Hello, Bulleteers! It’s Four-Color Bullet time! Welcome to the only comic book review column not being canceled to have a movie made about it.
This week on the DC side of the fence, Mister Miracle, Mister Terrific, and Fury battle to escape Apokolips, in Earth 2: World’s End #14; Lobo’s on a mission to save the Earth, and he doesn’t have time for Superman’s crap, in Lobo #4; Ice returns to the new Justice League. But is she the same Ice they all knew and loved? The answer in Justice League 3000 #13.
From Marvel this week, Tony Stark gives Scott Lang an offer he can’t refuse, in Ant-Man #1; the fight for their existence continues as the Spider-People and the Inheritors duke it out in epic fashion for the first time, in Amazing Spider-Man #12. Part Four of Spider-Verse; Peter and Kitty’s relationship is strained to the breaking point with this whole Mr. Knife hullabaloo. You know what will fix it? You guessed it. A prison break! Love, romance, and pain-in-the-neck bad guys abound in Legendary Star-Lord #7
From BOOM! Studios, Snake Plissken has escaped from New York, and now finds himself the most wanted fugitive in what’s left of America. But hiding out in the seceded state of Florida puts our anti-hero in a whole new pot of political corruption, in Escape from New York #2.
Diana Prince, Steve Trevor, I.R.A, Inter-Agency Defense Command back for groovy good time.
Following in the footsteps of Batman ’66, DC has brought the classic Wonder Woman TV series to comics, continuing WW’s 1970s-styled adventures. This first issue was so well done, it made me feel like a kid again. Writer Marc Andreyko, and artists Drew Johnson (pencils and inks) and Romulo Fajardo Jr. (colors) managed to capture the very things that made the TV series such a success, and bring them to comics fans.
Like Jeff Lemire’s Batman ’66, you don’t have to have seen the 1970s series to jump into the first issue. Andreyko is obviously a fan, because this debut reads like an episode set in the disco-and-polyester era. Johnson and Fajardo Jr.’s art is fantastic, absolutely nailing Lynda Carter’s and Lyle Waggoner’s likenesses, which, by the way, Carter and Waggoner gave DC hands-down and enthusiastic permission to use. It’s nice knowing they’re as excited about this thing as the fans.
Once again, there’s a lack of budgetary constraints keeping them from telling some potentially some over-the top stories, but Johnson’s scenes widen the scope without adding anything that feels out of place in the world of Lynda Carter’s Wonder Woman. Panel for panel, everything is crisp and neat, and the artists succeed in bringing New York of the 1970s to life for the reader.
And writer Andreyko has promised that we will see some of WW’s Rogues Gallery show up as they might have looked on the 70s tv show. One appears at the end of the first issue.
Also like Batman ’66, Wonder Woman ’77‘s single issues are digital exclusive, but there will be collected editions available in print.
For many of us, Lynda Carter’s Wonder Woman is the definitive Wonder Woman. I remember sitting in front of the TV as that bombastic, red-white-and-blue opening sequence came to life on the screen, with the best theme song in television superhero history blaring from the speakers. But, all of that aside, it was good storytelling of a character that many comic book writers claim to have trouble with. This is a series that understands the character and who she is. As I was discussing with my comic shop guy yesterday, there are as many bad Wonder Woman stories out there as there are good ones. And over her storied 75 years, some real stinkers. This comic book geek is proud to announce that Wonder Woman ’77 is one of the good ones. I’ve even provided the aforementioned television opening credits sequence for you to watch. Because I like you folks.
And that’s Four-Color Bullet for this week. Feel free to email or comment about anything comics related. This is my obsession. Come join me in my four-color powered madness.
It’s a good time to be a comics fan. See ya next week!