Daughter of Zeus, Wonder Woman, is one of the most powerful beings to grace the earth with her presence. But with the promiscuous Zeus as a father, it makes sense that Diana may not be an only child. In Los Angeles on official hero business with Steve Trevor, Wonder Woman takes down a giantess only to be immediately thrown in the path of an even more terrifying threat: a lawyer, looking for her. With the story opening in a small rural town occupied by one Paul Jackson, we are led on a chase to discover why Darkseid has ordered him dead, and what this means for our beloved heroine. With action, tension and some good ol’ fashioned neighborly concern, the first installment of the Children of the Gods story arc has begun.
And the ride promises to be a good one.
Inkpot award winner James Robinson depicts a world of emotions in his words. The townsfolk read as cheery and welcoming from the get go, and even though they aren’t in the story for long, it’s enough to give you a good idea about the place Paul Jackson spends, or rather doesn’t, his days. When it comes down a the showdown between the Children of Gods, new and old, Robinson’s characters slip into a more formal dialect. Their roots show from their proper wording and the feeling of warmth is dropped from the story, replaced with a cold challenge of life or death. The lawyer all but screams, “Ambulance chaser!”, though I’m not sure probate lawyers do that. I think they more often run FROM the ambulance?
Robinson just does a really good job at making the characters speak in a way that tells of their past, their current situation and sets the tone for the rest of the arc to unfold in the appropriate manner. Coupled with Carlo Pagulayan’s amazingly detailed work, I have high hopes for CotG to continue on in the same vein as the recent Wonder Woman stories have: to be completely and irrevocably in beast-mode. Pagulayan has incredible depth to his work, I swear, you can count the leaves that fall from the trees when Paul channels his inner Bunyan. Fluid and smooth, the action sequences are seamless, your mind easily making the connection between one panel to another without a break in the story. I’m also a huge fan of the use of panels in this book. The placement, and absence of frames in other places, made everything pull together in a more aesthetically pleasing way than a typical panel layout would have. In the scenes with Wonder Woman and the giantess, having more room on the page allowed the art to take front and center stage, the depth and perception giving the work a realistic quality that stands solidly on its own as a story-telling voice.
(W) James Robinson (A) Carlo Pagulayan (CA) Bryan Hitch