OH. MY. GOOGLY. GOD. It’s time for Wonder Woman to shine again! And it’s about time too. After a not-so-good-selling-series with the beginning of her new volume, Gail Simone has been brought into the scene and is giving Wonder Woman much love. The love that Wonder Woman deserved from the very beginning, seeing as Wonder Woman is one of the big three. Now I have to begin. There’s so much good stuff happening in this issue.

Gail Simone as the writer – reading this, I could see so many things happening in the story line. Simone isn’t just tying up story lines from the past; she’s creating new ones, from her writing and lines from each character. Simone is also creating new dangers for Wonder Woman. From this writing, we see the warrior within Wonder Woman that we haven’t seen in a long time. Rather than being a cry-baby, she’s really fighting those gorillas in the fight scenes. It seems as if many writers have forgotten what Wonder Woman really is: a delegate, a diplomat, a representative. But Simone does a good job of ALL those things, and more! Wonder Woman in this one is with poise and elegance, while having all the nitty-gritty attributes of a warrior. Still not convinced? There are super-duper albino gorillas with superhuman abilities! Everyone loves those albino gorillas.

I also must comment on the humour. Simone puts it in the writing very subtlety, though making me chuckle everytime I read the humour. One gorilla said, “They will mate soon” when Nemesis a.k.a. Tom Tressor visits Diana’s apartment. Second, when the gorillas and Wonder Woman are fighting in the jungle, Wonder Woman comments on having a sudden urge for tropical fruit (because fruit is healthy, kids). The return of a long forgotten character – Etta Candy – also surprised me and made me happy at the same time. People who have watched the 70s TV series of Wonder Woman can see that the way she is drawn in the comic looks like the one in the TV series a lot.

One theme I noticed in the comic was the humanisation of Wonder Woman. I thought that her birthday party was a nice symbol for her humanisation, and her commentary of not being allowed to hug in the business world. Again, this is a reference to the humour Simone puts in, and the fact that this is quite true! The addition of Nazis was new, considering that Nazis hadn’t been added since the late 30s and early 40s, and Simone continues this tradition.

Now onto the art: the Dodson team have always been a great team up, and the presence of Simone seems to have fuelled their passion for art again, as they do great art here. The face expressions aren’t cheesecake, and they are the people who KNOW how to draw Wonder Woman. They strike the perfect balance between Wonder Woman being a respectable character, while being sexy at the same time.

Thank you DC! Thank so much. It's about time, too.

I picked this up due to the wedding of Green Arrow and Black Canary and would really love to wish them a happy marriage! :D

Okay, so horrible things happened last time. Green Arrow got murdered by Black Canary but Canary isn't so certain that that was the real Green Arrow.

I have to give props to the art. It's cel-shading art and cardboard cut-outs (in a good way). You don't really expect a lot of texture-type detail with cel-shading art but is supported by the texturing in the background on the cover. However, inside the comic, I was disappointed at the art. It was so good on the cover and on the inside, the cel-shading had lost its true charm, even though a few provided the detail on the front cover.

I thought the introduction was nicely done and gave us an ideal contrast of what it was like when Green Arrow was "alive"; when they were both happy and their relationship had started. When it cuts back to present time, we can see Black Canary's sorrow pretty easily, thanks to the introduction. I also have to give credit to the writer, Judd Winick, for writing out the plot flowingly. He got it really well to the point where the ending of the first issue ended with a surprise. Mentioned before, he also presented Black Canary's sorrow and anger pretty well again through words. I also have to give props to how he captured Speedy's sarcasm pretty well, when Green Arrow (Connor Hawke) had commented on Black Canary's anger when he says, "She's not coping very well" and Speedy replies, "Oh my GOD... You really think so, Dr. Phil?"

Once you read this, you can see it's a nice twist on the usual things in the DC universe and it's a nice break from the Big Three.

Booster Gold #1 has finally hit the stands and I'm sure all Booster Gold fans are drooling all over this, but not before they put the book in their plastic sleeves. First of all, this comic was a great combination of drama and comedy. Reading through back issues of him plus this new one, you can see that he really cares about his fame and status but in the end, he just wants to be accepted and make friends.

Geoff Johns and Jeff Katz do justice with the writing and through the writing, it has Booster Gold asking whether his status of being rich and famous affects his life. It's a heavy question that is to be asked, plus like I mentioned before, the writers do it with comedy too.

Dan Jurgens and Norm Rapmund do great with the art, making it really classical comic look with plenty of bold lines and bright colours. The art makes it fit really well, considering the type of storyline and character presented here being presented here.

Batman is taking over the Outsiders now, and a whole new line-up is happening. So who's going to make it past the chopping block? Through each new issue, there have been tests to prove who can make it through and who can't. Now it's up to Metamorpho and Aquaman to do a rescue mission, but things aren't easy as they seem. For one, it's in the desert and Orb of Ra enters the picture too. This issue also explores the life of Metamorpho of what it's like to be a highly respected hero, where fighting gains him experience and how it hardens him - nothing scares him anymore. The way G. Willow Wilson pulls this off seeing as he is side-character is done quite nicely.

However, the new Arthur Curry doesn't seem to be as complex as how Metamorpho has been treated, but the Wilson puts a good character in Aquaman though, stating that Aquaman is more than just a person that Metamorpho can call "kid" or "son".

The art is not what an usual comic reader would expect. It is minimalist and hazy and what I noticed was the fact that Josh Middleton will draw a character's impact before hitting the ground. It works like a freeze-frame and it's refreshing to see this but some readers may be put off with this new type of style.

What's interesting about this little series is that it's not the usual team-ups, and the team-ups are most likely chosen because of their conflicting personalities, which also makes for good story telling. Recommended that this should be picked up and see what's coming up next.

Overall, this issue isn't bad. But sometimes when something goes wrong, you need someone to blame. It's hard to say. For example, the colourist comes last. When the colour has been added nicely, editors might change something or the printing job might have done recklessly. It might turn a maroon into the red you see when you turn the brightness on the television too high. It's like when you buy a brand new computer game, you expect it to install flawlessly and run flawlessly too, without any hitches or overly extruding bugs. With Wonder Woman #9, there are a lot of bugs.

Let's start with the writer, Jodi Picoult. I find some really stupid mistakes that should've been detected by common sense. For example, a scene where Nemesis is surrounded by guards and Wonder Woman is above him, whispering in his ear, yet none of the guards notice. You think that they would. I mean, come on, a superwoman wearing bright blinding colours is not noticeable?

Onto the art: Rachel and Terry Dodson, who are the pencilers and inkers do an excellent job. They have a very clean style about them and the both of them are an excellent team-up. However sometimes they overdo is some scenes, but at other times they know what they're doing. Alex Sinclair is a great colourist because he knows what he's doing, but the colouring here isn't just right for this issue of Wonder Woman.

DC, you're just mean. It goes back to the “Who is Wonder Woman?” storyline. After nine issues, I still don't know how to answer this question. Can you? Instead of just treating her like a pinball, how about giving her a clear direction?

One of the biggest storylines has made it to the shelves of comic stores all around. Revealed in Wonder Woman #8, we find why the Amazons are rushing into America with swords held high, heavy weaponry and also the legendary Cyclops, bent on bringing Man to its knees. The Amazons are angry, and it’s definitely going to be a bad day for the men in Washington D.C.

Will Pfeifer, the writer for this issue, does an excellent job. If you have read things like Catwoman or Aquaman, then you have read his stuff and it’s GOOD. And you’ve probably figured out he knows how to write a story. He doesn’t waste time setting up a story, he gets to the point straight away. With four panels, he sets the stage and then with a big literal “BOOM!” there’s an army of angry Amazons on the soil of America and they’re not happy Jan. With a straight to the point story, he also had the skills to incorporate action, character development, mystery and not to mention humour. There’s even a little Star Wars reference for the Star Wars fans. Pfeifer also has this ingenious skill to be able to put the story on two levels: what you can pick out immediately, and what’s beneath the noticeable story and we all know those are the best ways to tell any story. First, you see the Amazons attack because of war, but then also, we see how war can be deemed right when it’s appropriate, but can be quickly turned into death and pain. Pfeifer does a great job just slipping it in. We know it’s there, but it’s not in your face so you are taken away from the action.

Pete Woods is the artist here, and he also does an excellent job. It’s in your face, but he doesn’t go overboard. He does great expressions, and from that, we feel the wrath of the Amazons, apart from things blowing up as well.

If you like action, if you like manipulation, this new series will certainly be interesting. So sit back, relax, and watch where this takes you.

In this issue, the Justice League decide to clean up its past and with that, it comes included with the rebuilding of the headquarters, a new chairwoman, a new character name for Arsenal and added subplots. With this new issue, writer Brad Meltzer mixes old and new as he was always interested about the Justice League in space and was also a continuation from the original team who were modernised and with fewer iconic characters. He does a good job of separating the unofficial teams, and that is the three top characters, Superman, Batman and Wonder Woman and the other team Black Canary, Green Lantern and Arsenal. He also has gotten rid of the other classic members of the JLA such as Martian Manhunter and made space for the characters that were at the core of the space JLA headquarters. However, he does not retell the story; he uses other elements from other DC eras. Other influences are also put in the story, such as references to the Outsiders and Red Arrow. Though other writers have done this history re-touch thing, Meltzer does it best in the shortest time.

Even though this issue was smartly written up, it’s just an issue to clear things up for the next issue. For new readers, this will be very boring, but will be very interesting for regular readers.

I saw this somewhere on Comic Vine and I thought I might review it and from reading this story, I can see the theme in this comic, if not the whole Runaways' comic and what it’s like growing up and maturing with age. I think this may touch on issues with teenagers that they may be afraid to discuss, or are perhaps confused with these certain issues of teenage-hood like sexuality, relationships and losing close friends and family (Chase's supposed teen suicide). I dedicate most of my rating to that, as most comics do appeal to teenagers. After two years, writer/creator Brian K. Vaughn is leaving with Joss Whedon filling his shoes. Whedon is the perfect choice for runaway teenagers as he can understand these teenagers, and the way he executes actions for each character is constant. His humour and action fit in perfectly. Vaughn has also gotten Super Skrull to really be one with the team, and Whedon puts that out really well and his dialogue is great, as he uses one-liners but they can be interpreted as deep conversations and with Nico, not sure whether she should be leader or not, it goes really well with the dialogue.

But here comes to negatives. Marvel here have been trying to establish the Runaways in the 616 universe, but they aren’t doing a very good job even though they have had some cameo appearances here and there. In the last panel of issue #24, they are seen running away from Iron Man when he gets them to register (Superman Registration Act) and Chase tells them to run for it. So they leave California, which is totally understandable seeing as they are runaway kids. So where do they go to become big? New York, New York! And there, they decide to work for someone called… I won't ruin the surprise, as that's probably the climax of issue #24. But what I don’t understand is why they would escape their villainous parents, to run back to some other villain? It is okay that they are taking a main role in the Marvel Universe, but I don’t think this is the right way doing it. They are just confusing readers. Another downfall I saw in this issue is that when Whedon came in, I just wondered why he didn’t take the storylines that leave you hanging, as he goes and continues ones that aren't bad, but can do better. This confuses the storyline even more, as there is no mention of the Nico/Victor relationship. Instead, he gives us the Nico/Karolina love story which was meant to be resolved, but according to Whedon, it’s not because there are four pages devoted to it.

Looking back on other issues, I see the differences in art, and Adrian Alphona’s is sure different as Michael Ryan’s art is the total opposite from Alphona. Ryan's flow from one panel to another is excellent and his body language and face expressions are superb. This issue a must to pick up too, even for new readers as Whedon does a good job on background information for each character and if you are a regular reader, you are guaranteed to enjoy it.

This is the story in which Red Tornado attempts to become truly human. This is a nice change from the over-use of dialogue, as this issue is basically violence. Very violent, actually, as there has been a variant of the cover. Meltzer does a good job as his style is perfect for these fight scenes and can show what is happening in the fight scenes with a very detailed manner without looking too messy. However, this slows down the story as an attack which could be drawn in two panels is drawn out into eight panels and some panels do look messy, even though the majority do not. The art is excellent, as the drawings represent the characters’ personalities quite well, whether it is powerful, sexy or scary. The ending is a shame though, unless you are a fan of Red Tornado who wants to see what he does with his life.

This issue is a flashback issue which sets the stage for the new JLA comics. Most of them are flashbacks, though there are also flashforwards where we see Wonder Woman, Batman and Superman still interacting with each other, keeping JLA alive. New readers to this should take some time to research the history, as the time between the pre and post-Crisis is a bit hazy, but regular readers will understand straight away. The journey of the three-way relationship evolves greatly in this issue, and shows how much it will evolve in future issues. It's relaxing to see them as friends again, rather than bitter enemies. The artwork is sloppy and some of the artists don't seem to be trying at all.

Diana is missing, and Donna Troy must replace her to stop the world from falling to its knees. The writers attempt of fix up those continuity issues which is nice. Terry and Rachel Dodson are the artists for issue, meaning no corny poses or anything of that cheesecake sort of stuff. They have also provided some nice artwork giving her a graceful tone, showing their excellent skills in a battle between Cheetah and Giganta, but they should take it easy on the cramming of characters in just one panel. For example, there is a part where Wonder Woman throws a backhand punch, but it is unclear as to which character she is punching. The costume has also had a slight change, meaning it's not as American as it seemed, taking back her ancient Roman/Greek ways, which is the right way to go. Not that I'm anti-American, but then again, Wonder Woman never really was American herself, either. I don't think it will last long, but it shows that Wonder Woman is representing her island, from where she really came from. Villians are prominently introduced, though there not rubbed in your face either, which is a nice touch. There is also a certain mystery to who the new Wonder Woman will be and what Diana has been doing since her disappearance.

Donna Troy is out as the new Wonder Woman and battles Diana's old enemies, while Diana has a new identity, Agent Diana Prince. It makes it even more difficult as Cassie Sandsmark, who is now Wonder Girl comes into the story - someone has to be her mentor and teach her the ways of being a good superheroine while Diana is to keep people realising that Agent Diana Prince is Diana herself. Even with many characters being introduced, the story flows quite nicely, though the cramming of supervillians in one small panel with crazy costumes does confuse you a bit, making you study the panel more carefully.

Many contenders are itching to be Wonder Woman - even Hercules himself, though he doesn't need to be wearing the star-patterned underwear. In this issue, Wonder Woman has become Agent Diana Prince and has seemed to gain a new sense of humanity. Another positive is that the Dodsons have been chosen as the artists, and they do such a good job of it, portraying her as a beautiful goddess, which of course she is. The art is very detailed, though not messy and does not look like a rush-job either. The plot however, is starting to get old as we all know Diana will get her Wonder Woman title back.

Donna Troy is meant to be Wonder Woman and we were guessing it would stay that way. But then in Justice League #0 and #1 Diana had become the new Wonder Woman, and so that surprise was already ruined. In this issue, it's clear that Diana is the focus as with issues #2 and #3, the attention turned away from Donna. This issue gives the journey of that and the title gives many meanings which the readers can decipher. Diana is trying to re-establish herself as the good superheroine that everyone knows and loves and Diana loses her power to Circe. On a journey to try and regain her powers, there's a cross, and then a double cross which was caught my totally off guard. The writer, Alan Heinburg, does a good job of setting out the plot, which made this interesting to read.

Terry Dodson, the artist however is always stuck with the late issues and it’s a shame because his art is great, though perhaps the delay could be a benefit for him, as that means more time to create some beautiful drawings as each panel is nicely done. In a book about goddesses and gods, Dodson is fit for this role, as he draws Wonder Woman beautifully, always portraying her as goddess-like, though is perhaps not suited with Batman as his drawings require darkness.

In this issue, Wonder Woman discovers that she has inspired women to rise up against violence. The story was pretty sloppy and looked like a fill-in job was done. Even when addressing a serious issue of violence and women, it's actually more disturbing than inspirational. Later issues have already told us that she is wonderful... that's why she is called Wonder Woman. No? Which takes me to a scene in which a retired supervillian is beating his wife and that scene makes Wonder Woman look like a bully rather than an inspirational woman who teaches people to deal with their problems. And when the bad guy can't hurt her, this makes her look even worse. Also, Wonder Woman's charges against Maxwell Lord were dropped, I believe, and now they're combining these two plots together, which I don't really understand. The art is just powerful, to show that Wonder Woman was here to protect with great strength and nobility, and always will be in a beautiful way - just like the cover.

Secret agent Diana Prince is to bring in Wonder Woman, which may pose a problem seeing as she is Wonder Woman. The focus on this issue is Diana and her difficulty in Man's World, which is a strange continuity seeing as in this issue, she can't use a credit card, pump gas or buy a cup of coffee. Strangely enough, she can use a turnstile. The poses in this comic are a bit to corny but the art is attractive and makes the comic easy to follow, directing your eyes easily to the next panel. They are also using the same bad guy, but maybe this is just the icing on top and more riveting truths will be revealed later on.

In this issue, the Amazons fight against the OMACs, once and for all. The reason why the OMACs attack isn't greatly explained, though that probably leaves more storylines for the future. This issue also gives light on some of the Amazons and it gives us a sense of loss in human life and the Amazons. You can see that the art is rushed. According to DC, Rags Morales would be doing the art, but a fill-in guy had to come. The fill-in person does do a good job, showing detailed emotion, though you can see its messiness because of that, but the art was flowing, as it easily showed you to the next panel. The cover of the book is excellent however where Wonder Woman is in a Christ-like pose. Regular readers of Wonder Woman would understand, as the comic has always had strong religious themes running through it such as Diana exclaiming "Great Hera!" and they talk about love, sacrifice and nobility and the fact they always refer to the Olympian Gods for further guidance. In the toughest times, the gods have chosen to let them die, perhaps for the greater good of somewhere else, and the OMACs are willing to go with it. This sets the story for some really bloody fighting scenes, with more to come in the next issue.

It is true that nothing is finished, only abandoned in this issue that would perhaps be the true finale of Wonder Woman. Greg Rucka's writing nudges itself in, with a lot of explaining and plenty of sentimental scenes where supporters are cheering the almost lost Wonder Woman. The climax of this issue is where she questions herself, her beliefs and her ability to fulfil her position as Wonder Woman and questioning the readers with questions such as "Would she die?", "Would she lose her powers?" It was only a matter of time. Three months in fact to find out. The art in this has improved much over the last few issues and it shows with the artists being able to draw up Wonder Woman's expressions and show genuine emotion from what seems to just be a lifeless picture, though some of the supporting characters look a bit plastic, perhaps to focus all the attention on Wonder Woman's confused feelings. J.G. Jones should be merited, as he gives the perfect summary to this issue, with an appropriate, beautiful and melancholic cover as the birds give a metaphoric message making way for the new Wonder Woman.