Two years ago, I had the pleasure of a guest review by David Welsh on the issues of Detective Comics in which the Batwoman arc ran.

This week I read the collected volume of Batwoman: Elegy by Williams and Rucka for myself and I find that I don’t have a substantially different opinion than David did.

I was an American comics reader for decades before I discovered manga. However, I was almost exclusively a Marvel reader. Not for any philosophical reason – Marvel series were just more appealing to me. So this was probably the first comic in the Batman world that I had read in more than 30 years.

Batwoman: Elegy tells the story of Kate Kane, the daughter of soldiers, who has been busted out of West Point and ripped from an exemplary military career for being gay. This section is poignant, as Lt. Dan Choi was consulted. I expect that the conversation Kate had with her C.O. was not unlike the one he had with his. Lost, flailing for purpose, she has a relationship with Renee Montoya (wow, really, what a shock, not) which breaks up eventually. Because of this and a conversation at the beginning of the book we are supposed to see Kate as incapable of holding a relationship together. Really, three relationships and she’s a commitment-phobe? Um…

Eventually, she finds purpose fighting crime and, eventually, metamorphoses into Batwoman.

The book opens as she fights a new high priestess of crime that plagues Gotham.

Batwoman Elegy has an artistic design that I described to myself as Burton meets Mucha. There were individual pages or spreads that worked well but, on the whole, I found the emphasis on color overwhelming. And man, the faces just were not consistent across the story. It’s obvious in those two sentence that reading manga has strongly affected the things I look for in a comic. With all the color, I find it hard to *see* American comics these days.

Above all things, what I like best is a good story.  Batwoman Elegy is an okay story.

I know that Rucka is a massively popular writer, but I am just not getting what people see. I think he’s competent, absolutely, but nowhere near excellent. Here’s why I say that. About halfway through the book, Colonel Kane gives the entire story away. In one word. This is not foreshadowing. To call this “foreshadowing” is like saying that me beating you senseless with a bat, then saying “you’re going to have a bad day today” is “telling your fortune.” The worst part about it…it was obvious anyway!!! I guessed within 3 pages what the deal with Alice was. I don’t mean to cast aspersions on American comics readers but…really, this is what passes for “excellent writing?” Wow. (I asked my comics store owning friend about this “foreshadowing” and she said she never really noticed. I wonder…when you have like 12 pages of content in a 32 page comic, if the reason people don’t notice is that they are on overload from all the crap they have to wade through to get to the meat. That would kind of explain a lot about American comics, too…)

There were, definitely, things to like about this book. The color scheme is striking, no doubt about that. And the four pages spent on Kate’s evolution from paramilitary crimefighter to Batwoman were fantastic. Really fantastic. Those four pages made the entire book work for me. Which is where my one genuine complaint comes in – four pages? The best part of the story gets *4* pages? In a manga it would have gotten an entire volume. At least a whole chapter. Here, it gets 4 pages.  Oh well.

So, here’s what *I’d* like to see. Let’s redo this story from scratch, get someone who can really write on it and give it some time to develop, instead of shoving each section into 4-8 overcrowded pages.  Give us more. More time, more room, more growth and more development. More of Kate. Less of ridiculous badguys with realllllllllllllly obvious provenance. How about we just get more crime, less shark jumping right off the bat? (This is something I see *a lot* with female-lead series. The new crime drama Rizzolli and Isles went *right* to a previous stalker/serial killer who is ba-ack! arc….in the first episode. Gawd.)

The New Batwoman standalone series is starting soon. DC, here’s your chance to show you don’t suck, you understand how to tell a story. Here’s you chance to create an American superhero comic as interesting to women as manga is. Go for it.

Ratings:

Art – 8
Story – Kate’s personal story – 8, the Alice arc – 3
Characters – 8, what little we got to see of them
Lesbian – 5
Service – 5

Overall – 7

The best part about this book is undoubtedly the fact that it was sponsored by newly minted Okazu Hero Ashley R! Ashley, thank you so much. Email me at anilesbocon01 at hotmail dot com to receive your very own Okazu Hero badge to proudly display on websites and social media profiles!

What a week here at Okazu! Not only did we get to read that breathtaking interview with Nakamura Ching-sensei, but today I have a guest review written by none other than David Welsh of Precocious Curmudgeon. I’m all a-quiver with excitement at today’s review.

Some weeks ago on Twitter, David mentioned that he had gotten the Detective Comics series with the new Batwoman (zOMG a lipstick lesbian who never has a steady relationship! That’s NEVER been done!) and I asked if he’d like to review it for us here at Okazu. This may well be the first mainstream American comic ever reviewed here. History in the making. Anyway, not to delay a moment longer, David, they are all yours…)

When I consider comics, the binary that comes most readily to mind is what drives the book. Is it plot, or is it character? I tend to favor character-driven stories, where the events spring from who the characters are, and they couldn’t happen in quite the same way to anyone else. The binary is too limiting, obviously, but it generally suits my interests and priorities.

So if nothing else, Detective Comics 854 and 855 (DC) served as well-executed reminders of another category: the art-driven comic. Written by Greg Rucka, the comics serve as a proper introduction to DC’s much-ballyhooed lesbian Batwoman revamp. I think the character debuted in one of DC’s big weekly crossover series, but I haven’t picked up a DC comic since they set Sue Dibny on fire and all the heroes started crying and snapping at each other because they were all amoral failures.

Still, I’ve enjoyed many comics written by Rucka, and it’s rare that you have a GLBTQ character helming one of DC or Marvel’s flagship titles. (They generally tend to die in Marvel and DC’s flagship titles, actually.) For added interest, there’s the art of J.H. Williams III, with colors by Dave Stewart and lettering by Todd Klein. My first encounter with Williams’ art was DC’s short-lived, much-loved Chase, about an agent for the DC universe’s super-human monitoring agency. It was a neat series with a well-developed woman protagonist (look, a unicorn!), and Williams contributed a great deal to its appeal. He’s pretty much the whole show with the first two issues of Batwoman’s Detective run.

This brings me back to the concept of the art-driven comic, where the writer provides just enough of a framework to give the illustrator reign to go wild, metaphorically speaking. A fine example is Paris (SLG), barely written by Andi Watson and magnificently drawn by Simon Gane. (For added Ozaku interest, it’s about young women in love… with each other!) If a cartoonist is more illustrator than writer, he or she can give him or herself license to slack on story and character and concentrate efforts on images. That’s what I tell myself when I read manga by Arina Tanemura.

That’s what Rucka has done here, or at least that’s what it feels like he’s done. I knew very little about the character prior to picking up either issue of Detective; the New York Times told me she was a lesbian (pardon me… a “lipstick lesbian”) socialite named Kate Kane who fights crime. That’s still pretty much all I know about her, with the added details that she has difficulty maintaining relationships and some kind of troubled past that’s unfolding in drug-induced flashback.

Since everyone in Batman’s orbit has trouble maintaining relationships and a traumatic childhood experience or two, there’s nothing really left to distinguish Batwoman except for the visual iconography Williams brings to the book. Her sexual orientation is entirely equivalent in terms of relationship failure; the fact that she’s a lesbian has no more to do with it than the fact that Batman is ostensibly straight. After a rough night of beating up lowlifes in alleys, they’re too tired to commit.

It’s a gorgeous book, and instead of clumsily trying to explain why, I’ll just point you to Jog’s review of Detective 854. Unfortunately, I found it a strangely empty book as well. Nothing damaging or unpleasant happens to compromise Batwoman’s future as a character, but nothing really meaty happens either. The character is secondary to her rendering.

I had many of the same problems with the back-up strip featuring DC’s other high-profile lesbian heroine, The Question. I went in knowing a lot more about her, or at least her alter-ego, Renee Montoya. Renee did a long tour of duty as a detective with the Gotham City Police Department and played a central role in the generally excellent Gotham Central (DC). She even got a well-liked arc, written by Rucka, where she was outed to her hyper-masculine co-workers. I always found her an interesting, assertive character.

Something has happened since I last saw her, as she’s adopted the nom de guerre and most of the costume of an interesting c-list DC sleuth who wore a featureless mask and was obsessed with conspiracy theories. The featureless mask is still in place, updated with a crop top for no particularly good reason. (Crop tops seem so impractical for people who anger gun-toting thugs.) Renee seems to have left Gotham behind to wade through one of those TV-series premises where she finds people to help through a web site. At least I think that’s what’s happening, as Rucka doesn’t spend any more time on Renee’s back story or motivation than he does with Kate.

It’s competent enough, but artist Cully Hammer is no J.H. Williams. The back-up strip is welcome in the sense that it makes the comic’s $3.99 price tag seem slightly less like highway robbery.

Thank you David for what may well be the most cogent look at Batwoman ever written. And thank you for being our newest Okazu Guest Reviewer!

Well, the first two event-filled weekends of my event-filled June are over and I thought I’d take a moment to review some stuff I have sitting here that doesn’t fit into neat categories and ramble on a bit about related things.

Let’s start with the concept of Doujinshi. As you can see, we defined this in the Okazu Glossary as: Small-press or self-published works. Doujinshi are sometimes parodies of existing anime, manga, novels, games and even popular celebrities, but are also often original works. In Japan, there is a well-accepted undermarket of these works which often violate copyright as it is understood in the west.

Here in the west, we also have doujinshi, which we often refer to as “Indie comics” or sometimes “Comix.” Indie, short for Independent, which is shorthand for saying “Marvel and DC aren’t hiring.” lol Kidding, kidding. Comix are often meant to be alternative, underground or otherwise not for kiddies.

The best Indie comics are incredible. Good or bad, they have something in common – the creators got together and *did* a thing. From beginning to end, they wrote, drew, laid out, printed and published the comic or book. If you have read Okazu for any length of time, you know that I adore people who take the reins into their own hands and just do stuff on their own like that. It’s what pushes the boundaries in any art form.

Today, I want to show you a few of these western doujinshi and share their stories with you.

Crême Brûlee is a doujinshi by a Dutch circle called Open-Minded. The volume contains both Yuri and BL in manga and text stories. The publication itself is extremely lovely, with color pages and a beautifully done dust jacket. The overall theme is that the book is a “menu” of works and that the romance contained therein is “dinner.” The stories are all in English. Art and writing is variable as it is in all anthologies, with links in the back for every creator, so you can look for more by them if you like. The overall effect is one of energy and enthusiasm and a genuine joie de vivre that makes you just want to smile. My thanks for this book goes to Lililicious‘ own Rosa Gigantea, Wendy. It was sent to me as a gift to celebrate Lililicious’ 5th anniversary and I really can’t thank her enough. I’ve been holding on to it to share with all of you. I hope you’ll visit the Open-Minded site and see if you can find some of their collections yourself because it was genuinely delightful.

Hookah Girl is a little off-topic for Okazu, as it is neither Yuri nor Lesbian in any way, but definitely falls under the category Neat Stuff, so I want to tell you about it. I met the artist, Marguerite Dabaie some years ago when I spoke to the Cartoonists Alliance at the Museum of Comic and Cartoon Art. Amazingly, I have kept in touch with a number of the folks I met there – every last one of them so talented that it takes my breath away. Margo’s work has ranged widely over any number of topics – some years ago she did a absolutely stellar book about cross-dressers in Germany as the Nazis were coming to power. Hookah Girl is an autobiographical piece, delving into the positives and negatives of being a Palestinian Christian in America. It contains anecdotes of her life and deals with larger issues such as the double pressure of being a non-Moslem Arab, and an Arab in the US right now. Drop by Margo’s website for some page previews and link to buy this book. I picked this up at MoCCA and am very glad I did.

One of the side effects of that long-ago talk to those amazingly talented kids (who are kids no longer, but magnificently talented young women,) was that I kind of built up a relationship with some of the folks from the School of Visual Arts in NYC. One of these, Hilary Florido, was one of those folks and again, at MoCCA a few weeks ago, she recommended I buy this doujinshi anthology she and a bunch of folks had done. It has, she said, some stories I think you’ll like – it’s a “Girl’s Love Megane (Eyeglasses) Comic Anthology.” I do like it, Hilary. Thanks! lol The stories are fun, they are definitely Yuri and very heartfelt. I’m not sure where you could buy this, other than a show, but check out de facto editor Kim Hoang’s website and ask her. :-)

While at the Prism Comics booth I picked up a copy of Leia Weathington’s The Legend of Bold Riley: Serpent in the Belly with art by Jason Thompson. There is much to like about this series – a princess named Rilavashana SanParite, who is amusingly known as Bold Riley, who unabashedly loves women and rides through the countryside saving distressed damsels and slaying things. Pretty much all good in my book. The Prism Comics Shop has all four of the Bold Riley comics and of course, many, many other GLBTQ artists available as well, including…

…the Juicy Mother 2 anthology. (Also available on Amazon.) The first Juicy Mother anthology was by Jennifer Camper, this one was edited by Jennifer and includes work by her, Joan Hilty, Ariel Schrag, Alison Bechdel and many more. I spoke a bit with Jennifer at MoCCA and she was really excited about this book. It’s great, I totally loved it. Again, as with all but Hookah Girl it’s an anthology, so art and writing styles differ, but since I’m more usually reading Yuri, it’s fun for me to wade in a pool of western LGBTQ work every once in a while. And it should be something you do from time to time, as well, to remind yourself that lesbians do not die or get married once they graduate from high school. And, that sometimes the very fact that some of us lesbians are angry, bitter and cynical is exactly why we’re so damn funny. ;-)

While I’ve got you all, I want to say that, although I did not buy anything myself, there was a lot more than just parody and derivative work at AnimeNEXT this past weekend, as well. I look forward to the day when manga doujinshi circles here are doing the kind of work that Indie comic artists are doing. Also while I’m on the topic, thanks to Sean and extra super thanks to Kelli for all your hard work there.

The moral of today’s post: Do NOT wait for someone to discover you. Learn to control your work, from inception to completion. Learn to write, draw, raise money, publish and promote your own work or how to hire someone to do the pieces you can’t. It’s your work and no one else’s – it’s your job to make it happen.

Thanks to everyone mentioned in today’s post – you really make all of this so very exciting for me!