Author Archives: Ashley Leckwold

Review: Bitch Planet #7

STK696468Bitch Planet returned from its break this week and from the first page, disposability seems to be the name of the game for the Fathers in this arc titled “President Bitch.” If you ever doubted how much this book hurts with its more true to life aspects, the first page is a security guard allowing an AI to open fire on three young black children trying to make a shortcut because they “look sketchy.”

With the Fathers making the decision to keep Meiko’s death a secret from her father, much of the issue revolves around the beginning work on the Megaton stadium with Makoto arriving to supervise the building and the NCs being the one to start digging. The divide between the NCs and the men in charge becomes apparent, with the men being greeted with warm towels and tea versus the cattle call of women prisoners opened the very first issue back in December 2014. As our omnipresent security guards point out though, the “power of man is fickle as hell” since this stadium and the guests in charge of the creation comes at the expense of other much needed repairs to the ACO. Coming from a city that is a year out from opening a new football stadium, I find myself in agreeance with the two for the first time.

Even in death, Meiko’s influence on the the ACO is still felt. Instead of dealing with him directly, the wardens assign a Model program to be Makoto’s aide, which makes the inevibility of him discovering Meiko’s death even worse. On the flipside of this, the wardens decide that instead of charging the man responsible for Meiko’s death, Whitney will take the blame and be charged for her death as well as any other charges involving guard injuries in the incident. It really is a stark reminder that even when a woman seems to benefit directly from the patriarchy, she is just as easily on the chopping block for it when the time comes. As much as Whitney has worked against the NCs up until this point, it is impossible to take joy in her fall from power when it is made clear that she is the scapegoat for the irresponsibility of the guards.

The most powerful scene in this issue though happens between Kam and Penny though. Kelly Sue Deconnick has always had a knack for more quiet scenes where a lot is said without saying too much at all. In it, Penny sits in the shower, feeling guilty for Meiko’s death and wishing that she would wash away into the drain. Kam takes a seat beside her, reminding her that there really wasn’t much she could do and that sometimes “strong ain’t strong enough.” The essay from Angelica Jade Bastién in the backmatter elaborates more on what this scene is going for, but in the pages itself, it’s a gorgeous piece of synchronicity between story and art, where so much can be said in two panels of handholding.

Speaking of art, this is the second issue where Kelly Fitzpatrick is on colors. Her style is a bit more shaded and toned down that previous colorist Cris Peter, but it works. The story’s tone has taken a bit of a turn since Meiko’s death, so the slightly saturated hue works well for the book. Don’t worry, the sense of over the top color is still there. The orange in the Megaton site and the stormclouds in Whitney’s room are particularly well done in this regard.

With the start of a new arc, Bitch Planet is showing no signs of slowing down any time soon. Even in an issue setting up the building blocks for the rest of the arc, it still feels like a gut punch as the fallout from Meiko’s death takes center stage. I would hope that it doesn’t take anyone else in the process, but that would be tempting fate just a bit too much in a book where the ones in charge of the world it exists in see lives as disposable when they don’t fit into the neat boxes prescribed for existence.

Correction: A previous version of this review stated that this was Kelly Fitzpatrick’s first issue when it was her second.

Story: Kelly Sue Deconnick Art: Valentine Delandro and Kelly Fitzpatrick
Story: 9.0 Art: 9.5 Overall: 9.25 Recommendation: Buy

Image Comics provided Graphic Policy with a FREE copy for review

Review: Lumberjanes #23

Lumberjanes_023_A_MainMan, I’m starting to think Mal might have the right idea about water after this issue.

With the rest of the Lumberjanes camp on storm watch, the Roanoke cabin is still out in the wild, with Molly and Ripley in the other world with the Bear Woman and Mal, April, and Jo stranded out on the lake with Karen and the Selkies.

Lumberjanes #23 admittedly feels like a low point in this arc. Not to say that it’s bad, but it does move a lot slower than the rest of this arc so far. Not a lot of progress gets made on the front with the selkies and Karen, beside April brokering a temporary truce between Karen and the selkies and a better understanding of what is causing the whirlpools.

However, most of what moves this issue is Molly and the Bear Woman. Molly hasn’t been a character that has gotten a lot of solo focus so far, so it’s interesting to see just how her brain works in the bits of the issue we do get to see of her. She’s smart, observant, and a pretty great shot with a bow and arrow. She’s also insecure and worried about returning home to her parents at the end of the summer, and the Bear Woman seems ready to prey on that.

No, not prey. That might be too harsh a term. She is certainly ready to take advantage of that to get Molly to stay and “get the real Lumberjanes experience.” Once again, the divide between The Bear Woman and Rosie that drove Abigail away comes to the forefront, if only for a page or two as The Bear Woman looks to get a new apprentice, potentially driving a similar wedge between Molly and her friends. This is very much a long game kind of story and it will be interesting to see where it goes.

Once again, Carey Pietsch and Maarta Laiho knock it out of the park on art. Pietsch’s strength in expressions gets a lot of play here as Molly racks her brain about the other world and the ones on the boat get stuck in an increasingly perilous situation. Her Ripley is also delightful as she goes off on her own solo adventure after a moth and there’s one panel with Molly the Science Gal that is a nice surprise in the middle of this issue. Most of this issue relies on scenery though and every piece of it in this issue is crisp, distinctive and sometimes frightening.

As for Laaiho, she’s usually an MVP on colors, but there are subtle things she does in this issue that make all the difference. A slightly green tone in Molly’s face as she realizes she’s lost track of Ripley. How she manages to capture the saturated glow of a forest in the middle of a storm. Her colors are beautiful and tend to not get as much focus when people are talking about just what makes Lumberjanes so great.

While Lumberjanes #23 may not be the most action driven issue, it does a great job of giving Molly some character work that will probably come into play later. Pietsch and Laiho’s work together on art is also beautiful and gets a bit more play with scenery than most Lumberjanes stories. Let’s just hope they’re going to find their way out of this current scrape by the end of the next issue because it’s more of a doozy than usual.

Story: Shannon Watters and Kat Leyh Art: Carey Pietsch and Maarta Laiho
Story: 7.0 Art: 9.0 Overall: 8.0 Recommendation: Read

Boom! Studios provided Graphic Policy with a FREE copy for review

Review: Jem and the Holograms Valentine Special

STK697001Valentine’s Day is upon us and love is in the air for everyone.

Well, in the case of the Holograms and the Misfits, it’s more like a potion induced kind of love.

The Jem and the Holograms Valentine Special continues the IDW Publishing series’s streak of adorable holiday related shenanigans that take place outside of the story without bogging the series down too much. This particular one starts with Kimber visiting a fortune teller, who gives Kimber a tarot reading that’s not the most positive one in the world. Kimber being Kimber, she can’t let that slide and begs the fortune teller for a solution. The fortune teller gives her a potion that will soften resentment, but to only use three drops otherwise it’ll make the recipient fall in love with the first thing they see.

However, Kimber also being Kimber, she misses that last part and pours the entire thing into a jug of water at a meeting between The Holograms and The Misfits. Shenanigans immediately ensue.

This story is wonderfully ridiculous. Making good use of Jen Bartel’s hilarious shojo manga inspired style and Paul Reinwand’s beautiful colors, Kelly Thompson writes a hilarious story about how Kimber’s good intentions also lead to her biggest mistakes. The rest of the Holograms are right to not let Kimber off the hook for this one since it lead to ramen bar fights, some desperate pleas to hardware store workers and baristas, Kimber awkwardly hitting on Rio and Roxy being more in love with bagels than usual? Yeah, Jerrica was right to leave that last one alone.

While not super pertinent to the main story going on right now in Jem and the Holograms, this Valentine Special is still a super cute one off that gives great character moments and humor. Bartel and Reinwand’s art is the especially fun driving force of this issue, playing up the anger, annoyance and infatuation especially hard. The character designs as well were especially great in this one, with demonic looking Jetta being a personal favorite of mine. Between this and Jonesy over at BOOM! Studios, you should be all set to have an especially comic’s themed Valentine’s Day this year. Well, if you’re the type who’s not looking to celebrate by traditional means, that is.

Story: Kelly Thompson Art: Jen Bartel and Paul Reinwand
Story: 7.5 Art: 8.5 Overall: 8 Recommendation: Read

IDW Publishing provided Graphic Policy with a FREE copy for review

Review: Jonesy #1

Jonesy_001_MainWere you an angry little punk kid in high school who watched too much anime, hated nearly everything, and could make people fall in love with anything?

Okay, if you said yes to the first three things, the new BOOM! Studios’ BOOM! Box imprint limited series Jonesy by Sam Humphries, Caitlin Rose Boyle, and Mickey Quinn is probably right up your alley.

The first issue follows around our titular heroine on the worst day ever. That’s right, Valentine’s Day. Ugh. Even worse is when popular girl Susan makes fun of Jonesy for receiving a white carnation instead of pink one in the school’s Valentine’s Day carnation exchange. After she remembers some helpful advice from her abuelita, Jonesy decides not to get mad, but to get even.

Probably one of the most refreshing things about Jonesy as a series, besides the gorgeous and fun art from Boyle and Quinn that finds itself somewhere between Junko Mizuno and Bryan Lee O’Malley, is just how relatable it is. While Jonesy herself may be a teenager in our more modern era, she’s still a weird kid who struggles with her peers. She has this simultaneous need of wanting to be accepted by them, but to not want to be a part of them either. Anyone who has ever been the outsider in high school will feel that at a deep level.

At the same time, I love seeing just how Jonesy’s flawed teenager logic works. She’s excited when her powers backfire and end up making everyone in school fall in love with Susan, but she regrets it and reverses it when she realizes the flowers were benefitting a ferret rescue. You can argue that this isn’t the right thing to do because it absolutely isn’t, but the book doesn’t try to hide it either. Jonesy is a terrible teenager like we all were, and that’s part of what makes her so enjoyable. Humphries does a great job of striking that balance between “trashy teenager” and “extremely likable character” without making her actions seem acceptable. Funny, yes, but not acceptable.

Of course, even more worrisome is that right after she makes up with Susan, she decides that she’ll be the one to teach her school about love. Oh Jonesy.

Story: Sam Humphries Art: Caitlin Rose Boyle and Mickey Quinn
Story: 8.5 Art: 9.0 Overall: 8.75 Recommendation: Buy

BOOM! Studios provided Graphic Policy with a FREE copy for review

Review: Pretty Deadly #8

PrettyDeadly_08-1“The needs of the bear are not the same as the needs of a bee.”

This quote from Bones Bunny opens Pretty Deadly #8 as he and Butterfly watch a bear steal from a hive in the world garden. Not only does it inform the issue as a whole, but what the arc has been working towards as well. When you see the Reaper of War, it’s not hard to imagine why this giant imposing figure of blood red mist is the bear to Sissy’s figurative network of bees.

As the focus shifts to the battlefield, it ends up being one of Pretty Deadly’s most brutal issues yet. With a sickening color palette of green and red courtesy of Jordie Bellaire, the violence in the trenches grows as Ginny and Alice watch War, a reaper with no face that feeds off of fear and “will consume all that remains” once that is gone.

War is probably one of the most terrifying designs that Emma Ríos has come up with. A rider on a giant red horse, he seems to be created of tendrils taken from the spirits of these men, shaping himself into the rough approximation of a man. When Ginny confronts him and we see his form for the first time, I felt ill looking at his “face.” It’s more like veins bundled together into a shape. This is also building a bit more of the lore of Pretty Deadly. If there are reapers out there who are less human looking than Ginny and Alice, just what kind of shapes do they take?

This issue blends the battlefield with the world of War in mind-bending ways. These kind of concepts often sit on a razor’s edge, easily falling into incomprehensible if one is not careful. However, Kelly Sue Deconnick and Ríos handle it gracefully as the issue ebbs and flows between those two worlds. The backmatter of this issue goes into just the kind of process the two go through to make that balance work, specifically focused on the scene where Alice is talking to Cyrus as his commander barks orders at him. Ginny and Alice are essentially ghosts to everyone else in this issue and striking that balance was essential. It feels morbid to say “how the sausage gets made” in an issue with multiple headshots, dismemberments and blood splashes, but it’s a definite read if you’re interested in the behind the scenes stuff in comics.

Speaking of those headshots and dismemberments, the way Pretty Deadly handles that extreme amount of violence is something I haven’t seen done in comics or most media for that matter. It’s extreme, but it has weight. It isn’t there to build up how gritty and dark the story is, but to show the reality of World War I. It’s senseless, but in the way war is senseless. This isn’t violence to be excited about, it is disgusting and cruel. The way the team of Deconnick, Ríos and Bellaire work in tandem to show this is part of why Pretty Deadly works so well as a book.

Much like the midpoint of the first arc, the buildup and the climax of this particular part of the arc revolves around a story, this time one Molly Raven tells Johnny Coyote as the walk the battlefield to find Cyrus. As French and American soldiers alike accept their death on a soil that grows Frenchmen, Molly tells the tale of the Lucky Farmer, which echoes through the battlefield. The construction of this scene both in writing and art is lovely and heart-wrenching as the tension builds further towards the final page. The matching of a more Chinese style of art and coloring with the dark and dingy settings of the western front is disconcerting, but it blends well as it rides into the last page, which might just be the darkest page of all. If everything up to that final declaration of “Good luck, bad luck, I don’t know” was like the climb on a roller coaster, that last page is the split second before the drop off, where the world goes silent, the breath escapes your lungs and your body prepares for the drop.

And of course, the moon is full. Time is up in more ways than one in this part of the story, but it’s a question now of how everything will land. The first instinct is to think “not well,” but perhaps we as readers can take a lesson from The Lucky Farmer. Is this all good or bad? I don’t know.

Story: Kelly Sue Deconnick Art: Emma Ríos and Jordie Bellaire
Story: 10 Art: 10 Overall: 10 Recommendation:  Buy

Image Comics provided Graphic Policy with a FREE copy for review

Review: Saga #33

Screen Shot 2016-01-27 at 8.06.42 PMWell, now it’s becoming fairly obvious that whatever this arc of Saga is going for, it won’t conclude until several different plot threads convene into one place. Instead of picking up where #31 or #32 left off, #33 picks up a different thread, this time with Upsher and Doff, who have not been seen since The Brand dosed them with Embargon to keep them from reporting on Marko and Alana. Now realizing that the Brand is dead, the two decide to pick up where they left off in the story years ago. Well, Upsher decides this first and eventually convinces his partner in both life and journalism to join him.

The story is fine. It’s not a bad one and I’m certain these rabbit trails are going to make sense by the end of the arc when everything comes together. However, that’s what they honestly feel like right now: rabbit trails. I trust Vaughan and Staples for their endgame, but reading about a pair of journalists that haven’t been seen in two arcs after everything that’s happened to Hazel, Alana and Marko in the previous two issues feels like it slows the pace of this arc down.

It is interesting to get to know more about Upsher and Doff though, especially as they revisit some of the places from old arcs, such as Outcome from the end of the previous arc and Gardenia, the planet Alana and Marko were hiding at before they were separated the first time. They even revisit Ginny, the dance instructor who was having flirtations with Marko during an especially rough part of his marriage. Ginny is such a darling character that it makes her complete trust in Marko even more tragic. He’s apparently still had contact with her, which will probably blow up in some faces at some point. Nothing in Saga is ever left alone for long.

Doff is probably the MVP of this issue. He’s a bit less gung-ho about things than Upsher, but it ends up making them the heart of the team overall, seeing the story as the story of a little girl in danger and not about a kidnapped woman from Landfall the way Upsher has been viewing it. His concern as the story goes on becomes more about Hazel’s well-being, which is either going to help or hurt him in the long run.

Fiona Staples and her art deserves all the praise in the world, as usual, but it’s easy to forget that between her covers, backgrounds and character designs that she has such a talent for expressive faces. I think I fell in love with Doff just based on a puppy dog eyes look he gives Upsher while they’re simultaneously discussing the story and having sex. There’s a reason Staples gets top billing in this book.

Of course, being Saga, the issue leaves off on a cliffhanger. There’s a character that returns, but in a Lee Adama after a year on New Caprica sort of way, and he’s forcefully recruiting Upsher and Doff to work for him. Uh oh.

Saga #33 feels like a diversion more than an actual advancement of the plot. Staples’ art is great as usual and it humanizes some characters we haven’t seen in a while, but it sometimes felt like I was about to scream “GET ON WITH IT” at the book. It’s not a bad issue, it’s just slow. By the time things pick up, it’s already over. It’ll be interesting to see how it all ties in in the long run, but as an individual issue, it’s not Saga’s finest hour.

Story: Brian K. Vaughan Art: Fiona Staples
Story: 7.0 Art: 9.5 Overall: 8.25 Recommendation: Read

Review: Lumberjanes #22

Picking up where the last issue of Lumberjanes left offLumberjanes_022_A_Main, Seafarin’ Karen jumps to attack the selkies in her wolf form, but is stopped by the whirlpools. Reminding her that no Lumberjane is left behind, and that Jo is the only one around here that learned the pledge, Mal, April and Jo agree to help out Karen. Meanwhile, Molly and Ripley are off to find portals with the Bear Woman. Which may or may not be a great idea.

How Lumberjanes manages to stay so consistently great and heartwarming, I have no idea, but they need to keep doing that. Both the a-plot and the b-plot show the main characters at their best, reminding the reader what they’re about. The line about Jo being the only one who actually memorized the Lumberjanes pledge is a great callback to the first issue and April’s enthusiasm to help Karen is only matched by Mal’s quick thinking and Jo’s engineering genius to create a truss that goes over the water to the boat. If this mini-arc is all about teamwork, this issue does a fantastic job of showing the girls working together both at half capacity and in a pinch. Not to mention the no-sell reactions the girls have to Karen being a werewolf and the scene where Karen and the ‘Janes sing sea shanties together are utter delights.

In the b-plot, The Bear Woman is sketchy as usual, but the interactions between her and Molly remind us of a particular character aspect of Molly’s that hasn’t been brought up in a while: her insecurity. Part of the reason she helps the Bear Woman is because of the fact she feels bad that she wouldn’t bring back any useful information to the other. If only she knew how worried Mal was feeling right at the moment over her own distrust of the Bear Woman. Ripley, of course, is in it for the dinosaurs. Never change, Rip.

Of course, one has to wonder just how much Molly is going to regret going through with helping the Bear Woman, especially with storms brewing on both sides of the portals and portals growing in the water below. What a cliffhanger.

While Carey Pietsch is only a guest artist for this arc, her art is quickly becoming some of my favorites from Lumberjanes. Her scenery and backgrounds are lush, especially when mixed with Maarta Laiho’s colors, and her sense of body language keeps the book moving quickly. Really though, her biggest strength is her facial expressions. It was easy to find myself laughing at a panel just for the way a character looked as it was with what they were saying. You can definitely tell she must be having a blast illustrating Seafarin’ Karen, especially in this issue where she easily flips between wolf and human forms and takes on some more canine expressions. There’s a panel with only a head tilt I keep going back to just for the sheer reason it cracks me up.

This issue and arc of Lumberjanes continues to prove why it is one of the most consistently great comics out there today. Even when it isn’t doing a deep story dive with its adventures, the comic is still about spotlighting the girls and expanding their characters in small ways. Kat Leyh has been finding her footing with the characters more with each passing issue and Pietsch’s art in this issue is so wonderfully expressive. It will be exciting to see how this arc continues next month with the boat caught in a storm of portals and Molly and Ripley stuck with a grumpy Bear Woman in a dinosaur dimension.

Story: Shannon Watters and Kat Leyh Art: Carey Pietsch and Maarta Laiho
Story: 8.0 Art: 8.6 Overall: 8.3 Recommendation: Buy

BOOM! Studios provided Graphic Policy with a FREE copy for review

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