Women and NB Creators at DC Comics Watch, December 2017 Solicits, 23 Creators on 25 Books

October 18, 2017

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As you may recall, DC’s November 2017 solicits featured their lowest total of female and non-binary creators in some time. While things have shifted around somewhat with the December solicits, with some past creators gone and some new creators added, the numbers have turned out exactly the same. It says a lot about representation at DC Comics that after posting their smallest numbers in some time, well below their recent highs, they do the exact same thing the following month. Let’s take a look at who’s doing what at DC this December:

  • Amanda Conner: Harley Quinn #33 (co-writer, cover), Harley Quinn #34 (co-writer, cover), The Jetsons #2 (cover)
  • Bilquis Evely: DC Universe Holiday Special 2017 #1 (interior art), Scooby Apocalypse #20 (variant cover)
  • Carmen Carnero: Gotham City Garage #5 (interior art), Gotham City Garage #6 (interior art)
  • Eleanora Carlini: Suicide Squad #32 (interior art)
  • Emanuela Lupacchino: Bombshells United #7 (cover), Superwoman #17 (variant cover)
  • Gail Simone: The Kamandi Challenge #12 (co-writer), Wonder Woman/Conan #4 (writer)
  • Hope Larson: Batgirl #18 (writer)
  • Jenny Frison: Wonder Woman #36 (variant cover), Wonder Woman #37 (variant cover)
  • Jody Houser: Supergirl #16 (co-writer)
  • Julie Benson: Batgirl and the Birds of Prey #17 (co-writer)
  • K. Perkins: Superwoman #17 (writer)
  • Kamome Shirahama: Batgirl and the Birds of Prey #17 (variant cover)
  • Laura Braga: Harley & Ivy Meet Betty & Veronica #3 (interior art)
  • Lea Hernandez: Teen Titans Go! #25 (interior art, cover)
  • Marguerite Bennett: Batwoman #10 (writer), Bombshells United #7 (writer), Bombshells United #8 (writer)
  • Michelle Delecki: Deathstroke #26 (variant cover)
  • Mirka Andolfo: Bombshells United #8 (interior art), Harley Quinn #33 (interior art)
  • Rachel Dodson: Bombshells United #8 (cover)
  • Sandra Hope: The Silencer #1 (inker)
  • Shawna Benson: Batgirl and the Birds of Prey #17 (co-writer)
  • Shea Fontana: DC Universe Holiday Special 2017 #1 (co-writer)
  • Stephanie Hans: Harley & Ivy Meet Betty & Veronica #3 (variant cover)
  • Yasmine Putri: Gotham City Garage #6 (cover), Nightwing #35 (cover), The Hellblazer #17 (variant cover)

All together, there are 23 different women set to work on 25 different books at DC in December, replicating the November totals precisely; as best I can tell, there are no non-binary creators on the schedule at DC this month. That DC’s held steady at these lows is a bit of a surprise. They’d been comfortably in the mid-20s for a while, even jumping into the low 30s occasionally, but now they’ve leveled out into an ongoing lull.

Part of this may be due to a lack of new faces. We’ve seen every single creator listed above at DC before, if not last month than in the past few months. It’s an amazing list of creators to be sure, but all of them are mainstays at the publisher. The numbers can only grow if more creators are brought in, and that will require new and different people. This month, DC did not seem inclined to seek them out.

In terms of fictional characters, there’s only one new book with a female lead: The Silencer. The book is part of DC’s high profile artist-centric line in which their top artists are paired with writers to create new characters. Perhaps unsurprisingly, almost every creator involved is a man. But The Silencer features Sandra Hope inking, and it stars Honor Guest, a retired assassin who retired at the top of her game but is getting dragged back into the business. Technically the book’s not out until January; it’s an advanced solicit, for some reason. But hey, it’s on the list! And while DC only has a handful of other new titles scheduled for December, they all have male leads.

Ultimately, December looks like it’s going to be another subpar month for female and non-binary creator representation at DC Comics. On the plus side, the numbers holding steady means that the publisher’s downward trend over the past few months has come to an end. On the negative side, the skid’s landed them far from the considerably higher numbers they’d been posting only a year ago, when they had 10 more women and non-binary creators in the mix! DC’s capable of far better representation than they have right now.

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Fact and Fiction in Professor Marston and the Wonder Women

October 17, 2017

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My review of Professor Marston and the Wonder Women went up today at The Comics Journal, and there sure was a lot to dig into here. To begin with, I really enjoyed the film. I thought that the cast was excellent, especially Rebecca Hall as Elizabeth Marston. She was brash and delightful, and whoever picked her outfits did an amazing job, especially in the earliest scenes; everything she wore was super rad. Luke Evans and Bella Heathcote were great as well, and the chemistry between the three of them was remarkable. All together, the movie was a compelling story about the joys and travails of their unconventional, polyamorous relationship and it was well made all around.

The only trouble is, it really isn’t the story of the Marstons. In the broadest of strokes, it’s similar. Yes, William Moulton Marston had two children each with Elizabeth Marston and Olive Byrne lived together as one happy family, and yes, he later created Wonder Woman. The film covers all of that. However, it does so while getting the vast majority of the details wrong.

A lot of this is just how biopics roll. Hollywood and historical accuracy rarely go together, and writer/director Angela Robinson takes a lot of creative liberties with things. There are several exaggerated and manufactured conflicts throughout; Wonder Woman was never in danger of being cancelled, nor did the family ever split up. A lot of what’s covered just didn’t happen in the way that it’s depicted in the film. But again, that’s to be expected.

What’s trickier is the core of the movie, the relationship between Elizabeth, Olive, and William. They were private people and we know very little about their private life together, apart from the fact that William had two children with each woman. What we really don’t know is the exact nature of the relationship between Elizabeth and Olive; there are reasons to speculate that they were romantically and sexually involved, but their descendants have been quite adamant that they weren’t. Robinson’s take is not only that they were, but that they were the driving forces behind the triad. It’s an assumption taken to such a degree that it runs counter to what few established facts we have, and in exploring this the film often veers into outright fiction.

You can read my full discussion of Professor Marston and the Wonder Women over at The Comics Journal, where I get into considerable detail about every facet of the film’s historical accuracies and inaccuracies. It really is quite an enjoyable film, and I liked it a lot. It just purports to be the “true story” of the Marstons, and it really isn’t.

Women & NB Creators at Marvel Comics Watch, November 2017 Solicits: 24 Creators on 22 Books

October 12, 2017

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Marvel’s been very up and down with their female and non-binary creator representation over the past several months, but after the October solicits marked the publisher’s lowest numbers for the year thus far, the November solicits saw a solid gain. While Marvel still remains well off their previous highs, a sizeable jump is a welcome sight. The question now is, can they maintain or even increase the numbers moving forward? Let’s take a look at who’s doing what at Marvel this November:

  • Annapaola Martello: Marvel’s Black Panther Prelude #2 (interior art)
  • Ashley Witter: Star Wars: Doctor Aphra #14 (cover), Star Wars: Poe Dameron #21 (variant cover)
  • Carla Speed McNeil: The Unbeatable Squirrel Girl #26 (interior art)
  • Christa Faust: Silver Sable and the Wild Pack #36 (writer)
  • Christina Strain: Generation X #8 (writer), Generation X #9 (writer)
  • Devin Grayson: Power Pack #63 (writer)
  • Elizabeth Torque: Daredevil #595 (variant cover)
  • Erica Henderson: The Unbeatable Squirrel Girl #26 (co-writer, cover)
  • G. Willow Wilson: Ms. Marvel #24 (writer)
  • Gabby Rivera: America #9 (writer)
  • Gurihiru: Gwenpool, The Unbelievable #22 (cover), Not Brand Echh #14 (interior art)
  • Irene Strychalski: Gwenpool, The Unbelievable #22 (interior art)
  • Jenny Frison: Black Panther #167 (variant cover)
  • Jody Houser: Amazing Spider-Man: Renew Your Vows #13 (writer)
  • June Brigman: Power Pack #63 (variant cover)
  • Kelly Thompson: Hawkeye #12 (writer)
  • Margaret Stohl: Captain Marvel #126 (writer)
  • Marika Cresta: Power Pack #63 (interior art)
  • Mariko Tamaki: She-Hulk #159 (writer)
  • Natacha Bustos: Moon Girl and Devil Dinosaur #25 (interior art, cover)
  • Rainbow Rowell: Runaways #3 (writer)
  • Sana Takeda: Master of Kung Fu #126 (variant cover)
  • Sara Pichelli: Spider-Men II #5 (interior art, cover)

All together, there are 24 different female creators set to work on 22 different books at Marvel this November, 4 more creators and 1 more book than in October (as far as I can tell, there are no non-binary creators scheduled to work at Marvel in November). This is a large jump; essentially, Marvel’s got 20% more women writing and drawing their comics than they did last month, and that’s a considerable gain. At the same time, though, the October numbers were abnormally low and a rebound was to be expected. And, as always lately, Marvel remains far behind their previous highs; there were 37 women working at Marvel just eight months ago.

There are several new names and returning favourites in the mix this month, including a new cover artist for the Star Wars line in Ashley Witter, a new writer in Christa Faust on Silver Sable and the Wild Pack, and a new artist in Marika Cresta on Power Pack. The latter issue also marks the return of Devin Grayson, who we haven’t seen at the Big Two in a little while.

The only trouble is, Silver Sable and the Wild Pack and Power Pack are both one-shot specials, and so the four different women who worked on both of those books probably won’t be back at Marvel next month. Seeing as the solicits as a whole only jumped by four women, it looks like that gain will be washed out straight away in December. In terms of new female characters, both of those books are short-lived, and She-Hulk is the only title with a female lead that’s taking on the Marvel Legacy renumbering and hype in November. Meanwhile, at least seven different books with male leads are set to jump into Marvel Legacy and, perhaps unsurprisingly, none of them feature female creators either apart from a variant cover or two.

Overall, it’s good to see Marvel rebound somewhat after the lows they hit in October, but it appears that the rebound isn’t going to last. One-shots are fun and all, and an excellent foot in the door that could lead to future work for everyone involved, but the core, ongoing Marvel Legacy books are short on women across the board thus far, both real and fictional. The creative shifts of this event/relaunch haven’t gone great for female and non-binary creators thus far, and it will be interesting to see if December brings anything new as Marvel Legacy continues to roll out.

Wonder Woman #32 Review: Children of the Gods Continues, Unfortunately

October 11, 2017

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Let’s start this review with a question: How many female characters other than Wonder Woman have speaking parts in this issue? During the initial “Rebirth” arcs, there were a wide variety of women in the mix, from allies like Etta Candy and Barbara Minerva to villains like Dr. Cyber and Veronica Cale. Plus Amazons. A whole lot of Amazons. Wonder Woman‘s last arc, “Heart of the Amazon,” was essentially a Diana/Etta team up story, and it featured an array of women in all sorts of different roles, good and bad, primary and incidental. There was even an entire team of female assassins, with several deep cut characters from DC’s history. So now with “Children of the Gods,” the story that’s introducing Diana’s brother to the world for whatever reason, how many women other than the title character are involved? For this issue, one. One woman in the entire book. Her role takes up about half a page, and she directs Diana to her brother. That is all, and I think that speaks volumes about this arc and it’s creative team. We’ll get into the issue as a whole, but first:

SPOILER ALERT!!

I am about to discuss all of the dumb things that happened in this issue!

Look away if you haven’t read it yet!

So the lack of female characters is disheartening, especially since the book spent the last year and a bit building such a stellar cast of women around Wonder Woman. On top of that, it’s just not a very good comic book, on any level. The story is clunky, the writing is poor, the art is middling. It’s not an enjoyable read, and it’s so awkward that it’s hard to feel any connection to the story. Even the big emotional climax at the end of the issue when Diana sees her brother for the first time falls absolutely flat because it’s so painfully clichéd; they immediately recognize each other because they’re twins and feel their connection, and I rolled my eyes so hard that I may need to go see an optometrist.

James Robinson’s writing is unremarkable throughout the book. For example, there’s two pages of Diana and Hercules’ lawyer driving to his home to read his will that are an enormous waste of space, as well as a battle with parademons that reads like it was tacked on to add a bit of action to this otherwise lifeless issue. The whole thing felt like filler, as if Robinson knew he wanted to end this issue with the reveal of Jason and just threw a bunch of things together to fill up the nineteen pages before that. We get slightly more information on the dead gods, I suppose, but it’s nothing that we didn’t already know from Grail in the last issue.

The art didn’t help matters, either. Sergio Davila’s pencils, with inks from Scott Hanna and Mark Morales, were generic superhero fodder. I didn’t find much in the way of a unique style or artistic flair. It was standard cape comic art, and not particularly strong art at that. It wasn’t terrible by any means, but there was nothing interesting about it. It was serviceable at best. Though I did like how Davila drew Diana’s hair later in the issue in a sort of up-do thing with her tiara perched higher up. That was kind of a cool look. I’m always down for a creative use of the tiara.

There were also two story choices that rubbed me the wrong way as a Wonder Woman fan. First was the depiction of Hercules. Back in the 1940s, Hercules was a villain. His betrayal and imprisonment of the Amazons is what led Hippolyta to leave the world of men and take her warriors to Paradise Island to live in an all-female utopia. For William Moulton Marston, Hercules represented the worst of men’s aggression and dominance, and most incarnations of the character have followed suit. We don’t know what, if any, role Hercules played in this modern version of the Amazons; all of the New 52 stuff is up in the air after “The Lies” and “The Truth,” and our knowledge of the true Amazons is limited. But introducing Hercules as a dude who’s done some good stuff and some bad stuff, and who admired Diana, largely ignores what he’s represented in past incarnations of Wonder Woman. I don’t hate that he’s sorry for his past mistakes, since it’s always good to show how people can change. It’s more that Hercules carries a lot of baggage in terms of the history of the Amazons, and his depiction in this arc doesn’t acknowledge this in the least. He’s kind of a loaded character, and they’ve ignored that entirely.

Second, this issue introduces the Oddfellows, Steve’s tactical team that is comprised of modern versions of his associated from the Wonder Woman movie. We’ve got Sameer, Charlie, and Chief, all written much like their film counterparts, just jumped ahead a century and given some heavier artillery. This annoyed me, in part because this arc has been so bad thus far that I hate to see these characters that I quite enjoyed on the big screen put to such poor use here. I also found it very telling that the creative team borrowed a bunch of the fellows from the Wonder Woman film, and yet Etta Candy has been absent from both issues of this new arc. I mean, come on now.

So, I did not particularly care for this issue, and I am not enjoying the specter of five more months of this that lies ahead. It all feels fundamentally flawed across the board, like the creative team and the editors just don’t understand what a Wonder Woman comic should be. We’re only two in, of course, and it may well pick up eventually. But thus far, this arc has done nothing but confirm all of my worst fears from when the storyline was first announced.

Women & NB Creators at DC Comics Watch – November 2017 Solicits, 23 Creators on 25 Books

October 10, 2017

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I’m not sure what’s going on at either of the Big Two superhero publishers right now, but both DC and Marvel are well off their recent highs when it comes to the representation of female and non-binary creators. At DC, the solicits for November mark their lowest total in well over a year, and this is in the midst of the launch of several new series, ongoing and mini, across their line. DC’s output has been shifting and expanding over the fall, and this current cycle of change appears to include far fewer women and non-binary creators. Let’s take a look at who’s doing what at DC in November:

  • Alisa Kwitney: Mystik U #1 (writer)
  • Amanda Conner: Harley Quinn #31 (co-writer, cover), Harley Quinn #32 (co-writer, cover), Harley Quinn: Be Careful What You Wish For Special Edition #1 (co-writer, interior art, cover), The Jetsons #1 (cover)
  • Aneke: Gotham City Garage #3 (interior art), Gotham City Garage #4 (interior art)
  • Desirée Proctor: New Talent Showcase 2017 #1 (co-writer)
  • Eleanora Carlini: Green Arrow Annual #1 (interior art), Suicide Squad #29 (interior art)
  • Emanuela Lupacchino: Bombshells United #5 (cover), Harley & Ivy Meet Betty & Veronica #2 (cover), Wonder Woman #35 (interior art)
  • Erica Harrell: New Talent Showcase 2017 #1 (co-writer)
  • Gail Simone: Wonder Woman/Conan #3 (writer)
  • Hope Larson: Batgirl #17 (writer)
  • Jenny Frison: Wonder Woman #35 (variant cover)
  • Jody Houser: Supergirl #15 (co-writer)
  • Joelle Jones: Batman #34 (interior art, cover), Batman #35 (interior art, cover)
  • Julie Benson: Batgirl and the Birds of Prey #16 (co-writer)
  • K. Perkins: Superwoman #16 (writer)
  • Kamome Shirahama: Batgirl and the Birds of Prey #16 (variant cover)
  • Laura Braga: Harley & Ivy Meet Betty & Veronica #2 (interior art)
  • Lynne Yoshii: New Talent Showcase 2017 #1 (interior art)
  • Marguerite Bennett: Batwoman #9 (writer), Bombshells United #5 (writer), Bombshells United #6 (writer)
  • Michelle Delecki: Deathstroke #25 (variant cover)
  • Rachel Dodson: Wonder Woman #34 (variant cover)
  • Shawna Benson: Batgirl and the Birds of Prey #16 (co-writer)
  • Siya Oum: Bombshells United #5 (interior art), New Talent Showcase 2017 #1 (interior art)
  • Yasmine Putri: The Hellblazer #16 (variant cover)

All together, there are 23 different female creators set to work on 25 different books at DC in November, 2 fewer creators than in October though 4 more books (as best I can tell, there are no non-binary creators scheduled to work at DC in November). A dip of 2 creators is fairly minor, though not inconsiderable given how few women there were to start with at DC, but it does take the publisher to its lowest total of female creators since August 2016.

It’s an odd month at DC all around. Some of the drop can be explained by an absence of “Young Animal” titles, a line that features an array of female creators. But DC is also set to release their New Talent Showcase, which includes a variety of women writing and drawing. Typically, an anthology issue like that with such solid representation boosts the monthly numbers considerably, but not this time. We’ve also got Mystik U, a new series with a female writer in Alisa Kwitney, plus a Harley Quinn special with Amanda Conner all over it, and still the numbers drop. The list of new names is great to see, particularly in the New Talent Showcase, but it hasn’t added up to a strong month for female representation at the publisher overall.

In terms of female characters, the aforementioned Mystik U stars a teen Zatanna, so that should be fun, and Enchantress is in the mix. Everything else has dudes in the lead, including new books for Black Lighting, The Demon, and Hawkman. And the “Metal” tie-ins continue to roll out, the bulk of which feature male leads and male creative teams.

So November is a mixed bag for DC. There are lots of new female creators in the mix, many of them making their first ever appearance at the publisher. But across the line, the numbers remain down. While I suppose we can take an optimistic angle and hope that all of these new creators become mainstays at DC moving forward, it doesn’t change the fact that DC’s female and non-binary representation has been trending downward for a while now. It’s a very noticeable slump, with no end in sight as of yet.

Women in Comics Statistics, DC and Marvel: June 2017 in Review

October 3, 2017

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My latest “Gendercrunching” column went up at Bleeding Cool last week, and June 2017 was yet another underwhelming month for female creator representation at the Big Two.

DC’s overall percentage of female creators ticked up slightly to 15.3%, while Marvel fell down a tad to 15.7%. As much as both publishers remain several points above where they were a few years ago, they’re also well below their recent highs. DC and Marvel have shown themselves to be capable of higher numbers than these, and this sustained lull in female representation is not a great look.

The June article also included the announcement of a new format for “Gendercrunching.” It’s become increasingly difficult to keep up the monthly pace of running the numbers plus doing additional analysis, and so the feature is shifting to a quarterly format moving forward that will focus just on DC and Marvel. Watching trends in representation within the superhero industry and serving as a record of this evolution has always been the main focus of “Gendercrunching,” and so the new format will allow us to continue to do this, without any of the other bells and whistles. I do hate to give up the bells and whistles, because I loved all of the supplementary analysis we dug into, but it became unsustainable and something had to give. I’m excited to see what a quarterly perspective will reveal about DC and Marvel’s numbers, though. Should be fascinating!

Head on over to Bleeding Cool for the full stats fun!

Wonder Woman #31 Review: It’s Going To Be A Long Six Months

September 27, 2017

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I just don’t understand why this is happening, gang. DC finally has Wonder Woman back on track after the New 52 reboot took her increasingly off course for five years, and her popularity is sky high following the massive success of the movie this summer. Greg Rucka, Bilquis Evely, Nicola Scott, and Liam Sharp re-established her beautifully with the first year of “Rebirth” and then Shea Fontana, Mirka Andolfo, David Messina, and Inaki Miranda made the most of the new status quo with their excellent, compelling “Heart of the Amazon” arc. And now we’ve got a story about Diana’s brother, tied to a pre-“Rebirth” event no one particularly cared about, with several elements that are technically no longer part of Wonder Woman’s continuity. It is the opposite of accessible, and it’s also the opposite of what anyone who’s loved the first thirty issues of the new Wonder Woman and/or the movie is looking for. I’m utterly flabbergasted that DC is dedicating six months and twelve whole issues to this story that next to no one is clamouring for.

Plus, most damningly, it’s just not good. This first issue is rough in a lot of ways, but here’s the big thing you need to know about it: It’s an issue of Wonder Woman in which Wonder Woman only appears on six pages. If Wonder Woman isn’t the star of your Wonder Woman, you’ve done screwed up. I was really hoping that, as much as I didn’t love the idea of this arc, it would turn out to be surprisingly good and interesting, but this first issue has squashed that hope considerably. It’s bad and dumb and seems destined to try my patience. Let’s dig into it all, but first:

SPOILER ALERT!!

It’s a first issue so I won’t be too spoilery moving forward!

However, a couple of plot points will be discussed!

Continue to read at your own discretion!

So let’s start with the elephant in the room that is James Robinson. Once a legend in the business because of Starman, his fame has dimmed in recent years after some gruesome and grotesque superhero outings and his transphobic indie book. His work over the past few years seems generally at odds with the message and tone of Wonder Woman, especially in her re-established “Rebirth” form. Furthermore, after Rucka’s fine work on the book, a lot of folks, myself included, were hoping that the writing reins would get passed on to one of the many amazing female writers working in the business today. Robinson taking over the book for an extended run is an all around bizarre choice by DC.

And one that has resulted in a very bad first issue. There’s the fact that Wonder Woman is barely in it, of course, but more than that it’s a clumsy, awkwardly expository outing. The book takes twelve pages to set up the villain, with more than half of the story dedicated to a character who’s quickly taken off the board. I don’t want to get too into the details for folks who haven’t read it, but essentially Grail is taking the power of gods to repower Darkseid, and a huge portion of the book is dedicated to setting that up. The execution of this both sidelines Wonder Woman and drags on with shrug-inducing reveals and painful dialogue.

The dialogue especially is a constant problem throughout the issue. Not only are characters over explaining everything, but there’s no natural flow to any of it. It’s stilted and drawn out, laden with rough transitions, and it all combines to take the reader out of the story again and again. It’s so clunky that I kept thinking, “Nobody talks like this. Why is this so awkward?” and it makes for an unpleasant read.

The art, however, was quite strong throughout. Penciller Carlo Pagulayan and his inkers Sean Parsons, Jason Paz, and Scott Hanna do a nice job with every aspect of the book, bringing some life to the weak script and saving the issue from being a complete disaster. Wonder Woman’s fight with Giganta is particularly well done, and they’ve got an excellent handle on Wonder Woman herself. I can see some of Nicola Scott’s take on the character, with a little bit of Gal Gadot mixed in too, all rendered in Pagulayan’s own style to add up to quite a good Wonder Woman. Their action scenes are enjoyable as well, and quite compelling if you ignore the dialogue and just focus on the visual storytelling. I’m curious to see more from them, and have my fingers crossed that they’ll end up with fun things to draw as the story progresses. Also, shout out to Romulo Fajardo Jr.! He’s back again colouring the book, and doing an amazing job as always. The man has an uncanny ability to pair seamlessly with any artist he works with in a complimentary way that elevates the art even higher, and he’s at it again with this issue. I’m so glad to see he’s sticking with the book.

So we’ve got good art and terrible writing, but the scales tip decidedly to the negative all together when we consider the ridiculous premise. The primary antagonist Grail is a product of the New 52 Amazons who have since been revealed as a fabrication by the gods, so basically she should not exist. But because of her prominent role in “The Darkseid War” event and the fact that she’s Darkseid’s daughter, she somehow carries on to plague Wonder Woman. And Wonder Woman’s brother, which is also a thing that is happening. He was teased in the “Rebirth” special, but seemingly forgotten for the next 15 months and never mentioned at all in the new Wonder Woman as much better stories were told instead. But here we are, picking up on some very dumb loose threads and tying it all together. At a time when everyone is in love with Patty Jenkins’ Wonder Woman and wants more Diana, more Amazons, more bad ass female characters generally, and more women in charge of these feminist icons, the comic’s got a male writer telling a story centered on Wonder Woman’s brother. And, if the first issue is any indication, a really bad story at that. I have no idea why DC is doing this. All I know is that it looks like it’s going to be a very long six month for Wonder Woman enthusiasts.


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