Paper Girls Issue 4 picks up on a phone ringing. An older man in a Public Enemy t-shirt answers, and while he appear to be a normal guy in an ordinary bed in an unremarkable bedroom, the functioning eyeball in the center of his phone’s rotary dial points to the contrary. This is confirmed when we meet the woman on the other end of the line, a warrior who identifies herself as Cardinal and reports the discovery of her fallen peer Alister (aka “Space Idris” in my previous review) who met his demise at the end of Issue 3. Public Enemy instructs her to “call down an Editrix” which, judging by her stunned reaction, doesn’t bode well for our titular paper girls who were last seen in the company of the opposing forces. In defense of his decision he simply states “Can’t risk another C-Day.” As per usual we have new (throw away?) characters and new questions, but ultimately little headway in terms of development for our titular paper girls.

I don’t typically read comics issue-by-issue so I’ve tried not to be too judgmental of the pacing thus far, but at this point in the series I’m becoming less interested in piecing together the greater mystery of what’s happening in the Paper Girls universe and increasingly eager to see the girls develop as characters in a more fulfilling way. So far the majority of the character focus has been on Erin, we’ve gotten a brief glimpse of Mac’s life outside the group, and this issue gave us a peek at Tiffany, but not much of one. I’m assuming KJ will be next – fingers crossed that her background involves actively using her field hockey stick as a weapon instead of for sport.

(Spoilers ahead)

When we catch up with Mac, Tiffany, and KJ they are navigating the sewers with their deformed teenage companions from the future, one of them carrying Erin’s semi-conscious body, en route to somehow heal her gunshot wound. They identify themselves as Heck and Naldo, and Heck indicates that the “old-timers” like Alister killed his boyfriend, which evokes an “Ew!” of disgust from Mac.

Mac’s open revulsion at Heck’s sexuality harkens back to a similar homophobic display in the first issue and she is again kept in check by her friends. A few months ago Elana and I privately discussed some of the criticisms of Mac’s use of a homophobic slur in the pilot, a moment that seemed natural to me because a) It’s 1988. Heck shrugs off her attitude because the girls are “from an effed-up time” and as a child of the 80’s myself I remember that it was a pivotal era, not only in my own development but in our cultural development, in terms of sussing out what words are and are not acceptable insults. Adolescence could also be accurately described as “an effed-up time” and Mac is a 12 year-old girl who’s still learning, and b) her friends correct her by openly disapproving of her prejudice – it’s not an action that’s defended to the readers, rather it’s a character flaw on display. Elana rightly pointed out that it’s not necessary to include a homophobic slur to bolster historical accuracy or illustrate that homophobia is wrong, but that it could be an important piece of character development if it proves that Mac herself is queer. It’s an interesting, complicated point of consideration, and we both hope it gets explored in a meaningful way as the series goes on.

The sewer crew are soon intercepted by the aforementioned Editrix, a hovering, multi-eyed tentacle monster, which grabs Tiffany and throttles her into unconsciousness. Everything literally goes sideways in this moment as the pages flip and readers have to turn the book to keep reading, watching Tiffany as she relives a childhood spent obsessively playing the video game Breakout. When KJ comes to her rescue and she regains her senses she describes the experience as hell. I suspect this serves more as a metaphor for the situation they’re in – the futile, repetitive nature of war, perhaps the inevitability of another “C-Day”, whatever that will prove to be – and less as insight into Tiffany as an individual. I do wonder what significance there may be in her choice of game – are we on the verge of a narrative breakout? Did everything go sideways because shit’s going to hit the fan and things will start coming together in Issue 5? I can hope!

When they finally emerge from the sewers Mac voices her distrust in Heck and Naldo, and is again reprimanded by KJ when she refers to them as “perverts.” But Mac argues “…whether those two are into dudes or not, they’re still teenage boys. Even my brother says they can’t be trusted and he is one” and I still share her skepticism, at least for now.

Again, I like to think if I were reading a collected volume I’d be more satisfied with the way things are being laid out and I think ultimately a binge-reading would be great fun (it’s why I always recommend buying this title in trade), but at the rate we’re going I’m ready for some solid movement instead of the Lost-esque constant mystery-building. That’s not to say I’m not enjoying the ride, however; this issue had some fun moments and an added visual punch with more greens and oranges than we’ve seen previously. I’m definitely curious to know more about the dude in the Public Enemy shirt, known formally as Grandfather, and I love that a group of tweens are the neutral party in a war between teenagers and adults. Overall I’m still on board, and looking forward to what’s up next.

Story: Brian K. Vaughan Art: Cliff Chiang
Story: 7 Art: 9 Overall: 7.5 Recommend: Buy in trade

Image Comics provided Graphic Policy with a FREE copy for review

On November 1^st, 1988, an otherworldly presence invaded quiet Stony Stream, Ohio. Twelve year-old Erin had just set out on her first paper route and making friends with the other paper girls when the town was besieged with futuristic ninjas and dino-riding soldiers. It was the eighties, if you weren’t ninja-garbed or dino-riding you were nothing. As everyone they know vanishes around them, Erin, Mac, Tiffany and KJ are left to fend for each other.

Our central paper girl, Erin, has been incapacitated for half the series following an accidental gunshot wound. Sure, there are three characters trudging from issue-to-issue, one of whom, Mac, seemed poised early on to take the focus in Erin’s absence. Instead none of the characters have really stood out and the girls border on being interchangeable. The first issue introduces Stony Stream and its characters through Erin’s perspective. So, it seems almost fitting that since she’s been shot the story’s narrative has become shaky and directionless. The girls’ only goal has been to get Erin medical help, a goal which they seem hell-bent on entrusting to strangers while they passively follow them around.

There is not a single character in the story with a clear goal they are actively pursuing. Four girls set out to deliver papers one morning and then that aspect of the story was forgotten everywhere but the title. Future-ninjas, dino-soldiers… no one has any clear objective. Half the cast is comprised of these futuristic characters whose dialogue means that half the book is either grating jargon or non-English. The futuristic ninjas, who turned out to be simply futuristic teens (and may be mutants but are definitely not turtles), seem ready to steal the story’s focus and change the title to “Ninja Boys”.

The time given to the fact that one of the boys is gay is somewhat appropriate considering the juxtaposition against 1988’s social norms. Yet it still asks the question, why did Brian K. Vaughan shoehorn that bit of information in when it only serves to create a distracting tangent? Who cares, even in 1988, if some kid is gay considering the world seems to be ending and you’re carrying around your dying friend? We don’t even know the boy’s name. Speaking of tangential, four pages dedicated to establishing that Tiffany wasted her life playing video games is a waste when what needs advancing is the plot.

It may be easy for Mac to put homophobia ahead of her concerns about the end of the world considering this strange invasion actually has not affected them a great deal. Granted, every issue involves them being exposed to some strange aspect of it. But only one thing has happened to personally affect these girls and drive their story, Mac’s struggle with her step-mother resulting in Erin being shot. What truly is propelling these girls exists easily without any of the sci-fi elements and it makes the girls seem detached from that focal aspect of the book.

Ultimately, Paper Girls will make a fantastic hardcover collection. When read from start-to-finish, the story will feel far more fast-paced than stalling, as it does reading one issue a month. The apple/”tree of knowledge” theme that continues to surface will help characterize the Calamity that is mentioned in this issue, rather than seeming like a bit of strange décor. Most importantly, it will bring to life the neon-pastel dream created by Cliff Chiang. His art in this series continues to be the most redeeming aspect of the book and warrants readers picking it up, no matter what complaints can be had with the story.

Story: Brian K. Vaughan Art: Cliff Chiang
Story: 5 Art: 9 Overall: 7 Recommendation: Read

Paper Girls #3 is here and it opens with two random teenagers, Terry and Gabrielle, as they try to make sense of the supernatural events driving the series. As they stand on their school’s football field and stare up into the swirling vortex above them, Terry goes from confessing his crush on Gabrielle to getting handsy with her. As his sexual entitlement gets the best of him things verge on turning outright rapey when a pterodactyl-riding warrior swoops out of the vortex and vaporizes them both. Speaking in a bastardized Old English dialect that I can’t help but read in Idris Elba’s voice, this new player refers to his victims as “Scruddy teenagers,” a comment that I’ll come back to later.

Overall this installment is pretty fast-paced, and Cliff Chiang and Matthew Wilson continue to bring the eye candy with their artwork. I’ve mentioned it before, but Chiang’s mouth designs are especially impressive in how they communicate the girls’ personalities through their reactions. While I’d like to have had a bit more by way of major plot advancement at this point, this issue was still a solid read.

*Spoilers Ahead*

Issue #2 ended with a cliffhanger in the form of a gunshot, and after the events at the football field we finally find out who was on the receiving end. As the girls scramble to get their bloodied companion to a hospital we come to learn that friends are not something Erin is particularly rich with. On their panicked drive they encounter Space Idris, as I’ve come to think of him. At first a threat, he questions if they are locals and uses translational technology to apologize to them. He informs them that it is dangerous for children to be out during ablation, so we now know there’s some kind of cleansing ritual afoot. Unfortunately, as he’s promising to save the gunshot victim and shed some much-needed light on what’s going down, he meets an untimely end at the hands of the deformed, mummy-esque aliens readers will recognize from previous issues.

When I said I’d come back to Space Idris’ comment about “Scruddy Teenagers” this is the moment I was referring to – using the same translational vocal box that Space Idris employed, the mummies peel back their wrapping, deny being aliens, and assure the girls, “We’re just like you – teenagers!” Those who read the premiere issue may remember that when Erin was first harassed by three boys on her paper route, her reaction was an aggravated “Ugh, teenagers!” Her disgust proved to be warranted, which makes me think this new batch of teens may not be the allies they’re selling themselves as. Compile that with the opening near-assault in this issue and I’d say writer Brian K. Vaughan seems to be making a point of painting teenage boys as the enemy as far as the Paper Girls universe is concerned. There’s definitely an age-related conflict at the root of the events taking place, and I’m hoping Issue #4 will deliver a little more generously with answers than with questions.

Story: Brian K. Vaughan Art: Cliff Chiang, Matt Wilson
Story: 8 Art: 9 Overall: 8.5 Recommendation: Buy in trade

Image Comics provided Graphic Policy with a FREE copy for review

Paper Girls is the latest offering from writer Brian K. Vaughan, someone whose work I thought I hated based on two things: A single issue of Y: The Last Man, which intrigued me in concept but annoyed me in execution, and the mind-numbingly stupid abomination that was the television adaptation of Stephen King’s Under the Dome. Thankfully Saga helped me turn the corner on Vaughan, and I found the storytelling and artwork of Paper Girls to be similarly satisfying. I was immediately sold by the opening dream sequence which is especially aesthetically reminiscent of Saga. It’s this sequence that introduces readers to 12 year-old Erin while also setting a darkly fantastic tone that carries into the character’s waking life and hopefully the entirety of the series.

Erin sets out on her paper route in the wee hours of November 1st, 1988, a date she’s dubbed “Hell Morning” on her calendar, and we quickly learn where this epithet comes from as she is immediately harassed and threatened by a trio of costumed boys – “teenagers” she seethes under her breath. It’s this confrontation that introduces us to the rest of the titular Paper Girls Mac, KJ, and Tiffany as they roll up on their bikes ready to defend a sister in need. With a few sharp words (well, calculated slurs might be a more apt description) Mac sends the boys packing. The rest of the issue is largely expository and focused on world-building, familiarizing readers with the core characters, their wits, and how they use them when confronted by aggressors in all forms, be they teenage boys, a dickheaded cop or…aliens?

Other reviews I’ve read have described Paper Girls as “Stand by Me meets War of the Worlds,” but if I were pressed to compare it to something at this point, I’d be more tempted to invoke the film Repo Man for the mix of sci-fi mystery and punk attitude. However, while Paper Girls is heavy on the angst and grit, it goes lighter on the comedic snark and campiness than its cinematic predecessor. It’s hard for me to praise this pilot issue without wandering into spoiler territory, but the characters are an admirable pack of sharp young women who are actively trying to integrate their school smarts with street smarts and I look forward to seeing how they develop as the series grows.

Story: Brian K. Vaughan Art: Cliff Chiang
Story: 9 Art: 9 Overall: 9 Recommendation: Buy In Trade

Image Comics provided Graphic Policy with a FREE copy for review