(Click title to go directly to the review)
Advance Review: SURFACE TENSION #1
SECRET WARS #2
THE AUTEUR: SISTER BAMBI #1
STORM #11
THE MANTLE #1
THOR #8
COPPERHEAD #7
UNCANNY AVENGERS #4
LADY KILLER #1-5
In stores next week!SURFACE TENSION #1
Writer: Jay GunnArtist: Jay Gunn
Publisher: Titan Comics
Reviewer: The Kid Marvel
SURFACE TENSION was one of the titles provided to us weekly from publishers for advanced reviews. Generally, I don’t go out of my way to do a review on those, simply because the stories are several issues deep and I’d have to play catch up, but this a first issue so no prior reading was required and it was described as “THE WALKING DEAD in water”, which obviously piqued my interest. However, the only thing I’d say SURFACE TENSION has in common with TWD would be that is has a post-apocalyptic scenario, which ended up being a bit disappointing at the moment.
There are some first issues that instantly reel you in, fish pun intended, but SURFACE TENSION fell a bit short on that. For starters, the story has potential. It’s an interesting take on a zombie-like apocalypse where the majority of humanity becomes stricken with a mysterious disease. However, instead of the general zombie-like symptoms of eating brains and walking around aimlessly, these ones for whatever reason were drawn to the ocean, at which point they disappeared without a trace as well as a giant, tower-sized coral resembling a hermit crab shell that seems to have been the cause of the outbreak. After the world population is drastically diminished, weird and brand new species of sea life begin popping up all over the world. Everything from the tiny and relatively harmless ones to the enormous and ship-destroying kind of sea monster begin showing up everywhere in the water, increasing in numbers over time.
Yet with all the variety of story elements that seem to create something different in the genre and if built upon correctly could really be quite interesting, the story itself isn’t too appealing at the moment. The dialogue seems a bit clunky and generic, lacking any huge difference in personality or character, and without any character that jumped out or strong story dialogue to carry the plot itself, the intriguing elements surrounding SURFACE TENSION suffered in the process-especially the mystery element involving two individuals who are the first to be found, emerging from the ocean after the “sea-sickness”, as it’s called, spread and no bodies in the water had ever been found prior.
As for the art, I personally wasn’t a huge fan of the style and a lot of the facial expressions for the characters were, well, off, or didn’t quite capture the needed emotions. Most of the time the expressions were way off, underwhelming or too much, never quite working with the moment in the particular panel.
The story has potential and could really find its groove in later issues; this is only the first one. However, at the moment it’s a bit lackluster and missing that special something that it really needs to bring everything together. Writing is tough. Writing and doing the art is even more difficult, so all the props in the world for being able to do that. I would like to see this succeed and I think with some tweaks that can very easily happen, but at the moment SURFACE TENSION just doesn’t quite hit the mark it needs to.
SECRET WARS #2
Writer: Jonathan HickmanArtist: Esad Ribic
Publisher: Marvel Comics
Reviewer: Masked Man
So a funny thing happened on the way to the SECRET WARS: it oddly turned into 1602 (that Neil Gaiman mini-series of the Marvel U being reestablished in 1602 AD) in the sense that it gives you a good feeling of what the hell is going on and sucks you in.
So yeah, not expected if you ask me. To go over it better (spoiler time): the Marvel U (and all that means) has merged, or moreso become reimagined as a single world of kingdoms dedicated to different character concepts, all living under the supreme rule of Dr. Doom, who has become the god-king of this world. The issue mostly focuses on his police force--an army of Thors. Tons of them. All shapes and sizes, all wielding hammers, and actively recruiting like any police force (or Green Lantern Corps, for a more comic book analogy). Law and order is needed, as some kingdoms are run by superheroes and some are ruled by supervillains, although there is no concept of superheroes here, just benevolent and non-benevolent lords/kings. Words can barely describe how much more interesting this is than keeping all your characters trapped in domed cities without superpowers.
The first issue explained how we got here (barely, as Hickman has no ability to write concisely, and reading two years of AVENGERS comics is still kind of required). This issue explains what 'here' is, although it's not quite a setup issue. Being a huge curve ball, overflowing with ideas, it takes a while to get it all down, and there's no hint of a plot here, which is usually set up in a setup issue as well. No, this issue is more world building than mere setup. Just what is this place, what are the rules, where are the characters we all know and love (i.e. you need to actually know the Marvel U to read this, reading it cold is near pointless)? That's what this issue is about. We do get what appears to be the proverbial monkey wrench popping up in the last few pages (spoiler time) as The Cabal has somehow managed to survive the incursion, and have not blended into this new Battle World, so we know $hit is going to hit the fan, but no clue how or why.
Hickman has something pretty interesting here, rather outside of the box (or should I say dome) if you will. But kinda like 1602, the real challenge is the ending. Are you taking us somewhere worth going? Or is it all just madcap nonsense, like a Grant Morrison story that has come off the rails? The one question that nags at me is (spoiler time), how did Doom set this up? Even with reading issue #1 and the a few months of AVENGERS leading up to this, I got no idea how Doom got here. I'm hoping this is because he hasn't explained it yet, but you can never tell with Hickman's meandering.
Artwork-wise, I'm a big fan of Esad Ribic, but I'm not so sure he's a good mainstream superhero artist like Carlo Pagulayan (who works on the other 'battleworld'). His work has far more mood than pizzazz. Luckily, here the story is all about mood and mystery, so Ribic is doing a great job of it (big eyes and all), and of course getting his GOD OF THUNDER: THOR coloring partner Ive Svorcina really helps seal the deal.
So yeah, Marvel, I might not really know what's going on yet (though that's clearly the point), but I'm very intrigued and I think all of you will be as well.
THE AUTEUR: SISTER BAMBI #1
Writer: Rick SpearsArtist: James Callahan
Publisher: Oni Press
Reviewer: Lyzard
I didn’t even realize I was looking at an AUTEUR comic when I first saw the cover. From across the way all I saw was what appeared to be a skull covered in muscle and tendons, hardly the audacious and outrageous fronts like the Lady Justice Godzilla that landed THE AUTEUR on my @$$ie list for best cover. While the visuals did not immediately scream THE AUTEUR, the opening page of dialogue did. “Is there going to be lots of raping? Gang raping?” Yep, that’s THE AUTEUR, alright.
THE AUTEUR has always been offensive--so much so that every issue comes labeled “the shocking scenes you are about to see are not suggested for the weak or immature.” I’d put an emphasis on the latter, for while there is nothing funny about rape or anti-Semitism, you cannot read THE AUTEUR unless you are willing to read it as a satiric farce. In fact, most of the characters that are racist, bigoted, sexist, and all other forms of human filth that lack any tolerance for differences in society usually get theirs in the end. And when they do, you can expect a new form of disturbance, mainly in the way of grotesque and horrific violence. THE AUTEUR pushes all the buttons, and that’s why I can’t stop reading it.
The new run of THE AUTEUR starts off in South America, with blacklisted Nathan T. Rex seeking financing for his new film from some less than scrupulous folks. Hell, these guys make Darwin the sanguivore look like a bloody saint. Rex wants to make a women in prison film starring his girlfriend Coconut as the titular Sister Bambi. His new producers have a few outrageous creative demands, but are unable to make a deal before the inevitable bloodbath begins.
THE AUTEUR hardly touched religion last time ‘round, and race was placed on the backburner behind sex, violence, and drugs. I didn’t think they could do it, but the team behind THE AUTEUR has found more ways to be offensive and yet still palpable.
Writer Rick Spears is back in top form, somehow making Rex likeable with his well-meaning but oblivious personality. Artist James Callahan and colorist Luigi Anderson are the perfect pair. I couldn’t imagine Callahan’s panels without Anderson’s acidic palette, couldn’t appreciate the viscera-filled pages without the audacious coloring of the flesh and blood.
THE AUTEUR: SISTER BAMBI #1 picks up where the last series left off and, just like most Hollywood sequels, decides that bigger is better. In this case, they are ever so right in being so wrong.
Lyzard is Lyz Reblin, a graduate student at the University of Texas pursuing a master's degree in Media Studies... which is just a fancy way of saying she plays a lot video games, watches far too many horror films, and then tries to pass it all off as "research."
STORM #11
Writer: Greg PakArt: Victor Ibanez
Publisher: Marvel Comics
Reviewer: DrSumac
This is rather sentimental for me, since STORM #5 was the first comic that I reviewed for AICN. It was clear early on that a great deal of time was put into redefining Storm's world and the relationships she had with those that that shared it. This made sense, considering the rich and varied history that Storm has had since she was created back in 1975. However even with that foundation in place it was impossible for us to know where the series would go.
A lot has happened since then, both within the comics and the world around us that inspires them. Things started to change in an important way after issue #5. The events in Ferguson, Missouri and tragically many other places throughout the United States since have created a new dialogue in this country as it is increasingly difficult to turn a blind eye to the way minorities, particularly African Americans, are treated. While the Black Lives Matter movement has been both powerful and impactful, I'm glad that writer Greg Pak used this series to try to address it in some small way.
Earlier in the series a senator was attacked and Storm was blamed for it, largely because she was a mutant who happened to be there. She then allowed herself to be arrested, which led to protests by her fellow African Americans that believed in her as a hero. The authorities were also represented well in that they were simply trying to do their job and the right thing as best they could. The real villain at the time turned out to be the senator himself, who was trying to cover up his ties to criminal activity. Just like in reality, it may be easy to blame the African American community or the police, but the real problem is a system plagued with corruption at nearly every level.
I appreciated how that story addressed some of the problems we face in the world while not being too on the nose, but this final arc managed to raise it to another level. It's well known, but I think easily forgotten, that the X-Men were originally created as an allegory for minorities and outsiders. However, STORM went beyond that as a series to talk about even the outsiders amongst the outsiders: mutants gone bad.
Recently Storm found an old student named Kenji that previously lost his mind, went bad, and seemingly died at the hands of the X-Men in the “Regenesis” storyline. She hoped that he was better now and could therefore rejoin the school, but it seemed too late for that. Kenji believed that he was already classified as one of the bad guys, and that made him an outcast no matter what happened. To him people like Storm were shining examples that he could never achieve and therefore his only choice was to be the villain they all expected him to be.
I believe that this, too, is a comment on modern racial problems. In a sense, Kenji is no different than the young African Americans that the news call looting thugs. The media never shows the peaceful protests or the young people that try to stop their brothers from committing violence in such situations. Instead they are told that they are criminals and treated that way by the police even when they haven't done anything wrong. It is difficult to rise above that, and that is precisely Kenji's struggle. Moreso, he was unable to see the perceived opposition, Storm, as more than she appeared to be as well. He believed that they were both black and white when her life had been just as complicated as his. Neither were perfect, and only through an understanding of that was a peaceful resolution possible. There is clearly something to learn from that.
My argument here isn't that Storm has been as important as those that have acted and spoken up against injustice, but Pak succeeded in telling a nuanced story with an important message just when many people here in the United States needed it. That, above all else, is why I'm sad to see this series come to an end.
Despite the fact that Marvel has been leading something of a revolution for female superheroes, it seems like STORM never found an audience like the others have. The sad truth seems to be that while the women seem to be a hit, people of color haven't been doing as well. Just look at the monthly comic sales figures and you'll see that not only do there seem to be more female solo titles in the top 100, but they are also more successful.
Of course, STORM may not have been successful for other reasons as well. It may have started too slowly for some and may have been too political for others; I can't say. However, for me STORM managed to be both entertaining and intelligent in a way that few other series are able to. To fans like myself this series had a unique voice that will surely be missed.
THE MANTLE #1
Writer: Ed BrissonArtist: Brian Level
Publisher: Image Shadowline Reviewer: Morbidlyobesefleshdevouringcat
Maybe I’m late to the game, but this year seems to have a great surge of punk ideals and aesthetics merging into mainstream comics (and please, none of that “punk isn’t dead” banter--we’re beating a dead horse here; been there done that). But the fascination stems from the desire to mesh superhero capabilities with traditional punk rockers instead of the shy average joe we’re so used to seeing here in the West.
In these regards Image’s latest, THE MANTLE, makes it a completely necessary read. The comic hinges on the new wave postpunk movement laughing at the clichés of the trend, and even goes so far as to take little stabs at the millennials. As someone who is unapologetically a part of this generation, THE MANTLE has made it so much easier to laugh/cry at myself for all the banal stereotypes I exude and the campy dialogue that comes out of my mouth. Millennial slang is weird.
Protagonist Robbie would know. As he and his girlfriend Jen weave the ins and outs of terrible punk shows, and soon discover an electric-like being dubbed The Mantle has chosen Robbie as a host, the two (well, mostly Robbie) expel humorously accurate dialogue that pertains perfectly to the fairly indulgent generation, and as the two become entwined with The Mantle’s history, having three voracious superpowered ladies take him and an unwelcomed Jen to a secluded area to learn about his new powers “Karate Kid” style, the dialogue and characters further the plot along in a slapstick motion.
The characters are intriguing, and although not yet complex, still jut out their own charisma. The ladies that find Robbie are each incredibly unique and far from the skin tights and capes that plaster the ‘new comics’ wall. Necra is a medium who communicates with the dead, and because of this interaction that she so clearly loathes her sassy mouth makes for great one-liners that end conversations in a deadpan manner. Kabrah is a large amazonian-like lady; most obviously the muscles are there, but to our surprise there are also the brains, and then there’s Shadow, who is able to teleport anyone and anything through, you guessed it, shadows.
Aside from all the great characterization, Level’s art is a fundamentally important part of THE MANTLE’s success. Any other artist and I’m not quite sure the comic would have the same reading results. The facial expressions, for me, are what really create the characters; the few expressions, or lack thereof, are momentous in portraying each character as an individual. As well, there are several frames throughout the comic, although perhaps minimal and beyond notice, that easily push the story forward rather than keep it stagnant.
THE MANTLE is everything you need in a 21st century punk rock meets superpowers comic: shamefully hilarious dialogue that keeps true to characters without playing exasperated tropes, strong female characters that don't simply exist to fill a quota, and art that is able to expertly unify these elements without being abruptly obscure. Instead of spending that 5.89 on a terribly made Starbucks latte, go enjoy life and buy this comic. Your caffeine-deprived body may not thank you, but I sure will.
THOR #8
Writer: Jason AaronArtist: Russell Dauterman
Publisher: Marvel Comics
Reviewer: Lyzard
The world has waited eight months for the unmasking of the new, female Thor and though Marvel decide to spoil the reveal a day early, THOR #8 was not lacking in impact.
The issue opens up with the current Thor and Freya leading an army of kick-ass woman warriors against The Destroyer. You’ve got Scarlet Witch, Black Widow and Angela along with a few Valkyries and other female characters that just go to show Marvel is truly behind the times in not giving us a movie starring one of these amazing women. While the issue starts with a bang and there are several key plot points regardingMalekith’s dark plan with the Frost Giants, it is a solemn moment at the end that is the real draw for this comic.
Odinson, as the non-Mjölnir-wielding Asgardian is now referred to, hasn’t caught a break as of recent. He lost his arm and his hammer, only to be replaced as Thor by an unknown woman. It has all been quite a blow to the hulking god, but it’ll probably be a bigger disappointment when he finds out that the answer to the identity of his masked successor was right in front of him this whole time.
The new Thor is none other than ex-Thor’s past love, Dr. Jane Foster! Odinson actually considered this a possibility, but marked her off his list after visiting her in the hospital back in issue #6. Upon seeing her so frail and weakened by cancer he thought that there was no way she had the strength to wield the power Mjölnir--and to an extent he is right. The mantle is weighing heavily upon her, accelerating her deterioration.
However, I wouldn’t call this reveal a bait and switch. There have been multiple clues throughout the past eight issues, some of which in retrospect I should have guessed what was coming. Most obvious was a moment in issue #4 when the two Thors kiss passionately. This obviously eliminated Freya and Odinson’s sister, Angela, as viable options but should have also knocked out the possibility of any women male Thor has never had a romantic relationship with.
THOR #8 is the last issue for the Aaron-Dauterman team. Foster’s story will continue in both the new SECRET WARS storyline and the new series, THORS, also being written by Jason Aaron. There are still unresolved sub-plots set up in this eight issue series, such as Malekith and the Frost Giants finally resurrecting King Laufey in this book, but I cannot imagine the story continuing on in such a successful fashion as these past eight months. As punny as this is, Aaron and Dauterman caught lightning in a bottle and THOR #8 encapsulated all that made this run great.
COPPERHEAD #7
Writer: Jay FaerberArtist: Scott Godlewski
Publisher: Image Comics
Reviewer: Humphrey Lee
It’s always the unassuming ones that surprise you. In this case, I’m talking about two things: both COPPERHEAD itself – COPPERHEAD being an intergalactic dustball Wild West Tale - and its lead character, Sheriff Bronson. Regarding COPPERHEAD itself, I guess “surprise” may be taking it to an extreme talking about a Jay Faerber comic because the man has a track record now of putting together entertaining and endearing pieces of serialized material. At the same time, though, I use the term and feel it has merit given A) how quickly COPPERHEAD has come together as a lively and realized world and B) how this book is a little out of the comfort zone of those worlds previously brought to life by Faerber, which have predominantly been homes to capes and powers types. But already COPPERHEAD is a bustling place full of shenanigans perpetrated by shifty and crafty and surprising characters, with its lead in Sheriff Bronson being a big old bag of the unexpected.
Copperhead’s new protector is enjoyable to watch because she is shocked by what the little in size but big on trouble town can throw at her but yet remains undaunted. Watching the sleepy yet dangerous space town through her eyes each month enhances the excitement because a large appeal comes through her reactions and how we are coming to know the character from them. We already knew that the single mother and badge-wearer has an impetuous streak – it is what put her in such a backwater in the first place, even though full details of this exile still elude us – but softness comes in from the edges from time to time. The first arc of COPPERHEAD threw Ms. Bronson right into the wringer, getting her caught in the middle of some family feuding, combined with a new deputy who is resentful of his lack of promotion, all wrapped up with her child getting caught in the middle of a good old-fashioned shoot out. Now it has come time for her to relax and become more sociable but, well, let’s just say that social grace is not something that works quite as well with headstrongness.
That is why COPPERHEAD has become such a charming read in just seven short issues; it kind of does not give a shit, much like its lead. With all the highlighted chicanery that has entered into Sheriff Bronson’s life you would figure that when she finally takes some time to breathe and go on a date – a focal point for these past couple issues – it would be to find some connection in her crazy life. Instead she just kind of takes the innocent and unassuming schoolteacher and turns him into a sex toy before finding herself in yet another gunfight. Then you have all the local yokels being all yokely and a big, sarcastic fur bag of a Deputy in the form of Boo and it’s combined with the intrigue of past mistakes that put Bronson in Copperhead and you have a book that really pulls your attention between humor, action, and character interest.
So, yes, COPPERHEAD has become kind of a surprise in that it has become so fun and (dys)functional a world in such a small amount of material. It’s definitely got that Wild West mystique, complete with rampant scoundrelry and an all or nothing attitude that leads to some body counts. It feels a lot like the much beloved “Firefly”, though playing on the other side of the law from a protagonist standpoint and not so much on the expanded cast, so far anyway. And while we’re referencing the Whedonverse of material, Sheriff Bronson herself is a pretty stalwart representative of the strong female lead. She is protective of her newly adopted flock and her only child to the point of brashness and excessive action, but she has started unleashing her femininity, particularly the wiles part. Mainly she remains a bit of a take-charge ass-kicker, though, with a seven foot tall cuddly bundle of muscle and banter at her side, and now an eagle-eyed, android sniper at her back as of this issue in order to clean up this two horse town (or whatever the future equivalent of horses would be). I feel like in the midst of some pretty high-profile creator books at Image lately that something like COPPERHEAD is easy to lose in the mix, which is as big a mistake as the one that put Sheriff Bronson in the little backwater. Panel for panel, COPPERHEAD is as fun and entertaining a title as is being published by a comic book producer these days, and that would only be a surprise to those not initiated to its world, a problem I suggest any of you not on board already quickly rectify.
Humphrey Lee has been an avid comic book reader going on fifteen years now and a contributor to Ain't It Cool comics for quite a few as well. In fact, reading comics is about all he does in his free time and where all the money from his day job wages goes to - funding his comic book habit so he can talk about them to you, our loyal readers (lucky you). He's a bit of a social networking whore, so you can find him all over the Interwebs on sites like Twitter, Facebookand a blog where he also mostly talks about comics with his free time because he hasn't the slightest semblance of a life. Sad but true, and he gladly encourages you to add, read, and comment as you will.
UNCANNY AVENGERS #4
Writer: Rick RemenderArtist: Daniel Acuna
Publisher: Marvel Comics
Reviewer: Masked Man
Meanwhile on the other side of the Incursion, Rick Remender's UNCANNY AVENGERS is dealing with, of all things, Scarlet Witch and Quicksilver's family tree. This is kind of a remarkable thing, in the sense that I feel Disney/Marvel said “hey, since we can't make movies about Scarlet Witch and Quicksilver (they were never named in AVENGERS 2), being tied so legally tied to the X-Men, we need to rewrite them, removing all 20th Century Fox sti-, I mean mutant stink off them. That way people will stop watching 20th Century Fox's movies, because they don't match the comic books (we are so smart!). So who wants to fix this for us? Look at you, UNCANNY AVENGERS writer!” Next thing you know, Remender is going all out to unmutantize Marvel's favorite trouble twins, and he's not using the obvious, what everyone had guessed, route--Inhumans. Nope--he's doing something different.
So after Remender's AXIS, which had the big bombshell that Scarlet Witch and Quicksilver were not the children of Magneto (don't tell HOUSE OF M), enter the relaunch of UNCANNY AVENGERS (because comics don't sell after issue #50 or something), and the twins were off to Counter-Earth--you know, that animal/human planet Spider-Man was running around in that really awful SPIDER-MAN UNLIMITED cartoon--yikes! You see, in a mirror of AVENGERS 2, the trouble twins were now your average Eastern Europeans who were experimented upon to make them super-powered. Josh Whedon picked Hydra out of the Marvel grab bag and Rick Remender picked the High Evolutionary--the guy who pretty much created Counter-Earth and all its beasties.
Once we get to Counter-Earth, ole H.E. of course doesn't give a ratz @$$ about the failed experiments Scarlet Witch and Quicksilver (reality screwing powers? Really? No interest at all?), although he does have great interest in Rogue (don't they all!). Add to this a civil war as the High Evolutionary’s daughter leads an army to kill her brother's resistance fighters and your superhero adventure is go! This is where the most fun of the comic comes from. It's always cool watching our heroes go up against a bunch of know it all villains who know nothing about the heroes. It usually ends with some nice comeuppance. So along with the Disney-mandated rewrite of Scarlet Witch and Quicksilver, you get some pretty solid superhero action--plus Brother Voodoo, if you like that kind of thing.
In a nutshell, rewriting the trouble twins’ family tree is a complete waste of time. Seriously, the only one who really cares is some overpaid suit at Disney who thinks this is a good way to screw 20th Century Fox, who could probably care less, but Remender is at least writing a good comic book about it.
Artwork-wise, I commend Daniel Acuna for getting this book out, because looking at it, it looks pretty rushed, so it's kind of nice to see an artist trying to stay on a story arc, but on the other hand, it's more impressive if they can keep up quality work, and this issue just doesn't look as strong as his other issues--especially since I think he has really improved his work since starting on the first UNCANNY AVENGERS series (before AXIS). Still, with one issue left before the Incursion catches up with UNCANNY AVENGERS, I look forward to the final blowout on Counter-Earth.
LADY KILLER #1-5
Writer/Pencils: Joelle JonesColorist: Laura Allred
Publisher: Dark Horse Comics
Reviewer: Optimous Douche
I love LADY KILLER. I have no caveats to create for this unabashed adoration, either. This five issue arc of nostalgic manicured nail assassination was so self-contained I still decry "I can't believe it's not Image." Well, it's not; June Cleaver who wields a wide wide assortment of deadly cutlery is a testament to Dark Horse's valiant gallop for new revenue outside ongoing serials. From introduction to nary a third act hiccup in delivery or execution is almost unheard of today. Yes, I love LADY KILLER beyond fandom and mild Fifties pin-up fetish, but I admire its ability to finish the job it started while leaving a little spittle of fluid behind for another taste of Betty Crocker bludgeoning in volume 2.Raised in a strong matriarchal family structure, the empowerment of Josie, the stealth suburban hit lady, was not about shock but more awe. See, I know the female is the deadliest of the species, but the skill and sheer disconnected sociopathic brutality with which this female delivers the final solution was as exquisite in plot design as it was in visual stimulation.
Mrs. Allred is as much the queen of kitsch koloring as we all expect, but she's always fighting against convention with nostalgia as a statement of juxtaposition or irony. LADY KILLER is a homecoming of style, requiring no holding back of saturated technicolor that was alive then but became muted with memory and mainly black and white as a memory aid. Each moment the Avon call intro turned into a call of retribution the blood hues on pencil skirts was immersive, titillating, clever and raw (especially against the back-drop of Eisenhower America’s innocence). Josie is not a feminist; she's simply a woman with an aptitude for the most delicate destruction. She is the empowered female everyone keeps bitching about never seeing in comics. Write what you know is the first law of literary greatness. I am terrified and vaguely intrigued to one day cross paths with Ms. Jones. Empowerment is never handed over; here is someone who can clearly wrest the control of comic voice from its current furry-knuckled meat hooks.
Why is this mother of two slitting throats by day and fetching highballs for dull Derwood when he pulls in at 5? Don't know. Don’t care. Doesn’t matter. Derwood and all the real men in black in Josie’s life are merely the window dressing, the anchor and the beefcake if you will. She works for an “agency” and even her tail and handler merely serves instead of ever surmounting Josie’s rightful place in the protagonist seat. When everything goes tits up with the job, I was merely there for Josie to thwart the misogyny of these haughty pricks about to be dumped down the food chain as the Sixties get more bra burny. Their lives and deaths didn't waste space--they supported the big show of the head female in charge, and were torn apart like tissue paper as Josie strives for her final place of solace in the heroine’s journey. Fuck it. Men deserve this. Josie is merely pulling the same shit literally that our dicks have pulled since we fathomed the concept of menopause. Power comes from within, and playing your enemy's game more ruthlessly is the only way to win. What makes Josie deadly and delightful is not a hatred of man fueling the kill, but an embrace of our natural attractions to weave an even more alluring and deadly web. Hell, even when she kills women there are one or two batted eyes of charm to draw the kill in closer.
Humor beyond the obvious “Poppa Loves Mambo” easy shots, imagery to both gape at and feel the exhilaration of comic scope and a story that is both cleverly new yet familiar enough that five issues don’t feel anemic are all accolades I give to LADY KILLER as a book. For Dark Horse to throw their hat at IPs with this pill-box is smart. I see a worthy deco double for AMC to give us more Don Draper time period with a heft mea culpa for little Don’s exploits. Until the TV show, revel in the fact this was made as a comic experience from splash page to the hilariously callous “Ask Josie” letter column.As I mentioned, I love LADY KILLER. I haven’t written this much praise without apologies or justifications in awhile. Years, actually. Read LADY KILLER to get why only naysayers should ever have to apologize for idiocy in the face of familiar freshness of Fifties disillusionment with danger.
When Optimous isn't reviewing comics he is making the IT words chortle and groan with marketing for MaaS360, Enterprise Mobility Management. He also has a comic coming out sometime soon, for updates head to robpatey.com.
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