‘Paper Girls’ 7: The Present is Not a Gift

Paper Girls #7
Written by Brian K. Vaughan
Art and Cover by Cliff Chiang
Colors by Matt Wilson
Letters and Design by Jared K. Fletcher
Published by Image Comics on July 6, 2016

So I’m going to drop the gambit of these posts being reviews. Let’s just assume I’m giving this second issue of the new arc 11 stars and move along. I know some reviewers fell out of love with Paper Girls as the first five issues progressed. I have not. The power trio of Brian K. Vaughan, Cliff Chiang, and Matt Wilson continue to enthrall me. Paper Girls’ new arc keeps the intensity going, introduces a new era, and offers great surprises. If you liked the first volume, you should definitely pick up the new issues.

Instead of reviewing, this will be more of an unpacking of the issue. I’ll take a look at the references, reveals, connotations, and symbols and attempt to make some meaning. From here on, consider yourself in SPOILER TERRITORY.

Paper Girls #7 continues to muck about with the perception of 2016 to our three paper girls from 1988: is it a fantastic new world with amazing technology or a near dystopia of broken people and abandoned touch stones? Tiffany is celebratory that the world is even still here considering the wars and other apocalyptic news she’s used to seeing top of the fold. (By the way, the word “fold” ties together that time travel with the newspaper. Just saying.) Mac is down on the future, keeping to her cynical view. The reveal at issue’s end regarding what’s become of her in 2016 pretty much validates her attitude anachronistically. Erin, who is now looking into the life of her future self, sees a mixed bag. On the one hand, her future self never got married (pro!), but on the other, she takes drugs for anxiety (con!). If Vaughan and Chang’s 1988 was depicted with the nostalgic glow of dawn, the team gives 2016 the Sutro Instagram filter, creating a through-a-glass-darkly effect.

Chiang’s covers for the last two issues have brilliantly highlighted major themes of the new arc. For #6, he depicts the entrapment of routine with 40-year old Erin in a Matrix-y gray-green cubicle office, surrounded by repeated squares of screen, clipboards, sticky notes, binders and drawers, visually echoing Tiffany’s Editrix vision of playing Arkanoid and figuratively boxing Erin in.

The cover for #7 trades the green for an ominous dusky purple and the boxes for jagged cracks, repeated in the time travel lightning, the creeping weeds on the sides of the dead mall, and the cracks in the pavement of its parking lot. Dwarfed by these jagged lines are 1988 Erin and 2016 Erin. (Chrononaut Erin has not yet arrived to meet her fellow selves.) We usually see time as a straight line forward, propelled by the passing of minutes and the endless chain of cause and effect. But with time travel in the mix, timelines multiply off of each other like lightning, breaking into the potential futures.

1988 Erin mentions to 2016 Erin that she thinks this timeline is wrong and that she needs to go back to correct it, like in The Terminator. The reference is particularly  interesting considering the multiple sequels and reboots the franchise has had since 1984. While 2016 Erin states that it’s just a weird time for her, not post-apocalypse, the presence of Chrononaut Erin suggests that there is in fact work to be done to save the future. Her comfort with the technology and her ability to manipulate the Uber driver in the face of Godzilla-sized water bears suggests that this time traveling is now a thing she does. And she does it well. Who knows how many fractures of the time line have been created. Clearly at least three.

In the meantime, 1988 Erin is sizing up her elder self, judging her drug use (prescription!) as indication of mental illness. 2016 Erin anticipates her younger self’s judgement and is emotionally relieved when the younger verbally validates aspects of the elder’s life. It is an existential question made concrete: Have you lived the life you wanted to as a child? Erin’s answer is a qualified “kinda.” 1988 Erin’s approval of the elder’s hair, shirt, and choice to remain untethered by marriage elicits a surprise hug, and the panel that follows, where the two strike the same embarrassed pose, is a highlight of the issue. Later, Tiffany and Mac set off to find their 2016 selves, and each of them are scared to see what they’ll be like. Mac’s house is closer, so they go there first, only to find that Mac died in 1992 of leukemia. Mac’s response is one of shocked detachment. She says they’ll be sure to update the subscription information, which offers an ironic understatement to strongly evoke emotional response from the reader.

Vaughan gives a bit of symbolism in the form of the gigantic water bears. Chrononaut Erin mentions that size is relative, like time, and so as objects approach the time fold’s event horizon, they grow incredibly large. Erin brought an otherwise microscopic entity with her through the fold, but its size didn’t adjust back after the jump. Perhaps she wears tech that helps her size down again. Sidenote: water bears are officially known as tardigrades, which evokes Tardis. These tardigrades are now bigger on the outside. I also suspect that this particular microscopic organism was chosen for it’s visual similarity to the Cronenbergian Tardis that Heck and Naldo traveled in.

As for the symbolism, the theme that gets highlighted by the supersized tardigrade is the powerful effect of small things on an infinite timeline. The butterfly effect, you know? A little stowaway on Erin’s time travel boat becomes an epic monster and danger to humanity. In this way, Vaughan takes a semi-humorous oddity–water bear Godzillas–and ties it to the comic’s meaning. He’s been doing this from the beginning, making the details work to connote explanations for the story’s mysteries.

If you came for the translation of the chrononaut language, I shall not disappoint. The translations are after the decoder key below.

1. HEY!
2. DONT DO THAT!
3. HOLD ON WOULD YOU KEEP SAYING STUFF PLEASE?

I continue to be pleased that the translation isn’t necessary but always adds flavor to the scenes it’s featured in.

Four new songs added to the Paper Girls Spotify Playlist:

1. “There Will Still Be Time” by Mumford and Sons
2. “Comfortably Numb” by Dar Williams and Ani DiFranco
3. “I Thought the Future Would be Cooler” by YACHT
4. “The Terminator Theme” by Brad Fiedel

‘Rat Queens’ #16 Shows You Can’t Go Home Again

Rat Queens #16

Written by Kurtis J. Wiebe

Art by Tess Fowler

Letters by Ed Brisson

Colors by Tamra Bonvillain

 

WARNING: SPOILERS

Rat Queens #16 brings our Rat Queens (minus Hannah) back home to Palisade, except the town has gone to hell in a handbag. The townies hide as groups of adventurer-mercenaries crowd the Testy Unicorn Inn, waiting for their chance to prove they’re the next big heroes, and getting into drunken brawls in the meantime. The Queens return to a puffed up reputation; they’re now the Heroes of Palisade, and everyone–from the traveling chronicler (not a bard!) to estranged family members–want a piece of them. Kurtis Wiebe presents a raucous romp as the women find that coming home brings no sense of comfort.

This issue gives the series a reset after the deep upheaval of the “Demons” arc. Hannah is absent, tucked away in the Mage U version of the Phantom Zone, and her friends have no idea how to rescue her. The Queens are attempting to move on by returning to Palisades to reconnect (for sex!) with those they left behind and perhaps find new direction. Reunion is the watchword, and the three seek out or are sought by the familiar and unexpected. The relocation of Violet’s brother to Palisade likely inspires the new arc’s title: “When Beards Collide.”

Read the rest of my review at PopOptiq.com.

Cell by Cell: ‘Bitch Planet’ #6 Part 6

In this Cell by Cell, I look deeply into the panels of Bitch Planet #6, pages 11-12, appreciating and analyzing the story and artistic composition.

Bitch Planet #6
Written by Kelly Sue DeConnick
Art by Taki Soma
Cover by Valentine De Landro
Colors by Kelly Fitzpatrick
Letters by Clayton Cowles
Published by Image Comics on January 6, 2016

Click here if you’d prefer to see my review of the issue.

In these two pages, Mr. Braxton gets down to business with Makoto. And business is blackmail.

Page 11

In cell 1, Makoto gets aggressive about finally getting Doug Braxton to discuss the problem with the Polestar plans. But Doug calls for more saki first, though he’s already clearly drunk. Yume’s subtle sarcasm in the response that their out speaks volumes about her character and role in society. Any subversion from women must be heavily veiled, so as not to show up on radar or to be believably denied. The compositional lines all lead to Doug, and the lines and boxes created by the wall and hanging lights build a subtle effect of introducing the trap Doug is setting for Makoto.

Cell 2 shows the breakdown of niceties as Mack gets annoyed at Doug’s utter lack of forthcomingness. Makoto holds his chin in his fist, showing growing boredom with Braxton’s antics. He also turns to sarcasm with his comment about drinking lighter fluid. Meanwhile Doug just looks sad that the saki is gone. This is the brilliance of the character. On the one hand he is so clearly pathetic. He’s just a little kid, practically, an entitled brat. He’s got nothing of his own making, instead just appropriating other people’s culture and opportunities. But he’s as dangerous as an adder. The more he drinks, the more Mack thinks he’s getting the upper hand. But that is not at all the case. When Makoto finally gets Doug to answer his question, the response is dismissive, condescending, and smacking of his signature cultural appropriate: “You’ve shit the bed, Sensei.”

To read the rest of my analysis, click through to PopOptiq.com!

‘Rat Queens’ #15 Asks Demon or Queen?

Rat Queens #15
Written by Kurtis J. Wiebe
Art by Tess Fowler
Letters by Ed Brisson
Colors by Tamra Bonvillain
Cover by Stjephan Sejic

Rat Queens #15 finishes out the “Demons” arc with revelations and character rebirth, all driven by the question: demon or Queen? At the heart of this is a he said/she said retelling of how Hannah got kicked out of Mage University that ends with miscommunication and missteps. This final issue of the arc slams the reader in the best narrative ways and puts an emotional cap on what has been a stellar arc by Wiebe.

Hannah’s backstory has been at the forefront of the “Demons” arc, with the secondary story belonging to Dee. In both, the characters have grappled with their estranged families. In both, they’ve reunited with a family member and reevaluated the relationship based on the new encounter. And here those two private backstories collide with heavy consequences.

Read the rest of my review on PopOptiq!

Cell by Cell: ‘Bitch Planet’ #6 Part 5

In Cell by Cell, I look deeply into the panels of an issue, appreciating and analyzing the story and artistic composition.

Bitch Planet #6

Written by Kelly Sue DeConnick

Art by Taki Soma

Cover by Valentine De Landro

Colors by Kelly Fitzpatrick

Letters by Clayton Cowles

Published by Image Comics on January 6, 2016

See Cell by Cell: Bitch Planet #6 part 1 here.

Click here if you’d prefer to see my review of the issue.

Page 9

Now the comfortable, happy family stuff falls away when Mr. Braxton calls Makoto at the office. The panels are layered and unaligned, creating a faster pace and chaotic mood. Cell 1 gives an establishing shot of the skyscraper that houses Maki’s business. The panel starts in lighter shades of yellow, blue, and pink with heavy contrasting shadows. This is a conversation that seems pleasant but has dark threats underneath. Cell 2 re-establishes the scene’s layout with a medium-long framing of the office interior. Braxton appears on a video screen. Makoto is initially standing, showing his position of power in the moment. In the next row of panels, he will sit as the power shifts. The many blues give the scene a coolness, reflecting the blackmailing that is being slowly delivered to Makoto.

Cell 3 is Makoto’s point-of-view of Braxton on the vidscreen. He’s a young, blond man, his finger wagging in accusation and disapproval as he mentions inconsistencies in the plans that concern him. There is a condescension implied in Braxton’s manner. His youth accentuates his privilege as a white man. Though he barely seems old enough to have finish college, he is overseeing Maki’s work. In cell 4, we see Braxton’s point-of-view of Makoto’s reaction. It’s a small panel, implying the small estimation of Maki’s power in this situation. Mack is initially speechless, perhaps trying to figure out how best to respond. His background has gone black, showing the mental and emotional abyss he’s in contemplating being caught at sabotaging the space ship.

For the rest of my analysis on pages 9-10, click through to PopOptiq– http://www.popoptiq.com/cell-by-cell-bitch-planet-6-part-5/

Every Body Serves the Fathers in ‘Bitch Planet’ #7

Bitch Planet #7

Written by Kelly Sue DeConnick

Art by Valentine De Landro

Colors by Kelly Fitzpatrick

Letters by Clayton Cowles

Published February 17, 2016 by Image Comics

 

DeConnick and De Landro blow the doors off the second arc with stark ironies, nauseating apathies, and contrasting raw emotions. Stakes get higher and allegiances get muddied as the lesson once again rears its ugly head: all bodies serve the Father–male and female, guard and prisoner, black and white. And bodies are disposable.

For all of the language of the Protectorate as a father, Father Josephson is cold to the plight of fathers in the issue. The opening page depicts institutionalized murder of three black children taking a shortcut across Megaton Corporation’s lawn and thus setting off a trespassing alarm. The guard on duty casually orders their “neutralization” in a barely exaggerated fictionalization of the Tamir Rice and Michael Brown killings. Megaton Corp, despite its “personhood” under the law, has no concern for these children or their families. Their fathers will not get answers nor justice. And Father Josephson, the government-labelled father of the people, has no nurture in his nature. Entirely unaware of the cause of the incoming ambulances outside his window, he stresses to Solanza that he needs Maki to finish the arena in six weeks. Maki’s feelings regarding his daughter’s death are an inconvenience to be dealt with after that. Even Roberto Solanza, manager of Bitch Planet itself, has qualms about keeping the news from Makoto. But Father Josephson throws around the name of the Dollar Almighty and silences Solanza.

Read the rest of my review at PopOptiq.com.

Cell by Cell: ‘Bitch Planet’ #6 Part 3

In Cell by Cell, I look deeply into the panels of an issue, appreciating and analyzing the story and artistic composition.

Bitch Planet #6

Written by Kelly Sue DeConnick

Art by Taki Soma

Cover by Valentine De Landro

Colors by Kelly Fitzpatrick

Letters by Clayton Cowles

Published by Image Comics on January 6, 2016

See Cell by Cell: Bitch Planet #6 part 1 here.

Click here if you’d prefer to see my review of the issue.

Page 5

The page break takes us from the morning’s lessons to the evening’s dinner. The layout patterns the panels on top of each other like a scrapbook, creating a feeling of nostalgic memory. To be certain, these two pages are probably golden moments tinged with regret for their briefness to all four Maki family members.

Cell 1 is an establishing frame of outside the house. The dark blues in the coloring establish evening. The point-of-view is average enough to be objective but angled and distanced just enough to suggest a possible watching eye at night, perhaps a drone camera. This possibility is cemented by Makoto in the final panel.

Read the rest of my analysis over at PopOptiq.com.

‘The Wicked + The Divine Vol. 3: Commercial Suicide’ Shines in Fragments

The Wicked + The Divine Vol. 3: Commercial Suicide

Story By: Kieron Gillen
Art By: Jamie McKelvie
Art By: Kate Brown
Art By: Tula Lotay
Art By: Stephanie Hans
Art By: Leila Del Duca
Art By: Matt Wilson
Art By: Mat Lopes
Art By: Brandon Graham
Art By: Clayton Cowles
Cover By: Jamie McKelvie

Published: February 3, 2016 by Image Comics

The Wicked + The Divine Vol. 3: Commerical Suicide develops many of the still mysterious pantheon members, presents a subset of the responses to the deaths of the first two volumes, and progresses the story toward Ananke’s predicted war between the sky gods and the gods of the underworlds. Each issue focuses on a different pantheon member and is illustrated by a different guest artist, brilliantly highlighting the different personalities and music genres of each focus god. Together the volume delves into the dark side of fame and power as the pantheon tries to keep from falling apart.

The end of volume two left the narrative in lurch. Reader analog Laura was deified and then murdered. Who would be the new guide through the coming issues? The reader is left a bit lost heading into Commercial Suicide, a parallel to the pantheon gods still reeling from Inanna’s death. Baal is the first to escalate the situation, but not the last, trading an exclusive interview for the opportunity to capture the Morrigan and use her to find Baphomet, upon whom he intends to inflict a violent retribution. His act, however, splinters the group. Meanwhile, others deal with internal conflict. Woden questions his allegiance to Ananke and acts to block her next murderous move while also attempting to keep loose canons like Baal and Sakhmet from publicly committing commercial suicide.

Check out the rest of my review at PopOptiq.com

‘Mirror’ #1 Makes Magic of Misery

Mirror #1

Story By: Emma Ríos
Art By: Hwei Lim
Published on February 3, 2016 by Image Comics

Lewis Carroll was famous for making up words, most notably in the poem “Jabberwocky.” One of those words is mimsy, which Humpty Dumpty explains to Alice in Through the Looking Glass is a portmanteau for miserable and flimsy. But I’ve always thought it was a mash-up of miserable and whimsy, and this error refuses to right itself in my brain. It is this meaning I kept mentally attributing to Mirror, which shares its use of looking glasses, transformations, plays for power, and talking animals with Carroll’s famous sequel.

The story centers around a boy, Ivan, who is the ward of a magician named Kazbek and is to be trained in magic himself. His dog Cena is the subject of magical experiments by Kazbek that over time give her human qualities including the ability to speak and, eventually, love. That love is seen as an abomination, and the two attempt to run away together, only to be apprehended and separated as Cena escapes into the wilderness. That early part of the story is mirrored with the state of things about 30 years later, when Ivan is a talented magician still under the watchful eye of Kazbek. Kazbek has now succeeded in creating a minotaur, a sphinx, and a talking lab rat, and has been attempting to reproduce the creations ever since. Ivan finds his work immoral and strikes out against him. Mirror #1 sets the stage for an emotional journey where Ivan, Cena, and Zun fight for dignity and freedom.

To read the rest of my review, click through to PopOptiq.com.

 

Cell by Cell: Bitch Planet #6 Pt 2

In Cell by Cell, I look deeply into the panels of an issue, appreciating and analyzing the story and artistic composition.

Bitch Planet #6

Written by Kelly Sue DeConnick

Art by Taki Soma

Cover by Valentine De Landro

Colors by Kelly Fitzpatrick

Letters by Clayton Cowles

Published by Image Comics on January 6, 2016

Page 3

This page sets up a regular, six-panel page with each panel of equal size. The structure connotes the comfortable order of the Maki home during this time. Reinforcing the harmony of the house is the many smiles shared between family members and the warm color tones–mostly sepia brown with some red and yellow. There are blue and green tones, but they have a softness, indicating calm and the naturalness of grass and water.

The page introduces the joy and intimacy in the relationships between Makoto and his wife and daughters. The conversation isn’t incredibly deep–revolving around being on time and experimentation with muffin recipes–instead, the relationships are developed in the physical language as they speak. Smiles that go all the way up to the eyes. The cock-eyed smirks and winks of shared jokes. This is an idyllic pre-work morning.

In cell 1, Meiko comes down the stairs and finds Makoto with a steaming muffin in hand. She asks why he isn’t at work yet, indicating that on most mornings, Mack would be gone by this time. Makoto shushes her, but in a playful way. This is not the fatherly control of the Council. Her added height from being up two stairs suggests the more egalitarian power structure in the family. He tells her he can’t resist the fresh from the oven muffins in cell 2. The gold background fills the panel with a visual warmth akin to the kinesthetic warmth of the muffins.

 

For the rest of the analysis of pages 3 and 4, click through to PopOptiq.com.