Marc Deering

Bombshells: Enlisted

by Marguerite Bennett & Marguerite Sauvage
also featuring art by: Laura Braga, Stephen Mooney, Ted Naifeh, Garry Brown, Bilquis Evely, Mirka Andolfo, Ming Doyle, Sandy Jerrell, ML Sanapo, Marc Deering; colors by Wendy Broome, Doug Garbark, Kelly Fitzpatrick, letters by Wes Abbott
collects Bombshells #1-6

I was intrigued by this “what if” series, featuring the women of DC in an alternate 40’s reality, especially when I learned that Zatanna was established as Jewish and Romani.

The opening issues with Kate and Maggie are really great, especially as a queer couple in the 40’s. Marguerite Sauvage’s art is spectacular, and there are some lovely connections like women playing baseball.

But the story quickly expands from there, and we’re introduced to a large number of reimagined characters very quickly – basically every major woman character from DC, and it eventually starts to feel overwhelmed and fractured. This includes a tired and rehashed Wonder Woman origin, that could have used the same injection of creativity as the other women. I would have felt more grounded in the story had we stayed with Kate and largely met the other women as they intersected with her story, with maybe one or two side plots.

This is reflected in the artistic team which changes within almost every issue (after Sauvage’s first two), and no one can match Sauvage; if the entire book was drawn by her, it would have been a home run. Some of the art was quite bad, and it was disappointing to see some of the same male gaze T&A poses especially with Harley, guess we can’t have a woman book that isn’t still dominated by the male gaze. Maybe we’ll finally get there in 130+ years when we finally reach gender parity.

I’m also not a fan of the “Joker’s daughter,” and even though it’s interesting they are establishing Zatanna as Jewish, and Kate has an awesome Jewish moment…nothing for Harley? She’s Jewish and Catholic yet relegated to singing Christmas carols.

Finally, the “What If” nature of the book becomes a strange idyllic 1940’s that chooses to face and ignore the World War II era. For example, Maggie and Kate have a romantic evening without fear, and Amanda Waller is in a position of authority with diverse heroes including Hoshi – yet the actual Holocaust, racial and LGBTQ inequities, the internment of Japanese Americans, the darkness of this period is largely avoided. This is only exacerbated by the fact that while everyone loves punching Nazis, the actual Big Bad is an otherworldly creature. This is clearly meant only for entertainment purposes, which, while not a bad thing….also ignores the very political, WWII-foundations the comic book industry rests on.

Doctor Aphra: Unspeakable Rebel Superweapon

by writer Simon Spurrier; artists Wilton Santos, Andrea Broccardo, Caspar Wijngaard, Chris Bolson;
inkers Marc Deering, Don Ho, Walden Wong, Scott Hanna; colorists Chris O’Halloran & Stéphanie Paitreu; letterer Joe Caramagna
collects Doctor Aphra #32-36
volume reviews one | two | three | four | five | six | seven [complete]

Yikes! After a very solid fifth volume, Doctor Aphra’s next arc loses its way. It’s a good thing I’m invested enough in the character to keep going – this kind of mess early on would have lost me as a reader.

Spurrier simply tries to do too much here – among them, revealing Aphra’s childhood, a Rebel plot to assassinate the Emperor, an unexpected reunion with Tolvan, and the Imperial Minister of Propaganda returns (along with a certain favorite Wookie). Instead of a focused narrative, grounded by sharp banter and emotional growth between Aphra and Triple Zero like last time, this arc was scattered and unfocused – and it didn’t help that the art teams changed multiple times within and between issues, with varying levels of quality. Some pages were really quite awful.

In previous volumes, Spurrier has done a fine job pushing Aphra into a corner – usually double crossing left and right – allowing for a lot of growth while the stakes shift and she has to accept the consequences. But the unnecessary amount of exposition and convoluted storyline didn’t allow any emotional beats to land. (Who enjoys exposition of double crosses? No one?) Tolvan and Aphra’s relationship is still unearned, and even cringy, as a certain famous ESB quote undercuts the whole thing. The stakes disappear as soon as we know a plot is already doomed to fail – assassinating the Emperor, in this case – a fault of many other SW titles and a first for Aphra.

So what could have saved the book is more growth in Aphra, which has been successful in each volume (even if it’s a turn away from redemption), but there’s a disappointing lack of growth or insight here. Even the final reveal, an easy one to have some emotional resonance or at least serve to deepen Aphra’s relationship with her “tiny ward” Vulaada, fell flat.

I’m looking forward to reading the finale of this series…or I’m more excited to start Alyssa Wong’s new run. Could go either way.

Doctor Aphra: The Catastrophe Con

Doctor Aphra has a lot of momentum going for her, but volume four really stumbled. But there’s still a lot of good, and maybe the fact that it took until volume four is a good thing.

Catastrophe Con drags in the first three issues, but there are enough twists and changing allegiances to keep things engaging. That’s largely thanks to Aphra herself, and Simon Spurrier (taking over full time as writer from Kieron Gillen) does a nice job having a firm handle on her character (and her vague morality) alongside a large cast with their own contradicting agendas and priorities. I also really appreciate how Aphra’s series leans into the wackiness of the Star Wars universe, including a space jail, mind reading and shape shifting aliens, and Jedi ghost spores.

It’s worth celebrating that we have three queer women who show up in this volume – Aphra, Tolvan and Sana – probably a first for the Star Wars universe. It’s amazing to see Star Wars becoming more diverse, and that it’s not diversity for its own sake (hopefully) – Aphra and Tolvan are full characters beyond just their sexuality, which is a huge win. (More on Sana below.)

But the writing was still flawed, and that’s even more frustrating because this is so rare, and because straight couples are treated so differently. First of all, Tolvan and Aphra’s romance is completely rushed. Last volume they had a one night stand; now, the next time they meet, Tolvan declares her love out loud? I’m not buying it – there just wasn’t enough time, along with Tolvan’s disciplined personality, for it to make sense. Plus, Sana was clearly shoehorned into the issue to create drama and not much else – this is the second time she’s been brought in to stir up tension in a couple, which sucks. Plus, her monologue at the beginning (indicating she is far from over Aphra), and their conversation later, was a complete mismatch.

It’s frustrating that Star Wars is happy to have Han and Leia banter with sexual tension for eons, but Tolvan and Aphra can’t even stay in one stage of a relationship for more than one or two issues. Spurrier has a so many moving parts in this issue (perhaps one too many), that Aphra and Tolvan can’t really be at the center of it – it needs to be rushed through to get to the next thing – and that’s where this loses me. Star Wars comics, I am perfectly happy *not* seeing the Big Bad Villain or Space Explosion every single arc. You’re allowed to let your characters breathe. Especially if it means doing a queer romance justice, which your universe has literally never done before.

That being said, Spurrier does a fantastic job slowly forcing Aphra into a corner, decisions and betrayals building on each other for a dark but satisfying resolution. I didn’t always like how she was drawn (more on that below), but Spurrier is very solid on her character, ambiguous morality, and her humor. And like Gillen before him, Spurrier ensures that Aphra is in a very different place than the last volume and there are real consequences to her actions. It’s so different than the main Star Wars title – Luke, Leia and the others are so safe, their stories lack urgency and real character development. With Aphra and her corner of the galaxy, there’s no safety net, and therefore a whole lot of room for more interesting storytelling. However, sometimes the wacky elements of the story were either a bit far fetched (the mind altering alien) or resolved too quickly with exposition (the Jedi ghost).

Art team Kev Walker and Marc Deering return from the second volume, with Java Tartaglia on colors. I had a real love-hate relationship with the art, and most of the way through, it was the latter. The precision of the spaceships, buildings and aliens feel very true to Star Wars, but it just didn’t translate to humans, whose proportions weren’t consistent (Aphra’s doe eyes especially), and whose expressions lacked the force of emotion to really drive home pivotal scenes. Tolvan shouting for Aphra to respond while trying to escape, and Sana and Aphra talking about their breakup – these emotional moments fell flat. I’m a much bigger fan of volume two’s art team, Laiso and Rosenberg.

**spoilers, maybe?** And then, I’m hit with a full page of Triple Zero walking through fire, singing an upside down musical note, towards a terrified Aphra and Tolvan, and it might be one of my all-time favorite pages in comics. Frankly, I wish Aphra herself got the same precise attention and “wow” moment. Holding a light saber in tears doesn’t really cut it for me.

I’m still enjoying the series – Aphra as a character is compelling enough to get me through the “meh” volumes. But every volume I can’t help but notice the creative team is an all-boys club, and while one’s identities certainly don’t have to match the characters you’re creating, it still bothers me (especially contrasted with three queer women in this one volume). It will probably bother me until I get to the new series and I’ll mention it every time – but that’s because for every volume, it really was a choice.

Doctor Aphra and the Enormous Profit

Kieron Gillen course corrects everything I complained about in volume one and delivers a solid, satisfying and very fun Doctor Aphra story. A few events have clearly happened between volumes one and two (issues 7-8 were crossovers with other events and aren’t included in this arc), but most importantly, the evil gang’s back together and Aphra has her hands on a sentient crystal, housing an immortal Jedi, who can also control technology. (I know it sounds weird, but it works.) What she does next, of course, would make Han proud – get all the galaxy’s baddies in a room and sell it to the highest bidder!

This is a great Aphra story because it effortlessly leans into the gray area between hero and villain that Aphra occupies, while showcasing her smarts, improvisational skills, and humor, especially when things escalate beyond her control. We also get some real funny robot dialogue with Triple Zero (aka evil Threepio), who is tremendously bored from not killing anyone in a while and throws a few wrenches into Aphra’s plans. Apparently, droids can have excellent character development too. Kev Walker, Marc Deering and Antonio Fabela’s art continues to meet expectations, capturing the kinetic Star Wars feel and color palette, even though we don’t see much planet landscape or space scenes. I also appreciated that while Aphra gets herself all dressed up for an issue or two, she isn’t sexualized.

Aphra, a wild card who lives in the gray area, is necessary to the Star Wars universe – a queer woman of color who isn’t defined by her minority statuses, especially – and so is a purely fun Star Wars story, which is exactly what I want in a Star Wars comic. Stories with Leia, Han and Luke often get boring or repetitive, because we know they can’t die or have character growth after a certain point. But Aphra, Triple Zero and Krrsantan? New, compelling characters and their endings are total fair game. And sometimes, stories where “the fate of the galaxy” is at stake gets tiring. But an immortal Jedi possessing a droid and shooting up a bunch of villains? Sign me up.

My only complaint about the book is that the only (female coded) woman other than Aphra in the entire arc dies. I’m not going to complain about the entirely male creative team every volume, but….no wait, I think I will. (Looking forward to finally getting to Alyssa Wong and Marika Cresta’s run on the character which started this year.) Excited for volume three.

Mini Reviews 3 [Star Wars edition]

May the Fourth be With You!

Happy Star Wars Day from my corner of the galaxy to yours. Here’s to one of my favorite stories of all time, reminding us that hope is always there, and anyone can be a hero.

The debut series of rogue archaeologist, Miss – sorry, Doctor Aphra, was very forgettable, even though I like the character a lot – or at least her potential. I always want to see more women in the Star Wars universe – and queer women in the Star Wars universe, what a concept! (though it was very much tossed in at the end) – but Aphra’s debut series didn’t make much of an impression.

Aphra first debuted in Darth Vader’s series also penned by Kieron Gillen, as a minor character in Vader’s employment, but now she’s free and able to pursue her life’s work: stealing and profiting from ancient artifacts. (note: I read this before reading Vader and I met her briefly in Aaron’s Star Wars title.)

Aphra’s like a Star Wars version of Indiana Jones or Lara Croft, (wrote this then learned Gillen used Indy as inspiration), who shares Han’s snarkiness and comfort in the gray area between hero and villain. Aphra feels like a natural character in the Star Wars universe and she’s got a lot of potential. Gillen gives her a strong voice and it’s truly unclear whether she’s altogether good or bad. The way we learn Aphra is queer leaves no room for questioning it, but is also subtle enough that it’s just one of many aspects about her, which is so necessary these days.

(And I just have to mention, again, she’s one of very very very few queer women, and women of color, in Star Wars so it’s kind of a big deal. Though it would have also been nice if the creative team was one or more of those things – maybe eventually they’ll hand it off.)

But then, the plot goes sideways with her father and a confusing mythology story that seemed too big and important for one trade, but also wasn’t given a whole lot of time. This is where the book lost me. Even though Gillen gives lil boop and her dad time to (predictably) work things out, it isn’t really her story when it’s primarily centered around her dad’s life’s work. Aphra’s compatriots, Black Krrstantan, Beetee and Triple Zero had some nice quips, but I had trouble getting beyond how they’re just an inverted image of Chewie, Artoo and Threepio. Finally I wasn’t crazy about the art, which had more than a few sloppy panels, and didn’t bring any “wow” moments, especially from the fight scenes, that really elevated the early volumes of Aaron’s Star Wars title.

I’ll give the next volume a shot. Until then, I’ll dream of a time when a queer woman of color’s creative team isn’t all white dudes…over seven volumes. Sheesh.

Star Wars vol 4: Last Flight of the Harbinger
by Jason Aaron, Mike Mayhew, Jorge Molina, Chris Eliopoulos
collects Star Wars Annual #20-25
volume one | two | three | four

Even though it’s better than volume 3, Last Flight of the Harbinger still leaves a lot to be desired.

Harbinger begins with another one shot of Ben’s time on Tattooine, babysitting Luke from afar. Mayhew’s photorealistic art is amazing but the stories have no substance or consequence – though it was fun to see Black Krrsantan make an appearance right after reading Dr Aphra. I know there’s only so much Aaron can do in this timeline, but it had better be leading up to something – and what about some time with Aunt Beru? Has there ever been ANY story about her?

The main arc sees Luke, Han, Leia and Sana hijack a Star Destroyer in order to save a Rebellion-sympathizing planet under the Imperial’s blockade. It’s a cool concept, but the character work is still weak. Han and Leia won’t stop bickering, and it’s more than tired at this point. We all know their romantic tension can’t be resolved until after Episode V, and I’m really dismayed that Aaron still can’t find any better character development for them, as if there isn’t any more to Han and Leia’s characters than sexual tension. Sana, who seemed to be brought in less as a full fledged character and more as a shit-stirrer, isn’t given more personality or much to do; it was refreshing to see her paired with Luke, but their scene doesn’t go anywhere. Aaron also introduces the Scar Squad, an elite squad of Stormtroopers – like an Imperial version of the Bad Batch in Clone Wars – and the backstory behind Sergeant Kreel was surprisingly compelling.

Jorge Molina’s art is alright. I love his starship battle scenes and he does a beautiful job rendering ships, space, and movement all alongside speech bubbles, which is not a small feat. But I’m not a fan of Molina’s button noses, which threw off all the characters for me, except maybe Sana.

Aaron’s Star Wars title isn’t high on my list, but it was an easy read (especially on May the 4th!) and I’ll give volume five a look when I’m up for it.

Darth Vader vol 1: Vader
by Kieron Gillen, Salvador Larocca & Edgar Delgado
collects Darth Vader #1-6

Vader was a quick read that helped connect the dots with Aphra and the main Star Wars title. It was moderately enjoyable but far from my favorite book this year.

As the only survivor of the Death Star’s destruction, Vader is the target of Palpatine’s wrath and gets a big ol demotion. He’s now the pawn of General Tagge who only sees him as a brute force. But of course Vader won’t have that, as he recruits familiar and new faces to find Luke and build himself an army.

Gillen’s restricted by the later films, and so it’s never a question that Vader gets back on top. Enjoying the story depends on how much one likes Vader, and/or any investment in the secondary and mostly original cast: rogue archaeologist Dr. Aphra, assassin versions of 3PO and R2D2, mercenary wookie Black Krrsantan, and some other minor cameos. (And Palpatine, I guess. Is anyone a fan of Palpatine?) The events in this volume nicely tie into Aaron’s first Star Wars volume, but most importantly, Gillen has a strong handle on Vader’s ruthless and calculating voice, with just enough pain underneath the surface, but only for the reader to fully understand. Vader is far from my favorite Star Wars character, but Gillen hits the right notes here. The final reveal – for Vader at least – is handled beautifully, and answers a big question in Star Wars canon.

What I didn’t get was how Vader found all the time to multitask right after becoming Tagge’s errand boy, and there’s nothing like an alien bug queen screaming “my womb! my children!” for my inner feminist to cringe a bit.

I’m torn on the art. Larocca’s pencils felt very shaky and inconsistent, and he constantly drew characters who were speaking with their mouths closed, which bothered me for some reason. Delgado’s colors are phenomenal, adding in some lovely shading and Vader-helmet shininess that elevate Larocca’s pencils and really make the story feel like Star Wars.

Vader is unnecessary but helpful for this new landscape of Marvel comics, and a must for Vader fans. Personally, I’m not sure I’ll continue with volume two – it depends on how many other Star Wars comics I read and if I feel it’s necessary.