Star Wars Volume 1: Skywalker Strikes

Title: Star Wars Volume 1: Skywalker Strikes

ISBN: 9780785192138
Price: $19.99
Publisher/Year: Marvel, 2015
Artist: John Cassaday
Writer: Jason Aaron
Collects: Star Wars #1-6

Rating: 4/5

It is a fanboy’s perfect fantasy: set between the two best Star Wars movies, A New Hope and The Empire Strikes Back, our heroes – who all look like the original cast from way back then - continue their campaign against the Empire in the wake of successfully blowing up the Death Star.

Han Solo leads a covert rebel strike force against the Empire’s biggest weapons factory on Cymoon-1. But things don’t go as planned, especially once the Empire’s “negotiator” appears.

Elsewhere, Luke continues his quest to become a Jedi Knight, Leia discovers a massive secret about Han’s past, and Vader investigates this mystery boy mentored by his old friend, Obi-Wan…

(Text disappears and camera pans down to empty space – annnnnd scene! But seriously, the classic movie opening style is also how the book is introduced!)

Jason Aaron and John Cassaday’s Star Wars is a very good comic and a promising start to Marvel’s new Star Wars line but I don’t think the quality is what made its first issue the biggest-selling single issue in 20 years; the hysteria following that first Star Wars teaser from JJ Abrams’ forthcoming Star Wars movie, The Force Awakens, probably had a lot to do with rekindling peoples’ love of the franchise (not to mention that second teaser – they’re home!!!).

That said, the first three issues of this arc are truly outstanding. The rebel attack on Cymoon-1 is expertly choreographed by Aaron who splits up the action between three groups: Chewie, Threepio and the Falcon; Han, Leia and Artoo causing havoc inside the weapons factory; and Luke and Vader dueling. Aaron jumps from one group to the next in perfectly measured doses. The action is exciting and the story fast-moving and completely engrossing. Couple that with Cassaday’s gorgeous art that recalls the glory of those original movies, aided by Laura Martin’s beautiful colors, and it’s the best possible start the series could’ve had.

Then the second half of the book starts and… it’s a bit meandering. Aaron’s tightly-knit first half is gone, replaced with characters basically treading water. Han and Leia go looking for a new rebel base, which we know will be Hoth; Luke and Artoo vaguely look for something to help with his Jedi training; Vader stands around looking menacing, wondering who the kid really is (he and Luke haven’t had the “I am your father scene” yet) – it’s underwhelming stuff following on the heels of that blistering opener.

Star Wars icon Jabba the Hutt has a cameo and fan favorite Boba Fett plays a large role in the second half of the narrative, both of which helps waylay the increasingly slow-moving, er, “story”. Then it ends on a big soap-opera-esque reveal that’s currently generating lots of spoiler-filled articles on comics sites (and isn’t that great a surprise anyway).

Aaron has the voices of the characters down cold, particularly Han whom he writes with a flourish, while Cassaday’s art faithfully replicates the look and feel of those original movies (even if he is a bit too enamored of the Dutch angle). Besides the second half’s plotting, I have no complaints about the writing or the art – these two are a great match.

In terms of the extended universe that was built up over at Dark Horse, I don’t think Marvel have kept any of it - it’s all gone and they’re starting anew. Not so good for fans of all that stuff, good for new readers jumping on board and only have experience of the movies. I’m not a fan of Star Wars comics (I’ve read only one other Star Wars book before this) and I had a blast – I imagine bigger fans of the franchise will gobble this up!

Star Wars: Skywalker Strikes is a fine first volume from two creators at the top of their game, and perfectly timed by Disney to take advantage of the keen anticipation for The Force Awakens this Christmas. It’s half a superb book but the other half still has plenty of cool moments to keep readers interested. A grand space-operatic fun read!

Here’s hoping you-know-who doesn’t ruin this comic by ever feeling the urge to do a special edition of it!

George A. Romero's Empire of the Dead: Act One

Title: George A. Romero's Empire of the Dead: Act One

ISBN: 9780785185178
Price: $19.99
Publisher/Year: Marvel, 2014
Artist: Alex Maleev
Writer: George A. Romero
Collects: George A. Romero's Empire of the Dead: Act One #1-5

Rating: 3/5

Everyone knows that George A. Romero is considered the father of the zombie genre, so anytime he is involved you know that there is potential for something special. While he is most known for his film work, one of his latest projects has him teaming up with Marvel comics for the series Empire of the Dead alongside artist Alex Maleev. If for some reason you haven’t had a chance to check it out now you can get your hands on the first five issues with Empire of the Dead Act One.

The series follows a quarantined Manhattan struggling to keep the undead plague at bay while the flesh eaters shamble through the streets and are beginning to evolve including a former cop who will not let it stop her from completing her mission. While the outside is decaying and overrun, Central Park’s Circus Maximus host bloody zombie gladiator battles while another ancient creature is slowly taking over. Now it is vampires vs zombies with humans caught in the middle. To no surprise this series plays up like a film more so than a normal comic. There are a lot of things happening in this story that has set up numerous interesting twists to come all while keeping it interesting and moving forward. The art from Alex Maleev is gritty and sometimes messy in a good way that works perfectly for the book. Have no fear this isn’t a watered down story either and features plenty of zombie flesh eating, vampire bloodletting and gun toting action to keep any fan of the genre satisfied.

This collection is the perfect chance to get in on this really cool series and not only features the first 5 issues, but also a variant cover gallery from artists Frank Cho, Greg Horn and Arthur Suydam. Don’t miss out on the latest epic zombie masterpiece from Romero and Marvel available now.

Batman: Year One

Title: Batman: Year One

ISBN: 9781401207526
Price: $14.99
Publisher/Year: DC, 2005
Artist: David Mazzucchelli
Writer: Frank Miller
Collects: Batman #404-407

Rating: 3.5/5

If there has ever been a modern Batman story more influential than Frank Miller's 1986 masterpiece, The Dark Knight Returns, it was Frank Miller's 1987 masterpiece, Batman: Year One. It's remarkable that the same writer scripted two such extraordinary stories a year apart, but truly incredible that the two stories approach the character so differently and accomplish such different things. Yet, there is no contradiction between the two works: Year One depicts a young man who is about to leap, literally, into his life's work, while DKR stars an aging man who accepts that his mission is something he can never leave behind. But these two moments are so far apart that we can barely fathom that the same character's life contains them. Year One stands separate from DKR, not as a prequel.

Superman, Wonder Woman, and other DC characters were significantly redefined by post-Crisis reboots, but Year One leaves the facts of Batman's life much the same as before. Year One, rather, fills in small details during a legendary year; the time frame that Year One spans is covered by just four panels in an earlier origin story, 1980's The Untold Legend of the Batman. This gives Miller freedom to blend existing stories and new elements into a new work that feels familiar just often enough to make Miller's inventions resound.

Year One has a particular quality that is shocking to the reader, a quality that virtually all previous superhero comics had energetically rejected: Realism. Could Batman be real? Of course not. But could the Batman in Year One be real? Still, the answer is no, but many scenes play so close to real life that we feel like we've jumped right out of the superhero genre and into a different world. Year One shows Bruce Wayne going into action eight times, and three of them go badly. He is stabbed once, shot four times, beaten over the head once, and trapped by the police twice. True, he escapes both time he's captured, and the most unrealistic thing in the story might be that he heals well enough to continue as Batman, but for a while here and there, we forget that Year One's world isn't our world. This draws the reader into thinking about Batman's weapons and tactics on the practical basis that Batman's voice-over narration provides, and so the story works on a level that a Green Lantern or Flash story never could, and earlier Batman stories usually did not. Year One's realism has spun off a new "How To" subgenre of Batman story, with narration exploring Batman's training and tactics filling many pages in post-Year One stories and at least three entire published books. The practical details of being Batman show up in every Batman movie since 1989's Batman, and provides much of the basis of Batman Begins and was a major focus of a new title, Legends of the Dark Knight, which focused on key events early in Batman's career when his crime fighting approach was being shaped.

In addition, Year One introduced the organized crime family of Carmine Falcone, who, unlike many "disposable" mobster characters seen in Batman stories over the years, provided a substantial basis for future stories exploring the same era. Year One's take on the Falcones and a younger Harvey Dent recurred in The Long Halloween and other stories, building up a rich Godfather-like early history of Batman continuity. This created a timeline in which Batman faced more realistic, organized-crime opponents, rather than masked super villains, early in his career. While Year One devotes considerable time to developing Selina Kyle as a third focus, and mentions the Joker in the very last panel, the emphasis on realistic criminals further grounds the series in realism.

At the heart of Year One are two men: Bruce Wayne – who has the inspiration, on panel, to become Batman – and Jim Gordon, then a junior officer new to Gotham. The narration alternates between the two men with calendar dates in the captions, showing us a year in their lives as Wayne figures out how to fight a war in the streets and Gordon fights one at work and another one in his marriage. Both men are fiercely principled, physically tough, and in way over their heads. In time, they learn to trust one another, but not until the titular year reaches November. Along the way, they square off against one another, directly and indirectly, with Gordon gradually figuring out how to wrest himself from the clutches of the corrupt Gotham City police force that prefers its criminals to the new caped crime fighter.

Gordon is yet another element who grounds the story, even down to his Chicago (a real city) origin. It is his story that makes the narration work, filling in the blanks between long stretches of time (according to the dateline captions) in which we don't see Bruce Wayne at all. Between January 4 and March 11, we don't see Bruce Wayne do anything at all except return home and kick a tree trunk. What is he doing in the meantime? Certainly not "nothing." The blank spaces invite the reader to contemplate that question and imagine what elaborate preparations of Wayne's body and equipment must be taking place. But they are left unseen, while Gordon begins a long and difficult road to fight temptation in the form of an attractive female partner and a very dirty police department.

But when Bruce Wayne first goes into action, amid scenery right out of Taxi Driver, and fails badly, we find out that his unseen preparation wasn't nearly enough. Wayne barely escapes with his life and identity intact, and beats a self-imposed deadline – a literal deadline, in which his blood will run out of his body if he doesn't summon Alfred to save him – to devise a better way to fight crime, a way that comes to him in crashing glass and a vow to become a bat.

Nothing goes right for the new Batman on his first try, and not always on his second. Year One tells us succinctly about his dozens of encounters interdicting street criminals and focuses, instead, on showing us how he uses skill and brilliance to bring down the city's big criminals, some of whom were elected. He fights a many-front war against ordinary crooks, big bosses, and even the Gotham police. His victories ultimately break up the logjam of corruption that made Gotham "no place to raise a family." By story's end, Gordon is free to call Batman to help on a case. That is the story arc that Year One brilliantly travels, taking an almost plausibly real city and introducing Batman into it, giving us for the first and arguably only time, a compelling explanation for the set-up that other Batman stories have simply assumed, that a man who dresses like a bat is the police's ally (and their superior) in fighting crime.

Batman: Year One stays with you. You don't forget Batman's failures and successes, the new Selina Kyle, the struggling Jim Gordon, or the Falcones. Miller's plot and dialogue and David Mazzucchelli's art create a new world, and although many creators have tried to take us, we've never really gone back to that place since.

House of Mystery: Room & Boredom

Title: House of Mystery: Room & Boredom

ISBN: 9781401220792
Price: $9.99
Publisher/Year: Vertigo, 2008
Artist: Luca Rossi
Writer: Bill Willingham, Matthew Sturges
Collects: House of Mystery #1-5

Rating: 3/5

Vertigo got its start as a mature readers horror/fantasy imprint with such titles as Sandman, Books of Magic, Hellblazer and Swamp Thing. Over the almost 16 years that it has been in existence, the comic line has expanded its content however with the success of Fables, they seem to be returning to their roots to some degree. While Fables has been enjoyable, it has felt like Sandman-lite in some ways, invoking its use of mythology and stories, but without the subtext and dept that Sandman was able to convey. However, its popularity has spawned one spin-off title with several others in the works.

Vertigo has decided to build on the success of this by having the writers of Jack of Fables (with Willingham himself being the writer of Fables as well) bring their fantasy magic to a once long running DC Comics anthology series, House of Mystery from which, Neil Gaiman had borrowed characters from to populate his Sandman world. With this new incarnation, Willingham and Sturges create a comic that pays tribute to its anthology roots by having small anthology-like stories within the comic, surrounded by a bigger narrative for those who want a comic that feels like it has somewhere to go.

The main story centers on the House of Mystery itself and its occupants. The reader follows the newest occupant, Fig Reese as its introduction to the house and the mysteries that surround it. This is the main bulk of each issue, with a few pages dedicated to a story that one of the occupants tells, written by either Sturges himself or sometimes Willingham with artwork by a guest artist for each issue. It has to be said that Willingham’s name above the title is a little misleading, as he only writes the first two mini-stories. It rather feels like Vertigo wants Willingham’s name on the cover to appeal to the Fables crowd and thus asks that he writes a couple of these stories every few issues or so. This is however, Sturges’ baby all the way.

Luca Rossi’s artwork is quite Fables-like, which I would assume was a conscious decision by Vertigo and the writers, however there is a darker tone to it. It does suit Sturges’ storytelling style and gives an eerie look to the book while at the same time feeling playful. The guest artists are each a wonderful and add a nice contrast to Rossi’s artwork and they allow the reader to feel like they are experiencing a story within a story. The covers by Esao Andrews are also a beauty to behold and depict the darker side of this horror anthology as well as a beauty all at the same time.

Sturges and Rossi create a world that is interesting and enough “mysteries”, pun intended, to draw in readers to see where this is going. The horror/fantasy side of Vertigo as been quite sparse in the past few years and this comic is a welcome addition to that genre that shows there is still a market for it.

G.I. Joe: The Cobra Files Vol. 1

Title: G.I. Joe: The Cobra Files Vol. 1

ISBN: 9781613777312
Price: $17.99
Publisher/Year: IDW, 2013
Artist: Antonio Fuso
Writer: Mike Costa
Collects: G.I. Joe: The Cobra Files #1-4

Rating: 2.5/5

Cobra Files centers on an elite team of Joes tasked with hunting down and eliminating Cobra-centric schemes and individuals, a high-risk undertaking, indeed.  An integral part of this team is Chameleon, once a Cobra agent who has defected to the other side.  Her history is relayed quickly and efficiently, so as to bring any readers up to speed who haven’t been closely following the G.I. Joe comics, which included me.  There are various characters and information that come from earlier stories in other recent Joe comics, but there is enough explanation that you get the picture, and the story quickly moves on into new and exciting territory.

This is a dark and brooding take on the G.I. Joe universe, rooted very much in a serious, militaristic reality, though there are still adequate amounts of astounding set pieces, sword and gunplay, and code names.  All of the characters take themselves very seriously, as they should in their line of work, but I would have enjoyed a slight respite from all of the dour faces and situations.  There is a wonderful Snake Eyes joke that you can’t help but laugh at, because being a G.I. Joe fan, you just get it, and Tomax, one half of the classic Cobra twin duo of Tomax and Xamot, brings some uneasy, menace-tinged humor into the mix from time to time.  Emotions are very prevalent in The Cobra Files, and while everyone is mostly serious, it is largely because each character is dealing with their own personal issues and demons, an element I thoroughly enjoyed.  This is a strong, character-driven book, focusing specifically on Chameleon, but we get to learn about the other characters' emotions and pasts either through her, or in her interactions with them.  For me, one of the most entertaining and rewarding characters was Ronin, an intense and insanely skilled female assassin, and a character who was completely new to me.  Every character in Cobra Files is compelling in one way or another, and this first volume, which collects issues one through four of the series, is setting up a longer story arc that is sure to continue delivering thrills while increasing the main characters’ complexities and relationships.

Fuso’s art is detailed and perfectly conveys the sense of danger hanging over the Joes activities.  The action set pieces are visceral and have a smooth sense of motion to them, especially one involving Lady Jaye and a motorcycle.  You get swept up into the action right alongside the team, and Chameleon’s narration helps to keep perspective of how deadly their job is, and also how important.  Her narration provides us with insight, as opposed to actually narrating the plot of the story, which is a good thing.  One issue that did bug was that there were too many shadows throughout the book.  At times, it felt as if more than half of the lights were out in the Joes' headquarters, or that they just enjoy working in deep shadows for some reason.  The look definitely fits the tone of the book and complements the secret intelligence and covert op thrust of the missions, but I feel some of Fuso’s art is lost in the shadows, and they sometimes made it hard for me to read a character’s facial expressions, which also fits with the style of the book.  The deep, seemingly consistent shadows are simply not my preferred style.  It is worth mentioning that this collection does include some stellar variant covers and pin-up art, and I absolutely loved Fuso’s sparse, electric cover; the silhouetted characters are mysterious and powerful, and the Cobra word bubbles carry a sense of menace that just begs you to open up the book and start reading.

Costa’s writing is gritty and peppered with pertinent military lingo, giving the aspects of the Joes’ security protocol and intelligence gathering a real-world feel, which elevates the more straightforward action adventure style of G.I. Joe, which I do still love, but this book has some weight to it.  There are real risks and stakes, and Costa does not pull any punches with his storytelling or his characters' emotions.  The Cobra Files is an intriguing, intellectual, and emotional story about what happens between and underneath the cracks and what covert espionage looks like within the secret world of G.I. Joe.  With a former Cobra operative as our guide, this title is all the more complex and worthy of a read, because just like the Joes, we never know quite how things are going to turn out, but we’re still excited to dive in headfirst, though the more intelligence we’ve gathered ahead of time, the better.

2016 - A Shiny New Year

It's the new year, and I've been meaning to write my year ahead piece for quite a while. I've had quite a lot going on to keep me away from my writing activities. Here we go...

February 19-21

I've put my application in to cover Wizard World Portland as a member of the media as I have for Cherry City Comic Con, Rose City Comic Con and EUCON last year. I'm still very hopeful, and I've already lined-up artists Michael Golden and Arthur Suydam to do covers for Comic Book Covers 4 Cancer.

April 7-10

It's been a few years since I've been able to go to Emerald City ComiCon. I wasn't actually planning on going this year, but one of my best friends asked if I would like to go... and we have free lodging courtesy of our McMenamins passports at their newest property; Anderson School. The unfortunate side is that we're only going for Sunday, but that is helpful to me as the last time I went I didn't get to do anything because of my relentless pursuit of getting autographs from too many people. I am really looking forward to possibly getting a cover done by Chad Hardin and am really excited to get the chance to meet Fiona Staples... as Saga has become one of my favorite trades to read. As more artists get announced, I will probably reach-out to a few others for covers for our cause.

April 30 - May1

I've reached out to see if I can get a table or booth for Comic Book Covers 4 Cancer at this years event; but I haven't heard anything back yet. I'm looking forward to going to this hometown event. There hasn't been any artists announced other than Mike Grell yet... but from what I heard from the CCCC director at NW Comic Fest, this should be an epic show!

Northwest Comic Fest debuted last year. It was the first time I was able to have a table to help promote Comic Book Covers 4 Cancer, and it was incredibly helpful. This year, the director is trying something new by offering the chance at a free comic con. He has a Kickstarter going, and you can click the link on the NW Comic Fest logo to go there. It'll be interesting to see what comes of this.

September 10-11

Rose City Comic Con is one of my favorite, local cons. I'm hoping to be able to cover it again this year as last and would like to try an enlist more artist to help support Comic Book Covers 4 Cancer.

Last years EUCON was great. I look forward to going back this year. I'd love to cover it again.

Angela: Asgard’s Assassin Vol. 1: Priceless

Title: Angela: Asgard’s Assassin Vol. 1: Priceless

ISBN: 9780785193562
Price: $17.99
Publisher/Year: Marvel, 2015
Artist: Phil Jimenez, Stephanie Hans
Writer: Kieron Gillen, Marguerite Bennett
Collects: Angela: Asgard’s Assassin #1-6

Rating: 2.5/5

Angela has an interesting history in comics.

She was originally an Image Comics character created by Neil Gaiman and Todd McFarlane, first appearing in Spawn. Eventually, through a court battle, Gaiman gained complete control over the rights to the character and then sold her off to Marvel. After bouncing around a bit through some event and space comics, the character landed her own series. Written by Kieron Gillen and Marguerite Bennett, with art by Phil Jimenez and Stephanie Hans, the series was eventually cancelled by Marvel to make way for their awesome new event called Secret Wars; what did this short-lived series have to offer?

In a long-winding tale of political marriage/love and different cultures, Angela once thought herself to be an angel from Heven (AKA the Tenth Realm). However, after the events of Original Sin, it turns out that she is the long-lost daughter of Odin and Freya, who was thought to have been killed as a baby. Angela is in an odd place after being cast out of Heven when that truth came to light and she doesn’t know her place in the universe anymore. However, she is about to make things far more difficult for herself when she decides to steal her new baby sister from Asgard for undisclosed reasons and becomes a fugitive alongside her pal, Sera.

Angela: Asgard’s Assassin Vol. 1 collects the entire six issue run by Gillen and Bennett, and after reading it, the series itself comes across as a bit lackluster in the story and writing department. It has a very boring main character, a plot that’s aimless until almost two thirds of the way in and awkward story structure and narration — which is disappointing considering that there’s such a strong creative team at the helm.

Beginning with the story itself, the first half of the comic series is about Angela and Sera running around and avoiding Thor and Asgardians. There’s really not a lot happening, just some flashbacks and a couple of awkward mini-stories into the mix to deliver exposition and backstory involving Angela. The story feels entirely boring during this section, since you don’t know what the point to anything is and there’s nothing to get really invested in. The fourth issue is sort of the same way, though we finally (and mercifully) learn what deal is towards the very end with why Angela stole the child and what her end goal is.

The next issue deals with Angela, Sera and the Guardians of the Galaxy busting into Heven in order to expunge the baby of the evil within it. The issue also ends the conflict between Angela and Thor in a rather unceremonious way that makes you wonder why she never bothered explaining the problem to him or the other Asgardians (even if they didn’t believe her, she could’ve tried something first before making things incredibly difficult for herself). The last issue wraps up the story and closes out on a cliffhanger about the fate of a certain character. While it feels like it ended a tad too clean, the story does conclude with a much more satisfactory ending than Ant-Man did in his recently released trade in that it didn’t come across as being contrived and wrapped up the majority of the story elements introduced.

The storytelling on the book leaves a lot to be desired. While the pacing tends to be fine for the most part, things change when the mini-stories take place. In every issue, the comic will just take a break from the action or the main story to tell a tale about Angela or Sera’s backstory. Sometimes the stories are relevant to the topic at hand and sometimes they are not (explaining the rules about angels to the little girl in issue two made no sense given the lead in or what she supposed to be learning). Sometimes these mini-stories aren’t even mini-stories at all, but moments currently happening in the present like with issue four. However, they are always usually very abrupt, just grinding the story to a halt and then having a character go on and on in overly flowery, poetic monologues about the current topic. While the tone and narration style matches what you might see in a Thor comic, there’s just tons upon tons of exposition unloaded in a rather boring and purple prose-esque way.

The troubled storytelling and plot choices aside, the biggest problem the comic has going for it is the character of Angela. She is uninteresting and not compelling, simply put. She is boasted to be this super badass character, the best of best when it came to the angels from Heven and adhering to a code of repaying debts (something drilled into her brain by the people of the Tenth Dimension). The trouble is that there is nothing else to character. She’s tough, unrelenting in her goals, and stubborn… but that’s all there is. She doesn’t even have strong connections or friendships with the other characters that can humanize her nor does she have any exchanges or scenes with anyone where there’s weight or emotion to them. The closest she gets to a friendship or having a “human” side to her is with Sera, but the comic still paints it with the idea that Angela is mostly just focused on their debts to one another. Now, to be fair, all of these personality traits shown in the comic could be an accurate representation of Angela. If so, the comic could have gotten her character down perfectly… but even then, she could have benefited from Gillen or Bennett just giving her a bit more depth or personality.

The rest of the writing, otherwise, is perfectly alright. The characterization for almost everyone else in the comic seems on point (though Ferya looks much older and Odin seems a bit more pleasant in comparison to their appearance in Aaron’s current Thor series). Some of the dialogue and ex”hanges happening, usually not involving the stick-in-the-mud main character, are solid and have some good character beats on display. While the humor can miss a bit or be downright groan-inducing (“Heaven is a Place on Earth” joke was awful), there are a few good jokes that do elicit a chuckle or smile from time to time.

The artwork is split into two parts: Phil Jimenez draws the main story and Stephanie Hans handles the smaller one. Both artists are very good and do a fantastic job of bringing the story to life. Phil Jimenez does a fantastic job drawing the characters and bringing them to life and the action look exciting and amazing in areas. He’s just as good at making locations indelible and the imagery and visuals in the some scenes, such as Angela walking through fire in the third issue, are hauntingly gorgeous. Sadly, Jimenez’s art struggles in a couple of areas. He has a difficult time in areas of keeping characters’ faces look consistent, so they look they are constantly aging back and forth. The inking and penciling look bad in certain areas, in particular the end of the fourth issue where things seem messier and not as clean. Then there is the new costume that Angela ends up getting. Her original costume at the beginning of the series is revealing, impractical, and rather silly looking (though I like her headpiece). Her new outfit is less revealing, but still very impractical and silly looking. Sure, the writer tries to justify her wearing it, but the artist never makes it look good on her. It seems like it would be very uncomfortable to wear, the headpiece looks like it should fall off at any second, and the outfit makes it appear as if she has a Mohawk and ponytail.

Stephanie’s art is just as good as Jimenez, but with less problems. Her layouts are excellent, the imagery and action looks intense and amazing throughout, and the use of colors makes for a dazzling looking book. Heck, she can even make the new costume Angela end up with a look that’s somewhat respectable and that’s amazing. Sure, some of the faces don’t look consistent in a few areas and the narration in these sections tend to cover the images, but that’s nitpicking. In general, despite the problems, the artwork is still pretty great.