You would read that comic, wouldn’t you? Luckily for you, it exists and it’s called Bandette.

Bandette is a digital-first comic from Monkeybrain Comics and available through Comixology. But for those of us who still like our comics on paper (and, more importantly, don’t have one of those fancy devices you can read digital comics on), Bandette Volume 1: Presto! (Dark Horse, 2013) collects the first five issues in a beautiful hardcover book, complete with side stories and a few glimpses behind the scenes.

While Bandette by Paul Tobin (writer) and Colleen Coover (artist) does take place in modern times — there’s the Internet, there are cell phones — the overall feel recalls an earlier, more innocent time. Bandette scampers across rooftops and sneaks in and out of houses, all in pursuit of priceless objects. Despite the fact she’s a thief, we are always firmly on her side, as are her crew of “urchins” (a group of friends and helpers). True to her independent spirit, Bandette is on the right side of the law as often as she’s on the wrong side. Mostly, she’s just doing things her way and not taking too much seriously.

In Tobin and Coover’s hands, Bandette is impossibly adorable — always flirty and smart. She charms fellow thief Monsieur, has a teasing battle with rival Matadori, and works to stay one step ahead of the evil Absinthe.

Tobin’s writing keeps the tone light and fun, and while some violence and subtle innuendo pushes the title toward older audiences, it all still feels playful rather than “adult.” Coover’s art is bright and spirited with strong outlines and a vibrant, watercolor-like palette. There is such an inherent sweetness to everything here that softens any darker edges the story might have.

While most of Bandette Volume 1: Presto! is just laying the groundwork for the story that lies ahead, it left me wanting more of Bandette’s adventures and those of her friends and enemies. Few other comics are full of such charm and joy. Bandette shows how much fun comics can be.

Now if I just had one of those tablets so I could keep up between physical volumes …

To me, more than any other medium, there’s an immediacy and an intimacy to comics. At their best, comics feel less like something I consume and more like something I experience. It’s not just words and pictures on a page — it feels like a conversation between me and the creators.

And because of that, I think Dotter of her Father’s Eyes (Dark Horse Comics, 2012) is either a conversation you want to be having or one you’re just overhearing. If it’s the latter for you, you’re still going to get something out of it, but for me, it was absolutely the former. This is a book where I find it impossible to pull my own personal experiences out of how I reacted to it. And to me, that’s why this book is so powerful.

One part memoir, one part biography, the stories that Mary M. Talbot and Bryan Talbot are telling aren’t unique on their own, but there’s a grace and thoughtfulness to the way in which they tell them. There’s light and humor to balance the darker moments.

But let’s be clear — while this book is credited to both Mary and Bryan, this is Mary’s story. Even when the book recounts Lucia Joyce’s life, it still feels like it’s absolutely Mary’s voice telling it. Bryan just seems to be along for the ride — he’s less the driver and more the vehicle. That’s not at all to discount his art. This is Bryan Talbot we’re talking about, after all, but he does have the good sense to use his art to compliment Mary’s story. It’s a charming and loving collaboration (of course, lest you forget that it is Mary’s tale, she points out in a footnotes some of the things Bryan got wrong in his artwork. That’s pretty adorable).

Bryan’s art does give the stories told here some structure. Colors help place the action — full color for the brief modern-day scenes, sepia tones for Mary’s childhood (and neatly, as Mary gets older, more and more color is added into the scenes) and cold blues for Lucia’s life. Except for the scenes in the present that frame the book, panel borders are usually soft or nonexistent as images flowing into each other much like memories.

The stories are both told in a mostly lineal fashion. Mary starts off with her childhood and Lucia’s childhood and progress forward from there, but the shifts between Mary’s life and Lucia’s life feel natural and give the book a strong pace and a sense of drama.

While there are obvious parallels between their lives — they were both daughters of troubled fathers who were looking for their place in the world — Mary doesn’t necessarily push the connection. She clearly relates to Lucia, but she also understand Lucia’s story isn’t hers. It was just one Mary wanted to tell so she could better understand her own life.

I wasn’t left with the impression that Mary necessarily forgave her father, but I don’t know if she needs to. More, I think she just accepted that he was a part of her life.

And that’s where it did get personal for me. Mary’s story isn’t mine, but it’s still one I relate to all too well. I admire her strength and honesty in telling it. When I finished the book, I knew someone else in this world understood what all of this feels like. I know don’t spend all my time thinking about these things, but I also know I still carry it with me.

I’m glad that Mary (and Bryan, let’s not forget!) shared these stories with me. Through this book, I feel like I have a new friend.

Avatar: The Last Airbender
The Promise Part 1
Buy at Powell’s

Gene Luen Yang made a comic clearly explaining why he had no interest in the Avatar: The Last Airbender live-action movie. A lot of people like to bring up that the cartoon was created by a couple of white men, but the Asian influence is clearly respectful and thoughtful. Yang understood those things about the series and that’s why he loved it (and that’s why most of us loved it, actually).

So it was delightful news when it was announced that Yang would be writing the Avatar: The Last Airbender comic book series that will bridge the gap from the end of the animated series and the upcoming The Legend of Korra (not upcoming fast enough, but that’s another issue). It seemed like he’d do right by Avatar.

And it should be to no one’s surprise that he did.

Yang, along with artist duo Gurihiru, Avatar: The Last Airbender – The Promise Part 1 (2012, Dark Horse), has created a pitch-perfect comic that is a wonderful extension of the animated series.

No, if you haven’t watched the series (and why haven’t you?), you’re going to be pretty lost, despite a quick catch up in the first few pages. Despite the defeat of Fire Lord Ozai by Aang and Zuko taking his place, there are still many issues to sort through in the four kingdoms. Among them are the Fire Nation colonies in the Earth Kingdom. After the “Harmony Restoration Movement” is announced, the action picks up a year later. And obviously, not everything is going as well as planned. Zuko and Aang have to face their old conflicts as well as growing up.

Most of the action here focuses on Zuko, which is fair (Avatar: The Last Airbender was as much about his journey as it was Aang’s, after all) but the other characters aren’t neglected. Sokka tosses out a few good lines as he expresses his horror over the fact his sister, Katara, and Aang are now a couple. Toph has started a school for metalbenders, which I’m guessing we’ll see more of in the next book.

Gurihiru does a masterful job of capturing the look of the series while still giving it their own style. I love how subtly the characters have aged — they still look like themselves, but everyone’s taller and Aang’s a bit more muscular, Katara a little curvier and Zuko’s face is slightly more angular. Likewise, Yang writes these characters as older and more mature without sacrificing the personalities we’ve come to know. It’s a wise transition as these character approach adulthood and will continue to face more adult decisions.

The action scenes are beautifully-paced and definitely capture the feel of animation on the static page. There’s still humor throughout, even as the story begins to take a darker turn. (It’s still appropriate for the ages that Avatar: The Last Airbender was appropriate for, however, so no worries there.)

Unlike many other comic continuations or adaptations of TV shows, Avatar: The Last Airbender – The Promise Part 1 is completely satisfying. Gene Luen Yang’s and Gurihiru’s love for the original shows through. I’m already eagerly awaiting part 2.

Advance review copy provided through NetGalley.

Avatar: The Last Airbender
The Lost Adventures
Buy at Powells.com

I have written about Avatar: The Last Airbender before. As an animated series, it was epic in scope with a well-developed mythology and beautiful animation that appealed as equally to adults as it did to children. I think it’s something that will last the test of time (but let’s just continue to ignore that movie version — in my world, it doesn’t exist).

Some of Avatar: The Last Airbender has appeared in comic form before — from last year’s Zuko’s Story prequel by Dave Roman and Alison Wilgus with art by Nina Matsumoto to the adaptation of the movie, as well as a few titles from the late Tokyopop. The crossover makes sense — it’s a series that captured the imagination of plenty of creators (and with planned meetups at Comic-Con, it obviously continues to do so).

That’s a lot of introduction to get to Avatar: The Last Airbender – The Lost Adventures (Dark Horse Comics, 2011), but I think it’s necessary background. Originally scattered in the pages of Nickelodeon magazine, it’s a wonderful thing to have all these comics in one place.

All the comics take place within the timeline of the series and do assume knowledge of characters and events. These comics aren’t meant to be an introduction to the world of Avatar: The Last Airbender but a compliment to it.

Still, the comics don’t get too bogged down in continuity. Understanding who these characters are and what’s come before is necessary, but for the most part, the individual stories are playful and comedic. It may be going a bit far to say they’re all gag-based, but most of them do have a punchline. Still, there’s the series trademark thoughtfulness and poignancy in many of these comics — Avatar: The Last Airbender presented a world of complications and so even when things were fun, there was always something at stake.

The book features a diverse group of artists and writers, from those who I was familiar with (Roman, Wilgus, Brian Ralph, Gurihiru) to those who were unknown to me (Rawles Lumumba, Johane Matte) as well as many people who worked on the series itself, from the creators to storyboard artists and episode writers. Everyone here was obviously passionate about Avatar: The Last Airbender and the consistency of the art and writing is amazing.

I realize I haven’t talked that much about the individual stories here, but this doesn’t feel like a traditional anthology where the stories feel separate from each other. The cohesiveness of this book is part of what makes it great. However, I did love Wilgus’s and Gurihiru’s “Boys’ Day Out” where Katara and Toph dress up as boys to be allowed into a restaurant, manage to get into some fights, and ultimately decide being a boy isn’t much fun. Ralph’s “Fruitstand Freestyle,” a wordless tale that follows Momo, is probably the most unusual for the volume (it’s more Ralph than it is Avatar: The Last Airbender) but I love that it’s here. All of this, though, it a tremendous amount of fun. I have no complaints.

So really: Do you like Avatar: The Last Airbender? (If you don’t, why not?) Do you like comics? (If not, why are you here?) If the answer is “yes” to both of those, why don’t you have this already?

(Digital review copy provided by NetGalley.)

Scary Godmother
Buy at Amazon.com

For real this time!

OK, I know this book isn’t quite out yet, but it’s October. How can I not be recommending Jill Thompson‘s Scary Godmother?

It’s spooky, but in an all-ages friendly way. It’s delightful and cute, and Thompson’s art is always gorgeous. And there are recipes and craft projects!

I’ve often lamented that it’s a shame Scary Godmother lapsed out of print because it’s a wonderful title and one more people need to discover. I am beyond delighted that Dark Horse is publishing this and I can’t think of a more appropriate time for it to be coming out.

Buy it to celebrate Halloween, October and all things spooky and fun as well as one of the best artists making comics today.

DC Comics wants to help you figure out what to read next now that you’ve seen/read Watchmen. And you know, sell you stuff in the process. (It’s a nice feature, though, seriously. The jump from seeing a comic book movie to reading a comic book isn’t always an easy process.)

Turner Classic Movies, the last smart channel left on cable, shares Lost Scenes from underground movies. Flash-based interface is kind of annoying, but click on “print” for readable PDFs.

And finally, Dark Horse announces Sequential Pulp imprint. Jennifer Contino gets the whys and hows from publisher Michael Hudson. I think this is a really cool concept and I have faith Dark Horse will do it right.

I liked Minx and I was sorry to see it go, but the article brings up the good point that teenage girls are pretty smart and often resist blatant marketing attempts toward them.

I think Umbrella Academy, which is discussed here, is a good example. Girls like Gerard Way of My Chemical Romance — why wouldn’t they pick up a comic by him? But it wasn’t specifically marketed as “a comic for girls.” Dark Horse just presented it as being a comic.

I think Dark Horse also does interesting things with their product lines — I have more than one stationery set from Dark Horse and a couple of journals. No, they’re not comics and often not even comic-related, but there’s something to the name recognition. They’ve created a brand that feels more inclusive.

Mostly, though, the major point here is that teenage girls, like most people, just like good stories. Sometimes that’s different that what boys like, but it doesn’t have to be (and I’m glad SLG president Dan Vado mentioned that teenage girls do like Johnny the Homicidal Maniac quite a bit. It’s not what most people would think of as a “comic for girls” but lots of them like it, just the same).

So: The way to get girls to read comics is to make good ones. Maybe not every girl is going to pick up a comic but I’m delighted that more and more are doing so.

(Uh, didn’t I say I’d write a review tonight? Um. I said “possibly.”)

Image from Rebecca Guay’s website. Yes, I want comics that look like that.