Posts Tagged ‘Wonder Woman’

Wonder Woman #23: The Truth is Finally Revealed

May 24, 2017

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With Greg Rucka’s time writing Wonder Woman nearing its end, all of the threads are starting to come together now. This week was the finale of “The Truth,” then we’ve got an annual next week, the finale of “Godwatch” two weeks later, and then one last issue that wraps everything up in Wonder Woman #25 two weeks after that. So basically, we’re a month away from the conclusion of one of the best Wonder Woman runs ever. It’s sad, but at the same time it’s always felt like a story that has a definite end. There were questions to be answered, and now that we’re getting the answers it’s clear that things will wrap up in a satisfying way that adds fascinating new dimensions to the Wonder Woman mythos. We’ll dig into the finale of “The Truth” momentarily, but first:

SPOILER ALERT!!

I am about to discuss EVERYTHING that happens in this issue!

Look away if you haven’t read it yet!

Wonder Woman #21 left us somewhat puzzled. The issue ended with Wonder Woman and Veronica Cale finding Ares, but he didn’t at all seem like the Ares we’d encountered in “Year One.” That first Ares was all angry bluster, decked out in armor while talking in fiery proclamations and demanding respect and obedience. This new Ares just looked like a pretty chill, friendly dude, so what was up? That mystery, and several others, were solved with this issue.

We quickly learned that the first Ares was Phobos and Deimos impersonating their father, and that the second Ares was the true Ares, who’d been imprisoned beneath Themyscira all along. After he was consumed by war and driven mad, Aphrodite had locked up Ares in chains forged by Hephaestus and tasked the Amazons with watching over his prison. This was the first step in what became “The Lies,” or Diana’s false memories of her home after she left Themyscira; the location of Ares’ prison was such an important secret that the gods not only wiped away all memories of her true home but also created a false reality lest she seek to understand the hole in her memory. Ensuring that Ares was never freed again was paramount, and keeping the location of Themyscira hidden was key to that, thus the deception.

But Wonder Woman isn’t a normal mortal, so of course she eventually realized that something was up. I like that despite all of the gods working together to create this elaborate ruse, Wonder Woman still found the truth. The gods feared her strength of purpose from the beginning and did their damnedest to keep her in the dark, and even against these odds she figured it out. Or, in short, nevertheless she persisted. Sounds like Diana to me.

The revelations in this issue brought everything from the past year of Wonder Woman together tremendously well, and looking back we can see Rucka’s full plan unfolding. The truth behind the lies was a clever, intricately plotted mystery, and I can appreciate why it took so long to finally get the answers we were so hungry for when the book began. All four arcs weave together to get us to this point where finally everything makes sense. It was very well executed and smartly done, but beyond all of that it’s a conclusion that pays respect to Wonder Woman’s history and sets her on a new path that embraces key elements of her past.

With Ares’s imprisonment and Wonder Woman’s handling of Phobos and Deimos, we see the Marston era’s focus on love and submission. Ares didn’t find peace through the binding of some magical chains; he found it through Aphrodite and her ability to see through his madness and love his true self. So too did love help Wonder Woman, as her compassion and forgiveness allowed her to overpower Phobos and Deimos, the embodiments of terror and panic. They came expecting a fight, and instead found an acceptance that they’d never known, which overwhelmed them and eventually freed them. And, just like their father wearing Aphrodite’s chains, this freedom came through binding, via the lasso in this instance.

Meanwhile, the notion of Themyscira as a gateway and the Amazons as its guardians dates back to the Perez era. Liam Sharp underscored this reference when he drew the Amazons coming out of the water, just as they were created in the second Wonder Woman #1 way back in 1987. Both Nicola Scott’s and Sharp’s take on Ares were clearly inspired by Perez’s designs as well, and we can see similar touchstones with both of their takes on the Amazons.

So we can see the Marston and see the Perez, yet at the same time this take on Wonder Woman is something new as well. Rucka’s borrowed old elements and reshaped them into a new status quo for Wonder Woman, the Amazons, and the mythos as a whole. We’ve still got a few issues to go, but at present it looks like the Amazons will remain separate and hidden from the outside world to keep Ares at bay. Phobos and Deimos may be defeated, but there is no shortage of fools who wish to unleash war upon the world. If the interaction between Diana and Hippolyta at the end of the issue is the last we see of them together for some time, it’s a heartbreaking and powerful moment to close on.

And yet, there is hope. Because she was split between our world and Ares’ prison, Veronica’s daughter Izzy can’t re-enter the world. But since Themyscira is connected to Ares’ prison, she can live there among the Amazons. The daughter of Wonder Woman’s greatest enemy living with her family when she can’t is a brilliant stroke on several levels: On the one hand, she has what Wonder Woman desires most, but on the other hand she’ll be away from her mother and raised by her mother’s nemesis’ family. It’s a move that stings both Wonder Woman and Veronica, yet at the same time one they seem to know is for the best. Wonder Woman knows that Themyscira must stay hidden, and it seems that Veronica knows that perhaps she’s not the best influence. Furthermore, having a human girl among the Amazons maintains a link to the outside world, one that could conceivably lead to a larger reconnection some day.

Overall, Rucka and Sharp have wrapped up “The Truth” very well and explained the major mysteries behind their run on Wonder Woman in an excellent fashion. There’s still a lot of story left to tell here, but the core question of the run has been solved in a clever, satisfying manner. I’m curious to see how everything shakes out over the next few issues before this run concludes. If this issue is any indication, Rucka and his fine artists will stick the landing nicely.

The Many Lives of Catwoman Moments, Week Three: Pop Stars, Heists, and Wonder Woman

May 22, 2017

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My upcoming book, The Many Lives of Catwoman: The Felonious History of a Feline Fatale, will be out on July 1, and in advance of its publication I’ve been posting memorable moments from Catwoman’s history over on Tumblr. They’re all randomly assorted and run the gamut of her many appearances across various media over the years, and go up once a day, Monday to Friday. It’s a fun, bizarre assortment of stuff, and offers a look inside all of the interesting things that will be covered in the book.

Last week, the five moments we looked at included:

And finally, my favourite moment of the week! As you can see at the top of the post, it’s Catwoman facing off against a depowered Wonder Woman during her mod Diana Prince era in Wonder Woman #201 in July/August 1972. It was an odd time for both characters; the mod era was a well-intentioned but poorly executed attempt to make Wonder Woman a more relevant character, while Catwoman had been largely benched at this point after the collapse of Batmania in the late 1960s as DC moved away from the villains associated with the TV show. So the duo ended up paired together in the mountains of Eastern Asia, both of them looking for the same artifact and ultimately pitted against each other in a fight to the death after they were captured. But they decided to work together, freeing themselves from their perilous position over the fire pit and defeating their captors before heading off into a different dimension to rescue a friend of Diana’s.

You can check out all of the Catwoman moments here, and follow along for even more Catwoman fun in the weeks to come! The Many Lives of Catwoman, is coming soon, so be sure to pre-order it now!

Cat Grant, President Marsdin, and Elizabeth Holloway Marston All Went to the Same College

May 16, 2017

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Last night’s Supergirl was one of the best episodes of the year, in no small part due to Lynda Carter guest starring as President Marsdin and the long awaited return of Calista Flockhart as Cat Grant. They even got to share the screen together before the Daxamite queen Rhea, played by Teri Hatcher, shot Air Force One out of the sky. Luckily Supergirl was there to save Cat, and the President was able to save herself when she revealed that she was actually an alien. It was all a lot of fun; one of the things that makes Supergirl special is its depth of amazing female characters, both heroes and villains, and they were out in full force last night.

After the plane crash, everyone was wondering how Cat Grant got on the plane in the first place. It turns out that she was old friends with the president, and that they’d gone to college together. Marsdin was her RA in the dorms of Radcliffe College, and that choice of university is a very fitting one.

Supergirl has been making sly references to the history of Wonder Woman with Lynda Carter’s President Marsdin, and fittingly so. When you’ve got Lynda Carter on board, you’ve got to have some Wonder Woman fun! Her name seems to be a double reference: Marsdin is reminiscent of Wonder Woman’s creator, William Moulton Marston, while Olivia appears to reference Olive Byrne, Marston’s partner and a major inspiration for Wonder Woman. With tonight’s episode, we got a shout out to Elizabeth Holloway Marston, the third member of the Marstons’ polyamorous relationship, co-inspiration for Wonder Woman, and a graduate of Radcliffe College.

Having already earned a BA from Mount Holyoke College and a law degree from Boston University, Elizabeth went to Radcliffe College in 1919 to get a master’s degree in psychology. At the time, Radcliffe was a women’s college; women weren’t yet allowed to attend Harvard itself, so Radcliffe was Harvard’s sister school. While at Radcliffe, Elizabeth worked with her husband researching systolic blood pressure and helped create the lie detector test, and eventually graduated in 1921 with her third degree.

Having Cat Grant and President Marsdin go to Radcliffe too is a delightful deep cut reference to Wonder Woman’s history, and that the writers at Supergirl took the time to make it speaks of their respect not just for their titular character but for Lynda Carter, Wonder Woman, and the women of the superhero world generally. William Moulton Marston didn’t create Wonder Woman on his own; Elizabeth and Olive contributed to the character in ways we’ll probably never fully know, and they deserve to be remembered as a key part of her history. With last night’s episode, Supergirl did just that in a small, enjoyable way. It was a cool moment in what was an absolutely great episode that has me so excited to watch next week. Did you guys see that ending? It’s crazy! Such a good cliffhanger!

Wonder Woman #22 Review: A Modern Take on an Iconic Character

May 10, 2017

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I got a big surprise when I sat down to read Wonder Woman #22: Mirka Andolfo drew this one! I had no idea she was doing the issue. Andolfo is set to draw a couple of issues in July when Shea Fontana takes over writing the book, but as far as I knew, we were getting Bilquis Evely for the duration of “Godwatch.” Now, I LOVE Bilquis Evely. She’s been killing it so far. But I also love a fun surprise, and I’m a huge fan of Andolfo from her artwork on DC Comics Bombshells (a fantastic book with a great take on Wonder Woman that you should be reading if you’re not already). I was really looking forward to seeing her on Wonder Woman in July, and now we’re getting a peek at her take on a modern Wonder Woman a couple of months early. And good news, gang: It’s fantastic. We’ll dig into it all momentarily, but first:

SPOILER ALERT!!

I am about to delve into all of the details of this issue!

Don’t read this review if you haven’t read the comic yet!

Also, go read the comic! It’s very pretty!

The last installment of “Godwatch” was a real corker, with Veronica Cale teaming up with Circe to use Wonder Woman to defeat Phobos and Deimos and get one step closer to getting her daughter back. This issue picks up a year and a half later, and explores the first meeting between Wonder Woman and Veronica. For some reason, I’d assumed that they’d met before; maybe it was all of the stories set in the present in which Wonder Woman knows about Veronica and her nefarious plans. I mean, they were hanging out in “The Truth” two weeks ago. My mental timeline probably got a bit screwy with all of the back and forth. Regardless, this is their actual first meeting, and it’s a very enjoyable one.

Between Veronica losing her daughter and the travails of Barbara/the Cheetah, there have been some very heavy moments recently in Wonder Woman. This is a much lighter outing, with a comedic set up, some excellent banter, and a nicely executed action scene. The heavy issues remain; Veronica’s daughter is still in peril and Barbara is the Cheetah. But the focus narrows in on Veronica and Diana engaging with each other for the first time on almost friendly terms. I loved that their meeting began at an auction in which Veronica outbid the likes of Bruce Wayne and Lex Luthor to nab a date with Wonder Woman (all for charity, of course). I also enjoyed that the extravagant event was followed by a more casual outing between the two as they got burgers in their street clothes. It was all quite cute. Well, as cute as a meeting between a heroine and her secret arch nemesis can be, I suppose.

The issue also further fleshed out Veronica Cale, who Rucka is turning into an absolutely fascinating villain. Generally speaking, Veronica seems like kind of an amazing person. She’s a big supporter of the DC universe’s version of Amnesty International, a philanthropist generally, and a champion for the poor as well as gender and sexual equality. The more we learn about her, the more she becomes a fascinating tragic figure, a good woman turned to darkness because of the meddling of the gods. Before that, she was a tough businesswoman and not a big fan of Wonder Woman, but Phobos and Deimos interfering in her life and taking away her daughter is what turned her into a villain. Everything she’s doing is to get her daughter back, and it’s hard not to sympathize with that, even when she’s facing off against our favourite heroine. I’m hoping that she gets a happy resolution by the time “Godwatch” and “The Truth” wrap up. I know she’s done terrible things, but I feel like Wonder Woman would understand her motivations and try to help her fix them and start a new path rather than punish her. Time will tell.

Now, onto Mirka Andolfo. The art in this issue is just great. Much like Bilquis Evely, Adolfo is excellent at crafting expressive characters, albeit with a very different style. There’s a lot of heart in this issue, and that works extremely well with the story it tells. “Two people getting to know each other when one is a secret adversary yet they both have an odd respect for each other” is a hard thing to communicate, but it comes across. Wonder Woman and Veronica’s issue-long conversation is a complicated dance from start to finish, and Andolfo hits all of the notes needed to make it work.

Furthermore, she finally gives a modern take on Wonder Woman that feels young and fresh. We haven’t seen a lot of Diana in everyday clothes since “Rebirth” launched, and when we have it’s been fairly bland. Andolfo doesn’t go for anything extravagant or trendy here either, but by simply putting Wonder Woman in a tank top, jeans, and sneakers, her incarnation of the character feels like the most modern version of her we’ve seen in ages (and it’s of course beautifully colored by Romulo Fajardo Jr.; the guy just slays it with every single issue). Her outfit is what young women look like today, and that’s something I’d really like to see in Wonder Woman properties moving forward. Yes, she’s a superhero and that’s awesome, but when she’s not I think it’s good to see her as a modern woman so that fans, young and old, can better identify with her. As much as I am over the moon excited for the Wonder Woman movie, Gal Gadot’s fancy dresses in Batman v Superman and 1910s garb in Wonder Woman hardly scream “identifiable.” Part of making Wonder Woman modern and relevant is having her look modern and relevant, and I hope we see more of that soon, both in comics and on the big screen.

Overall, this was an entertaining issue all around that sets us up well moving forward. First, the stage is set for the climax of “Godwatch” as the last page shows that Wonder Woman knows about Veronica’s more nefarious dealings. Second, the layers the issue adds to Veronica should make the climax of Rucka’s larger story all the more interesting; she’s a villain, but it’s hard to be too mad at her! And third, when Fontana and Andolfo take over Wonder Woman in July, I think we’re in for a treat. I can’t wait to see more of Andolfo drawing Wonder Woman! She’s a great talent, and the book looks to be in very good hands moving forward.

Is Warner Bros. Doing a Poor Job Marketing the Wonder Woman Movie?

May 2, 2017

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We are exactly one month out from the theatrical release of Wonder Woman, and first off, oh my lord we’re only a month away from Wonder Woman! How amazing is that? Fans have been waiting years, decades really, for a Wonder Woman movie and we’re finally about to get one. Plus it’s actually looking pretty cool. From everything we’ve seen thus far, it feels like Patty Jenkins, Gal Gadot, and the whole team have put together something fun, exciting, and most importantly true to the character. We got two TV trailers at the end of last week that made me increasingly hopeful about the film:

We also got this longer preview during Gotham last night, and it was great too:

The trailers are funny, which is good to see because that’s something the DCEU’s been sorely lacking, but they’re also stylish and action packed. I also appreciate that neither these nor the full trailers have given away too much story. We don’t even have an official look at Ares in full on Ares mode yet, and that shows some admirable restraint.

More importantly, these new trailers are telling me exactly what I want to hear about the Amazons and Wonder Woman, namely that the Amazons were created to bring peace to the world and that Diana is their champion for this cause. The “Power” spot has the tagline “There is a power greater than man,” which is perfect, and it’s hard not to get excited when you hear Wonder Woman say, “I will fight for those who cannot fight for themselves.” That’s who Wonder Woman is, and it’s encouraging to see that they’ve captured the essence of the character in this way.

However, while the trailers are fantastic, there’s been some concerns in the fan and film communities about Wonder Woman‘s lack of marketing more broadly. We’re only a month out now and we’re just starting to see TV trailers roll out, plus there seems to be a lack of Wonder Woman product branding, tie-ins, and what have you. Others suggest that the film is about on track, with Warner Bros. having spent the same amount of money a month out with Suicide Squad as they have thus far with Wonder Woman. There are interesting points on either side of this issue across myriad posts you can read at your leisure.

Having followed Wonder Woman closely, I fall on the side of being underwhelmed by the marketing thus far. Just over a year ago, I was up to my ears in Batman v Superman: Dawn of Justice paraphernalia. That movie was EVERYWHERE, not just in theater and television advertising but in piles upon piles of branded products, toys, and other items. There were cereals, for goodness sake, one for Batman and one for Superman. And the marketing team made a big show of sending them out to notable folks in a special box so that they’d share it on social media. It was all a bit goofy and over the top, and the flavours of the cereal sounded disgusting, but it speaks to the omnipresence of the Batman v Superman marketing that their weird cereals got such a massive push.

Wonder Woman doesn’t have her own movie branded cereal. In fact, she’s got little in the way of any grocery item tie-ins, apart from Dr. Pepper. Wonder Woman is different than Batman v Superman in little ways as well, like Lego, for example. Batman v Superman got three different Lego sets, while Wonder Woman has only one. It looks super rad, with Ares and Steve’s plane and such, but it’s still just one set. A month before Batman v Superman, you could walk through any major store, be it grocery or big box generally, and see Batman and/or Superman stuff EVERYWHERE. We were inundated with it. A month out from Wonder Woman, the Wonder Woman items are few and far between.

Now, I don’t think that Warner Bros. is intentionally trying to tank Wonder Woman or anything nefarious like that. But I do think it’s clear that they allotted far, far more resources and effort to their dumb movie where the superhero boys punched it out than they have to Wonder Woman. And this is somewhat troubling, because even with all that effort, Batman v Superman  only did about fine at the box office. It made Warner Bros. a good amount of money and obviously the franchise is continuing, but it wasn’t near major Marvel levels despite the fact that it starred the two most famous superhero characters in the universe. With all of that marketing effort behind it, Batman v Superman still got bested by the lower budget, R-rated Deadpool in the United States.

The thing is, Batman and/or Superman can have a mid-level performance at the box office and be fine. We’ve seen it several times over. Batman & Robin sucked? Don’t worry, here comes the Nolan trilogy. Superman Returns flopped? Don’t worry, here comes Man of Steel. Warner Bros., and studios generally, are dedicated to their male characters. This is not the case with female characters. If Wonder Woman doesn’t do well, it might be a long time before Warner Bros. takes another crack at her, and it would certainly hamper the chances for future female-led superhero films.

That’s why the underwhelming marketing for Wonder Woman thus far is a concern. An aggressive marketing push can really help a film succeed, but the studio seems to be taking a more relaxed approach. It feels like a missed opportunity on multiple levels. First, strongly pushing Wonder Woman would show that Warner Bros. is committed to Wonder Woman and female leads generally, which would have been nice to see. Second, a successful Wonder Woman would inevitably come with a strong female fanbase that could even further expand the audience for the DCEU, which would be great for the studio. And third, after decades of development, they’ve finally got a Wonder Woman movie and it looks really good, so it would make sense to set it up in the best position possible. And Warner Bros. isn’t quite doing that, relative to how they’ve promoted movies in the past.

The good news is that Wonder Woman does look great. The new trailers are fantastic, the movie feels exciting and cool and different, and the buzz has been very positive thus far. I’m optimistic not only that the movie will be good, but that it will do well. It just would have been nice to see more of a push from Warner Bros. to help ensure that it does more than well. Hopefully it does so on its own merits, and maybe we’ll see lots more promotional stuff roll out in the weeks to come. It just doesn’t feel like Warner Bros. has treated Wonder Woman like the landmark movie it should be.

Wonder Woman #21 Review: The Compassionate Core of Wonder Woman

April 28, 2017

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Yet again, I’m starting with an apology for a delayed review, with travel the culprit once more. But I’m back home now and should be settled here for the foreseeable future, so my reviews of Wonder Woman should be on the day of each issue’s release moving forward. This week’s issue was yet another outing that was worth the wait, as we see a lot of the key pieces that have been set up throughout “The Truth” thus far come together. With Wonder Woman, Steve Trevor, Barbara Ann Minerva/the Cheetah, and Veronica Cale all in the same spot for the first time, you knew something was going to happen. And a few somethings happened, all of them very interesting, but there was one moment that I loved best of all. We’ll dig into everything, but first:

SPOILER ALERT!!

I am about to dive into all of the twists and turns of this issue!

Look away if you have yet to read it!

So last issue’s cliffhanger, with Maru sniping Wonder Woman from afar, didn’t amount to much. What seemed to be a grievous issue last month was easily shaken off, a bit of audience manipulation that might have annoyed me if I didn’t appreciate the style with which it was executed so much. Greg Rucka and Liam Sharp ended Wonder Woman #19 in dramatic fashion and left us on the edge of ours seats, then began Wonder Woman #21 with a great action scene that had our heroine fighting through the pain, furiously deflecting bullets, and then nabbing Maru in impressive fashion. I particularly enjoyed the use of the sniper lens as a panel, and how it went from Maru seeing Wonder Woman from afar to Wonder Woman being right on top of her just a second later. It was a well executed sequence all around.

This led us to the Black Sea and the fake Paradise Island. Veronica and Barbara showed up with the still faceless Izzy and Veronica’s dogs, the imprisoned Phobos and Deimos, followed quickly by Wonder Woman and Steve. The small fight we got there was less innovative and visually inventive than what opened the book, but the emotions of the scene were the key focus here and that was very nicely done. Wonder Woman still believed in her friend and the humanity at the core of the Cheetah, even if Barbara felt that she’d lost herself fully in her feline form. And, of course, the true Barbara is still buried in there; the way she lashed out when Wonder Woman mentioned Etta made it clear that she still remembers and yearns for her other life.

Also, I’ve mentioned this before, but Liam Sharp’s redesign of the Cheetah is fantastic. For decades, the Cheetah has been very sexualized, drawn as a sexy cat lady rather than a dangerous creature. Sharp embraces the danger wholeheartedly. His Cheetah is fierce and frightening and more animal than human, and he does a good job marrying the feline traits to a female form that finds a balance between the two in ways we’ve never seen before. I really hope that this new look sticks around, because it’s so much cooler than past incarnations of the character.

The fight between Wonder Woman and the Cheetah served as a means to open the gate to, well, somewhere. The mysterious tree we’ve been seeing since this run began returned yet again, and Wonder Woman’s blood opened a portal through it. This was well depicted, especially the first reveal inside of it. Sharp’s swirly clouds and floating islands was all kinds of cool, but Laura Martin’s colours took the panel to the next level with her pinks and lavenders swirling about. It looked totally otherworldly. The way it was drawn on subsequent pages was somewhat less compelling; in general, I felt like Sharp was rushing things at times with this issue. But that opening shot to set the scene was gorgeous.

After Izzy ran into the portal, Wonder Woman and Veronica followed, and this led me to my favourite scene of the issue, and one of the best moments in Wonder Woman since “Rebirth” began. When Veronica explained that she was trying to find her daughter, Wonder Woman reached out her hand and replied, “We will seek her together.” This instantaneous compassion really captured the heart of Wonder Woman and who she is. Veronica Cale’s been working to destroy her for years. She turned her sweet friend Barbara into the vicious Cheetah, twice. She’s attempted to hurt or kill everyone Wonder Woman holds dear. And yet, the second Veronica needs help, Wonder Woman offered it. This doesn’t mean she’s forgiven, of course. But it shows that Wonder Woman saw the humanity in her, saw the woman who’s lost her daughter, not just in this bizarre realm but in a much deeper way, and decided that it was more important to help an enemy save an innocent girl than to exact any kind of revenge or even justice first. To me, the core of Wonder Woman has always been if someone needs help, she helps them, and then deals with whatever else may be going on after. Compassion comes first, and this issue illustrated that beautifully.

The issue ended with the big reveal that they’d stumbled upon Ares’ prison, as well as what appears to be a fully restored Izzy. I’m curious to see if this is a permanent restoration or a momentary reunification in this mysterious realm; we know from two weeks back that Ares had Izzy’s spirit/soul/what have you with him, so perhaps she really is whole again. Whatever the case, Ares is back in the mix again. Or, perhaps for the first time? We saw Ares back in “Year One,” but Wonder Woman doesn’t recognize him nor does he bear much resemblance to the cruel, bloviating deity we saw then. He doesn’t have fancy word balloons here, either. Could that first Ares have been a false Ares? Or maybe this Ares is false? Or maybe Wonder Woman just doesn’t recognize him without the armour and I’m reading way too much into this. I’m excited to see how this all shakes out, and given the interconnectedness we’re starting to see between “The Truth” and “Godwatch,” I’m hoping that we’ll at least get some hints in a couple of weeks with Wonder Woman #22. Everything is coming together, and it’s all very intriguing!

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.


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