Following suit with the Batman: Black and White and Superman: Man of Steel signature designer statue lines, Wonder Woman finally got her own line last year. Dubbed Wonder Woman: The Art of War, the series presents full-color depictions of the Amazonian warrior from some of the most iconic artists in DC's employ. These interpretations don't have to be tied to any specific era or version of the character, and merely allow creators like George Perez, Jill Thompson, Cliff Chiang and more to put their own spin on the most powerful woman in comics.
While I'm not personally a fan of Finch's often over-rendered pages and inconsistent character models, the good thing about a statue is that you can't over-hatch it. Thanks to the deft craftsmanship of sculptor Clayburn Moore, the Wonder Woman: The Art of War by David Finch statue manages to be inspired by Finch's work without being held back by the artist's own shortcomings.
A few months ago, I picked up the first volume of IDW's Ghostbusters ongoing, and pretty quickly realized that it was going to be one of those comics that I had to stop myself from just buying all at once, because otherwise I was going to blow through it all at and then be sad that there wasn't any more to read. That's how it became one of the comics that I get myself as a reward, a little treat to get me through the day. I hit my deadlines, and I get to buy some Ghostbusters comics.
You, on the other hand, should just go ahead and buy them all at once, because there's never been a better time to jump in. Almost every part of Erik Burnham and Dan Schoening's run is on sale at Comixology with the collections at 50% off, and if you love Ghostbusters as a movie, I can pretty much guarantee that you're going to love it as a comic, too.
Like pretty much everyone else who read it, my reaction to Brenden Fletcher, Cameron Stewart and Babs Tarr's Batgirl relaunch was something along the lines of, "Yes, please, I would like more of this." That said, there was a pretty pessimistic part of me that didn't think we were actually going to get it. I just assumed that Batgirl was going to exist in isolation as one of those rare reboots that took things in an entirely different direction and breathed new life into a great character, yet didn't have an impact anywhere else.
Fortunately, I was wrong. This week saw the release of the new Black Canary series from Fletcher and Annie Wu, and for all intents and purposes, it's a spinoff of Batgirl that takes the same approach to rebuilding a great character for a new audience. This time, it's Black Canary recast as a mysterious lead singer who can't stop getting into fights, and y'all, it's pretty awesome.
Anyone can make fun of DC comics. Don't believe me? Go ahead and look around the Internet. I'll wait. The publisher's long life, huge catalog of characters and hundreds of thousands of pages of material have certainly provided a target-rich environment.
But it takes a very special mindset and skill set to make fun of DC comics within the pages of a DC comic – and I'm not just talking gentle ribbing or affectionate teasing, but fairly scathing satire. That Garth Ennis and John McCrea were able to do so on such a regular basis for so long in the pages of their 1997-2001 Hitman is pretty remarkable; almost as remarkable as the fact that DC invited them back for All Star Section Eight, a series that necessarily focuses on and amps up the superhero parody of the pair's Hitman series.
There’s probably no better time for a biting, trenchant and smart political satire comic than right now, as candidates in the United States start up their presidential campaign machines a full 18 months before anyone heads into a voting booth.
The good news is DC Comics’ relaunch of Prez, written by Mark Russell and with art by Ben Caldwell, accomplishes that, and with style. It’s a powerfully clever, not-all-that-far-fetched prediction of what U.S. politics could easily become in a few more cycles. It shines a light on a system that’s hollow, shallow, and deep in the pocket of corporations without being heavy-handed about it (at least most of the time).
I've never liked the Transformers. The franchise didn't get its hooks into me as a kid, and while I've tried to give it a shot as an adult, it never really clicked. But now, with a recommendation from almost everyone I know and a well-timed Humble Bundle sale that left me with three years worth (and counting) of IDW's More Than Meets The Eye and Robots In Disguise comics, I'm going on a quest to see if these comics can turn me from someone who has never cared at all about Optimus Prime into someone who uses words like "Cybertron" and "alt-mode" with alarming regularity. And Primus help me, it's working.
This week, Megatron returns to launch a... devastating master plan. Get it? Get it?
I know I'm starting to sound like a broken record every time I say this, but this week's DC Comixology sale has some really fantastic comics in it. The Justin Gray/Jimmy Palmiotti/Amanda Conner run on Power Girl is an absolute hoot, and John Ostrander and Tom Mandrake's Martian Manhunter has a lot of really fantastic stuff if you're into seeing how the pieces of the DC Universe can fit together.
But if you're tapped out from all the deals they've been throwing at you for the past few weeks and you can only get one comic in this week's sale, if all you have is one thin dollar bill to spend on comics, then you need to get Prez #1. It might just be the weirdest thing you can buy.
Period piece comics can be precarious if not handled with care, but when done properly they make for inventive narratives drawing from a rich historical backdrop. Enter Strange Fruit, the upcoming Boom Studios series from the heavyweight creative team of J.G Jones and Mark Waid. Set in the fictional town of Chatterlee, Mississippi, issue #1 of Strange Fruit begins with the arrival of the Mississippi Flood of 1927, one of the most destructive natural disasters in US history. Heralding a much more significant anomaly, the flood plays as a secondary plot device to brewing racial and classist tensions in what appears to be a former plantation town.
Fandemonium, the second arc of The Wicked + The Divine, is the work of creators at the top of their games. Jamie McKelvie gets more room than ever to showcase costume designs that tell you everything you need to know about a character at a glance, and expressive facial acting that tells you everything else. Kieron Gillen writes dialogue packed with wordplay and puns – and if they don't make you groan, the plot's gut punches will. Clayton Cowles' letters grant each god a distinct visual voice to match the way they're written and drawn, and Matt Wilson's colors add unique pyrotechnics, at one point reinventing his style between pages to create a convincing drug trip.
The sheer talent on display in these pages is enough to make you jealous and, if you haven't read previous Gillen/McKelvie collaborations Phonogram and Young Avengers, you might wonder where this team got their powers. What makes The Wicked + The Divine especially interesting is that this is exactly what the comic is about.
If you went to Comixology yesterday to check out the week's new releases, you wouldn't have seen a GI Joe sale featured on the main page, but there's one going on right now that features a whole lot of great comics. The main attraction here is probably the six issues of Tom Scioli and John Barber's senses-shattering Transformers vs. GI Joe on sale for a buck each, but let's be real with each other: If you are the kind of person who takes this site's recommendations on what comics to buy, there's a good chance that you've already got those.
What you might have missed, though, is one of the best Joe stories in recent memory: Mike Costa and Paolo Villanelli's Snake Eyes: Agent of Cobra. It's compelling, character driven, features one of the best fight scenes of the year, and, perhaps most importantly, it has Destro and Snake Eyes teaming up to take on the world. If you haven't read it, you should pick it up - even if you've never been a fan of GI Joe.
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