Tag: Wonder Woman

  • Paradise Island is Not a Cold, Dead Place

    Paradise Island is Not a Cold, Dead Place

    I may have fallen shy of my goal to read every new series DC Comics published as part of its New 52 initiative, but one of the books I did not miss, that I’m very glad to have not missed, was Wonder Woman. I’m a huge fan of the character, and I am always, always happy to see her done well. Unfortunately, with the exception of three recent bright spots, it seems like DC Comics are content to do things with the character that, in 2012 (or 11, or 10, or 09, and so on), seem less forward-thinking than they are head-scratching — making the call to change costumes to get the character on TV and then making a pilot so averse to networks that it’ll be years until anyone touches her, making her origins less Greek, handing her over to writers who, in turn, either didn’t do much with her or made her book unreadable, for any number of reasons — and this, in turn, has led to the current DC Comics landscape, where the DC Trinity consists of Batman, Superman, and Green Lantern, who is so whitebread that Hulk Hogan’s “Real American” may as well be blasting from the pages of the book whenever the guy does something remotely heroic.

    The best thing about the New 52 is that Wonder Woman hasn’t been this good since Greg Rucka’s run on the book. I didn’t expect this from a rebooted universe where a character popular with 20 million children was recast as an intergalactic hooker, but good things are happening with my favorite fictional character, so, for now, I am happy enough to give DC Comics my money.

    Pictured: Progress.

    But now DC is going through with a “second wave” of New 52 books, “introducing” Earth-2, a needlessly complicated system of parallel world-building that made sense 40 years ago when Superman was gaining new, ridiculous powers every week and Bruce Wayne needed to face the consequences for his playboy lifestyle, but now, in 2012, months removed from literally creating a whole new world that was meant to put to rest all of the nerdy problems that resulted from so many parallel planets, feels forced; a way for the company to try to keep up with Marvel despite having just one property (Batman) capable of competing with the heavy hitters of the other line.

    The accepted, science-fictional standard for parallel worlds is that, often, the timeline on the other planet diverged at some point, resulting in fundamental changes from the planet we’re familiar with. Say Joe Chill was suffering from the flu the night he murdered Batman’s parents. On Earth 1, he figures he could use the dough to buy flu medication, wanders off to the movie theatre in Crime Alley, murders him some millionaires, and we’ve got ourselves a Batman. On Earth 2, Chill decides to roll over and go back to sleep. Bruce Wayne is healthy and well-adjusted and never gets the idea to fight crime dressed up as a bat, instead having grown-up to be a prime piece of kidnap bait. That kind of fundamental change, however, rarely comes from Earth 2 situations in comic books for one, simple reason: You take away Batman or Superman, and you take away a fan’s reason to read. That’s fair, though, as only the most die-hard of die-hards can be expected to work themselves up over the alternate origins of Matter-Eater Lad.

    Well have I got a story for you!

    No, when it comes to modifying the origins of a superhero for the purposes of an alternate world, you need to do something radically different while keeping the character fundamentally unchanged. For Wonder Woman, this has meant any number of things: Making her less or more mythological, going back to her first encounter with “Man’s World,” taking away her powers and costume and making her a kung-fu fighter, giving the title of “Wonder Woman” to somebody completely different, and so on. This time out, however, Earth 2 writer James Robinson promises the following for the character:

    Due the events that open the saga of EARTH 2, Wonder Woman is already the last Amazon of this world and she is determined to avenge her sisters…at whatever cost.

    This is conjecture, but if my powers of intuition are correct, Earth 2 promises to slaughter all but one resident of Themyscira. It’s not uncommon for comic books to slaughter an entire race, minus one — this, after all, being the origin of Superman — but the fundamental difference between Earth 2 and “Doomed planet. Desperate scientists. Last hope. Kindly couple.” is that Krypton’s destruction, at least, was gender neutral.

    This is where things get contentious, see, because the conversation surrounding comics lately — a conversation made heated by AMC’s Comic Book Men (emphasis on “Men”), the aforementioned up-sexying of not only Starfire, but Suicide Squad‘s Amanda Waller and Catwoman‘s Selena Kyle, and DC Comics releasing a poll that, boiled down, claims that women don’t read comics — has shifted from the long-dated “Comics ain’t just for kids!” mode of thinking to the much more charged “Comic books are inherently, reprehensibly sexist.” Say what you will of this argument and its supposed extremism — Cracked.com readers, in response to a simple article about sexist superheroine costumes, already have — but Earth 2 promises two things: Gendercide, and a cold, mirthless Wonder Woman.

    This, I realize, might not appear to be a problem. They’re not grossly oversexualizing Wonder Woman, and they’re promising to do something major with a major character who is often left out of the loop when DC does major events. If you believe, as the company does, that women don’t read comic books, it may follow that the impending slaughter (or whatever) of the Amazons is, in fact, no big deal. It’s all part of a larger story, a mystery. It’s something we’re meant to unravel, something that’ll make Wonder Woman “interesting” and “relevant” and “marketable” and all those other things the character already is, but that DC has, almost comically, been unable to realize for decades. Here’s Earth 2 editor Pat McCallum to tell us how different this brave new world will be:

    While there will be recognizable faces and settings on EARTH 2, don’t for a moment think you’re on familiar ground. Do that, and you let your guard down…and then you’ll end up like the rest of the Amazons.

    This all sounds decidedly familiar. Granted I’m no comics historian, and I can’t claim to have read every Wonder Woman story to have ever seen print, but here’s what I’ve gleaned about the denizens of Paradise Island throughout the years:

    • When it comes to men, the Amazons are painfully naive, so much so that they need to send a representative to “man’s world” to report back on them.
    • With the exception of Wonder Woman herself, there isn’t a single Amazon capable of showing an emotion beyond anger.
    • The Amazons are a bloodthirsty race, capable of two things: Warring on “man’s world” and showing a deep distrust of it.
    • Inevitably, the Amazons will turn on Wonder Woman, presumably because she, in living among men, has come to accept and perhaps enjoy their company.
    Here, they’re not even afforded modern weaponry.

    The Wonder Woman of Earth 2 will probably be some combination of the above traits: Naive, angry, bloodthirsty and distrusting. This, at least in my opinion, is the worst permutation of Wonder Woman possible, an uninteresting, stock babe in a swimsuit, hacking and slashing her way through those she feels wronged her until somebody (likely a dude) stops her. She’ll end up fighting with the group of heroes who presumably let her whole society perish, this despite Themyscira having a surplus of women in refrigerators. Eventually, there’ll be a survivor, and her and Wonder Woman will be forced to fight. That’s because, no matter how cool or great or iconic Wonder Woman is, she’ll always end up in gender war stories, and sure as every other old-school Wonder Woman cover had Diana bound by her own weapon, you can bet on two things:

    1. Wonder Woman will side with the boys.
    2. The boys will always win.

    This goes back to the belief that only men read comic books, the feedback loop that says that, since that’s the case, it’s OK for comic books to maintain a somewhat (or, in some cases, a full-blown) sexist worldview, presenting, in 2012, a shockingly bankrupt take on a society free from the input of men, one wherein the gaggle of man-hating lesbians are invaded and conquered by their supposed betters. Earth 2 could have done something completely different, something completely un-comic book, but going against the grain, reaching across gender boundaries, and attempting to hook new readers are all goals less important than appeasing an ever-dwindling market and holding out for that rarest of rarities: A profitable film/TV show.

    This.

    Sadly, nobody involved seems to get Wonder Woman’s mythology, which is perhaps the most fascinating in comics. Nobody seems to care about the idea of an immortal race of women who, left alone for centuries, developed their own customs, technology, and skills. As long as we maintain our view of comic books as the stuff of testosterone-laden fantasy, the women appearing on those four-color pages will remain, by and large, either Cool Female Buddies or The Other, likely a combination of both, that intangible mix of fascination and fear. As long as we’re cool with the idea of female genocide for entertainment, not only will a vast, mostly-untapped demographic remain uninterested (or continue to be portrayed as uninterested), but the idea of comic book reader as basement dwelling, angry virgin will persist. We will remain hiding among our longboxes, afraid that Amazons may yet attack.

  • The New 52: Wonder Woman #1

    The New 52: Wonder Woman #1

    Of the DC Trinity, Wonder Woman was arguably the hero who stood to gain the most from a universe-wide relaunch. She’s been mucked-up and un-mucked-up so many times that my head spins a little just thinking about her recent history. Of course, the biggest problem with the series has been the nonexistent but perceived need to update Wonder Woman, who, whether written by a New York Times bestselling author or wearing pants, couldn’t sell more books if doing so would save a besieged Paradise Island. The best two Wonder Woman runs in recent memory, Greg Rucka’s and Gail Simone’s, focused not on her image in relation to modern society, but her place in it. Both modernized Wonder Woman, but in ways slight and not off-putting; Rucka’s Diana was an ambassador to the United Nations, and Simone’s was a modern take on John Byrne’s conception of Wonder Woman as a heroine of gods and monsters for our time. They weren’t looking to sell Wonder Woman as anything more than the protagonist of a great comic book, and now, with the TV series dead in the water and hopes for a non-Batman DC Comics movie doing well quashed by the failure of Green Lantern, Wonder Woman is free from the shackles of consumerist oppression.

    The resulting comic book, Wonder Woman #1, is exactly the kind of thing I hoped for from the New 52 initiative, movement in a positive direction for a favorite character of mine. In it, a woman is visited by Hermes, who tires to warn her of an impending attack by a duo of centaur-assassins. The shotgun-wielding woman with a pixie haircut doesn’t believe Hermes, of course, until the assassins beat down her door, brandishing swords and bows. Hermes gives the woman a key, which spirits her off to an apartment belonging to Diana Prince, who you might know as Wonder Woman. As you can see in the picture above, she’s pretty good at protecting those who randomly drop in on her while she’s sleeping. She’s freakin’ Wonder Woman.

    What’s most appreciable about Wonder Woman #1 is that it does not question who Wonder Woman is, nor does it treat the reader like an idiot. You don’t need to be a mythology buff or a Wonder Woman fanboy to understand that ancient Greek gods walk among us, and that it’s Wonder Woman’s charge to protect those effected. Sure, one’s appreciation of Wonder Woman #1 likely increases if you can spot Hera (she of the peacock cape) or know who Apollo is (the oracular god of the Sun…hence the three young women he uses as oracles), or have read any mythology where either a) a powerful being is told that he’ll be killed by a soon-to-be-born child or b) a god sleeps with a mortal and is mysteriously absent to deal with the consequences, but these are stories as old as storytelling, they’re familiar, they’re still good, and here, added to them, is our time and place and a superhero.

    I was surprised to see this from Brian Azzarello, whose previous DC work beyond the fantastic, gritty crime saga 100 Bullets and other adult-orientated comics includes a shaky run on Batman and two mini-series featuring more “realistic” takes on iconic villains–Lex Luthor and the Joker–that didn’t really do much for me. The story here is solid, updating some gods as one would expect, keeping others as they were, and focusing on Wonder Woman’s heroism, though I suspect one “life changing” factoid or another will be dropped on her soon enough. The art, by Cliff Chiang, is what really pops here, both in its scale and its attention to detail. Despite the fact that the two women at the center of the book are barely clothed, neither is sexualized. Considering the mild controversy that arose over the cover of Justice League #1, where Wonder Woman, as is typical for the female character in a mostly male book, struck a lascivious pose that looked out of place amid the scowly, barrel-chested bros behind her, who somehow towered over Diana despite her being an Amazon.

    Chiang’s artwork, if nothing else, shows him as an artist capable of portraying a Wonder Woman of mythic proportion without salivating over her. The art’s dynamic nature is helped in large part by some bold inking and a reverence for the style seen in DC’s classic animation, pioneered by Bruce Timm. I wouldn’t return to Wonder Woman just for the artwork, but, combined with Azzarello’s confident tone, Wonder Woman #1 joins Simone’s Batgirl on a very small list of titles that has me both interested in the direction of a character that I like, and a universe that is open to its own curiosities.