Wonder Woman #32 – Review

By: Brian Azzarello (story), Cliff Chiang (breakdowns), Goran Sudžuka (art), Matthew Wilson (colors)

The Story: Diana gets her Braveheart on.

The Review: This all started with a squabble among gods: to save a pregnant Zola from Hera’s wrath, Hermes teleports her into Diana’s apartment. Diana hasn’t been able to escape the Olympians’ domestic affairs since, and now she finds herself leading the effort to topple the balance of power on Olympus itself. That’s the interesting thing about this series: Diana is a reluctant heroine, whose involvement has mostly been to clean up her relatives’ messes.

That’s a small-minded way of looking at this storyline, but what else are you supposed to think when these divine struggles seem to have no overt effect on the world at large? In fighting the First Born, Diana may be saving humanity from certain disaster, but no one, other than the Amazons and the gods themselves, seems to notice. With the kind of stakes involved here—even the New Gods are paying attention, for heaven’s sake—shouldn’t the ramifications be felt by people outside of Diana’s direct circle of supporting characters?

Wonder Woman #30 – Review

By: Brian Azzarello (story), Goran Sudžuka (art), Matthew Wilson (colors)

The Story: Diana makes a call to motherhood.

The Review: Here’s a little experiment you should try. First, go back and grab your copy of #29 and read it to the very end. Done? Okay, now go pick up this issue and start reading. The challenge is to see how far you get before you ask yourself, “What the frick just happened?” For whatever reason, Azzarello has found it best to completely skip past what should have been the climactic resolution of his last arc so as to start the next.

It’s true that substantially, things haven’t changed much on Wonder Woman between this issue and the last. The First Born remains a threat—an even bigger one than before, in fact—and all of our principal characters are still alive and relatively well. But come on. How can Azzarello leave us on Hera confronting her long-lost son in all her restored, divine glory and then excise the actual confrontation altogether? How can he write Hermes, Dionysus, Artemis, and Diana in dire straits one moment and then another moment write them lounging around Paradise Island, talking shop?

Demon Knights #19 – Review

By: Robert Venditti (story), Bernard Chang (art), Marcelo Maiolo (colors)

The Story: It’s a pretty bad economy when even the devil fears losing his job.*

The Review: I don’t think I’m unique in liking creators who can surprise me, particularly if they can do it without resorting to cheap tricks or totally groundless gimmicks.  If you expose yourself enough to any medium of fiction, you eventually catch on to most of its patterns, formulas, clichés, and tropes, rendering many stories too predictable to enjoy.  A writer who manages to spring some genuinely unexpected moments through all that deserves some credit.

Venditti manages to surprise you in precisely this manner several times in this issue, starting with one that quite impressed me from the opening: Vandal Savage revealing that his recent animosity towards Jason Blood is due to Etrigan nearly cutting Savage’s immortal life short in the title’s last arc.  “I’m immortal, but the demon dragged me into the afterlife anyway,” he states coldly.  The moment he says it, it’s like a switch flips on in your head: of course—makes total sense.  Yet you probably didn’t think of it until Venditti wrote it.

Wonder Woman #7 – Review

By: Brian Azzarello (writer), Cliff Chiang (artist), Matthew Wilson (colorist)

The Story: Getting rid of the sibling is one way to cure sibling rivalry, I suppose

The Review: Soldierhawk and I had this convo about Wonder Woman before, but I still think that the biggest reason why she has such iconographic status and yet doesn’t really connect with anyone is because she’s imbued with such power and virtue that it tends to overwhelm her reserved personality.  We come away respecting her, admiring her, but not really understanding her.  She is akin to Greek statuary—beautiful, proud, dignified, but remote and lofty.

Azzarello has striven to bring her closer to us by removing some of the qualities of her character that made her seem so much higher than us.  He gave her flesh, complicated parental issues, and most importantly, vulnerability.  These are all steps in the right direction, but I’m not so sure we yet have a Wonder Woman who resonates on the same level as her peers.

Part of the problem is that even in her own ongoing, it frequently feels she spends much more time reacting to the events around her rather than being an active protagonist on her own right.  Possibly the most deliberate thing she’s done this entire run was pit Hades and Poseidon against Hera so she could blind the queen goddess for a while, only it turns out the whole idea came from Lennox, her half-brother of hardly a three issue’s acquaintance.  And consider how much time she spends in this issue absorbing exposition in comparison to the time she spends doing something about what she learns.  For sure, there’s something to be said for a hero who does more listening than acting in haste, but it also makes her seem rather passive.

It doesn’t help that nearly every time she does raise arms and summon the warrior spirit we expect from her, Azzarello throws in a twist which turns all her effort for naught.  If it’s not striking a blow against one god only to be backstabbed by another, it’s attempting to rally a downtrodden people to regain their pride, only to discover they’re not downtrodden at all and their pride is very much intact.

Wonder Woman #4 – Review

By: Brian Azzarello (writer), Cliff Chiang (artist), Matthew Wilson (colorist)

The Story: Someone pop on some AC/DC and turn it up—Wonder Woman’s mourning.

The Review: As a young buff of Greek mythology, I always found the gods and goddesses baffling in their arbitrariness.  Even the most reasoned and benevolent ones would have their petty streaks from time to time, and few of them had any moral compunction about using their power with impunity and without regard for the consequences to mortals.  For that reason, I’ve never felt inclined to feel sympathetic to any of them.  They are gods, after all.

For the most part, Azzarello stays true to the conniving, scheming world of the Greek pantheon.  Ever since Apollo’s oracles revealed Zeus “doesn’t exist,” a truly astonishing pronouncement if you ever heard one, you’d think there’d be some kind of uproar among the divinities, or at least some kind of inquiry as to how this could possibly happen.  But we’re talking about the ultimate mafia family here, so when the head of the household disappears, power plays abound.

To that end, Apollo goes to Ares to secure an alliance of sorts, or at least support for when he makes his bid for leadership.  To your surprise, Ares agrees to stay out of the bidding with little resistance.  In fact, he seems quite lethargic, even melancholy in this portrayal.  While Apollo states that Ares is “vital—now, more than ever,” Ares responds with only a weary smile, as if millennia of spinning the world’s conflict has finally gotten to him.

Hera doesn’t even seem aware, much less affected, by her husband’s disappearance; she only wants to get her revenge on the dalliances he left behind.  Now, her oft-extreme retaliations against those she feels has wronged her may sway you into thinking her mean-spirited or horribly spiteful, but here, she reminds us she has every reason to be: “I am the queen of the gods…the goddess of women…ultimately yet, a woman.”  And any woman would be enraged by such constant infidelity from her husband.

Flashpoint: Wonder Woman and the Furies #3 – Review

By: Dan Abnett & Andy Lanning (writers), Agustin Padilla (penciller), Jose Aviles (inker), Andrew Dalhouse (colorist)

The Story: Anything Arthur and Diana do, Orm and Penthesilea can do better.

The Review: Batman may be a man of mystery, but Wonder Woman and Aquaman, for all their fame and stature, are easily the most enigmatic characters in the Justice League.  They have a devoted following, and no one doubts their status as icons, but you don’t really have a handle on who they are or what they really stand for.  You can know everything to know about their origins, ideals, and powers, but you still won’t catch a glimpse into their hearts, minds, or souls.

So it makes perfect sense that even with a major Event whose storyline is half-built around these two characters, it turns out their every action has been strung along by others.  In fact, by the end of this issue, you’ll know way more about Penthesilea and Orm’s goals, and the attitudes that drive them, than you do about their starring kin.

Not that getting an understanding of these Machiavellian schemers poses that much difficulty.  Both only care about preserving the traditions of their respective cultures, mostly by making sure the outside/surface world’s ridiculous ideas of progress (e.g., peace and diplomacy) never catch on.  They offer an interesting, though vastly divergent, parallel to Arthur and Diana.  The passion of their beliefs draws them together; whatever romance they feel for one another seems largely incidental, almost irrelevant.

Flashpoint: Deadman and the Flying Graysons #3 – Review

By: J.T. Krul (writer), Fabrizio Fiorentino (artist), Kyle Ritter & Ander Zarate (colorists)

The Story: Wow Boston—we’re so close now, it’s like you’re in me.

The Review: Here’s a pretty good indicator of worthwhile series: when each episode, chapter, or issue has its own agenda yet plays together with the others to form a cohesive story.  In other words, if you can predict how things will turn out the next time around by what you get at the moment, then you lose nearly the whole point of a continued plotline.  When the element of surprise disappears, so does your reason for investment.

Krul has set up a pattern of movement which every issue of this title has followed, even to the very end.  We again start with a foreboding monologue: “But instead of bringing a spectacle of thrills, we brought the dogs of war.  We brought the Amazons.  We brought death.”  Gag-worthy melodramatics aside, let’s commend Krul for that “dogs of war” bit; way to skirt the line on calling those women something offensive, sir.

We also have the obligatory scenes of Boston trying to weasel the easy way out of the life-and-death situation our circus crew find themselves in, and of Dick acting impulsively self-righteous.  It’s a noble attitude, no doubt, but grating just the same, especially when coupled with claims like, “We became soldiers the day the war started.  We just didn’t know it until now.”  Their squabbling over survival vs. justice is part of a tiresome formula we’ve grown all too used to.

Flashpoint: Emperor Aquaman #3 – Review

By: Tony Bedard (writer), Vicente Cifuentes (artist), Diana Egea (inker), Kyle Ritter (colorist)

The Story: I know I killed your wife, but do you have to act like such a jerk?

The Review: We’ve known for a while now that Prince Orm of Atlantis and Penthesilea of the Amazons have worked together since day one (see Flashpoint: Wonder Woman and the Furies #1) to raise Cain between their peoples.  Even though it’s never been explicitly stated, you can pretty much deduce, especially given Orm’s character history, that power-lust motivates their partnership to some degree, but how they came to work together still remains a mystery.

Well, hold on to your britches, because here comes a spoiler that will blow your mind.  As Diana reveals to Arthur, “…[Orm’s] not dead!  It’s worse…I walked in on your brother and my aunt Penthesilea kissing!”  Bedard’s love for melodrama defeats whatever impact this “revelation” can have (which is slim to begin with), but worse, it just makes the characters look silly.  Their overblown disbelief (Arthur: “That’s…no…that’s just not—”) makes them sound like kids who can’t believe their parents made out because it’s just plain icky.

Once you get over your violent spasm of eye-rolling, you’ll also have to take issue with the execution of this scene.  It feels very soapy with its fraught fact drop and lack of substantiation.  Surely this merits a flashback of some kind, especially since it changes the entire flow of the story now that the real villains stand revealed.  Possibly we’ll get to see Orm and Penthesilea’s lip-locking in the next issue of F:WWATF, but that just seems like poor editorial planning.

Flashpoint: Lois Lane and the Resistance #2 – Review

By: Dan Abnett & Andy Lanning (writers), Gianluca Gugliotta (artist), Hi-Fi (colorist)

The Story: What do we want?  Men’s rights!  When do we want it?  Now!

The Review: Historically, resistance movements against foreign occupiers have been marginalized in importance, mostly because much of what they do tend to be, by nature and necessity, discreet and subtle.  Though overthrow of their conquerors is the endgame they strive for, their most ambitious goals usually revolve around weakening, not defeating, their enemies.  Ultimately, their efforts tend to be overshadowed by bigger, splashier military engagements.

And let’s face it: there’s a 99 percent chance that this whole Amazon-Atlantean conflict will patch up due to the Flash’s influence.  Whatever effect Lois Lane and the Resistance will have on the final outcome will be largely moot.  You don’t really expect the events of this title to really sway the events of Flashpoint in a significant way, but you can hope it’ll give you a closer look at the Amazon occupation and a fun, espionage-type story.

In fact, the plot offers a potentially interesting premise, in the Resistance’s quest for the next-gen Britannia armor that can possibly turn their fortunes around.  Unfortunately, the point gets introduced so late in the issue that you can’t possibly get too invested in it.  Instead of actually doing the work to get to the armor, the characters spend most of the time laying out their histories, setting details, and all sorts of other blather that just gets in the way of the action.

Flashpoint: Hal Jordan #2 – Review

By: Adam Schlagman (writer), Cliff Richards (artist), Allen Passalaqua (colorist)

The Story: Snakes and planes!

The Review: Last issue churned out so little noteworthy material that it produced my shortest review on record.  I’m usually never at a loss of what to say, but when the story gives so much plot and scenery that’s been done before without a new take on it, talking about it seems a waste of time.  Even to the final panel of the issue, Schlagman gave us a tale that bore no reflection on the changes of Flashpoint, and could simply have been a watered-down Hal Jordan origin story.

This time around, Schlagman strives to be a little more true to the new reality, but not in a very coherent way.  While Ferris Aircraft has traditionally had a major role with the US military, it doesn’t make any sense they’d have full access to Abin Sur’s spacecraft to reverse engineer its tech with their own aircrafts, especially considering the ultra-secrecy with which the military has taken with other extraterrestrials (see Flashpoint: Project Superman #2).

But logical holes abound this issue.  Hector Hammond raves about Hal’s friendship with Abin, “We can’t trust that freakish extraterrestrial…!  Who knows what secrets he’s stealing from us.”  The fact he can say this with a straight face and absolute sincerity at the same time he takes Abin’s ship apart for its advanced systems is nonsense enough, but you also have to wonder what possible secrets can prove to be of any value to a race several dozen degrees superior to our own.

Flashpoint: The Canterbury Cricket – Review

By: Mike Carlin (writer), Rags Morales (penciller), Rick Bryant (inker), Nei Ruffino (colorist)

The Story: We’re going to need a real big can of bug repellent

The Review: Originality is hard to come by in fiction nowadays.  To even grasp at the tail end of novelty, writers need the guts to plunge into the weirdness pool and fish out whatever fresh ideas they can get.  Done right, those ideas can move beyond the strangeness of their conception and produce a great story on their own right.  Otherwise, you just get a hodgepodge of promising details that never gel their potential together into anything substantial.

That’s much the case with the Canterbury Cricket, an undoubtedly odd character with an equally bizarre origin.  But for all its weirdness, the retelling of how he came into existence is strangely unarresting, and it takes up the vast majority of the issue.  On the day of the Amazon invasion into Britain, chauvinist Jeramey Chriqui takes refuge in the Canterbury Cathedral, which the warrior women destroy.  From the ashes rises a shockingly well-mannered cricket-man, a transformation he claims is as divine as the place where it takes place.

Vaguely interesting, but sluggishly told, then unwisely followed up by a pointless anecdote about his first team-up effort.  Again, Carlin presents an idea that’s far more intriguing in theory than execution: a group of “Ambush Bugs,” whose roll call includes all the insect-themed heroes and villains in the DCU: Queen Bee, the Cockroach, Firefly, and Blue Beetle.  We don’t see how the group gathers, nor do we have a firm handle on their goals, other than to annoy the Amazons, which they carry out rather ineptly, resulting in their near-immediate defeat.

Cricket tells his sorry tale to some present-day members of the British resistance, a group whose most recognizable figure is the crusty Etrigan, the Demon (“Continue to make that infernal racket / and everything inside that heart / can be skilled from your skin-jacket / all ‘round these wooded parts!”), who leads the hair-extending Godiva, the Creeper-like Wicked Jinny Greenteeth, and Mrs. Hyde.  Colorful characters, to be sure, but since we only get to see a couple pages of them in action, they do little more this issue than act as Cricket’s rapt audience (better them than me!).

Flashpoint: Lois Lane and the Resistance #1 – Review

By: Dan Abnett & Andy Lanning (writers), Eddie Nunez (penciller), Don Ho (inker), Hi-Fi (colorist)

The Story: All the single ladies, all the single ladies—put your hands up!  You’re under arrest!

The Review: Considering the overwhelming span and scope of these Big Events, DC has made a laudable effort to ensure the numerous Flashpoint tie-ins are as reader-friendly as possible.  After reading about a dozen or so of these, I can safely tell you they can each stand on their own, even if you never read a page of the main series.  This comes with a catch: every tie-in has to commit a certain amount of time briefing you on the primary Flashpoint facts.

Like a good half of the tie-ins, this issue starts off with the five to ten obligatory pages devoted to the Amazon-Atlantean conflict and its most infamous fallout, the sinking of Western Europe.  DnA manage to make the event somewhat more immersive than usual by virtue of placing Lois Lane right in the middle of the disaster, but even so the horror of the situation seems taken for granted.  Aside for a handful of fleeing people and some surfing cars, you just don’t see enough of the massive flood’s effects to feel suitably sympathetic with it.

And it all takes time away from the real substance of the story, where Lois Lane takes us into the Amazonian world order in New Themyscira, formerly Great Britain.  You get a few interesting bits: segregation of men and women, female reeducation camps, the conversion of select ladies into full-blooded Amazons (and possibly ogre creatures—a potential side-effect of the Super Soldier formula, girl version, I suppose).  All of these can make good, misandrous reading.

Wonder Woman #601 – Review

by J. Michael Straczynski (writer), Don Kramer (pencils), Michael Babinski (inks), Alex Sinclair (colors), and Travis Lanham (letters)

The Story: Diana learns about the fall of Paradise Island and sets off in pursuit of her people’s mysterious tormenters.

What’s Good: If there’s one thing JMS’ first full issue of Wonder Woman has going for it, it’s tone, and that’s a very big thing that I fully expect will carry his run.  This story feels big, it feels epic, it feels important, and it feels grand.  I’ve at times referred to comic artwork that has a “high-budget feel,” but in this case, I think that’s just as appropriately applied to JMS’ storytelling.  This doesn’t come across like just another day in the office for Wonder Woman.  Rather, this issue presents sweeping storytelling and high stakes that, if anything, feel fresh and vital.  I was excited reading this issue, and that’s not something I’ve felt about the character in some time.

A lot of this is thanks to JMS’ decision to spend the first half of the issue recounting the fall of Themyscira.  The narration does a good job depicting the scale and the heroism of Hippolyta and the Amazons.  The wholesale slaughter and the mysterious bad guy all seem credible, visceral, and emotional; this doesn’t read like just another typical scene of hackneyed mass destruction.  I was surprised by how much I was invested in this flashback, especially the downfall of Hippolyta.  The extended scene very effectively propelled Diana on a quest where she has to balance her hunger for vengeance and her obligation to save the surviving Amazons.

The Incredible Hercules #124 – Review

By Greg Pak & Fred Van Lente (writers), Clayton Henry & Salva Espin (artists), Raul Trevino & Lee Loughridge (colorists)

The Story: “Love and War” continues with this hilarious issue that pits Hercules, Namora, and Athena in a battle royale with the baddest Titan of them all, Atlas.  Amadeus uses his love of refined sugar and hot Gorgons to escape from the Amazons, but with the heavy hitters preoccupied, Artume is free to pursue her vendetta against the world of man.

The Good: Some of the gags in this issue are the funniest to date, and I applaud Pak and Van Lente for making this a consistently amusing title.  From George Washington’s bizarre visions and Namora showing Atlas where the capital of Thailand is, to Hercules being bludgeoned with the Washington Monument and visions of everyone’s fondest desires, you’ll be hard pressed not to chuckle when you read this one.

The Not So Good: I was satisfied with this issue up until the end when I realized that, no, “Love and War” still wasn’t over yet, and I would be forced to endure what has proven to be a string of wonderful gags and ideas held together by a mediocre story. This plot about the Amazons’ quest for yet another reality-changing MacGuffin who isn’t nearly as interesting as say, their initial quest to find the hidden location of Atlas.  In fact, the Amazons themselves are easily the most boring part of this story, and I had hoped Pak and Van Lente would end “Love and War” with this issue. However, I was wrong. Now I’ve officially had enough of it.

Conclusion: An issue of great ideas that could have ended the storyline on a satisfying note, but chose to drag it on instead.  Since Pak and Van Lente seem to be writing this for a graphic novel release, you might be better off waiting to read that instead.

Grade:  C

-Tony Rakittke

Incredible Hercules #123 – Review

By Greg Pak and Fred Van Lente (writers), Clayton Henry and Salva Espin (artists), Raul Trevino (colorist)

Is it just me, or has 2008 been the year that Marvel Comics finally did right by their B-list characters?  Incredible Hercules has by far been one of the most entertaining titles I’ve read this year, and I never thought I would say that about about a comic starring a man wearing a skirt and leather stockings.

This issue is part three of the “Love and War” storyline, which so far hasn’t been the strongest arc in the series.  Having just rescued his uncle Poseidon from a gun-toting Amazon with the help of Namor and Namora, Hercules learns the nature of Hippolyta’s plans against the world of man.  Meanwhile, Amadeus is still imprisoned on board Hippolyta’s submarine as she and her Amazons race towards the artifact that will grant them control over the axis of the world. However, that doesn’t stop him from finding the time to score with a youthful Gorgon.

Something about this storyline seems underwhelming, especially since Hercules just got done beating on a Skrull god in the earlier Secret Invasion tie-in issues. But I have a feeling that’s going to change soon when the cast finally reaches the Axis Mundi.  Even if the action is a bit more subdued, Pak and Van Lente still know how to pen a really entertaining story, and that’s where Incredible Hercules succeeds.

This is a title that delights in huge action and fantastic villains, where Hercules and Amadeus seek adventure with a wink and a smile.  Artists Henry and Espin perfectly convey that lighthearted tone with clean art that looks like animation and does a great job of expressing emotion.  What can I say?  Incredible Hercules is a pleasure to read!

Grade: B+

-Tony Rakittke

The Incredible Hercules #122 – Review

By Greg Pak & Fred Van Lente (Writers), Clayton Henry & Salva Espin (Artists), and Raul Travino (Colorist)

The Story: Namor and Hercules are at it toe-to-toe up until Namora informs the two men that they are on the same side for the time being. The three go off to investigate the disappearance of Poseidon and start the search by heading straight for the Amazonian queen, Hippolyta. Meanwhile, Amadeus Cho remains a willing captive of the Amazons as he tries to decipher an Atlantean tablet for Hippolyta.

What’s Good: The second chapter of the Love and War arc is notable for how well it brings together all the elements that make The Incredible Hercules so enjoyable as a series. The cartoonish visuals prove to be a perfect fit for scenarios that put the series’ trademark humor to good use. Simply put, the book is an entertaining package.

What’s Not So Good: For as fun as the storyline is, there is no denying that it lacks some of the weight found in other arcs. It proves to be quite disappointing in that respect simply because I have come to expect a bit more from the series. Also, it is worth noting that some people are probably going to be turned off by the visuals, especially when the darker elements of the storyline are introduced.

Conclusion: If you just want to be entertained, you really can’t go wrong with this one. That said, be sure to keep your expectations in check. This arc is not exactly a high point for the series.

Grade: C+

-Kyle Posluszny

Wonder Woman #17 – Review

By Gail Simone (writer), Terry Dodson, Ron Randall (pencils), Rachel Dodson, Ron Randall (inks), Alex Sinclair, Pete Pantazis (colors)

Gail Simone’s first story arc on Wonder Woman concludes this issue. Last issue, the Nazis invaded the Hippolyta’s island and nearly killed her. Simone wastes little time resolving things. Within two pages, Wonder Woman single-handedly defeats all the Nazis and shows them off the island. I understand that Simone’s trying to get us to the real confrontation, but this all feels a bit rushed. The real fight begins when she confronts The Circle.

Now there’s some glaring inconsistencies that happen when she fights these women. They shoot Diana with magical arrows, causing her to be wounded. Yet, in the following panels her wounds are magically gone, only to show up again a few panels later. It’s awful editing that is very distracting. Much like the Nazi fight, this confrontation feels rushed, but even worse, it’s awkwardly paced and skips around.

Ron Randall covers the flash backs with The Circle conspiring to kill Diana as a baby; these portions of the issue are quite strong. Terry Dodson does all the events currently taking place. There’s no denying that Dodson can draw good characters, but like Simone’s script, his storytelling falters when Diana fights The Circle. It just doesn’t work.

The first two issues did a great job at building this story line up. Unfortunately, it comes crashing down with this issue. I wish I could say I enjoyed it, but it’s a heck of a let down. A 36 page issue would have fixed the pacing and story, but as it stands, Simone just crams too much stuff into 24 pages and it doesn’t work. (Grade: D)

– J. Montes

Wonder Woman #14-16 – Review

By: Gail Simone (Writer), Terry Dodson (Pencils), Rachel Dodson (Inks)

I’ll admit, this is probably the first Wonder Woman story arc I’ve ever read. I’ve just never really been interested in her, but I love Terry Dodson’s art and I heard good things about Gail Simone so I figured I’d give it a shot.

Guess what? It was pretty darn good!

As a new reader I didn’t know much about Captian Nazi or those crazy gorillas Diana has on her side. Heck, I didn’t even know about her alter ego and how she doesn’t have powers when she’s in “identity form”. Yet, the story was easy to get into and it kept my interest. Issues #14-16 follow Diana as she goes up against Captain Nazi who is poised on taking over her mother’s island.

There’s also an interesting story going on with “The Circle” (which is also the name of this story arc), in which four women – each representing a direction on the compass, are appointed as Hippolyta’s protectors. When Hippolyta begins praying to Athena for a child (who will later become Diana), The Circle sees this as a threat and plot a conspiracy to stop the “madness” (i.e. the desire to have children) that they think will spread to the other Amazonian women.

Issue #17, due out next month, will conclude this four-part arc. If you’ve got the extra money, go out and pick up #14-16. You’ll be pleasantly surprised. (Grade: B+)

-J. Montes