Shut Up and Take My $5: Green Lantern #18

We’ve all been there: two issues in your hand, you can only afford one. What is the broke geek to do?! Sean Sorensen is here to guide you in your thrifty comics crusade by providing you with the one issue each week that'll make you say, "Shut up, and take my $5!" It always feels good to get the most "BIF! BAM! POW!" for your buck, doesn’t it?

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This week’s choice was a tough call! We had Tony Stark head butting aliens (Iron Man #7), Ultron rocking a 90’s style foil cover (Age of Ultron #1), Hellboy sulking (Hellboy in Hell #4), and the Hulk having a hard time counting Angels (That would be two, Hulk; All New X-Men #8)

All noteworthy issues, but this week, your five dollar bill should be exchanged for Green Lantern #18.

Geoff Johns is only two issues away from ending his marathon run on Green Lantern, and he is pulling out all the stops. After the events of issue 17, Baz finds himself trapped with Hal and Sinestro in THE DEAD ZONE! It’s a rather tense situation, as tempers flare among the three Lanterns.

And, boy, is it wonderful.

Sinestro is a glorious asshole. Hal continues to be the fearless knight, still trying to fix everything, albeit stripped of his sword. Then there’s Baz. Oh, Bazzy Bazzy Bazzy... I’ve been liking him more and more ever since his introduction back in GL #0, but Geoff Johns manages to propel him to favorite GL status with two brilliantly written frames. Baz doesn’t put up with any bullshit. To top it all off, Geoff also leaves us with one hell of a cliff hanger that will probably secure another hard earned $5 with GL #19 next month.

As excellent as Johns’s writing continues to be, I should be clear, though: he doesn't deserve all the credit alone. No sir, Szymon Kudranski and Alex Sinclair elevate this book to masterpiece status. Kudranski and Sinclair create an amazing inky black shadow realm for THE DEAD ZONE! It’s like seeing the shadow realm from Lord of the Ringson paper. But what really drives the art home is whenever Baz uses his ring: the green light pierces through the page’s black void. It is an absolute feast for the eyes.

Ardian Syaf and Mark Irwin create the four pages in this issue that take place outside of THE DEAD ZONE!, but their art doesn't even hold a candle to to their co-artists. These pages are necessary for the story, sure, but the others take top prize. That would be my only complaint with this book. And it’s miniscule.

So don’t bother with any other book on the shelf this week, boys and girls. Green Lantern #18is guaranteed to give you the most Willpower for your buck. If you still don't believe me, the issue title is “Dead or Alive, You’re Coming With Me!” A RoboCop reference in a book about space cops. Well done, Mr. Johns. Well done.

Review: Batman-The Dark Knight #1

Batman is, by far, the most prolific character in the DCnU, appearing in at least 8 of the newly released titles, 3 of which bear his name.  As we close out September with the final week of #1s, The Caped Crusader finds time to make one more appearance before the #2s hit shelves.

In addition to being the final week of #1s, Week 5 also saw the biggest turnout of artists-turned-writers.  Joining fellow artists Francis Manapul (The Flash #1) and George Perez (Superman #1), David Finch throws his hat in the ring and takes a stab at storytelling in Batman: The Dark Knight #1, the relaunch of the short-lived series from earlier this year.  However, while his name appears first on the cover, Finch provides the pencils, but is only credited as “Co-Plotter” alongside Paul Jenkins, who receives the actual writing credit.  Regardless of whoever penned the story, Batman: TDK maintains the tone set by Batman & Robin #1 and Batman #1, but loses points when it comes to originality.  The book kicks off with Batman channeling his inner Yoda, delivering an internal speech about fear, describing it as a cannibal as it feeds upon itself.  In addition to sounding like a lecture from everyone’s favorite diminutive Jedi, the narration also evokes memories of Batman Begins, the Christopher Nolan film that explored the theme of “fear” as the backdrop to Batman’s origin.

As Batman wraps up his soliloquy, he quickly ditches the cape and cowl, and arrives at a Wayne Industries function.  Not unlike Tony Stark’s more public arrival to the Stark Expo in Iron Man 2, Bruce Wayne, in a glaringly uncharacteristic move, swings down to a balcony and enters the event.  I’m sorry, but Bruce Wayne does not Bat-grapple across rooftops in a tux.  That aside, it is at this gathering that the reader learns of the newest threat that Batman must face – Gotham PD Internal Affairs!  Wait, what?  Apparently, a suspicious GCPDIA officer is accusing Bruce Wayne of funding Batman’s vigilante activities.  Sound familiar?  If you saw The Dark Knight, the sequel to Batman Begins, you might have an idea of where this is going. 

As if that wasn’t enough for Batman to handle, there’s been a breakout at Arkham Asylum….again.  We follow our hero to the front gate of Gotham’s notorious nuthouse just as several of its residents are busting out.  In a stunning two page spread, David Finch depicts several Bat-villains, including Mr. Freeze and Clayface, as they assault Arkham security.  Batman arrives to diffuse the situation, and upon entering the asylum, we can clearly see that Finch has taken inspiration from the enormously popular Arkham Asylum video game.  From the guard uniforms to the distinctive corridors, it is definitely the same environment established by the game.  For the book’s cliffhanger ending, Jenkins and Finch (whether intentionally or not) take one more cue from both Arkham Asylum and its upcoming sequel, Arkham City, but you’ll just have to check the book out for yourself to see if you agree.

Breakout at Arkham Asylum!

Scott Snyder’s Batman #1, was a hard act to follow, but that’s no excuse when your book is a mishmash of concepts from other material.  Batman: The Dark Knight #1 has potential with the IA arc, and Finch’s art is definitely a boon to the project, but unless the book finds its own rhythm soon, it might be as short-lived as its pre-New 52 run.

Review: Teen Titans #1

They might be on your lawn, but don’t yell at these damn kids.  The Teen Titans band together in the New 52, giving us a look at the other side of Scott Lobdell’s emerging crossover that kicked off with Superboy #1! 

With core Titan members such as Starfire and Cyborg appearing in other New 52 titles, the lineup of DC’s adolescent avengers looks to be getting some new faces.  However, Teen Titans #1 focuses on veteran members Tim Drake, Cassie Sandsmark, and the currently unidentified Kid Flash.  Like fellow team-based books Justice League and Justice League International, Teen Titans #1 takes us back to the genesis of the group, chronicling Tim Drake’s recruitment of his fellow Titans.  However, while this retelling acknowledges recent DCU continuity, such as Tim’s falling out with Batman after the events of Brightest Day, the story presents the Teen Titans as a new entity on the cusp of formation.

The book opens with an appearance by Booster Gold in a Kid Flash costume.  No, not really, but the pubescent speedster, who we can assume is Bart Allen, is presented as a showboating hotshot, intent on making a name for himself in the public eye.  Showboating hotshot from the future?! Skeets, get my lawyer on the line!  Elsewhere, Tim Drake, now semi-retired, but retaining the identity of Red Robin, which he adopted in 2009 following the “death” of Bruce Wayne, stays off the streets in an Oracle-like role, monitoring and fighting crime via a vast information network.  This is an appropriate role for Tim, and writer Scott Lobdell presents him this way to maintain the notion that Tim is just as good a detective as Batman.  However, he is forced back into action when he receives a visit from N.O.W.H.E.R.E., the secret organization presented in Superboy #1, bent on capturing teenage superheroes.  Donning a newly designed Red Robin suit and evading capture by N.O.W.H.E.R.E.’s chief, Zaniel Templar, Tim takes on the new assignment of reaching the targeted youths before Templar and his goons.  Tim’s first recruit?  None other than Cassie Sandsmark, aka Wonder Girl.  (But don’t call her that.)  Tim’s encounter with Cassie is classic teenage byplay.  Boy meets girl.  Boy warns girl of evil organization.  Girl doesn’t believe boy.  Girl gets attacked by said organization’s mechanized hit squad.  Boy attempts to save girl.  Girl transforms into superhero persona and hands hit squad its ass.  Classic.  In his portrayal of Cassie as “Wonder Girl”, artist Brett Booth presents her in a new, yet familiar costume – a sleeveless red suit, highlighted with star field patterns.  Classic Teen Titans fans will recognize both elements from costumes worn by former Wonder Girl, Donna Troy.  A subtle, yet appropriate nod to the character’s lineage. 

Tim Drake: a little bit Oracle, a little bit Tony Stark

Now facing a growing threat to their agenda, Templar, Dr. Fairchild (also reappearing from Superboy #1), and the rest of N.O.W.H.E.R.E. prepare to unleash their ultimate weapon, the Kryptonian clone himself, thus establishing the final element in the crossover and mirroring the end of Superboy #1.  With Scott Lobdell penning both Teen Titans and Superboy, I’m definitely looking forward to the future of both titles.  While the writing is consistent, I favor Brett Booth’s art over that of R.B. Silva.  Booth’s style is reminiscent of Ed Benes, a favorite of mine, so I’m fairly biased.  His brilliant spread of Cassie’s transformation is the standout image of the book.  I definitely give Teen Titans #1 high marks.  Coupled with Superboy, I’ll be coming back for more in October.

Review: Superman #1

After such an amazing debut by Grant Morrison in Action Comics #1, I was really looking forward to seeing this new Supes all grown up. The problem is that this new Superman is incredibly boring.

George Perez is penning Superman in his self-titled book, and this was his chance to solidify his place in the modern DC world. He chose an interesting method of storytelling for most of this book via an article by Clark Kent on the incident we are witnessing. Normally, this could be pretty cool and refreshing way of telling a Superman story -- he is a reporter, after all -- but Perez squanders the chance with a lackluster and wordy description of the art on the page. Superman was fighting a giant firebeast, and it was plain boring.  I literally trudged through this book. I could see what was on the page, and then I would have to read a description of what I was seeing for every panel. It got old fast.

The parts of the book not devoted to Superman fighting a giant firebeast are reserved for a news media procedural side story for which I could not have cared less. The Daily Planet has just been bought by a big time news company run by -- wait for it -- Morgan Edge. The battle between Superman and the firebeast turns into the Planet’s first chance to impress their new boss so we are treated to a news broadcast and Lois Lane ordering various reporters around. There is also a fair share of hand wringing over the integrity of the Daily Planet and balancing it with impressing Mr. Edge.

There is also a two-page cut away to some alien creature blowing a horn. No, I’m serious. Lois says something about someone having to blow the horn, and we slam cut, Family Guy-style, to this creature, who has no bearing on our story, blowing a big ass horn in the Himalayas. There is a nice little editorial note explaining that, if we want to know what the hell that was all about, then we should go read Stormwatch #1. I know books cross over -- it is a shared universe, after all -- but when the crossover reads like someone took two pages from Stormwatch and pasted them into Superman, that's not a crossover.  That’s a blatant grab to get you to buy the other book.

I did like that Superman still seems very alien to the people of Metropolis. The book starts with the demolition of the old Daily Planet building, and there is a magnificent frame of Superman floating above the wreckage, staring. It is strangely eerie, with the folks on the ground seeming to look up in awe and wonder. During this sequence, Jimmy Olsen tries to grab a picture, but, before he can hit the shutter, Superman is gone. His reaction is more along the lines of a wildlife photographer missing a shot of a rare beast rather than that of someone who has been photographing Superman his whole career.

Jesus Merino’s art is acceptable for a run of the mill Superman book. Nothing really jumped out at me as being spectacular. If anything, some of his art looked rushed, especially the scenes focusing on The Daily Planet.

I won't be adding Superman to my pull. I will probably give it another look when Perez and Merino are off  the book, but, for now, I have Action Comics to give me my Superman fix. If you are a Superman nut and must have anything with his face on it, buy this book. Otherwise, I would recommend just sticking to Action Comics.

Review: Green Lantern - New Guardians #1

The final week of #1s from the New 52 has arrived, and with it, a new title from the ever-expanding Green Lantern line.  Green Lantern: New Guardians #1 further explores the multiple corps, but how bright is the future of this new tale?

Hal Jordan now shares the spotlight with Sinestro in Green Lantern.  Guy Gardner and John Stewart can be seen in Green Lantern Corps.  So, naturally, Kyle Rayner gets to be the focal point of GL: New Guardians.  The issue opens with a brief retelling of Kyle’s origin, being sought out by Ganthet to be the “Last of the Green Lanterns” following the destruction of the Corps.  Originally seen in the New Dawn arc in 1994, we can assume that this momentous event now takes place within the last 3-5 years, the time span into which the history of the DCnU has been compressed.  After being reminded of the humble beginnings of the artist-turned-space cop, we jump to present day to check in on members of the other six Lantern Corps.  In a series of vibrant pages from artists Tyler Kirkham, Batt, and Nei Ruffino, we see seemingly random members of the Red Lanterns, Sinestro Corps, and Star Sapphires spontaneously lose their rings, leaving them vulnerable at key moments.

On Earth, we reconnect with Kyle as he flies around, doing the superhero thing.  Writer Tony Bedard takes a few humorous jabs at Kyle, having a kid ask him a bunch of snide questions about why he isn’t “the Green Lantern from Coast City” and why his uniform is different.  Immediately following the encounter with the obnoxious youngster, Kyle is recruited by the three rings we saw desert their owners earlier, as well as rings from the remaining corps.  The rings are followed by representatives from most of the Corps, including Arkillo (Sinestro Corps), Bleez (Red Lanterns), Munk (Indigo Tribe), and Fatality (Star Sapphires), all of whom accuse him of stealing the rings.  At this point, Kyle Rayner and the reader are in the same position – neither has any idea what is going on.

It seems like not a lot happens in this issue.  It’s pretty flat.  Rings abandon their owners and flock to Kyle, making him the target of every corps.  It’s over before you realize it.  The mystery and unanswered questions will obviously capture the attention and curiosity of fans, but there is no guarantee that a new reader will be prepped to dive into the pre-established world of the emotional spectrum and the fanatics that inhabit it.

Review: Nightwing #1

Dick Grayson has been called many things.  Acrobat. Boy Wonder. Batman.  But deep down, Dick prefers one moniker over all others – Nightwing.   

With Bruce Wayne back in the picture, Dick has relinquished the cape and cowl, handed over Damian’s leash, and returned to his solo crime fighting career as Nightwing.  However, instead of taking up his old beat in Blüdhaven, Dick remains in Gotham.  Immediately, writer Kyle Higgins gets us inside Dick Grayson’s head, exploring how thrilled he is to be himself again, now that he is not filling in for Batman.  Dick does, however, acknowledge that the experience made him stronger, brought his technique to “flawless” levels, and granted him a new perspective.  As Dick delivers this soliloquy, artist Eddy Barrows depicts him leaping, bounding, and swinging his way across the rooftops of Gotham, artistically capturing the character’s exhilaration.  At key action points in the issue, Barrows also chooses to illustrate within diagonal panels, emphasizing the constant, dynamic motion and combat.

Echoing Bruce Wayne’s desire to make peace with his past and move on in Batman & Robin #1 and Batman #1, Nightwing #1 finds our hero facing a specter from his own past, struggling with how to confront it.  Haly’s Circus, the troupe with which The Flying Graysons toured, has returned to Gotham City for the first time since Dick’s parents were killed.  Drawing upon his newfound personal strength and choosing to face his fear, Dick visits the circus, even taking to the trapeze for old time’s sake.  It is the perfect parallel to Bruce’s decision to tear down and redevelop Crime Alley, the scene of the Waynes’ murder.  Both men have chosen to acknowledge their respective pain, and to stop running from it.  Kyle Higgins allows Dick to sum it up brilliantly – "...my past isn't my biggest weakness, it's my biggest strength - it's what makes me who I am."

Things look to be on the up and up for ol’ Dick Grayson!  That is, until a masked assassin attacks him in the streets of Gotham.  Confronting him as Nightwing, Dick dukes it out with the mystery man, only to learn that this particular villain is out for blood.  Why?  You’ll just have to read Nightwing #1 and Batman #1 to see how this particular crossover gets off the ground, and why Dick earns yet another label – “The fiercest killer in all of Gotham.”

Review: Catwoman #1

Holy fan service, Batman!  DC’s most famous femme fatale has returned, but while Catwoman #1 takes off at top speed, this oversexed issue struggles to humanize DC's favorite feline. 

Starring in her own ongoing title for the first time since 2008, Selina Kyle begins this new chapter right where we expect to find her – waist-deep in trouble.  The first few pages are a whirlwind of action and close-ups as Selina races to don her Catwoman suit and escape her apartment before a group of thugs bursts in.  She leaps out the window, half-dressed and clutching a crate full of her cats, stopping only to watch her apartment explode and burn.  If that opening doesn’t grab you by the throat, I don’t know what will.

Even as Catwoman barely escapes certain death, writer Judd Winick tries to keep the tone light.  Selina maintains a very flippant attitude as she watches her home burn, even cracking a joke to herself and focusing on the fact that she just needs to keep moving.  She seeks help from a friend, which, in and of itself, seems out of character.  Selina herself comments on how odd it is for someone like her to have an actual friend.  The internal monologue, as well as the actual exchange between the characters, emphasizes the loneliness that Selina experiences every day, a theme that will more than likely be the focus of this arc.  Judd Winick looks to be laying the groundwork for some honest-to-goodness humanity in the fiercely independent criminal/anti-hero.  Follow that up with some detective work in a Russian mob bar, a flashback to Selina's youth, and top it off with her brutally beating a man in a bathroom, and we are reminded that Catwoman is still a predator at heart.

The issue closes out with a very surprising encounter with the Dark Knight himself.  Not unlike Superman's appearance in Supergirl #1, Batman shows up right at the end in what seems like an effort to remind the reader that we're still in the same universe.  We get it.  However, the real surprise comes when the lonley and frustrated Catwoman throws herself at Batman and the two end up knocking boots.  Shock value?  Yes.  Necessary? Probably not.  It's the capper to an issue that definitely wanted to reestablish one of DC's most sexually charged characters.  

While the overt sexuality might seem excessive, you have to hand it to artist Guillem March for pulling off both amazing action and gratuitous fan service.  The best example of both is Catwoman's half-dressed leap from her exploding apartment.  But if this book expects to earn a following, the creative team will need to work a little harder to get the readers to care about Catwoman again.

Review: Supergirl #1

The women of the DCU continue to make their mark on the New 52.  Crashing to Earth in Week 4 is Supergirl #1, a book that received a great deal of attention from fans when the first preview images were released in the summer.  Want to know why?  Read on!

Supergirl is a character that gets a new story almost as often as she gets a new costume.  This time around, she gets both.  Supergirl #1, like a handful of other New 52 titles, wipes the slate clean and re-introduces its protagonist into the DCnU.  Plummeting to Earth in classic Kryptonian fashion, the Girl of Steel’s alien vessel touches down in (where else?) Kansas, but burrows through the planet until it comes out the other side in snowy Siberia.  I could almost hear the writers saying, “Fooled you!”  Our heroine emerges from the smoldering hole, already clad in her new attire, a costume that looks to be a cross between her classic ensemble and the suit worn by her Earth-2 counterpart, Power Girl.  It was the first image of this new look that garnered attention from vocal fans.  Immediate speculation began, citing the familiar costume and similar hair style as hints that the character of Karen Starr (Power Girl) would be the DNnU’s new Supergirl.  Others feared that the physical blending of the two characters meant the exclusion of Power Girl from the New 52.  As of the final page of Supergirl #1, these questions are still unanswered.

Meanwhile, back in Siberia, the frightened teen can’t even figure out where she is before she is accosted by a squad of armored soldiers.  Co-writers Michael Green and Mike Johnson immediately get the reader emotionally invested in this scared and confused girl.  How would you feel if you woke up in a frozen wasteland, surrounded by half-a-dozen giant robots that were shouting at you in a foreign language?  Unfortunately, the empathy is fleeting.  Just when Supergirl is about to be taken down, the sun comes up and her Kryptonian powers manifest.  What follows is a prolonged fight scene that lasts for the rest of the book.  Artist Mahmud Asrar’s stark style deftly portrays heat vision blasts and feats of strength that tear mechs apart, but before you know it, the book ends and you find yourself saying, “That’s it?”  The abrupt ending is brought to you by none other than the Man of Steel himself, making an appearance not unlike his final page debut in Justice League #1.  While he belongs among the other heroes in JL#1, Superman has made some New 52 cameos, including this one, that make it seem like the writers need to validate the lesser-known titles by throwing in a top-tier character.  C’mon, guys, let the B and C-listers make it on their own merit.

Supergirl #1 starts out on a strong, emotional beat, establishing the sense of loneliness and isolation through both the character’s inner monologue and the dark, barren setting, but, sadly, it gets lost among the overly drawn-out action.  With Big Blue now on the scene, expect some lectures about how humanity needs protecting and lessons on the finer points of superheroing in issue #2.

Review: Birds of Prey #1

Never send a man to do a (super) woman’s job.

Batgirl #1 and Batwoman #1 have already hit shelves, but the majority of the DCU’s leading ladies debut their new titles this week.  Leading the charge was, of course, Wonder Woman, the First Lady of comics, but she’s not the only one stepping into the spotlight for Week 4.  Joining her is DC’s most notable all-female team, The Birds of Prey.  Originally running for 127 issues from 1999 to 2009, the series found new life in a relaunch in 2010.  With a retooled lineup comprised of old favorites and fresh faces, BoP spreads its wings and takes off in an action-packed first issue.

The new story follows Dinah Lance, aka Black Canary, as she embarks on her own crime-fighting crusade with the goal of bringing together the world’s finest heroines.  She partners with Ev Crawford, aka Starling, a new character created for the relaunch.  Their first mission involves a novice reporter who, unbeknownst to him, is a pawn being used to trap Dinah and Ev.  When the trap is sprung, the action takes over and artist Jesus Saiz puts together panel after panel of ass-kicking acrobatics as Black Canary singlehandedly punches, kicks, leaps, and Canary Cries her way through a hoard of invisible assassins.  (And props to Mr. Saiz for including every meticulous crisscross pattern in Black Canary’s famous fishnet costume in every single panel.  It ranks right up there with Aquaman’s scales.)

As the main story plays out, writer Duane Swierczynski dips in and out of flashbacks that follow Dinah’s efforts to bring her team together, featuring appearances by original BoP founding member Barbara Gordon, and martial arts mistress, Katana.  Neither joins up initially, but I’m sure we’ll see more of them in future issues.  In addition to setting up a potential roster, Swierczynski lays the groundwork for an ongoing storyline that involves Black Canary struggling to clear her name after a bogus murder charge is brought against her.

Swierczynski also presents a somewhat playful tone when it comes to the banter shared between Dinah and her compatriots.  Whether it is during a clandestine meeting in a diner, or in the middle of a fight, the Birds of Prey maintain an air of confidence and bravado as they exchange sideways glances and smirks. 

I’m definitely coming back for more from Birds of Prey.  The world of comics may seem like a boys club at times, but when you have female characters like these, they can take their place right alongside Batman, Superman, Green Lantern, and The Flash as they all continue to fight the “Never-Ending Battle.”

Review: Wonder Woman #1

We’ve heard from Superman.  We’ve seen plenty of Batman.  This week, we finally catch up with DC’s First Lady, Wonder Woman.  Does she take her rightful place as member of the New 52’s DC Trinity, or does she fall as flat as her failed TV pilot?

In Wonder Woman #1, writer Brian Azzarello brings Princess Diana into this new DC era and immediately surrounds her with elements of the mythology from which she was originally conceived.  Greek gods, monsters, and mysticism permeate this first issue, creating a much more fantastic tone for Wonder Woman, rather than placing her in an urban setting like Gotham or Metropolis.  Before our heroine even appears on the page, we are greeted by nameless (and in one case, faceless) villains who appear to be declaring war on the gods.  It is only through the intervention of Hermes, messenger of Olympus, that Wonder Woman becomes involved.  In a somewhat rushed series of panels, she literally gets out of bed and dons her costume, ready to go kick some ass.  She immediately finds herself thrust into guard duty, protecting a young girl who may or may not have experienced some divine intervention of her own. *wink wink nudge nudge* Could we be gearing up for some biblical themes to go along with the Greek mythology?  An intriguing prospect.

As we all know, the New 52 have brought about some costume changes, ranging from Superman’s armor, to Green Arrow’s Smallville duds, but in the last year, no one’s attire has garnered more attention than that of the Amazon Princess.  For Wonder Woman #1, she’s back in her original costume (or at least a version of it), but this time around, some of the blues and reds have been replaced with black, possibly as an attempt to maintain the dark color scheme seen in the recent Jim Lee costume design.  Thankfully, the motorcycle jacket has gone the way of Bat-nipples.  Props to artist Cliff Chiang for keeping Wonder Woman looking classy.

While there is plenty of action and a slew of unanswered questions to bring you back for #2, Wonder Woman #1 falls a little short when it comes to getting the reader involved in the characters.  Instead, you’re simply attempting to keep track of who these characters are, while also doing your best to pay attention to the rapid-fire pace – Monsters! Wonder Woman, we need you! Punch! Kick! Lasso! She’s pregnant! MOO?! To Be Continued!  As a means of grabbing attention, the book does an excellent job…as long as you can follow along.  Hopefully, we’ll get to examine Diana as a character in the near future, and learn how her relationship with the Greek gods will shape this story.