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Thoughts on WONDER WOMAN (2017) (Spoilers)

I finally saw Wonder Woman today, and I pretty much agree with the critical consensus — it’s a terrific movie, and the first DC Extended Universe movie that not only isn’t fatally flawed, but is genuinely excellent and has a coherent, well-defined heroic journey at its heart. Gal Gadot is fantastic in the role, not only a sublimely beautiful, poised, and powerful physical presence but a strong lead actress who handles all the emotional range the film requires of her, which is a lot more than any of the previous three DCEU films have demanded of their leads. Chris Pine is also remarkably good as Steve Trevor, bringing enormous wit and charm to the proceedings (in fact, there were moments when he reminded me more of William Shatner here than he does in the Star Trek movies). The rest of the supporting cast was good too, with Lucy Davis a standout as Etta Candy.

Oh, and first off, let me respond to the inane “Gal Gadot isn’t buff enough” meme that I’m still seeing floating around online, even from the occasional female reviewer. It’s a myth that people have to be bulky to be strong — a myth that comic books have helped to promote by embracing bodybuilders as their standard character design reference over the past few decades. But bodybuilders bulk up for display. Muscles meant for practical use can be strong yet still quite lean; after all, muscle cells are basically long, thin fibers. And people with naturally tall, slender builds can be very strong while still being slender — look at Venus Williams or Maria Sharapova. This is, of course, leaving aside the fact that Diana of Themyscira is a demigoddess with superhuman strength anyway, so even if she were scrawny (which she isn’t by any realistic standard), she could probably still kick any mere mortal’s ass.

I do have some quibbles with the origin presented in the film. I don’t like the retcon that the Amazons were created by Zeus, and that Diana is the daughter of Zeus. In the original comics, it was Aphrodite, goddess of love, who created the Amazons and breathed life into Diana. Making it Zeus makes the backstory too male-dominated, and makes the Amazons feel like an extension of a male agenda. I also wish Kid Diana hadn’t been quite so enthralled with fighting and weapons; I would’ve liked to see more of her well-rounded education in the more positive things that drive her as an adult. (The actress playing Kid Diana was adorably badass, though. Give her a Wonder Tot prequel, stat!) Still, I guess that preoccupation is part of the naivete she has to outgrow over the film. She has a romanticized, simplified notion of what war is, resulting from the fact that she’s never seen it except as a bunch of awesome athletic feats her elder sisters perform.

And I like the acrobatic horseback combat, by the way. The Amazons of Greek myth were probably based on some of the horse-nomad peoples of Asia Minor, peoples that had a fair amount of gender equality (out of necessity — nomads can’t afford to have anyone not pulling their weight) and thus could’ve been seen as female-dominated by the intensely misogynistic Athenians. And horse nomads were historically known for their impressive mounted-fighting abilities, which seemed to be the basis for the Amazon combat methods shown in the film. So that’s a nice bit of historical context in a film with a generally fanciful portrait of antiquity.

In thinking back on the film, considering how it succeeds where the previous DCEU films failed, I realize that on the surface, it doesn’t seem that different from the previous films. It has a very dark and grim subject matter — it’s set in the quagmire of World War I and has characters lecturing Diana on humanity’s fundamental capacity for evil and self-destruction. It has a hero who kills. And, like Man of Steel, it has a hero whose journey to adopt the role is in defiance of a parental figure trying to hold them back. So why does it work so much better when it has many of the same elements?

As for the parental-defiance issue, part of it is that it fits the character better. Wonder Woman’s origin story has always involved her defying Hippolyta to leave Paradise Island/Themyscira — and has always had Hippolyta grudgingly accept her daughter’s decision and allow her to make her own path in the world. But Superman’s backstory has usually portrayed Pa Kent as Clark’s inspiration and role model, the one who taught him his value system and implored him to use his gifts to help others. Making Jonathan Kent someone whose advice Clark had to reject in order to become a force for good was too great a change, and too cynical for the Superman narrative. Then again, as much as I hated Man of Steel‘s version of Jonathan, I felt one of the more successful aspects of the film was the way Clark refused to be guided by his father’s fear and pettiness, and instead innately tried to do the right thing. So the thing that worked best about MoS’s Clark Kent is also something that worked about Diana of Themyscira. The difference is, in the case of Wonder Woman, it worked for the parental figure too.

As for the dark and grim subject matter, I think part of the difference is that the grimness was necessary in the context of the WWI setting, rather than just being there for its own sake. More importantly, the difference is that the Snyder Superman films tried to impose the darkness on Superman himself, to make him succumb to it and thus diminish him as a figure of nobility and inspiration. MoS and BvS paid lip service to some people seeing Superman as a savior and inspiration, but they didn’t really earn those reactions because they were more interested in showing Superman failing and struggling than in showing him actually helping anyone. BvS also defaulted to grim version of Batman based on a graphic novel (Frank Miller’s The Dark Knight Returns) that was meant to be an exaggerated, worst-case extreme and that’s too often been misinterpreted as a template for how Batman should normally be portrayed.  But in Wonder Woman, the grimness is around Diana. It doesn’t become a part of her. On the contrary, her basic goodness and compassion stand against the darkness of her surroundings and give hope and inspiration to others. She does what a superhero should do — she makes things better. The darkness is her incentive to shine, rather than something that infuses and darkens her. And though she sees the darkness in humanity, she also sees the goodness and love, and stands up for it and instills it in others. This is what Superman should do. It’s even what Batman should do — by using his own darkness to counter the crime and corruption of Gotham, he brings hope to its people and to its forces of law and order, and by taking Robin under his wing, he gives him a better life and allows him to be purer and happier than Batman was in the same circumstances. But Wonder Woman is the first DCEU protagonist who’s actually done that as a central element of her film.

As for the violence… yeah, I’m not a fan of heroes who kill, so that is an issue for me. But it helps somewhat that it’s in the context of a war story, rather than a crimefighting story where that level of force seems excessive. And it helps more that it’s balanced by the more positive things Diana does. The problem with Superman’s actions in Snyder’s films is that they’re too detached, too impersonal. In MoS, he’s literally on the opposite side of the planet while the people of Metropolis are fleeing in terror and dying in droves, and then he (or rather, Snyder) doesn’t even seem aware of the civilians while he and Zod are smashing up the city. In BvS, his acts of heroism are impersonal vignettes about Superman manipulating big heavy objects, and whatever people he’s helping in the process are barely noticed — whereas the film focuses more on his failures to save people when it bothers to pay attention to him at all. But Wonder Woman’s battles are clearly, centrally about saving people. We see the people she’s helping, and we see her connect to them. So there’s a better sense of who and what she’s fighting for, and a greater emphasis on that human element rather than just nonstop CGI destruction. The climax does get a bit heavy on the CGI for a few minutes, but unlike MoS, it doesn’t grind the story to a halt and lose focus on the human stakes of the battle.

A key difference: In both MoS and WW, the climax has the villain urging the hero to accept his nihilistic view and kill an enemy. MoS has Kal-El succumb to the argument and choose to kill, which means that the villain basically wins the philosophical battle and the hero is thus weakened. But here, Diana makes the opposite choice, sparing Dr. Maru. (At least, I think she does. The editing is a bit unclear, since she seems to throw the tank in the same direction Maru ran, and we don’t see Maru after that. But I presume the intention is that she defied Ares and spared Maru.) Okay, yeah, she also kills Ares, but the difference is, it’s not because he told her to. Both sparing Maru and killing Ares are her own choice, driven by her own judgment. Throughout the film, she had a strong point of view and wouldn’t let anyone tell her what to do. She did listen and learn, did modulate her actions in response to what she learned, but her choices were always her own. Even though I might wish she’d made a different choice in the case of Ares, she still ends up a stronger protagonist than Clark did, because she didn’t just let the villain talk her into abandoning everything she believed in. And her choice not to show mercy to a predator is balanced by the fact that she did show mercy to someone she recognized as a victim.

Of course, part of the reason the film worked so much better than its predecessors is simply that it had a more coherent story with a better narrative flow and pacing. It felt like a normal movie with a good balance of character, action, ideas, emotion, and humor. It wasn’t trying too hard to affect a certain style or attitude as an end in itself, but was telling a story in the way that worked best for that story. And most importantly for a superhero franchise, it was actually about heroism and inspiration.

There was also a lot of respect for the source material, with some nice homages to the comics. There are two points in the film where Diana recreates the pose Wonder Woman struck on the cover of her debut issue — when she smashes through the window to rescue the hostages (I think it is), and in the final shot of the film (though I think she’s in the mirror-image pose there). The montage of her childhood seems to homage the three life stages that were frequently featured in ’50s and ’60s WW stories by Robert Kanigher — Wonder Tot, Wonder Girl, and Wonder Woman. (Kanigher started out telling stories about Wondy’s youth, then got into the habit of doing “imaginary stories” where the child, teen, and adult versions of Diana impossibly hung out together. Then another writer failed to realize that Wonder Girl was a younger Wonder Woman in the past and added her to the Teen Titans comic that was set in the present, so they had to retcon her into being a separate character, and it got immensely more complicated from there.) The climactic battle with Ares even nods at William Moulton Marston’s heavy use of bondage in the early WW comics, when she’s wrapped up and squeezed in the armor plates.

One thing we didn’t get was the name “Wonder Woman” actually being spoken at any point in the film. I think they missed an opportunity to use it in the Veld scenes. It seems that it would’ve been fairly natural for the rescued villagers to call her Das Wunder-Fraulein, and for Steve to translate it into English as “the Wonder Woman.” It was German that gave us wunderkind, after all, so it seems like it would’ve been a plausible origin for the name.

By the way, I’ve seen a number of people say that the Wonder Woman theme used in BvS and here reminds them of a riff from Led Zeppelin’s “Immigrant Song” — but I can’t help but notice that it has the same 7/8 time signature and 3-note ostinato as Joseph Lo Duca’s Xena: Warrior Princess theme. Fitting, no?

General update

I’ve been making a bit more writing progress lately. Last week, I received, proofread, and returned galleys for both my upcoming Analog short story “Abductive Reasoning” and my third Star Trek: Department of Temporal Investigations e-novella Shield of the Gods. I’d been starting to wonder when “Abductive Reasoning” would show some movement toward publication, so this is a good sign, though I don’t know the release date yet. As for Patterns of Interference, I got the word last night that the manuscript has been approved by CBS and my final advance payment is routing for approval even now. I hope it arrives before tax day.

Meanwhile, I’ve been working on a review and polish of my previously published original stories with an eye toward putting them together into a collection. That entailed making sure my manuscripts were updated with all the changes made in the final printed versions, except in cases where I wanted to undo those changes or make additional changes. Mostly I tried to be faithful to the published versions, though. Anyway, I’ve gotten that done and now it’s a matter of getting a publisher interested. We’ll see how that goes.  With that and the galleys out of the way, I’ve refocused on some new original stories I was working on last year but had to postpone in order to write Patterns of Interference. Well, I actually kind of got stuck because I started writing a story too hastily, before I really had the whole plot worked out. But coming back to it after a break has helped give me a new perspective, and I’ve worked out a couple of things I was stuck on before.

The new Kroger superstore nearby is open now, and I’ve been there three times already — once on foot, twice by car. It’s nice to be able to make smaller grocery trips when I need a few things, instead of just making 2-3 big trips a month and going without certain things for much of the interim. The new store isn’t as big as the other superstores I’ve been to, since its location is more constrained; in fact, they’ve actually had to put the “behind-the-scenes” employee areas up on the second floor, an unusual feature. There’s also an upstairs area for customers, but I haven’t visited it yet. And the shelf space is a bit less expansive. I read an article claiming that they’d compensate by restocking more frequently, but I’ve already noticed a couple of things that they didn’t have in stock while I was there — although there was one they did have in stock by the time I needed it. Anyway, it’s definitely a lot bigger than the old store, and has a lot more features like a pharmacy, deli, Starbucks, and pizza counter. The produce section is laid out pretty much exactly like the one in the gigantic Kroger that opened a year or two ago across from the movie theater I usually go to; I guess it makes sense that the two most recently built stores would use the same design. But it was kind of disorienting the first time I was there.

Reading-wise, I got a couple of new DC trade paperbacks from the library the other day, the second volumes of Batman: The Golden Age (reprinting all the original Batman comics in order from the start) and Wonder Woman ’77. The latter is theoretically based on the Lynda Carter TV show, but my problem with the first volume was that it didn’t feel like the show, just like generic Wonder Woman stories with the likenesses of Carter and Lyle Waggoner. Much of the second volume is like that too, but a couple of the later stories felt more like the show, or more ’70s-oriented at least. (One story brings back a major villain from the show, and another is steeped in ’70s nostalgia like funk music and CB radio.) As for the Batman volume, it’s good to get to see how quickly the character’s tropes fell into place within the first 2 years. These days, you’ll see a lot of people online claiming that the ’40s Batman was a dark, violent, gun-toting character until the Comics Code crackdown of the ’50s, but that’s just wrong. Even though the first year or two of stories were in a violent, pulpy vein, Batman only rarely used guns in them, though he did kill by other means like breaking a neck with a kick or flinging people off roofs. But as early as Batman #4 in December 1940, the dialogue and narration were insisting that Batman and Robin never killed or used weapons — although exceptions were still being made for causing recurring villains Hugo Strange and the Joker to fall to their apparent deaths, since of course they’d surely survive anyway. And B&R were portrayed in a pretty upbeat way, trading wisecracks and bad puns as they fought villains. Volume 2 shows other familiar Batman tropes emerging in 1941, like the Batmobile (a sleek red convertible with a small bat-shaped hood ornament) and the term “Dynamic Duo.” No Stately Wayne Manor or Batcave yet, though — Bruce and Dick live in a house in the suburbs, with a secret tunnel leading to the barn where the Batmobile is kept.

Food-wise, I serendipitously discovered a nice new way to make a sandwich last week. I decided to make a sandwich with tomato, sharp cheddar cheese, and Romaine lettuce on whole wheat bread with olive-oil mayonaisse and spicy brown mustard, served with a pickle spear and a small amount of olive oil potato chips. It was surprisingly yummy, and I’ve made that combo two more times since then, but somehow they weren’t as good as the first. I also recently discovered a second new type of sandwich that’s pretty good: cheddar cheese and apple butter.

Aside from that, I’ve mainly just been watching TV, but maybe I’ll talk about that later in another post.

Wonder Woman goes mod: The “Diana Prince” era (spoiler review)

February 13, 2013 1 comment

For a while now, I’ve noticed that my local library branch had all four volumes of the Diana Prince: Wonder Woman trade paperbacks. These are a comprehensive collection of the 25-issue (bimonthly) run from 1968 to 1972 when Wonder Woman gave up her superpowers and star-spangled costume and became a civilian crimefighter modeled on The Avengers‘s Emma Peel, a fashionable martial artist who was easily the equal of any man. (This was initially billed as The New Wonder Woman, then Diana Prince as The New Wonder Woman, and finally Diana Prince as Wonder Woman.) The change was masterminded by writer Dennis O’Neil, who did a lot in the early ’70s to bring new maturity and relevance to DC Comics. O’Neil is known for bringing Batman back to his serious, gritty roots (at least compared to the former goofiness of ’50s/’60s Batman comics which the Adam West sitcom quite accurately captured, contrary to popular belief) and for bringing Green Lantern down to Earth and sending him on an extended road trip with liberal activist Green Arrow to find America and explore the conflict between the letter of the law and true justice. The New Wonder Woman reboot was an earlier attempt to make one of DC’s iconic figures more grounded and relatable — and more to the point, an attempt to revive flagging sales of a series which had been under creative decline under former writer/editor Robert Kanigher and was verging on cancellation. The reboot succeeded in that respect, creating new interest and saving the title from the axe, but critical reactions to it in retrospect have been mixed, making me hesitant to read the issues. But recently I read this column on Comic Book Resources which examined the beginning and end of the era, and the excerpts made me curious enough to want to read the whole thing. And yeah, it’s a bit of a mess, but an interesting one.

Also quite a good-looking one. The pencil art for most of the run was by Mike Sekowsky (who also wrote most of it) with inks by Dick Giordano, and their version of “Diana (Wonder Woman) Prince,” as she was referred to in captions, was rather striking and glamorous. The character was not generally sexualized in the way modern comic-book heroines tend to be (although there are a couple of covers of Diana in bondage), but she was definitely nice to look at. Rather than wearing a costume, she went through a variety of “mod” fashions, initially in a range of colors, but by about a quarter of the way through the run, the colorists had settled on dressing her in pure white all the time — perhaps a sort of compromise between the original fashion-plate idea and the comic-book convention of having the main hero in a recognizable “costume.”

The story begins by dismantling the series’s old tropes. First, in issue 178, WW’s love interest Steve Trevor is framed for murder, and WW’s honesty forces her to give damning testimony that Steve had hated the victim, leading to his conviction. Feeling she’s failed him as Wonder Woman, she decides to investigate as Diana Prince — and to blend in with the “hippie crowd” she needs to investigate, she gets a “mod” makeover, ditching Prince’s former frumpy-Army-secretary look for a much more glamorous and contemporary one. She frees Steve, who gains a new appreciation for Diana (unaware that Diana is WW), leading WW to think she has to change to hold Steve’s interest. But clearly the ideas were in flux, because this isn’t followed up on at all. The big changes that happen next issue arise from entirely unrelated factors.

And they happen quite quickly, within a few pages. Steve is convinced by a superior to go undercover as a traitor to infiltrate the organization of the evil Doctor Cyber. WW intends to help prove his innocence, but she’s summoned home to Paradise Island. In just two pages, she learns that the Amazons are leaving for another dimension to recharge their fading magic, chooses to stay behind to help Steve, renounces her costume and powers, and sees her home vanish forever. Now she’s just an ordinary, broke mortal looking for a job and a home. Within another page, she encounters an elderly, blind Chinese man who turns out to be a martial-arts whiz and has unexplained mystical knowledge of her identity and past. He’s named I Ching, improbably enough, and he initially speaks in a stereotyped broken English that fortunately gets toned down later. He’s also an enemy of Dr. Cyber, and spends weeks (but only two montage panels) training Diana into a martial-arts expert. Steve shows up injured and beaten by Cyber’s agents and is hospitalized. But in the next issue, Diana, Ching, and a hardboiled detective named Trench pursue Cyber, and as they enter her lair, Steve randomly shows up with no explanation and gets randomly shot dead. Which is far from the most cursory and ill-justified major change we’ll see in these pages. For one thing, we’re subsequently shown that Diana has opened a clothing boutique sometime during all this training and tragedy. She was thinking about opening a shop of some sort just before she met I Ching, but the details were skipped over and the shop is later presented as a fait accompli.

Dr. Cyber turns out to be a beautiful woman in a high-collared cloak, a Bond-style evil scientist out to conquer the world with various convoluted schemes involving high technology and sexy henchwomen. Diana, having added to her repertoire with spy gadgets disguised as jewelry, works with Ching and Trench to pursue Cyber over the next few issues, though Trench bails on them at the same time that O’Neil turns over the writing reins to Sekowsky with issue 182. From here on, there will be a different romantic interest for Diana turning up every few issues, and she’ll kind of chastely fall for all of them within a few pages even though many of them are kind of jerks. As Sekowsky writes her, Diana is less in control of her emotions now that she’s mortal, and has to learn to cope with this thing we humans call love.

Sekowsky wastes no time reversing one of the key ideas of O’Neil’s reboot. He uses his first issue to wrap up the Dr. Cyber arc, then right after that, Diana is summoned back to Paradise Island to help them fend off an invasion by Ares — just four issues after Diana supposedly cut ties with the Amazons forever. The island is still in an alternate dimension, but now easily accessible — though Sekowsky doesn’t bother to explain why Diana still has to go without her superpowers and equipment if this is the case. Here we also get our first demonstration of the fact that, as written by Sekowsky, Diana is a warrior with no qualms about using deadly force — something that’s often part of how she’s written in modern times, but apparently made its debut here. (Also, weirdly, Diana summons help for the Amazons from other dimensional planes where mythic heroes like Arthur and Siegfried dwell, but it never occurs to her to ask her old Justice League teammates for help.)

The weirdness continues when Diana returns home. She liberates a young girl named Cathy from a trio of weirdly dressed women called “THEM” who keep her as a slave, then gives Cathy a job in her boutique — whereupon in subsequent issues the ex-slave repeatedly jokes quite cheerfully about Diana being a slave-driver of a boss. Either it’s a serious failure of character consistency, or it’s implying that Cathy actually liked being a sub and had something kinky going on with Diana.

The trades include Diana’s crossover appearances in other comics during the era, starting with a completely insane Superman’s Girl Friend Lois Lane issue by Robert Kanigher, WW’s former writer. The way Lois was portrayed at this time is hard to reconcile with the strong, independent Lois we know today — in her own book, she’s completely, pathologically obsessed with getting Superman to marry her and seeking to destroy any real or imagined rivals for his affections, in this case a Diana who suddenly seems to have her powers back and then some, though all is not as it appears. The cover sums up the whole mentality behind this issue, with Superman cheerfully watching the catfight as Wonder Woman tosses Lois, his own official, titular girlfriend, over her head. Superman really was a jerk back then. This issue is followed by a somewhat less insane crossover, a Sekowsky-Giordano issue of The Brave and the Bold teaming Diana with Batman as they take on an evil race-car driver who kills all his opponents and is somehow still allowed to drive race cars professionally. In this story, Bruce Wayne recognizes Diana as the former Wonder Woman, but she doesn’t know he’s Batman (even after Bruce is injured and “calls in a favor” to arrange for Batman to race in his stead).

Next comes a multiparter set mostly in Hong Kong and bringing back Dr. Cyber, as well as I Ching’s daughter Lu Shan, who turns out to be working for Cyber and accuses Ching of murdering her mother. It’s never explained why she thinks this or whether it’s true. Cyber has her face scarred by hot coals in one issue, and in the next is rather definitively killed off. We next get another rather violent issue where Diana follows I Ching across the Chinese border to help some villagers escape the Communist government.

But the book continues to veer from topical to fanciful, since the next storyline has Diana swept into a parallel dimension where she helps some noble “barbarians” defeat an evil queen who rules from Castle Greyskull (okay, just Castle Skull) by violating the Prime Directive big time and inventing gunpowder and cannons for them. Sekowsky sure didn’t stint on the violence. This story was published across three issues, but the middle issue is actually a reprint of issue 179 with a few framing pages setting up the flashback. The TPB collection doesn’t include the reprint part.

After another more down-to-earth issue where Diana helps catch a murderer, we get an ill-conceived retelling of The Prisoner of Zenda (the credits actually read “Adapted from a story by Anthony Hope Hawkins.”). Diana’s traveling in Europe and turns out to be an exact double for the local princess, and ends up impersonating her to protect her from an abduction plot. Sekowsky seems to forget that our mod mortal heroine spent most of her life as an Amazon princess, since Diana seems clueless about the whole royal lifestyle. I could buy it if she were putting on an act to conceal her past secret identity, but it extends to her private thoughts as well. And this is just two issues after a storyline that depended on her Amazon ties. The inconsistencies in this run are very weird.

After a ghost-story one-shot, we get World’s Finest 204, crossing Superman with Diana in an O’Neil-scripted story touching on the student riots that were topical at the time, though mainly dealing with time travel to a desolate future resulting from the death of a key person in the riots. The story has an interestingly, though awkwardly, ambiguous ending.

Issue 196 combined three stories: a new Sekowsky-Giordano story about Diana protecting an ambassador from assassination, and a couple of Golden Age reprints, one previously unpublished. The trade includes only the original story. This is Sekowsky’s final issue, and I wonder if his departure was abrupt, because the next two issues are double-length reprints of issues 181-184, with only the covers included in the trade.

O’Neil returns as writer for the next few issues, with Don Heck pencils and Giordano inks in #199 and Giordano solo art for the rest of the run. The first 2-parter brings back Lu Shan and the supposedly dead Dr. Cyber, who wants to put her brain in Diana’s body to restore the beauty she lost (an all too typical motivation for female villains in the era). Oddly, in these later issues, O’Neil assumes that Diana Prince is publicly known as “the Wonder Woman,” even though there was no prior indication that the secret of Diana’s former identity had ever been exposed. It’s just another bit of sloppy continuity. However, there’s no specific reference to Wonder Woman ever having been a costumed Amazon superhero; it’s treated as just a nickname that Diana’s picked up through her exploits.

After this is a 2-parter in which Diana gets dragged into the pursuit of a sacred jewel that Catwoman (in one of her less flattering costumes) is also hunting — and in part 2, with SF writer Samuel R. Delany taking over as scripter, the cast gets dragged by the magic jewel into the world of Newhon, home of Fritz Lieber’s prose characters Fahfrd and the Gray Mouser! Apparently this was a backdoor pilot for a short-lived, O’Neil-scripted comic series starring the duo. There’s another random continuity change here, since O’Neil has Diana sell off her boutique to fund her trip in pursuit of the jewel. I don’t know why this is, since it was O’Neil who gave her the boutique in the first place. Lu Shan is also in this storyline, but is rather cavalierly written out, and her accusation that I Ching murdered her mother is never resolved or explained.

Next comes another Brave and the Bold Batman team-up by Bob Haney and Jim Aparo, and in this story, Diana knows that Bruce is Batman, though she didn’t discover that in their previous meeting. It’s also the first story in quite a while where we’ve seen Diana wearing anything that wasn’t pure white, presumably due to a different colorist at work (though it’s still mostly white). Diana is randomly assisted by an “Amazon guardian angel” who shows up in all of three panels and is never explained.

The final mod-era issue, scripted by Delany, is something of an embarrassment. It’s billed as a “special women’s lib issue,” and involves Cathy (remember her?) trying to persuade Diana to support a women’s-lib group fighting for equal pay at what turns out to be a crooked department store. Bizarrely, Diana resists supporting women’s liberation and says she doesn’t even like women much.

Um.

Yeah. The former Amazon princess… who spent her formative years and perhaps centuries of immortal adulthood on an island completely devoid of men… and who was sent to the outside world to teach patriarchal society the superior ways of her Amazon sisters… and who’s spent much of the past two dozen issues giving her enemies backtalk about how they shouldn’t assume women are helpless… and she doesn’t like women and needs to be talked into standing up for women’s equality. Excuse me?!

Apparently this was meant to be the first in a 6-issue arc by Delany in which Diana confronted women’s issues, culminating with Diana protecting an abortion clinic. But if this was how it began, maybe it’s just as well that we didn’t see the rest of it play out. And perhaps this rather screwed-up take on women’s lib was a somewhat fitting wrap-up for this era, because it was around this time that Gloria Steinem complained about feminist icon Wonder Woman having her superpowers and costume stripped away. Because of the public protest she raised, DC hastily abandoned the mod era and brought back Kanigher as writer/editor to restore the former status quo.

This happened in a painfully cursory way in issue 204, the final issue in the trade collection, written by Kanigher and illustrated by Heck and Giordano. I Ching is unceremoniously killed by a random sniper, and the police inexplicably allow Diana, a civilian, to ride on their helicopter as they go after him. She’s injured defeating the sniper and wakes up with total amnesia, but feels a salmon-like compulsion to go home, so she steals a jet. She’s conveniently shot down just off the coast of Paradise Island, which is back in our dimension without explanation. The Amazons restore her memory and her old costume; there’s no mention of restoring her superpowers, but she’s implicitly back to her old self, apparently with no memory of the entire mod era. She’s hired as a UN translator by some old guy who thinks she’s a “plain Jane” just because she’s in glasses and a sweater but otherwise looks exactly like she did before. Thus she is somehow “reborn” and the comic is restored to status quo in the most slapdash and creatively bankrupt way possible.

Was Steinem right? I don’t think so. It’s not as if Wonder Woman had been portrayed in a remotely feminist way over the decade that Kanigher had been writing the comic prior to the “mod” reboot. And for all the inconsistency and wackiness of the mod era, I think that removing Diana’s powers made her more effective as a feminist symbol rather than less. It showed that even a typical mortal woman could be a hero on the same level as Batman, achieving great things just with training, intelligence, courage, and compassion. And her wardrobe in this era was rather more practical and less objectifying than the star-spangled bathing suit. For its time, I think it did a good job at portraying Diana in a feminist way, and more understatedly than Delany attempted to do — just matter-of-factly treating her as ultracapable and independent. True, I Ching was an unfortunate stereotype, but less so than he could’ve been, given the era. I think there were definite merits to this version of Wonder Woman, and it didn’t deserve to be retconned and abandoned as completely as it was. At the very least it deserved a better wrapup than that dreadful Kanigher story.

(Some may remember the 1974 Wonder Woman TV pilot starring Cathy Lee Crosby as a non-superpowered Diana who wore a star-spangled track suit rather than the classic costume. That came about because the project began development during the time when the comics’ Wonder Woman was powerless and costumeless. Since the book returned to its original format during development or production of the movie, it ended up being sort of a hybrid of the two different versions of the character.)

Here’s an interesting essay I found covering Wonder Woman’s history in the comics from the beginning through 1986. It reveals (on p. 7) that as soon as issue 212, new editor Julius Schwartz and writer Len Wein did acknowledge that the mod era had happened, and that Diana had lost all her memory of it. Kanigher’s return as writer and editor of the series didn’t work out and lasted only seven issues. Which is no surprise, considering that he’d presided over its decline to the verge of cancellation. The mod era saved the comic and was the first attempt to make Wonder Woman a strong, serious hero since her creator William Moulton Marston had stopped writing her. I’m definitely glad I read it, and I wish it had lasted longer, or at least been allowed to have more of a lasting influence on later storylines. Although in its way, I think it did pioneer some important aspects of the modern version of the character.

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