Kelly Sue DeConnick’s work spans stage, comics, film and television. Ms. DeConnick first came to prominence as a comics writer, where she is best known for reinventing the Carol Danvers as “Captain Marvel” at Marvel and for the Black Label standard-setting Wonder Woman Historia: The Amazons at DC. Her independent comics Bitch Planet and Pretty Deadly (both from Image Comics) have ranked as New York Times best-sellers and been honored with Eisner Awards, British Fantasy Awards and Hugo nominations.
Ms. DeConnick’s screen work includes stints on Captain Marvel, a film that earned $1B for Disney worldwide, and 2023’s forthcoming The Marvels with Marvel Studios; in addition to having consulted on features for Skydance and ARRAY, and developed television for NBCUniversal, Legendary Entertainment and HBOMax. Her most recent stage work is the mythic spectacle AWAKENING, which opened at the Wynn Resort Las Vegas in November 2022.
Mission-driven, Ms. DeConnick is also a founding partner at Good Trouble Productions, where she has helped to produce non-fiction and educational comics including the “Hidden Voices” and “Recognized” series for NY Public Schools and Congressman John Lewis’ Run, in partnership with Abrams Comics.
In 2015, Ms. DeConnick founded the #VisibleWomen Project, whose mission is to help women and other marginalized genders find paid work in comics and its related industries. The project continues to this day and recently expanded in partnership with Dani Hedlund of Brink Literacy.
Ms. DeConnick lives in Portland, OR with her husband, writer Matt Fraction, and their two children.
The story continues in this issue of Pretty Deadly and this one was really good. It's a hard issue to illustrate as some other scenes and characters are doing unusual mystical things. I have to give a lot of credit to Emma Rios for being able to convincingly illustrate the scenes which were harder to visualise. Another great instalment on process at the back of the issue too. 4*s overall
This is absolutely awful, in the best possible way. The reapers of war, cruelty, and vengeance are on the trench battlefields of WW2 France, as the sympathetic human characters die around them. The reapers ask each other if these young men know what it is they're doing when they dig the trenches that will become their graves, and the answer is an unequivocal yes. It's such a waste, and that waste is reinforced by Emma Ríos' art, which is again outstanding. Her use of colour, in particular, is enormously affecting. Combined with the utter bleakness of the script the whole of the issue is just so compelling.
The text and artwork work together seamlessly in this issue to create a beautiful, dark, and horrific story line. I'm really loving how we're digging more into the characters this arc.