Joss Whedon special section at PopMatters

On Friday, Robert Moore introduced a PopMatters Spotlight on Joss Whedon. Moore’s essay critically reviews Whedon’s body of work, and then asks, “Why do his shows resonate so strongly with his viewers?” Moore suggests that Whedon’s films and TV shows (and, presumably, comics) work because he likes what his audiences like, and, most importantly, does what he can within limits imposed by networks and producers, to deliver on those tastes and preferences. He also argues that Whedon’s work attracts loyal fans because he respects their intelligence, and that he demonstrates an authentic interest in and respect for women, a rare quality in Hollywood and in mainstream comics.

My favorite passage is from that last section of the essay. Like Moore’s motivation for writing these paragraphs, I have personal, as well as  political, reasons for appreciating Whedon’s interest in making strong, complicated female characters central in his work.

I have a twelve year-old daughter who is currently trying to watch Buffy and Angel as fast she can, and who has already devoured Firefly. I think that Moore perfectly captures why Whedon’s work has been significant in helping to change how American pop culture is gendered.

Why is this important? Why particularly is it crucial that there be these vital, strong, heroic women?

Here I must turn personal. As a single-father raising a young girl, I quickly appreciated how desperately my daughter wanted to see heroic girls and women in movies and on TV. Watching Peter Pan, she unexpectedly viewed Wendy as the hero of the story. Many classic films were rejected when we visited the video store, my daughter asking instead for movies “with girl heroes.” This was immediately before Buffy, and after The Wizard of Oz, The Journey of Natty Gann, and Nausicaä of the Valley of the Wind we were faced with slim pickings.

All this changed with Buffy. Instead of a handful of movies or television series with strong girls and women, there are a host. It is possible that shows like Fascape, Roswell, Dark Angel, Alias, Veronica Mars, Battlestar Galactica, Terminator: The Sarah Connor Chronicles, and Fringe would have appeared anyway, but the fact is that it was only after Buffy that such shows hit the networks in any quantity.

I learned firsthand just how important it is for young girls—or even older girls—need to feel that it is OK to be strong. It is just as important for men to grasp and understand that it is a great thing for women to be every bit as strong and heroic as we popularly assume that men can be.

My daughter wanted “girl heroes” that she could identify with and whose exploits she could enjoy. Unfortunately, she had few. Today, post-Buffy, there are many. Anyone who has helped change the cultural landscape to that degree deserves considerably more than a Spotlight.

The first regular entry in the series, Laura Berger’s, “Joss Whedon 101” piece on the Buffy movie, also appeared on Friday. I am looking forward to the rest of the Spotlight, which you can track from its homepage.

On finishing BUFFY SEASON EIGHT

I had been thinking about what I might want to write about Buffy Season Eight even before reading issue number forty and Joss Whedon’s letter at the end of the “episode”, as well his EW interview, which I had stored away in my “read later” section on Pinboard.

And what I had been thinking about runs parallel to Whedon’s remarks on the end of this first comics season for Buffy. In particular, I think that these comments from the EW interview, and also represented in the letter, identify what made Season Eight both exciting and frustrating:

I got very excited when I had a comic book with the idea that I could do absolutely anything. We hit a lot of beautiful notes and I’ve got a lot of great writers working [on the comics], and I’m very proud of it. But at the same time, it’s like, yeah, “You can do anything” is not really the Buffy mission statement. The Buffy mission statement is, “What does this feel like?”

With the comic, we just sort of said, “Wheee!” Ultimately, “Wheee!” caught up with us in a cavalcade of mythology. It became clear, as it did with the show, that people really liked when Buffy’s adventures reflect what she’s going through in her life [and] what we’re going through in our lives at that age. That was the thing in season 8 that we didn’t tap into as much as I think we ultimately should have.

As I remarked in this column on PopMatters, the scale and scope of the storytelling in Season Eight is much greater than it ever was, or could be, on television. While this undoubtedly took advantage of the new medium, sometimes bigger is just bigger, not better. That the creative team recognizes this is not only apparent in paratexts like the letter and the interview, but also in the text of issue number forty.

One of the strengths of Buffy on TV is how consistently the series deals with the consequences of big events and character choices. And that’s what the final issue of Season Eight is about – the aftermath of what Buffy did to conclude “Last Gleaming” (#36-#39). While destroying the seed of magic creates a break in the storyworld it also constitutes a beginning, one where the effects of Buffy’s action have to be dealt with, both on a personal level for the characters and also in terms of how the universe works. This is strong storytelling, and looks to be the jumping off point for Season Nine, for which Whedon seems to be promising less grand theatrics and more character-driven narratives.

For me, I think the apex of the “wheee” thinking is in the Brad Meltzer written “Twilight” issues (#32-#35), where Buffy and Angel have explicit, epic, universe creating sex. For one constraint or another – censors, budgets – this storyline would have been impossible to work into the TV series, and likely so even if it had not been on a broadcast network.

And I’m still not sure what I think about this particular piece of the Season Eight story, or what it added to the mythology of the Buffyverse, or to our understanding of Buffy’s relationship with Angel. It still feels to me as if it was done more because it could be done, and not as much because it was an entirely good or compelling idea.

A more minor “we did it because we could” moment in Season Eight is the reappearance of Warren. In terms of technique, aesthetics, and budgets, a drawn character who has no skin is a much better proposition than a live action version, but the narrative reasons for bringing Warren back, really skin or no, still elude me. There is also the question of what his appearance in the comics implies for season seven and how the First Evil works. I’ve done some research, and know that a rationale has been given (wanked) for how Warren could both be used by the First Evil and come back in uncovered flesh and blood for Season Eight, but I don’t find the explanation compelling in light of the limited pay off for needing to rationalize the choice at all.

To be honest, I’m not sure Amy needed to be brought into the new comics either, but with her there might be future uses that could still result in something interesting. More importantly, her introduction into Season Eight did not create meta-narrative level problems requiring readers to either forget what they had been told previously and/or some kind of patch for the mythology to remain consistent at a pretty fundamental level.

On the other hand, I agree with Whedon that Giant Dawn is maybe the best example of how the writers and artists took advantage of the medium in Season Eight. All of Dawn’s transmogrifications worked for both humor and character development, giving Dawn adversity to overcome, and helping her to mature as her feelings of being different take on literal form.

“Wolves at the Gate” (#12-#15) stands as one of my favorite mini-arcs of the season. Giant Dawn, of course, plays a major role in that story, but I also like how Drew Goddard writes Dracula as both a powerful and a vulnerable character, and the shift of the action to Tokyo is another good example of using comics to good effect (I did not particularly care for the killing off of Renee, but was not surprised by it either).

“No Future for You” (#6-#9) and “Time of Your Life” (#16-#19) are my two other favorite series within the series. The latter, like “Wolves at the Gate”, takes Buffy into a high concept world that would have been impossible to render in an effective way on TV, but also gave fans a much anticipated crossover with Fray, drew out some very long term implications of the present-day story, and brought Karl Moline back to the Buffyverse. I think that Whedon’s rendering of an even thicker version of future slang for this mini is a good use of bringing Buffy into Fray’s New York, giving readers what they don’t have in Fray, which is someone in the story who has to navigate that time and place from an unfamiliar position.

The Drew Goddard written “No Future for You” knows its core characters well, and provides a superb reintroduction of Faith, but is also the first point in the series where Georges Jeanty and Andy Owens showed me a real weakness in their art. For the most part, the comics versions of the characters took on effective lives of their own, different from, but related to, their live action counterparts, but the early attempts at drawing Faith did not work well for me at all, making her seem, of all things, dumpy. By the end of the whole series, she starts looking sharper and more Faith-like, but initially, not a high point for the art in Season Eight.

Looking back on the single issue stories from Season Eight:

  • In “The Chain” (#5), Joss Whedon writes a story that ably explores the tougher side of running a Slayer army.
  • Also written by Whedon and appearing in succession are “Anywhere But Here” (#10) and “A Beautiful Sunset” (#11). The former is notable to me for Cliff Richards’s art, which, as always, provides effective comic book likenesses of the characters. The latter reveals Satsu’s love for Buffy and also brings the series around to questions of love and sexuality that it kind of punted with Willow by making her a fully committed Lesbian. Anne-Marie and I have always talked about how it would be more interesting if Willow simply loved who she loved, male or female, than it is for her to have not only discovered an attraction to women, but also that she is, in some sense, exclusive in her attractions. Buffy’s sexuality seems to have become more fluid with time, and that is interesting, and well worth the static this revelation earned the creators on the letters page.
  • “After these Message … We’ll be Right Back!” (#20), by Jeph Loeb, “Harmonic Divergence” (#21), by Jane Espenson, and “Swell” (#22), by Steven S. DeKnight all provided fun diversions from the main story, playing with cultural trends and keeping the series grounded in everyday life.
  • Whedon’s “Turbulence” (#31) is strong bridge between “Retreat” (#26-#30) and “Twilight”, and introduces one of the most interesting aspects of Season Eight for me: Buffy’s superpowers, a development made even more intriguing given their source. This story poses interesting issues about power and the costs of using it that are well within the scope of both the series itself and superhero comics in general. Granting Buffy new powers, even for a few moments, serves to ground her in that larger tradition, but in a way that seems very organic, and not forced.

In considering my review, clearly I have more doubts about the latter third of the series than the remainder, but there are, of course, moments I liked. Spike leading a pack of spacefaring bugs, for example, is crazy fun, and the character wears that kind of thing well. I also am impressed that, in issue forty, Whedon manages to make Kennedy interesting, albeit at Willow’s expense.

However, I do not know what to write about Giles’s death at the hands of Angel. On the one hand, this death is less cheap than Anya’s is in season seven. On the other hand, I am not sure what to make of the how it happened, or whether this is, in fact, the time to actually take Giles out of the storyworld (the previous time this happened did not work out so well, but everyone was younger then, too). I hope that this a thread that gets woven into Season Nine and/or the new Angel books from Dark Horse.

Mostly, I am interested to see if the new series does, in fact, follow the lines outlined by Whedon so far. If it does, that will be for the better, and will also, I think, keep giving Buffy (and Buffy) a meaningful life in comics. What I hope does not change is Jo Chen as the primary cover artist. Virually every cover she made for Season Eight is a frameable work of art. Still, I am open to change and surprise even here.

End of September comics

From tfaw this month:

Monthlies:

Avengers Academy #4 (Marvel)

This is A’s subscription. My plan is always to skim, but I end up reading them more intently than that. That probably says something good about Christos Gage’s writing in particular.

B.P.R.D.: Hell on Earth – New World #2 (Dark Horse)

Two major storylines this issue. In one, at B.P.R.D. headquarters, Kate is cracking under the bureaucratic responsibilities imposed by the UN, while Panya is causing mischief, raising questions about her agendas and what she’s contributing to the work of the Bureau.

Meanwhile, in the woods of British Columbia Abe finds Benjamin Daimio hiding out, ashamed of how he left the B.P.R.D. The Wendigo is seen lurking in the forest. Daimio fills Abe in on news of a deep lake in the area where something terrible rests. The issue ends with Abe diving in.

The two major storylines are bridged by a series of panels featuring two unknown men living with an unidentified “she” who shouldn’t be disturbed. The transition from B.P.R.D. hq to the BC woods is handled through a TV talk show where commentators argue over what the horrible events of the last few months mean. We see Johann watching the show, and then are taken to the set, and then to the house in the woods where one of the unidentified men is watching the debate.

As always, reading B.P.R.D. has rewards on multiple levels.

Batman: Streets of Gotham #16 (DC)

I canceled this subscription a few months ao when the Manhunter backups stopped running. So, this is just a burn off.

Birds of Prey #5 (DC)

This issue highlights what I’m enjoying about the new BoP and what worries about the series. First, I appreciate how Gail Simone is able to keep things moving in interesting ways. Even though this issue is mostly about the aftermath of last month’s big fight, and set up for the issue to follow, a lot happens in-between mop up and the shift to Bangkok. The fact that it mostly involves Lady Blackhawk and Huntress, thereby bringing them back into the main action, is even better.

And on that, I also am enjoying seeing Helena with her edge back. After Black Canary left the group the first time, Helena got turned into the field leader/den mother than Dinah used to be, and, in the process, became a softer character. For me, though, she is at her most interesting when you aren’t quite sure what she’ll do. Here I believed that she would kill The Penguin given the chance, despite the fact that I know that is probably forbidden by the Powers that Be at DC.

On the other hand, I am concerned that this reset is beginning with everyone in grim peril, and, now, the team fraying at the seams. I think that Simone loves these characters too much to sell them out for cheap dramatics, so I trust that there will be a settling down at some point, but when you start with so much dire, it’s hard to know where things might go next.

That concern is minor next to my wish for more from the art. I was glad enough to see that Ed Benes is able to moderate his impulse to fetishize certain parts of the Birds’ bodies, but I can still think of a number of artists I’d rather have on the title. I understand from reading Gail Simone on Twitter that Benes had to quit working for health reasons. I would not wish that kind of illness on anyone, but I do hope that his absence creates an opportunity for someone else. Nicola Scott or Georges Jeanty come immediately to mind, or, even though she hasn’t worked with DC before, I would love to see Emma Rios on this book. Right now, predictably, I guess, the art-side is a mess.

Black Widow #6 (Marvel)

A new creative team takes over and gets off to a ho hum start. I appreciate Duane Swierczynski’s effort to write a story that, at the outset at least, is easy to get into without a lot of background, but beginning with the same premise as Marjorie Liu used to launch the series, Natalia/Natasha being framed for crimes she did not commit, is not confidence inspiring.

The art is also missing the uniqueness and flare of Daniel Acuna’s work. Manuel Garcia, in particular, draws all of the women in a disappointingly conventional way (flowing hair, big breasts, long legs).

Still, it is just a start.

Buffy the Vampire Slayer Season Eight #36 (Last Gleaming, part I) (Dark Horse)

Here Joss Whedon scripts and it shows in the mix of wit and drama, including a few nice visual jokes. I also found the issue to be helpful in recapping the Twilight reveal and its implications. In addition to starting the end of Season Eight, the issue reads as if it might be setting up Angel and Spike’s return to Dark Horse (see the Spike: The Devil You Know below).

Daytripper #10 (DC/Vertigo)

Final issue, and the gentlest of the series. Moon & Ba use a device here that I am not fond of, the dispensing of parental wisdom, but in a series about writers and the writing life, I grant them some latitude.

I am also still working through what I think about this last installment ending in a markedly different way than the previous issues – until the end, in fact, I had been wondering if this series really needed to be read in a strictly linear way – but I also think that this book should end up high on the “titles to recommend to adults who want to get into comics” list. Not only is the story entirely against the grain of what Americans assume comics are for, but the art is at a high standard. Ba & Moon clearly love people, and the details of daily life. Both of these are beautifully reflected here.

Fringe: Tales from the Fringe #4 (Wildstorm)

I am enjoying this second Fringe mini. I think that using comics to tell small side stories about characters from a TV show are a good use of these kinds of licensed comics.

Of course, the fact that the stories wouldn’t really carry a television episode sometimes shows. This issue the main story about Nina Sharp lacks a certain amount of imagination (let’s see; we have an older woman in a position of power, childless, no partner, what shall we write about?), but the art is lovely. Subtly styled, Julius Gopez also draws charmingly credible versions of the younger Nina and William Bell. Carrie Strachan’s colors are bright, and I especially like how Nina’s red hair ‘pops’.

The secondary story is also cliched, but Fiona Staples’ typically expressive artwork elevates the narrative beyond its limitations.

Hellboy: The Storm #3 (Dark Horse)

By the end of this mini, it is revealed that ‘the storm’ is the summoning, again, of Ogdru Jahad, a revelation that probably explains why Hellboy begins to feel as if doing what everyone wants him to do, lead an army of the dead against Nimue’s host, is exactly what he should not do. As it turns out, Nimue is, herself, simply a tool in the bringing of the Ogdru Jahad (isn’t that always the way).

Before setting out to face the witch queen, Hellboy appears to express his love for Alice and an intention to return to America and to the B.P.R.D. (following up on last issue’s hint at a crossover). On the road, he sees Gruagach/Grom strung up on a tree, begging for death and expressing regret for where his thirst for revenge has led the world. Hellboy tries to accomodate him, but to no avail. Gruagach seems destined to suffer for all time, which is sad even for a creature so epically small-minded.

More of interest happens in this comic than in a whole year’s worth of other titles.

I, Zombie #5 (DC/Vertigo)

Gwen confronts a moral dilemma and possibly an uncomfortable truth about herself in this issue. Chris Roberson and Michael Allred do an excellent job showing Gwen’s distress as much as telling it to readers. Most keenly for me, A continues to look forward to this book and I continue to feel ok about letting her read it.

Murderland #2 (Image)

After two issues, I am still trying to make up my mind about this book. I had it pulled because the previews promised something that inspired by Homicide and The Wire, and issue two certainly exhibits more of that promise than number one. However, I’m still not sure what’s going on. Narrative strands are being drawn out but not brought together yet. I was thankful for the short ‘FlipSide’ backup for its clearer and sharper story.

Still, David Hahn’s art is eye catching, with a good assist from Jose Villarubia on “Jiggity-Jig, part one” and Guillem Mari on the main story.

Mystery Society #3 (IDW)

This book continues to be fun. Not a lot new happens in this issue, but our heroes continue to outwit their pursuers, at least until the cliffhanger ending. And it would be hard not to at least enjoy looking at Fiona Staples art.

Scarlet #2 (Marvel Icon)

This book seems designed to polarize people and to provoke questions about the medium. What does it mean when a comic book character breaks the fourth wall? Is that even the right language? At what point does it make sense to look at Alex Maleev’s art in terms of photography rather than comics? How does doing that change how you understand his work?

I thought that having Scarlet address the reader was an effective way to set up the story and introduce the character. In issue two it becomes … ponderous. She seems to be rehearsing her justifications for doing what she does. Maybe there’s something to that in terms of character – the ex-cop bartender does the same thing after all – but does it make for a good comic? Not sure.

One quality I like about Maleev’s approach to the art is that the city of Portland becomes a real and compelling part of the story, but whether that works for readers who don’t already know the city, I couldn’t say.

There are certainly people doing what Maleev does here, but badly and on the cheap. I don’t think he should bear the burden of what other artists do. I doubt that a hack would have the vision to move from the dominant photorealism of this book to the panels of pure abstraction at the bottom of the next to last page of this issue like Maleev does.

Spike: The Devil You Know #3 & #4 (IDW)

And so concludes this somewhat undistinguished mini-series, at least as compared to Brian Lynch’s & Franco Urru’s previous series, Spike: Asylum and Spike: Shadow Puppets.

On the whole, I think that Buffy Season Eight is a stronger series than the Angel monthly, and unlike the majority of the earlier books featuring Spike, this mini is of a piece with Angel. What I do appreciate about IDW’s Angel series is the willingness to introduce and experiment with new characters, but I am not quite understanding what readers are supposed to be finding so interesting about Eddie Hope, who co-stars here and in backups to Angel.

I suspect that The Devil You Know was meant to be set up for the forthcoming Spike monthly, and we would have found out more about Eddie and Tansy (no other reason to keep her alive at the end of all of this). But that’s all pretty well water under the bridge now.

Stumptown #4 (Oni Press)

And so the first story arc comes to a close. Finally. The issue is worth it for Matthew Southworth’s soul bearing letter to readers if nothing else, but the fact that I felt like I knew what was going on despite the time between number three and number four (and number two and number three) suggests something about the quality of the story. It would be easy to write Dex off as one of Greg Rucka’s well-rehearsed “tough women”, but I think there is something unique in her just getting by, knock-about quality; male P.I.s get to be this underdog-y as a matter of routine, female detective, not so much. Rucka gives this classic persona to Dex without masculinizing her or turning the book into one about her getting beaten down all the time. In the end, she’s smarter and more resourceful than the people she has to contend with, and that’s cool. Looking forward to more, even if it takes awhile.

Uncanny X-Men #528 (Marvel)

A tightly structured, keep things moving issue. Just fine, and I’m glad that we are well-past Matt Fraction needing to service some big cross-over with the title, but am unsure about Whilce Portacio’s pencils. He has some serious problems with Emma Frost, especially. She’s far too pinched looking, and, while you have to make certain allowances for her dress, she comes across as vulgar more than strongly sexy here.

X-23 #1 (Marvel)

I think this is a good start for the series. I am interested in the idea of helping X-23/Laura learn about helping people by putting her in a situation where she can’t rely on her mutant abilities, and also by the theme of the responsible adults in her life needing to, well, act responsibly. I also like seeing some variation in body-type between the characters, especially the women. Some are more voluptuous, while others are lean and wiry. A good beginning for Liu and Conrad.

Other purchases:
Digital comics:

  • X-23: Innocence Lost #1 (Marvel)
  • X-23: Innocence Lost #2 (Marvel)
  • X-23 Innocence Lost #3 (Marvel)
  • X-23 Innocence Lost #4 (Marvel)
  • X-23 Innocence Lost #5 (Marvel)
  • X-23 Innocence Lost #6 (Marvel)

TPBs:

Captain America Reborn (Marvel)

Looking back through the comics that survived my youth, there’s a fair number of Captain Americas, but I haven’t really been that interested in reconnecting with the character as an adult. Whatever resonated with me as an adolescent is gone. Still, I know that Ed Brubaker’s run on the title is one of the better regarded works by a writer at Marvel and so I’ve been selectively checking those out, and this is the second collection I’ve read, after Winter Soldier.

What I like most about Brubaker’s writing is that he approaches the material completely straight, no irony, no meta-commentary on the superhero. There’s room for that stance, too, of course, but I never like seeing a form taken over by one way of doing things. So, here, even when you have a giant Red Skull rampaging on the National Mall, there are witty bon mots from the heroes, but nothing that takes you out of the moments. This manages to capture some of the pure fun of reading comics as a kid.

Daredevil Bendis & Maleev Ultimate Collection Book 2 (Marvel)

I am glad that Marvel is putting out these collections. Brian Bendis’ run on Daredevil fell into the period when I wasn’t actively reading comics (and the title was never a favorite). For me, the best part of this run is the opening collaboration with David Mack, but consistently entertaining, while also posing interesting questions about superheroism.

Supergirl: Death and The Family (DC)

One of the frustrations with this title, in trade at least, is that it sometimes seems as it deals with characters other than, well, Supergirl. This is one of those collections. It certainly seems as if this collection could just as easily be titled Superwoman, as Lucy Lane gets much more interesting treatment than does Kara.

I also found myself discomfited by the chapters penciled by Jamal Igle. In much the same way as other artists need to devise tricks to keep the skirt from flying up in revealing ways, Igle appears to be looking for ways to feature the compression shorts. Perhaps he is pushing the point about the character design – there’s just no way to make this work – but the showcasing of the shorts can also be read as just a new fetish.

I did find the Helen Slater and Jake Black and Cliff Chiang collaboration that closes the book to be fun, and, most importantly, about Supergirl.

Tiny Titans vol. 4: The First Rule of Pet Club (DC)

Good natured fun as always. I especially loved the bats, and the Stretchy Guys.

Left over in the to-read ‘box’:

TPBs:

A.D.: New Orleans after the Deluge (Pantheon)

Affecting, if not groundbreaking, work of comics reportage. Neufeld has an eye for detail that serves him well in developing the individual stories he chooses for the book. He draws each of his characters in a way that gives them distinct personalities, and all grow on you over time, even if if there is some imbalance in the time devoted to different subjects.

Cinderella: From Fabletown with Love (DC/Vertigo)

For some reason, I had really high expectations for this book. Maybe it’s because Chris Roberson also writes the fine I, Zombie, or because of Chrissie Zullo’s delightful covers, but I was pretty ready for this to be cool.

And it approaches it – the backstory with the Fairy Godmother is a good example of how the The Fables conceit works well – but also falls short. The shoe store story with Crispin Cordwainer felt like filler, and I was waiting for more to come from Cindy’s flashbacks. I’d love to see a series about her and Bigby. And, in the end, being left wanting more would seem to me good things about a book.

Ex Machina vol. 1: The First Hundred Days (Wildstorm)

A God Somewhere (Wildstorm)

This is a curious title. For starters, John Arcudi and Peter Snejbjerg do some interesting things with the superhero genre. Rarely do you get to see a book like this where there is truly only one superpowered, superheroic figure. Arcudi seems interested in exploring what that might be like. What makes the story even more interesting is the focus on the superperson’s best friend, and how he is affected in ways both positive and negative by the acquisition of powers. The fact that Sam is a flawed and not entirely likeable guy adds another important layer to the story. Similarly, the fact that Eric, and brother Hugh, are kind of ‘heroic’ before Eric gets his powers, which actually twist him into something else, also adds a significant layer of meaning to the story.

And yet, the story is too compressed. I think that Hugh suffers the most from this in terms of his development as a character. There is also very little time for Eric to lose his mind. I would have liked to see more about religion and more of a time period where Eric uses his powers in a ‘good’ way, while slowly going crazy from the alienation and sense of superiority to others. And, really, Sam could use more time for readers to see his underlying talents.

Upon finishing I wasn’t sure how much I liked the book, but it definitely improves upon reflection. I just wish that it had been longer or been written as a mini-series.

Heartbreakers: Bust Out (Image)

Women of Marvel: Celebrating Seven Decades (Marvel)

X-Men: First Class – Tomorrow’s Brightest (Digest) (Marvel)

Light and fun. Glad I finally read it. Jeff Parker does an especially nice job of writing stories that are gentle and accessible without being squishy or boring. Also nice to see an contemporary X-Men title that is kind to new readers.

Digital comics:

Moon Girl #4, #5, #6, & #7 (comiXology)

I finished this series over breakfast this morning (Sat, 10/2), and then went back to the beginning to see if I could piece it all together. The historical back-and-forth is hard to track, but this is what I gather about the arc of the story.

The final issues flashback to Clare/Moon Girl’s history with Santana and to Clare’s personal history as some kind of European aristocracy. Santana trained Clare to be ‘the embodiment of the people’, a task that she was, and remains, skeptical about, but Clare’s parents were killed during a ‘Bolshevik’ revolution, and she emigrated to the U.S. hoping to start a new life as a ‘normal’ person. The first three issues show readers how that worked out for her.

This was the first comic I purchased that was meant for digital distribution and you could tell in how easy it is to ‘flow’ through the pages and panels on my iPhone. I also think that this is my favorite ‘painted’ comic; somehow in digital form, the images seem less stiff than this style usually is on the page. The bright colors and clear details also rendered well on the screen.

If you enjoy twentieth century political theory, and pulpy characters, Moon Girl is a good read.

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Recommended daily reading – 28 September (cleaning up edition)

Some selections from the past few days:

Comics Alliance is featuring a teaser for an animated short film of Atomic Robo and a view of the animation process. Robo is one of my favorite titles right now, and this certainly looks cool, and clearly made by people who are fans.

In other comics adaptations news, MTV’s Splash Page has some interesting discussion with Joss Whedon about the opportunities and challenges of directing The Avengers.

Champions League today, and Arsenal earns another win, this time over Partizan Belgrade.

Finally, renee french has a truly strange rodent for your consideration.