There is a saying that goes something like this: “First impressions are everything.” In the world of entertainment, across every medium – film, music, and comics – the old adage typically applies more strongly than anywhere else.
Thus, when the first volume of Boom Queens opens to a panel with a location tag declaring “The Outskirts” overlaying a wide shot of sunlit decaying skyscrapers ensnared in the grip of moss and missing windows or even sections of concrete with vacant city streets below, the stage has been set. In all of its paradoxically brilliant glory – the remarkably bright and sunny skies above the inexorable dread of formerly magnificent buildings in the terminal stages of their life cycles – the scene paints a telling image of the universe in which Boom Queens takes place.
From that first panel, writer Ramón Govea uses the illustration to convey the message that this will be a tale of characters pursuing new beginnings (like the morning sunrise in the first panel) by overcoming dark pasts that continue to stand like crumbling weathered monoliths (similar to the previously mentioned skyscrapers).
Boom Queens waste no time kicking into fifth gear. After a series of shots which alternate between heavily armed thugs standing around menacingly and a red-haired woman meticulously applying makeup. Then, after proclaiming to her mirrored reflection, “I’m ready. I see the storm,” the suddenly motivated Lola Bianca aka Baby Doll hops on a motorcycle, rolls up to the abandoned High-top Hotel, and launches an assault on the bad guys.
She wreaks havoc utilizing explosives, guns, and her fists. She also delivers the occasional kick for good measure.
However, Boom Queens, as the plural within the title suggests, isn’t a one man, or rather, a one woman show.
While the redheaded Lola commences her offensive on the High-top Hotel, three miles away a woman sporting a multicolored mohawk, Marie Antoinette stares into the distance declaring that the rest of the backup is not coming. Miss Mohawk and her long black-haired accomplice Kimi Gana hop onto their motorbikes and speed off to join their friend in causing organized chaos.
Although volume 1 primarily follows Lola Bianca as she slams, shoots, and silences her foes, the other two ladies go in guns blazing as well, delivering their own brand of anarchy en route to finally meeting up with their friend.
Herein lies the strength of Boom Queens, its sincere commitment to continuous action. The story progresses along sufficiently with the dialogue between characters supporting that Babydoll was once aligned with the people she now considers to be her enemies. There is a brief look at a wine-drinking, sleeveless fur-lined coat wearing long haired man who, by context, appears to be the “big bad,” the villain who the trigger-happy ladies will ultimately confront. The story moves forward and provides these insights without any prolonged breaks in the mayhem.
One should refrain from picking up Boom Queens if the expectation is a deep psychological thriller. Gun fights and explosions are the name of the game here. This is far from a flaw though. In fact, the abundance of clashes offers a chance for Boom Queens to showcase its consistent quality artwork during a steady stream of conflicts.
Boom Queens volume 1 introduces the tale of a trio of femme fatales who have embroiled themselves in a war. Will the group overcome their respective pasts and bring stability, or will their personal demons devour them? This Indie Volt review is based on a digital copy of Boom Queens #1, as such the PRODUCTION was rated a NA.