While I didn't find 'Red Hood's Revenge' to be as enjoyable as its two previous instalments, it is still very good. Excellent worldbuilding, mythology and history on Arathea, the Arabic-influenced homeland of Princess Talia (Sleeping Beauty). The writing of different perspectives from each of the characters, describing what they are thinking and feeling, is also wonderfully done.
More magical power, more political power, more deceptive and dangerous fae, more fae rules made to be broken, and a lot more revelations about the sleeping curse that was placed on Talia. Her story – as a rape victim, a wanted killer by the royals who engineered the murder of her family, and as a princess of a home taken from her by force - is a tragic one.
Talia is not yet free of her past, or her impending fate. For her fairy tale, like everyone else’s, has no ever after.
'Red Hood's Revenge' starts off simple enough – the child snatcher Rumpelstilzchen gets a vignette. Then it gets rather convoluted and confusing around the middle and end, with too many villains and dark creatures (the political angle doesn't really help matters - fantasy stories are meant to be fun overall).
Red Riding Hood herself - Roudette (great name) - is an awesome character. Little Red as an assassin? Brilliant! She is a stone-cold, remorseless killer who matches Talia in combat skills. As will become clear later this isn't the only thing they have in common. Roudette carries a war hammer, and her red cape protects her from any magic, and when flipped on its wolf skin side it transforms her into a wolf. Genius!
However, she does take a backseat along with the other action princesses Danielle (Cinderella) and Snow (White) during the middle when she joins the main girl group in Arathea, where an overall sinister plan for a fairy takeover has already started. It is war between humans and fairies - and humans with themselves; the same goes for fairies. Deception is everywhere, and the usually distrustful and stoic Talia must find someone familiar, someone who will offer comfort and support to her in her old home.
It is time for her to return to Arathea after eight years, to take on a role as queen and lead an army. But is it an elaborate trap, a hundred years in the making?
Roudette's backstory, as it turns out, isn't that interesting or original, and very little is mentioned of it. But this is Talia's story, paralleled with Roudette’s as it is, and so her history comes first.
Danielle is her usual sweet, saintly and trusting self, who helps out a lot and has some funny lines. Her son Jakob is two now and Queen Beatrice (who barely appears in this book) is dying, so she has an awful lot going on for her in preparation to become the future queen of Lorindar; much like Talia’s situation in Arathea. Danielle has gotten better at diplomacy and leadership, coming a long way from 'The Stepsister Scheme'. She shows promise as a queen in 'Red Hood's Revenge', which is good.
I was a little disappointed with Snow - I was expecting to see more of her dark side, and more consequences of her casting too many spells after the events of 'The Mermaid's Madness'. But the most we get in 'Red Hood's Revenge' are her headaches, the result of a fractured skull inflicted from her previous adventure. Snow is still sassy, flirty, thoughtless and funny; meaning, harmless. Though there’ll likely be more character development and backstory from her in the next instalment, 'The Snow Queen's Shadow'.
As well as a complicated political plot (with sprinklings of creative ideas), I feel there is less sisterly compassion and friendship between the princesses in ‘Red Hood’s Revenge’, given how much of a temper and killing mood everyone is in. However, I really like the relationships Talia has with her old friends in Arathea, including the one with her lover, Faziya. Their passion, distinct personalities, and connection - past and present - are beautifully written. They will clearly die for each other. I can't wait to see how Talia and Faziya will hold up together in the next adventure, especially concerning Talia's feelings for Snow, who is now coming to realise just how much Talia means to her...
There is also surprisingly less action in this instalment than in the last two in the 'Princess' series, and more exposition and travelling around à la ‘The Lord of the Rings’. The positives outweigh the negatives, though, as the character development - especially Talia’s - is organic and flows with the multiple story threads.
Spell-rific, dramatic, diverse and well-thought-out, ‘Red Hood’s Revenge’ is a treat. So long as one’s patient.
All that's left is 'The Snow Queen's Shadow', the fourth and final book in the fantastical fairy tale ‘Princess’ series. I am super excited.
Final Score: 3.5/5
Sunday, 16 August 2015
Saturday, 15 August 2015
Graphic Novel Review - 'Nimona' by N.D. Stevenson
2025 EDIT: I've read this comic three times now. The last read is of the 10th Anniversary Limited Edition.
'Nimona' gets better and better every time. It is a fantasy story that is unlike anything else that exists. It is meant to be kept and devoured thousands of times, by everyone, forever.
Its themes, its characters, its humour, its darkness, its tragedy, its rawness and feelings for something that looks simple and cartoony, its bittersweet hope - it is all so timeless, so sincere, so endearing, it's enchanting.
This is what happens when an artist is allowed to fully express themself.
You get a passionate, authentic, real, stirring, unforgettable masterpiece.
Nimona herself is a true icon unlike any other. Such a rare, expressive, no-effs given, punk rock, curvy, and again, raw (and roar!) female character that anyone can identify with - will want to identify with. Neither good nor bad, she just is. And she loves herself for it, or she tries to, in a world that hates and fears her for being who she is. For a shapeshifting "monster", she is very much human.
N.D. Stevenson described Nimona as a "punk Joan of Arc-esque figure" in the 'Behind the Scenes' section of the newest edition of the comic, and that is a great, wonderful way to describe the fantastical shapeshifter in her default human form.
N.D. Stevenson - you are a gift to the world. It needs people like you.
Thank you.
His 'Author's Note' in the 10th Anniversary Edition is a must-read, too.
'When I was nineteen years old, I drew a comic about a shark with boobs and my life changed forever.'
Final Score: 5/5
Original Review:
EDIT: This was written before N.D. Stevenson's coming out.
I thought I wouldn't like this book because I didn't believe the comedy-newspaper-strip art style could sustain a 262-page story.
I was wrong. The art fits ‘Nimona’ terrifically on a subversive level.
It reflects the main theme of the story of 'Nimona'. The theme, in a nutshell, is this: nothing is as simple as it first appears. It begins as a zany and funny comic strip set in an ambiguous world where magic and science coexist, and then it morphs into something more complex, dark and twisted. Parody shifts into deconstruction. Halfway through the graphic novel this becomes more apparent.
‘Nimona’ basically asks this question of its audience: if appearances don't matter, and there is always a complexity and reasoning behind everything, then are there really such things as good and evil? These are just concepts; terms made up to comfort people and simplify an ever-changing, ever-moving, grey-area world inhabited by the billions; with different points-of-view and experiences. They may all think that their individual worldview is the right one, therefore no one really thinks of themselves as evil (meaning, wrong). Unless they're in a silly children's story, perhaps.
The characters in ‘Nimona’ also perfectly demonstrate this. While she's the titular character, Nimona herself is not the protagonist. Her origin and motives are a mystery throughout most of the book. Like the book named after her, her true self gradually reveals itself the more you read on. 'Nimona' is not as simple or childish as appearances suggest; this theme is further illustrated by the fact that Nimona herself is a literal shapeshifter. I'll discuss more about her later, however.
First, let's talk about Ballister Blackheart, the true protagonist of 'Nimona'. The reader follows this supposed villain from beginning to end: we witness his struggles, his confusion over the enigma that is his new sidekick Nimona, his loves and losses, and we understand his frustrations as well as his moral code of no killing; something Nimona doesn't share. It is pretty clear from the start that Ballister is not as evil as everyone within the context of the story perceives - or wants to perceive - him to be, and I absolutely adore him. Despite everything that has happened to him, he cares deeply for others and will attempt to understand (grudgingly in Ambrosius's case) and fix people. The dark-haired, goatee-sporting, mechanical-armed, intelligent, science-loving "baddie" is as selfless as they come.
The Institution of Law Enforcement and Heroics, which acts as the government of the unnamed world of 'Nimona', had manipulated and practically forced Ballister into villainy because every sword and sorcery story needs a villain, a scapegoat (scape-goatee? ha ha). Ballister, whose goal is to expose government corruption and fearmongering, appears to be more sympathetic than the Institution’s - and by definition the story's - designated hero, Ballister's old Institution partner Ambrosius Goldenloin.
Blonde and dashing Ambrosius shows signs of complexity and internal struggles more gradually than Ballister does, including remorse over his actions which had caused his dear friend to become isolated and alone.
Nimona in a way fills that void for Ballister, hence one of the reasons why he grows to love her like an adopted daughter. Reflecting this period of character development, Ambrosius is revealed to be neither as dumb nor as much of a pawn as he first appears. Both men love, and can be loved in return...
The Institution - more specifically the sinister Director - is the puppet master of 'Nimona', controlling the fantasy/science land on a macro-scale and driving apart the relationship between Ballister and Ambrosius on a micro-scale. External struggles and internal, personal power ones combine.
I love that, while not explicit, it is made quite clear that the friendship the two main male characters share is something more. Whether the homosexual prince-type figures live happily ever after depends on each of their present actions, with no more dwelling on past mistakes. It would also be spoilery of me to reveal the outcome of their strong bond, so I'll just leave it at that for now.
Now onto the shapeshifting girl Nimona, who, among other things, turns out to be a catalyst for bringing Ballister and Ambrosius closer together than ever before. She is trigger-happy, funny as heck, and evil. But she is so darn cute while she does bad deeds (such as murder) that the reader - as well as Ballister, the audience's stand-in - can't help but like her, even in a confused way. Nimona's carelessness, evasiveness of Ballister's questions concerning the nature of her powers, and hiding her true strength all add up to a sign of and a prelude to how much of a monster she is. Or isn't, depending on individual reader interpretation.
We get many glimpses of who the real Nimona is on the inside as well as the outside. Is the cute young girl image even her true form, as Ballister speculates at one point? A nature-versus-nurture element plays a small part in 'Nimona' here. And it all comes together towards a heart-stopping, deadly climax.
One concept I would like to study and explore in regards to how Nimona plays her role is: the idea of the morally-ambiguous female, or the antiheroine, and why there are so little of them to name in popular culture. It is likely that what I am about to interpret was unintentional on the part of the author Noelle Stevenson, but I believe it's worth discussing nevertheless:
I think it is self-evident that many people expect too much from a woman who takes charge and acts outside the norm of a patriarchal society. They put an unfair amount of pressure on her to be perfect all the time - for as part of a "minority" she must represent all women everywhere. Naturally a contradiction surfaces, since no expectations from anyone can be perfect and all women are not the same. The “strong, independent woman” must be good, must be forever right (which is nigh-impossible for any person to achieve), and must not lose her temper or let her feelings show no matter how much she may suffer externally or internally. She is not a person to the privileged higher-ups (mainly, the straight white males who have nothing to prove and don't have to apologise for anything), she's a paragon; and therefore her humanity is completely disregarded should she make even the smallest mistake or controversial choice. This line of thinking can affect women in both real life and in fiction. How many fictional females can you name that are "controversial" simply because they don't fit the traditional feminine form and norm? Because they are assertive? How many instances can you think of where a strong woman gets called out for being "mean", "bossy" or "bitchy" - both in-universe and out - when if a man were in her position and did the exact same things he won't receive as much hostility? Too many examples exist in the media/pop culture spectre where a strong woman is punished simply for being strong. For being human.
As a result of this misogynistic and patriarchal outlook, some - not all - creators may worry about their "strong, independent woman" not being well liked. So they don't make her too independent, too three-dimensional, too interesting. And so those who benefit from straight white male privilege remain comfortable in the knowledge that a woman - who to them is an object for their consumption and male gaze - hasn't threatened or affected the status quo.
Nimona breaks the status quo in every way.
She is no role model. Uncaring (mostly), impulsive and a remorseless killer, she should be unlikeable. She seems created for the purpose of rejecting traditional gender behaviour, and in light of the revelation of her true backstory, it is plausible that Nimona is intentionally trying to break the very system that harmed her for not being a "perfect little girl". So she is dangerous both in-universe - because of her powers - and within the conventions of the fantasy and science fiction genre. That Nimona makes her own choice to be a villain's sidekick is fitting for her, and makes sense for the reader wondering whether he/she/they should like this assertive breaker of comforting gender tropes. But Ballister Blackheart is not really a villain anymore than the Institution is a purely good government, and he expresses distaste at Nimona's actions.
But he doesn't kick her out. Like the reader, he is curious about this strange, unconventional girl. Unconventional also is her appearance: Nimona's main form, as a fantasy heroine, is a chubby, fully-clothed one with a shaved head (Nimona’s subversive takedown on her gender role is similar in style to the main female characters from another fantasy comic, ‘Rat Queens’). It is not only her attitude, but the energy with which she exerts that attitude that makes her a surprising break-out character, in my opinion.
Nimona is an enigma, so she doesn't appear in the comic as much as the protag Ballister. In this sense she is also a well-placed, individual entity, rather than a real threat. The reader - and again, Ballister - wants to solve the mystery of Nimona: the unconventional, scarily powerful and striking character. Gender be damned.
Plotwise, Nimona may exist for the other characters to react to. But that isn't her only purpose. One of her functions of breaking the patriarchy and the status quo is to inadvertently play matchmaker for two men who love each other romantically. There are no princesses in this fairy tale.
Slight spoiler: Nimona turns out to be sympathetic after all. Not that it would have mattered if she isn't. She'd still be an interesting and multilayered antiheroine, constantly changing shapes and keeping the reader guessing.
Whew!
On to simpler things now. Dr Meredith Blitzmeyer is another great addition to the cast - a woman who is a mad scientist? Also rather unconventional in any genre. The Director is perhaps the weakest character, for she is the most obviously evil person in 'Nimona', and seems to play straight the stereotype of the cold-hearted woman in power instead of subverting it. Though maybe she's an exact product of a society and system that demands that a woman in charge be unemotional and hyper-masculine?
What a long review this turned out to be! It goes to show how much power storytelling has, and how many layers and symbols can be interpreted to reflect the real world we live in. All from one webcomic series/graphic novel; a worthy medium as 'Nimona' proves.
To wrap things up, 'Nimona' is a charming yet surprisingly deep, ominous and touching sword and sorcery tale. Social, ethical and political themes of government corruption, the nature of what passes for good and evil, punishing and torturing those who are different (discrimination examples include shapeshifters, and the more realistic inclusion of people within the LBGTQ community), forgiveness, and seeing the best in the worst - these are all executed brilliantly. 'Nimona' isn't too preachy, however; if anything it seems like Noelle Stevenson was having a blast with her pet project.
Fun, action-packed, mysterious, smart, dark and poignant, 'Nimona' is fantastic. It will stay with the reader for a long time after the last delightful page. A comic for all walks of life.
Final Score: 5/5
'Nimona' gets better and better every time. It is a fantasy story that is unlike anything else that exists. It is meant to be kept and devoured thousands of times, by everyone, forever.
Its themes, its characters, its humour, its darkness, its tragedy, its rawness and feelings for something that looks simple and cartoony, its bittersweet hope - it is all so timeless, so sincere, so endearing, it's enchanting.
This is what happens when an artist is allowed to fully express themself.
You get a passionate, authentic, real, stirring, unforgettable masterpiece.
Nimona herself is a true icon unlike any other. Such a rare, expressive, no-effs given, punk rock, curvy, and again, raw (and roar!) female character that anyone can identify with - will want to identify with. Neither good nor bad, she just is. And she loves herself for it, or she tries to, in a world that hates and fears her for being who she is. For a shapeshifting "monster", she is very much human.
N.D. Stevenson described Nimona as a "punk Joan of Arc-esque figure" in the 'Behind the Scenes' section of the newest edition of the comic, and that is a great, wonderful way to describe the fantastical shapeshifter in her default human form.
N.D. Stevenson - you are a gift to the world. It needs people like you.
Thank you.
His 'Author's Note' in the 10th Anniversary Edition is a must-read, too.
'When I was nineteen years old, I drew a comic about a shark with boobs and my life changed forever.'
Final Score: 5/5
Original Review:
EDIT: This was written before N.D. Stevenson's coming out.
I thought I wouldn't like this book because I didn't believe the comedy-newspaper-strip art style could sustain a 262-page story.
I was wrong. The art fits ‘Nimona’ terrifically on a subversive level.
It reflects the main theme of the story of 'Nimona'. The theme, in a nutshell, is this: nothing is as simple as it first appears. It begins as a zany and funny comic strip set in an ambiguous world where magic and science coexist, and then it morphs into something more complex, dark and twisted. Parody shifts into deconstruction. Halfway through the graphic novel this becomes more apparent.
‘Nimona’ basically asks this question of its audience: if appearances don't matter, and there is always a complexity and reasoning behind everything, then are there really such things as good and evil? These are just concepts; terms made up to comfort people and simplify an ever-changing, ever-moving, grey-area world inhabited by the billions; with different points-of-view and experiences. They may all think that their individual worldview is the right one, therefore no one really thinks of themselves as evil (meaning, wrong). Unless they're in a silly children's story, perhaps.
The characters in ‘Nimona’ also perfectly demonstrate this. While she's the titular character, Nimona herself is not the protagonist. Her origin and motives are a mystery throughout most of the book. Like the book named after her, her true self gradually reveals itself the more you read on. 'Nimona' is not as simple or childish as appearances suggest; this theme is further illustrated by the fact that Nimona herself is a literal shapeshifter. I'll discuss more about her later, however.
First, let's talk about Ballister Blackheart, the true protagonist of 'Nimona'. The reader follows this supposed villain from beginning to end: we witness his struggles, his confusion over the enigma that is his new sidekick Nimona, his loves and losses, and we understand his frustrations as well as his moral code of no killing; something Nimona doesn't share. It is pretty clear from the start that Ballister is not as evil as everyone within the context of the story perceives - or wants to perceive - him to be, and I absolutely adore him. Despite everything that has happened to him, he cares deeply for others and will attempt to understand (grudgingly in Ambrosius's case) and fix people. The dark-haired, goatee-sporting, mechanical-armed, intelligent, science-loving "baddie" is as selfless as they come.
The Institution of Law Enforcement and Heroics, which acts as the government of the unnamed world of 'Nimona', had manipulated and practically forced Ballister into villainy because every sword and sorcery story needs a villain, a scapegoat (scape-goatee? ha ha). Ballister, whose goal is to expose government corruption and fearmongering, appears to be more sympathetic than the Institution’s - and by definition the story's - designated hero, Ballister's old Institution partner Ambrosius Goldenloin.
Blonde and dashing Ambrosius shows signs of complexity and internal struggles more gradually than Ballister does, including remorse over his actions which had caused his dear friend to become isolated and alone.
Nimona in a way fills that void for Ballister, hence one of the reasons why he grows to love her like an adopted daughter. Reflecting this period of character development, Ambrosius is revealed to be neither as dumb nor as much of a pawn as he first appears. Both men love, and can be loved in return...
The Institution - more specifically the sinister Director - is the puppet master of 'Nimona', controlling the fantasy/science land on a macro-scale and driving apart the relationship between Ballister and Ambrosius on a micro-scale. External struggles and internal, personal power ones combine.
I love that, while not explicit, it is made quite clear that the friendship the two main male characters share is something more. Whether the homosexual prince-type figures live happily ever after depends on each of their present actions, with no more dwelling on past mistakes. It would also be spoilery of me to reveal the outcome of their strong bond, so I'll just leave it at that for now.
Now onto the shapeshifting girl Nimona, who, among other things, turns out to be a catalyst for bringing Ballister and Ambrosius closer together than ever before. She is trigger-happy, funny as heck, and evil. But she is so darn cute while she does bad deeds (such as murder) that the reader - as well as Ballister, the audience's stand-in - can't help but like her, even in a confused way. Nimona's carelessness, evasiveness of Ballister's questions concerning the nature of her powers, and hiding her true strength all add up to a sign of and a prelude to how much of a monster she is. Or isn't, depending on individual reader interpretation.
We get many glimpses of who the real Nimona is on the inside as well as the outside. Is the cute young girl image even her true form, as Ballister speculates at one point? A nature-versus-nurture element plays a small part in 'Nimona' here. And it all comes together towards a heart-stopping, deadly climax.
One concept I would like to study and explore in regards to how Nimona plays her role is: the idea of the morally-ambiguous female, or the antiheroine, and why there are so little of them to name in popular culture. It is likely that what I am about to interpret was unintentional on the part of the author Noelle Stevenson, but I believe it's worth discussing nevertheless:
I think it is self-evident that many people expect too much from a woman who takes charge and acts outside the norm of a patriarchal society. They put an unfair amount of pressure on her to be perfect all the time - for as part of a "minority" she must represent all women everywhere. Naturally a contradiction surfaces, since no expectations from anyone can be perfect and all women are not the same. The “strong, independent woman” must be good, must be forever right (which is nigh-impossible for any person to achieve), and must not lose her temper or let her feelings show no matter how much she may suffer externally or internally. She is not a person to the privileged higher-ups (mainly, the straight white males who have nothing to prove and don't have to apologise for anything), she's a paragon; and therefore her humanity is completely disregarded should she make even the smallest mistake or controversial choice. This line of thinking can affect women in both real life and in fiction. How many fictional females can you name that are "controversial" simply because they don't fit the traditional feminine form and norm? Because they are assertive? How many instances can you think of where a strong woman gets called out for being "mean", "bossy" or "bitchy" - both in-universe and out - when if a man were in her position and did the exact same things he won't receive as much hostility? Too many examples exist in the media/pop culture spectre where a strong woman is punished simply for being strong. For being human.
As a result of this misogynistic and patriarchal outlook, some - not all - creators may worry about their "strong, independent woman" not being well liked. So they don't make her too independent, too three-dimensional, too interesting. And so those who benefit from straight white male privilege remain comfortable in the knowledge that a woman - who to them is an object for their consumption and male gaze - hasn't threatened or affected the status quo.
Nimona breaks the status quo in every way.
She is no role model. Uncaring (mostly), impulsive and a remorseless killer, she should be unlikeable. She seems created for the purpose of rejecting traditional gender behaviour, and in light of the revelation of her true backstory, it is plausible that Nimona is intentionally trying to break the very system that harmed her for not being a "perfect little girl". So she is dangerous both in-universe - because of her powers - and within the conventions of the fantasy and science fiction genre. That Nimona makes her own choice to be a villain's sidekick is fitting for her, and makes sense for the reader wondering whether he/she/they should like this assertive breaker of comforting gender tropes. But Ballister Blackheart is not really a villain anymore than the Institution is a purely good government, and he expresses distaste at Nimona's actions.
But he doesn't kick her out. Like the reader, he is curious about this strange, unconventional girl. Unconventional also is her appearance: Nimona's main form, as a fantasy heroine, is a chubby, fully-clothed one with a shaved head (Nimona’s subversive takedown on her gender role is similar in style to the main female characters from another fantasy comic, ‘Rat Queens’). It is not only her attitude, but the energy with which she exerts that attitude that makes her a surprising break-out character, in my opinion.
Nimona is an enigma, so she doesn't appear in the comic as much as the protag Ballister. In this sense she is also a well-placed, individual entity, rather than a real threat. The reader - and again, Ballister - wants to solve the mystery of Nimona: the unconventional, scarily powerful and striking character. Gender be damned.
Plotwise, Nimona may exist for the other characters to react to. But that isn't her only purpose. One of her functions of breaking the patriarchy and the status quo is to inadvertently play matchmaker for two men who love each other romantically. There are no princesses in this fairy tale.
Slight spoiler: Nimona turns out to be sympathetic after all. Not that it would have mattered if she isn't. She'd still be an interesting and multilayered antiheroine, constantly changing shapes and keeping the reader guessing.
Whew!
On to simpler things now. Dr Meredith Blitzmeyer is another great addition to the cast - a woman who is a mad scientist? Also rather unconventional in any genre. The Director is perhaps the weakest character, for she is the most obviously evil person in 'Nimona', and seems to play straight the stereotype of the cold-hearted woman in power instead of subverting it. Though maybe she's an exact product of a society and system that demands that a woman in charge be unemotional and hyper-masculine?
What a long review this turned out to be! It goes to show how much power storytelling has, and how many layers and symbols can be interpreted to reflect the real world we live in. All from one webcomic series/graphic novel; a worthy medium as 'Nimona' proves.
To wrap things up, 'Nimona' is a charming yet surprisingly deep, ominous and touching sword and sorcery tale. Social, ethical and political themes of government corruption, the nature of what passes for good and evil, punishing and torturing those who are different (discrimination examples include shapeshifters, and the more realistic inclusion of people within the LBGTQ community), forgiveness, and seeing the best in the worst - these are all executed brilliantly. 'Nimona' isn't too preachy, however; if anything it seems like Noelle Stevenson was having a blast with her pet project.
Fun, action-packed, mysterious, smart, dark and poignant, 'Nimona' is fantastic. It will stay with the reader for a long time after the last delightful page. A comic for all walks of life.
Final Score: 5/5
Friday, 14 August 2015
Wednesday, 5 August 2015
Book Review - 'Rogue (Croak, #3)' by Gina Damico
2021 EDIT: Last book in the 'Croak' series I've skimmed after rereading the first.
'Rogue' is better than 'Scorch', but that's hardly praise, and by now it's too little too late.
All I have left to say is that I won't be missing these miserable, despicable characters (but Pandora is awesome). There is SO MUCH secrecy and manipulation suffocating these morose books, for the sake of adding mysteries and intrigue, I don't even.
I am NOT a fan of the main teen romance, at all.
I'll remember to mention here that there are A LOT - and I mean A LOT - of fridged women in this series, and A LOT of women who suffer gruesome, horrific deaths, while men are often met with a less cruel demise, or are inexplicably shown mercy and spared. No such forgiveness and pardon is given to female characters. In light of the abundant slut shaming, girl-hate over a boy, "crazy and deadly with power" females, and competent-females-actually-subordinates-to-male-masters in the previous books (do NOT get me started on Zara and Sofi), I'll let you draw your own conclusions there. I swear every girl and woman gets paired up with a male, even when they're dead. As if that weren't disturbing enough, 'Rogue' also employs the Bury Your Gays trope (poor Pip, he was another of my favourites).
I am very disappointed that Norwood and Ferbus don't die. Maybe there is an intentional point to be made there? That the worst people in the world who may indeed deserve death don't always die? But more nuanced and morally grey (read: human) people do? (What sense does that make?) And life (and death) isn't fair?
Whatever, I'm tired. I don't care anymore.
Also:
Why are all the dead US presidents idolised? And comic relief? WTF?
What the hell happened to Lex's parents? How the hell are they going to live through what happened at the end? They're merely brushed aside, never mentioned again in the epilogue, allowing the readers to make up their own minds about them. In my opinion, it's a gigantic cop-out.
I now hate the ending. I seriously don't like that suicide is presented as the ultimate and right decision at the end - and it's the suicide of a fucking teenager, at that. I can't even begin to articulate everything wrong with this; it's even worse in context. Suffice it to say, it's disconcerting to see in a YA series finale.
Positives: 'Croak' is a YA series with astronomically high stakes. The action is intense, dire, and the plot mostly moves forward at a fast pace, never boring. The characters are memorable, distinct and (darkly and variably) colourful, at least. Perhaps deep down I do have a nostalgic soft spot for these books, and that's why I'm not rating them any lower than I should?
No final, witty words, no lasting impression - this is it, I'm out of here, for good.
Final Score: 3/5
Original Review:
This will be a short review of the Last of a Book TrilogyTM, because it'll be difficult to get into detail without revealing spoilers.
But all one ought to know about 'Rogue' - the finale of the great, funny, deliciously demented and daring 'Croak' books - is that it is dark. As in Dark. VERY Dark.
Its ending, while a little rushed and controversial (but hey, what ending isn't?), is nightmarish. Yet it's heartfelt and hopeful at the same time. Horrific. Outrageous. Bittersweet. Loving. Brave. Bold. The mix of emotions and tones are what made me fall in love with the books to begin with, and 'Rogue' did not disappoint in delivery.
Our lovely protagonist, teen Grim Reaper Lex Bartleby, is a mass murderer. She Damns people before their time, when it is not her choice to take their lives, no matter how much they might deserve it. Because of her recklessness, she is partly to blame for everything going wrong in ‘Rogue’, including war within the Grimsphere. The author never lets the reader forget this.
But Lex is still funny, likable and sympathetic enough in her choices and actions, especially given her circumstances with death. She now has a mission to save/rewrite the whole Grimsphere society. And the Afterlife itself.
I love that Lex isn’t overtly angsty. She is ever the witty anti-heroine - something rarely seen in any form of media because a patriarchal society dictates that any woman who takes charge and leads is a bitch and so shouldn't be taken seriously. Lex tries not to be emotional or think too much about how hard her life has become so suddenly. She assertively keeps a level head throughout, to help fix the things she broke. The young delinquent will learn from her mistakes, and will take selflessness, bravery and self-sacrifice to a new level unseen and inconceivable in anything before...
As for the other characters: Lex's boyfriend Driggs has changed drastically since the previous book, 'Scorch', but only physically - he still connects brilliantly with Lex with their banter, and a shocking secret from his past is revealed. Indeed, like Lex, nobody's perfect. Uncle Mort is an evasive and manipulative mad genius, whose arc ends perfectly in my opinion. As in 'Scorch', I remain indignant in my hatred for Ferbus. He's a begrudging bastard; absolutely no friend of Lex’s, even though there's no indication that he wouldn't do what Lex had done if he had her Damning powers. He does very little in the story, aside from being a pain. And he treats Elysia, another girl, like shit (they're a couple, seriously?!). Speaking of Elysia, she is a saint; a loyal, unwavering and lovable female friend to Lex. Although as part of the main Grim Junior group in ‘Rogue’, Elysia is rather useless in action (I guess that's one thing she and Ferbus share in common). Little Pip is barely worth mentioning except for his =huge spoiler= near the end. I really like Bang for her important contribution to the plot, in spite of never saying a word of dialogue. And old, snappy Pandora is full of surprises...
Others - such as Broomie - get bit parts, unfortunately. Even the villains - such as Norwood - to an extent.
But this is worth saying: you will hate Grotton. He's the ghost of the first Grim, and the one who started the whole mess from the very beginning (this becomes more meaningful as the book progresses to one of its twisty revelations (only one of which is very predictable, I might add)). So Lex isn't entirely to blame for everything (got that, Ferbus? You useless, passive-aggressive arsehole).
All in all, the 'Croak' series by Gina Damico is a YA trilogy that's worth every penny. For anyone looking for anything original and/or "more" than your standard YA fare, I recommend it. Whether you'll like the conclusion or not depends on your own individual tastes and experiences, but the series is wickedly funny, heartbreaking, courageous, and ironically sweet and charming too. You care for the characters and their plights, and if not then they’re still interesting, endearing and memorable. Above all they feel human, with the colossal responsibility of guiding souls to the Afterlife, while not damaging it in the process.
The books are cool, hugely creative, and immensely readable.
Books about death that are addictive? You may well believe it in 'Croak'.
Final Score (for 'Rogue'): 4/5
'Rogue' is better than 'Scorch', but that's hardly praise, and by now it's too little too late.
All I have left to say is that I won't be missing these miserable, despicable characters (but Pandora is awesome). There is SO MUCH secrecy and manipulation suffocating these morose books, for the sake of adding mysteries and intrigue, I don't even.
I am NOT a fan of the main teen romance, at all.
I'll remember to mention here that there are A LOT - and I mean A LOT - of fridged women in this series, and A LOT of women who suffer gruesome, horrific deaths, while men are often met with a less cruel demise, or are inexplicably shown mercy and spared. No such forgiveness and pardon is given to female characters. In light of the abundant slut shaming, girl-hate over a boy, "crazy and deadly with power" females, and competent-females-actually-subordinates-to-male-masters in the previous books (do NOT get me started on Zara and Sofi), I'll let you draw your own conclusions there. I swear every girl and woman gets paired up with a male, even when they're dead. As if that weren't disturbing enough, 'Rogue' also employs the Bury Your Gays trope (poor Pip, he was another of my favourites).
I am very disappointed that Norwood and Ferbus don't die. Maybe there is an intentional point to be made there? That the worst people in the world who may indeed deserve death don't always die? But more nuanced and morally grey (read: human) people do? (What sense does that make?) And life (and death) isn't fair?
Whatever, I'm tired. I don't care anymore.
Also:
Why are all the dead US presidents idolised? And comic relief? WTF?
What the hell happened to Lex's parents? How the hell are they going to live through what happened at the end? They're merely brushed aside, never mentioned again in the epilogue, allowing the readers to make up their own minds about them. In my opinion, it's a gigantic cop-out.
I now hate the ending. I seriously don't like that suicide is presented as the ultimate and right decision at the end - and it's the suicide of a fucking teenager, at that. I can't even begin to articulate everything wrong with this; it's even worse in context. Suffice it to say, it's disconcerting to see in a YA series finale.
Positives: 'Croak' is a YA series with astronomically high stakes. The action is intense, dire, and the plot mostly moves forward at a fast pace, never boring. The characters are memorable, distinct and (darkly and variably) colourful, at least. Perhaps deep down I do have a nostalgic soft spot for these books, and that's why I'm not rating them any lower than I should?
No final, witty words, no lasting impression - this is it, I'm out of here, for good.
Final Score: 3/5
Original Review:
This will be a short review of the Last of a Book TrilogyTM, because it'll be difficult to get into detail without revealing spoilers.
But all one ought to know about 'Rogue' - the finale of the great, funny, deliciously demented and daring 'Croak' books - is that it is dark. As in Dark. VERY Dark.
Its ending, while a little rushed and controversial (but hey, what ending isn't?), is nightmarish. Yet it's heartfelt and hopeful at the same time. Horrific. Outrageous. Bittersweet. Loving. Brave. Bold. The mix of emotions and tones are what made me fall in love with the books to begin with, and 'Rogue' did not disappoint in delivery.
Our lovely protagonist, teen Grim Reaper Lex Bartleby, is a mass murderer. She Damns people before their time, when it is not her choice to take their lives, no matter how much they might deserve it. Because of her recklessness, she is partly to blame for everything going wrong in ‘Rogue’, including war within the Grimsphere. The author never lets the reader forget this.
But Lex is still funny, likable and sympathetic enough in her choices and actions, especially given her circumstances with death. She now has a mission to save/rewrite the whole Grimsphere society. And the Afterlife itself.
I love that Lex isn’t overtly angsty. She is ever the witty anti-heroine - something rarely seen in any form of media because a patriarchal society dictates that any woman who takes charge and leads is a bitch and so shouldn't be taken seriously. Lex tries not to be emotional or think too much about how hard her life has become so suddenly. She assertively keeps a level head throughout, to help fix the things she broke. The young delinquent will learn from her mistakes, and will take selflessness, bravery and self-sacrifice to a new level unseen and inconceivable in anything before...
As for the other characters: Lex's boyfriend Driggs has changed drastically since the previous book, 'Scorch', but only physically - he still connects brilliantly with Lex with their banter, and a shocking secret from his past is revealed. Indeed, like Lex, nobody's perfect. Uncle Mort is an evasive and manipulative mad genius, whose arc ends perfectly in my opinion. As in 'Scorch', I remain indignant in my hatred for Ferbus. He's a begrudging bastard; absolutely no friend of Lex’s, even though there's no indication that he wouldn't do what Lex had done if he had her Damning powers. He does very little in the story, aside from being a pain. And he treats Elysia, another girl, like shit (they're a couple, seriously?!). Speaking of Elysia, she is a saint; a loyal, unwavering and lovable female friend to Lex. Although as part of the main Grim Junior group in ‘Rogue’, Elysia is rather useless in action (I guess that's one thing she and Ferbus share in common). Little Pip is barely worth mentioning except for his =huge spoiler= near the end. I really like Bang for her important contribution to the plot, in spite of never saying a word of dialogue. And old, snappy Pandora is full of surprises...
Others - such as Broomie - get bit parts, unfortunately. Even the villains - such as Norwood - to an extent.
But this is worth saying: you will hate Grotton. He's the ghost of the first Grim, and the one who started the whole mess from the very beginning (this becomes more meaningful as the book progresses to one of its twisty revelations (only one of which is very predictable, I might add)). So Lex isn't entirely to blame for everything (got that, Ferbus? You useless, passive-aggressive arsehole).
All in all, the 'Croak' series by Gina Damico is a YA trilogy that's worth every penny. For anyone looking for anything original and/or "more" than your standard YA fare, I recommend it. Whether you'll like the conclusion or not depends on your own individual tastes and experiences, but the series is wickedly funny, heartbreaking, courageous, and ironically sweet and charming too. You care for the characters and their plights, and if not then they’re still interesting, endearing and memorable. Above all they feel human, with the colossal responsibility of guiding souls to the Afterlife, while not damaging it in the process.
The books are cool, hugely creative, and immensely readable.
Books about death that are addictive? You may well believe it in 'Croak'.
Final Score (for 'Rogue'): 4/5
Thursday, 23 July 2015
Graphic Novel Review - 'Power Girl, Vol. 1: A New Beginning' by Justin Gray (Writer), Jimmy Palmiotti (Writer), Amanda Conner (Artist)
I've read a 'Power Girl' comic before from my local library. While I really liked the superheroine herself, what I mostly got was a character who was brought back from the old and destroyed DC universe of Earth-2 after the whole 'Infinite Crisis' event, and who keeps being left to writers who have no idea what to do with her. Origin changes and sticking-ideas-to-walls-and-seeing-what-falls aplenty. I was frustrated, unimpressed.
But I saw potential in Power Girl, which was why I picked up 'A New Beginning', an appropriate and much-needed title for someone who's suffered as many retcons as her.
As promised, the comic is fun, fresh and simple. It's what a superhero comic like this one should be. The artwork compliments the storylines with its lovable and colourful cartoony style.
Power Girl - aka Karen Starr - is as I remember her: brash, headstrong, funny, sarcastic, genre-savvy, and smarter than she lets on; even though she prefers to use her fists in any crime-fighting situation. Possessing super strength, speed, flight, laser eyes, and ice breath, PG is a competent hero who takes crap from no one, yet is very much human despite being Kryptonian.
It's because of this that I can overlook her (in)famous chest-window; she shows how her personality and heart are much bigger than her cleavage. Power Girl has an identity separate from Superman, which is great, and is one of the reasons why I prefer her to Supergirl. PG does not exist as a sexy Supes to be ogled at; she isn't super skinny like so many superheroines either. Atta woman!
Her civilian identity, Karen Starr, is the CEO of an environmentally-friendly science and engineering company, StarrWare Labs, which she's working to get up off the ground. That's right - she's an independent head of a succeeding billion-dollar company. The female boss of a high power workplace! Power Girl definitely has soaring ambitions and wishes to save the world in all manner of ways; she's doing extraordinarily well for a fresh start in New York. She's in fact very common sense-driven and friendly - grateful to others, including civilians, when they help her.
While Power Girl still isn't a fan of the press, she appreciates that a lot of people like her, though a lot of it is due to her bust. She's gotten used to men staring at her chest, and jokes about how it offers a distraction to keep the bad guys underestimating her. So long as no one outright objectifies her and make sexist comments, or else she'll make clever responses that aren't all violent.
Her sidekick is Terra, aka Atlee, and they make a great girlfriend duo. They save New York City, and go see cheesy movies together. We don't really get much info on Terra in this volume, but that doesn't matter since Power Girl and her adventures are the focus. I like how the book is self-aware on the secret identity angle, and has Terra make fun of Karen only hiding her superhero identity by dressing in smart clothes and wearing her hair up. She doesn't even put on glasses like Clark Kent. PG owns a cat, too, and collects snow globes.
Best of all, there's no love interest! Ha!
Power Girl faces up against all sorts of craziness. Like Ultra-Humanite, a human brain in a gorilla body who captures the whole of Manhattan and wants to transfer his brain to Power Girl's Kryptonian body. She then fights the Elven Sorceress, and space party princesses. There is also a sexy man-slave android from outta space - the randomness is what makes for a fun comic book.
The ending to the volume is a little abrupt, and not everything is resolved - with Karen mentioning how complicated her new life is becoming. Not all content in 'A New Beginning' is light-hearted, silly and kid-friendly - it contains instances of suicide, murder, shootings, and a couple of references to 9/11, but nothing explicitly gory.
That's just about it. 'Power Girl, Vol. 1: A New Beginning' has no deep meaning, except for female empowerment. It is just what Power Girl needed, but it's not meant to be taken too seriously. The comic mainly aims for its reader to have a fun time; like at an amusement park (one is featured in this) with a superheroine who has a strong personality and ambitions of her own.
Final Score: 4/5
But I saw potential in Power Girl, which was why I picked up 'A New Beginning', an appropriate and much-needed title for someone who's suffered as many retcons as her.
As promised, the comic is fun, fresh and simple. It's what a superhero comic like this one should be. The artwork compliments the storylines with its lovable and colourful cartoony style.
Power Girl - aka Karen Starr - is as I remember her: brash, headstrong, funny, sarcastic, genre-savvy, and smarter than she lets on; even though she prefers to use her fists in any crime-fighting situation. Possessing super strength, speed, flight, laser eyes, and ice breath, PG is a competent hero who takes crap from no one, yet is very much human despite being Kryptonian.
It's because of this that I can overlook her (in)famous chest-window; she shows how her personality and heart are much bigger than her cleavage. Power Girl has an identity separate from Superman, which is great, and is one of the reasons why I prefer her to Supergirl. PG does not exist as a sexy Supes to be ogled at; she isn't super skinny like so many superheroines either. Atta woman!
Her civilian identity, Karen Starr, is the CEO of an environmentally-friendly science and engineering company, StarrWare Labs, which she's working to get up off the ground. That's right - she's an independent head of a succeeding billion-dollar company. The female boss of a high power workplace! Power Girl definitely has soaring ambitions and wishes to save the world in all manner of ways; she's doing extraordinarily well for a fresh start in New York. She's in fact very common sense-driven and friendly - grateful to others, including civilians, when they help her.
While Power Girl still isn't a fan of the press, she appreciates that a lot of people like her, though a lot of it is due to her bust. She's gotten used to men staring at her chest, and jokes about how it offers a distraction to keep the bad guys underestimating her. So long as no one outright objectifies her and make sexist comments, or else she'll make clever responses that aren't all violent.
Her sidekick is Terra, aka Atlee, and they make a great girlfriend duo. They save New York City, and go see cheesy movies together. We don't really get much info on Terra in this volume, but that doesn't matter since Power Girl and her adventures are the focus. I like how the book is self-aware on the secret identity angle, and has Terra make fun of Karen only hiding her superhero identity by dressing in smart clothes and wearing her hair up. She doesn't even put on glasses like Clark Kent. PG owns a cat, too, and collects snow globes.
Best of all, there's no love interest! Ha!
Power Girl faces up against all sorts of craziness. Like Ultra-Humanite, a human brain in a gorilla body who captures the whole of Manhattan and wants to transfer his brain to Power Girl's Kryptonian body. She then fights the Elven Sorceress, and space party princesses. There is also a sexy man-slave android from outta space - the randomness is what makes for a fun comic book.
The ending to the volume is a little abrupt, and not everything is resolved - with Karen mentioning how complicated her new life is becoming. Not all content in 'A New Beginning' is light-hearted, silly and kid-friendly - it contains instances of suicide, murder, shootings, and a couple of references to 9/11, but nothing explicitly gory.
That's just about it. 'Power Girl, Vol. 1: A New Beginning' has no deep meaning, except for female empowerment. It is just what Power Girl needed, but it's not meant to be taken too seriously. The comic mainly aims for its reader to have a fun time; like at an amusement park (one is featured in this) with a superheroine who has a strong personality and ambitions of her own.
Final Score: 4/5
Graphic Novel Review - 'Thor, Vol. 1: The Goddess of Thunder' by Jason Aaron (Writer), Russell Dauterman (Artist), Jorge Molina (Artist)
Packaged as serious business. In truth it's surprisingly funny - with feminist subtext both subtle and in your face. This doesn't hinder 'Thor, Vol. 1: The Goddess of Thunder' from being a fun, action-packed comic book. It is one of Marvel's most groundbreaking and important titles coming out, along with the new 'Ms. Marvel' series.
Before going any further, I'll say that before this I had not read any 'Thor' comics. My knowledge of the character comes from the Marvel movies, plus the variations of Norse mythology. Still, more women getting recognition as their own superheroes in comics was something I had to check out, and I knew this change to such a renowned and iconic character was a huge risk for Marvel to take. Unsurprisingly, it did get some backlash from (mostly) male fans who still want everything to revolve around them and reflect their lives and experiences, and who pretend that none of the half of the human race reads comics or wants to see more female heroes. I wanted to support the idea of a female Thor, however, so I bought this book with my own money. This one small change may be a stepping stone towards people finally growing up and accepting that change may be scary, but it has to happen for both fiction and reality to evolve - for the better, for everyone. If Marvel can achieve outstanding success with a Muslim Ms. Marvel and an African American Spider-Man, then a woman Thor in retrospect shouldn't be considered such a stormy risk to begin with.
And as it turns out, you don't need to read the previous 'Thor' stories to get what's going on in 'The Goddess of Thunder'. You can still enjoy it, which is a relief.
Basic rundown of 'The Goddess of Thunder' is: Thor - Odinson - has been disgraced. He is no longer worthy to wield the hammer Mjolnir due to some undisclosed whispered words from Nick Fury. No one - not even King Odin, the hammer's creator - can lift it while it's stuck on the moon like Excalibur. It seems that a mighty hero and Avenger is lost, along with Asgard.
Then, out of the blue, a mysterious woman appears on the moon and lifts Mjolnir - new rules are ingrained in the stone, and she is deemed worthy. This new warrior storms forth to save the earth (Midgard), Asgard and other realms from Frost Giants and the Dark Elf Malekith. There is also an evil businessman who turns into a minotaur; Avengers making a cameo appearance being iced by the Giants; Odin plotting against the female Thor for "stealing" Mjolnir; witty banter; and male Thor riding a goat at the bottom of the sea.
Thor also hates that someone else has what was his for so long, and he does fight female Thor for it. However, unlike his father, he changes his viewpoint when he sees how Mjolnir works with and responds to the newest chosen one. He even gives her - in front of all of the good guys - the official name of Thor. Not Lady Thor, nor Thora, and definitely not Thorina or Thorita. She is Thor - the one and only, for she has proven worthy of the name.
Afterwards Odinson makes for a rubbish detective and tries to find out the identity of the new Thor (one of his suspects is Loki - this comic has a great sense of humour). Odin does not accept this change. He represents a male who stubbornly refuses such a change as gender in a hero, no matter how good the woman is, and even when she's not being seditious but simply trying her best with a heavy title now placed on her shoulders. Odin will go so far as to make idiotic decisions, and ends up as much of a villain as Malekith.
Change is good. As is shown with female Thor.
In the first volume the reader does not find out her true identity (she wears a mask), nor why she was chosen to wield Mjolnir. But her personality shines through the colourful pages. Not only is her design fantastic, but even without her awesome weapon she is capable, witty, warm-hearted, humourous, and she kicks arse. Her modern-language thought balloons in contrast to her more archaic speeches implies that she is from earth. She can take down monsters and sexists in one go.
This Thor is rather like Xena, Warrior Princess. I love that she isn't merely a distaff counterpart to Thor - she is her own person, and fights using the hammer quite differently from male Thor. No borrowed identity here; she is here to stay.
Female Thor is also one of the few heroines I've seen who steals a kiss from a male lead. One of the funniest moments in the comic is when this is followed up with her saying, "Still think I am your mother?" The response: "I certainly hope not."
New Thor may be a bit of a mystery for the moment, but this is undeniably her book, with panel trips to see how the old Thor is doing - possibly done to please the old-school fanboys.
Some responses to the terrible criticisms of a female Thor do make it into the volume, and her fight with Crusher Creel in issue 5 is the most on-the-nose of all. But addressing the issue of sexism via a Take-That against it may have been needed when the controversy was so big. I laughed at Crusher Creel complaining that there're less "manly" superheroes nowadays, thanks to feminists. Female Thor's competence as a warrior and her saying that feminist is not a four letter word are much needed step-ups as well.
Other feminist ideas come from Freyja, male Thor's mother and a prominent female figure in Asgard and the whole comic. When she ruled as the All-Mother in Odin's absence, everything went well. Only when her husband returns as the All-Father do things go awry again. Freyja is compassionate but tough, smart, level-headed, and not afraid to speak her mind - to hell with her "place" in society. She has a sarcastic streak to her as well. The All-Mother has a meaningful conversation with female Thor at the end of the volume, which isn't just a warning about Odin and his new goal to make Thor's life extremely difficult from now on. So 'The Goddess of Thunder' passes the Bechdel test.
Traditional gender roles being challenged is also shown with Odinson at his most vulnerable, and him admitting not only a thunderous change in his life, but his own limitations. A woman bests him at his classic skills and he accepts this, like a real man. He is no less a man without his hammer, but he will be by his own self-pity. Odinson is left crippled in more ways than one, and he has to keep moving forward without fighting like he used to in the old days.
I love the artwork, too. Great colour schemes, action and character expressions. It changes in the last issue, but it isn't jarring and still looks very nice.
Flaws include wanting to see a bit more of Thor herself as a focus in her own book, rather than on the controversy and mystery of her from the point of view of the other characters. More action and power from her please! Though I'm sure there will be in the next volume. There's also the amount of times the words "worthy" and "unworthy" are said. I know they mean a big deal in context, but it gets comical after a while, and I'm not sure if that's the intent. It's like how the words "honour" and "hope" are overused in other works of media.
'Thor, Vol. 1: The Goddess of Thunder' is entertaining stuff. Colourful, grand, funny, mythological, high-octane action - it is the beginning of something mighty, I'm sure.
Final Score: 4/5
Before going any further, I'll say that before this I had not read any 'Thor' comics. My knowledge of the character comes from the Marvel movies, plus the variations of Norse mythology. Still, more women getting recognition as their own superheroes in comics was something I had to check out, and I knew this change to such a renowned and iconic character was a huge risk for Marvel to take. Unsurprisingly, it did get some backlash from (mostly) male fans who still want everything to revolve around them and reflect their lives and experiences, and who pretend that none of the half of the human race reads comics or wants to see more female heroes. I wanted to support the idea of a female Thor, however, so I bought this book with my own money. This one small change may be a stepping stone towards people finally growing up and accepting that change may be scary, but it has to happen for both fiction and reality to evolve - for the better, for everyone. If Marvel can achieve outstanding success with a Muslim Ms. Marvel and an African American Spider-Man, then a woman Thor in retrospect shouldn't be considered such a stormy risk to begin with.
And as it turns out, you don't need to read the previous 'Thor' stories to get what's going on in 'The Goddess of Thunder'. You can still enjoy it, which is a relief.
Basic rundown of 'The Goddess of Thunder' is: Thor - Odinson - has been disgraced. He is no longer worthy to wield the hammer Mjolnir due to some undisclosed whispered words from Nick Fury. No one - not even King Odin, the hammer's creator - can lift it while it's stuck on the moon like Excalibur. It seems that a mighty hero and Avenger is lost, along with Asgard.
Then, out of the blue, a mysterious woman appears on the moon and lifts Mjolnir - new rules are ingrained in the stone, and she is deemed worthy. This new warrior storms forth to save the earth (Midgard), Asgard and other realms from Frost Giants and the Dark Elf Malekith. There is also an evil businessman who turns into a minotaur; Avengers making a cameo appearance being iced by the Giants; Odin plotting against the female Thor for "stealing" Mjolnir; witty banter; and male Thor riding a goat at the bottom of the sea.
Thor also hates that someone else has what was his for so long, and he does fight female Thor for it. However, unlike his father, he changes his viewpoint when he sees how Mjolnir works with and responds to the newest chosen one. He even gives her - in front of all of the good guys - the official name of Thor. Not Lady Thor, nor Thora, and definitely not Thorina or Thorita. She is Thor - the one and only, for she has proven worthy of the name.
Afterwards Odinson makes for a rubbish detective and tries to find out the identity of the new Thor (one of his suspects is Loki - this comic has a great sense of humour). Odin does not accept this change. He represents a male who stubbornly refuses such a change as gender in a hero, no matter how good the woman is, and even when she's not being seditious but simply trying her best with a heavy title now placed on her shoulders. Odin will go so far as to make idiotic decisions, and ends up as much of a villain as Malekith.
Change is good. As is shown with female Thor.
In the first volume the reader does not find out her true identity (she wears a mask), nor why she was chosen to wield Mjolnir. But her personality shines through the colourful pages. Not only is her design fantastic, but even without her awesome weapon she is capable, witty, warm-hearted, humourous, and she kicks arse. Her modern-language thought balloons in contrast to her more archaic speeches implies that she is from earth. She can take down monsters and sexists in one go.
This Thor is rather like Xena, Warrior Princess. I love that she isn't merely a distaff counterpart to Thor - she is her own person, and fights using the hammer quite differently from male Thor. No borrowed identity here; she is here to stay.
Female Thor is also one of the few heroines I've seen who steals a kiss from a male lead. One of the funniest moments in the comic is when this is followed up with her saying, "Still think I am your mother?" The response: "I certainly hope not."
New Thor may be a bit of a mystery for the moment, but this is undeniably her book, with panel trips to see how the old Thor is doing - possibly done to please the old-school fanboys.
Some responses to the terrible criticisms of a female Thor do make it into the volume, and her fight with Crusher Creel in issue 5 is the most on-the-nose of all. But addressing the issue of sexism via a Take-That against it may have been needed when the controversy was so big. I laughed at Crusher Creel complaining that there're less "manly" superheroes nowadays, thanks to feminists. Female Thor's competence as a warrior and her saying that feminist is not a four letter word are much needed step-ups as well.
Other feminist ideas come from Freyja, male Thor's mother and a prominent female figure in Asgard and the whole comic. When she ruled as the All-Mother in Odin's absence, everything went well. Only when her husband returns as the All-Father do things go awry again. Freyja is compassionate but tough, smart, level-headed, and not afraid to speak her mind - to hell with her "place" in society. She has a sarcastic streak to her as well. The All-Mother has a meaningful conversation with female Thor at the end of the volume, which isn't just a warning about Odin and his new goal to make Thor's life extremely difficult from now on. So 'The Goddess of Thunder' passes the Bechdel test.
Traditional gender roles being challenged is also shown with Odinson at his most vulnerable, and him admitting not only a thunderous change in his life, but his own limitations. A woman bests him at his classic skills and he accepts this, like a real man. He is no less a man without his hammer, but he will be by his own self-pity. Odinson is left crippled in more ways than one, and he has to keep moving forward without fighting like he used to in the old days.
I love the artwork, too. Great colour schemes, action and character expressions. It changes in the last issue, but it isn't jarring and still looks very nice.
Flaws include wanting to see a bit more of Thor herself as a focus in her own book, rather than on the controversy and mystery of her from the point of view of the other characters. More action and power from her please! Though I'm sure there will be in the next volume. There's also the amount of times the words "worthy" and "unworthy" are said. I know they mean a big deal in context, but it gets comical after a while, and I'm not sure if that's the intent. It's like how the words "honour" and "hope" are overused in other works of media.
'Thor, Vol. 1: The Goddess of Thunder' is entertaining stuff. Colourful, grand, funny, mythological, high-octane action - it is the beginning of something mighty, I'm sure.
Final Score: 4/5
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