Friday 27 February 2015
Tuesday 24 February 2015
Book Review - 'Red is Best' by Kathy Stinson (Writer), Robin Baird Lewis (Illustrator)
'Red is Best' - I don't remember everything from when I read it as a little sorceress, but the essence was magical all the same; from the simple pictures to the short, stellar verses. Having had an idle, forbidden captivation with the colour red all my life, it might have explained some things to me. Charming and warm, red IS best.
Final Score: 4/5
Final Score: 4/5
Book Review - 'The Deep End of the Sea' by Heather Lyons
2021 EDIT: Reread. This time round the grammatical errors and typos of 'The Deep End of the Sea' were a bit much for me, and it was overall kind of a slog to get through. Hermes as a love interest did not endear me - he is always described as being too gorgeous and too damn perfect, which is suitable for a literal god, but for a YA lover who's given so much page time, it's repetitive (especially his dialogue) and very, very boring.
Hermes is an arse sometimes, too: he's pushy and forward towards the traumatised, shamed and cursed rape survivor Medusa; in the habit of making assumptions about what she wants and what is best for her. He touches her, hugs her, kisses her on the cheek, without her consent more often than not, and that's before they're an actual couple. Of course, as a god Hermes is entitled on a cosmic scale, and is used to his authority never being questioned, so he would hardly ever listen to Medusa's protests. He even treats his bullying her into letting him into her life as a joke on page 62, which is never brought up again. At best, he's a cocky idiot. Medusa has no negative thoughts towards him, unless she thinks he's seeing another girl. It's ridiculous. As kind, comforting and sweet as their relationship can be, it's mostly based on the physical. It's overbearing and takes up a lot of the book.
Medusa, sheltered and isolated as she is (though not really, since she's regularly given info on the outside world), is bafflingly clueless about a lot of things, such as Hermes' painfully obvious love for her. She is always apologising for things that are clearly not her fault, and for understandable emotional outbursts. Even when looking at it from the perspective of a victim, it's infuriating. She barely does anything for herself for the majority of the book, without being coerced, pressured or manipulated into it.
And I am so bloody sick of YA stories happening/existing simply because of everyone keeping secrets from the female protagonist for no good reason. I can't count how many times Medusa demands what is going on, and nobody bothers to tell her. There is no reason for her to be in the dark concerning a huge secret about herself; about who she really is, which I won't reveal due to spoilers. However, I will mention: Are most of the Greek pantheon, adherent to the modern age, kind and decent to Medusa because it's the right thing to do, or because of a super secret, ulterior motive? Because she's special? If it's the latter, then yikes, that's an unfortunate implication right there.
Why does Medusa have to turn out to be so special? So inherently extraordinary? As if the millions of real life sexual assault victims in the world don't feel shamed, lowly and unworthy of kindness and understanding by their society enough, because of their "ordinariness" and "insignificance". Though no matter who the victims are and where they come from, there will always be victim blaming and slut shaming, unfortunately; as long as rape culture exists.
And Athena is a jealous woman scorned - for thousands of years - and that's why she's batshit insane, and an internalised misogynist. How peachy.
I'm also disappointed that, in a book all about the Greek gods and myths, Artemis, my favourite Greek deity, isn't mentioned once. Neither is Circe, for that matter. This is conspicuous and perplexing since 'The Deep End of the Sea' is a modern feminist text about the Greek myths.
But I still love Medusa, and regardless of whether I feel I am too old for this kind of YA fantasy romance, stories about rape and sexual assault and survivors like 'The Deep End of the Sea' will never stop being needed. For that I thank it and the author for continuing the discussion; for bringing this serious issue to light in YA.
Leaving aside all my recent reservations, I mostly agree with my first review. I might not like this book like I used to, but I still recommend it.
Final Score: 3/5
Original Review:
I've always had a strange sort of fascination with Medusa as a character. I’d also felt this way about nearly all the gods of Greek mythology (especially Artemis. I know, big shock). I grew up learning about them and the Greek heroes/demigods of legend in school. Plus in movies, TV shows, and books like the 'Percy Jackson' series. But Medusa - the woman with snakes for hair and whose look literally kills you stone dead - has something of a Dark Horse vibe and aura for me. Like an anti-heroine. So scary.
So mysterious.
So eerily beautiful.
And yet I had hardly ever come across a version of her that's sympathetic. Or, gods’ forbid, human. A human who was taken advantage of, violated, and unfairly ostracized; cursed by man-children who have more power and control over those beneath them than common sense and sympathy. Or as they are also known as, Greek gods – humans with immortality and the power to destroy lives with a hissy fit. Over the years I came to realize that these gods I'd loved to read about as a kid are arseholes.
But back to Medusa. In Heather Lyons' 'The Deep End of the Sea', Medusa is the heroine - not a monster to be slain, but a victim through and through. She was an innocent girl who once served and worshipped Athena. But after Medusa is raped by Poseidon, Athena rages at her for "desecrating" her temple, and so curses her to suffer all eternity as a Gorgon; not to be looked upon by anyone ever again. Medusa is forced to live alone on an isolated island for thousands of years. Those who sail for the island and are unfortunate enough to stumble across and take her by surprise are turned to stone. Medusa is forever sorrowful; to make up for her wretched existence she places the statues of those she accidentally killed around her home like guests of comfort. She invents for them backstories and lives, and helps in any way she can even though she knows it's futile.
This novel is more than a reimagining of the Medusa from Greek legend. It is about redemption for only the gods, because Medusa did nothing wrong – those who made her into a pariah whose eyes kill are at fault. ‘The Deep End of the Sea’ is a story about change; about coming to terms with a tragedy, talking about it, seeking and accepting help, standing up to injustice, facing up to a horrific past that's come back to haunt you, moving on in life from a scarred and reviled victim to a person stable and strong in independence, and about finding love again after fearing it for so long.
It is also about moving on in the times, and how certain attitudes can and must change for us as a society to survive. This is true of the Greek gods (some, anyway), who are finally maturing and trying to undo their wrongs in order to fit in with modern morality and development.
In a contemporary, slice-of-life framework, 'The Deep End of the Sea' is a story about rape, and understanding the despicable and inhuman crime for what it is. It is about myths and not believing everything you hear in popular consensus, so I don’t think it is a far cry to interpret the novel as a noble attempt to debunk rape myths as well. It is a coming-of-age and moving-on-in-stages journey for Medusa – the infamous, misunderstood Gorgon; told from her point of view and in the present-tense narrative.
All the characters are a distinctly memorable and unique bunch. Medusa is a lovely main character whom you feel deeply sorry for from the first page. She can come across as being a silly and naïve teenage girl at times - despite being over two-thousand-years-old - but given that she was a little young (twenty-three?) when her life was ruined by the gods and so had to live on an island away from civilization for far too long, I could let this pass. She's given access to the internet, literature and other useful things, so she is not entirely naïve; only about real feelings and experiences. She comments on how things outside her island are not like how they are in movies or books. I loved that when she is first taken into an elevator in Olympus, she claps like a happy child getting on a carousel for the first time. Despite her lapses of angst and self-pity at being a monster - the novel is enthused with this kind of prose - Medusa grows stronger and more assertive during the course of her story, reminding anyone who will listen to her that she is a person. She is no one's property. No one’s prize. She will learn to make decisions for herself and trust more people - people who really do care about her, and who may grow into life as her friends and family...
The only god Medusa has ever trusted in her two-thousand-year curse and exile is Hermes. Hermes is her best friend and only occasional companion besides an old mortal friend named Mikkos, who is blind and therefore unaffected by her deadly stare. Compassionate and loving to the end, the messenger god wants justice done for Medusa and for her to be happy once more. As is typical of YA male love interests, he is the quintessence of hotness (though he is a god, so this is to be expected), he has a hero complex, and is extremely protective of our initially-helpless heroine, to the point of being overbearing. But he is still respectful of her privacy and personal space.
Immediately the reader knows that Medusa is in love with Hermes - has been for thousands of years in fact - but Medusa herself is oblivious to this, or just doesn't want to admit it. Looking at her past and what happened to her involving Greek gods and love, this comes off as more understandable than annoying.
When all seems well and Medusa and Hermes finally get together (slight spoiler: she comes on to him first, and I like that), all the will-they-won't-they rubbish beforehand no longer holds water (pun intended) to some of the hottest and steamiest-written sex scenes I've ever read. 'The Deep End of the Sea' may be a young adult book, but I would not recommend it for anyone under fifteen, in spite of the sex scenes being perfectly healthy and, most importantly, consensual. Surprisingly, the romance and sex make up some of my favourite parts.
Another Greek god to appear here is, of course, Zeus, who is a laid-back surfer kind of guy (not bad for someone who's depicted as a serial rapist in myth), but is also kind of useless (Zeusless?). Hades (swoons!) and Persephone, the cool and oddly-sweet King and Queen of the Underworld, are like any normal, happily-married couple. Neither signs of abuse nor Stockholm syndrome are present in their relationship in this retelling. They are as compassionate and caring as Hermes, and they are awesome, especially Hades (love!). Then there's Aphrodite, who is wonderful. Bubbly and fun, I love that - along with a nymph girl named Kore, who works for the gods in Olympus - she fills the void of a female friend for Medusa. One of Hermes' favourite relatives to boot, Aphrodite genuinely feels dreadful about what happened to Medusa, and tries to get her life back on track. Aphrodite takes Medusa out shopping, and she can do martial arts! So the goddess of love isn't just a beautiful face - she can get angry over what she deeply believes in as much as the other gods. I wish she could have appeared more in the story, however.
Do NOT get me started on Athena and Poseidon. Some gods never change.
There are no grey areas to them: Athena, the so-called goddess of wisdom who cursed Medusa to begin with, is absolutely, irrevocably, batshit insane. Bitter, stubborn as hell, slut-shaming and victim-blaming, she is the real monster in this tale, alongside Poseidon. The god of the seas is a slimy, delusional, self-entitled, possessive, can't-see-past-his-head-up-his-own-arse rapist. I'll never see him the same way again after reading this book. But thankfully there are good people - and gods - who see through Poseidon and those like him for what they really are, and perhaps justice can be served in this, a story about rape...
I’d like to have gotten more out of these two gods, who seem to have no redeeming qualities whatsoever purely because they're the villains. Disappointing for a YA novel which handles such a delicate subject matter effectively.
Although there is another side of the spectrum here, when analyzing Athena’s character. Maybe it’s to show there really is no logical reason to blame the victim, if even the goddess of wisdom can’t come up with anything better than “the whore got what she deserved”.
However, I cannot pardon what is the book’s major flaw in my opinion, which is as follows:
'The Deep End of the Sea' is one of the few published works I've ever read that I felt was in desperate need of an editor. I mean, the writing itself is fine in terms of grammar and pacing - no overt description, no scene drags too long, and only the important elements are left in. The way the plot is structured and how the characters' personalities shine through are also very well done. I've already mentioned how nicely written the sex scenes are for the YA genre.
But so many typos! I wanted to get a pen and correctly spell or edit a word out on more pages than should be tolerated. I don't know if this is because I had somehow ordered an unofficial, un-proofread version of the book, but it did perturb my reading experience of what should have been the perfect YA book I’ve been looking for in a long time.
And as a note on the side, I liked Medusa's varied interactions and connections to the rest of the characters, and to her newly-acquired pet kitten. But not much thought is brought up about the snakes on her head, which she calls her Girls. She is very affectionate to them – at first. The Girls have been constant company to her on the island for two-thousand-years. Yet as we move further away from Act 1 - from the introduction to the sad, lonely girl-turned-monster Medusa - and towards the aftermath of the life-changing inciting incident, the snakes make no impact on the story at all. Barely a mention of them is written. I'm not too bothered by this, but it is moments like this which make me think that 'The Deep End of the Sea' could have potentially, in retrospect, been more.
As it stands, though, it is a good read. A satisfactory story of Medusa for any lover of Greek mythology. Sad, suspenseful, thrilling, sweet, even funny in places, and sexy without being inappropriate considering the subject matter. There is a marvellous, myth-shattering plot twist near the climax, following regrets that are mirrored and reflected in times past, and changes of scenery – all for easily-bored readers to keep turning the pages to find out what happens next. The romance between Medusa and Hermes is a little overblown, but their love - one that's been developing for over two millennia at that - nevertheless feels real and gorgeous.
Medusa is a gorgeous Gorgon/innocent/heroine who deserves nothing less for all she has suffered through.
Final Score: 3.5/5
Hermes is an arse sometimes, too: he's pushy and forward towards the traumatised, shamed and cursed rape survivor Medusa; in the habit of making assumptions about what she wants and what is best for her. He touches her, hugs her, kisses her on the cheek, without her consent more often than not, and that's before they're an actual couple. Of course, as a god Hermes is entitled on a cosmic scale, and is used to his authority never being questioned, so he would hardly ever listen to Medusa's protests. He even treats his bullying her into letting him into her life as a joke on page 62, which is never brought up again. At best, he's a cocky idiot. Medusa has no negative thoughts towards him, unless she thinks he's seeing another girl. It's ridiculous. As kind, comforting and sweet as their relationship can be, it's mostly based on the physical. It's overbearing and takes up a lot of the book.
Medusa, sheltered and isolated as she is (though not really, since she's regularly given info on the outside world), is bafflingly clueless about a lot of things, such as Hermes' painfully obvious love for her. She is always apologising for things that are clearly not her fault, and for understandable emotional outbursts. Even when looking at it from the perspective of a victim, it's infuriating. She barely does anything for herself for the majority of the book, without being coerced, pressured or manipulated into it.
And I am so bloody sick of YA stories happening/existing simply because of everyone keeping secrets from the female protagonist for no good reason. I can't count how many times Medusa demands what is going on, and nobody bothers to tell her. There is no reason for her to be in the dark concerning a huge secret about herself; about who she really is, which I won't reveal due to spoilers. However, I will mention: Are most of the Greek pantheon, adherent to the modern age, kind and decent to Medusa because it's the right thing to do, or because of a super secret, ulterior motive? Because she's special? If it's the latter, then yikes, that's an unfortunate implication right there.
Why does Medusa have to turn out to be so special? So inherently extraordinary? As if the millions of real life sexual assault victims in the world don't feel shamed, lowly and unworthy of kindness and understanding by their society enough, because of their "ordinariness" and "insignificance". Though no matter who the victims are and where they come from, there will always be victim blaming and slut shaming, unfortunately; as long as rape culture exists.
And Athena is a jealous woman scorned - for thousands of years - and that's why she's batshit insane, and an internalised misogynist. How peachy.
I'm also disappointed that, in a book all about the Greek gods and myths, Artemis, my favourite Greek deity, isn't mentioned once. Neither is Circe, for that matter. This is conspicuous and perplexing since 'The Deep End of the Sea' is a modern feminist text about the Greek myths.
But I still love Medusa, and regardless of whether I feel I am too old for this kind of YA fantasy romance, stories about rape and sexual assault and survivors like 'The Deep End of the Sea' will never stop being needed. For that I thank it and the author for continuing the discussion; for bringing this serious issue to light in YA.
Leaving aside all my recent reservations, I mostly agree with my first review. I might not like this book like I used to, but I still recommend it.
Final Score: 3/5
Original Review:
I've always had a strange sort of fascination with Medusa as a character. I’d also felt this way about nearly all the gods of Greek mythology (especially Artemis. I know, big shock). I grew up learning about them and the Greek heroes/demigods of legend in school. Plus in movies, TV shows, and books like the 'Percy Jackson' series. But Medusa - the woman with snakes for hair and whose look literally kills you stone dead - has something of a Dark Horse vibe and aura for me. Like an anti-heroine. So scary.
So mysterious.
So eerily beautiful.
And yet I had hardly ever come across a version of her that's sympathetic. Or, gods’ forbid, human. A human who was taken advantage of, violated, and unfairly ostracized; cursed by man-children who have more power and control over those beneath them than common sense and sympathy. Or as they are also known as, Greek gods – humans with immortality and the power to destroy lives with a hissy fit. Over the years I came to realize that these gods I'd loved to read about as a kid are arseholes.
But back to Medusa. In Heather Lyons' 'The Deep End of the Sea', Medusa is the heroine - not a monster to be slain, but a victim through and through. She was an innocent girl who once served and worshipped Athena. But after Medusa is raped by Poseidon, Athena rages at her for "desecrating" her temple, and so curses her to suffer all eternity as a Gorgon; not to be looked upon by anyone ever again. Medusa is forced to live alone on an isolated island for thousands of years. Those who sail for the island and are unfortunate enough to stumble across and take her by surprise are turned to stone. Medusa is forever sorrowful; to make up for her wretched existence she places the statues of those she accidentally killed around her home like guests of comfort. She invents for them backstories and lives, and helps in any way she can even though she knows it's futile.
This novel is more than a reimagining of the Medusa from Greek legend. It is about redemption for only the gods, because Medusa did nothing wrong – those who made her into a pariah whose eyes kill are at fault. ‘The Deep End of the Sea’ is a story about change; about coming to terms with a tragedy, talking about it, seeking and accepting help, standing up to injustice, facing up to a horrific past that's come back to haunt you, moving on in life from a scarred and reviled victim to a person stable and strong in independence, and about finding love again after fearing it for so long.
It is also about moving on in the times, and how certain attitudes can and must change for us as a society to survive. This is true of the Greek gods (some, anyway), who are finally maturing and trying to undo their wrongs in order to fit in with modern morality and development.
In a contemporary, slice-of-life framework, 'The Deep End of the Sea' is a story about rape, and understanding the despicable and inhuman crime for what it is. It is about myths and not believing everything you hear in popular consensus, so I don’t think it is a far cry to interpret the novel as a noble attempt to debunk rape myths as well. It is a coming-of-age and moving-on-in-stages journey for Medusa – the infamous, misunderstood Gorgon; told from her point of view and in the present-tense narrative.
All the characters are a distinctly memorable and unique bunch. Medusa is a lovely main character whom you feel deeply sorry for from the first page. She can come across as being a silly and naïve teenage girl at times - despite being over two-thousand-years-old - but given that she was a little young (twenty-three?) when her life was ruined by the gods and so had to live on an island away from civilization for far too long, I could let this pass. She's given access to the internet, literature and other useful things, so she is not entirely naïve; only about real feelings and experiences. She comments on how things outside her island are not like how they are in movies or books. I loved that when she is first taken into an elevator in Olympus, she claps like a happy child getting on a carousel for the first time. Despite her lapses of angst and self-pity at being a monster - the novel is enthused with this kind of prose - Medusa grows stronger and more assertive during the course of her story, reminding anyone who will listen to her that she is a person. She is no one's property. No one’s prize. She will learn to make decisions for herself and trust more people - people who really do care about her, and who may grow into life as her friends and family...
The only god Medusa has ever trusted in her two-thousand-year curse and exile is Hermes. Hermes is her best friend and only occasional companion besides an old mortal friend named Mikkos, who is blind and therefore unaffected by her deadly stare. Compassionate and loving to the end, the messenger god wants justice done for Medusa and for her to be happy once more. As is typical of YA male love interests, he is the quintessence of hotness (though he is a god, so this is to be expected), he has a hero complex, and is extremely protective of our initially-helpless heroine, to the point of being overbearing. But he is still respectful of her privacy and personal space.
Immediately the reader knows that Medusa is in love with Hermes - has been for thousands of years in fact - but Medusa herself is oblivious to this, or just doesn't want to admit it. Looking at her past and what happened to her involving Greek gods and love, this comes off as more understandable than annoying.
When all seems well and Medusa and Hermes finally get together (slight spoiler: she comes on to him first, and I like that), all the will-they-won't-they rubbish beforehand no longer holds water (pun intended) to some of the hottest and steamiest-written sex scenes I've ever read. 'The Deep End of the Sea' may be a young adult book, but I would not recommend it for anyone under fifteen, in spite of the sex scenes being perfectly healthy and, most importantly, consensual. Surprisingly, the romance and sex make up some of my favourite parts.
Another Greek god to appear here is, of course, Zeus, who is a laid-back surfer kind of guy (not bad for someone who's depicted as a serial rapist in myth), but is also kind of useless (Zeusless?). Hades (swoons!) and Persephone, the cool and oddly-sweet King and Queen of the Underworld, are like any normal, happily-married couple. Neither signs of abuse nor Stockholm syndrome are present in their relationship in this retelling. They are as compassionate and caring as Hermes, and they are awesome, especially Hades (love!). Then there's Aphrodite, who is wonderful. Bubbly and fun, I love that - along with a nymph girl named Kore, who works for the gods in Olympus - she fills the void of a female friend for Medusa. One of Hermes' favourite relatives to boot, Aphrodite genuinely feels dreadful about what happened to Medusa, and tries to get her life back on track. Aphrodite takes Medusa out shopping, and she can do martial arts! So the goddess of love isn't just a beautiful face - she can get angry over what she deeply believes in as much as the other gods. I wish she could have appeared more in the story, however.
Do NOT get me started on Athena and Poseidon. Some gods never change.
There are no grey areas to them: Athena, the so-called goddess of wisdom who cursed Medusa to begin with, is absolutely, irrevocably, batshit insane. Bitter, stubborn as hell, slut-shaming and victim-blaming, she is the real monster in this tale, alongside Poseidon. The god of the seas is a slimy, delusional, self-entitled, possessive, can't-see-past-his-head-up-his-own-arse rapist. I'll never see him the same way again after reading this book. But thankfully there are good people - and gods - who see through Poseidon and those like him for what they really are, and perhaps justice can be served in this, a story about rape...
I’d like to have gotten more out of these two gods, who seem to have no redeeming qualities whatsoever purely because they're the villains. Disappointing for a YA novel which handles such a delicate subject matter effectively.
Although there is another side of the spectrum here, when analyzing Athena’s character. Maybe it’s to show there really is no logical reason to blame the victim, if even the goddess of wisdom can’t come up with anything better than “the whore got what she deserved”.
However, I cannot pardon what is the book’s major flaw in my opinion, which is as follows:
'The Deep End of the Sea' is one of the few published works I've ever read that I felt was in desperate need of an editor. I mean, the writing itself is fine in terms of grammar and pacing - no overt description, no scene drags too long, and only the important elements are left in. The way the plot is structured and how the characters' personalities shine through are also very well done. I've already mentioned how nicely written the sex scenes are for the YA genre.
But so many typos! I wanted to get a pen and correctly spell or edit a word out on more pages than should be tolerated. I don't know if this is because I had somehow ordered an unofficial, un-proofread version of the book, but it did perturb my reading experience of what should have been the perfect YA book I’ve been looking for in a long time.
And as a note on the side, I liked Medusa's varied interactions and connections to the rest of the characters, and to her newly-acquired pet kitten. But not much thought is brought up about the snakes on her head, which she calls her Girls. She is very affectionate to them – at first. The Girls have been constant company to her on the island for two-thousand-years. Yet as we move further away from Act 1 - from the introduction to the sad, lonely girl-turned-monster Medusa - and towards the aftermath of the life-changing inciting incident, the snakes make no impact on the story at all. Barely a mention of them is written. I'm not too bothered by this, but it is moments like this which make me think that 'The Deep End of the Sea' could have potentially, in retrospect, been more.
As it stands, though, it is a good read. A satisfactory story of Medusa for any lover of Greek mythology. Sad, suspenseful, thrilling, sweet, even funny in places, and sexy without being inappropriate considering the subject matter. There is a marvellous, myth-shattering plot twist near the climax, following regrets that are mirrored and reflected in times past, and changes of scenery – all for easily-bored readers to keep turning the pages to find out what happens next. The romance between Medusa and Hermes is a little overblown, but their love - one that's been developing for over two millennia at that - nevertheless feels real and gorgeous.
Medusa is a gorgeous Gorgon/innocent/heroine who deserves nothing less for all she has suffered through.
Final Score: 3.5/5
Thursday 19 February 2015
Wednesday 18 February 2015
Graphic Novel Review - 'Wonder Woman, Vol. 1: Who is Wonder Woman?' by Allan Heinberg (Writer), Rachel Dodson (Artist), Gary Frank (Artist), Jon Sibal (Artist), Terry Dodson (Artist)
This is my first outing into any of the Wonder Woman comic books. It was in my library one day, so I thought hey, why not? A title like ‘Who is Wonder Woman?’ also seemed accessible for a Wondy newbie like me.
It is.
Despite being in the dark about the smaller details regarding Wonder Woman and her adventures - though I was already familiar with her backstory, powers and what she generally stands for - I really enjoyed 'Who is Wonder Woman?' a lot.
The story is very accessible for newcomers, getting right into the action while still taking the time to briefly narrate the events that happened previously in canon, as well as panels dedicated to Wonder Woman's backstory and those of her comrades and enemies. It's one of those things where, even if you are confused, if you just relax and keep reading it eventually comes together in an acceptable way.
As for the characters? First of all, I have to say that the blurb for 'Who is Wonder Woman?' is misleading. It made it seem like the comic book was going to be about Donna Troy and her struggles and obstacles as she replaces Diana as the new Wonder Woman, after Diana had disappeared in shame over killing a dangerous businessman, Maxwell Lord, in self-defence. But she comes into the story at the moment when Donna just barely completes her first mission in Wondy's costume; when she was going to fit into the role - swing her lasso - in her own way and style and brand of feminist awesomeness.
No, 'Who is Wonder Woman?' is really about the title character receiving a civilian identity from Batman (who, holy crap, SMILES in the comic!). She is now Agent Diana Prince, and works for the Department of Metahuman Affairs under Sarge Steel, along with her partner, ex-Suicide Squad member Nemesis, aka Thomas Andrew Tresser. It's a bit like 'The X-Files', only with Skully strictly in the lead. Their first mission together: Find Wonder Woman and let her face her own justice for her “crime”.
The story is about Diana coming into her own. We follow her on her journey as she goes through a sudden identity crisis. Plus her guilt, her complex role in the name of truth and justice, and her friends and family turning against her for giving up being Wonder Woman - not just for the public but for the Greek gods and heroes as well. It is also about her requiring her humanity, when she was born from clay and the gods' blessing, yet at the same time she doesn’t want to give up her powers and weapons. No matter her identity and choices, she wants to be an agent of peace, but she is still being used by others as an instrument of war.
This is where Donna Troy takes a backseat. A bit disappointing, but at least the three Wonder Women - Diana, Donna and Cassandra Sandsmark - play essential, not to mention interesting, parts in fighting and trying to understand the meaning of the question: Who is Wonder Woman?
(A cute titbit: Batman's photo of Diana Prince, whom Wonder Woman is to emulate in civilian form, has glasses; a nod to Superman and his cheesy and obvious disguise as Clark Kent).
It is also really cool to have Circe as one of the main villains, and to see how she fits into Wonder Woman's various dilemmas - as a superhero, a princess of Themyscira, a public (feminist) icon, and a champion to women everywhere. Perhaps Diana could be doing so much more for woman in modern society; for abuse victims, sex workers and slaves...
(This point is kind of pushed under the rug later on in the comic. This is disheartening, since real life issues such as these should not be glossed over. But I guess you can't have it all in only one volume).
I love the mythology here, by the way. It is a vital presence in the story and in Diana's life, but it isn't cluttered or distracting, and best of all it doesn't divert 'Who is Wonder Woman?' from being about Wonder Woman as a character. Not even the dreaded Hercules undermines her. Even I knew the complicated history (by which I mean it has to do with rape) between those two. I was pleased with how it is handled towards the end.
One character trait I got from Wondy in this comic is that maybe she is too trusting, or is desperate to believe in the good in anybody after killing a man. That is this newbie's interpretation anyway, I'm not sure if it's what the writer, Allan Heinberg, was going for in terms of Wonder Woman trusting clearly bad men.
But at least Nemesis is decent to her and in fact looks up to her (so far). However he is rather an idiot himself when it comes to not figuring out Agent Prince's true identity. Isn't he meant to be the most experienced and talented agent the Department of Metahuman Affairs has?
The artwork is beautiful; specifically, Wonder Woman is. Sure there are a few instances of blatant fanservice concerning her outfits (like her white skin-tight suit as Agent Prince), but overall she looks great, as everyone else does. And there is a boatload of characters drawn in 'Who is Wonder Woman?' - superheroes and a whole rogues gallery of villains (such as the Cheetah and Giganta) showing up and kicking arse. They all help her to realise her weaknesses as well as her strengths. Surprisingly, Robin - Tim Drake - is given an important role, and not just for the humorous moments.
Although I must ask, why do nearly all the blonde superheroines look the same? It's not only their hair and hairstyles, it's their costumes as well (they're mainly in white, like Power Girl). It was hard for me to tell them apart, especially when they are in the same scenes together. I could recognise Cassie Sandsmark just by her red shirt and blue pants, and I'd never even heard of her character until I read this comic.
Also the artwork for the separate issue right after the ending, 'Backstory', is so different from 'Who is Wonder Woman?', it was jarring to me. Wonder Woman looks downright terrifying sometimes! And she looks drunk in one panel where she's meant to be having a meaningful discussion with Nemesis.
In conclusion, 'Wonder Woman, Vol. 1: Who is Wonder Woman?' is a fun and quick read, exploring the mythos, ideals (no matter how contradictory), and motivations behind the world's most famous superheroine, while being accessible to new and/or casual comic book readers. It is by no means perfect - that I am fully aware of - but it is enjoyable in its own right.
I will be coming back to this comic many times in the future, and I look forward to reading more issues about Wonder Woman, as interpreted by different writers.
Also, Wondy's Lasso of Truth and Invisible Jet are the coolest things ever! So useful, yet understated, unlike Batman's coliseum of gadgets and mobiles. Just sayin'. And isn't Agent Diana Prince's transformation into Wonder Woman - finally appearing near the end - sweet as cutting steel? It references the 1970s 'Wonder Woman' TV show starring Lynda Carter, or was the show's transformation sequence inspired entirely by the comics beforehand? I don't know, but maybe I'll find out soon.
"WONDER WOMAAAAAAAAAAAAAAAAAAAAAAAAANNNNNNNNNN!!!!!!!!!!!!!!"
Final Score: 4/5
It is.
Despite being in the dark about the smaller details regarding Wonder Woman and her adventures - though I was already familiar with her backstory, powers and what she generally stands for - I really enjoyed 'Who is Wonder Woman?' a lot.
The story is very accessible for newcomers, getting right into the action while still taking the time to briefly narrate the events that happened previously in canon, as well as panels dedicated to Wonder Woman's backstory and those of her comrades and enemies. It's one of those things where, even if you are confused, if you just relax and keep reading it eventually comes together in an acceptable way.
As for the characters? First of all, I have to say that the blurb for 'Who is Wonder Woman?' is misleading. It made it seem like the comic book was going to be about Donna Troy and her struggles and obstacles as she replaces Diana as the new Wonder Woman, after Diana had disappeared in shame over killing a dangerous businessman, Maxwell Lord, in self-defence. But she comes into the story at the moment when Donna just barely completes her first mission in Wondy's costume; when she was going to fit into the role - swing her lasso - in her own way and style and brand of feminist awesomeness.
No, 'Who is Wonder Woman?' is really about the title character receiving a civilian identity from Batman (who, holy crap, SMILES in the comic!). She is now Agent Diana Prince, and works for the Department of Metahuman Affairs under Sarge Steel, along with her partner, ex-Suicide Squad member Nemesis, aka Thomas Andrew Tresser. It's a bit like 'The X-Files', only with Skully strictly in the lead. Their first mission together: Find Wonder Woman and let her face her own justice for her “crime”.
The story is about Diana coming into her own. We follow her on her journey as she goes through a sudden identity crisis. Plus her guilt, her complex role in the name of truth and justice, and her friends and family turning against her for giving up being Wonder Woman - not just for the public but for the Greek gods and heroes as well. It is also about her requiring her humanity, when she was born from clay and the gods' blessing, yet at the same time she doesn’t want to give up her powers and weapons. No matter her identity and choices, she wants to be an agent of peace, but she is still being used by others as an instrument of war.
This is where Donna Troy takes a backseat. A bit disappointing, but at least the three Wonder Women - Diana, Donna and Cassandra Sandsmark - play essential, not to mention interesting, parts in fighting and trying to understand the meaning of the question: Who is Wonder Woman?
(A cute titbit: Batman's photo of Diana Prince, whom Wonder Woman is to emulate in civilian form, has glasses; a nod to Superman and his cheesy and obvious disguise as Clark Kent).
It is also really cool to have Circe as one of the main villains, and to see how she fits into Wonder Woman's various dilemmas - as a superhero, a princess of Themyscira, a public (feminist) icon, and a champion to women everywhere. Perhaps Diana could be doing so much more for woman in modern society; for abuse victims, sex workers and slaves...
(This point is kind of pushed under the rug later on in the comic. This is disheartening, since real life issues such as these should not be glossed over. But I guess you can't have it all in only one volume).
I love the mythology here, by the way. It is a vital presence in the story and in Diana's life, but it isn't cluttered or distracting, and best of all it doesn't divert 'Who is Wonder Woman?' from being about Wonder Woman as a character. Not even the dreaded Hercules undermines her. Even I knew the complicated history (by which I mean it has to do with rape) between those two. I was pleased with how it is handled towards the end.
One character trait I got from Wondy in this comic is that maybe she is too trusting, or is desperate to believe in the good in anybody after killing a man. That is this newbie's interpretation anyway, I'm not sure if it's what the writer, Allan Heinberg, was going for in terms of Wonder Woman trusting clearly bad men.
But at least Nemesis is decent to her and in fact looks up to her (so far). However he is rather an idiot himself when it comes to not figuring out Agent Prince's true identity. Isn't he meant to be the most experienced and talented agent the Department of Metahuman Affairs has?
The artwork is beautiful; specifically, Wonder Woman is. Sure there are a few instances of blatant fanservice concerning her outfits (like her white skin-tight suit as Agent Prince), but overall she looks great, as everyone else does. And there is a boatload of characters drawn in 'Who is Wonder Woman?' - superheroes and a whole rogues gallery of villains (such as the Cheetah and Giganta) showing up and kicking arse. They all help her to realise her weaknesses as well as her strengths. Surprisingly, Robin - Tim Drake - is given an important role, and not just for the humorous moments.
Although I must ask, why do nearly all the blonde superheroines look the same? It's not only their hair and hairstyles, it's their costumes as well (they're mainly in white, like Power Girl). It was hard for me to tell them apart, especially when they are in the same scenes together. I could recognise Cassie Sandsmark just by her red shirt and blue pants, and I'd never even heard of her character until I read this comic.
Also the artwork for the separate issue right after the ending, 'Backstory', is so different from 'Who is Wonder Woman?', it was jarring to me. Wonder Woman looks downright terrifying sometimes! And she looks drunk in one panel where she's meant to be having a meaningful discussion with Nemesis.
In conclusion, 'Wonder Woman, Vol. 1: Who is Wonder Woman?' is a fun and quick read, exploring the mythos, ideals (no matter how contradictory), and motivations behind the world's most famous superheroine, while being accessible to new and/or casual comic book readers. It is by no means perfect - that I am fully aware of - but it is enjoyable in its own right.
I will be coming back to this comic many times in the future, and I look forward to reading more issues about Wonder Woman, as interpreted by different writers.
Also, Wondy's Lasso of Truth and Invisible Jet are the coolest things ever! So useful, yet understated, unlike Batman's coliseum of gadgets and mobiles. Just sayin'. And isn't Agent Diana Prince's transformation into Wonder Woman - finally appearing near the end - sweet as cutting steel? It references the 1970s 'Wonder Woman' TV show starring Lynda Carter, or was the show's transformation sequence inspired entirely by the comics beforehand? I don't know, but maybe I'll find out soon.
"WONDER WOMAAAAAAAAAAAAAAAAAAAAAAAAANNNNNNNNNN!!!!!!!!!!!!!!"
Final Score: 4/5
Sunday 15 February 2015
Manga Review - 'Puella Magi Madoka Magica: The Different Story, Vol. 3' by Magica Quartet, Hanokage
Is it embarrassing for me to admit that it was through reading this final volume that I fully realised the series is indeed one of the many alternate timelines of 'Madoka Magica', the original series?
And upon completing this majestic, magnificent manga, I also realised that, despite saying in my previous review that Mami, Kyouko and Sayaka are the stars, in truth this story is and always has been about Mami, and Mami alone. Every decision made by the other Magical Girls - even those of the one-off Girls in the first volume - they all come right back to Mami. No MG is overlooked - especially not Madoka - but the focus is sorely on Mami Tomoe's own quest and inner demons as a Magical Girl.
She is more than a seeker of doing what's right, for the finale has her finally giving up hope upon learning the truth about Magical Girls. Now, realising she is in fact a curse on the world and has no reason to exist, the suicidal Mami chooses to fight to the death. She believes her sacrifice will save more lives than when she did so before by persevering after a near-death experience. It is not just failing her friends that she feels guilty for, but for not wishing to save the lives of her parents as well as herself in the tragedy which started her transformation into a Magical Girl - changing her life in so many ways.
'The Different Story' develops Mami with a vast grandeur that the anime series could not, for reasons obvious to those who have seen it. I love every panel she is in, every thought balloon and dialogue she has. Her loneliness and path towards self-ruin are shown brilliantly, I felt deeply sorry for her. She is an amazing and flawed character, and I'm happy her own story got to be told. It is dark, heavy, heartbreaking and devastating, yet like the anime, it ends on a beautiful and somewhat bittersweet note.
Mami receives the justice she deserves, and nothing - no lingering potential - is gone to waste.
Twists, turns, trust handling, battle strategies, mind tricks (Kyouko's illusion magic comes to play an important role in the plot), and the destruction of the layers of sanity aplenty. But at the end of her journey as a Magical Girl, Mami finally stops bottling up her feelings and accepts help when it's offered to her by the people she can call her friends, not the other way round. She discovers what true friendship and selflessness means (which is another reflection of the original series). Homura Akemi may be my favourite character in the franchise, but Mami Tomoe has a special place in my heart thanks to ‘The Different Story’.
I came so close to rating this manga volume five stars. However, while I enjoyed the ending, I thought that some aspects of it are too confusing, and it contradicts what the original series established concerning Magical Girls and their fate. Although perhaps 'The Different Story' isn't canon after all. That being said, it certainly doesn't read like an average fanfiction, written by the same people who adapted the anime to manga form. Also, Homura could have had a bit more panel time dedicated to her, in light of her choices and the power she has over the rest of the series. And where are Kyousuke and Hitomi? How are they affected by everything that's going on around them? I know Sayaka isn't exactly a focus here character-wise, but still.
In conclusion, I am glad I bought this series. It further explores the possibilities and ideals of the 'Madoka Magica' universe and its rules. Best of all, the characters are wonderful, perhaps more so than ever before. A few plot points and twists make no sense, but they dim in comparison to all the positive elements.
I shall now end on Mami's final words on the last page:
"... I realised that there were people who cared about me.
... I think that if I could have any wish in the world...
I would wish that I had met you all in a world without witches."
A truly meaningful wish.
Final Score: 4/5
And upon completing this majestic, magnificent manga, I also realised that, despite saying in my previous review that Mami, Kyouko and Sayaka are the stars, in truth this story is and always has been about Mami, and Mami alone. Every decision made by the other Magical Girls - even those of the one-off Girls in the first volume - they all come right back to Mami. No MG is overlooked - especially not Madoka - but the focus is sorely on Mami Tomoe's own quest and inner demons as a Magical Girl.
She is more than a seeker of doing what's right, for the finale has her finally giving up hope upon learning the truth about Magical Girls. Now, realising she is in fact a curse on the world and has no reason to exist, the suicidal Mami chooses to fight to the death. She believes her sacrifice will save more lives than when she did so before by persevering after a near-death experience. It is not just failing her friends that she feels guilty for, but for not wishing to save the lives of her parents as well as herself in the tragedy which started her transformation into a Magical Girl - changing her life in so many ways.
'The Different Story' develops Mami with a vast grandeur that the anime series could not, for reasons obvious to those who have seen it. I love every panel she is in, every thought balloon and dialogue she has. Her loneliness and path towards self-ruin are shown brilliantly, I felt deeply sorry for her. She is an amazing and flawed character, and I'm happy her own story got to be told. It is dark, heavy, heartbreaking and devastating, yet like the anime, it ends on a beautiful and somewhat bittersweet note.
Mami receives the justice she deserves, and nothing - no lingering potential - is gone to waste.
Twists, turns, trust handling, battle strategies, mind tricks (Kyouko's illusion magic comes to play an important role in the plot), and the destruction of the layers of sanity aplenty. But at the end of her journey as a Magical Girl, Mami finally stops bottling up her feelings and accepts help when it's offered to her by the people she can call her friends, not the other way round. She discovers what true friendship and selflessness means (which is another reflection of the original series). Homura Akemi may be my favourite character in the franchise, but Mami Tomoe has a special place in my heart thanks to ‘The Different Story’.
I came so close to rating this manga volume five stars. However, while I enjoyed the ending, I thought that some aspects of it are too confusing, and it contradicts what the original series established concerning Magical Girls and their fate. Although perhaps 'The Different Story' isn't canon after all. That being said, it certainly doesn't read like an average fanfiction, written by the same people who adapted the anime to manga form. Also, Homura could have had a bit more panel time dedicated to her, in light of her choices and the power she has over the rest of the series. And where are Kyousuke and Hitomi? How are they affected by everything that's going on around them? I know Sayaka isn't exactly a focus here character-wise, but still.
In conclusion, I am glad I bought this series. It further explores the possibilities and ideals of the 'Madoka Magica' universe and its rules. Best of all, the characters are wonderful, perhaps more so than ever before. A few plot points and twists make no sense, but they dim in comparison to all the positive elements.
I shall now end on Mami's final words on the last page:
"... I realised that there were people who cared about me.
... I think that if I could have any wish in the world...
I would wish that I had met you all in a world without witches."
A truly meaningful wish.
Final Score: 4/5
Manga Review - 'Puella Magi Madoka Magica: The Different Story, Vol. 2' by Magica Quartet, Hanokage
A worthy follow up to the first 'The Different Story' volume. This time Mami Tomoe is training Sayaka Miki, and her former "student" and friend Kyouko Sakura watches and judges from the sidelines, in Mami’s designated city territory where she fights witches.
I like how this manga series gives further depth to the characters and their roles as both "chess pieces" and human beings than in the anime (Sayaka's crush, Kyousuke, has an added presence here). This is probably due to not being constrained by 22-minute-long episodes adding up to only 12, and Madoka and Homura – the most important characters – taking a backseat to the action and development.
We learn more about Sayaka, and her feelings and choices as both a Magical Girl and a lovesick schoolgirl wanting the best for those she loves. They can be bad and irresponsible choices, but they are hers nonetheless. She has to learn to live with them, for the alternative - to wallow up in despair and self-pity - can be deadly for a Magical Girl. I love her relationship with Mami. Mami, who is more experienced at rationalising and restraining her emotions, tries to be a supportive teacher and friend, but Sayaka feels the older Magical Girl is being too soft on her; that she needs to be reprimanded for her terrible mistakes. And it all ends in a horrific tragedy worse than Mami could ever have expected.
Theirs is a mirror of Mami’s and Kyouko's relationship from the first volume, and a sense of time repeating itself for Mami, who refuses to give up on her ideals as a Magical Girl, no matter the myriad of tragedies befallen on her. Or does she..?
Poor, lonely, guilt-ridden Mami. The Magical Protector. The Great Pretender. She keeps moving forward, on and on, in spite of it all. What she needs is to be loved and hugged...
There is also a two-sides-of-the-same-coin connection between Sayaka and Kyouko which is nicely handled, though not much different than how it is presented in the anime. Madoka and Homura don't get nearly as much panel time as the other three Magical Girls, but that is where there is another contrast to the anime, which focuses a lot on them and their relationship.
Mami, Kyouko and Sayaka are the stars of this alternate storyline. Given how the manga ends, maybe they'd wish they weren't...
Ideas and established Magical Girl powers are explored plot-wise as well, such as Sayaka's healing abilities coming to use when saving others in battle. But despite these elements, ‘The Different Story’ – a parallel universe of ‘Madoka Magica’ – is a strong character-driven story more than anything else. Friendships and rivalries are tested to extremes.
The artwork - especially for the battle scenes - is very well-drawn and the characters’ facial expressions are perfect for all the scenes they are in. The ending is rather sudden and confusing, considering everything that’s been leading up to it, but what a twist!
My review of the third and final 'Puella Magi Madoka Magica: The Different Story' manga volume is to come.
Final Score: 4/5
I like how this manga series gives further depth to the characters and their roles as both "chess pieces" and human beings than in the anime (Sayaka's crush, Kyousuke, has an added presence here). This is probably due to not being constrained by 22-minute-long episodes adding up to only 12, and Madoka and Homura – the most important characters – taking a backseat to the action and development.
We learn more about Sayaka, and her feelings and choices as both a Magical Girl and a lovesick schoolgirl wanting the best for those she loves. They can be bad and irresponsible choices, but they are hers nonetheless. She has to learn to live with them, for the alternative - to wallow up in despair and self-pity - can be deadly for a Magical Girl. I love her relationship with Mami. Mami, who is more experienced at rationalising and restraining her emotions, tries to be a supportive teacher and friend, but Sayaka feels the older Magical Girl is being too soft on her; that she needs to be reprimanded for her terrible mistakes. And it all ends in a horrific tragedy worse than Mami could ever have expected.
Theirs is a mirror of Mami’s and Kyouko's relationship from the first volume, and a sense of time repeating itself for Mami, who refuses to give up on her ideals as a Magical Girl, no matter the myriad of tragedies befallen on her. Or does she..?
Poor, lonely, guilt-ridden Mami. The Magical Protector. The Great Pretender. She keeps moving forward, on and on, in spite of it all. What she needs is to be loved and hugged...
There is also a two-sides-of-the-same-coin connection between Sayaka and Kyouko which is nicely handled, though not much different than how it is presented in the anime. Madoka and Homura don't get nearly as much panel time as the other three Magical Girls, but that is where there is another contrast to the anime, which focuses a lot on them and their relationship.
Mami, Kyouko and Sayaka are the stars of this alternate storyline. Given how the manga ends, maybe they'd wish they weren't...
Ideas and established Magical Girl powers are explored plot-wise as well, such as Sayaka's healing abilities coming to use when saving others in battle. But despite these elements, ‘The Different Story’ – a parallel universe of ‘Madoka Magica’ – is a strong character-driven story more than anything else. Friendships and rivalries are tested to extremes.
The artwork - especially for the battle scenes - is very well-drawn and the characters’ facial expressions are perfect for all the scenes they are in. The ending is rather sudden and confusing, considering everything that’s been leading up to it, but what a twist!
My review of the third and final 'Puella Magi Madoka Magica: The Different Story' manga volume is to come.
Final Score: 4/5
Sunday 1 February 2015
I've got a lot on my plate this year, with a writing course, writing plans and classes, volunteering in shops, reading, and new job hunting. So I've decided, for the time being, to only read books:
That I am most likely to love, or which appeal to me most;
That I already own;
Or are library copies;
Or are well within my current budget.
I'll still write reviews whenever I can. And as always, happy reading! :)
That I am most likely to love, or which appeal to me most;
That I already own;
Or are library copies;
Or are well within my current budget.
I'll still write reviews whenever I can. And as always, happy reading! :)
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