Archive for the ‘WW Comics’ Category

Wonder Woman #20 Review: A Late Look at the New Circe’s Debut

April 18, 2017

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First off, apologies for the late review. I was gallivanting around Amsterdam last week and am only getting around to reading the latest issue of Wonder Woman today. It was an issue worth the wait, though; between Greg Rucka reinventing a villain that he created more than a decade ago and Bilquis Evely providing gorgeous, expressive art, “Godwatch” has been a great read thus far. I particularly enjoy that it’s so different from every other arc of the “Rebirth” Wonder Woman we’ve seen so far. We’re four arcs into this new era, and each has a different feel and style, which is very cool. Let’s dig into what happened in Wonder Woman #20, but first:

SPOILER ALERT!!

I am about to reveal all of the major plot points of this issue!

It came out nearly a week ago, though!

You should have read it by now!

So the ongoing saga of Veronica Cale and her captured daughter Izzy continues, with Cale going to extreme lengths to try to get her daughter back. This month, that means enlisting the help of the ancient witch Circe, who comes up with a plan to trap Phobos and Deimos and thus get Cale one step closer to her daughter. However, things don’t go quite as expected. The brothers get captured and turned into the dogs that we’ve seen Cale command in the present day “The Lies” and “The Truth,” but it turns out that their father Ares has Izzy, and even a fiendish witch like Circe has no desire to go up against him. Cale, though, is more than willing to unleash war on the world if it means getting her daughter back, and the issue ends with what appears to be the first step toward a sinister new plan.

Usually when an arc of Wonder Woman focuses so little on Wonder Woman herself, it very quickly gets on my nerves. She’s in just a handful of pages in this issue, and “Godwatch” as a whole has been rather light on Wonder Woman in its first three installments. And yet, I’m really enjoying it. Rucka’s constructed a compelling narrative for Cale and he’s turned her into one of the most interesting, well fleshed out villains I’ve read in some time. She’s a terrible person, sure, but there’s a humanity behind all of that rooted in her love for her daughter that makes her so much more than just some evil cardboard cut out. And Evely absolutely embraces the complicated nature of the character. I follow Evely on Twitter, and it seems clear that she really loves to draw Veronica Cale and capture both her arrogant snark and her softer emotional core. What she does with Cale’s expressions and body language is so enjoyable to read each month. Rucka’s writing her well, but Evely is really elevating her into a sensational, fascinating character.

Evely is doing an amazing job with designs for the arc as well. This issue introduced Circe, and she looks ridiculously cool. Circe’s been a Wonder Woman villain for decades, and her many incarnations have followed a similar theme: she’s generally rather sexualized, and her costumes tend to have a classic Greek myth aesthetic skewed through the lens of the male gaze. This new Circe is very different. She shows up sporting a rad short haircut that nonetheless attains impressive height, wearing a sharp outfit that includes black slacks and a vest, a collared shirt, and a cream blazer. This Circe is modern and fun and clearly mischievous. She makes me think of a sort of malevolent Sue Perkins, really.

We get a bit of the ancient Greek vibe when Circe’s doing her magic binding, and again it’s unique. Rather than a bodice that exposes ample cleavage, as we so often get with Circe, Evely equips her with a full, ornately crafted chestplate that fits nicely over her well tailored shirt and pants. It’s a simple, elegant design that conveys so much about this new take on the character, combining her ancient power with a fresh, contemporary look in manner that works so well. It feels like Circe even though it’s unlike any Circe we’ve ever seen before. I love her and I want an action figure, please.

Now, all of this villainous focus is enjoyable, but I also love how Evely draws Wonder Woman and I’m hoping we’ll get some more of that in the next few issues. The saga of Veronica Cale is a great read, but it seems that Evely is only going to be on Wonder Woman for the one arc, and I’d love to see her go to town with Wonder Woman as well. When you’ve got a great, unique talent like Evely, you should try to make her draw as much awesome stuff as possible!

Finally, while I was away, Greg Rucka announced that he will be leaving the book after Wonder Woman #25, and the art crew on both arcs seem to be moving on as well. It was sad news, to be sure, but ultimately I think it could be good for the book. I like Rucka a lot, but I’m also ready for a new take on the character, preferably from someone young with a unique perspective. Rucka was a great choice for “Rebirth” because Wonder Woman was very much adrift and DC needed someone to right the course. Rucka, Evely, Scott, and Sharp have done that admirably, and established a take on Wonder Woman that is both true to her roots and relevant to the world today. They had to fix a huge mess, and they did a great job. The end of the currents arcs seems like a good spot to pass the baton, and I’m excited to see what comes next. Shea Fontana and Mirka Andolfo have been announced as the new team on the book, with Fontana writing it for at least five issues, and that’s a very fun first step. We’ll find out soon if Fontana is staying with the book or we’re getting a new team after that, and here’s hoping that this great run for Wonder Woman continues.

Talking About Wonder Woman at the Imagine Film Festival in Amsterdam: A Recap!

April 17, 2017

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I am now home from my five day visit to Amsterdam, and it was such a cool trip. I’m from Halifax, which is one of the oldest cities in North America, but it doesn’t even come close to the history and legacy of Amsterdam and it was so fun to get to explore the city. While I had to keep my head on a swivel to avoid bicycles as I did so because they’re EVERYWHERE, I adapted to that pretty quick and got to see a good portion of the city.

First, though, here’s a hot tip, gang: If you ever get the chance to fly KLM, do it. We flew there and back on KLM, and it was far and away the best airline I’ve ever been on. They give you so many drinks and meals and snacks! Plus there are a pile of good movies to watch. I saw Moana, Arrival, Finding Dory, and Doctor Strange; it was great. So yeah, highly recommended.

The first day in Amsterdam was largely a blur. My mother came with me, because if you ever luck out and get a free trip to Amsterdam and your mother’s never been to Europe, you should take her. Plus she’s a swell lady! Our flight there was an overnighter but we didn’t sleep much, so we ended up crashing at the hotel when we got there, then exploring the area a bit in the afternoon, then more sleep. Or attempts at sleep, at least. Jet lag is rough, folks.

Day two was more exploration. We figured out the metro, which was super easy and convenient, and walked through some of the good shopping places in the city. I didn’t buy much, but I did an ice cream at this rad place called Banketbakkerij Van Der Linde; they only make vanilla ice cream but it’s amazing and there’s always a line up out the door, even on a cool day like Thursday was.

Day three was my presentation, so I mostly went over my notes all day. We had some near-drama when I arrived at the EYE Film Institute and the presentation wouldn’t play; we tried my laptop, then another laptop, but nothing was showing up on the big screen. Everyone behind the scenes at the Imagine Film Festival was super great, though. The technical folks worked like crazy to get everything sorted while everyone else chatted with me and joked about our predicament. I’m still not sure exactly what was wrong, but after replacing the same small box several times, it worked. We started a few minutes late, but everything worked perfectly from then on.

The presentation itself was very fun to do. I always get super nervous before I have to give a talk, but once it gets going it tends to be more pleasant, and this was no exception. The crowd was wonderful, which helps a lot. We had a good number of people in, all of whom seemed very enthusiastic to hear about Wonder Woman, her evolution, and the role of her costume therein. I started with Marston, of course, and dug into the bizarre origins of both Wonder Woman and his own background, psychological and life-wise. Then we discussed the American symbology of the costume and how it was meant to help Wonder Woman fit in and thus help America while slyly spreading Amazon values there as well. We also looked at this great panel:

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Talking about the costume led to a deep dive into her bracelets and the bondage metaphors of Golden Age Wonder Woman comics, which segued nicely into an examination of her golden lasso as a symbol of feminine power.

From there, we passed through the Silver Age pretty quickly because her costume stayed largely the same and that was the main focus of the talk. The Bronze Age and Wonder Woman’s mod revamp, however, merited close examination. We looked at the story in which Diana Prince got trendy clothes to help Steve Trevor out of a jam:

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After which Steve started to show interest in Diana for the first time ever and Wonder Woman realized she no longer needed to be super to keep his interest. This introductory issue really set the tone for this whole era, in which Diana gave up her superpowers and got very into mod fashions, all while falling for every man she met and behaving hysterically when they inevitably betrayed her. It was an attempt to make Wonder Woman a more modern, relevant character that failed rather spectacularly.

But it did lead to Gloria Steinem campaigning for Wonder Woman to return to her roots, which was followed by her appearing on the first cover of Ms. magazine and eventually the Lynda Carter television show. The latter was particularly fun to chat about, and I showed a clip of Wonder Woman talking to her sister Drusilla in both of her identities so that we could see how Carter played them differently. We also chatted briefly about her awesome Wonder Woman scuba suit, because how could we not?

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This all was followed by a quick run through the Perez era, the ridiculousness of the Deodato era, and how Wonder Woman’s costume has remained fairly constant since the television show. Any big changes rarely lasted for long, even much hyped alterations like her ill-fated pants and leather jacket in 2010. We looked at the New 52 era as well, which led to Gal Gadot and her onscreen Wonder Woman. It was a film festival, so I wanted to be sure to give her a lot of attention.

The early discussion surrounded Zack Snyder’s brown, desaturated version of the costume which had all of the classic Wonder Woman elements but none of the brightness and vibrancy one would expect from Wonder Woman. We also watched a clip of Wonder Woman showing up in Batman v Superman: Dawn of Justice for the first time, i.e. pretty much the only good part of that movie. Her general mysteriousness in that film led to some speculation about the character in her new solo film, and I was glad to dig into how Patty Jenkins seems to be embracing color. We watched the latest trailer and dug into how we got a lot of the elements we would expect in a Wonder Woman origin story, including the requisite incarnations of the characters and her corresponding outfits. But we also discussed how her sword seems to have superseded her lasso as her primary weapon:

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And the way that this, intentional or not, is an assertion of masculine concepts of heroism and power over the more classic feminine power represented by her lasso.

Finally, we talked about “Rebirth,” particularly how Rucka and Scott reasserted the importance of the lasso in “Year One.” Talking about Scott led us to Wonder Woman recent, short-lived United Nations ambassadorship, and we discussed the body-shaming petition for her removal and how reducing the character to her appearance ignores what she has meant as an inspirational figure for generations of fans.

So yeah, it was a fun talk! And there were some excellent questions after, which is always fun. My favourite may have been the woman who chatted about the historical reality of the Amazons, which was very cool, but they were all great. Then I got to hang out with the film festival folks for a bit, who were delightful and kind and so enjoyable to visit with.

Day four was the Rijksmuseum; it’s HUGE and took up the entire afternoon, really. I got to see Van Goghs, and Rembrandts, and Vermeers, but my favourite painting of all was this one by Nicolaas Baur called “A Women’s Skating Race on Stadsgracht in Leeuwarden, 21 January 1809”:

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There was a skating race for a gold cap-brooch and 64 unmarried women entered, but some of them were so into the race that they threw off their cloaks and skated bare armed, causing quite a stir among spectators who considered them shockingly immodest. There was such an outcry that it was the last women’s race for several years.

So that was my trip! Huge thanks again to the Imagine Film Festival for bringing me to Amsterdam; it was such a nice city to visit, and everyone at the festival was wonderful. Thanks to everyone who came to my talk as well. It was very fun to spread the word about Wonder Woman on a whole new continent!

Check Out New Book, Wonder Woman Psychology, And My Essay On Marston and Wertham!

March 28, 2017

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There’s a fascinating new book about Wonder Woman set to hit stores next week (though Amazon seems to be shipping it out already in America), and I’m very honoured to be a part of it. Wonder Woman Psychology: Lassoing the Truth is edited by Travis Langley and Mara Wood, and examines Wonder Woman from a psychological perspective through a series of essays, all of them with unique viewpoints and insightful thoughts on the Amazon princess. Travis is a pro at this style of book, having written or edited similar volumes on Batman, Doctor Who, Games of Thrones, The Walking Dead, and more. The psychological angle is an interesting lens through which to view these properties, and one that’s especially fitting for Wonder Woman.

Wonder Woman was created by a psychologist, William Moulton Marston, to be “psychological propaganda for the new type of woman who should, I believe, rule the world,” and my essay in Wonder Woman Psychology compares and contrasts Marston’s optimistic approach to comic books with Dr. Fredric Wertham’s pessimistic view of the medium. Wertham famously decried the comic book industry in his 1954 book Seduction of the Innocent, and was especially hard on Wonder Woman, accusing her of being a lesbian (no minor allegation in the 1950s) and calling her a “morbid ideal” for young girls.

And yet, despite their very different views on Wonder Woman, the two men had a lot in common. They both believed that psychological principles could make the world a better place, and shared progressive views on many issues. They also agreed that comic books had a powerful potential to influence the youth of America. Their major divergence was their reaction to the medium; Marston sought to harness that potential for good and influence young readers while Wertham sought to protect young readers from dangerous messages that could lead them to juvenile delinquency. Both men are fascinating figures and key players in the history of Wonder Woman, and it was a lot of fun to dig into their histories and discuss them in such a close comparison.

Travis Langley co-wrote the piece with me, which was great. I’m a historian first and foremost, and psychology is not my area of expertise, so I provided all of the history and researched the psychological work of both men as best I could, and then Travis took the baton to the finish line. I was very glad to have someone with his impressive psychological knowledge on board, both to check my own work and add to the piece. It was a fun, easy partnership and I’m really pleased with how the essay turned out.

You can order Wonder Woman Psychology: Lassoing the Truth now, or ask for it at your local bookstore. If they don’t have it ordered already, I’m sure they can get it for you; the series is popular and well known. I heartily recommend picking it up if you’re a fan of Wonder Woman, and not just because of my own part in it! There are lots of great writers delving into interesting components of the character, and there’s even an old biographical piece by Elizabeth Holloway Marston, William’s wife and a key player in the creation of Wonder Woman, which is ridiculously cool and worth the price of admission alone for any hardcore Wonder Woman enthusiast. You’re in for a great read across the board!

Wonder Woman #19 Review: Back in Action

March 22, 2017

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It’s going to be an abbreviated review this week because your faithful reviewer is in the middle of an absolutely bananas week; so it goes, sometimes. We’ll still get to all the fun of the issue, just more succinctly. First, some good news: The reveal at the end of Wonder Woman #17 was everything we thought it was and Wonder Woman is totally back. The return of Ferdinand sparked her memory and she left the asylum to take on Godwatch. However, things went steadily downhill for her from there. We’ll get into it all, but first:

SPOILER ALERT!!

Details of this issue will soon be revealed!

Look away if you haven’t read it yet!

So Wonder Woman’s joyful return quickly took a dark turn when she learned that Barbara Ann had given herself up to Veronica Cale and became the Cheetah again. She also learned that nearly everyone from the Picket was killed. Oh, and that several of her top villains are working together against her. It was a bevy of bad news. Plus Dr. Cyber called her a “self-righteous, arrogant, simplistic little airhead,” which was rude. Then the issue ended with Wonder Woman getting shot through the chest, so yeah. It was a rough twenty pages for our favourite heroine.

It wasn’t the most action packed issue, with a lot of it dedicated to Dr. Cyber’s bloviating, but there were some key developments. There was Wonder Woman’s return, of course, but Etta found Sasha Bordeaux as well, which could mean that another member of the team will be back in action soon. That’s good news, because they need all the help they can get.

There’s also some exciting developments on Themyscira. Initially, the Amazons are unsure if Diana is still alive or not, but the appearance of the Greek gods in their animal form, just as we saw them back in “Year One,” sparked hoped in everyone. My guess is that rather than Wonder Woman returning to her true home for the first time, Hippolyta and a delegation of Amazons may go find her first. Again, she needs all the help she can get, especially after how this issue ended.

The art for this issue was a bit hit and miss for me. Liam Sharp had some great moments; there’s a panel with Diana wearing a red cloak that is just gloriously detailed, for example. But Sharp did this sort of morphing thing with Dr. Cyber where her appearance was constantly shifting and it was a bit odd. Some of them looked cool, but some of them looked a bit messy and overdone. There was also one incarnation of her that was a full body shot where she had metallic balloon breasts for some reason; it reminded me of Cyber-Cat from Jim Balent’s Catwoman run, which is never the best thing to hark back to. Still, when Dr. Cyber looked cool, she looked really cool, and Laura Martin’s colours added a great mood and style to the pages, and to the book as a whole.

Overall, this was a decent issue, if not the best one the team’s done lately. It was more a table setter, bringing Diana back into the mix, moving some pieces around, and closing with a dramatic cliffhanger. You need to have issues like this from time to time, and it was still an enjoyable read. The Amazon bits in particular continue to be great, and Etta’s love for Barbara and her fury over losing her again was really powerful stuff. Things look like they’re going to get intense in the next few issues, and I’m looking forward to it.

Wonder Woman #18 Review: Who Watches the Godwatch?

March 9, 2017

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I’m a day late to this review after being busy all day yesterday with some family things, but I got to read the issue yesterday and having an extra day to think back on it has only increased my appreciation of it. “Godwatch” is clearly a different kind of story than “The Lies,” “Year One,” or “The Truth,” and I like that about it very much. The arc is keeping a dual focus on Veronica Cale and Wonder Woman, having them circle each other without meeting yet as they both grow into their new roles, Wonder Woman as a superhero and Veronica as the woman trying to learn her secrets. It’s made for some excellent storytelling so far, and we’ll dive into it all momentarily, but first:

SPOILER ALERT!!

I am about to disclose all of the things that happen in this issue!

Read no further if you haven’t picked up this issue yet!

First things first, we’ve got a time jump. I love a good time jump. It can be a really effective storytelling technique when done well, and I think it was nicely executed here in a very sensible way. At the end of Wonder Woman #16, everything had gone wrong for Veronica; Deimos and Phobos had her daughter, her best friend was dead, and her plan to capture Wonder Woman had failed on every level. This issue begins a year later, with Veronica having festered in this defeat for a year. Wonder Woman’s reknown and power has only grown, meanwhile Veronica’s daughter remains creepily faceless, Deimos and Phobos are still around, and she’s only just figured out how to bring back Adrianna’s consciousness as Dr. Cyber. The time jump gives us a sense of Veronica’s pain, and shows us the steps to her becoming the hard-edged villain we see in the present day arcs. All of this horror has been her life for a full year, a crucible forging her into what we know she’ll become.

The story almost shouldn’t work. We already know Veronica Cale is a villain who hates Wonder Woman. This arc adds backstory to that, but not a lot else as of yet, and it would be really easy for this to be a flat, unessential tale. Luckily for us, Greg Rucka and Bilquis Evely know what they’re doing. The characterizations are so strong and the emotions so clear that it makes for a very compelling read. I even feel sorry for Veronica and the terrible situation she’s in, and I’m Team Wonder Woman a billion percent! Seeing the joy of her getting her friend back and the sorrow of not having her daughter, it’s hard not to have some sympathy for the difficult spot she’s in, even though she does horrible things to characters we love.

Barbara Ann Minerva is both a good example of Veronica’s terrible acts and of presenting backstory in a powerful way. We all know she’s going to become the Cheetah, and that Veronica has something to do with that. That’s been well established earlier in the series. But getting a glimpse into how Barbara’s relationship with Diana has developed in the year since she became Wonder Woman adds more emotional heft to the story, and seeing the ways Veronica manipulates the situation so Wonder Woman can’t save her friend is genuinely upsetting. The scene when Wonder Woman finally arrives to find a bitter Barbara in her new Cheetah form is just heartbreaking. And we all knew it was coming!

Also, kudos to Rucka for his symmetry. Having Barbara become the Cheetah again in an emotionally brutal scene two weeks back in “The Truth” in Wonder Woman #17 and following it with her original transformation this week is quite the one-two punch. Tough on my poor heart; I’ve really grown to love Barbara. But so well executed and structured.

A key part of this arc being so effective is Bilquis Evely’s stellar artwork and what she’s able to bring to all of the characters. We know the broad strokes of this story already, and while Rucka’s doing a swell job writing the book, it’s all on Evely to communicate the emotions of the scenes that make filling in this backstory worthwhile. And she’s hitting it out of the park. The look of horror on Diana’s face when she realizes that she was too late to save her friend is so powerful that it sells the entire scene from the get-go. Similarly, she brings so much to Veronica, humanizing someone we could easily see as a monster. Again, Rucka’s writing her well, but it could feel hollow in the wrong hands. With Evely, each beat plays out true. The final page of the issue, in which Veronica is ashamed of the magnitude of horror she’s perpetrated to save her daughter, is particularly compelling. Evely captures the human side of her so well that you can’t help but sympathize with her despite all she’s done.

Evely’s helped by Scott Hanna on inks, and I’m glad to see that they were able to have just one inker for this outing. It was much stronger than last month’s issue, when several different inkers contributed to the books and the differences were clear and somewhat jarring. Romulo Fajardo Jr.’s colours remain stellar as well. That man has a deft touch. Evely’s linework pairs best with a muted colour palette, which could be limiting, but he’s able to find vibrancy and contrast within this somewhat subdued range that makes the book look absolutely gorgeous. It’s a different set of skills that Fajardo showed us with “Year One” and it’s just as lovely.

Overall, this issue was a heartbreaker, and a very well executed one at that. We knew the bulk of what was coming and it not only still hurt, it conjured up some sympathy for the villain of the piece! That’s kind of remarkable. This arc has been great so far, and I can’t wait to see how Rucka and Evely toy with our emotions again in a month’s time.

Wonder Woman #17 Review: Free Your Minotaur

February 22, 2017

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Things remain bleak for Wonder Woman and the gang. Etta and Steve are on the lam, Barbara is in the clutches of Godwatch and Veronica Cale, and Diana doesn’t know who she is and remains in an asylum. While there is progress on one of those fronts in this second part of “The Truth,” there is a heartbreaking setback in another. All told, it is an issue about balance, about trading life for life and friend for friend, and in the end the gains and losses even out to leave the team no further ahead, except for one key element: Wonder Woman. It was a good issue and we’ll dig into it all momentarily, but first:

SPOILER ALERT!!

I mean, if you’re reading this review then you’ve probably read the issue!

But if you haven’t look away!

I’m going to spoil it all!

So, balance. There was a lot going on in this issue, and it all felt like a scale tipping back and forth with each major action that ultimately ended up just as balanced at the end as it was at the beginning. Everything had its opposite, and Barbara Ann Minerva’s sacrifice was the lynchpin to it all.

Barbara’s been one of the most compelling character’s of this current run of Wonder Woman, and a key player in all four arcs thus far. Her transition from the villainous Cheetah to regaining her role as a trusted ally has been a great story, and her relationship with Etta only made the story better. She even got her own solo issue during “Year One” that dug into her backstory. I’m now very invested in Barbara, which is probably what Rucka wanted; he’s gotten us all attached to her so that this issue would hurt all the more. Veronica Cale forced her to become the Cheetah again in order to save her friends, a sad but noble moment that juxtaposed poignantly with the rest of the issue.

First, we got the return of an old friend, Ferdinand the minotaur from Rucka’s original run on Wonder Woman. Steve and Etta sought him out to help Diana, hoping that her seeing a long lost, friendly face might spur her memory and remind her of who she is. Plus it’s always good to have a minotaur on the team; I think he’ll prove useful in the months ahead. But this joyful return had to have its opposite: The loss of an old friend as Barbara returned to her Cheetah guise and gave up her newfound humanity.

Next up, Etta, Ferdinand, and Steve survived a serious attack from Colonel Maru’s troops. They got blasted with a minigun and explosions; Poison wasn’t screwing around. They made it out alive but, again, there had to be balance. Their lives were spared because Barbara gave up hers to become the Cheetah again. She’s not dead per se, but being the Cheetah means that her true self is buried as her animalistic urges take over.

Finally, it looks like bringing in Ferdinand did the trick. On the issue’s final page, Diana appears to recognize Ferdinand, which would be an excellent sign that she remembers she’s Wonder Woman and is set to return to her heroic role. However, opposites. The return of a hero in Wonder Woman had to be balanced with the return of a villain in the Cheetah. The parallels run deeper as well; both women were trapped in a prison of their own making because they chose to return to their pasts. Diana was mentally shattered because of her journey to Themyscira while Barbara was ensnared because she went back to Godwatch. Moreover, an old ally led to their transformations, with Ferdinand bringing back Wonder Woman and Veronica Cale bringing back the Cheetah. And, of course, all of this action was shown in back and forth panels over the last few pages to underscore the dichotomy of the situation.

All of these gains being countered with losses should leave the team in about the same bleak spot where they began the issue, but there’s one key factor here. Yes, while the return of Wonder Woman is tempered by the return of the Cheetah, if Wonder Woman is back for real then it’s a whole new ballgame. The Cheetah’s a decent villain, but Wonder Woman is an amazing superhero. The scales don’t quite balance; with Wonder Woman fully back, she and her allies clearly have the upper hand now and can begin to move against Godwatch instead of playing defense.

This was a solid issue all around, and “The Truth” continues to weave a compelling tale in ways “The Lies” never seemed able to. I also like that we keep checking in on Themyscira; the Amazons are clearly going to play a part at some point in this story, and I’m excited to see what it is. I’m hoping for a reunion more joyous and less damaging than Diana’s last attempt to return to her family.

Liam Sharp continues to employ different styles for each part of the story, and it’s working well. His Nicola Scott impression on Themyscira is fun, the grit he brings to Etta and Steve’s adventures is fitting, and the combination of clarity and confusion in Diana’s scenes is well done, though I will say that I find the cartoon snake a little goofy. I much preferred that one panel with the skeleton snake; that was way cooler. Laura Martin’s colors remain great, as always, and match each style well. And Jodi Wynne continues to excel with the lettering. This issue in particular had a lot going on in terms of distinctive word balloons and speech; the Amazon language, Ferdinand, the snake, and Dr. Cyber are all unique, and Wynne integrated them seamlessly into the book. She’s done stellar work on Wonder Woman all through this run.

So, Wonder Woman seems to be back? Final page reveals can be tricky, but this one seemed pretty clear. Woe to Godwatch if she’s returned to her full power. And fingers crossed that she can save Barbara and bring her back! If anyone can do it, it’s Wonder Woman.

Wonder Woman #16 Review: A Calamitous Chimera Conflict

February 8, 2017

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The new “Godwatch” arc began in Wonder Woman #16 today, with Greg Rucka returning to write the book along with new artist Bilquis Evely (and some ink assists from Mark Morales, Andrew Hennessy, and Raul Fernandez). You’ll probably remember Evely from Wonder Woman #8, a special oneshot starring Barbara Ann Minerva that tied into “Year One.” It was a gorgeous book, and the news that she’d be taking over for Nicola Scott on the series’ even numbered issues has certainly lessened the blow of Scott’s departure somewhat. “Year One” will go down as one of the best Wonder Woman stories of all time, giving “Godwatch” a lot of live up to, but this debut issues suggests that we’ve got another enjoyable arc ahead of us. We’ll dive into it all, but first:

SPOILER ALERT!!

I’m about to reveal ALL OF THE THINGS from this issue!

Make sure you’ve read it first!

The main thing I was wondering about with “Godwatch” was when exactly it would take place. “The Lies” and “The Truth” are set in the present, while “Year One” was five years ago. With this first issue of “Godwatch,” it turns out the story starts six months after Wonder Woman left Themyscira, so shortly after “Year One” and well before “The Lies.” After this issue, I’m curious to see if we stay this deep in the past and slowly see how the Godwatch organization is formed, or if we jump ahead a bit. This first issue has certainly laid the groundwork for why Godwatch was created, and it’ll be interesting to see if Rucka goes for a slow build or not. Knowing Rucka, my money’s on slow build, but I wouldn’t be surprised by a time jump next month.

So the issue starts out with Veronica Cale being a semi-evil industrialist with a deep dislike of Wonder Woman, but she’s hardly a super-villain. But her path seems to change when Ares’ sons Phobos and Deimos steal her daughter and force her to use the technology she’s developing to fight Wonder Woman and try to find out the location of Themyscira. Things go sideways from there; Veronica’s chief scientist Adriana uses the dangerous Cyberwalk system to confront Wonder Woman, and gets defeated by both Wonder Woman’s chimera pal and the machine’s deadly imperfections. Cradling her seemingly deceased friend, Veronica promises, “You will all burn.”

This, we have to assume, is the beginning of Godwatch. As we saw back in “The Lies,” Veronica is still trying to figure out how to get to Themyscira, so I can see this going one of two ways. Either Phobos and Deimos still have Veronica’s daughter and she’s been working for years to free her OR they’ll be sorted in the next few issues but she’ll keep trying to find its location out of a hatred for Wonder Woman and anything divinely related in general. Either could be an interesting journey.

Also, I don’t know whether this is intentional or not, but a trapped daughter is classic Wonder Woman villain motivation. Back in the Golden Age, Paula von Gunther worked for the Nazis because they has her daughter as a hostage, and after Wonder Woman learned of this and freed her, they became friends and allies and worked together to fight the Nazis from then on. Maybe Rucka is going in a similar direction, or is playing on this story in some way.

We also know that Adriana is still alive since we saw her in “The Lies.” Only in electronic form, though. My guess is that whatever happened at the end of this issue trapped Adriana in some king of machine, and while her body might be “dead” her mind lives on in a computer as Dr. Cyber. And perhaps in some sort of android, like we saw in this issue but one better suited for battles for battles in mythical beasts, because that would make for much cooler fight scenes down the road, of course.

Now, this is an issue of Wonder Woman without a lot of Wonder Woman, which usually irks me. But I thought it worked here. It set up Veronica Cale and her motivations very nicely, plus the brief moments we got of Wonder Woman were very good. The montage at the beginning was fun and nicely put together, and the battle between her, the chimera, and Cyberwalk showcased the best of Wonder Woman. I loved her talking to the chimera, trying to get her to calm down by connecting with her and explaining that she was new to this world too and yes, it’s a very strange place. I also liked that she tried to save everyone, both the chimera and Cyberwalk, not wanting either of them to harm the other. That’s how Wonder Woman should roll.

The art was quite good for most of the issue, but some of the inking let down Evely’s excellent pencils at times. Four different inkers rarely offers a cohesive look for a book, and is usually a sign that things were a bit rushed. I don’t know who did which pages, but a few of them were much rougher and lacked the detail that characterized the best of what the book had to offer. Still, the layouts were great, and I’ve seen some of Evely’s pencils for the issue online and they’re spectacular. If they can figure out the inking situation, it should be a gorgeous arc. I was also glad to see that Romulo Fajardo Jr. is staying on as colorist, because that dude is ridiculously good at what he does. I so enjoy the texture, smoothness, lushness, and light touch he brings to his work. It really makes the linework shine.

All together, this was a strong beginning to “Godwatch” and I’m excited to see where things go from here. It’d be nice to have more Wonder Woman in the future, but for this first issue the focus on the villains made a lot of sense and it set up a lot to deal with for our Amazon heroine. Wonder Woman‘s got a really nice one-two punch going right now, with intriguing new plotlines in both the odd and even numbered issues, and that makes for some fun reading.


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