Graphic Novel Review - 'Helen of Wyndhorn' by Tom King (Writer), Bilquis Evely (Artist), Matheus Lopes (Artist, Colourist), Clayton Cowles (Letterer)

'Helen of Wyndhorn' has the workings of a comics classic, and a coveted collectable. It has a brilliant concept, and I enjoyed it, even if I still can't figure out every layer of its story, or what the Hel(en) even happened in it.

It's called 'Helen of Wyndhorn', but the sixteen-year-old, alcoholic and chain-smoking Helen Cole herself isn't really the main character. She is one of the many key players to this story, mostly set in the 1930s, told in flashback from more contemporary times (that's the comic's framing device); from Helen's never-seen tragic, deceased pulp fantasy writer father, C.K. Cole, to her mysterious, also-grieving grandfather Barnabas Cole, aka Othan, to her governess Lilith Appleton. All the characters are great and complex - especially Lilith, who is no less human and badass than anyone else - and some may or may not be actual warriors travelling between worlds - to a rich, dangerous fantasy world.

To go back to the book's title, Wyndhorn is the mansion home of the Coles, that loses its importance at the very end and in the scenes set after the 1930s. Like, it is forgotten about by everyone.

Seriously, what happened to it? Is no one living there at present? Has no one thought to investigate it?

But I won't reveal anymore due to spoilers.

Although, which plot holes are intentional and which are not in this story-within-a-story?

Is it really anti-violence? Anti-violence-as-escape? To judge the ending, probably. In addition, its fantasy world looks tremendous, but is rather one-dimensional, seemingly filled to the brim with kill-or-be-killed monsters, and savage-to-neutral gods.

Who in Helen's name is the "pirate queen" Sarra, too? Is she just a character from Helen's father's stories? And what about the "Better than Shakespeare" inscription engraved on his tombstone, told to us at the beginning? It's presented as important then, only it doesn't come up again.

Is C.K. Cole's 'Othan' series a novel series or a comic series? Is it both? Is this to do with how pulp fiction works?

Is the whole thing a looping tragedy? Surely there is hope, after all?

BUT .

Regardless of any convolution and confusion, 'Helen of Wyndhorn' contains swords and sorcery (and axes), fantasy novel themes that are deconstructed, fantasy creatures (including a cute little one, a "flyune", called No, amusingly), a highly unconventional heroine in Helen (and Lilith, as well), the mother-and-daughter bond between Helen and Lilith, the main theme of grief - it is all about grief, and what it does to people, and the lengths they go to escape it, rather than confront it - and generational trauma, and utterly fantastic artwork. It has a bit of everything, including a gothic ambiance, a redheaded heroine, talk of the power of fantasy, and LBGTQ rep. So it receives a yes! recommendation from me.

It is like 'Conan the Barbarian' meets 'Amethyst: Princess of Gemworld' meets 'Pan's Labyrinth' meets 'The Boy and the Heron' meets 'Watchmen'. I am surprised by how much I like it, since I am definitely not a fan of Tom King's works. But 'Helen of Wyndhorn', no matter how weird, complex, multilayered, and ambiguous it gets, it isn't pretentious, and it isn't too wordy, like a novel. Well, okay, it is, but it isn't too annoying, and it isn't to the detriment of the overall, standalone comic. The narration and dialogue aid the story, and flow with it, rather than distract from it, and bloat it.

To conclude, while I wouldn't call 'Helen of Wyndhorn' a perfectly written masterpiece of fiction, it is well written - and well drawn - ambition that is splashed, slashed and dashed wonderfully and excitingly in comic book form. It is something to be read again and again, to be understood better (or not) each time.

Who says that a well educated lady can't be a physically fit fighter, too, in more ways than one? She'll need her family, to support her, love her, and talk to her.

Final Score: 3.5/5

Graphic Novel Review - 'I Shall Never Fall in Love' by Hari Conner

'I Shall Never Fall in Love' - what a great graphic novel.

It's widely described as an LBGTQ+ retelling of a Jane Austen novel - mostly 'Emma', with a bit of 'Pride and Prejudice' - and it is exactly that.

It is a sweet, funny, yet realistic English regency era coming-of-age story, starring a teenage trio: Eleanor Woodford, a white, fat, upper class lesbian (or bisexual, at least); her cousin Charlotte Woodford, a biracial (half white, half Black) young woman who was taken in through charity by Eleanor's parents, and has to marry into high society and provide for her own poor parents, but she is in love with a farm boy, Robert Miller; and George Kinsley, a white, transmasc nonbinary, high class person who is more than capable of handling their own estate and business.

Each character has their own quirks, hobbies, stereotype-defying strengths, weaknesses, and flaws. Most present in the story - Eleanor and George are clearly in love with each other. But in typical cisheteronormative and classist fashion, and via typical Jane Austen obstacles, it takes them a while to realise this.

But can they ever be together? Will it be possible?

Other notable players include: Eleanor's ailing, largely hypochondriac and fretful father; John Kinsley, George's older brother who fled to London; Caroline Grey, George's first fling; Sophie Shah, another BIPOC girl, who is "delicate" and a "beautiful, perfect young lady"; Henry Whitby, a friend of John's, who basically plays the role of George Wickham from 'Pride and Prejudice'; and Beth, the best maid ever to George.

It's all a wonderful, charming, funny, enriching, enlightening ride.

'I Shall Never Fall in Love' teaches us about LBGTQ+ history, specifically in regency England (around 1818), and how LBGTQ+ people have always existed, everywhere. It also makes a big point in acknowledging that slavery happened, and its effects and influences in society are still present, and it is, in many ways, and in other parts of the world (in 1818, and even the present), still happening. It is how practically every empire was built.

These events were, and are, real. And 'I Shall Never Fall in Love' doesn't sugarcoat any of it, even with its general lighthearted tone. We learn about history - about humanity's greatest monstrosities, and the "incalculable suffering" (to quote Charlotte) caused by the "superiors" in society - for a reason. So we can learn from them and never repeat them. So we can always do better.

Of all the main characters, Eleanor, who has snobbish tendencies, has the most flaws she needs to learn and develop out of. She doesn't want to fall in love and marry. She is apprehensive about marrying any man, despite her late mother's wishes. But at the same time, she has her classism issues - which links to her insecurities and fickleness - and it is one aspect of her mother's influence that she unconsciously carried and took to heart.

It is another important lesson the graphic novel teaches: parents are not perfect, and they are not always right about everything.

Although the graphic novel focuses far more on Eleanor and George - the white characters - than on Charlotte, and they are more developed than her, and it has no LBGTQ+ rep in the BIPOC characters, I still recommend 'I Shall Never Fall in Love'. What a gorgeous, brilliant, delightful, well-researched, smart, passionate, diverse, #ownvoices story.

The art is beautiful, colourful, expressive, and adaptable to the tone of any event. Every page looks terrific, but for me personally, one particular panel made me swoon, and it is of a rosy, rose-coloured, fairy tale little cottage near the end. I want to live in a house like that some day!

'I Shall Never Fall in Love' has its Jane Austen influence, and it doubles as belonging on the same pop culture, mass appeal shelf as 'Bridgerton', the 'My Lady Jane' Amazon Prime adaptation (though that counts as more historical fantasy), 'The Prince and the Dressmaker', 'The Princess and the Grilled Cheese Sandwich' (ditto historical fantasy), 'Stage Dreams', 'Patience & Esther', 'Patience & Sarah', the 'Goodbye, My Rose Garden' manga, the 'Montague Siblings' novels, the 'Feminine Pursuits' novels, Alexis Hall's 'A Lady for a Duke', E.M. Foster's 'Maurice', Sarah Waters' works, Cat Sebastian's works, Joanna Chambers' works, K.J. Charles' works, and Lex Croucher's works, in terms of diverse (meaning: truth telling) historical fiction.

'I Shall Never Fall in Love' - I guess a more accurate title should be 'I Shall Never Marry'-- oops! I'm getting into spoiler territory. I shall leave off for now!

Read it and educate yourself, and find clarity, love, and hope.

Final Score: 4/5

P.S. One weird flaw I forgot to mention: Robert Miller is said many times to have sisters... but we never see them, save for in a couple panels and in the background, and even then we're not sure if those women are his sisters. We don't ever find out their names, nor even how many sisters there are. What?

Graphic Novel Review - 'We Are Big Time' by Hena Khan (Writer), Safiya Zerrougui (Artist)

'We Are Big Time' - what a lovely, uplifting, exciting, colourful, fast-paced, and brilliantly balanced all-ages graphic novel about a Muslim school's all-girls basketball team in Wisconsin. It brims with fun and positivity. I was smiling throughout.

I'm not usually into sports graphic novels, but I really enjoyed 'We Are Big Time'. It's such a big, important win for diversity, representation and visibility. I learned a lot whilst I was having fun reading it.

Books like this need to exist for the rep, inspiration, and aspiration, and for education: to teach white people - predominantly Christians, and most vitally, right-wing fundamental Christian extremists, i.e. racists and Islamophobes - that, what do you, Muslims are just like everybody else. And of course they play sports. Of course there are famous Muslim and other Middle Eastern sports stars and athletes. One's faith should not mean they deserve to be dehumanised, and ignored and hidden. (And not all Muslims are POC and from the Middle East, either.)

Faith is supposed to be about peace, love and community, which 'We Are Big Time' brings out in vibes. It's an exhilarating, charming experience.

As well as Muslim communities - examples: showing prayer times and groups, and Aliya Javaid, the protagonist, is of Pakistani and Indian decent, and wears a hijab like the rest of her basketball team - there is Puerto Rican rep in the form of the team's awesome new coach, Jess Martinez. She learns as much from her Muslim girls team as they learn basketball skills from her. All the POC women and girls are awesome here!

Just... what a warm and hopeful sports comic.

Even better, it's inspired by true events!

It also has a new-girl-in-town theme to it. The new girl, Aliya, joins her new school's basketball team and helps to elevate them, and they end up kicking it! As long as she can find and retain her confidence, and balance her studies and get good grades, too.

The comic is big on family and friendship, to go with everything else.

'We Are Big Time' is big. It is hugely, wholeheartedly inspirational. Some scenes, like in the actual basketball games, are choppy, condensed and end abruptly, and it has a bit of a pacing problem, but those are the only real flaws I can find. On the whole it is a triumph.

I cannot gush enough how warm and sweet it is. It is a beacon of hope to the world.

Recommended to everyone.

It is also like 'Huda F Are You?', 'Pillow Talk', 'Cheer Up! Love and Pompoms', and the 'A Story of Hijab' trilogy.

Final Score: 4/5

Graphic Novel Review - 'The History of Everything' by Victoria Evans

'The History of Everything' is a coming-of-age graphic novel about female friendship that is sweet, touching, heartfelt, and a little sad. It is like 'Daria', 'Ghost World', and 'Mall Goth' - it is part of that cultural subgenre and milestone in depicting teenage girl angst, and the complexities and powerhouse positivity and feminism inherent in teen girl best friends. In that type of friendship group and social circle, where even just two girl soulmates is enough for them to form a connection, to be powerful and beautiful. Their bond is sealed like magic.

Solidarity and support forever.

Even when one of the best friends is moving away.

Plan a best summer ever before that happens! Just the two of you.

Right?

Nothing should change that much, and so quickly.

Right...?

'The History of Everything' is timeless in its themes and smalltown setting, while simultaneously it is rather dated in its stereotypical depiction of goth girls and other "weirdo loner" girls. Because of this, I'd thought it took place in the 90s at first - to go with its homage to things like 'Daria' and 'Ghost World' - before I remembered that it contains mobile phones, texting, and DVDs instead of video cassettes. But no streaming platforms? Plus, the use of old cameras is a plot point.

Why are the two girl best friends, Agnes and Daisy, social outcasts, anyway? They appear to be nice enough, and not too awkward or standoffish. Merely antisocial, with a "too good for the stupid, superficial popular crowd" attitude. Or is only Agnes like that, and is holding Daisy back out of fear of losing her? Is Agnes the lonely and dependent one? Are they seriously loners because of how they're dressed and how they do their hair? They look great, and it isn't the 8os - no one is weirded out by goth girls anymore! Even if they do go over the top and 90s about it.

Speaking of being stuck in the 90s mindset, the graphic novel is very heteronormative and white (so its Goodreads blurb saying it is 'perfect for fans of Booksmart and Pumpkinheads' seems disingenuous). Anyone outside of that bubble barely exists. While it is still enjoyable and adorable regardless, for a 2025 comic supposedly set in the current day it is definitely noticeable, and I must comment on it.

Yeah, sadly 'The History of Everything' doesn't, in fact, represent everything and everyone, and it won't speak to every outcast girl out there. But it has a retro teen gothic and horror aesthetic and aspect to it, which I love. There is a scrapbook and bucket list, a record shop, teen grunge bands, and a midnight slasher movie marathon in a cinema. It contains affectionate parodies of Hot Topic, slasher movies, Keanu Reeves, and 'Buffy the Vampire Slayer'. The artwork is super cute, wonderful, and nice, too.

Extra female bonding bonus: one of the themes is (single) mother and daughter relationships. Also lovely, sweet and positive.

Family dynamics, social status and classism are the more subtle leitmotifs.

The blurb of every edition of 'The History of Everything' includes this spot on line: it is about growing up without growing apart. Plans change, life changes, and that's okay. Female bonds have the power to endure for a lifetime, boy or no boy, long distance or no.

Goth female friendship to the max!

Final Sore: 3.5/5

Non-Fiction Book Review - 'The Secret History of Wonder Woman' by Jill Lepore

Wow, this is a lot. This is one hell of a secret history.

I could not put it down.

This history book is learned, all-encompassing, exciting, engrossing, and human, powerful bracelets and all.

'The Secret History of Wonder Woman' certainly reveals more than I expected, and it is spectacularly, thoroughly researched. Look at how much is dug up! How much is not lost to time! No document, no note, no diary entry, no piece of found writing is overlooked, in order to compose a narrative of the life, careers, credentials, scandals, and legacy of Wonder Woman's bizarre, controversial, prideful and unorthodox creator, William Moulton Marston, and all the women who were the superheroine's inspiration.

Even if the book is ten years out of date now, depressingly.

Jill Lepore somehow manages to make the density of the discoveries she made so engaging and immersive in her writing - and feel so real and lived in, because it is! - even without making it personal on her end. Her research alone must have taken her years! She is somewhat impartial; she doesn't share much of her own opinion on matters, only the facts as she found them. But she doesn't sound too detached and robotic, as she occasionally shows a wry sense of humour (especially at the end of each chapter, told in chronological order in the vast and complex history of the making of and political legacy of the world's most famous superheroine).

I am a huge fan of Wonder Woman, so I knew I had to check out 'The Secret History of Wonder Woman' at some point. I am so glad I finally did. Every Wondy fan should. The more I read, the more I learn about her, the more I love her. The more I want to be like her.

And you'll absolutely, definitely find out more from 'The Secret History' than in the 2017 film, 'Professor Marston and the Wonder Women'. There is much that the film left out when depicting William Moulton Marston and his life and careers (he was very versatile) (and he looked nothing like Luke Evans). Though it remains a favourite of mine.

On that note, it is strange that, in her book, Lepore barely hints at there being a possible romantic and sexual relationship between Elizabeth Holloway and Olive Byrne, before or after Marston's death. The threesome's unconventional, polygamous homelife is at the forefront and never undermined, however. At the same time, Lepore places emphasis on both Holloway and Byrne being solely in love with Marston; their possible queerness is barely touched on. The word "bisexual" is never used. There is a Marjorie Wilkes Huntley in the picture, too - I wish more was explored about her.

You may read and finish 'The Secret History of Wonder Woman' with the impression that Marston was maybe just a horny bastard, and all his psychology mumbo-jumbo, his bondage-and-dominance-and-submissiveness theory, were simply an excuse to justify his fetishes, perversions and sexual fantasies when it came to women (and from the looks of it, only conventionally attractive, beautiful women). He was very proud of his academic work and "discoveries", and would go out of his way to let everyone know his "accomplishments". But, for example, there's never been any solid, irrefutable proof that his lie detector test actually worked.

Still, when it comes to Wonder Woman and his work in comics, I believe Marston had the best intensions for her, and what she stood for. He cared about her greatly, and fought for her whenever he could. He despised censorship. He truly wanted women to be strong and equal; to stand on their own footing and be powerful and independent, with or without relationships with men. There is power and worth in the feminine. Gender is a social construct anyway, and should not matter.

In many ways, Marston was lightyears ahead of his time.* So was practically every woman he knew.

I think he genuinely believed everything he ever taught and wrote. His beliefs, insights, ambitions, and imagination were limitless. However eccentric he was, he was an extraordinary person in history, who shook and challenged convention and the conservative everywhere he saw it**.

And again, so was every woman he knew.

If I were to guess the five most important things to William Moulton Marston, it would be sex, psychology (largely pseudo, at best questionable), his ego, Wonder Woman, and his big, unconventional, and no less loving family. Including his children. And his mother. He was a real mummy's boy.

'The Secret History of Wonder Woman' - no longer a secret, and that's a great, wonderful thing.

Wonder Woman has always been about women's strength, women's power, women's rights, the suffrage movement, and the many waves of feminism. In spite of her numerous ups and downs over the decades - as happens to all famous superheroes who have lasted as long now - she is still popular. She is still going strong.

That should tell you all you need to know about her as an enduring pop culture icon and heroine.

From the very beginning, Wonder Woman has been political. She has been about feminism and women's representation and visibility (including in her invisible plane). She has been about fighting fascism and protecting democracy. Deal with it.

There are aspects to her that remain as Marston had envisioned her. Good. What a miracle, through all the movements, changes, and regressive, political sludges though time.

'The Secret History' is partly a good academic source concerning comic book history and censorship in comics, to boot (Wondy's red boots, that is).

Like, it was interesting to learn that Batman's aversion to guns originally came about because of censorship. That info is in here, too. So maybe "censorship is bad" has its exceptions. It all depends.

In terms of women's history, you'll learn much about women's suffrage, the birth control movement, and women - the wonder women of history - such as Susan B. Anthony, Lou Rogers, Dorothy Rubicek, Alice Marble, Lauretta Bender, and Joyce Hummel.

Wonder Woman, aka Diana Prince, like every superhero, has a secret identity. So did William Moulton Marston, aka Charles Moulton, aka Superprof (probably). At last, in the 21st century, nearly a hundred years later, all is revealed - about him, and about women and women's place and achievements in history.

Marston wanted freedom and equality for women. He fervently believed women's liberation to be the only hope for civilisation and humanity to survive. He wanted a woman to be President of the United States as far back as the 1920s.

Feminism is the cure for fascism. Nowadays, this is not so extreme a view - extremism has already happened on the other, wrong, worst side of politics, and it is destroying everything. It is deliberately undoing and dooming human progress and survival. "Feminism, freedom, and love can save the world" is simply fact. It is hope.

Sharing with women, and women having power, independence, and control over their own lives - and visibility and a voice - is not scary or radical, and it is fucking not going to end the world.

Oh, and I absolutely loved learning that, in 1970, there was a comic strip published that had Little Lulu say "Fuck this shit!". It was a response to sexism and the patriarchy from the second wave of feminism. Why did I not know about it until reading 'The Secret History of Wonder Woman'?! Why do women's rebellion and accomplishments, in politics, the media, and pop culture, keep getting ignored and erased? Why is the patriarchy stubbornly, frighteningly enduring as the status quo in society, most troubling and horrifying in 2025? Capitalism is largely to blame, I know. It's corruption, everywhere.

Anyway, despite only dedicating like, two pages to the 70s Lynda Carter TV series, 'The Secret History of Wonder Woman' is good nonfiction literature about the virtues of creativity and love. Good day!

Final Score: 4/5

*This is despite the fact that Marston was not strictly a feminist, since he believed in women's superiority over men, and not as their equals. He believed in a women's utopia; meaning, a world made better and more peaceful by women ruling it; a matriarchy that is sooner or later inevitable, because women are better than men, because of love and other stereotypical feminine traits, not the stereotypical masculine traits of war and destruction in men.

**Except his views on blonde and brunette women, and on race, which is wince-inducing from a current standpoint. Though maybe he grew to change this slightly overtime.

Graphic Novel Review - 'A Song for You & I' by K. O'Neill

I am a little sad that I didn't love 'A Song for You & I' as much as I wanted to.

I mean, it's K. O'Neill! They are a wonderful, creative, LBGTQ+, BIPOC fantasy artistic genius. But I found their latest graphic novel to be rather underwhelming. Only its two main leads, Rowan and Leone, matter. They are given significant character development and arcs - everybody else is forgettable and disposable, and it seems like they are forgotten about by the end--no, actually by the middle of the graphic novel. Little details, such as those concerning the one-shot side characters and their dropped arcs, that seem important at the time, are forgotten about, as well.

Still, 'A Song for You & I' is another quiet, gentle, relaxing, moving, sweet cosy fantasy world story by K. O'Neill, with almost no conflict, except for what is internal. There is a theme of overcoming the self-imposed need to prove yourself to others... and to yourself. Live life, and exist as who you want to be; as your true self. You have value for who you are, not for what you do for others. Relax, and remember that you are already great, talented, and worthy of love.

The gift of expressing yourself, of giving because you want to and it makes you happy, and of being there for loved ones and strangers alike, it is enough.

'A Song for You & I' is especially breezy in its hillside, mountainside, and countryside setting, and how it has flying horses with wings in it. It is a therapeutic coming-of-age tale.

Connecting to the abovementioned life-affirming, coming-of-age stuff, it is a very good* addition to the recent, and much needed, long line of graphic novels dealing with LBGTQ+ and gender dysphoria and identity themes. It is also like a masc version of O'Neill's first comic, 'Princess Princess Ever After', only with no villain, nor royalty**.

And like with all of O'Neill's comics, it would fit perfectly as a Studio Ghibli film.

'A Song for You & I' is a bit underdeveloped and disappointing, but it is a lovely, wholesome, soft, sweet, simple work of art, for all ages. It is not so mild, and definitely not mid.

I will be keeping this treasure as part of my K. O'Neill collection.

One more thing to add: the blurb is somewhat inaccurate. It goes on and on about the protagonist wanting to be a hero, and failing as a hero in a typical story. 'A Song for You & I' isn't exactly about aspiring heroics; it is more about someone wanting to prove that they can do something, and are worth something, when in fact just being who they are and living life is enough. There are many ways of being strong, and a protector. I'll give the blurb credit for not deadnaming the protag, and referring to them by they/them pronouns, when their pronouns are not made clear in the book itself.

Thus concludes Artemis Crescent's review of a new K. O'Neill graphic novel.

For further reading, here are my reviews of:


'Princess Princess Ever After'

'The Tea Dragon Society'

'The Tea Dragon Festival'

'The Tea Dragon Tapestry'

'Aquicorn Cove'

'The Moth Keeper'


Final Score: 3/5

*I am in no position to judge if this representation is in fact excellently portrayed, but I'm sure it is for other people, and it is #ownvoices, so. There you go.

**Additional graphic novel comparison: 'The Baker and the Bard'.

Graphic Novel Review - 'Strange Bedfellows' by Ariel Slament Ries

From the author of the 'Witchy' books comes one of the best futuristic sci-fi LBGTQ+ comics and concepts ever.

'Strange Bedfellows' contains gorgeous and expressive artwork, masterful storytelling and character crafting, effortless trans, nonbinary, and other queer rep (I don't think anyone is straight), an all-POC cast, and creativity that practically (star)bursts on every page like a supernova or nebula. It is hard to top something like it.

'Strange Bedfellows' - further proof that graphic novels are an art, and a miracle.

And because it is so good, I'm not going to reveal a thing about its plot or characters. Go in blind, like I was; all the better for a surprising, enriching experience.

This is what it must be like to be in space, and looking into the cosmos - throughout all the overwhelming emotion, it teaches you once and for all that there is no limit out there, and simultaneously no limit to being human. No real limits within or without. There should be no limitations placed on humanity. Why should there be? Nothing and no one beyond earth and in the big, endless universe would stop us, tell us what we should and shouldn't do; what we should and shouldn't be.

Reach out within, and above and beyond.

Imagine! Create! Be! The possibilities are infinite.

(So take down the patriarchy, white supremacy, warfare, capitalism and money, too, while you're at it.)

This is a future for humanity worth striving for.

'Strange Bedfellows' is explosive, emotional storytelling, and a creative, comforting, and hopeful ride. It is also very funny, witty, clever, touching, sad, heartbreaking, and bittersweet, to go with its themes of identity, self-discovery, connection, empathy, doing what you love, navigating with the people in your life who love you, and mental illnesses, such as anxiety, panic attacks, breakdowns, and burnout.

It isn't perfect, however. The comic is a bit long and overwrought, and the main characters are not always likeable - though they are only human... humans with mutant superpowers, and there are no actual space aliens in this intergalactic sci-fi take on the future.

But it is worth it.

'Strange Bedfellows' is, in more ways than one, a dream come true.

I recommend it to everyone, including 'Star Trek' fans, 'Doctor Who' fans, 'Neon Genesis Evangelion' fans, and people who like 'Akira', and the comics 'Project Nought', 'On A Sunbeam', 'Juniper Mae', 'The Infinity Particle', and '5 Worlds'.

Final Score: 4/5

P.S. I have to add, that I find it really funny that so many works of science fiction will bend over backwards never to use the word mutant when depicting otherwise ordinary humans with superhuman/metahuman powers and abilities, often inherent, because they are afraid that Marvel will sue them or something. As if Stan Lee and the rest of Marvel came up with the word, and therefore it is solely theirs, and they've patented it.

Like, in 'Strange Bedfellows', people with powers - developed from space radiation that infected their parents and grandparents - are called Ghosts. I don't exactly get it either. Another example is in the anime 'Tiger & Bunny', where people with powers, who are also superheroes, are known as NEXT (Noted Entities with eXtraordinary Talents). Individuals with witchlike/supernatural abilities in the anime 'Witch Hunter Robin' are called "seeds". In the television show 'Smallville', a DC adapted property, humans infected by scattered pieces of kryptonite from a meteor shower are called krypto-freaks, or just kryptonite-poisoned metahumans. And in another show, 'Heroes', people with powers are referred to as... people with powers. Zero points for creativity there, 'Heroes'.

I mean, 'X-Men' shouldn't be the only franchise in existence allowed to say a simple, pedestrian word like mutant! People in real life would definitely say mutant! Not solely "the infected" or something to do with evolution or a phenomena or whatever!

It's like in zombie horror fiction, where more often than not the word zombie is in fact never used for some reason - they are also "the infected", or "them", which is meant to sound ominous but is actually vague, lazy, stupid and unrealistic. We would definitely, 100% call them zombies! Because that's what they are!

Humans in a non-fantasy world setting with metahuman abilities - humans with cool superpowers of any kind, of any origin, but most notably from radiation and/or genetics - are mutated persons, i.e. mutants!

I just thought I'd point this trope out.