The creative team behind “C.O.W.L.” has generated something that is as much a social commentary as it is a comic book. The drama crafted by Higgins and Siegel is compelling, hinging on interpersonal conflicts in a way that draws the historical context into sharp, relatable focus. The world comes to life through Reis’ astute depiction of a bygone era that feels authentic and current all at once. “C.O.W.L.” #3 delves deeper into the circumstances of the 1960s in America and all the chaos and upheaval that came with them.
Written by Kyle Higgins & Alec Siegel
Illustrated by Rod ReisWho is Radia? And why does Chicago fear her? Meanwhile, Geoffrey discovers that C.O.W.L.’s future is anything but guaranteed, and investigation into the union takes an unexpected turn.
The personal stories of the characters in “C.O.W.L.” give faces to historical events. Through focusing on small scale conflicts, the wide scope of history is narrowed, and made relevant. We are not confronted with the anonymity of a large-scale concept like the Women’s Rights Movement; instead we meet Kathryn Mitchell, or Radia, and watch as she challenges the established, expected behavior for women at that moment in history. The trepidation over munitions amassed during wartime’s effect on peace takes the shape of negotiations between C.O.W.L. and Chicago city officials. The fear of subterfuge and espionage that were major undercurrents of the Cold War become suspicions about similar plots within the research and development sector of C.O.W.L.’s operations. Each plot point in this issue functions as an allegory for larger, disembodied ideas that permeated the public consciousness during this tempestuous era.
The emotional heart of this issue is Kathryn’s struggle to gain the respect of the public and her colleagues. From the first scene, readers witness as Kathryn encounters episodes of casual sexism. Kathryn’s interactions with her romantic partner, David, shed light on the pervasive attitudes toward women in 1962. We learn that she is ostracized by other women because she does not accept a domestic role; watch as she is chided for being unmarried at the age of 29, denied an opportunity to speak for herself, offered as an object to fans without her consent, and told that she deserves to be taken care of because she is pretty. All of which is treated as perfectly acceptable.
Kathryn’s treatment extends beyond the personal sphere and into the professional realm. Despite her major role in bringing down the villain, Skylancer in issue #1, a reporter takes no interest in her account of the battle. Instead he insists that she is better off telling the world whether or not she uses her telekinetic abilities to give her hair volume. Stark contrast is created by that reporter’s interaction with Tom Haydn, fellow C.O.W.L. member Arclight, who is treated as a hero with valuable insight.
This scene follows a photo shoot for ‘Bombshell‘ magazine, a visual highlight of this issue. Reis creates a full page rendering of Kathryn as Radia that is one part Vargas girl, one part John Singer Sargent portrait. There is a passivity in her eyes, as she offers herself to the audience that is out of character; letting readers know that she is playing a role. It’s challenging and uncomfortable to see the fight fade out of her, but she seems to wield her beauty as another asset which she has mastered as a kind of weapon. She recognizes the capacity in which the public is willing to accept her, though she remains unwilling to accept it herself.
The tension between her public role and private feeling comes into focus later in the issue when a fellow member of C.O.W.L., Eclipse, recognizes her power and treats her as a peer. He offers Kathryn the opportunity to use her abilities, not her sexuality to challenge powerful Chicago criminals. This show of trust allows us to see the changing views of women’s worth.
Kathryn’s deeply personal storyline is paired with a contract negotiation which functions as an allegory for growing concerns about the influence of the military-industrial complex on American policy and politics. Before leaving office, President Dwight D. Eisenhower warned against the escalation of military power during times of peace, and the potential threat this posed. In the years of World Wars and Korea, the national armaments of the United States grew at an unprecedented rate. With the end of these conflicts global threats were seemingly eradicated, and the national dialogue turned to the role of defense in these new circumstances. Similarly Geoffrey Warner, the head of C.O.W.L., faces opposition from the establishment as he attempts to ensure the survival of his organization after the defeat of the final member of the Chicago Six. Debates become heated as the city officials and Warner try to, in Eisenhower’s words, “balance between the clearly necessary and the comfortably desirable,” in regard to C.O.W.L.‘s role Chicago’s defense.
Continued belowThe reason these sprawling themes and ideas fit so neatly into this fictional world is the creative team’s ability to consistently redirect attention to the characters. Visually, Reis highlights the characters using color, and incorporating an effect that mimics atmospheric perspective. The character at the center of each scene narrative is impossible to overlook. For example, in the first scene of this issue, Kathryn stands out in her celadon minidress against the grey environment of the stadium, like a canary in a coal mine. In addition to her vibrant attire, she commands attention as one of the only clearly detailed characters on panel. Selectively adding outlines to defining features, Reis allows the important subjects to come into focus, while the suggestion of background characters and setting are artfully obscured.
Reis is incredibly adept at rendering expression and gesture. His characters emote with a nuance that only actors like Meryl Streep and Daniel Day Lewis could hope to replicate. The artist uses cropping to emphasize emotion in the faces of his subjects. Instead of pages of talking heads, we are given conversations depicted in close ups of brows, or the corner of a mouth, that bubble with feeling. There is a weighty physicality to the people Reis puts on the page. He relies on color and shape more than line, which is an unusual choice for a sequential artist. In this way, he captures a certain kinetic energy that makes these images shimmer with motion. Strong aesthetic choices, like composing the negotiation scenes in black and white tones, and using more clearly defined panel borders; add another layer of storytelling to the work. These choices separate this portion of the narrative from the others visually, and help represent a shift in tone. Thoughtful and methodical, the expressive artwork serves this title incredibly well.
Every detail of this book lends itself to an immersive reading experience that truly transports the reader to a bureaucratic, gritty, flawed Chicago where superpowers are the status quo. From choices like letterer Troy Peteri setting editorial captions in file folder tabs, to the design of the backmatter by Rich Bloom, to Trevor McCarthy’s bold graphic covers; every creative decision brings the audience further and further into this world. “C.O.W.L.” #3 represents an articulate, intentional piece of visual storytelling that embraces its historical context and thrives on the richness of its characters.
Final Verdict: 8.0 – It’s smart and elegant, and really, who doesn’t want to see Don Draper in tights?
