So as I’ve written so much about Wonder Woman, I figured I’d showcase some of her memorable covers. Like HG Peters’ cover for the start of her series in Sensation Comics—And a Ross Andru cover for one of Robert Kanigher’s rather zany issues—Here Andru captures Kanigher’s insanely racist and just plain insane concept for a new villain, Egg Fu.And one for the Wonder Family era, also by Andru.Now we get a Dick Giordano cover featuring Catwoman, Diana and Fafhrd and the Grey Mouser (face it true believer, this one has it all!).The George Perez cover that kicked off his Wonder Woman reboot.And Perez’ truly chilling version of Ares from a few issues later.Then we have Gene Colan from his too-brief run with Roy Thomas.A Mike Sekowsky cover from Diana’s depowered years.I’ll end with two bits of interior art — this Ross Andru scene from the late Silver Age story in which Kanigher fires most of the supporting cast (this particular scene among fans looks like a prescient parody of online fan debates)—And this HG Peters scene giving us a memorable example of William Marston’s interest in bondage and dominance.#SFWApro. All rights to all images remain with current holder.
Category Archives: Wonder Woman
So a couple of weeks back I became proud possessor of WONDER WOMAN: Diana Prince: Celebrating the ’60s Omnibus which collects the complete run of her non-super years (1968 through 1972). As I’ve already reviewed the TPBs (Vols 1, 2 and 3 at least) thought I’d do it this time much the way I handle rereading the rest of her run, posting about story arcs and similar obvious benchmarks. So I’ll start with a focus on Wonder Woman #178; it’s a one-shot story that doesn’t really tie into the following arc (Diana’s still Wonder Woman, for instance) but does serve to alert readers to what’s comingWonder Woman’s Rival by Denny O’Neil and Mike Sekowsky opens with police arresting Steve Trevor for the murder of someone named Alex Block; Steve claims he has an alibi — a girl he met at a hippie nightclub called the Tangerine Trolley — but he didn’t get her name and can’t locate her. At the trial we learn Block met Wonder Woman and Steve at a party where the creep told WW she was a disgusting freak, then tried to grope her. Steve decked the dude. Later an emergency needing Amazon involvement ended a Steve/WW make-out session so he went to the club and flirted with the girl.
The prosecution’s case boils down to: Steve has no alibi, he beat up the guy and killing him was the one way he could feel like a man when hanging out with Wonder Woman (who, on the stand, testifies that Steve said Block was a rat who ought to end up dead). While comic-book jurisprudence has never worried much about legal procedure, this seems exceptionally unconvincing: motive yes, but no weapon, no evidence, nothing that ties Steve to the crime. I’m sure juries convicted decorated war heroes on that kind of evidence all the time (sarcasm font). However it works, and when Lt. Prince comes to see him, Steve confesses to being pissed at hell at Wonder Woman for betraying him. Because testifying truthfully is totally not what he should expect Wonder Woman to do on the stand, right? So Di decides if she can’t save Steve as Wonder Woman, she’ll save him as Diana Prince by finding that vanished girl. Which requires visiting clubs like the Tangerine Trolley, which will require Diana to blend in so she goes clothes shopping —All of which is almost certainly modeled on Cornell Woolrich’s The Phantom Lady, a noir novel involving a wrongly accused man, an unnamed woman alibi and the guy’s lover trying to find her. And just as in Woolrich, someone’s determined to stop Diana cold. Eventually Diana does track down the girl, Tina, with the help of Steve’s best friend, Roger Seely. Unfortunately it turns out Roger is the killer, having murdered Block to cover his embezzlement of company funds. He tries to eliminate Diana and Tina to ensure Steve’s conviction stands, but of course, he doesn’t know he’s dealing with Wonder Woman …
At the end Steve, as you can see, reconciles with Wonder Woman but tells her he’s so impressed with Diana, he wants to date her (one of the few times someone’s found the secret identity more desirable than the superhero). Wonder Woman worries that if he’s going to date other woman, his next pick might be someone who isn’t her secret identity.
None of this ties in to the following Dr. Cyber arc; in fact that last page has so little relation to the changes ahead I suspect O’Neil was pulling a fast one so that we’d be blindsided. At the same time it does establish a lot of the tone they were shooting for: cool fashion, hip contemporary settings and playing up the men in Diana’s life a lot more (of course the late Silver Age Wonder Woman had already gone heavy on romance-comics tropes).
As Kelly Sue DeConick says in the excellent intro to this volume, this is one of the big problems of this era of WW. In trying to remake WW into a Realistic Modern Woman (or close as a martial-arts mistress battling an international crime syndicate can get), O’Neil and Sekowsky frequently default to sexist tropes where good as Diana Prince is, she still needs a man to be the boss (something I discussed recently). Diana gets a buzz off all her new fashion, and she delights that guys are finding her attractive; you’d think she’d never had any identity but dull, drab Lt. Prince. Which is one of my own complaints about the adventures to follow, that not only would they work better if she were a new character, the creators often treat her that way.
On the plus side, Sekowsky’s art is some of his best and will continue to be so.
I’ll be back soon with the de-powered Wonder Woman’s first story arc, as she and “the incredible I Ching” (and boy, does he bring a heaping helping of problems to the story) take on the half-man, half-machine Dr. Cyber!
#SFWApro. All art by Sekowsky, all rights remain with current holder.
When I visited Fort Walton Beach last year, I picked up two volumes of WONDER WOMAN ’77 on sale. I’m not the biggest fan of the Lynda Carter TV series, but I really enjoyed reading them.
The first volume, written by Marc Andreyko with various artists, tackles one of the TV show’s weaknesses, the lack of villains, by importing some from the comics. We have disco singer Silver Swan, Solomon Grundy, the Cheetah (mixing Barbara Minerva’s werecat form with the obsessive jealousy of the Golden Age version), new villain Celsia and Dr. Psycho. The latter is a particularly fun story as the doctor traps Diana in a hallucination where Wonder Woman is Cathy Lee Crosby from the 1974 Wonder Woman TV movie (if you’ve ever seen it, you’ll know Lynda Carter’s version was a vast improvement). V2 has multiple writers but Andreyko outshines them, particularly a story bringing back the TV show’s Galt, easily the best of her adversaries there. The tone of the books is appropriately light and fun, though it’s at a disadvantage compared to Batman ’66 which had a much more distinctive and idiosyncratic style.
Speaking of which, I subsequently ordered BATMAN ’66 MEETS WONDER WOMAN ’77 by Marc Andreyko and ’66 comics writer Jeff Parker (David Hahn provides the pencils) and don’t regret paying full price for it. This has the Amazing Amazon meet young Bruce Wayne during WW II when Nazis seeking a mystic mcguffin show up at the Wayne house along with R’as al Ghul and young Talia. They team up again during the era of the Batman TV show, with Bruce convincing Diana to return from Paradise Island to take up the fight again; part III takes place in the Wonder Woman ’77 era with Diana now convincing Bruce to come back into action (this updates us on what’s happened to Gotham and its heroes in the intervening decade). A running gag is that rather than pick one version of Catwoman, the artists use all three — Julie Newmar, Lee Meriwether and Eartha Kitt appear in different chapters. This one was a lot of fun.
WONDER WOMAN/CONAN by Gail Simone and Aaron Lopresti is completely unrelated, crossing over the comics’ Amazing Amazon with Robert E. Howard’s snarling Cimmerian. Conan encounters an amnesiac female gladiator of unbelievable strength and skill — could it be a young girl he loved and lost years ago? The woman says no, but nevertheless they find themselves working together against sinister crow-spirits and a ruthless slaver. This was good, but it’s annoying that even in an out-of-continuity series, even with Conan, they never wind up in bed (see this related post). I had hopes for Diana putting the movies, a startled Conan succumbing … instead we end with that hoary time-travel trope of Diana meeting someone who looks just like Conan — she hasn’t lost him after all! (see Forbidden Kingdom, The Love Letter and the Bing Crosby Connecticut Yankee among others).
#SFWApro. Covers by Nicola Scott (top), Michael and Laura Allred; all rights remain with current holder.
Since I last reviewed the George Perez Wonder Woman reboot, I’ve read slightly over another year’s worth of issues, and a busy year for Diana it was.
•Crossovers. Following the success of Crisis on Infinite Earths, crossovers became an annual event. In #8, which is told in a series of letters and diary entries, Wonder Woman participates in the dreadful Legends crossover event. A couple of issues later, she launches a plotline that ties into the much better Millennium crossover. These things can bog a series down, but Perez handles them well. Legends happens offstage and Millennium ties into Diana’s own story.
•The myths. Following her defeat of Ares, Zeus, egged on by Pan (who turns out to be one of Millennium‘s villainous Manhunters) generously offers to have sex with her. Diana refuses; an indignant Zeus commands her to enter Doom’s Doorway below Paradise Island and test herself against the monsters there, to prove her worth as Amazon champion in “the Challenge of the Gods.” Plenty of action, mythological monsters, a big reveal about how closely Diana’s tied to Steve Trevor and the discovery of Hercules, imprisoned there in torment. It’s a good story that gives Hippolyta a chance to shine too. However the Amazons forgiving Hercules for assaulting, enslaving and raping them doesn’t sit as well with me as it did on first reading.
There’s also a minor retcon of John Byrne’s Genesis crossover, which established that all Earthly pantheons are indirectly the children of Jack Kirby’s New Gods. I never liked that (Kirby’s awesome, but he ain’t Homer) and Perez specifically negates it, at least for the Olympians.
•Romance, or at least as close as Perez’ Diana ever came. In Legends she meets Superman and understandably she’s blown away by him. Is the feeling she has when she thinks about him what people in Patriarch’s World call love? It isn’t (there’s a team-up story in Action Comics that settles that) and Diana’s love life goes dormant until the 21st century. I think this suffers from Perez not wanting to get into the possibility of Amazon lesbian love (so Diana would understand love, just without heterosexual examples) though he did touch on it later (Greg Rucka made it explicit).
•Talk and more talk. In an interview (never published, alas) I asked one comics writer and WW fan what she thought of the reboot, and she said it was too talky. I didn’t think so at the time, but I must admit it’s more notable rereading. #8 is mostly people talking about Diana, rather than Diana doing anything; in #17 Diana visits Julia and Vanessa in Greece and there’s a whole bunch more talk. Not that talk is a bad thing — James Robinson’s Starman is conversation-heavy and usually uses its well — but in these books the dialog is not really interesting enough.
•Old foes. In these thirteen issues, Perez reboots three pre-Crisis adversaries, to varying success. First came Barbara Minerva, the post-Crisis version of the Cheetah. Minerva is an archeologist who steals relics she can’t collect legitimately. When she’s not able to steal Wonder Woman’s lasso, she tries taking it by force, transforming herself into the fast, deadly Cheetah (as you can see a cat-woman rather than a woman in costume).
I’ve never thought well of this Cheetah, but rereading I realize that’s not Perez’ fault. His Barbara Minerva has a focus; multiple other writers have used her since, but without any focus. She’s just a Wonder Woman villain with no distinctive motives or goals beyond villainy. That’s damn boring. But that isn’t Perez’ fault, so I apologize for thinking so.Next up, the post-Crisis Silver Swan. Surprisingly for a guy who loves mythology, Perez skipped Roy Thomas’ version (a descendant of Helen of Troy) in favor of an abused woman whose bullying husband has not only empowered her with a sonic cry (science, this time) but brainwashed her with a jealousy of Wonder Woman (quite close to the original Cheetah’s, actually). It’s an effective story, but Thomas’ mythological origin was so much better, I wish Perez had incorporated it (I think it could be done without losing the abusive relationship aspect).
And finally we get Circe, who markedly improves on Dan Mishkin’s version. It turns out the part of Greece Wonder Woman visits is under control of Circe, who lives on an isolated island but uses her shapeshifted slaves (“beastiamorphs”) to monitor the area in animal form; work against her and you die. The resistance sees Wonder Woman’s presence as a chance to get free; Circe sees her as a prophesied threat (as did the Mishkin version, but the prophecy’s easier to understand here).
What makes Perez’ Circe interesting isn’t the curse but that she’s Wonder Woman’s polar opposite. Diana preaches gender equality and friendship between men and women. Circe, by contrast, is a misanthrope who hates both sexes (used by men, shat on by other women, or so she sees it); she’s devoted her immortality to spreading distrust, manipulation and hostility between them, including murdering Hippolyta’s sister Antiope (her marriage to Theseus was too warm and friendly). There’s a passing reference to Circe running various vice enterprises under pseudonyms to further her aims; today she’d probably be running revenge porn websites.
After such a strong beginning, unfortunately, Circe didn’t return until 1991’s War of the Gods crossover, and I don’t think she kept the malevolent MO (both the Cheetah and Silver Swan came back quicker). We’ll see.
Like his initial arc, Perez’ work doesn’t blow me away as much as it did on first reading, but it’s still damn good.
#SFWApro. Wonder Woman covers by George Perez, New Gods by Jack Kirby, all rights remain with current holder.
The second half of THE GOLDEN AGE WONDER WOMAN OMNIBUS, Volume 2 (click here for my review of the first half)marks the first time a woman wrote Wonder Woman’s adventures. After 1946, that wouldn’t happen again until the 1980s Legend of Wonder Woman. William Moulton Marston had Murchison, his assistant, ghost-write a couple of stories (according to Lambiek) when he was pressed for time (that was S.O.P. for successful comics creators in the Golden Age). Then he faced the double-barreled shotgun of polio and cancer, so Murchison, along with Robert Kanigher, took up all of the workload.
Murchison’s first story involves taking a group of warmongers to Venus, to be reformed by their winged female population (introduced previously in a Justice Society story). It doesn’t go well, of course. Like most of Murchison’s work, it’s very much in the Marston mold, so I’m guessing he was still providing a lot of plotting or at least ideas. Some of Murchison’s later stories feel less Marstonian, such as an encounter with Neptunians: they’re a unisex society with no women at all, growing new generations in test tubes, some of whom are literally bred to be slaves. With the emphasis on how the strongest Neptunian rules all the rest and their hatred of women, it’s like an early shot at toxic masculinity (the cover shows Wonder Woman battling a Venusian tiger/ape hybrid). Murchison also brings back the Cheetah for a return engagement.
Robert Kanigher’s stories tend to be more conventional crimefighting tales, or to throw in the random monsters he’d use during much of the Silver Age.
Marston does contribute a few stories during this era. One introduced Countess Draska Nishki in Sensation Comics. The countess is a spymaster who shows up to inform Darnell she has top-secret information to sell him: American secrets that he can buy back for a cool million. She’s very much a clone of the now-reformed Paula von Gunther, but Paula was a formidable foe, so that works. Regrettably, Nishki only appeared once more until Kanigher’s god-awful Golden Age reboot near the end of his run.
“The Lawbreakers’ League” in Sensation Comics #46 interesting because it shows even Marston’s Diana was capable of entertaining seriously the possibility of submitting to Steve and letting him be the boss (something I associate more with the later Silver Age). The eponymous crime cartel give Steve a device that channels brain energy into his body, the same technique Amazons use (this is the first we hear of this). The device will make him stronger than Wonder Woman, which Ferva, one of the League’s leaders, assures her cohorts will make the Amazon melt and submit to him: deep down, all women want a man who can dominate them (a claim I still hear today). And then she’ll marry him and become nothing but a housewife, no threat to anyone.
Wonder Woman does indeed find it thrilling to be in the arms of a stronger, more powerful man … at first. By the end of the story, she tells Steve she could “never love a dominant man who’s stronger than I am.” Without a second’s hesitation, Steve smashes the League’s device, which is cool — Kanigher’s Silver Age Steve would never do that.
I don’t know when I’ll pick up V3, but I’ll have more of the George Perez reboot to review soon enough.
#SFWApro. All covers by H.G. Peters, all rights remain with current holders.
So earlier this year I started a project I’ve wanted to do for a while: rereading the Silver Age, month-by-month. Or more accurately, that limited part of the Silver Age I actually have in original or reprint. I started with month of Barry Allen’s debut as the Flash in 1956’s Showcase #4 —And now I’m up to mid-1958. Superhero books are starting to come out again (the early 1950s, that was a dead zone in comics) and I have more stuff in reprints, including Wonder Woman‘s Silver Age run. About two weeks ago, I read the earliest Silver Age WW I have, Wonder Woman #98, “The Million-Dollar Penny.” It’s a minor landmark, arguably the first Earth-One Wonder Woman story, and the first Robert Kanigher wrote with Ross Andru and Mike Esposito as penciler/inker instead of Wonder Woman’s original artist, H.G. Peters. It’s enough of a departure from William Marston’s Golden Age work I thought it worth looking at the changes in detail.
Marston’s WW origin shows the Amazons created by Aphrodite as a symbol of women’s independence and a force for pacifism. Kanigher ducks all that feminism and pacifism stuff and simply establishes the Amazons as general fighters against tyranny and oppression in the ancient world, much as Marvel’s Golem isn’t specifically a defender of the Jews. Wonder Woman is shown being one of them back then, which would make her centuries old. I doubt Kanigher had that worked out as he later showed her as Wonder Girl helping the Amazons find Paradise Island, and still later implied she was young enough in the present her missing father was still alive. (an odd retcon I covered for Screen Rant).
The story proper kicks off when Aphrodite tells Hippolyta to send one Amazon into Man’s World to fight injustice, rather than battle WW II. That’s because it’s not presented as a flashback but as something happening at the time it came out; Kanigher’s effectively retconning WW’s history and rebooting her.
Unlike Marston, Hippolyta’s issue isn’t that she doesn’t want her daughter leaving Paradise Island, it’s that when the Amazons compete for the privilege, she’s terrified she’ll choose Diana out of favoritism. Diana’s solution is to have every Amazon wear a mask of her face, so Hippolyta won’t know who to pick. This plays into one of Kanigher’s favorite motifs in the years to come, pitting Wonder Woman against a double, as in the cover image. Needless to say she wins, and almost immediately has to save Steve Trevor, parachuting out of a plane over Paradise Island; if he sets foot on the island, the Amazons will lose their power. Not to worry: Diana saves him without letting him touch down and returns him to the U.S. There she faces her first test: Aphrodite has ordered her to turn one U.S. cent into a million dollars within 24 hours, with the return on the money going to help a children’s charity.
This is another trope Kanigher liked to use, of Wonder Woman being set some impossible challenge. He used it as far back as “The Five Tasks of Thomas Tighe” in #38. The result is a somewhat rambling story in which Wonder Woman tries several ways to earn the money, but gets distracted by an eagle stealing the penny, and by an enemy submarine from some unidentified nation. At the last minute she finds a solution: there’s a bridge that needs building, with a million for the contractor who does it. So she takes the penny and by stretching it out with her super-strength, makes a massive amount of copper she then makes into the bridge. Which makes absolute zero sense, even by the physics of superhero comics, but that’s characteristic of Kanigher’s Silver Age superhero writing too (one reason he worked better on a book with a goofier tone, such as DC’s Metal Men).
It’s more of a departure from Marston than I realized when I read it in Showcase Presents Wonder Woman the first time. And very much a harbinger of what was to come.
#SFWApro. Top image by Carmine Infantino, bottom by Andru/Esposito. All rights to images remain with current holder.
After a run of more than 20 years and 300 issues, Wonder Woman wrapped up with #329 and her marriage to Steve Trevor. Following the Legend of Wonder Woman miniseries, the Amazing Amazon started over from scratch in George Perez’s Wonder Woman #1. The first six issues were here origin arc partly written by Greg Potter, then Len Wein, but the plotting and the reboot concepts were all Perez.The first issue retells Marston’s origin of the Amazons, with some interesting additions. Rather than just magical creations of Aphrodite, they’re created to reincarnate the souls of the countless women who’ve died by the hands of men through the centuries, all preserved in Gaia’s magical womb. As in Marston, they become a force for good, get betrayed by Hercules (and fairly obviously raped), freed by the Olympian goddesses and sent to Themiscrya, where they must redeem their defeat by guarding Doom’s Doorway, a gateway into hell. It turns out that alone among the Amazons, Hippolyta originally died while in childbirth. She’s able to bring her daughter to life in a clay figure, the one and only child of the Amazons.
By the time Diana reaches adulthood, Ares is working to plunge the world into final conflict, whipping up his followers in the U.S. and USSR into a war fever. The Olympian goddesses order Hippolyta to select a champion to enter Man’s World and put a stop to this, and needless to say, it’s Diana. As she prepares to leave, Steve Trevor arrives, one of Ares’ acolytes scheming to destroy the Amazons and get rid of Trevor — an experienced combat veteran, but not a man who has any love for war — in one stroke. Thanks to Diana the plan fails; she takes Steve back to the U.S. landing in Boston (but unlike Marston, not out of love for him).
Unlike Marston’s Wonder Woman, Princess Diana is a fish out of water. She doesn’t speak English. Doesn’t understand our customs. Finds modern civilization a little intimidating. She turns for support to Julia Kapatelis, an archeologist with a specialty in ancient Greece. Together with Steve, Etta Candy and Julia, she has to stop Ares’ plans, but as he prepares to go nuclear, literally, will she be able to do it? Especially when his sons Deimos and Phobos set their creation, the monstrous Decay, loose on Boston?
I was totally blown away when I first read this (I know because I have a glowing letter in #7). Not just Perez’ art or the revision of the Amazons’ origins, but his older, more experienced Steve (“I’m not afraid of guns — I’m afraid of some of the idiots our military gives the guns to.”), his capable Etta (in the final conflict, she’s right in their fighting) and the gentle, insecure Diana. Perez doesn’t rush his story or squeeze in any excess fight scenes; it’s not until #4 that Diana goes mano-a-mano with anyone. It felt a little slower-paced on rereading, which is partly because I know what’s coming; Ares’ plans don’t provide as much suspense as first go-round.
And of course, the art is gorgeous. Ares has never looked more formidable.
Overall, though, it’s a solid launch for Diana’s rebooted series. There are two particular changes that I think worth discussing.
First, that the Amazons remain at an ancient Greek level of science and technology, in contrast to the relatively high-tech Marston Amazons. Marston’s Paradise Island had guns, medical laboratories and a plane for Wonder Woman to fly. Perez’ Amazons have swords and spears (the gun used for Diana’s “bullets and bracelets challenge has a backstory Perez develops later) and healing poultices.
It’s not that this is bad in itself, but I do wonder about the Amazons staying on that island for more than two millennia and never evolving or changing at all. Greek culture, after all, valued science and the intellectual life (though not for women — Amazons being scholars and not just warriors is an idea I might play with some time) so why shouldn’t the Amazons have developed an advanced science of their own? Maybe a Grecian steampunk so it fits the aesthetic?
The second change is that in ruling out Steve as a lover for Diana, Perez never came up with an alternative. Wonder Woman, IIRC, didn’t get a date until the 21st century gave her a brief flirtation with the superhero Nemesis, then with Superman. Most recently she’s back with Steve (it’s also been established she had lovers on Themiscrya).
I wouldn’t want Diana defined by her love life. I’m pleased she didn’t leave Paradise Island out of love for Steve (Robert Kanigher’s Silver Age run also took Steve out of the decision). But just ignoring that side of her for years (as opposed to, say, declaring she’s asex or that her duties preclude it) feels odd in hindsight.
I’m not sure when the right pausing point is to do another Perez review. I guess you’ll find out when I do.
#SFWApro. Covers by Perez, all rights remain with current holders.
I’m halfway through the second Golden Age Wonder Woman Omnibus and so, as I did with V1, I’d provide a recap of the series so far. Actually multiple series, as the Amazing Amazon was also appearing in Sensation Comics and Comics Cavalcade.
The stuff I’ve read so far all falls in 1944, so unsurprisingly nothing much changes over the course of a year. Steve’s still heroic but needing Wonder Woman to bail him out. Diana Prince chides Steve for being more interested in the Amazon than her. Etta Candy and the Holliday Girls somehow get in on every adventure and kick butt. The stories by William Marston and HG Peter are fun, if you like the Golden Age style (not everyone does). There’s a little less bondage than earlier in the war, maybe.
The Wonder Woman issues still follow the style of having one common story throughout, which isn’t something Superman or Batman did in their adventures in this period. And they all added to the Amazon’s mythos and rogue’s gallery. #8 takes Wonder Woman and Steve to Atlantis, currently under the rule of the evil Queen Clea. Our heroes eventually place Octavia, daughter of the rightful queen, on the throne, but in an unusual twist, it turns out in a later story that this didn’t work. The Atlanteans aren’t happy so Wonder Woman convinces them to make their leader an elected position: if they don’t like Octavia, vote her out! It’s more sophisticated than the usual assumption that if you just put a good monarch in the leadership, things’ll work out.
#9 introduced us to one of Wonder Woman’s most successful adversaries from this era, Giganta. A gorilla transformed into a human by Holliday College’s Professor Zool, she battles WW as evolution runs wild around them. With various reboots (the most recent version can become an actual giant) she’s one of the few Golden Age villains to have even a semi-regular presence in the decades since.
#10 pits Wonder Woman against spies from Saturn plotting to conquer Earth. The plot fails but Wonder Woman convinces Saturn a trade treaty would work out well for them. The Saturnians would crop up in multiple Marston-written issues. For instance #11, in which Wonder Woman battles Hypnota, a stage magician who accomplishes her impossible feats by mass hypnosis, a brain operation having tapped the power to dominate others. She’s also using the power for multiple criminal purposes, such as breaking the Earth/Saturn treaty so that her sideline of selling slaves to Saturnians will become more profitable (the Saturnians are doing their best to suppress the illegal slave dealing). She spends most of the issue disguised as a man, periodically trading places with her enslaved twin sister.
Surprisingly for such a cunning, formidable foe, she only made one more appearance in the Golden Age, in #28, which gathered multiple arch-foes together. Then poof, no more until Phil Jimenez brought her back (or so I’ve read — I don’t remember it for sure myself) as “the Hypnotic Woman” about 20 years ago.
There are also some interesting single stories. The Amazon Bride shows that even Marston’s WW was capable of thinking fantasy thoughts about letting Steve be the boss. The Invasion of Paradise Island has men tromping around on the island with no consequences and a vast flock of Amazon children. They’ve actually shown kids on the island all the way back to WW #4, but where do they come from? As Paula von Gunther’s daughter Gerta is among them, perhaps they’re all refugee girls of some sort, adopted by the other Amazons?
Regrettably Marston didn’t have much longer before ill health forced him to step down. I’ll be seeing the beginning of the changeover later in this volume.
#SFWApro. Covers by H.G. Peter, all rights remain with current holder.
That’s how Trina Robbins and Kurt Busiek described their four-issue mini, The Legend of Wonder Woman which came out immediately following the end of WW’s series in 1986. Despite the “never” on the cover, this was a deliberate call back to the Golden Age Wonder Woman: her villains, the style of art (Robbins, who co-plotted, does a great H.G. Peters). And what Robbins describes as the key to her appeal to girls back then: “a superior female character who had … trips to fantastic lost kingdoms and meetings with beautiful (and often evil) queens and empresses.”
At the same time, it has a lot of the visuals associated with the modern Wonder Woman (i.e., the one who starred in the book from the Silver Age through 1986) such as her chest emblem being a modified WW rather than an American eagle.
As Busiek put it in one of the text pages, the post-Crisis universe erased both the Earth-One and Earth-Two Wonder Women from continuity, so they were free for those four issues to ignore the little details.
The story starts after Diana’s death in Crisis on Infinite Earths (following the original proposal to make her a statue; apparently turning her back into clay was a last-minute switch). With the Amazons dispirited, Hippolyta (the blonde Earth-One version) uses the time-scanning magic sphere to recall one of Wonder Woman’s adventures. Atomia, the tyrant of a subatomic universe, appears and attacks Paradise Island and the world with her nuclear based powers and warriors. The Amazons and Steve Trevor are kidnapped and turned into slaves in the process. Caught up in all this is Suzie, a pre-teen girl Wonder Woman wound up babysitting. Suzie is a restless, spoiled child who’s torn between Atomia, who lets her do whatever she wands and then some, and Wonder Woman. Ultimately, of course, she chooses the side of good (it’s nicer!) and helps WW and Steve win.
After telling the tale, Hippolyta discovers not only are the Amazons not inspired, they’re confused: there’s never been a child on Paradise Island. Athena? reveals she’s been holding off the reality-altering effects of the Crisis but now they’re sweeping in. The Amazons are erased, but Athena promises something awesome will rise …
I didn’t care much for the story when I first read it, but I liked it a lot more this time, possibly because I’ve grown fonder of the Golden Age Wonder Woman in the years since first reading. This may explain why I found myself thinking “for a Golden Age tribute, shouldn’t there be more bondage?” Though we did get the cover of #3. The tribute still didn’t match the level of the last few years of the regular comic, but I did enjoy it, and it does catch a lot of the Golden Age feel. Suzie was Busiek’s creation but became Robbins’ surrogate, the girl having the adventures with Princess Diana Robbins would have loved to experience at that age.
Despite DC playing up Jodi Picoult as one of the first women to write Wonder Woman, women have been scripting her since 1945: William Marston’s secretary Joye Murchison, Dani Thomas co-writing with her husband Roy and Mindi Newell write before Wonder Woman ended (I believe there may have been some other uncredited female writers over the years). That’s still a small list but “one of the few” would have been a more accurate phrasing.
Following the finish of Legends of Wonder Woman came the George Perez-helmed reboot. I’ll be back in a few weeks when I review the initial six-issue arc.
#SFWApro. Covers by Trina Robbins, all rights remain with current holder.
Having wrapped up the adventures of Earth-One’s Wonder Woman last week I thought I’d take a blog post to detail the differences between the Wonder Women of DC’s Earth-One and Earth-Two. My apologies if it gets a bit nerdy.
When Wonder Woman debuted in Sensation Comics in 1942, there was no talk of parallel Earths; she was the one, the only Amazing Amazon. That continued to be the status quo even after Barry Allen discovers, in Flash #123, that the Golden Age Flash he’d read about as a kid really existed on a parallel earth. Flash #137, however, established that Earth-Two had a Wonder Woman, a member of the Justice Society separate from the one Barry worked with in the Justice League. She wouldn’t appear in action for another four years and only occasionally after that. Probably she looked redundant, being identical to Earth-One’s WW (Earth-Two’s Superman and Batman didn’t show up until the 1970s).
Where the Earth-One Flash and Green Lantern were separate people from their predecessors from the first, there was no clear sign when Wonder Woman stopped telling Earth-Two stories and switched to Earth-One. Mike’s Amazing World makes a good case it was 1958’s Wonder Woman #98. Robert Kanigher retells Diana’s origin, but with several different details from the Golden Age version. Athena orders the Amazons to send a champion into Man’s World to fight injustice, rather than fight WW II; instead of Diana worrying her mother won’t let her go, she’s worried Hippolyta will show favoritism and pick her; and Steve only arrives after Diana’s won the contest and is about to leave for the U.S. It’s also the first with Ross Andru and Mike Esposito as the art team rather than WW co-creator H.G. Peters (is that what freed Kanigher up to change direction?).
After that it was Earth-One all the way until Wonder Woman switched to Earth-Two for its WW II retro adventures in the 1970s. Unlike the other Golden Age heroes, we still knew nothing of her life in the present; we knew Batman married Catwoman and Clark Kent married Lois but nothing of WW. That changed after Roy Thomas and Gene Colan took over the book. In #300 they revealed that Earth-Two’s Diana had married Steve Trevor and they had a daughter, Lyta Trevor, who’d inherited Mom’s special gifts, enhanced by Amazon training. We’d see more of Lyta and her mother in Infinity, Inc., a series about the children of the Justice Society; Lyta was a member of Infinity, under the code name Fury.
Thomas’s beloved Earth-Two history vanished, however, when Crisis on Infinite Earths erased both WW from existence. While Dr. Fate, the Golden Age Flash and Green Lantern and other Golden Age heroes survived largely unscathed, Earth-Two characters too close to the modern versions did not — not only Wonder Woman but the Golden Age Superman, Batman, Green Arrow and Aquaman not only didn’t exist any more, they never had (this has soured Thomas on ever working with DC again).
That created a problem for Lyta. Thomas’ solution was to use one established Golden Age character, Quality Comics‘ Miss America and a new Golden Age hero, Fury, to fill the gap: Lyta was the first Fury’s daughter and Miss America (who took WW’s place in the JSA) became her adoptive mother after Fury I disappeared. However after Infinity Inc. wrapped up, Lyta got shitty treatment. Neil Gaiman’s Sandman killed her husband Hector off and made Lyta the mother of Daniel, Morpheus’ eventual replacement. After that she never showed up anywhere unless she was pregnant or comatose; Hector, by contrast, got to return and become Dr. Fate for a while.
And that was that.
#SFWApro. Covers by H.G. Peters and Gene Colan, all rights remain with current holders.