Walt Simonson’s 1980s run on Thor is one of the comic book greats. His six issue Wonder Woman arc, “Game of the Gods,” isn’t in the same league, but it is entertaining. It comes right between Phil Jimenez and Greg Rucka but I didn’t get around to blogging about it until (obviously) now. Creative credit goes to Simonson for plotting, Jerry Ordway for drawing and Adam T. Hughes for the covers.
We open with a gathering of mystics in the late 1800s who discover signs that the Shattered God is returning to Earth. Then Trevor Barnes, whom she dated during the Jimenez run (he decided being a superhero love interest was more than he could handle) begins worrying when he can’t reach her.
Cut to a funeral that culminates in Diana, in the white pantsuit associated with her depowered years at the end of the Silver Age (though her clothes in that era had a lot more variety), emerging from the grave. The funeral party then turns to monsters and tries to kill her, but fails. At the end of the issue she’s alive but amnesiac, and holding a clay figurine of an infant that the monsters coveted — funny, when she smooths over a cut in the clay arm, a cut on her own arm heals. What’s with that? Simonson said in an interview the inspiration was Hammer’s classic Kiss of the Vampire which opens with an ominous funeral.
The second issue went boldly where no scripter had gone before. Putting Wonder Woman in civvies is one thing, but cutting her hair? Even the depowered years never crossed that line. But you see, Diana soon finds she’s being followed; her shadows are human but possessed, and they wither and die once the possessor leaves them. Fortunately she stumbles into the salon of Becca Doherty, hair stylist and diehard WW fangirl (“You kick butt better than Superman!”). She gives Diana a crash course in who she is even if Diana doesn’t remember it. With Becca’s guidance, Diana successfully turns into Wonder Woman, but devoid of tiara or bracelets, still amnesiac (her attempt to make sense of her superhero life is hilarious). Meanwhile, the Amazons discover that Olympus is empty, the gods gone — hmm, do you suppose there’s a connection? And to strange things happening on Oa, which is situated at the center of the universe?
To prevent the pursuing possessor tracking her, Diana has Becca give her a new look, as you can see on the cover, then sets off to find answers. In the following issue, Diana, the Roman goddess, arrives on Themyscira riding Scylla, the mythological multi-headed sea serpent. Amped up by divine power, it petrifies them. During the War of the Gods crossover event the Roman and Greek pantheons merged but Diana opted to stay free rather than fuse with Artemis. Now she’s on Team Shattered God. Diana arrives on Themyscira, regains her memories and battles Scylla; still only half herself, she does well but ultimately has to flee. Meanwhile, the goddesses of Africa endow Trevor with some mysterious power and direct him to find Diana.
Over the next couple of issues we learn what’s at stake. The Shattered God was a primeval deity; when the God created the universe, it shattered said deity. Who didn’t mind much: the new universe was glorious and he was a part of it all. Except then he realized that countless other gods had sprung up, and he didn’t like it. Now his plan is to reverse creation, restore the primal atom, then start over. His will be the voice that says let there be light, his will be the mind that shapes reality — and he’ll get it right! Diana is a key part of his plan because of her unique makeup: clay and flesh, mortal and divine.
The plan works … almost. That clay image retains the essence of Diana’s god-given powers; without it, she can’t fulfill her role in the Shattered God’s plan. Off to Earth to find the figurine but of course there are surprises waiting and cards the Olympians and other gods have yet to play ….
Simonson’s Thor run is a classic. His Orion is far and away the best Fourth World material not written by Jack Kirby. “Game of the Gods” isn’t in the same league. Like I said, though, it is entertaining, particularly in the early amnesiac period — and amnesia’s enough of a cliche that ain’t easy. It’s less effective as we see more of the divine scheming on both sides of the game; as the final issue points out, some things happened that appear to make no sense (and probably don’t). Still, it’s livelier and more entertaining than the subsequent Greg Rucka run has been so far (I’m in the middle of Year Two).
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