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* SpiritualSuccessor: Part Two of "Too Hip For Love!" that shows Joan going through life after the marriage and wedding that ended most romance comics has some parallels with "The American Dream" from the 1970’s feminist anthology comic Pandora’s Box: Two women (Joan and Suzanne) are housewives after the archetypal “happily ever after” ending, they’re both mothers of small children and are dealing with mental health issues that are ignored by their well meaning but far from understanding husbands (Joan is trapped in a reality that she’s not equipped for while Suzanne is unable to return to her poetry while caring for the children and house and is developing depression) and it ends on a DownerEnding ([[spoiler: Joan ends up in and out of mental institutions for years while Suzanne is DrivenToSuicide and uses her children to aid her.]])
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* SpiritualSuccessor: Part Two of "Too Hip For Love!" that shows Joan going through life after the marriage and wedding that ended most romance comics has some parallels with "The American Dream" from the 1970’s feminist anthology comic Pandora’s Box: Two women (Joan and Suzanne) are housewives after the archetypal “happily ever after” ending, they’re both mothers of small children and are dealing with mental health issues that are ignored by their well meaning but far from understanding husbands (Joan is trapped in a reality that she’s not equipped for while Suzanne is unable to return to her poetry while caring for the children and house and is developing depression) and it ends on a DownerEnding ([[spoiler: Joan ([[spoiler:Joan ends up in and out of mental institutions for years while Suzanne is DrivenToSuicide and uses her children to aid her.]])
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Changed line(s) 4 (click to see context) from:
* SpiritualSuccessor: Part Two of "Too Hip For Love!" that shows Joan going through life after the marriage and wedding that ended most romance comics has some parallels with "The American Dream" from the 1970’s feminist anthology comic Pandora’s Box: Two women (Joan and Suzanne) are housewives after the archetypal “happily ever after” ending, they’re both mothers of small children and are dealing with mental health issues that are ignored by their well meaning but far from understanding husbands (Joan is trapped in a reality that she’s not equipped for while Suzanne is unable to return to her poetry while caring for the children and house and is developing depression) and it ends on a DownerEnding ([[spoiler: Joan ends up in and out of mental institutions for years while Suzanne is DrivenToSucide and uses her children to aid her.]])
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* SpiritualSuccessor: Part Two of "Too Hip For Love!" that shows Joan going through life after the marriage and wedding that ended most romance comics has some parallels with "The American Dream" from the 1970’s feminist anthology comic Pandora’s Box: Two women (Joan and Suzanne) are housewives after the archetypal “happily ever after” ending, they’re both mothers of small children and are dealing with mental health issues that are ignored by their well meaning but far from understanding husbands (Joan is trapped in a reality that she’s not equipped for while Suzanne is unable to return to her poetry while caring for the children and house and is developing depression) and it ends on a DownerEnding ([[spoiler: Joan ends up in and out of mental institutions for years while Suzanne is DrivenToSucide DrivenToSuicide and uses her children to aid her.]])
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* GrowingTheBeard: While the early issues are liked, "Too Hip For Love!" is considered to be when the series starts showcasing its potential.
Added DiffLines:
* SpiritualSuccessor: Part Two of "Too Hip For Love!" that shows Joan going through life after the marriage and wedding that ended most romance comics has some parallels with "The American Dream" from the 1970’s feminist anthology comic Pandora’s Box: Two women (Joan and Suzanne) are housewives after the archetypal “happily ever after” ending, they’re both mothers of small children and are dealing with mental health issues that are ignored by their well meaning but far from understanding husbands (Joan is trapped in a reality that she’s not equipped for while Suzanne is unable to return to her poetry while caring for the children and house and is developing depression) and it ends on a DownerEnding ([[spoiler: Joan ends up in and out of mental institutions for years while Suzanne is DrivenToSucide and uses her children to aid her.]])
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* NightmareFuel: Issue #7 features Joan -- inexplicably remaining in [[UnwantedSpouse a married life with a love interest she has no real feelings for]] -- attempting to play along to the domestic life she's woefully unprepared for, mostly considering how previous stories tended to stop right after the marriage proposal. She spends half of the story seemingly content with becoming a housewife and raising a family... [[SanitySlippage and then she]] ''[[SanitySlippage snaps]]'' -- trashing her own house, and publicly assaulting a woman she (correctly) identifies as Penny Page -- [[StepfordSmiler before attempting to flip back to "happy, loving housewife" mode]]. The disjointed, fractured page layouts during these breakdowns is viscerally uncomfortable in a surprisngly mundane way, communicating how bizarre GroundhogDayLoop or not, Joan is ''losing her goddamn mind'' [[DespairEventHorizon from the sheer torment and despair of her reality]].
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* NightmareFuel: Issue #7 features Joan -- inexplicably remaining in [[UnwantedSpouse a married life with a love interest she has no real feelings for]] -- attempting to play along to the domestic life she's woefully unprepared for, mostly considering how previous stories tended to stop right after the marriage proposal. She spends half of the story seemingly content with becoming a housewife and raising a family... [[SanitySlippage and then she]] ''[[SanitySlippage snaps]]'' -- trashing her own house, and publicly assaulting a woman she (correctly) identifies as Penny Page -- [[StepfordSmiler before attempting to flip back to "happy, loving housewife" mode]]. The disjointed, fractured page layouts during these breakdowns is viscerally uncomfortable in a surprisngly surprisingly mundane way, communicating how bizarre GroundhogDayLoop or not, Joan is ''losing her goddamn mind'' [[DespairEventHorizon from the sheer torment and despair of her reality]].
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* NightmareFuel: Issue #7 features Joan -- inexplicably remaining in [[UnwantedSpouse a married life with a love interest she has no real feelings for]] -- attempting to play along to the domestic life she's woefully unprepared for, mostly considering how previous stories tended to stop right after the marriage proposal. She spends half of the story seemingly content with becoming a housewife and raising a family... [[SanitySlippage and then she]] ''[[SanitySlippage snaps]]'' -- trashing her own house, and publicly assaulting a woman she (correctly) identifies as Penny Page -- [[StepfordSmiler before attempting to flip back to "happy, loving housewife" mode]]. The disjointed, fractured page layouts during these breakdowns is viscerally uncomfortable in an unsettlingly mundane way, communicating how bizarre GroundhogDayLoop or not, Joan is ''losing her goddamn mind'' [[DespairEventHorizon from the sheer torment and despair of her reality]].
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* NightmareFuel: Issue #7 features Joan -- inexplicably remaining in [[UnwantedSpouse a married life with a love interest she has no real feelings for]] -- attempting to play along to the domestic life she's woefully unprepared for, mostly considering how previous stories tended to stop right after the marriage proposal. She spends half of the story seemingly content with becoming a housewife and raising a family... [[SanitySlippage and then she]] ''[[SanitySlippage snaps]]'' -- trashing her own house, and publicly assaulting a woman she (correctly) identifies as Penny Page -- [[StepfordSmiler before attempting to flip back to "happy, loving housewife" mode]]. The disjointed, fractured page layouts during these breakdowns is viscerally uncomfortable in an unsettlingly a surprisngly mundane way, communicating how bizarre GroundhogDayLoop or not, Joan is ''losing her goddamn mind'' [[DespairEventHorizon from the sheer torment and despair of her reality]].
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Added DiffLines:
* NightmareFuel: Issue #7 features Joan -- inexplicably remaining in [[UnwantedSpouse a married life with a love interest she has no real feelings for]] -- attempting to play along to the domestic life she's woefully unprepared for, mostly considering how previous stories tended to stop right after the marriage proposal. She spends half of the story seemingly content with becoming a housewife and raising a family... [[SanitySlippage and then she]] ''[[SanitySlippage snaps]]'' -- trashing her own house, and publicly assaulting a woman she (correctly) identifies as Penny Page -- [[StepfordSmiler before attempting to flip back to "happy, loving housewife" mode]]. The disjointed, fractured page layouts during these breakdowns is viscerally uncomfortable in an unsettlingly mundane way, communicating how bizarre GroundhogDayLoop or not, Joan is ''losing her goddamn mind'' [[DespairEventHorizon from the sheer torment and despair of her reality]].
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* SlowPacedBeginning: A common critique of the series is that it takes a while for the series to really get started. The first several issues provide necessary foundation in explaining the surreal jumping-between-love-stories situation Joan is in and is attempting to navigate, but it can still be [[MindScrew difficult to follow]] and raises a ton of questions that don't get answered for a while. The "Too Hip For Love" arc starting in issue #6 is where the series really hits its stride, with all the earlier setup paying off as foundation for Joan experiencing a single love story that spans a lifetime, providing some of the most suspenseful, heartbreaking, and genuinely romantic moments the series has yet to offer.
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* SlowPacedBeginning: A common critique of the series is that it takes a while for the series story as a whole to really get started. The first several issues provide necessary foundation in explaining the surreal jumping-between-love-stories situation Joan is in and is attempting to navigate, but it can still be [[MindScrew difficult to follow]] and raises a ton of questions that don't get answered for a while. The "Too Hip For Love" arc starting in issue #6 is where the series really hits its stride, with all the earlier setup paying off as foundation for Joan experiencing a single love story that spans a lifetime, providing some of the most suspenseful, heartbreaking, and genuinely romantic moments the series has yet to offer.
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Added DiffLines:
* SlowPacedBeginning: A common critique of the series is that it takes a while for the series to really get started. The first several issues provide necessary foundation in explaining the surreal jumping-between-love-stories situation Joan is in and is attempting to navigate, but it can still be [[MindScrew difficult to follow]] and raises a ton of questions that don't get answered for a while. The "Too Hip For Love" arc starting in issue #6 is where the series really hits its stride, with all the earlier setup paying off as foundation for Joan experiencing a single love story that spans a lifetime, providing some of the most suspenseful, heartbreaking, and genuinely romantic moments the series has yet to offer.
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