So having seen Paul Levitz take over from Jack C. Harris (as described in a previous post), I said I was tentatively looking forward to Levitz’ run as he was a better writer. His “run” lasted all of four issues after which Gerry Conway took over with #259 (cover by Jose Delbo, all rights to current holder). Conway would stick around for a while, but he’d erase Paul Levitz’ changes — bringing her back to NYC and the UN — within a dozen issues. And two of those were stories held over from when Diana was an astronaut in training.
After a couple of unremarkable Levitz issues, Conway launched his first plotline, involving a scheme that felt like another hold over, from when he’d been a writer on Thor: Mars usurps Zeus’ control of Olympus, then manipulates Wonder Woman to make her look like a public menace, sets up Hercules as Earth’s new hero and schemes to thereby rule Earth as well as Olympus. It’s not dreadful but it’s not terribly good.
There’s also a subplot followed up from the astronaut period in which Diana’s been redflagged by security: someone’s discovered Diana Prince doesn’t exist, and is therefore a security flag. This doesn’t make much sense — it was established in both Silver and Golden Ages that Diana borrowed another woman’s identity — and it’s promptly dropped.
The big plot is Wonder Woman’s fight against the Cartel, a sinister crime syndicate run by the Master Planner who gives directives to his agents from the submarine he uses as a base. The Bushmaster (see the previous post above) was one assassin, who gets an upgrade (amped up versions of African weapons such as the knobkerry club) but they also have four other top killers each representing a different continent. The Gaucho is reasonably decent, but Red Fang (deadly martial artist), Lumberjack (axe-wielding Canadian killer) and the European disguise master the Chameleon (which is hardly a distinctively European skill) are far more forgettable.
More memorable is that she wound up teaming up with Animal Man in part of the adventures (cover by Ross Andru, all rights remain with current holder). While Grnat Morrison established A-Man as a good B-lister, this was his first appearance in a decade, so it was really notable (I was a fan of his early stories). Conway establishes a lot more about Buddy than we knew originally, like his last name and his profession (stunt man), though he also plays down Buddy’s previous stories to make him even more of a minor character.
The final confrontation with the Cartel is jaw-dropping, but not in a good way. It turns out the Master Planner is really UN troubleshooter Morgan Tracy (introduced first as a possible love interest, then as Diana’s boss) which makes no sense—it’s not just completely out of the blue but we never get any sort of explanation. And then we have Tracy declaring that as UN security chief (which isn’t his job) he’s the one responsible for Steve Trevor’s most recent death, which doesn’t make any sense at all (including motive). It feels like an awkward, rushed wrap-up to justify Diana moving on to a new setting/job. Knowing what’s ahead, I’m guessing it was another attempt to juice sales when the return to NYC didn’t do it, but I don’t know that for sure.
The next phase actually lasted until the mid-1980s George Perez reboot erased all previous WWs. So I’ll probably do my next post after I finish Conway’s run (about a dozen more issues).