Writer: Peter David
Artists: Todd Nauck(p), Larry Stucker(i), Jason Wright(c)
Plot: One of the supporting cast members goes missing, and it's up to Young Justice to find him.
Pretty high rating for funny book isn't it? Let's see why Young Justice earns such a high rating. Peter David writes natural sounding dialogue at the female contingent's slumber party, and Todd Nauck displays them wearing comfortable clothing that you can see a group of girls wearing. It's not merely an excuse to show the gals in lingerie and have them dumb themselves down with sexually loaded dialogue. Basically, they get together to watch a few movies--a few MST3K films shown in the pile. Their dialogue is also funny, but it's not funny to them. It is funny to a viewer. It would be funny if recounted at say a lunch-date, but as it flows across the pages, within the context of the story, the dialogue simply sounds real even when touching upon philosophical issues such as death and dying as well as trust.
Suzie--Secret, my favorite--sheds her costume and dons a perfectly charming nightie. I'm happy that she's not stuck in her costume all the time, and her fashion sense matches that of the other young women on the team. Her acceptance of her real name feels sad through the artwork and the way in which she speaks it. Even were you not a faithful fan of the book, you would know that in learning her real name, she learned of other more darker things. Fortunately, she's still portrayed as pleasant and not opaquely black ala' Batman.
Anita meets the knock at the door as she should: with blades in hands. What does that say to the reader? That these are intelligent women who while not mature in years have gained the experience of heroes. Just think, how different the DCU might have been had Babs Gordon picked up a batarang or a baseball bat when going to the door.
The visitor isn't Michael Meyers or worse Joel Schumacher. Instead, Mr. David introduces Anita's father's superior at A.P.E.S. The bearer of bad news, he also gives Anita the clue she needs to find her dad and starts the plot. Mr. David builds the characterization for six pages before introducing the plot. Rather than hammer home the story in a blinding blow, he gently takes the reader's hand and shows her the characters. He leaves the reader to get to know the characters and decide whether or not she will like the character, and then and only then, does he embroil the cast in adventure that changes the mood of this usually light series.
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