Category Archives: comic book reviews

Swing Volume 2: Evolution Of A (Uniquely Sexy) Romance

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Every relationship is different. How they come together and how they stay together varies from couple to couple. Some work perfectly fine a traditional, monogamous setup. You marry one person and that’s who you make love to, till death do you part. There’s nothing wrong with that and plenty of great love stories can be told from it.

However, that approach doesn’t work for everyone and there’s nothing wrong with that, either. It’s just more challenging to tell a non-monogamous love story without it becoming overly pornographic. That didn’t stop Matt Hawkins and Jenni Cheung, with help from artist Linda Sejic, from telling a genuine, compelling love story about non-monogamy in “Swing: Volume 1.”

When I reviewed this graphic novel last year, I highlighted how it perfectly balanced the romance with the sex appeal. The first part of the story was about how its two protagonists, Cathy Chang and Dan Lincoln, fell in love. Then, after settling into married life, complete with two kids and decent careers, they sought to recapture that passionate spark that helped bring them together.

It culminated with them navigating the colorful world of open relationships. At the same time, it laid the foundation for a deeper romantic journey in a future sequel. Having waited anxiously for over a year, I can safely say that “Swing: Volume 2” was worth the patience. This book doesn’t just continue Dan and Cathy’s journey. It takes the sexiness and romance to new heights.

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The story picks up where the first book left off. Dan and Cathy got their first state of the non-monogamous lifestyle and they liked it. That’s made abundantly clear through Yishan Li and Linda Sejic’s art in first several pages. However, that’s not the end of their romantic journey. It’s just another step in the process.

Now that Dan and Cathy are in this sexy new world, their next challenge is successfully navigating it. Having a few threesomes is fun, but the swinging world of non-monogamy is much bigger. It’s also a world that requires Dan and Cathy to confront certain aspects of their relationship that they’ve never had to deal with before.

While Dan admits that he’d been with multiple women, Cathy has only been intimate with one man. She lived a more sheltered life, which was nicely established in the first book. The second book builds on that, showing that there are parts of her sexuality that she hasn’t explored. That desire to explore this world is what helps drive the plot and the drama in “Swing: Volume 2.”

A taste of that drama.

Yes, there is drama. It’s not all fun sexy time all the time. While those times are certainly present, Hawkins and Cheung make this exploration feel genuine and believable. From how Cathay and Dan establish a set of rules to how they struggle to find compatible partners, the various details of the story come off as something that can happen in the real world.

There are triumphs and setbacks. Some of those setbacks make for the funniest moments of the story. Like any relationship, an open relationship takes a great deal of work. Dan and Cathy find that out the hard way on more than one occasion. That only makes the fruits of their labor satisfying, both in terms of plot and sex appeal.

Compared to the first book, “Swing: Volume 2” has a lot more sex appeal and I’m not just referring to Li and Sejic’s graphic, yet tasteful depictions. There are plenty of scenes that involve exposed body parts, intimate love scenes, and overt innuendo that anyone’s inner 13-year-old will recognize. However, it never comes off as crude or gratuitous.

The overall tone of “Swing: Volume 2” is very much in keeping with the sex positive themes of its predecessor. It also does something important with those themes. As the story unfolds, we see how Cathy and Dan’s relationship evolves. Before, they were just a typical married couple looking to spice things up. Now, their relationship has gained greater complexity and, most importantly, it’s better because of it.

Both characters get an opportunity to narrate parts of the story. We get insights into their thoughts and feelings, revealing how they each approach this new facet of their relationship. Dan shows his share of insecurities, at times. Cathy’s reservations also crop up, as well. There are times she feels things that she doesn’t express and that causes some tension.

They make an effort to establish rules and boundaries. Many of them feel like concepts that actual couples who have navigated the world of open relationships would exercise. When the rules work, Dan and Cathy’s relationship benefits. When they don’t, even when it’s not intentional, it causes problems.

The problems never get overblown, but they don’t get brushed aside either. If “Swing: Volume 2” has an overarching theme, it’s that the world of open relationships is difficult. It’s not for everyone. It’s not the kind of thing that’ll fix a trouble relationship, either. Dan and Cathy make very clear that they love each other. Venturing into an open relationship wasn’t meant to fix that. It was meant to make their lives more exciting.

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Without giving away too many spoilers, I’ll say that Hawkins and Cheung once again succeed in making all these dramatic elements work. There’s never a point where “Swing: Volume 2” feels too focused on sex or too focused on romance. It seamlessly blends the two together so that they complement one another, as any good love story should.

There is romance.

There is eroticism.

There is personal growth for both these characters.

Along the way, you don’t just find yourself rooting for them or their relationship. You can’t help but be curious to see where this journey takes them. Like real relationships, there’s no endgame or culmination in mind. This isn’t that type of story. The lives of Dan and Cathy stay firmly grounded in a realistic setting. That’s part of what makes it so impactful, as a story.

That’s not to say that “Swing: Volume 2” is without flaws. There are parts of the story that feel a bit truncated. A few dramatic moments don’t come off as intense as they’re set out to be. There are also other characters that don’t get fleshed out as much, despite them showing potential in the first volume.

It doesn’t stop the overall story from fitting together seamlessly. The story effectively builds on the foundation that the first one established while ramping up the passion along the way. It’s compelling, heartfelt, and sexy. Between the mature themes and the beautiful artwork, “Swing: Volume 2” stands out as a fitting slice-of-life style comic in a sea of superheroes and spectacles.

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If I had to score “Swing: Volume 2,” I’d give it a solid 8 out of 10. If you’re looking for something different, mature, and even a little risqué, then this book will check all the right boxes and then some. I’m not saying it’ll give all monogamous couples second thoughts, but it’ll give more than a few some interesting ideas.

To purchase “Swing: Volume 2,” please do so through Comixology, Amazon, or your local comic shop.

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Filed under comic book reviews, Marriage and Relationships, polyamory, romance

Jack Fisher’s Weekly Quick Pick Comic: X-23 #11

Every week, a new crop of comics enters this world to make the world a better place and/or help tide fans over until the release of “Avengers Endgame.” Whether you’re a fan of superheroes, melodrama, or just pretty artwork from artists not afraid to draw gaudy costumes, there’s something for everyone.

Every Wednesday, I take it upon myself to select one comic that I feel offers something extra beyond the price tag. Historically, few characters offer a wider range of appeals than Laura “X-23” Kinney.

Some know her as the daughter of Wolverine. Some know her as the breakout star of the “Logan” movie who helped make Dafne Keen a star. Regardless of how you know her or the medium in which she comes, she often brings a diverse story of violence, brutality, melodrama, and heartbreak. This week’s pick, “X-23 #11,” delivers on all of this, and then some.

Since writer Mariko Tamaki took over the series, Laura has gotten back to basics in terms of her mission. While she served admirably as Wolverine for a while, her priorities often change when she finds out some mad scientist wannabe is trying to make living weapons again. Considering how often this results in a blood bath, such efforts should count as an elaborate suicide attempt.

It’s a bigger deal to Laura than most. Like Logan, these programs have brought her nothing but pain. Unlike Logan, though, she doesn’t have the benefit of having holes in her memory. She remembers all the horrible crap that these programs did to her, which included the murder of her mother. She has more incentive than most to take these programs down as quickly and brutally as her father would have.

This is the primary goal in “X-23 #11,” but there’s a lot more at work than just someone with adamantium claws tearing through a weapons facility. In X-men comics, that’s basically a typical Monday. What makes this typical part of Laura’s mission harder than usual is the growing divide between her and her clone sister, Gabby “Honey Badger” Kinney.

That divide began several issues earlier. Like a pissed off Wolverine chasing the last can of beer, things have been getting anxious between the two. Since her debut in All-New Wolverine, Gabby has been a wonderful ray of sunshine mixed with omega-level cuteness for Laura. I’ve documented the breadth of that cuteness before, but it has never worked against Laura until now.

Laura knows it’s happening. She even senses that there’s some simmering resentment in Gabby, so much so that it affects her tastes in music. This isn’t just sisters bickering over what to binge-watch on a Friday night, though. “X-23 #11” establishes a fundemental divide between Laura and Gabby that may very well send the two sisters in a very different direction.

Tamaki has been setting up that divergence for several issues, but now there’s no putting it off any longer. It started with a debate over what to do when a shady company called Harvest made an army of X-23 clones that had been augmented/hijacked by cybernetics. While it made for some pretty brutal battles, it also highlighted the difference in Laura’s approach to dealing with other living weapons compared to Gabby’s.

Gabby, being the glowing ball of lovable cuteness that she is, wants to save these weapons. She sees them like other sisters. Even when it they come off as brain dead, like the cyborg X-23 army they battled, her first instinct is to save them and not destroy them. Laura, having seen too many clones cause too much suffering, favors a more direct solution that involves adamantium claws.

What makes the drama in those issues, as well as “X-23 #11,” so compelling is that it’s easy to see both points of view. Gabby knows that she wouldn’t even be alive if Laura hadn’t shown compassion when dealing with the clones that these living weapons programs produce. She also wasn’t subject to the same tragedies as Laura so she still has that wide-eyed optimism about helping other clones.

Laura, being older and a lot more damaged from her experiences, knows that the real world tends to crush optimism the same way Logan crushes beer cans. She has suffered and lost a great deal in dealing with these living weapon programs. She understands that not every clone can be saved. She knew that was the case with the cyborg clones that she and Gabby battled, but also knew Gabby was not going to agree with her.

Now, as the aftermath of that conflict sets in through “X-23 #11,” they both face some difficult, heart-breaking choices. For once, few of those choices can be made while stabbing heavily armed henchmen. There is some of that in this story and Diego Olortegui’s artwork does plenty to make that a visual spectacle. However, it’s the family drama that really sets this issue apart.

If you’ve been following the evolution of Laura and Gabby’s relationship since her debut, then the events of “X-23 #11” are genuinely heartbreaking. These two have steadily become a real family in their brief time together. Now, they’re being torn apart by bitter disagreements and painful choices.

Both Laura and Gabby experience the heartache. Even if you haven’t been following their respective stories, it’s easy to appreciate the bitter divide between two sisters. It happens in the real world and without mutant powers. Sometimes, things between siblings go bad and they drift apart. Seeing that happen with Laura and Gabby is nothing short of tragic.

It’s bittersweet, but it also helps set the stage for the future of both characters. “X-23 #11” is one of those comics that doesn’t avoid a difficult moment between two characters who no longer see eye-to-eye on an important issue. Even within family, these moments happen. This one was inevitable, but Tamaki and Olortegui made sure this one hit hard in all the right ways.

With Logan back from the dead, it promises a very divided Wolverine family, to say the least. For a family that has been subject to cloning experiments, constant torture, and even a trip to Hell, it’s a tough situation, but one that tends to make them all more badass in the long run.

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Jack Fisher’s Weekly Quick Pick Comic: Uncanny X-Men Annual #1

Every Wednesday, a new crop of comics enters this world and makes it just a little more awesome. Being a lover of comics in addition to a lover of love, I try to select one comic from this fresh batch that I feel offers the most awesome for just a few bucks. At a time when the economy is always on a verge of tanking, it’s hard to find a better value.

This week’s pick was an easy one with “Uncanny X-men Annual #1” and not just because I’m hopelessly bias towards the X-men, in general. This issue marks a critical development in the overall landscape of the X-men and the Marvel Universe, as a whole. As the beautiful cover art by Salvador Larroca indicates, it’s all about Cyclops.

That may not seem like a big deal for those who don’t regularly follow the X-men comics, but trust me when I say that this is a huge development. That’s because for the past three years, Cyclops has been dead in the X-men comics. In an event aptly called “Death of X,” Scott Summers met an inglorious end at the hands of the Terrigen Mists, the alien gas cloud that gives the Inhumans their powers.

His death had a major impact on the overall landscape of the X-men and very little of it was good. In the same way that the Avengers aren’t the same without Captain America and the Justice League isn’t the same without Superman, the X-men just aren’t the X-men without Cyclops. He’s literally been with the X-men since the beginning and there’s just something missing when he’s not there.

Writer, Ed Brisson, makes it a point to highlight this throughout the issue. Aside from just telling the story of how Cyclops came back from the dead, he takes some time to demonstrate why he’s the leader of the X-men. He even puts him in a position to show why he’s a hero and why other heroes follow him.

Without spoiling too much, the story builds beautifully off the events of both “Death of X” and “Extermination,” which is another brilliant X-men story by Mr. Brisson that I highly recommend. It even references moments from “Phoenix Resurrection,” another story I’ve given high praise. The connections and details in this comic fit beautifully. It shows that there was a lot of effort and thought put into this story.

As someone who has read more comics than most will ever admit to reading, I can safely say I know when a writer isn’t trying very hard. For the past couple years, a new crop of writers that include the likes of Mr. Brisson show that there’s a new round of passion surrounding the X-books and it clearly shows in “Uncanny X-men Annual #1.”

Beyond making appropriate connections to recent continuity, the story checks all the right boxes in terms of telling a quality X-men story. It even checks some extra boxes in terms of showing a character at his best when they sorely need it.

Cyclops is one of those characters who always seems to generate heated debates among X-men fans. He’s also someone a long list of talented Marvel writers have mishandled over the years. The fact he’s part of the worst love triangle of all time is proof of that. This issue cuts through those complications and just gets to the core of what makes Cyclops great.

This issue is one of those comics that will definitely have a ripple effect for future X-men comics. Any time a major character comes back from the dead, which happens a lot in X-men comics, it’s a big deal. It often marks a turning point for the course of the story and lays the groundwork for the future of the series.

By the time you finish “Uncanny X-men Annual #1,” you really feel as though you’ve just witnessed one of those turning points. On top of that, there’s a sense that this character who has been so maligned over the years for all the wrong reasons is back to his old self. If that doesn’t get your inner X-men fan excited, then you’re just being difficult.

For Cyclops fans, X-men fans, and Marvel fans in general, “Uncanny X-men Annual #1” is one of those rare books that actually gets you excited about the future. At a time when you can’t go more than a day without something terrible trending on social media, that’s worth the price of a comic book.

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The Distressing (But Relevant) Questions Raised In Uncanny X-men #1

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The most relevant stories are often the ones that ask the most difficult questions. The nature of those questions vary among places, people, cultures, and whatever happens to be pissing off a significant chunk of the population. Regardless of the circumstances, those questions are important and sometimes they come from unexpected places.

I wasn’t expecting such questions when I picked up “Uncanny X-men #1,” the latest relaunch in the most iconic X-men brand of all time. I was just glad to see Uncanny X-men return to prominence after an extended absence dating back to 2016. This first issue was over-sized and priced at $7.99, which is a lot for a single comic. I still feel like I got my money’s worth.

In addition to telling a great story that brought many prominent X-men characters to the forefront, “Uncanny X-men #1” did something unique in terms of how it established a conflict. For once, it didn’t involve killer robots, preventing a genocide, mutant terrorist, or alien space gods. Instead, it asked one profound question.

What if there was a way to preventing people from becoming mutants in the first place?

That may sound like a question that has come up in other X-men stories, but that’s only partially correct. This isn’t about curing mutants, a story that Joss Whedon brilliantly told during his run on Astonishing X-men and that “ X-men: The Last Stand” botched horribly. This is about inoculating children the same way we do for polio.

Specifically, a lab develops a vaccine that prevents the X-gene from expressing. Technically, they would still be mutants in that they would still have this gene. It just wouldn’t express itself. It would be akin to turning off the gene responsible for cystic fibrosis or sickle-cell anemia. It essentially treats mutation the same way we would treat any other genetic-based disease.

Naturally, the X-men and many other mutants don’t like this idea and not just because it’s akin to treating homosexuality as a mental illness. It reeks too much of genocide, something they’ve faced on more than one occasion. It would’ve been easy for “Uncanny X-men #1” to present it in that way, but that’s not how it plays out.

The all-star creative team of Ed Brisson, Kelly Thompson, Matthew Rosenberg, and Mahmud Asrar frame the issue in a very different way. Instead of some anti-mutant racist like Graydon Creed or William Stryker calling for mutant extermination, we get Senator Ashton Allen. He’s as generic a politician as can be in a superhero comic, but what he says and how he says is revealing.

Amidst a crowd of humans, mutants, and X-men, he talks about this mutant vaccine as a tool to alleviate suffering. He doesn’t rant about the dangers of evil mutants like Magneto or Apocalypse. He talks only about mutant children developing powers that could be dangerous to themselves or others. In that context, a vaccine might actually help them.

When you consider the mutant powers of characters like Rogue and Cyclops, who have mutant abilities that do real damage when uncontrolled, it seems entirely reasonable to make this vaccine available. Senator Allen never says anything about forcing it on kids or on mutants that already exist. He only ever emphasizes making it an option for concerned parents.

That’s distressing for the X-men because they don’t need to be omega-level psychics to imagine the implications. They can easily envision a concerned parent who doesn’t want their child to deal with the possibility that they may shoot lasers out of their eye one day. Any parent who cares for their child will want to mitigate the chances of them enduring such hardships.

In a world populated by mutant-hunting robots, parents already have plenty of incentive to use this vaccine. Given the damage that mutant-led conflicts often incur, the government has just as much incentive to make that vaccine available to everyone, free of charge and tax deductible. Governments less concerned with things like human rights could force it on children and that has some real-world parallels.

For mutants and the X-men, though, that means a permanent loss of their identity. Considering how mutants act as a metaphor for other oppressed minorities, this has implications for the real world, as well. I would even argue that the question will become increasingly relevant in the coming decades.

To appreciate just how relevant it could be, you need only look up the heartbreaking stories of parents who have disowned their children because they’re gay or transgender. In tragic some cases, people are driven to suicide. Even for those who aren’t parents, anything that might avert this kind of hardship is worth considering.

Given the complex causes of homosexuality, as well as the many factors behind transsexuality, it’s unlikely that there could ever be a vaccine to prevent it. The same can be said for conditions like Dwarfism. It’s not just genes, hormones, or radioactive spider bites that shape an individual’s persona. It’s a complex confluence of many things.

However, we are getting very close to a point where it’s possible to design children at the genetic level. Thanks to tools like CRISPR, it might even be possible one day to cut out entire traits from the human genome. That could, in theory, eradicate both cystic fibrosis and Dwarfism. More than a few people have expressed concern about that possibility.

Homosexuality and transsexuality are a bit different since there is no one gene or hormone that causes it, but most contemporary research suggests that genetics do play at least some role. Using similar technology, it might be possible for parents in the future to minimize or eliminate the chances of their children being homosexual or transsexual.

I imagine many in the LGBT community feel the same way about those efforts that the X-men felt about Senator Allen’s efforts in “Uncanny X-men #1.” Even if it only extends to giving parents this option for children and provides strict protections for those already born with these traits, it still treats who and what they are as a disease.

It’s dehumanizing and demeaning. More than one X-men in “Uncanny X-men #1” makes that abundantly clear. They don’t see being a mutant as a disease any more than homosexuality, transsexuality, or dwarfism. The fact that there’s now a way to prevent this makes for an existential crisis with some pretty heavy implications for the real and fictional world.

In the world of Marvel comics, a world without mutants has its own set of issues, the least of which would be the loss of a top-selling comic series. In the real world, though, the stakes are even higher. What would we, as a society, do if we suddenly had the tools to prevent homosexuality, transsexuality, and dwarfism in children before they’re even born?

I’ll even ask a more controversial question that’s sure to draw plenty of ire. What if those same tools could be used to modify the skin color, facial features, and overall appearance of our children? We already understand how genetics affects our appearance to some extent. What happens when we’re able to determine that for someone before they’re ever born?

These are objectively distressing questions. I’m glad “Uncanny X-men #1” dared to ask them. I doubt they’ll get debated or resolved completely in the proceeding issues, mostly because such resolutions are impossible in superhero comics. It still presents the X-men with a unique issue to confront and one that we will likely have to confront in the real world.

As is often the case with difficult questions, the answers are likely to anger some and distress many. Most people genuinely and sincerely want what’s best for their children. In the world of Marvel Comics, that could mean preventing them from gaining the kind of superpowers that makes them targets for Sentinels. In the real world, that could mean removing an entire class of people from the gene pool.

In issues like this, there are no heroes or villains. There are just difficult choices that we must make before someone else makes them for us.

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Exploring Radical (And Kinky) Idealism: “Wonder Woman Earth One Volume Two” Review

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When “Wonder Woman Earth One: Volume 1” came out in 2016, it was groundbreaking in how it re-imagined Wonder Woman while reconnecting her with her kinkier roots. For years, she’d been moving away from the unique brand of feminism that her creator, William Moulton Marston, had once defined her. This culminated in her 2017 movie in which all the BDSM connotation were purged from her persona.

While many creative forces over multiple decades turned Wonder Woman into someone very different from her creator had intended, Grant Morrison and Yanick Paquette went in the opposite direction. They dared to embrace the kinks and reshape Wonder Woman’s story in a way that works while retaining Marston’s original themes.

That story remains one of my favorite Wonder Woman stories of all time and one I’ve gone out of my way to praise. Finally, after a two-year wait and a prolonged absence of kink from superhero comics, “Wonder Woman Earth One: Volume 2” has arrived. Fans of warrior women, feminist utopias, and not-so-subtle bondage themes can rejoice.

Like any sequel, it faces the inescapable challenge of matching the high bar set by its predecessor. On top of that, it also has to dig deeper into an aspect of Wonder Woman that generations of writers have tried to overwrite or ignore. Even with an elevated profile, thanks to her movie, this is a part of Wonder Woman’s persona that is largely unknown or undeveloped.

The greatest challenge of Volume 1 was to reintroduce Marston’s radical concepts of love, submission, and domination in a way that didn’t feel like bad fan fiction. Morrison and Paquette succeeded by building the story around this dazzling, techno-feminist utopia on a mythology built on ideas that seem antithetical to the world dominated by lies, mistrust, and cynicism.

If the goal of that story was to affirm the potential of these ideas, then “Wonder Woman Earth One: Volume 2” is built around how those ideas are challenged. It’s one thing to defend them on an island paradise populated by immortal warrior women of unyielding compassion. It’s quite another to defend them in a world where gay frogs inspire conspiracy theories.

Wonder Woman’s situation is considerably different this time around. She’s not insulated on her island paradise. She’s well-known public figure, an established superhero, and a vocal proponent for her radical ideology. She presents it as a viable way of achieving peace and justice in a world full of suffering and hatred. Unlike other wide-eyed idealists, she comes off as entirely genuine.

Not surprisingly, the world isn’t eager to sign up for her novel approach of peace through submission to a loving authority. It doesn’t just come from grumpy old men who only want women to make babies and sandwiches, either. Even among other women, her ideas are challenged and deconstructed throughout the story.

What does it even mean to submit to a loving authority?

Why is she so sure that it’ll work in the world outside her idyllic homeland?

How are men supposed to approach this concept?

How far is she willing to go to implement her ideas?

These are all difficult questions that get asked throughout the story. Wonder Woman doesn’t avoid these questions, but she doesn’t get a chance to answer them either. Even though she is celebrated by many, nobody seems capable of embracing her ideology as completely as her.

To further complicate this challenge, Nazis enter the picture. Trust me, it’s not as shallow as it sounds. The story isn’t built around Wonder Woman acting like Captain America, traveling the world and punching Nazis. In fact, the way she handles her enemies in this story is very different to the methods she used in the “Wonder Woman” movie. However, that’s where the story gains both complications and nuance.

Through a few flashbacks and side-plots, we get to see how Wonder Woman’s ideology confronts something that’s completely antithetical to everything she stands for. Initially, it looks like her approach works. She’s so compassionate and so empathetic that she can take violent, hate-filled Nazis and redeem their souls. That’s where the complications come in.

In both the events that unfolded in the past and those that play out in the present, we see shortcoming of Wonder Woman’s ideals. It’s not that someone taints or disproves them. As the conflict plays out, we see how the components necessary to make her ideology work aren’t as abundant as they are in her homeland. As a result, Wonder Woman pays a price for her idealism and it’s a steep, heartbreaking price.

Not all of it is a direct result of her ideology, though. Wonder Woman also deals with a devious adversary in Dr. Psycho, who effectively turns her ideals against her. He doesn’t just question or deconstruct the merits of submission to a loving authority. He manipulates them to his own ends, which plays right into the hands of her critics.

It’s tragic in that it leads to heartache for Wonder Woman and her friends, but it stops short of breaking her. This is Wonder Woman, after all. Loss, defeat, and criticism do not break her. No mortal or God can break her. Those are her words, not mine. These challenges, however, put her in a difficult position where she has to confront unpleasant truths.

Without spoiling too many plot points, I’ll note that Wonder Woman comes to realize that there are grater complexities to loving submission than she ever could’ve realized. She sees first-hand how difficult it is to get someone to willingly submit in a world where weakness can invite harm, exploitation, and injustice. Just preaching her message isn’t enough. By not doing more, it costs her and those she cares about.

In terms of the larger narrative, “Wonder Woman Earth One: Volume 2” is a wonderfully effective evolution of the world that Morrison and Paquette created. Along the way, the story continues to embrace the unique principles of the original iteration of Wonder Woman that Marston crafted in 1942.

Not entirely, that is.

If there’s any shortcoming to the narrative, it’s how incomplete it feels at the end. It’s not a cliff-hanger, but there are many lingering plot threads that don’t get resolved. Granted, it says on the final page that there is a Volume 3 planned for this series. Given the two-year gap in between this book and its predecessor, the wait seems nothing short of agonizing.

Even with those dangling threads, “Wonder Woman Earth One: Volume 2” is still a complete Wonder Woman story that’s unlike anything you’ll get in the movies or comics. If I had to score it, I would give it a 9 out of 10. The lack of resolution at the end is the only thing keeping it from a perfect score. It still gets so many things right about who Wonder Woman is and why she’s so endearing.

The fact that she can be endearing while retaining the radical spirit that Marston had envisioned helps make “Wonder Woman Earth One: Volume 2” all the more remarkable. She’s not just a fierce warrior woman. She’s the personification of a different approach to gender, power, and love. It may seem bizarre and kinky to us, but it has powerful implications for people of any gender.

It doesn’t go overboard with the BDSM undertones, nor does it focus heavily on gender politics. They are mentioned, but not forced into the plot. There are things Wonder Woman does that feminists, conservatives, and BDSM fans can get behind. At every turn, she carries herself as someone who is willing to embrace everyone. It’s that unconditional, universal compassion that makes her Wonder Woman.

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Jack’s Quick Pick: Wonder Woman #55

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I’m going to try a little something new here so please, if possible, tell me what you think. Every Wednesday, a crop of new comics come out. I’m usually up bright and early to read them, thanks to digital subscriptions through Comixology. It makes for many restless nights, but it’s worth it to start my day with an awesome comic. As such, I want to single out a particular comic that I feel really stood out.

This week, it’s Wonder Woman #55. Granted, I’ve written plenty about Wonder Woman and the many reasons why she’s an iconic female hero. Sometimes it’s easy to forget that she still has comic coming out regularly come out and this week, we got an especially wondrous treat.

Steve Orlando and Raul Allen capped off a story that began several issues ago that had Wonder Woman reunite with her renegade Amazon sister, Artemis of Bana-Mighdall. While this isn’t the first time they’ve clashed, this particular comic beautifully demonstrated what sets Wonder Woman apart from her fellow Amazons and so many other heroes in general.

While Wonder Woman’s power set makes her one of the most powerful figures in the entire DC Universe, even those immense abilities don’t reflect her greatest strength. Sure, they come in handy whenever Darkseid invades Earth, but those are not the most important weapons in her arsenal.

More than anything else, Wonder Woman’s greatest power is winning battles with truth and compassion. She doesn’t seek to solve problems through domination. She seeks peace through truth and loving submission, a theme with some kinky undertones. She wields that power with effective grace in this, albeit not in too kinky away.

I could go on and on about the non-kinky aspects of the story that make it so awesome, but I’d rather let the book speak for itself. That’s why I’m proud to make this comic my first quick pick. Even if it doesn’t make you submit, it’ll fill your heart with Wonder Woman’s love and compassion. Any comic that can do that is a true wonder.

Wonder Woman #55

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A Sweet (Atypical) Love Story In “Sugar”

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Not every love story begins with a daring rescue followed by a witty exchange, culminating in an act of passionate lovemaking. Fairy tales and romantic comedies tend to present an obscenely skewed picture of how love actually manifests. In the same way porn gives fanciful depictions of sex, most love stories present an idealized, but flawed understanding of romance.

To be fair, though, love in the real world tends to lack that magical nuance. That’s why those fanciful depictions have so much appeal in the first place. It’s also why “Sugar,” the latest slice-of-life graphic novel from Matt Hawkins and Jenni Cheung, brings something interesting to the world of romance.

It doesn’t involve superheroes. It doesn’t involve elaborate emotional entanglements, either. It’s just a unique, engaging, and distinctly sexy story that resonates in the current year. This being the same creative team behind “Swing,” another novel love story that I lauded earlier this year, the bar is higher than most.

While I’ll won’t say “Sugar” is better than “Swing,” it has plenty to offer for those looking for a different kind of love story. This is not one of those boy-meets-girl or girl-crushes-on-cute-guy narratives that follows a familiar script. It doesn’t try to reinvent the genre, either. Instead, it takes two characters who find themselves in frustrating, but believable predicaments and has them find each other in a unique way.

Julia Capello and John Markham aren’t eccentric personalities with extreme quirks. Julia is a 23-year-old college student working multiple jobs, constantly worrying about tuition and her financially struggling mother. It’s not a ground-breaking basis for a young woman, but it never comes off as overly-tragic. Hers is a story that many young people today can relate to.

The same goes for John, a middle-aged businessman who thought he did everything right. He married his high-school love, created a thriving business, and played by the rules that men believe they’re supposed to follow. Then, out of nowhere, he finds out his wife is cheating on him and she serves him with divorce papers. In an instant, everything he thinks he knows about love is shattered.

These are two people with significant emotional deficits. Julia makes it clear that being alone doesn’t sit well with her. Her love of romance movies and her reactions to her roommates kinky antics with her boyfriend make that apparent. John is broken and lonely, needing a new connection to fill the void that his ex-wife left in his heart.

How they come together isn’t that romantic, in terms of logistics. Their first interaction is an otherwise forgettable joke in diner. However, their paths eventually cross again, this time with much sexier interactions. Instead of turning into a traditional relationship, though, these two follow a different path.

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This is where “Sugar” twists the standard romantic narrative. Instead of two people coming together in moments that go onto inspire Taylor Swift songs, they end up following a much messier path. John, who is still very hung up on his wife, doesn’t jump into another relationship. Instead, he seeks an “arrangement,” of sorts.

Instead of an actual girlfriend, he asks Julia to be her sugar baby. That’s a term that exists in the real world and often gets conflated with prostitution. In fact, that’s a common refrain throughout “Sugar.” Julia goes out of her way to belabor the fact that she’s not just exchanging sex for money. It’s worth belaboring too because that’s not the crux of their arrangement.

Yes, the arrangement does involve sex.

Yes, the arrangement does involve activities associated with dating and relationship.

No, the arrangement does not involve the promise of marriage, kids, and a white picket fence.

No, the arrangement does not involve contracts, dungeons, and bondage in the mold of “50 Shades of Grey.”

In practice, it doesn’t necessarily convey the traits of an epic love story. It doesn’t depict that of a kinky porno, either. The arrangement between Julia and John serves a defined purpose that benefits them both.

John is someone who has spent most of his life in a relationship. Being alone for him is untenable. Julia is someone who clearly wants intimacy, but struggles to fit it into her hectic life. The arrangement they pursue together fulfills them both in a particular way. John gets companionship. Julia gets intimacy and some badly-needed financial support.

If that were the only result of the arrangement, though, there wouldn’t be much of a story. It doesn’t take long before Julia and John encounter various complications to their arrangement. Emotional entanglements do enter the picture. Some of them are a bit predictable, but others are less obvious.

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There’s an underlying sense that neither character really understands what they feel for one another. John often finds himself pulled in multiple directions by his emotions whereas Julia tends to make more assumptions than she should. It makes for an eventful emotional journey, which leads to some interesting choices in the end.

When all is said and done, “Sugar” comes off as a real love story, but in an indirect sort of way. It take a strange, meandering path to get to that point, but it still gets there. While a second volume of the story is teased at the end, the story feels complete. There’s a sense that both Julia and John take a step forward in their lives, both together and as individuals.

There are a number of flaws with how “Sugar” goes about guiding Julia and John through the story, though. Neither character has much of a supporting cast. Both Julia and John are surrounded by archetypes with the personality depth of meathead jocks from 80s teen movies.

John’s business partner, Richard, is basically a well-dressed frat boy whose only role is to present the idea of an “arrangement.” His ex-wife, Karen, is even less developed. She is the personification of everything that rabid anti-feminists dread, a callous bitch who preys on the emotions of rich men while indulging her hedonistic proclivities on the side.

Julia’s supporting cast isn’t much better. Aside from a roommate who constantly encourages her to get laid and bosses that see her as nothing more than a cog with a pretty face, there’s nobody that really complements her. The people around her are just extra and bring little to the table.

On top of that, there are times when Julia and John rely too heavily on tired tropes. John has a few moments where he tries to be a White Knight and Julia has a few moments where she tries to be overly independent to the point of being an asshole about it. While these parts of the story can be eye-rolling at times, they don’t take away from the overall story.

At its core, “Sugar” is still a love story. It’s just a very different kind of love story. It takes two people in need of love and brings them together, albeit in an unorthodox way. It still works, though. It still evokes just the right emotion without resorting to princesses and dragon-slaying.

If I had to score “Sugar,” I would give it a 7 out of 10. It’s a solid, above-average story that applies just the right amount of romance and sex appeal. It has a novel concept that has plenty of potential, sexy and otherwise. It lacks the various support structures necessary to make it feel complete. Compared to “Swing,” it doesn’t quite measure up in terms of refinement.

Unlike “Swing,” this is a love story that feels more definitive. It’s concise, streamlined, and genuine in ways that few love stories dare to be in an era where one or more love interests has to be a superhero. Hawkins and Cheung once again achieve something special and sexy with “Sugar.” It may never be an epic love story that inspires a James Cameron movie, but it doesn’t have to in order to be sweet.

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