, Rage Planet is unfortunately very inconsistent as it features the work of multiple artists. It’s not the best decision to make, especially for the first six issues straight out the gate of DC’s Rebirth initiative. I’m not terribly impressed with Rage Planet, but Jessica is enough to keep me interested for the time being.

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-