Continuity is a bitch.

For example, how old is Patsy Walker? She first appeared as a teenager in 1944’s Miss America Magazine #2, which would make her an octogenarian in 2018. If we use her in-universe high school graduation date — 1964, after twenty years of high school — she’d still be in her early seventies.

Even the superhero version of Patsy should be in at least middle age, given that she was on the Defenders in the mid-’70s. Admittedly, she’s been dead at least once, which might have provided some rejuvenation — but, still, there’s no reason she should be running around like a crazy Millennial when she’s clearly Greatest Generation.

But Marvel Comics has a powerful interest in keeping Patsy Walker as a property they can exploit, and they know well that the Wednesday Crowd doesn’t buy comics about old ladies. [1] And there are creators with inexplicable fondness for any random character you could name, which of course includes ol’ Patsy.

(And Marvel did realize, not all that long ago, that women are actually half of the human race, and so making more comics by and aimed at women might not be as stupid an idea as they’d insisted for the past four decades. We all know about the backlash to that, because superhero comics fans get really shirty when they get an inkling the world does not revolve around them.)

So, yes, we got a rebirth of Patsy Walker, befuddled Millennial, who seems to have been born no earlier than the first Nirvana album (as opposed to Benny Goodman) and who somehow is still clueless about life despite being a superhero for forty-five real-world years. Hey, it’s a living, right?

The first collection of the recent Patsy comics is Patsy Walker A.K.A. Hellcat!, Vol. 1: Hooked on a Feline . It’s written by Kate Leth, with the first five issues here drawn by Brittney L. Williams and the last drawn in a radically different style by Natasha Allegri.

It apparently launched out of a She-Hulk series that had Patsy as a supporting character, since she’s just been laid off as an investigator as this series starts. (Which is fine, since my understanding is that law firms tend to contract for investigative services as they need them, not keep people on staff as full-time snoops.) And, I guess because “comics for women” these days means “young and free-spirited,” Patsy’s life is in turmoil — she was living in a broom closet and has essentially no possessions.

But the young and free-spirited young female protagonist is also indomitable, and so Patsy is equal to all of her obstacles — quickly finding a new place to live with a new roommate, reconnecting with old friends, and hatching a plan to start a superpowered odd-jobs service. (I frankly find it hard to believe that business services companies and tech start-ups haven’t already leveraged superpowered individuals into multiple billion-dollar businesses, but nothing actually happens in the Marvel Universe unless the star of a comic makes it happen.)

Meanwhile, the comics that Patsy’s now-deceased mother wrote about a fictionalized version of Patsy and her friends — which are now, what? the equivalent of The Babysitter’s Club in this timeline? — are being republished, because Patsy’s old frenemy Hedy owns the rights. This deeply annoys Patsy, not least because she isn’t getting a cent from them.

There’s also some actual super-heroing, mostly against a supervillainess who even the plot admits is a cut-rate Enchantress and whose plot is basically to gather a bunch of lousy brand-new powered villains, have them break stuff, and then profit through the miracle of Underpants Gnomes. It doesn’t work, of course — funny, isn’t it, how naughty dentists always make that one fatal mistake?

Patsy Walker A.K.A. Hellcat  is fun and zippy and youthful and energetic, even if I personally think Ms. Walker should be a lot less youthful than she’s shown here. The art is crisp and very colorful — Allegri has a different, almost chibi-esque style for the last issue here, but the coloring ties it all together and it’s art with a similar feel and bounce to it.

Very little of this had to be about Patsy Walker — any minor superhero with a complicated past would do, and they pretty much all have complicated pasts by this point. But it’s a fun story, and doesn’t take any of the superhero furniture seriously, and actually tries to find a socially useful purpose for people who can do weird things. That’s all good stuff. So, of course, this series only ran seventeen issues.

[1] Although a superhero midlife crisis comic — where the main character isn’t drawn to look late-twenties like everyone else all the time — could be interesting. We get the “why do I spend my time punching guys with panty hose over their heads” Superhero-No-More! plotline regularly, but it’s never tied to the fact that Random Hero X has been doing this for decades like a treadmill.

Patsy Walker could be a good choice for a Lady of a Certain Age comic, with her long history of never being that major and actually being divorced from the Son of Satan — that catty dialogue writes itself. It’s a good question: is she really supposed to still be in her twenties after everything that’s happened to her in seventy-four years of comics?

Reposted from The Antick Musings of G.B.H. Hornswoggler, Gent.

I can’t prove this is the best strategy, but I tend to read a book first and then research it afterward, when I’m trying to figure out what to write here. As you may have noticed, I can be opinionated, so I try to minimize the chance of having strong opinions about something before I read it — oh sure, it never entirely works, since you have to know something about a book to even want to pick it up, but I think it helps.

So when I tell you that I had a suspicion that The Last Dragon was based on something, I mean exactly that: a suspicion, lurking in my head as I read the book and particularly Neil Gaiman’s introduction. The book itself just said that it was a graphic novel, written by Jane Yolen and painted by Rebecca Guay.

Now that I have finished reading it, I can google away. And so I find from Yolen’s site that it was based on something: her 1985 story “Dragonfield.”

Does that change anything? Well…not really. I don’t think I’ve ever read the original story, and it’s not like Last Dragon is set in a wider fantasy universe or anything. This is just one story about one place and one group of people. But if you’re a huge Jane Yolen fan, you might know the story — so think of this as a consumer notice.

Last Dragon is vaguely medieval, in the sense that things seem to have been the same way for a long time. There’s no sign of lords or wars or that kind of thing — it’s the usual fantasy medieval world, with only as many details as the story needs. There’s an archipelago where dragons used to live, long ago before men came. When men came, they killed all the dragons, of course — that’s what men do.

It’s now two hundred years later, and dragons are barely a memory in the town of Meddlesome, far out at the end of those islands. But we the readers know one lost dragon’s egg has emerged and hatched, and that there is one dragon, growing and eating, not too far from Meddlesome.

But in that town, there’s a herbalist who has three daughters — a serious, hardworking one; a dreamy, wool-gathering one; and an inspired, driven one. That third daughter, Tansy, is our heroine, as of course she must be — it’s always the youngest child of a matched set.

Eventually the dragon is found and the threat understood, but it takes a while: meeting the dragon is generally equivalent to being eaten by him, so there are only rumors and fear for a while. Meddlesome knows it must slay the dragon, but those skills are long dead. A few young men set off to find a hero, and come back with someone who looks like a hero.

And, eventually, the heroine becomes part of a plan that bears an odd resemblance to the plot of A Bug’s Life. (But, again, the original story here was from 1985; much earlier.) And the title is both true and, in the end, not true, when there is no longer a “last dragon.”

This is a relatively simple fantasy story, with a dragon that is a destructive force but nothing more. It doesn’t talk, like those of Tolkien or Le Guin, doesn’t hoard treasure, doesn’t have old secrets. It’s just a big, destructive animal that’s difficult to kill — but “difficult” is not the same as “impossible.” There are moral lessons along the way, but fairly benign and positive ones.

Guay brings a painterly feel to this story — the cover doesn’t well represent her work inside, for whatever inexplicable reason. Her work here is generally realistic, but becomes flatter at times, perhaps for that fairy-tale feel. It’s evocative art that grounds the world well — these are real places and people, and a dragon of flesh and blood and fire.

Last Dragon is a perfectly nice little fantasy story: I didn’t love it, but I liked and respected it. It may just be that I have seen far too many stories about dragons for far too many years to be able work up much enthusiasm for this fairly basic version. If you’ve read much less fantasy yardgoods than I have, it shouldn’t bother you.

Reposted from The Antick Musings of G.B.H. Hornswoggler, Gent.

Alan Moore is a deeply self-indulgent writer, always wallowing in his particular obsessions and loves. He gained huge fame for the times his obsessions lined up well with those of a wide audience — and, of course, for being really good at making compelling stories out of those obsessions.

But the downside of being a writer driven by obsessions is that they can leave you vulnerable to making a major work hinge on something really trite.

For example, the central premise of the three-part third major “League of Extraordinary Gentlemen” story, Century , is essentially that everything in the western world went to hell about 1969. To put that another way: the world is now a fallen place, utterly broken from the paradise it was when Alan Moore was younger than sixteen.

Well, duh. Most of us call that growing up. It takes a Baby Boomer to apply mystic, cosmic significance to his personal adolescence.

(A quick consumer note: I read Century as the three individual volumes — 1910, 1969, and 2009. They’re squarebound, and I had them on a shelf, but I’m not totally confident they would count as “books” to most people. The series has since been published as a conventional single volume, though, and that’s what I’m linking to.)

Now, admittedly, League of Extraordinary Gentlemen has been extraordinarily self-indulgent from the beginning, and that was the point. This is a world stuffed full of Moore’s versions of everyone else’s characters and ideas, all done his way, so that everything makes sense in his mind. (I said something similar at greater length recently when looking at the LoEG spinoff Nemo Trilogy . And, ten years ago, I was less positive about the second-and-a-half League story, Black Dossier.) Very few fictional worlds develop wikis by third parties to explicate all of the background details, but LoEG demands them: I doubt anyone but Moore actually knows at first-hand what all of his references are, but just reading the story requires that you catch at least a third of them.

That can be entertaining or tedious. Which it is depends partially on the reader’s fondness for outbreaks of cryptic crossword clues in the middle of a piece of fiction, and partially on the creators’ deftness in weaving those clues in. It also depends, I’d say, substantially on the tone of the story — the first two League stories were Victorian adventure tales, somewhat modernized but still with the pace and energy of a story told for young and rambunctious boys. Black Dossier replaced that with reams of metafiction, and was vastly less successful.

Century comes about half the way back: it’s inherently episodic, since it takes place in three discrete years over the course of a century. But the core of the plot is a relatively straightforward “stop not-Aleister Crowley from midwifing an Antichrist,” which is very Boy’s Own. (It does make Century oddly resemble a Hellboy story a lot of the time, which can be a bug or a feature.)

But Century has a League focused entirely on the menage surrounding Mina Murray, perhaps because characters invented much later than 1910 are still owned by someone else. And, frankly, Alan Quatermain was always boring, and never more so after being rejuvenated as his own son. Orlando is deliberately shallow and trite, and a little of that goes a long way. That leaves Mina to carry the whole story herself, which is too much pressure for a character Moore wants to use as the 3682nd installment of that trite tale, The Immortal With Ennui.

So Century is one part spot the reference, one part rolling ones eyes at Orlando, one part realizing Alan is on panel but so bland one failed to notice him, and about five parts wondering if Hellboy could just appear and punch the evil magician already. (Oh, and one part Threepenny Opera, often staged as if this was an honest-to-God musical, with Jack the Ripper dancing fronting the whores he hasn’t killed yet — have I mentioned yet how deeply self-indulgent the whole thing is yet? It’s deeply self-indulgent.)

Alan Moore has a remarkable mind, full of dazzling ideas and connections that he can sometimes make clear to the rest of us. And Kevin O’Neil is an incredibly simpatico artist for this series, able to draw everything Moore throws at him across the course of a century of history. Century has some remarkable scenes and moments, but they don’t quite cohere into anything like a single plot. If you can accept that for the sake of the ideas and connections — and nearly every fictional character of the 20th century, stuffed in around the edges somewhere — go for it.

Reposted from The Antick Musings of G.B.H. Hornswoggler, Gent.