Posts Tagged ‘Etta Candy’

Wonder Woman #15 Review: “The Truth” Is Out There

January 25, 2017

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Today marks the beginning of “The Truth,” a new arc of Wonder Woman that picks up where “The Lies” left off and finds all of our heroes in various sorts of predicaments. Between the revelation that Diana’s memories of Paradise Island were false and Godwatch’s attack on the Picket, everything’s a mess for everyone right now. Add in the fact that Godwatch is a league of some of Wonder Woman’s most fearsome adversaries, and yeah, things are bad. Wonder Woman #15 sets the table for what Wonder Woman and her friends will be facing going forward, and it looks like it’s going to be quite the adventure. Let’s dig into it all, but first:

SPOILER ALERT!!

I am about to discuss key plot points from this issue!

Look away if you haven’t read it yet!

Also, go read it! It’s good!

So this issue starts with Wonder Woman out of commission, housed in an asylum in England after the revelations about her memory shattered her psyche. Steve, Etta, and Barbara are on the lam after Picket was compromised and destroyed by Godwatch. No one’s in a good spot, and things go from bad to worse over the course of this issue, which was an interesting read that has me excited about where things are going moving forward.

There are dangers in so many areas right now. First, there’s a clear supernatural component going on. Diana’s mental fragility appears to be tied to her snake bite from way back in Wonder Woman #2, as underlined by both her vision/hallucination of a snake coming out of her arm and talking to her and the reappearance of the ominous tree that housed the snake on Themyscira. Something especially sinister is at work, as Hippolyta’s reaction to the tree shows. She was so alarmed that it had me wondering if she knew more about the tree and the snake then she’s letting on. It might just be that it’s the tree that nearly killed her daughter and so she’s being extra cautious, but Hippolyta’s been around for a long time, she knows a lot of things, and she’s been through a lot of stuff. There might be something deeper at play here, perhaps connected to the history of the Amazons.

Back home in America, Godwatch is after Steve, Etta, and Barbara. I love that the story is picking up on the romance between Etta and Barbara that we saw in “Year One” now that Barbara has left the Cheetah behind. They are super cute together. But that fun didn’t last for long. Barbara revealed a past link to Godwatch, and gave herself up to its soldiers to be taken in. She did so in order to allow Steve and Etta to escape and also presumably to get inside the organization and learn what she can about their plans. Etta trusts her, but Steve clearly doesn’t. We don’t yet know her connection to Godwatch, and after years of villainy he seems to be unwilling to put his faith in her yet. But I’m with Etta. Etta’s a good judge of character, and if she thinks Barbara’s on the up and up then I’ll have faith as well.

Speaking of Godwatch, it seems to not just be a team of Wonder Woman’s greatest foes, but a team of Wonder Woman’s greatest female foes. We’ve got Veronica Cale, Colonel Maru and Poison, Dr. Cyber, and hints that the Cheetah and Circe (I assume that’s who they meant when they mentioned “the witch”) are or have been a part of the group. It’s so much fun. I mean, not fun for Wonder Woman. She’s having a terrible time of it. But as a reader, Wonder Woman facing off against her most fearsome female foes is going to be a blast.

Adding even more fun to the book, the last page of the issue appears to be show the return of an old friend, Ferdinand. He’s a minotaur who worked at the Themysciran embassy during Rucka’s first run on Wonder Woman; he was the chef, and quickly became a fan favourite character, but he’s been benched since Rucka left. If it truly is Ferdinand, he’s either fallen on hard times or is laying low intentionally. Either way, there’s a story to be told here, and it’s going to be advantageous to the team to have a minotaur on board. There’s really no situation not improved by having a minotaur on your side, unless perhaps you have to maneuver through a tightly packed china shop.

Greg Rucka pulls together a lot of the strings he introduced in “The Lies” and “Year One” in this issue, picking up on plot points from each and uniting the two arcs into this new story moving forward. Liam Sharp returns after his work on “The Lies,” and his use of different styles mirrors this unification. On Themyscira, he’s clearly aiming for a Nicola Scott vibe, and while his art isn’t quite as lush and gorgeous as Nicola Scott’s, it’s a decent facsimile. With Diana, he continues his style from “The Lies,” and largely does the same with the villains, though there’s a harshness and lack of detail in those pages that makes it the weakest section of the book, visually. With Steve, Etta, and Barbara on the lam, Sharp goes grittier, with a scratchy feel and heavier shadows that creates a moody atmosphere. Laura Martin colors these distinct looks well, adapting her palette and the texture of her colors to fit each situation. The different styles work well and make for a more interesting read, which each reflecting its setting well.

Overall, this was a very solid first issue. “The Lies” was ultimately only okay for, a bit dragged out and underwhelming compared to the spectacular “Year One.” Here, “The Truth” is off to a roaring start with several balls in the air from the get-go, all of them entertaining and exciting. I’m looking forward to seeing where it all goes, and I’m extremely curious to find out how the dual arcs are going to work moving forward. We’ll find out in two weeks when Bilquis Evely joins the team for “Godwatch;” should be fun!

Wonder Woman #14 Review: The Grand Finale of “Year One”

January 11, 2017

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It’s been so long since we’ve had an in-continuity Wonder Woman story that was this good. Outside of continuity, there have been some great Wonder Woman tales over the past few years; The Legend of Wonder Woman was amazing, while there were some absolutely stellar issues of Sensation Comics over the course of its run. But in terms of the proper mainline Wonder Woman title itself, things haven’t been great for a while now. There were cool moments here and there, but the book has lacked a sustained start to finish arc that tells a good story and captures the essence of who Wonder Woman is, what she means, and why she’s important. Greg Rucka and Nicola Scott have given us such a tale, and it’s been a joy to read each issue. Today’s finale was a fitting close to the arc, one that stands on its own as a distillation of the heart of the character while also tying into everything else going on in “The Lies,” “The Truth,” and “Godwatch.” Let’s dig into it all, but first:

SPOILER ALERT!!

I am about to reveal all of the details in this exciting conclusion!

Look away if you haven’t read it yet!

Also, go read it! It’s really good!

When we last left our intrepid heroine, the god of war had appeared at the military installation where Wonder Woman was staying, and he seemed to be in a bad mood. His poor attitude wasn’t terribly surprising; Ares is known to have a rather foul disposition. But now we know what he was after: He wanted the location of the home of the Amazons, and he was going to take it by force if he had to.

Wonder Woman wasn’t interested in force, however. She battered Ares around a bit initially, but then took a different tack, and the scene that ensued captured everything I love about Rucka and Scott’s approach to Wonder Woman. First, she realized that fighting the god of war WITH war, i.e. confronting him directly and violently, wasn’t going to end well for anyone. He’s war incarnate, after all. He’s very good at it. So instead, she decided to talk to him, and supplicated herself before him.

Second, she then appealed to what is best in Ares. She didn’t insult him or try some kind of trickery. Instead, she gave him an honourable out when she told him, “Show us thine courage in mercy.” Wonder Woman recognized his power and offered him a way to use it that would make him look good while avoiding any bloodshed. It was a tactical move on her part, to be sure, but it also showed how Wonder Woman sees the best in everyone, understands their potential for good, and tries to help them achieve that. She met Ares on his own terms, and tried to turn him onto a path that would be for the good of all, himself included. And she was willing to humble herself to do so.

Third, Wonder Woman gave herself up for her friends. Kneeling before Ares is kind of a terrible idea. Exposing herself to the god of war, defenseless, could easily have taken a grisly turn. But she was willing to take that risk, put herself on the line, and trade whatever she could in order to find a peaceful solution to what could have been a violent conflict that endangered her friends. Her new friends, at that, and beyond. She barely knew Steve, Etta, and Barbara, and she’d been exposed to the evils of this outside world, and still she was willing to give herself up to keep them, and the wider world, safe.

Fourth, when all else failed and Ares didn’t get what he wanted, Wonder Woman knew how and where to hit him. She didn’t punch him, thus avoiding playing the game on his terms. Instead, she wrapped him in the lasso of truth and used its power to defeat him. Interestingly, while the lasso has retained its classic truth revealing elements in this incarnation of Wonder Woman, its added something new: Understanding. Wrapping themselves in the lasso is how Diana, Steve, Etta, and Barbara overcame their language barrier. It united them in a manner that allowed them to understand each other perfectly, despite their many differences. It may seem a little corny, but I absolutely love a story in which truth and understanding is the weapon the hero uses to defeat hate and war.

The rest of the issue was fun as well. Athena stepped in and revealed Ares’ fiendish master plan, so Wonder Woman and Steve went off and took care of that with ease. This resulted in another great scene for Diana; she was overcome with anger while fighting a group of terrorists and almost gave into a murderous impulse, but then she wrapped herself in her own lasso and the truth steeled her against the power of Ares’ lies. The fun continued in other ways as well, with the Etta/Barbara romantic subplot developing nicely, and for readers interested in some male eye candy, Nicola Scott had a lot of shirtless Steve Trevor in this issue. There was something for everyone, really. And the issue ended with a nice nod to Wonder Woman’s past, with an array of newspapers naming her “Wonder Woman” using different fonts that harkened back to the scripts used on the covers of Wonder Woman over the course of the series’ history.

All together, it was an excellent conclusion to a fantastic run that will go down as one of the best Wonder Woman stories of all time. It was well written and absolutely gorgeous, and it set the tone for who Wonder Woman is and what she means in today’s world. With such a good beginning, I can’t wait to see what’s next. Bilquis Evely, who drew the wonderful Barbara Ann Minerva standalone issue, is taking over the art for Scott on the new arc, “Godwatch,” a transition so perfect that it lessens the blow of Scott’s departure considerably. Wonder Woman‘s going to be good for a while, gang. It’s exciting times.

Wonder Woman #13 Review: A Steve Trevor Interlude Between “The Lies” and “The Truth”

December 28, 2016

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While the end of Greg Rucka and Liam Sharp’s “The Lies” arc didn’t end with a big surprise for readers, it was certainly a shock for Wonder Woman. By that point in the run, it was quite clear that the New 52 Paradise Island was being retconned as a fiction, given how drastically different everything about the Amazons was in Rucka and Nicola Scott’s “Year One,” so the reveal at the end of Wonder Woman #11 was somewhat obvious. But not for Wonder Woman. The knowledge that her memories of her home and her interactions with the Amazons over the past few years were all a lie and the realization that she’s never been back home since she left the first time seems to have shattered her. So with Wonder Woman out of commission, Steve Trevor takes over the narrative lead in this standalone issue that bridges “The Lies” and “The Truth.” We’ll dig into it momentarily, but first:

SPOILER ALERT!!

I am about to tell you EVERYTHING that happens in this issue!

Look away if you haven’t read it yet!

Get yourself a post-Christmas treat and go pick it up!

I’ve read a lot of Wonder Woman comic books and very few of them put the focus on Steve Trevor, largely because he’s always been a tricky character to make interesting. Part of the problem is that he’s usually next to Wonder Woman and she’s the best; it’s hard for any dude to look cool when compared to the amazingness of Wonder Woman. Steve’s not a bad character by any means, just a little generic and better in small doses. There’s no strong, compelling characterization of him, no real hook for readers to latch onto other than that he loves Wonder Woman. We all love Wonder Woman too so I suppose we’re all on the same page as Steve, but compared to other non-superhero romantic interests, like Lois Lane for example, he’s not so exciting.

Rucka and guest artist Renato Guedes’ solution to this problem is to make Steve Trevor a total bad ass, and it works pretty well. We’ve seen a tougher Steve throughout the New 52 era, leading special ops teams and whatnot, but much like his Wonder Woman adventures, he was often overshadowed by his superhero companions. Wonder Woman #13 is wholly without superheroes; Wonder Woman’s on the fritz, and it’s just Steve versus a revamped Dr. Poison leading an assault team to nab Diana. These are enemies that Steve can handle, and he does with aplomb.

The issue is nicely put together. Steve is stuck on a barren island in the middle of nowhere with no way to get off it (Wonder Woman was his ride home), and the Picket is compromised and Etta Candy’s on the run, so support from the mainland isn’t coming any time soon. He’s got to use what little he has to fight a well-trained assault troop, making use of his environment and his combat skills to do so. Rucka and Guedes give Steve some clever solutions out of these limited options, and watching him set up and execute his plan makes for a fun read. We’re often told that Steve is a good soldier, but Wonder Woman usually ends up doing most of the heavy lifting, so it’s cool to see how well he can handle things when he’s on his own.

It’s also great to see a new take on Dr. Poison. Her doctorate isn’t specified, but Marina Maru is clearly connected to the classic Golden Age character in some way, and she’s a pleasant change from the horrible take on the character we got during the Finches’ run on Wonder Woman. And with the reference to Maru poison in Wonder Woman #12, it seems that the Maru(s?) are set to play a key role in the story moving forward. Rucka is slyly assembling a team of Wonder Woman’s classic villains, and it should make for some good times as these new arcs begin.

Renato Guedes is a good fit for the story, and he illustrates the action well. There’s a lot more show than tell in Steve’s plans to fight the incoming soldiers, so instead of the text telling us what Steve is up to, Guedes draws it all and does an excellent job communicating what he’s getting up to. The subsequent action is clearly rendered and easy to follow, and his work makes for an enjoyable issue all around. Guedes’ artwork isn’t as lovely as Nicola Scott or Bilquis Evely’s, but his sharper lines and sharper tone are a good fit for a Steve Trevor story in the same way Scott and Evely match well with Wonder Woman.

All together, this was a fun outing, and puts us in an interesting spot to start “The Truth.” Wonder Woman is shut down, housed in a hospital in London, while Steve is set to track down Etta. “The Lies” was a slow, somewhat unexciting arc, not bad by any means but not great either. I’m curious to see what we get out of “The Truth,” and I’m hopeful that Rucka and Sharp will a) make the book more fun and compelling and b) actually give us some answers this time around. This interlude was a positive start, and I’m looking forward to where things go from here.

Wonder Woman #12 Review: The Penultimate Issue of “Year One”

December 14, 2016

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Unsurprisingly, “Year One” continues to be a joy to read. Between the four previous main issues and the special Barbara Ann Minerva outing, this storyline has resulted in one of the best Wonder Woman runs in recent memory, and perhaps of all time. Greg Rucka and Nicola Scott are in top form, and they’ve captured something in Diana that’s been missing for several years, even before the New 52 relaunch. While Wonder Woman #12 is perhaps the least exciting or interesting issue of “Year One” thus far, that’s only because it’s been preceded by such amazing issues; it’s still extremely good. Let’s dig into it, but first:

SPOILER ALERT!!

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

Go read it first!

You’ll like it!

Let’s start with how this issue didn’t work as well as past outings for me. It was chock full of discussions of the Sear Group, what their objective might be, and who is behind them. Like, in depth. It took up most of the issue. Wonder Woman even interrogated the terrorists with her lasso to find the real truth of what was going on. It was all fine, but it was also a lengthy, involved set up. Then the book ended with the reveal that Ares and his destructive ways were behind it all. The thing is, of course he was. Dudes are wantonly killing innocent people in a Wonder Woman origin comic book? It’s going to be Ares.

Also, and more annoyingly, he’s on the cover. That’s what you call a dead giveaway. I don’t mind the cover revealing who the issue’s villain is going to be; it’s nice to know who your hero will be facing off against. But when you’ve got 19 pages of your characters wringing their hands over who this villain could possibly be and then you set up you final page like it’s some kind of shocking reveal, maybe don’t put the bad guy on the cover. Because when you put him on the cover, the issue’s investigation becomes less of a compelling putting together of the puzzle pieces and more of a “Dang, when are these dopes going to figure this out. We already know it’s Ares.” Devoting an entire issue to characters figuring out something the reader already knows and making it seem like this is a rad cliffhanger is not the best storytelling.

But despite the anticlimactic conclusion, this was still a good, enjoyable issue. I mean, it’s as gorgeous as ever. Nicola Scott is doing the best work of her career, and Romulo Fajardo Jr.’s color work is just spectacular. I’ve enjoyed his work for years; he brings such texture and depth to the page. And with this detailed coloring on top of Scott’s fantastic, clean linework, the pages just sing. In particular, the double page spread of Wonder Woman flying, lifting tanks, and deflecting bullets is so joyous and lovely. It all looks amazing.

Scott excels at expression as well, especially in subtle moments. There’s a scene in which Barbara Minerva and Etta Candy discuss the poetry of Sappho, an ancient Greek poet from the island of Lesbos who is the root of the terms “sapphic” and “lesbian.” When Etta mentions that she’s “quite familiar” with this poetry, there’s a glance between the woman that is small but so telling. There’s a sense of a secret being communicated between them, along with a hint of flirtation. The text suggests it, but the looks we get from Etta really sell it.

Also, I think we’ve got a queer Etta Candy? How fantastic! And perhaps a queer Barbara Minerva, if her flustered response to Etta’s flirtation is any indication. But a queer Etta seems pretty clear here. Which is very cool, and fitting for the character. If you go way back to the Golden Age, Etta was the head of a bondage-heavy sorority that, given William Moulton Marston’s association of bondage with sexual pleasure, had queer implications between the lines. She was straigt throughout the Modern Age, and was with Steve Trevor for most of it, but the New 52 Etta is a completely different character and they seem to be taking her in a new direction.

We also get a confirmation of Wonder Woman’s queerness that was very good to see. Much has been made of the article in which Greg Rucka confirmed that his Wonder Woman was queer, but many fans, myself included, noted that while it’s great to publicly say so, it needs to be in the text as well. If it’s not canon, it can easily be ignored or undone. This issue gives us that canonical confirmation when Steve asks Diana if she left anyone “special” behind when she left her home, and Diana responded that she’d left someone named Kasia. It’s not the bold confirmation that some folks were hoping for, but the implication is pretty clear. Still, great as this is, I hope that Rucka continues to keep Wonder Woman’s queerness part of her story. Something a bit more direct wouldn’t hurt to help cement this aspect of her character.

Overall, this was an enjoyable outing that, while not perfectly executed, was still a delight to look at and a fun read despite its overly telegraphed conclusion. It also sets the arc up for what should be an exciting finale next month. Ares seems to be spoiling for a fight, and Wonder Woman’s been exploring her powers with Steve, so this could be quite a battle. I’m curious to see what form as takes. As much as the issue dug through the Sear Group and what they were up to, we still don’t know much about Ares other than that he doesn’t care for Amazons. Perhaps there’s something larger at play that will tie into “The Lies” and “The Truth” or perhaps the dude’s just a straight up hater and Wonder Woman will punch him out. Whatever the case, we’ll find out next month!

Wonder Woman #11 Review: “The Lies” Are Sort Of Exposed?

November 24, 2016

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I’m a day late with this Wonder Woman review; I was on the road all day yesterday and didn’t get a chance to read the book until today. I’ve been really looking forward to this issue, though. Last month’s Wonder Woman #10 finally took us to Themyscira and, shockingly, it was the brutal home of the New 52 Amazons rather than the utopian home of the current “Year One” arc. Clearly some shenanigans were afoot and it looked like the conclusion of “The Lies,” i.e. this week’s issue, would give us a few answers about what’s going on with Wonder Woman. As it turns out, we didn’t really get any answers. Yet, anyway. The next arc of the odd-numbered issues is called “The Truth,” and presumably we’ll find out what’s really going on there. But for right now, we’ve got confirmation that there was a very big lie going on in the “The Lies.” That’s cool and all, but dang this is a slow burn story. We’ll dig into it all momentarily, but first:

SPOILERT ALERT!!

I am about to tell you everything that happened in this issue!

Go buy it for yourself and read it first!

Get it on Comixology if your shop is closed for Thanksgiving!

So here’s the big reveal: The New 52 Amazons are not the real Amazons. This has been pretty obvious since Rucka took over the book, between the arc being called “The Lies” and the completely different version of the Amazons we’ve been seeing in “Year One.” That it took six whole issues to confirm what has been rather clear for the past six months makes this a bit of an unexciting conclusion to the arc. When Wonder Woman tearfully realizes “This is not my home” on the issue’s last page, I’m sure most readers responded, “Yeah, we know. This is old news.”

Look, I absolutely LOVE what Greg Rucka and Nicola Scott are doing in “Year One.” It’s amazing, and will definitely go down as one of the best Wonder Woman stories of all time. But “The Lies” is not as good. And having read the whole arc now, nor is it very good on its own merits. It’s not bad by any means. It’s just fine. Okay. Decent. There were some good moments, but it’s been SO SLOW. This issue is a perfect case in point. It was immediately clear that this Themyscira was not Wonder Woman’s real home. I mean, we’ve known that for months, but even within just this issue itself, we knew something was wrong straight away. And it took Wonder Woman the entire issue to put it together. There was a lot of discussion, a lot of explaining what we’d already seen and put together. Comics are supposed to be show and tell, but this issue was a whole lot of show and then tell. And tell and tell, until the last page sets up a new arc to give us the story that we all expected to get in this arc. It’s all so drawn out, and the arc as a whole has been kind of a frustrating read.

Luckily, the interminable Wonder Woman storyline was supplemented by Etta Candy being a super bad ass. When we saw Etta realize that Sasha Bordeaux was a spy in the preview released earlier in the week, I assumed that this, like everything else in the arc, would be a slow building side story. I was wrong, and happily so. Etta goes right after Sasha, tracking her to her drop off with Veronica Cale and confronting Cale and her evil hounds. It’s so much fun. Etta is resolute and fearless, taking on Cale directly. When Cale arrogantly thinks she’s played her ace in the hole by bringing in Sasha to attack Etta, Etta just shoots Sasha straight in her cybernetic head and forces Cale to move to Plan B. The side story ends with the dogs coming after Etta, and we don’t know how that confrontation ends. Given how tough she is, my money’s on Etta, but Etta going missing would probably make for better story fodder. It could go either way. Regardless, it was nice to have something actually happen and have part of this arc progress at a solid clip.

I really don’t have much else to say about this issue apart from that I was hoping for a lot more, and that’s how I’ve felt about this arc as a whole. It was an arc that tried to do several things; re-introduce Barbara Minerva, Etta Candy, and Steve Trevor, along with the organization they work for, as well as setting up the Big Bad and Wonder Woman’s false history. That’s a lot of balls to juggle, and it wasn’t handled with much finesse, particularly not with the skill I expect to see from veterans like Greg Rucka and Liam Sharp. Again, it’s not a bad arc. It just took its sweet time and didn’t really deliver the story it promised.

Hopefully “The Truth” will proceed with more focus and direction. There were lots of good bits in the “The Lies,” especially the characterizations. Rucka knows how to write Wonder Woman and her friends, and does so enjoyably. Just somewhat meanderingly in this run. And the art is pretty solid as well. It felt like Sharp got a bit bogged down midway through and the art suffered for it, but over the past couple of issues it’s felt like he’s found a good balance between his hyper-detailed style and the constrictions of hammering out 20 pages a month. Laura Martin’s colors are gorgeous as well. In this issue especially, she makes some dull, exposition-heavy pages visually striking with some cool color choices. All of the pieces are in place for the odd-numbered issues of Wonder Woman to be great and rival the heights of the even-numbered outings. The writing just needs a bit of urgency and excitement rather than a slow, wandering burn.

Wonder Woman #11 Preview: Etta Candy’s On The Case!

November 21, 2016

When we last left Wonder Woman in “The Lies” she’d returned to Themyscira and found the Hippolyta and Amazons of the New 52 era rather than the ones we’ve been seeing lately in “Year One.” It was a surprising reveal, and one that had been a long time coming. “The Lies” has been a very slow burn, and now finally we’re digging into the heart what’s really going on. Adventures in Poor Taste has a preview of Greg Rucka and Liam Sharp’s Wonder Woman #11, the finale of this storyline which is out this Wednesday, but Themyscira is nowhere in sight. It would be a disappointment if the scene we got instead didn’t center on Etta Candy being a bad ass spy:

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Oh dang, Sasha Bordeaux, you are in trouble now! Etta Candy is wise to you. Veronica Cale and her Godwatch group seem to have access to the Picket via Sasha (who is more machine than human, really, and thus hackable; it doesn’t seem like she’s a willing accomplice here or in her previous appearances) and she’s helping them with their fiendish plans. But now Etta is wise to her, which does not bode well for Sasha. I mean, look at that stare down.

I love that Etta Candy is a key player in both arcs of Wonder Woman right now, though I’m guessing that her investigation will take a backseat to Wonder Woman’s adventures for the rest of the issue, and will be a slow build sidestory until it all comes to a head in dramatic fashion months down the road. The book is called Wonder Woman after all, not Etta Candy: Traitor Buster. Though I would totally read that book, too.

Wonder Woman #11 will be available in stores and online this Wednesday, and maybe we’ll finally figure out what “The Lies” are? The last issue showed that something is clearly off on Themyscira, and if you’re looking for a further tease, Liam Sharp posted a spread from the book that shows a troubled Steve and an angry Hippolyta. I’m very curious to see how this all plays out!

Wonder Woman #10 Review: The Heroine We Need When the World is Dark and Full of Terrors

November 9, 2016

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The world is a much more troubling place than it was yesterday. I was looking forward to reviewing the new Wonder Woman comic the day after Hillary Clinton became the first female president in American history; it would have been joyous. But that didn’t happen. The pollsters were wrong, white America is a callous, cowardly group, and Donald Trump is going to be the next President of the United States. Even though I watched it happen last night in real time, it still felt unfathomable when I woke up this morning. I’m lucky to live in Canada, where we’ve got a government that respects and supports all of its citizens, but I’m worried for all of my¬† American friends, especially the people of colour, LGBTQ+ folks, members of different religions, and those who need access to solid healthcare. They’re frightened, and rightfully so. The next four years could be very difficult for them.

It is, oddly enough, even more appropriate to read the new Wonder Woman today, in this dark environment. We need heroes to inspire us, and a queer immigrant woman who fights tirelessly on behalf of others is exactly the kind of heroine this day calls for. For those likely to face persecution and the revocation of their rights, Wonder Woman’s resilience and strength can be a beacon of hope. For those who might be broadly unaffected but want to stand with, support, and fight for those who are, Wonder Woman’s relentless compassion for others is an ideal model. Wonder Woman is the hero we need right now. America, if you can’t have a Wonder Woman in the Oval Office, at least you can have a legion of Wonder Women in the streets standing up for what’s right.

Greg Rucka and Nicola Scott have delivered a delightful issue that highlights the unique heroism of Wonder Woman, and I’m excited to talk about it, but first:

SPOILER ALERT!!

I am about to reveal everything that happens in this issue!

Do yourself a personal favour and go read it first!

It will cheer you up! It’s so dang good!

When last we left “Year One” way back in September, Wonder Woman was given powers from the gods and easily busted her way out of the military brig she was being held in. Now, with the military’s inability to hold her obvious to all, Steve Trevor talks his boss into letting her go out for a day trip. Diana, Steve, Etta Candy, and Barbara Ann Minerva go to the mall to expose Diana to the wider world. She is shocked by the noise and the crowds and how the air tastes different, but she loves it all. Diana even makes some new young friends, despite her limited language capabilities. It’s all very cute and enjoyable.

Just when the gang discovers that they’re all able to communicate with Diana if they hold the golden lasso, their fun day out gets interrupted by a shooting at the mall. This is the scene that we need most today: Wonder Woman’s powers are new to her, and she doesn’t actually know what they are, but she leaps into action nonetheless, without a thought for her own safety. In a moment spectacularly illustrated by Scott, she sees a terrorist about to shoot at her new, young friends and she rushes toward them. With speed she didn’t know she had, she arrives just in time to stop the bullets, deflecting them with her bracelets in a gorgeous double page spread.

Now, we can’t deflect bullets. We’re not superheroes, nor are we blessed with powers from the gods. But when we see something bad happening, when we see someone threatened, we can step in and try to help. And, just like Wonder Woman, when we do, we might discover powers and abilities that we never knew we had. We don’t know what we can do until we try, until we put our beliefs and our values and our heart to the test, and the next several years might require a lot of that.

The action continues for the rest of the issue, with Wonder Woman and Steve stopping the attackers and ending their assault. We also get an interesting reveal at the end of the issue: The terrorists are part of the Sear Group, which Steve has been tracking, and they are marked with the black tree that poisoned Diana back on Themyscira in Wonder Woman #2 and that Barbara saw on her travels last month in Wonder Woman #8. Something bigger is clearly afoot, and it ties into the Amazons and perhaps the gods. It seems that Steve’s arrival on Themyscira and Diana’s journey to the world of men was not just a chance turn of events.

As the issue closes, we’ve got a mystery to be solved over the next two issues, and I’m curious to see who is behind all of this. Even better than that, the story gave us a break from the world around us, hopefully one that encourages and fortifies its readers. Things look bad today and they feel even worse, and reading a comic book might seem like a silly thing to do when the world is on fire. But there’s a reason superheroes have been around for 75 years. There’s a reason Captain America punched Hitler in the face and Wonder Woman left Paradise Island to battle the Axis before America even declared war on Germany. Superheroes can do the things that we can’t, and they inspire us to do the things that we can. Stand up for yourself and for those around you, work together to stay safe, and believe that the future can be better if you fight to make it so. Don’t stand on the sidelines. Be a Wonder Woman.


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