Posts Tagged ‘Etta Candy’

Wonder Woman #26 Review: Diana Meets Her Destiny

July 12, 2017

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After a year of stellar comic books from Greg Rucka, Bilquis Evely, Nicola Scott, and Liam Sharp that restored Diana and the Amazons to their proper status in the DC universe, Wonder Woman‘s new creative team has some big shoes to fill. And I’m pleased to report that Shea Fontana and Mirka Andolfo are off to a fantastic start! I had a good feeling about this team; Fontana’s been doing great stuff with the DC Super Hero Girls comics, and I absolutely love Mirka Andolfo’s work on DC Comics Bombshells as well as her recent fill-in issue on Wonder Woman. Together they’ve crafted a story that moves Wonder Woman forward from all of the drama surrounding her origins and her past. That drama made for compelling comics, of course, but Rucka and co. wrapped it up perfectly and now it’s nice to see the new status quo carrying on in a new tale. We’ll dig into it all, but first:

SPOILER ALERT!!

Well, less spoilery than usual; more of a broad strokes overview!

Reading this probably won’t ruin the comic for you!

But regardless, go read the comic! It’s super good!

First off, before I get to how good this comic was, I’ve got to say that the cover is not great. Andolfo’s art has a stylized, cartoonish element that is so expressive and good, and pairing it with such generic, standard superhero art feels like a bad decision. It’s a poor advertisement for what’s inside the book, which is so much better. I don’t mind a book having different cover artist than interior artist, but the cover art should give some sort of indication of the tone and style of the interior. This does not, and I wish it had a fun, bad ass Andolfo cover instead.

That’s partly because Mirka Andolfo is GREAT and I’m never not excited to see more of her art. She’s got a style that’s clearly her own; I always know that I’m reading an Andolfo book from page one. Her work is gorgeous, and captures the characters wonderfully, almost exaggeratedly. There aren’t a lot of subtle emotions here. Instead, every feeling is displayed across each character’s face clearly, and I find their expressiveness so compelling and fun. Andolfo’s also got an amazing eye for style, and Diana and Etta’s outfits when they attend a wedding at the end of this issue are so darn good. Her work always feels fresh and modern to me, and I love when Wonder Woman has that sensibility.

Plus, here’s some amazing news: While the bulk of Wonder Woman‘s creative team over the past year has moved on, colorist Romulo Fajardo Jr. is still on board! This dude is a wizard. He adds depth and texture to every panel in a way that brings so much to every page without overwhelming the line work at all. I’m so glad he’s still on Wonder Woman. He’s one of the best colorists in the game today, and his stuff just gets better and better. He pairs well with Andolfo, too, highlighting her character work beautifully.

In terms of the story itself, this issue hits a lot of the elements that will make me love a Wonder Woman book. We’ve got Wonder Woman helping those who need it most, here dealing with an attack at a UN refugee camp in Greece. It always feels right to see Wonder Woman dealing with international issues, and never more so than when they are timely topics. We’ve also got young Diana on Themyscira, which I’m a sucker for. It feels like Fontana is drawing from the opening of the Wonder Woman film a bit here, and I’m all for it. Little Diana is so entertaining. We’ve got Etta Candy as well, i.e. Wonder Woman’s greatest supporting character of all time. And even better, we’ve got them hanging out at a wedding. I love Diana as a superhero, of course, but it’s also nice to see her having a life beyond that, hanging out with her friends outside of the costume. The costume is such a powerful symbol that it’s always interesting to see Diana away from it, partly because the gal deserves a break and partly because she can’t help but still be Wonder Woman to some degree, regardless of what she’s wearing, as her adventure with Destiny, a little girl at the wedding, shows.

So all of these elements are great, but I also really like what Fontana seems to be digging into in terms of the psychological cost of being a superhero. The flashback to Themyscira gives us a good look at Diana’s mindset, as her younger self tearfully locks away her beloved doll to toughen herself up and become the warrior that Amazons are supposed to be. Wonder Woman is very well adjusted as far as superheroes go, but the story effectively points out that she has to deal with seeing so many terrible things, all the time. Moreover, it suggests that this could be taking a toll on her mental health, despite her insistence that she can handle it all. There’s a scene where she says that she doesn’t want to put the burden of her experiences on someone else, and I think that’s going to be key moving forward. That’s a very heroic, self-sacrificing notion, but while Wonder Woman can handle a lot, much more than most, trying to deal with everything on your own can only work for so long. I’m curious to see how Fontana explores this with Wonder Woman as the story continues.

Also, there’s a big crazy cliffhanger at the end! That’s just fun comic booking. It’s a bit of a doozy, too, that leaves Wonder Woman in a very difficult spot. I know she’s Wonder Woman and all, but she’s really up against it with this one. It’s going to be hard to get out of it without any collateral damage. We’ll find out what she does in two weeks time, and I can’t wait! This was an excellent, gorgeous first issue for this new creative team, and I’m very excited for more.

Wonder Woman #25 Review: The Grand Finale for Rucka, Sharp, Evely, and the Rest!

June 28, 2017

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As someone who is absolutely steeped in Wonder Woman, who’s written a book about her and has read every single issue of Wonder Woman, you can take it to the bank when I say this: I don’t think there’s ever been a better 25 issue run of Wonder Woman than what we’ve been enjoying for the past year since the “Rebirth” relaunch. Wonder Woman has had some amazing runs over the years, and I could see arguments for other eras; the first two years of the Perez era, perhaps, or the fantastic bizarreness that was the Golden Age. But for me, what Greg Rucka, Bilquis Evely, Nicola Scott, and Liam Sharp have put together takes the top spot. This is in part because it’s amazing on its own, but even more so because it so successfully reoriented the character after her increasingly disastrous five year New 52 run. The team managed to fix a bad situation and tell an expansive, fantastic story at the same time. It’s really quite a remarkable feat. And now we’re at the end of it! We’ll discuss it all, but first:

SPOILER ALERT!!

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

Look away if you haven’t read it yet!

Also, go read it! It’s very, very, very good!

This finale brings together all of the elements from this entire run, tying up the loose ends on some while leaving other plotlines open ended for future creators to explore. There are lots of references to past issues, including Wonder Woman’s first meeting with Batman and Superman from the recent Wonder Woman Annual #1; what seemed at the time like a fun, inconsequential one-off tale came into play here at the end. It’s a good example of what Rucka’s writing has done over the past year. Small beats had big ramifications down the road, and what seemed like tangents all added up to something bigger. I remember being frustrated with “The Lies” early on because it focused so much on the Cheetah, a character I’d just assumed was included as a quick initial foe for Wonder Woman, and took it’s time getting to the actual lies. But it turned out, of course, that the Cheetah was a pivotal player in this book, and that the slow burn at the start of “The Lies” laid a lot of the groundwork for everything to come. The master plan became visible only months later.

So the finale begins with Wonder Woman in a bad mood, and understandably so. Her family remains lost to her, the Cheetah has escaped, her lasso is gone, and worst of all, her gods have been lying to her. She’s got some anger about it all, so much so that she’s punching villains extra hard and ignoring Steve. But some straight talk from her pals Batman and Superman sends her on a quest to find her gods, and they honour her anger. A speech from a mysterious woman who turns out to be Athena sets things right; she acknowledges that Diana is right to be angry, but that even with all of the manipulations of the gods, “The truth of you has never changed, Diana. Even the gods themselves could not take that away from you.” It fits in text, a nod to Wonder Woman’s steadfast heroism during the trials of the past 25 issues. But I think the moment stands as a larger statement about Wonder Woman, that no matter how many different incarnations of the character there are, some of them good and some of them bad, there is a core to her that shines through, an essential truth about her strength, compassion, and heroism that was imbued in her from her earliest days. The gods then return her lasso as a sign that they love her, and she leaves with a renewed belief in herself and her larger mission.

She then finds Steve Trevor, and amorous activities ensue. I could be wrong, but I think that this might be the first time they’ve actually hooked up in text? It’s been implied at various times, but I can’t recall seeing them in anything like the heartwarming last page of this issue, with them in each other’s arms in bed. There was their kiss and the implication of something more during that night in the village in the Wonder Woman movie, but in the comics they dated from the 40s through the 80s, when they couldn’t show anything like that, and then Steve wasn’t a romantic factor for the next 25 years. With the New 52 relaunch, the romance was back but past. Now they’re actively together again, in ways I think we’ve never seen before. It works as a lovely end to the book, as a much deserved moment of love and happiness for Diana. Plus, Steve shaved for the occasion, getting rid of that god awful goatee, so it was a good scene all around!

The finale leaves the rest of the cast in several interesting, open ended spots. Etta Candy, who’s been an absolute delight in this run, is going after the Cheetah, her former girlfriend Barbara turned crazed feline foe. This is a story I need to see. Their relationship was a background element that became increasingly important in terms of the Cheetah’s connection to her humanity. I hope that Etta getting Barbara back is a priority for a future creative team. The Cheetah’s a much more interesting character now as well, and I very much hope that DC stays true to Rucka and Sharp’s revamp of her in the future.

And finally, my evil favourite, Veronica Cale. She’s the worst and I love her. Her backstory was so well established that we totally understand her full embracing of villainy now, and as much as it’s sad that she didn’t turn away from it, damn she’s a good villain. I’m going to miss Bilquis Evely drawing her so much. She brought such heart to the character throughout “Godwatch” and really sold the story through her take on Veronica. And here, Evely’s depiction of Veronica’s confrontation with Wonder Woman is just perfect. Her sneer when she refuses to help Diana is spectacular. Veronica Cale could be an epic villain for years to come, and I hope that DC embraces that and does her justice in the future.

So we’ve reached the end of the run, and while I’m sad it’s over, I’m glad that Wonder Woman has been so well reoriented. I’m also sort of happy that Rucka and everyone decided to end things here. I’d have been down for more, but everything has wrapped up well and they’ve accomplished what they set out to do beautifully. Diana is in a good place, and is well positioned for new teams to tell exciting stories with her moving forward. I’m looking forward to Shea Fontana and Mirka Andolfo taking over the book for the next few issues, though I’m considerably less keen on James Robinson coming in after that. However, I’m optimistic that his run is just a bit of “Rebirth” housekeeping and that the New Year will bring a new team with a fresh perspective to the book. Rucka, Evely, Scott, and Sharp have demonstrated how amazing Wonder Woman can be, and it will be fun to see new voices picking up the baton from here on.

Wonder Woman #24 Review: Tragedies on Multiple Fronts in the Run’s Penultimate Issue

June 14, 2017

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We’re nearing the end of this current, excellent run of Wonder Woman, and everything has come together. After four disparate arcs, connected with small moments but kept separate by time, everything’s now merged. Wonder Woman #24 picks up where Wonder Woman #23 left off, a common occurrence for most comic books but an oddity for the dual narratives that have been so key to Wonder Woman since the “Rebirth” relaunch. And now, after 24 issues of surprises and revelations, the full run has taken its toll on everyone. Pretty much every major player in the series is facing tragedy, a crucible that has revealed the true nature of each of them in their responses to these trying circumstances. We’ll dig into it all, but first:

SPOILER ALERT!!

I am about to reveal all of the key events of this issue!

Look away if you haven’t read it yet!

Also, if you haven’t read it yet, you should!

This has been one of the best runs of Wonder Woman ever!

So let’s run through where everyone is at, and how recent events have affected them. The last issue revealed that Wonder Woman must remain permanently separated from her home and her family, and the shock of that is clear initially. She leaves the island gate to Themyscira without tracking down the Cheetah, an uncharacteristic decision for her that suggests she was emotionally drained and perhaps overwhelmed by all she’d been through. She seems almost in shock when she returns to America, somewhat quiet and withdrawn, until Etta chastises her for leaving Barbara behind. Etta’s words hit her hard and shake her out of her fog, putting her back on track. Despite the weight of her tragic separation, Wonder Woman always cares for others more than herself and goes after Barbara.

She finds her attacking Veronica Cale, which puts Wonder Woman in a difficult spot. She wants to help Barbara and she has so reason to care about Veronica Cale, who’s spent years trying to ruin both her life and the life of her friend. And yet, when Barbara promises she’ll go with Wonder Woman if she lets her kill Veronica, Wonder Woman refuses. She won’t let anyone die, no matter how guilty they may be. While tragedy shook Wonder Woman for a moment, she quickly returned to her heroic form, even though it meant another tragic loss for herself as her friend Barbara refused to go with her willingly.

As for Barbara, her tragic loss consumes her entirely. And really, justifiably so. She’s had an awful time of things. She was restored to her true self, leaving her Cheetah identity behind, but then returned to her Cheetah form to help her friends in a noble sacrifice. Her rejection from Themyscira is the breaking point for her. She’d searched for the Amazons for her entire life and was close to them, finally, only to have the gate disappear. So she lets all of her anger and the sorrow over the many things she’s lost consume her. She goes after Veronica, aiming to kill her, and very nearly succeeds. Had Wonder Woman not intervened, Veronica would have been a goner. Then, even in the face of Wonder Woman offering her help and a return to her life with Etta, she refuses. We’ve seen a lot of Barbara as the Cheetah in these 24 issues, and while her feral identity often dominated her, Etta was the one thing that always gave her pause. But not now. The mention of Etta barely dissuades her at all, and she refuses to go with Wonder Woman unless she’s allowed to kill Veronica. The series of tragedies she’s endured were too much in that moment and overcame her true nature, though perhaps we’ll see things turn around for her in two weeks time with the grand finale.

I’m not expecting a turnaround for Veronica. We’ve gotten to know her well this year, especially in “Godwatch” with Bilquis Evely bringing such life and emotion to the character. She was a woman who lost her daughter, an understandable motivation even though it took her to very dark places. But now her daughter is gone for good, and the weight of both her loss and her actions over the past year lie heavy on her. She’s lost her daughter, her company is in shambles, and she’s isolating herself further from the few friends she has. When the Cheetah calls her a villain, she doesn’t even flinch, as if she too knows what she’s become and is perhaps beginning to accept that this is who she is now. Tragedy has brought her emptiness, rightly so in many respects; she’s earned what’s coming to her. But however justified a punishment may be, the attack from Cheetah is especially brutal. Evely illustrates the horror of it well, from the gashes on her back to the violent action of the scene. And the most brutal moment of it all is the very end of the issue, with Veronica left all alone. Wonder Woman’s compassion and moral code saved her life, but her torn up body, left in solitude, stands as a monument to her inevitable tragic end.

Well, the end for now. There’s one more issue to come, with Greg Rucka, Bilquis Evely, and Liam Sharp teaming up for a grand finale that will tie up all of the loose threads. I wouldn’t be surprised if we saw Veronica involved in some way, though if we don’t then this was a fitting conclusion for the character. It looks like Cheetah will be a big focus, since Wonder Woman knocks her out and takes her away at the end of this issue. With all of the mysteries solved and so much wrapped up already, I’m curious to see what the final issue will dig into. The conclusions of both the “The Truth” and “Godwatch” have been excellent and satisfying, so I’m excited to see how the creative teams decides to leave everyone moving forward.

Wonder Woman Film Review: A Movie Worthy of its Heroine

June 2, 2017

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Well it’s finally happened, gang. After decades of watching the boys get movie after movie, we’ve finally got a Wonder Woman solo film. And here’s the good news: It’s really, really good. Great even. Full of heart and action and excitement. It’s far and away the best film from the DC cinematic universe so far and, more importantly, it does Wonder Woman justice and captures the heart of the character well. Let’s dig into it all, first with some spoiler-free general thoughts, and then with full on spoilers after a jump so anyone who hasn’t seen it yet won’t have anything ruined for them.

So gosh, where to start? With Wonder Woman herself, probably. Gal Gadot is pretty much a perfect Wonder Woman. We got to see her for a few minutes in Batman v Superman and she totally stole the show, and now with a show all of her own, she absolutely shines. Gadot captures the heroism and compassion of Wonder Woman so well; she’s fierce when she needs to be, kind when she needs to be, and just has so much heart. She smiles a lot, which is a lovely contrast with the grim darkness that’s dominated other DC movies, and it’s the most earnest and charming smile. It’s Wonder Woman’s smile, really. It’s something that could easily turn corny, but Gadot makes it utterly genuine, sincere, and believable. And while Diana’s got an interesting journey throughout the film, a sort of loss of innocence as she leaves her utopian home and experiences the horrors of war, Gadot does a fantastic job playing this evolution and it’s darker, questioning moments without losing the heart of the character. She’s just so good. I want to see her continue to play Wonder Woman again and again and again.

Holding his own with such a stunning take on Wonder Woman was a tall order for Chris Pine, but his Steve Trevor was excellent. I’m steeped in Wonder Woman comics and very familiar with every incarnation of Steve Trevor, and this was my favourite version of him ever, by a considerable margin. He was written really well; it’s a sidekick/love interest role that keeps the focus squarely on Wonder Woman, and Pine plays it spot on. He’s a tough guy with some skills, but he very quickly realizes he’s no Wonder Woman and is totally okay with that, in part because he’s just kind of in awe of her. Gadot and Pine’s chemistry together is delightful, Pine’s got charm to spare and is also hilarious, and the two of them made for a really winning partnership.

The supporting cast is pretty solid, too. Connie Nielsen and Robin Wright do great work as Hippolyta and Antiope, guiding the film well through it’s early scenes with young Diana. Wonder Woman’s crew in Europe are all fun too, but Lucy Davis’ Etta Candy is a total scene stealer. She’s so funny and enjoyable, albeit underused. I could have done with a lot more Etta Candy! The bad guys were suitably evil, as they should be, if somewhat underdeveloped, but such is the case with most superhero films.

In terms of the directing, Patty Jenkins did a remarkable job. While Wonder Woman had a lot of the beats you expect from a superhero movie, it also had its own unique style and tone. The action was especially spectacular; I’ve never seen fighting like that in a superhero movie, particularly some of the amazing acrobatics we got from the Amazons. They were astonishingly good. I also loved the little touches throughout the film, like the gorgeous, sweeping establishing shots we got for Themyscira, London, and the front. There was a real flair to the film that set it apart from other superhero movies. Jenkins also smoothly married the action and stunning visuals with the emotional aspects of the film. All of the humourous, romantic, and quiet reflective moments rang true, and everything flowed together nicely.

It was just fun to look at, too. Themyscira was so epic and cool, uniquely ancient and breathtaking in its scenery. I want to go to there. A lot of the movie was spent in the cramped confines of London or on the front, all of which was nicely done, but there was a good amount of time spent outdoors in lovely, natural settings that were shot exquisitely. On top of the settings, the costumes were quite striking. Wonder Woman wore an updated version of her Batman v Superman outfit, one that actually had colour this time, and it looked fantastic. All of the Amazons got cool costumes, with everyone wearing something a little bit different but yet thematically similar to the each other. The costumes in the outside world were a little bit drab in comparison, of course, but all of the major supporting characters had their own special look that suited them well.

If I wanted to nitpick, there are a few things I would change. For me, the final fight scene wasn’t quite as cool as the earlier ones and got a bit messy with all of the fire and chaos and CGI. Also, some of the supporting characters got outshone by the leads. To be fair, Gadot and Pine were ridiculously good, but a few folks did fall a bit flat. And there were a few changes to the Wonder Woman mythos I didn’t love, but we’ll save that for the spoilers section.

All in all, though, it was a great movie. Well executed on every level, so much fun, and most importantly, true to who Wonder Woman is and what she means to so many fans. I loved it. Now, that being said, I’m not sure that this is the movie they should have made. Setting the film in World War I was a big change that made a lot of elements very different from what we usually get with Wonder Woman, and while it was all done well and a lot of those changes were interesting, I don’t think it was the best showcase for what is great about Wonder Woman. Don’t get me wrong, it was an excellent showcase for Wonder Woman, but in an intriguing alternate universe way rather than a relevant, modern way. An origin set in the present day could have been more resonant and more reflective of the character, her past, and what she means, especially in terms of tackling modern women’s issues rather than poking fun at sexist attitudes that are a century past. I get that the film is what it has to be given the existing framework of the DC cinematic universe, and it succeeds triumphantly at that, capturing the heart of the character beautifully. I just think that setting up Wonder Woman as this older, wise superhero who predates Batman and Superman limits her in certain ways, and I’d rather see this young, plucky Wonder Woman dealing with the modern world, rather than the more experienced, somewhat world-weary Wonder Woman we seem to be getting with Batman v Superman, the framing device of Wonder Woman, and what we’ve seen from Justice League thus far. But so long as Gal Gadot is Wonder Woman, it’s absolutely a Wonder Woman worth watching, and Patty Jenkins and the whole team did an amazing job making this new setting and backstory work for the character and stay true to who she is.

Let’s move on to some spoilers now, after the jump!

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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.

New Wonder Woman Movie Trailer Explores Her Origins

March 13, 2017

A new trailer for Patty Jenkins’ Wonder Woman debuted this weekend, and I’m happy to report that the movie is still looking great. We got a lot of new footage in this one, including a decent amount of time spent on Themyscira, and I really liked a lot of what I saw. Now, of course, this is the DCEU; good trailers don’t necessarily mean good movies. But so far, Wonder Woman has been hitting it out of the park and that has me cautiously optimistic about the film.

Warner Bros. describes the video as the “Origin Trailer” and thus we got a good look at the Amazons. They remain super bad ass and cool, and I like the design of the island and the Amazons themselves a lot. We also get some flashbacks, including a peek at a young Diana who is just adorable:

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I’m hoping we get a few scenes with her because she seems cute and fun.

Little Diana is staring at the “god killer” sword there, and I do remain irked at how much attention the sword is getting. Wonder Woman’s never been a character who wields a sword until very recently; she’s got a golden lasso that she’s rather famed for, and I wish that’s what young Diana was eying rather than a sword. To me, sword fighting just isn’t who the character is. But I was pleased to see the lasso play a key role as the trailer progressed, including this rad takedown:

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Hopefully Wonder Woman’s real weapon gets its due throughout the movie as well.

On top of that lasso scene, we got a bunch of other cool action shots too. I think Wonder Woman is going to have some epic fight scenes. Everything we’ve seen so far looks very cool, and Wonder Woman’s fighting scenes in Batman v Superman were easily the most entertaining part of that movie. All of the action clips we’ve seen thus far in Wonder Woman trailers look exciting and well-shot, and it’s going to be a blast to see the full scenes.

One thing I’m particularly glad to see every trailer has included is humour, and this new one is no exception. Gal Gadot’s fish-out-of-water Diana shtick looks like it should be entertaining, Chris Pine’s Steve Trevor seems good for some wisecracks, and Lucy Davis’ Etta Candy looks like she’s poised to steal the whole show. I liked her trying to dissuade Diana from carrying her sword in public:

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The humour in DCEU movies hasn’t been great, at all, and it’s nice to see some genuinely funny bits  are coming with Wonder Woman.

Finally, the trailer appears to confirm the daughter of Zeus origin story. Hippolyta ominously tells Antiope that Diana “must never know the truth about what she is,” which sounds like it might be a Zeus-related secret given this lightning display later on in the trailer:

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I don’t care for the Zeus origin at all. I much prefer the clay origin, in which no men are involved and Diana’s origins are distinctly female and feminist. Making her a demigod who gets her powers from a man is boring, dumb, and kind of misses the point of the character. I’m hoping it’s not a huge point of focus for the movie, and that Zeus doesn’t come up too much.

So yeah, Wonder Woman looks pretty great. And in ways that seem to be addressing how DC’s other movies have been not at all great, which is encouraging. This could be really cool. And we’re less than three months away now! Can you believe it? Wonder Woman’s finally getting her own movie! And just when we need her the most.

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.


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