Graphic Novel Review - 'Muted: Volume 1' by Miranda Mundt

My 1150th review!

It is fitting it should be of a modern witchy comic of both darkness and light. Of horror and heart.

'Muted' is one of the newest witchy webcomics, and in 2025, its first volume is out in the world in paperback form. Different editions, publishing and republishing, birth and rebirth, they are exciting, breathtaking, stunning, transformative, hopeful things.

'Muted: Volume 1' is very dynamic and dramatic, and sometimes dark and bloody, but mostly it is colourful, funny, cute, enchanting, bold and beautiful. It deals with themes of trauma - generational, family, religious, personal, the works - tragedy, domestic abuse, elitism, classism, self-worth, and nature versus nurture (emphasis on the nature part).

Even with its darkness, 'Muted: Volume 1' is easygoing, easily and steadily paced, and easily accessible. The likeable and memorable characters certainly help the reader to ease in, and follow along the journey.

The journey of a lesbian witch's tragedy and coming-of-age tale.

Set in New Orleans, 'Muted' is about Camille Severin, a beautiful redhaired young woman who comes from a rich witch family that is so set in its archaic ways that it deals in coming-of-age rituals of bloodletting and summoning demons to get richer still. At least, that is how her aunt, the Matriarch Athalie, runs it.

When Camille was a child, her mother and twin sister died in a mysterious fire in a greenhouse, and she was raised by her abusive aunt Athalie, and her only friends and confidantes are her cousins Avaline (same age, and Athalie's daughter) and Silvia (older, and distant, though I only know she's a cousin from the blurb; it's not clear from the book itself). Plus her familiar, a woodpecker named Toben, who Athalie locked in a cage away from Camille for years. Birds are common familiars to the Severins.

Now, after a disastrous bloodletting ritual, more than ever Camille has to face up to her past, what her powers and magical affinity are, and who she truly is. Where she belongs. What part of her family she belongs.

What constitutes a family, anyway?


'It is hard to be different in a family like yours, I suppose. The Severin family has never been very good about different.'


Camille learns more about other witch families, and about herself, on her own, true coming-of-age journey of self-discovery, in different ways.

And not everyone has her best interests at heart, not just her aunt...

Witches be crafty.

But also kind of cute. And sassy.

Wait.

Hold up.

A redheaded lesbian hero with a tragic childhood involving an allegedly murdered mother and twin sister. Where have I heard that before?

Anyway, Camille is a great, complex young woman and heroine. As sweet, innocent, sad, scared and oppressed as she often is - not to mention closeted, in her natural powers and sexuality, and her sexuality is power - she seems to be shifting in her moral compass towards the end of the volume, growing darker and more secretive in her development, as a witch and a person. I hope she is self-aware enough not to turn into her aunt, though the self-awareness angle does appear to be the case in this comic, based on its reflections and introspections, and its generational trauma subject matter. Its dark matter.

On a lighter side, Camille is occasionally, surprisingly funny and sassy when she wants to be.

My other favourite characters are: Silvia, a Severin with a facial scar, who wears a veil of mourning at the beginning, and who acts as a housekeeper, and contrary to Athalie's wishes, she is kind, caring, and protective of Camille - could be even more excellent and complex than her; Nyra, a woman from the Dupre witch family, and Camille's love interest, who is literally fiery, has cans of attitude and sass, and takes no bullshit; and Nana Fleur, or Harriet, an old matriarch from the Leroux witch family, who I won't reveal much about due to spoilers, but she is the sweetest, kindest, wonderful-est old lady ever.

I swear, there are no human male characters in 'Muted: Volume 1', at least not present or living. It's fantastic.

It also didn't escape my notice that the evil elitist Severin family are all white, whilst the majority of the other, "poorer" witch families we meet are BIPOC women. And they have disabled members, and members with differing body types. There is a stigma against redheads as well, which further alienates Camille from her darkhaired family (though her cousin Avaline has dyed blond hair).

'Muted: Volume 1' reminds me of an adult version of 'Sabrina the Teenage Witch' (no, not 'Chilling Adventures', it is far better than that), and Disney's 'Encanto'. In fact, I wouldn't be surprised if Miranda Mundt was influenced by more than a smattering of Disney films when working on their dark witchy comic. The lovely and beautiful artwork is similar to the classics (there're touches of manga, too), and I see 'Cinderella', 'The Princess and the Frog' (New Orleans, swamps, shadowy figures, dark magic, tarot cards, hello!), and 'The Little Mermaid' (for spoilery reasons, that have nothing to do with heroines with long red hair) here. Nyra's pet name for Camille is "princess". I can't unsee it.

'Muted' is one of the better witch webcomics I've read. The others I recommend are 'Witchy', 'Unfamiliar', and 'Les Normaux'. All are hugely diverse, unique, unforgettable, well written, and adorable.

Maybe I'm a weirdo, but I don't find 'Muted', labelled under 'horror', to be that scary. Though it could definitely count as a psychological horror and thriller, with its themes of abuse and psychological trauma. Fragmentation is one of its motifs.

It contains great quotes - wonderful, punching lines of dialogue - to boot. A witch's boot, that is. Under a long skirt.

I'm not sure if I'll continue following the series, despite the hell of a mystery and that cliffhanger, and the adorable bonus chapter at the end. But the first published volume is a keeper.

What a cute, cartoony, witchy webtoon!

IT REFERENCES THE 'HOWL'S MOVING CASTLE' ANIMATED FILM! COME ON, I HAVE TO LOVE IT!

Final Score: 4/5

Graphic Novel Review - 'Moonstruck, Vol. 1: Magic to Brew' by Grace Ellis (Writer), Shae Beagle (Artist), Kate Leth (Artist), Caitlin Quirk (Colourist), Clayton Cowles (Letterer)

'Moonstruck, Vol. 1: Magic to Brew' is part of my current binging of older comics and novels I had read years ago and wanted to give another chance. Sadly, it is one of those where my original opinion hasn't changed, and now I remember exactly why I didn't really care for it the first time.

I'm incredibly sad about it, because on the surface, on paper, 'Moonstruck' has everything I love. I should have loved it. It depicts a fantasy world I would love to live in, with characters that anyone would want to be friends with. It has the makings of a comfy, cosy, soft, saccharine (in a good way), adorable comic, and it definitely shines at the beginning. It has its moments of inspiring creativity, humour, and fun dialogue and banter.

The café! The beverages! The kitties! The abundance of magical creatures living in the same space! The puns! *squee!*

But it breaks my heart to say that this is yet another fairy tale and cosy fantasy comic with a great premise, but is lacking in execution. It loses its momentum, its focus, and its solid structure and characterisation as it progresses.

One main problem is that I get what is going on in each scene, but not the how and why. Everything is contrived, nothing flows well, and it is often confusing and random, despite having a mystery plot supposedly tying it all together.

While most of the characters in 'Moonstruck, Vol. 1' are likeable, beyond cute, and charismatic, it became clear the more I read on just how one note they are, and they are as flimsy, nonsensical, ill-thought out and inconsistent as the story and worldbuilding. Near the end, they would suddenly become unlikeable, and do wildly out of character things for the sake of the plot.

Then there are the minor characters, who are so minor and superfluous that I would forget about them after the one or two pages they are "introduced", or are literally in the background, and then they would appear ages later for the same amount of page time or a little more, and you're expected to know them and care about them. And there are minor characters who are only mentioned once, and then they would appear on-page after a very long period, and again, you're expected to know them immediately and care about them. Overall, they are unimportant and they affect nothing in the overall plot, which is vague and unfocused to begin with.

What happened with the writing and planning stages of this comic?

The motivations of both the heroes and the villains are either unclear, not developed properly, haphazard, or are just unestablished and unexplained. I don't know why anyone does anything, and for what reason. They do whatever the comic wants them and needs them to do, and that's that. It is a lot of randomness, and major plot points and plot turns happening off-page, for reasons I can't fathom.

The ending is... abrupt doesn't begin to cover it. Rushed doesn't begin to cover it. Everything is resolved on the last page, just like that. I was left baffled. Was I seriously supposed to be satisfied by it? I said out loud, "Wait, that's it?", when I got to it and turned the next page to discover that it was it, for this volume. The whole structure and characterisation are a mess.

Don't get me started on the worldbuilding, of which I have the same sort of criticisms, and the nonsense where seemingly all magical and mythical creatures live together in harmony no problem, but apparently only werewolves face discrimination*. At least, only the protagonist, Julie, does, and it's limited to mere teasing and name calling, nothing so hostile that she would, apparently, wish for herself and everyone else to be "normal"... whatever the hell that means in this world and context!

Is "normal" a world without magic? Without magical creatures? What is "normal" based on, in a world such as this? How does magic itself work in this society, and how is it used in day-to-day life? Does it depend on the supernatural being, of which there are a myriad?

All this boils down to: What does Julie want?! What is her deal? Why does she hate being a werewolf?

Does she hate being a werewolf? But she's also dating a werewolf! A fellow BIPOC, plus size lesbian werewolf at that, who doesn't seem to experience any prejudice whatsoever**. Why is Julie so insecure? Why is she the way she is? (I ask the same of the main villain, who suddenly goes "You and I are not so different" on Julie at the end, which comes the %^*#! out of nowhere, and he knows far less about her than the reader does.) Why is the world the way it is?!

Julie is the main character, and this is the setting she lives in. I should know, sure as sugar and concrete, all the answers to the above questions. But I don't.

It is all very poorly established and explained. Confusing, random, frustrating, odd, and poorly written (applying mostly to the last couple of issues).

Another example of poor worldbuilding, and kitchen sink supernatural creature usage: Are ghosts an entirely different species here? Are they dead people? Dead humans?

And vampires are still repelled by crosses. How does Christianity fit in this world?! Is there any faith and religion in this culture and society? The comic's version of vamps also suck blood and turn into bats, yet can go out in the daytime and socialise like humans. Makes sense!

And no matter how hard I try, I cannot see how the comic's in-universe mystery novel framing device to go with its own "mystery" (it barely even counts as one, and we know who the one dimensional bad guys are from the start) has anything to do with anything in the story as a whole. It doesn't. It's irrelevant. The two stories don't relate to one another. Except maybe the mystery novel's final line of dialogue at the end, but that's it, and even that is an extreme reach. The parallels between the two contexts are practically nonexistent, and trying to find a connection only succeeded in giving me a headache.

Now here's another point about the vague and confusing worldbuilding: The mystery novel series that Julie likes, 'Pleasant Mountain Sisters', is a children's 'The Baby-Sitters Club' and 'Sweet Valley High' type, starring generic, skinny white blonde, heteronormative female human leads. The 'Pleasant Mountain Sisters' books are ongoing and popular in a world full of countless fantasy creatures of every kind, and racial, ethnic, LBGTQ+, and body positive diversity everywhere.

Is 'Moonstruck', a soft and sweet colour palette fantasy, a dystopia? Is it set in a postapocalyptic earth? Is this like a Netflix's 'Bright' (ugh!) scenario? 'Moonstruck' contains modern pop culture references, so I don't know what to think. Is 'Pleasant Mountain Sisters' one of its remnants of the "before times" of humans? It barely qualifies as a parody when it's largely played straight.

The random "Ask a Know-It-All' agony aunt advice column single pages at the end of each issue are just that - random and superfluous. Do they add to the worldbuilding? Not really. Are they relevant to the story? One hundred percent no. Are they fun and harmless regardless? Hmm, yeah. Some writing in them is funny and clever. However, they are a far cry from making up for 'Moonstruck, Vol. 1''s numerous flaws.

I know, I'm overthinking everything. I'm taking the silly comic too seriously. But it is all I'm left with when said comic seems to have little coherent thought put into it, especially in the parts where I'm clearly supposed to be taking it seriously.

I hate doing this, because I want to love and adore 'Moonstruck, Vol. 1: Magic to Brew' - a lilac, lively, bubbly, tasty cauldron's brew of my favourite things. But I'm sorry, I can't. I want to with my whole heart, but I can't. My logical storyteller and editor mind won't let me.

No doubt it was made with heart and passion behind it - and the artwork is gorgeous, colourful, soft, lovely, versatile and expressive. It pains me, to give something like 'Moonstruck' a negative-to-middling review like this.

I'm afraid I have to be honest and say, as amazingly diverse (BIPOC rep, fat rep, sapphic rep, nonbinary rep, it's as varied as its supernatural creature features!), adorable, and pretty as this YA fantasy comic book is, I am disappointed by its vague, flimsy, unfocused, random and inconsistent writing, characterisation, and worldbuilding.

Among the very last lines of dialogue in the volume's rushed final page are: "What do we do now?" "Therapy. Lots and lots of therapy."

Maybe find a script doctor too, while you're at it.

Sorry, I'm not impressed, nor am I compelled to want to read the sequel volumes.

What I do want, is to leave a downer review on a positive note. I want to recommend other, better written diverse, cute, cosy fantasy comics. They are:

'Mooncakes', 'The Tea Dragon Society', 'The Tea Dragon Festival', 'The Tea Dragon Tapestry', 'Aquicorn Cove', 'Doughnuts and Doom', 'Wolfpitch', 'Unfamiliar, Vol. 1', 'Unfamiliar, Vol. 2', 'Power & Magic: The Queer Witch Comics Anthology', 'Les Normaux', 'The Baker and the Bard', and 'The Restaurant at the Edge of the World'.

Also 'Legends & Lattes' and 'Bookshops & Bonedust'.

Final Score: 3/5

*Although, there is the implication that ghosts are treated as second-class citizens, as well. They get belittled, insulted, and even physically assaulted by both the good guys and the bad guys. Gah! Who are you, 'Moonstruck'?!

**Is a werewolf born and not made in this universe? It appears to be the case.

Happy Birthday to me 2025

 Happy Luna Birthday to me! 🌙🌙🌙🌙🌙🌙🌙 ⚸⚸⚸⚸⚸⚸⚸

Here are my nails from a trip yesterday:

Here is one of my presents, an Artemis duvet set!:

I had a nice, lovely day with my family today xxxxxxx

🌙🌙🌙🌙🌙🌙🌙 ☽☽☽☽☽☽☽ ☾☾☾☾☾☾☾ 🥮🥮🥮🥮🥮🥮🥮 ⚸⚸⚸⚸⚸⚸⚸

Graphic Novel Review - 'When I Arrived at the Castle' by E.M. Carroll

'When I Arrived at the Castle' has got to be one of the most baffling and frustrating things I have ever read and reread. And reread and reread. And reread again.

And after much deliberation and lost sleep, I have found that I both love it and hate it, hence the three star rating.

Even though I am normally not a horror fan, I demand clarity on why I should be scared, and endings that make sense, damn it!

That ending and "explanation" has driven me up the wall more than Freddy Krueger, I swear.

There's more blood here than in all the 'Nightmare on Elm Street' movies combined, I bet.

Whatever else it may be, 'When I Arrived at the Castle' is certainly a unique piece of graphic novel art. And a bloody staple in horror comics. All-female led horror comics.

It may well be a masterpiece. A carefully crafted, original horror fairy tale for adults who are not faint of heart. I hope it truly is, with all the litany of interpretations I've thought up for it.

Or it could be that the younger E.M. Carroll bit (heh) off more than they could chew, and ended up creating a mess of many different ideas crammed into one little tale.

Please let it be the former.

'When I Arrived at the Castle' is a LBGTQ+ monster tale about a countess vampire and a catwoman (that this would have been cute in any other context makes is further unsettling and unnerving). But oh, it is so much more than that.

It borrows elements from - and the heavily dark vibes of - 'Dracula', 'Jane Eyre', 'Bluebeard', the legend of Elizabeth Báthory, and the works of Angela Carter. There is blood, lots of blood, and sex, and teeth, and bathing, and mentions of knives, skin-cutting, and shepherdesses. There are themes - direct, vague, and vaguer still - of monsters and prey, killing and desire, animals, animal instincts, deception, and identity crises.

There is a lot aligning to my tastes, and that I appreciate.

So while 'When I Arrived at the Castle' didn't so much as make my skin crawl or my blood curdle as give me a headache, the fact that I've obsessed over it to such a degree that can equate to real fear proves its power over its readership (that I could hardly sleep with it preying on my mind wasn't just from how scary it is). It has a creepy, violent, morbid, macabre fairy tale sense to it, definitely, and it operates on dream/nightmare logic more than anything.

Yeah. I'll go with that.

I love this irresistible, maddening, sickeningly sweet gothic horror comic.

'When I Arrived at the Castle'--and I keep thinking of the similarly titled 'We Have Always Lived in the Castle' by Shirley Jackson, another "feminist" gothic horror mistresspiece that I need to reread, whenever I see it.

I also like E.M. Carroll's recent graphic novel, 'A Guest in the House'. It seems their penchant for ambiguous endings, plus tragic stories about trapped women, is part of their horror style. Their horrific artistry.

I apologise if this review makes no sense. Hey, it's not like the gothic graphic novel featuring a lesbian vampire and a hellcat is simple! Maybe my writing makes as much sense as that.

Maybe I'm having one of my late sleepless nights as I'm typing this, and I really ought to go to bed.

After my bloodbath and skin-shedding, of course.

Final Score: 3/5

Graphic Novel Review - 'Red Sonja, Vol. 2: The Art of Blood and Fire' by Gail Simone (Writer), Walter Geovani (Artist), Noah Salonga (Artist), Adriano Lucas (Colourist), Elmer Santos (Colourist), Simon Bowland (Letterer)

I've been on a binge lately where I reread comics and novels from the past that I didn't like, or at least wasn't that impressed by, or had given up on and forgotten about, basically to give them another chance to change my mind about them, based on how much my perspectives and tastes have changed over the years. I wanted to be more openminded and fair to them; to any artform.

While most of my opinions on past reading material haven't shifted at all, in some cases, such as 'Red Sonja, Vol. 2: The Art of Blood and Fire', I'm glad I've decided to take part in this binge.

Because the sequel to 'Red Sonja, Vol. 1: Queen of Plagues', in Gail Simone's own 'Red Sonja' comic run, is fun and funny as hell. It is raw, ructious, eager, creative, intelligent, furious, passionate entertainment in comic book form. It is a pulpy, sword and sorcery delight. Unclean in the best way.

The art is amazing. The action and humour are brilliantly and cleverly done. The dialogue is solid, snappy, and stellar.

Like with the first volume, I like the cover art, too.

Simone's take on Red Sonja - Sonja the Hunter, the Red Devil, or the Devil, the She-Devil with a Sword, the scourge of men - is even more rambunctious, vulgar, indecent, sloven, given to vice, self-indulgent, drunk, deadpan, hilarious, fed-up, ornery, horny, smelly, and all around fucking badass than ever before. She's the star here, even with all the new side characters she meets and (reluctantly) befriends along her quest this time.

She's both blunt and sharp in her words and blades. There are so many sides to her, aspects to explore, about her character and backstory - she is not just a chainmail bikini barbarian sidepiece and wank fodder, like she was originally conceived to be. She is a believable, three-dimensional human.

Red Sonja is a good person, a justice seeker, but she is not a "conventional" heroine. Fuck that. She will cut any evil man down to size, sometimes literally, and she will sleep with any man and woman. By her terms. By her pleasures. Her desires.

'I'm Red Sonja. I'm everybody's type.'

She is doing everything in her power to be a free woman, as well as set other downtrodden, underappreciated, underestimated, undervalued, and exploited and abused people free, and she should be admired for that. Loved as the free human woman she is for that.

Whatever her state of mind and body, she is a fierce, unstoppable force when need be.

Another type of fierce she is is fiercely loyal, and honest and trustworthy. She never goes back on her word.

One of the major developments to Sonja's character added in this volume is that bravery doesn't come naturally to her, and she still has much to learn, about the world and herself. She realises she is only undefeatable when she is in life and death situations. She hates games. She reflects on the word "savage", and what it means exactly, and how it applies to her and everybody else, and what makes a "civilisation".

She didn't become who she is out of nowhere. A lone survivor of a massacred village as a child, and a former slave, she came from the lowest of the low, from literal dirt and mud. She was like a caged animal, beaten and starved, made to die in her own filth. Now look at her.

'Red Sonja, Vol. 2: The Art of Blood and Fire' (wow that subtitle is generic and needs work) has swamps, cannibals, cooks, giant reptiles, animals, beastmasters, courtesans, swordfighting, female friendship, bandits, stargazers, flat earth debunking, dressing up, makeup, churches, cults, and the freeing of slaves. So what if not every character receives as much development as they ought, and the ending is a level below mightily abrupt; it shouldn't detract from its entertainment value. It is like 'Xena: Warrior Princess' - campy, fun, and not above being thoughtful. It also nicely reminds us that all men in power are cowards.

'So I say, with a peasant's heart--the emperor can go &^%$ himself.'

What more could you want?

Oh, and there's a little story at the end of the volume, that I don't particularly care for. At least its "star", a repulsive, manipulative man who won't take a woman's no for an answer, who ruins people's lives for his own misguided sense of self-worth, and who deserves little to no sympathy, has the decency to die at the end. And it is funny in its own way, I suppose. I like its cartoony violence.

'Red Sonja, Volume 2' - How could I have ever thrown you away? You deserve to be read over and over again.

Gail Simone's revamping of Red Sonja is a beacon, a breath of fresh air, a gift to the world. What a barbarian. A leagues' bound real woman.

My review of the first volume, 'Queen of Plagues', can be found here.

Final Score: 4/5

Graphic Novel Review - 'Wonder Woman: Agent of Peace, Vol. 1: Global Guardian' by Various

Another day, another era, another 'Wonder Woman' anthology comic.

Not that I'm complaining. Keep these coming, DC. Keep showcasing the champion of truth and love. Keep elevating women being heroic, and kind and peaceful.

'Wonder Woman: Agent of Peace, Vol. 1: Global Guardian' contains some stories that are good, some that are not so good, and only a few that I would call great, but overall it is a solid collection for newcomers to learn about Wonder Woman and what she represents, and older fans who just want to see more of her being her awesome self. There are few stories also that I would call forgettable, mediocre and underwhelming.

There isn't really anything about Themyscira and Diana's identity as the princess and ambassador of the Amazons here, but it is mostly about her as a hero to the public, to the common people; admittedly in man's world, but peace and diplomacy are always her first resort to anything, and her Lasso of Truth and invisible plane are not forgotten about.

Equally important, she is always a champion, supporter, partner, friend, and sister to fellow women.

Yet, there is no LBGTQ+ rep in any of the stories in the book, which is a mark against it. And sadly not the only one in terms of lacking in inclusivity and diversity: it is very white, and it seems the only people of colour in it are either victims, living or dead, or villains. Except a detective in the last story.

Yikes. Do better, DC. Don't regress now.

Alongside Diana in 'Agent of Peace, Vol. 1' are Harley Quinn, Lois Lane, an old school heroine called Socialite (but her design page calls her Aristocrat, an early draft name?), Great Gundra the Valkyrie, Etta Candy, General Tolifhar of Gorilla City (nice callback to her association with intelligent talking gorillas, who shared her apartment once!), and Steve Trevor, who shows up in more than one story and is mainly Wondy's main squeeze. From her usual rogues' gallery are Cheetah and Dr. Psycho, and there're also Batman's rogues' gallery villains (not including Harley Quinn), such as Penguin, Killer Croc, and Scarecrow, though they don't contribute much.

A few of Wonder Woman's adventures in 'Wonder Woman: Agent of Peace, Vol. 1: Global Guardian' are not self-contained and are incomplete, and at least one does not fit with the main DC Comics continuity at all, making it look like a "what if?"-type fanfic. But I enjoyed most of them, and I enjoyed reading about the spectacular, inspirational, aspiring Wonder Woman again.

I'm glad I gave this a chance, despite it headlining as a product by Amanda Conner and Jimmy Palmiotti, whose work on Harley Quinn I am steadfastly not a fan of. To be blunt and honest, I hate their take on the character, and it's lucky that I read 'Agent of Peace, Vol. 1' before giving them another chance with 'Harley Quinn & the Birds of Prey: The Hunt for Harley', which is a disaster on many, many levels, and 'Harley Quinn and Power Girl', which is one of the worst comics I have ever read in my entire life. I am still recovering from it, and for the sake of my health in every way I wish not to talk about it ever. Suffice it to say, I am beyond loath to read anything by the Conner and Palmiotti team again.

But at least the Harley in 'Agent of Peace, Vol. 1', in the first story, 'Commitment to Chaos', is a little more tolerable than the duo usually write and draw her, even though she still acts like a toddler desperately trying to be Female Deadpool, with revolving bad catchphrases, and who still thinks with her stomach (less with her libido this time, thank *%@#!, and no toilet humour - a double plus).

Oh, and this 'Wonder Woman' book actually has Wonder Woman say, "Suffering Sappho!". That alone makes it worth your time (even if it brings further attention to the queer erasure).

'Wonder Woman: Agent of Peace, Vol. 1: Global Guardian' - not a powerful recommendation, but a recommendation nonetheless, from this Wonder Woman (and Harley Quinn) fan.

Other 'Wonder Woman' anthology comics I recommend:


'Sensation Comics Featuring Wonder Woman Vol. 1'

'Sensation Comics Featuring Wonder Woman Vol. 2'

'Wonderful Women of the World'


'Such a shame a thing of beauty could be abused in such a way. But that's human nature.'

'One part of being a hero is understanding that the sacrifices you make today will hopefully shield future generations from what we had to endure.'


Never stop calling yourself a feminist, everyone. And an Amazon.

Never let fear stop you from living, from being your true self.

Final Score: 3.5/5