By: Dan Abnett & Andy Lanning (writers), Christian Duce (penciller), Walden Wong (inker), Hi-Fi (colorist)

The Story: No, no, I said we need to get the truth out there!

The Review: I had a literary journalism major as an undergrad.  One of the required courses I took was on journalistic ethics, which included a session where we discussed how much a journalist can insert himself into the story, a debate of an intensity and heatedness that I can’t even begin to fathom now.  The point is, most of the time the journalist puts the demands of the story before himself, staying out of the action so events can proceed on their most natural course.

Despite Lois’ assertion last issue that she “has become part of the story,” her role never really reached beyond that of observer and narrator, a cipher to whom other people can tell their stories.  And that’s fine, except like most journalists, she spends far too much time focused on the splashy, action-packed side of things (the escapades of the Resistance) and not enough with the actually important points (the Amazon war crimes).

When you take a step back, you realize that in the context of Flashpoint, the revelation of the Amazon internment camps and gene-tampering experiments have the biggest, game-changing effects on the plot as a whole.  Wonder Woman’s discovery of it horrifies her sufficiently to fly off and confront her aunt (who presumably engineered the whole thing), and Lois’ broadcast of it to the world may have been just the prod the world needs to step in and shut down this madness.

Yet throughout the series, DnA spent all of two pages in the first issue on this storyline, and even then, they gloss over it.  You can immediately sense they included this plot thread solely to have a conflict to motivate the existence and actions of the Resistance.  If they had any serious intention of making the Amazons’ wildly tyrannical and inhuman behavior a true sticking point, they’d at least have the Resistance mention it at some point in this final issue, and they don’t.

Instead, they spend their time doing the only they can: giving the beatdown to some armored women.  That’s really all this whole title has been about.  And again, that’s fine, but to really get invested in such a brawl-focused comic, you need far more entertaining twists than Hyde go through a split-personality breakdown over his (her?) human self’s betrayal of the team.

One point that really deserves some comment on: the chronology of these tie-ins, which, to quote Leo Tolstoy, has been a backwards mess.  In Emperor Aquaman #3, Wonder Woman reveals the treachery of her aunt and Aquaman’s brother.  One week later, in Wonder Woman and the Furies #3, we get to actually see that treachery.  And now, again a week later, we see what motivates Diana to seek out her aunt in the first place.  This reverse storytelling strategy may work in a more ambitious context, but for a series of tie-ins with only so much substance, it just irritates.

And following that backwards trend, the rotation of artists has actually produced better results with each issue until now, with Duce, we have a pleasing, if unremarkable, look to the series.  The women actually look like humans, rather than balloon-heads attached to hourglass torsos with boobs.  On that point alone, both Duce and Wong deserve credit.

Conclusion: As relentlessly unimportant as it began, this title may finally be laid to a deserving, much appreciated rest.

Grade: C-

– Minhquan Nguyen

Some Musings: – Seriously, DnA, I think you can come up with a more creative place to shoot arrows into Penny Black than her back.  Twice in three issues?

Grade

Conclusion