As does some romantic tension between Archie and Betty...although the former is of course oblivious to it, as he's fairly oblivious to everything.
Mark Waid's introduction to the reprint back-up is of interest, as the writer admits in it that Archie's every
I found that all rather fascinating, as the rotating artists of the new, rebooted Archie has made Waid the prime creative force behind the character, and he seems to have done a pretty fine job so far of giving the character a distinct enough personality.
It is, as you can probably guess from the title and cover, a werewolf comic, and it is by Rich Tommaso. The setting is apparently the 1980s, based on the fashion and a few minor cultural touchstones. Our heroine Gabby Catella, whose boyfriend was apparently a werewolf, until he is gunned down by policemen in front of her. And now she might be a werewolf...or might not be.
There are some challenging jump cuts in this narrative that make it difficult to tell exactly what is happening when (for example, on page three, Gabby is nude and looking out her bedroom window, where she's a werewolf running around, while in the first panel of page four we see her reacting to what she sees out the window, and she's fully dressed). There is at least one extended dream sequence, as well as some jumps it time.
That made for a slightly disorienting read.
I really love Tomasso's artwork here, though. There's a slight suggestion–an accent, really–in the visual language that reminds me of Richard Sala, but that may be simply because of the somewhat abstracted, flat style and the fact that Tomasso is drawing pretty young girls and a monster.
I really like the way he draws these werewolves, as they seem to have some human-like features and some wolf-like features, but also look completely distinct from either. There's something long, sleek and unnatural about them; in some panels they appear like gigantic, semi-erect minks rather than the more traditional hairy-person-with-a-wolf-head we usually see in post-Howling comics and movies.
I'll refrain from going into much detail here, as I'll be writing about this later in the week as part of the "Afterbirth" series of posts I've been doing (maybe I should have worked on that name a little harder). For now, I'll be brief. The art is great, the story is boring and very little happens (i.e. it's a Greg Rucka Wonder Woman comic), the characterization of Wonder Woman is stronger than it's been in five years, Etta Candy's post-Crisis and New 52 looks have apparently been amalgamated, Steve Trevor grew a beard and stopped wearing black spandex and The Cheetah got a new 'do.
Overall, it's fine, but not sensational, or even terribly satisfying. Like Rucka's last run on the character, I assume it will read far better in trade than in single issues, as it seems to be written once again for the former rather than the latter.