By Zack Quaintance — Ah, the weird fifth Wednesday, where indie titles are free to shine, DC rolls out its annuals and specials, and delayed comics from throughout the month finally find a home. It’s also the month where Wednesday Warriors (who are presumably the only folks who would be reading this) get a slight break for their wallets.

I say slight because there are, of course, still new comics to be had, for nothing can entirely stop the juggernaut that is comics commerce, rolling forward each week via its direct market of thousands of small business spread throughout the country, in what these days has likely become the oddest and most-antiquated media distribution system that still has a large and fairly entrenched following (of, to be fair, mostly middle-aged guys).

Annnnyway, the point is there are comics coming out this week, so with that in mind let’s look now to our Top Comics to Buy for August 29, 2018!

Top Comics to Buy for August 29, 2018

Batgirl #26 / Batgirl Annual #2
Writer: Mairghread Scott
Artists: Paul Pelletier (#26) & Elena Casagrande (Annual #2)
Publisher: DC Comics
Price: $3.99 (#26) & $4.99 (Annual #2)
#26 — "Art of the Crime" part one. During a high-speed chase with murderous art thief Grotesque, the villain K.O.'s Batgirl with a souped-up stun gun that temporarily fries the device implanted in her spine. (That thing that helps her, you know, walk and be Batgirl?) Babs finds herself in for a whole new world of hurt now that old wounds have been opened up-and so does Grotesque.
Annual #2 — Sibling rivalry takes on a whole new meaning in this one-shot story that tracks Batgirl's hunt for a serial killer whose M.O. strikes a familiar chord. Namely, a disturbing similarity to her brother, current convict James Gordon Jr. Family bonds are restored during a visit to his maximum- security surroundings, but Babs' doubts linger. Is James Jr. helping to solve this case... or pulling her strings in a diabolical power play?
Why It’s Cool: I’m on record as having loved Batgirl #25, which gave us our first glimpse at the forthcoming run on the character by the new creative team of Mairghread Scott and Paul Pelletier/Elena Casagrande. Scott seems bent on drawing from the character’s history to tell stories that speak to her core values as well as her place within the Bat-family...plus, both of these artists are very exciting.

Harbinger Wars 2 #4 (of 4)
Writer: Matt Kindt
Artist: Tomas Giorello
Publisher: Valiant Entertainment
Price: $3.99
THE FINAL BATTLE! LIVEWIRE VS. THE VALIANT UNIVERSE! We called it the biggest, most impactful, most ambitious Valiant event ever attempted - and we meant it! From across the Valiant Universe, the paths of all of the world's most formidable heroes - X-O Manowar, the Harbinger Renegades, Bloodshot, Ninjak, the Secret Weapons, H.A.R.D. Corps, and dozens of newly activated psiots - have finally converged, drawn together by their old ally Livewire's last-ditch effort to protect the powerless. Now, the long-brewing battle between Valiant's greatest icons will finally reach the stratosphere - literally - and, out of the ashes, a new order for the Valiant Universe will be hewn.
Why It’s Cool: What an event Harbinger Wars 2 has been, clocking in at spry four issues, maintaining the same creative team throughout its duration, and pairing up characters in fresh ways that only a younger superhero universe can do. This is the finale, sort of...there’s an aftermath issue coming out soon. Either way, big things seem to be afoot here and we’re definitely there for it.

Lex Luthor Porky Pig Special #1
Writers: Mark Russell, Jim Fanning
Artists: Brad Walker, Andrew Hennessy, John Loter
Publisher: DC Comics
Price: $4.99
Facing financial and personal ruin, a desperate Porky Pig applies for and gets and entry-level position with LexCorp. Grateful to his new benefactor, Porky becomes Luthor's most loyal employee and defender. But when a major scandal breaks in the news and Lex is called before a Congressional Committee, guess who is about to be offered up as the sacrificial pig?
Why It’s Cool: Nobody in comics is better at taking pop culture icons (a group in which we’d include Porky Pig) and turning them into modern satires than Mark Russell, who has done the same with The Flintstones and Snagglepuss, and will soon get another chance to do so with The Lone Ranger. Based on the preview text, this comic seems to be an incredibly timely look at white collar crime—we have this pegged as an early contender for book of the week.

Submerged #2 (of 4)
Writer: Vita Ayala
Artist: Lisa Sterle
Publisher: Vault Comics
Price: $3.99
As the worst storm in New York City's history crashes over its streets, Ellie Puente's desperate search for her brother, Angel, takes her into the terrifying depths of the subway system. There she finds a lost, helpless child, and is confronted with the stuff of her nightmares.
Why It’s Cool: This year could be remembered for being the one in which the industry saw the rise of Vault Comics, and books like Submerged are a big part of the reason why. This book combines a potpourri of different mythos with family drama and a terrifying experience writer Vita Ayala (who has also spent 2018 on the rise) had in New York City during Hurricane Sandy. Like all Vault books, we have no idea where this one is going, but we’re certain it will be both rewarding and complex.

X-Men Grand Design: Second Genesis #2 (of 2)
Writer/Artist: Ed Piskor
Publisher: Marvel Comics
Price: $5.99
SPACE INVADERS! The Shi'ar! The Brood! The Starjammers! Watch as Marvel's merry mutants take to the stars for the very first time all over again. See the inaugural X-Men adventures of Kitty Pryde and Carol Danvers. Marvel at the conclusion of the now-classic DARK PHOENIX SAGA. A great entry point for new and lapsed X-Men fans alike!
Why It’s Cool: It just is. Writer/artist Ed Piskor’s X-Mythos remix Grand Design is one of the coolest things happening in comics today, with everything from the artwork to the structure to the tactile enhancements made by the book’s special paper ranking as pretty freaking cool. We may end up waiting for the over-sized compiled addition that’s coming down the road, but we still want to stress this as a book that is not to be missed—regardless of your preferred format.

Others Receiving Votes

A Walk Through Hell #4
Beatles Yellow Submarine Hardcover
Bone Parish #2
Euthanuats #2
Exiles #7
Isola #5
Marvel 2-in-1 #9
Ms. Marvel #33
New Mutants: Dead Souls #6
New World #2 (of 5)
Paradise Court #2 (of 5)
Red Hood and the Outlaws Annual #2
X-23 #3

See our other top comics to buy here.

Zack Quaintance is a journalist who also writes fiction and makes comics. Find him on Twitter at @zackquaintance. He lives in Sacramento, California.

By Maya Kesh — Since Lois Lane first debuted in 1938’s Action Comics #1, right alongside Superman and Clark Kent, she has been a lightning rod for how society views strong women. Through the years, this significance has been a double-edged sword, with Lois’ characterization reflecting both progress and limitations in various eras. As the Superman comics pass to a new writer this summer amid much media coverage and fanfare, I think it’s important to look at how Lois has been written historically, what it means to write her well, and why her depiction is so important for Superman stories.

Lois Lane Through History

In the early Golden Age comics (1938 - 1955), we see Lois Lane very much steeped in the working dame mode of that era. This is familiar to us through old movies like His Girl Friday.

In the Silver Age (1956 - 1970), Lois becomes a caricature of this idea, a desperate career woman who needs to marry to be happy. Lois having an end goal of marriage isn’t a problem, but it is a problem how that end goal is defined, as if when she marries Superman, she will have achieved the sum of all her ambitions. Marriage basically became an obsessive goal, one that wasn’t portrayed sympathetically at all.

Next came the Bronze Age (1970 - 1985) and the women’s liberation movement. During this time, Lois was seen through those changing progressive attitudes. Groovy, right? I am woman hear me roar. She was navigating slowly-evolving attitudes toward women in those years.

Wife/Mother vs. Career Woman

In the Modern Age, we’ve come to another turning point for Lois. She’s currently married to Clark, and they have a son, Jon. There has been a lot of discussion lately about what this means for Lois Lane, and it often comes back to this idea that being married to Clark and raising a child somehow limits her character.

This begs a question: Why? I think it goes back to the Silver Age idea that marriage is somehow an end for her. If she’s married, she can’t be everything she could be. That notion, however, brings us to another question: Are husbands and dads primarily defined by those roles, too? Or, are they written as multifaceted complex characters who are able to be many things to many people? The answer to the second question is decidedly yes. They can be career men (which isn’t even something men are called), as well as husbands and fathers. Women, however, are still often defined by stereotypes within labels, as if Lois Lane being a career woman means that she can’t also be a mother and a wife.

When Lois is written as a mom, for example, there is this idealized version of who mom is. And usually in the Superman-verse, this means Martha Kent, the stay-at-home mom who kept house and baked pies. Trying to fit Lois into that mold means writing her in an inorganic way that belies her personality. One’s personality doesn’t change after you have kids—my own teenagers can attest to that. Do priorities change, though? Of course.

Being a mother, however, shouldn’t turn Lois into Martha Kent. They’re entirely different people, and Lois doesn’t have the same skillset Martha does, nor does she need it to be a good mother. Basically, Lois might not be able to bake a perfect pie (although Clark probably can because he grew up with Martha as his mother), but she may be better-able to show her son how to pick a lock or hotwire a car if he ever loses his keys. This doesn’t make Lois any less of a mom. The definition of mother/wife should broaden to include all types of people. Just as dads are not inept stereotypes, neither are moms an idealized throwback to Leave it to Beaver.

In general, I think Lois often suffers from baggage writers bring when they think of her character throughout history. Some remember her as the abrasive pest she sometimes devolved into in the Silver Age, never mind that Superman was just as culpable at that time (so much so a site was dedicated to his Superdickery). Some seem to remember her as a man-hungry husband hunter, or as somebody who only loves Clark’s powers (I’d argue she always loved the man behind the disguise, no matter which persona that was).

How to Write Lois Lane Well

It sounds simple, but I think this bears emphasizing: to write Lois Lane, it is important to know who she is and the traits that have long defined her. Lois is strong, tenacious, compassionate, and ethical. She also wears her own masks. She’s vulnerable but doesn’t want the world to see it. Lois is fiercely dedicated to truth and justice, using journalism as her own superpower. She also understands there are shades of gray. Truth isn’t binary. There are some truths worth protecting from the public.

Clark’s identity, for example, isn’t for public consumption, as it doesn’t have any bearing on public welfare. There are, however, lies that exist to destroy people (ahem, most of what Lex Luthor does), and she is out to expose people who hurt others as they quest for power.

There are recent examples of Lois being written this way. This scene from Mark Waid’s Birthright shows us a Lois who stands up for injustice no matter where she sees it.

And this scene from Kurt Busiek’s Action Comics #850 shows us Lois’s early days with Clark. It’s a great example of how to write the triangle for two while giving empathy to both players, rather than turning Lois into an unsympathetic person only interested in Superman and his powers.

These are just two examples. Teenage Lois in Gwenda Bond’s young adult Lois Lane prose trilogy also gives us a multifaceted portrayal. In live action, for all of Smallville’s ups and downs, the TV show ultimately captures Lois’s complexity pretty well.

In the end, I think it’s important to remember Lois Lane was originally created alongside Clark Kent and Superman for a reason: she provides the audience with a narrative bridge between his identities. Through Lois, we as readers see the wonder that is Superman, while we also see the everyday life of Clark Kent—a dichotomy filtered through one character to create a consistent perspective.

This all speaks to why I believe it is so important for Lois to be written well, because it is through her that we gain access to all that is Superman. When Lois is allowed to reach her potential? Superman stories truly soar.

Maya Kesh is a lifetime comic reader and a writer whose articles often focus on how women are portrayed in comics. You can follow her on Twitter at @mayak46.

Top Comics to Buy for August 29, 2018

Top Comics to Buy for August 29, 2018

Recommended New #1 Comics for August 29, 2018

Others Receiving Votes

On Writing Lois Lane: The Significance of an Icon

Lois Lane Through History

Wife/Mother vs. Career Woman

How to Write Lois Lane Well