Review: Trinity #1

In writing there’s a principle known as the Power of Three or Rule of Three: it affirms that in literature things are funnier, scarier, more exciting, effective, etc. when they are grouped in a triad. It might sound silly at first, but once you start thinking of examples it’s hard to argue otherwise: Three Little Pigs, Three Musketeers, there’s even three ghosts of Christmas! Imagine someone said to you “hey, do you want one scoop of ice cream or would you like three?” you’re probably not going to have to think very hard about your response. So, with that logic in mind, a comic that prominently features three characters from the DCU that I love most, by definition alone should be amazing – right? Wrong, wrong, wrong. Though the title of the book is Trinity, you could easily have called this issue Superman #1.5. The scene opens on the Kent farm where young Jon Kent is still learning to control his burgeoning powers, a pre-New 52 Superman is finishing his patrol, and a now domesticated Lois Lane is preparing a dinner party for a couple of heroic guests (familiar, no?). Suffice it to say things get off to a bit of a rocky start: before Bruce and Diana can even cross the threshold, Jon nearly obliterates both them trying to use his x-ray vision. The dinner topic of conversation is no less precarious as Bruce is quick to remind Clark of how little he trusts him and that unchecked, he and Jon are two of the most dangerous beings on the entire planet. Tensions subside after the meal: Lois and Diana are left to talk alone while Clark and Bruce put Jon to bed. The strength of old ties helps to quell new rivalries/suspicions and a loose "friendship" is formed, albeit hesitantly. The resolve it fosters, however, is short-lived; a voice begins calling out to Clark, beckoning him forward towards the barn. Once inside, the triad of heroes discovers a relic straight from the pages of J.K. Rowling or C.S. Lewis: a literal mirror into Superman's past!

I feel very conflicted over this issue. It isn’t bad by any stretch of the imagination; in fact, I actually enjoyed the writing for the most part. The narrative helped with the overall flow of the story, and Manapul does an unparalleled job of getting in touch with the human side of the characters, however at times this also becomes the book’s greatest flaw. Notice how in my above description I said Bruce, not Batman; Diana not Wonder Woman? That wasn’t by accident: Manapul focuses so much on the human relationship that we lose the super-human element almost entirely; we don’t even see Batman or Wonder Woman in uniform, save for one page. It’s a mending-the-fences type issue that reads at times like a bottle-neck episode of daytime t.v. I understand that Manapul has to build the story up and is walking a fine line between canon/non-canon continuity, occupying the space in between; I was just expecting more of a bang and less of a whimper. Oh, and Superman’s whole Mirror of Erised moment – no, not a fan.

The art is certainly good enough; it is Francis Manapul after all - duh. The layouts are impressive, but I would be lying if I said it was the best Manapul I’d ever seen. There’s just simply not the same amount of detail in his lines that fans of his past work are used to seeing. As a colourist, however, he leaves an entirely different impression; and it’s beautiful. A farm might not make for the most exciting of settings, but it does lend itself nicely to some breathtaking sunsets and scenery. Manapul’s ability to showcase beauty through something as inconsequential as light escaping through a farm house door is what makes him the talented artist he is, and it also helps to pick the reader up in those moments when the script falters.

Even as I write this review, I’m still asking myself how I felt about Trinity as a whole. It was slow paced, but there was definite substance and character depth well beyond the scope of what you normally see in superhero comics. On the other hand, it IS a superhero comic! Would it have hurt to see the Justice League’s most famous members do something, anything that was even kind of cool in their first issue?! I think we all would have been O.K. with that; I definitely would have been. I’ll keep reading on not because of what Trinity is but rather because of what I think/hope it will become; I just hope I’m right.

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Trinity #1 Writer/Artist/Colourist: Francis Manapul Publisher: DC Comics Price: $2.99 Format: Ongoing; Print/Digital

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Pre-Cheetah Barbara Ann Minerva to be Featured in Wonder Woman #8

Fans of Greg Rucka, Nicola Scott and Liam Sharp’s epic Wonder Woman storylines can anticipate an added bonus to the “Year One” storyline by Rucka and Scott, in the form of a one- shot interlude (WONDER WOMAN #8, on sale October 12th, 2016) focusing on Barbara Ann Minerva, aka The Cheetah, written by Rucka with art and cover by Bilquis Evely (SUGAR & SPIKE). In a tale that spotlights Cheetah’s past, young Barbara Ann Minerva is sent on a quest to find answers to the Amazons’ most ancient secrets! "The ‘interlude' issue arose very organically out of the stories we’ve been telling in both Year One with Nicola Scott, and The Lies, with Liam Sharp,” said Rucka. "The opportunity to focus on Cheetah, on the origins of Barbara Ann Minerva, is one of those decisions that I think is going to add even more to what we’re doing.”

"This story is very thoughtful and human,” said Evely, "and I'm trying to bring this to the pages as well. We visit a lot of different places and archaeological reference points, which means I get to have a lot of fun! I think the readers will never see Barbara Ann in the same way again, after what Greg has been doing here! This is a singular opportunity I couldn’t pass up."

"The fact that we’ve got Bilquis Evely drawing this issue just makes this all the sweeter,” continued Rucka. "I am such a fan, and her work is so consistently wonderful—everything from her characterization to her linework to her laser-sharp storytelling. So when her name came up, I pretty much fell over myself saying yes. One of the greatest joys about working on Wonder Woman has been the privilege of working with such tremendous collaborators, everyone from Laura Martin and Romulo Fajardo Jr to Jodi Wynne to the entire editorial team and, of course, Nic, Liam, and now Bilquis. I’m really hoping people will enjoy this issue as much as we do.”

WONDER WOMAN #8 arrives October 12th, 2016.

Review: Wonder Woman #6

I recently noticed an interesting conversation about realism in superhero comics. Some fans feel that a work like Chris Nolan's Batman which grounds its science and scale in something akin to the real world betrays the escapist side of comics. Others would say that to fully embrace the larger-than-life craziness of a superhero world often runs the risk of losing stakes and characters beneath the veneer of pulpy fantasy. While obviously the approach should vary depending on the story, I would say that the type or realism that is rarest but often most beneficial is emotional realism. Whether you are dealing with a man in a bat costume or a literal god who shoots fire from his eyes, you need to buy that the characters react to each other in the way a person might. This doesn't mean taking the fun out of a story or making it dully gritty, but it does mean considering what the characters value and fear. Wonder Woman #6 has no shortage of superhuman spectacle, but it manages to ground even its most outlandish elements in the rich inner life of Steve Trevor and Diana, two character who have, throughout the previous five issues, been portrayed with an unusual amount of care and subtlety. The duo have returned to the world of men (in this continuity, it's the 21st century), and are immediately whisked away by an army team led by one Etta Candy. While Diana, speaking no known language, is put in a holding cell, Steve faces the unenviable task of telling his best friend's wife that her husband is dead. As such, it's an issue that deals in melancholy first and foremost with Diana realizing exactly what she's sacrificed to come to this world where she is, at least for the moment, a curiosity.

This is the first issue of Rucka's flashback story that starts to relate to what's going on in the present. We are introduced to Etta Candy as a stern but reasonable military leader and Barbara Ann Minerva as an ancient cultures expert who may have some insight into Diana's languages. We also see the origin of the photo Steve carries of Diana, making the tie to the other story overt. I'm not clear on how much time has passed between this story and the other (reference is made here to Superman being the only known superhero), but there's a fun sense of mythos to knowing characters Diana meets here for the first time are her world-weary allies in the future. Instead of sacrificing momentum in order to make this a 'definitive' Wonder Woman origin, Rucka wisely makes this flashback a first chapter in larger story.

In keeping with the contrast between the dark, violent future and this more hopeful past is Nichola Scott's artwork which I am rapidly falling in love with. While her characters can look a little too youthfully smooth and idealized (though not in a sexualized sense), I love the expressiveness of their faces. While everyone looks a little babyfaced (especially jarring for a group of weathered military men), I love seeing  a book with three main female character who look so dissimilar from one another. As I've mentioned before, I am  a big fan of any artist approach to Diana that manages to make her ridiculous costume look like a pinup, and Scott's wide-eyed, overgrown Wonder Woman is delightful. Diana carries herself like a young woman still getting used to her own long limbs, and a moment of pure joy near the end of the book involving her burgeoning superpowers is truly wonderful.

Wonder Woman has, over its first six issues, established itself as the most thoughtful, quality book in the DC rebirth line, and that doesn't show any signs of changing. But while I like both sides of the story, there's no denying that this year one plotline has been the stronger, better-developed side of the story. With this issue, the larger picture of Rucka's plotline begins to take shape, and the future looks bright for Diana and company.

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Wonder Woman #6 Writer: Greg Rucka Artist: Nichola Scott Publisher:  DC Comics Price: $2.99 Format: Ongoing; Print/Digital

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Review: Wonder Woman #5

I wonder if I am alone in not always understanding the rules of superhero comics. What would be, in any other story something worth noting or explaining often seem taken for granted as un-noteworthy trappings of the genre?  These details often obscure which elements of the story are supposed to actually be mysterious, robbing them of their impact and leaving the reader frankly mystified. Take Wonder Woman #5 as an example. I take it that the main mystery is supposed to be Wonder Woman's muddled memory and lack of access to her home. But I am also confused by her friend Cheetah whose origin I don't understand, the villain whose relationship with some sort of deity confuses me, and the presence of hundreds of animal men which goes unremarked. Add to this the reinventions of Etta Candy and Steve Trevor and you have a rather confusing third issue in this storyline. There's a lot of successful stuff happening, but a little clarity would go a long way. The issue opens up with Etta Candy, apparently now a government wonk, meeting with her boss to discuss the missing military team headed by Steve Trevor. The scene reveals that despite seeming jaded paranoid, Etta believes in Wonder Woman and trusts her to rescues the team. Meanwhile, the military despot Cadulo recognizes Trevor as having some relationship to the gods and decides he'll serve as some sort of religious avatar (as one does). Meanwhile, Diana discusses her fractured memories with Cheetah, before attempting a rescue mission. That's a lot for a single issue, and as I said, it doesn't all tie together well just yet. I would imagine all these plotlines will eventually come together to form some sort of meaningful whole, but I can't tell quite how.

The lead problem here is that, as with many Rucka superhero books, the interesting material is the characters themselves and not the ongoing action. I would like to spend more time exploring Steve and Diana's relationship which is fleshed out a little here in some small but interesting ways (when Cadulo ask's Steve who Diana is to him, he answers simply "Wonder Woman"). Similarly, when she's not posturing about mythos and heroics, Diana remains a great mix of regal princess and sincere, cheerful young woman. There's a moment near the end of the issue where Diana sees some old friends and gives an unexpected, charming grin that immediately humanizes her in a way few Wonder Woman authors think to.

I continue to go back and forth about how I feel Liam Sharp's pencils serve the story. On the one hand, the characters sometimes look a little warped and contorted in a manner reminiscent of the Dynamite house style. But at the same time, there's a subtlety to the characters faces that makes his work stand out from the pack. That humanizing moment I mentioned before would not work without his ability to make Wonder Woman look a little silly without it being a joke. And Sharp's level of detail on the jungle and action scenes are still extremely beautiful by just about any standard.

The problem with reviewing an issue of a comic is that, in the context of a series, a single issue means almost nothing. I do think this is a fairly weak 22 page read, but at the same time, Wonder Woman is still the title that's been the strongest out of the entire DC Rebirth line. So to anyone who has, as I often do, skimmed to the end of this review to get the overall takeaway, I'd put it like this: it's a bad issue, that somehow doesn't by any means make me less excited for the next one.

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Wonder Woman #5 Writers: Greg Rucka Artist:  Liam Sharp Publisher:  DC Comics Price: $2.99 Format: Ongoing/Bi-Weekly; Print/Digital

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Review: Wonder Woman #4

If there's one thing that's consistent across the entire Rebirth line, it's that the pacing is strange. Perhaps as a consequence of the shorter page count, issues seem to rush to get their material in place, slow down immensely so as to fit everything in, or as seen in last week's Batman, simply skip chunks of story between issues. This problem comes home to roost with Wonder Woman #4 which has a number of great elements but is undercut by having two issues worth of material crammed into one. In the span of Issue two of the year one storyline, Wonder Woman meets a man, befriends him, wins a championship, gets a new costume, and leaves the island. Every one of these moments works, but would work better if there was more time to develop dramatically and watch Diana face her changing world. This might seem an odd complaint to note since the issue doesn't feel particularly overstuffed or truncated, but the element that is making Wonder Woman special is its emotional stakes and I wish it had room to fully explore them. Despite this complaint, the issue is beautiful, thanks in part to a subtle script but in larger part to Nicola Scott's expressive, fully realized artwork. I don't think I have ever seen a version of Diana more easy to fall in love with than Scott's, and she manages to never come near the cheesecake territory that even the best versions tend to stray into. She is built a little slight perhaps, but she looks elegant, young, and, as is most rare, distinctive (her facial features are specific instead of simply generic idealized woman).

The story this time around is largely focused on moving the various parts of the mythos into place (the lasso, the invisible jet, the exit from the island, etc.), but it's effective in how it adds in the grounded, psychological take that Rucka specializes in. For example, in one scene where the women of the island debate the morality of a handgun from the world of men, one elder is quick to make the very reasonable observation that it's little different from a well-shot arrow, and not inherently immoral. Similarly, when Steve Trevor wakes up and meets Diana, the tone isn't romantic, but tragic as she breaks to him the news that his friends are all dead from the crash. As such, while the elements are all classic, the story feels fresh and original. One sequence in particular, again involving the handgun, repurposed a key piece of Wonder Woman iconography to such good effect that an old trope feels almost awe-inspiring.

I feel comfortable at this point saying that Wonder Woman, specifically the "Year One" side of it, is the best comic in the Rebirth line. Rucka's return to the character, with Nichola Scott along for the ride manages to go beyond good superhero comic into the realm of simply good comics. As such, I remain a little scared that DC's limitations will hurt the book (as has happened to Rucka before), but for the moment, it would be a mistake not to check out Wonder Woman.

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Wonder Woman #4 Writer: Greg Rucka Artist: Nicola Scott Colorist: Romula Fajardo Jr. Publisher:  DC Comics Price: $2.99 Format: Ongoing; Print/Digital

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Symbolism of the Sword, Shield, & Wonder Woman in the DCEU

To say people in attendance and on the internet were hyped upon viewing the Wonder Woman trailer at Comic Con this year would be quite the understatement. Considering many viewed the character, portrayed by Gal Gadot, a standout in Batman V. Superman: Dawn of Justice, it comes as no surprise the trailer would be welcomed with a large amount of adoration. But you’re here because you read comics, and as a fellow comic fan, I can tell you, pleasing comic fans is no easy feat. That’s especially true when dealing with a character as iconic as Wonder Woman, who celebrates her 75^th anniversary this year. Many takes on Diana both in the long and short-run have graced media, and as such there are various interpretations of the character that can be seen as the “true Wonder Woman,” depending on who asks.

The DCEU, headed by the likes of Zack Snyder & Geoff Johns, has already come under some criticism for the take on Diana that looks to be taking center stage in both her upcoming film and as a member of the Justice League. Particularly, some are questioning the use of Diana's Sword and Shield along with/in lieu of her more traditional bracelets and Lasso of Truth.

The concerns stem from the idea that it strays far from the roots of Wonder Woman, making her more like Xena than her own character. This can be seen as a valid grievance, especially for older fans. Diana's Golden Lasso of Truth and Bracelets of Submission have been with Diana since the early days of the character and were created by Wonder Woman’s creator, William Marston as representations of the charms and emotional faculties inherent to what would be considered the premiere woman.

Typically seen as more tools of war and as more offensive weapons the sword and shield, to many, aren’t the kind of equipment Wonder Woman should be using often. However, while this feeling has merit it’s also important to realize that many are only just now learning of Wonder Woman. Some, from the more recent interpretations of the character. For some people, their Wonder Woman has always used a sword, such as the very recent Post-Flashpoint version of the character. (SPOILER ALERT) Which if you follow Rebirth, is more an evolution of the post-Crisis version. (SPOILER END)

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Putting the “more modern/current” argument aside, I also believe that the character of Wonder Woman lends itself to the use of a sword and shield for both practical reasons and also an argument that I think gives credit to the idea of a sword as part of both what can bring elements of both her roots and present to the forefront.

Many will recall the iconic image of seeing Wonder Woman block bullets with her bracelets, from the days of Linda Carter’s time as the television take on the character. This ability makes one question the need for a shield. While, I can see the merit in this argument, it falters with the simple fact that a shield simply offers more protection easier than her bracelets do. Not having to use both hands blocking bullets or attacks also gives her more options, with her free hand.

As far as Wonder Woman’s use of the sword, ignoring the times it has come in handy in her more recent adventures; it appears as though people consider the sword to be simply a weapon for destruction. From a storytelling standpoint, a sword can be more than that, and like the Lasso and Bracelets, apply to the innate ability of a woman.

An example can be found in Part 1 of the Naruto manga. Kakashi Hatake refers to his Chidori/Lightning Blade as a blade to protect friends and loved ones. The character Kenshin Himura of the series Rurouni Kenshin carried a sword nearly incapable of killing, but still capable of doing damage, though the character only did so to protect those closest to him, having vowed not to kill again. The sword known as Tenseiga, wielded by Lord Sesshomaru from the manga InuYasha, was incapable of harming humans, but could kill beings not of the natural world, allowing it to heal rather than hurt a person.

These and other examples use the imagery of the blade not as just a tool to kill. The mere fact of a character like Wonder Woman having a sword and shield do not necessarily detract from a character like her, as long as the person doing the interpretation knows the character and what they stand for.

I understand, as a comic fan, change can be difficult to grasp, especially on a grand stage like big budget movies. When you care about a character, you want to see them represented in the best, truest way possible. Fans want the iconic elements of her character, and in a sense, women everywhere to be present and presented well, and a sword and shield can add to that imagery.

Women can be fiercely loyal and protective. That’s apparent now, more than ever, as we see women standing up and fighting—loudly for the things they hold important to them, and not even just for themselves. I have seen women of all kinds of backgrounds stand up for the rights and dignity of people different from them. I have seen women fiercely stand up for and defend people of color, Bisexual men, Transgendered individuals, Non-Binary individuals, Indigenous Peoples, and among others.

So why can’t we let that be the new symbols we attach to Wonder Woman's equipment? People like to throw out the phrase “It’s 2016” when they want to show they’re shocked about how something is happening now. Well it’s 2016. Feminine charm and love aren’t the only things women have at their disposal like they did when Diana was first created and first got her iconic Lasso and Bracelets. I’m not saying they aren’t effective, but there is more. Wonder Woman is more than what she was envisioned as and that’s not a bad thing.

If you’re a fan of Wonder Woman, you want the iconic ideals and traits of her character to be presented, and that’s fair. It’s also fair to ask you to take a step back, and try look at Wonder Woman and her chosen tools of the trade in the same way William Marston looked at her Golden Lasso and Bracelets of Submission.

Like I said, it’s 2016 and women are fighting fights everywhere in the world. Let’s embrace the idea that Wonder Woman can show that fight not with a sword swung in fury or rage, but with Athena guiding her strokes so that she might protect and aid those in need. For a modern take on Wonder Woman, isn’t that in line with her roots?

Review: Wonder Woman #3

I am the first to admit that I have a limited knowledge of Wonder Woman lore, but I decided to take over Asa for this issue, and this issue only, he’ll be back to delight you with his sultry words in no time… OR WILL HE?! Yeah, he will. I figured a third issue, second part in a series that’s being divided in two different stories, even a doofus like me should be able to tackle that. Well, I’ve decided to tackle a story that hits back harder than a linebacker (I think they’re called that). Wonder Woman #3 is filled to the brim with back story and allusions to Diana’s past and her history with one of her fiercest foes, Cheetah. Barbara Ann and Diana are having a conversation that only two people with a past like those two could. It begins as a battle of one is imposing her pride and the other offering humility back. Wonder Woman and Cheetah both share different moments with each other, with Rucka’s dialogue stopping at every one of those to allow their conflicted past rush into the minds of the characters and the readers.

Rucka is able to charge every word spoken in this issue with the memories of the many times Cheetah has faced Wonder Woman and let it out through their very distinctive personalities. Although internally conflicted, Diana has a clear goal and it’s maintained in the forefront throughout the issue. Even with my previously mentioned limited knowledge of the character, I could sense weight of the words they spoke with each other, and rather than leaving me confused, it made me even more curious to find out what’s happened between the two since Cheetah’s first appearance in 1987, it’s challenging and inviting interaction between two foes. Like part of this story, the issue is split with Steve Trevor’s separate mission which takes place in the same region as Wonder Woman’s. Maintaining the heavy thematic but lighter dialogue, his story doesn’t take away from the one focused on Wonder Woman, instead it creates breathing room from every time I dive back into those two, while Steve’s mission continues to takes strides forward into what seems to be an inevitable reunion with the Amazon warrior.

In sync with the tone of the story, Liam Sharp maintains their interactions in what seems intimate, close quarters, deep inside a vast and busy jungle, the two of them are enthralled in their interaction to be even bothered by the beasts following their trail. They’ve beaten them once, she can do it again. In contrast, the shift to Steve’s story becomes more noticeable, open sky, vast lands and moving from an open space into a completely different environment. These changes allow Sharp and colorist Laura Martin to showcase some gorgeous panoramic views and intricate detail inside the jungle.

Expressions are the essence of Wonder Woman #3. There is a near-perfect synchronicity as to what my eyes see, what the read, and where they follow next. Each time Wonder Woman or Cheetah speak, there is sentiment in their faces that pulled at my strings of sympathy. This isn’t just a conversation between good and bad, but rather two equals speaking as someone who seeks to reconnect with her glorious past vs someone who believes she’s been cursed by hers.

Wonder Woman #3 continues to lay incredibly solid groundwork to what is shaping up to be one of the all-time great runs for this character and should become DC’s flagship Rebirth title.

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Wonder Woman #3 Writer: Greg Rucka Artist: Liam Sharp Colorist: Laura Martin Publisher: DC Comics Price: $2.99 Format: Ongoing; Print/Digital

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SDCC 2016: DC and USPS Reveal New Wonder Woman Forever Stamps

My mom collects stamps so this is fine by me. Glad to see Cliff Chang's Wonder Woman included... especially since all the work he did on the character is being undone at the moment. From DC Comics:

The U.S. Postal Service, in partnership with Warner Bros. Consumer Products and DC Entertainment, previewed four Forever stamps today that commemorate the 75th anniversary of one of the most iconic Super Heroes of all time — Wonder Woman. The stamp pane will be among other Wonder Woman related items revealed at 3 p.m., Sat., July 23 at Comic-Con International: San Diego. The first-day-of-issue dedication ceremony will take place Oct. 7 at New York Comic-Con, Fri., Oct. 7.

Fans are encouraged to share the news on social media using the hashtags #WonderWomanForever and #WonderWoman75.

First seen in October 1941 in a back-up story for All Star Comics #8, meant to test her appeal at a time when female superheroes were rare, Wonder Woman quickly broke out and headlined her own title by the next year. Subsequent generations came to know the star-spangled heroine with metal bracelets on her wrists and a magic lasso by her waist via her hit 1975-79 television series and roles in animated shows and movies, as well as her historic appearance on the cover Ms. Magazine #1 in 1972. This past March, Wonder Woman was seen for the first time in a live action motion picture with her introduction in the movie “Batman v Superman: Dawn of Justice.”

The U.S. Postal Service celebrates her diamond anniversary by chronicling her evolution on Forever stamps from her World War II origins to today. This new issuance showcases four different stamp designs on a sheet of 20 stamps depicting Wonder Woman during four eras of comic book history:  Golden Age (1941–55), Silver Age (1956–72), Bronze Age (1973–86) and Modern Age (1987–present). The selvage, or text outside of the stamp images, features the current block-letter Wonder Woman logo in white against a comic book style power burst rendered in shades of blue.

On the first row of stamps Wonder Woman of the Modern Age wields a hammer with a power and determination befitting her roots in the heroic world of Greek mythology.

The Bronze Age Wonder Woman’s bold stance empowers the second row of stamps. With her fist held high and bulletproof bracelets gleaming, the Amazon princess leads the charge against injustice. 

The third row of stamps depicts Wonder Woman during the Silver Age. Although she possesses great strength and speed, the world’s favorite superheroine prefers compassion to the use of brute force. With her golden lasso of truth close at hand, she compels honesty from her foes. 

In the last row of stamps, Wonder Woman from the Golden Age bursts onto the scene as originally envisioned by creator William Moulton Marston. 

Art director Greg Breeding of Charlottesville, VA, designed the stamp pane. The Wonder Woman stamps will be issued as Forever stamps and always be equal in value to the current First-Class Mail one-ounce price.

Not Her First “Stamping Ovation”

In 2006, Wonder Woman was part of the Postal Service’s first stamp pane honoring comic book superheroes. Half of the stamps on the DC Super Heroes pane depicted portraits of the characters; the others highlighted covers of individual comic books devoted to their exploits. Wonder Woman was joined by Aquaman, Batman, The Flash, Green Arrow, Green Lantern, Hawkman, Plastic Man, Supergirl and Superman. The first-day-of-issuance ceremony took place at Comic-Con in San Diego.  

Wonder Woman Art by Ross Andru & Mike Esposito

Wonder Woman has been an iconic inspiration for countless women and men since her debut in All Star Comics #8 in December 1941. The most recognizable female character in comics, created by William Moulton Marston, she remains a figure of strength, beauty, and courage.

Wonder Woman #22 (2nd series) Nov. 1988 Art by George Pérez

As a worldwide ambassador of justice, equality and peace, Wonder Woman soared to new heights in the late 1980s. The character returned to her roots as an Amazon warrior from Paradise Island, land of heroic women. Her special powers were gifts from the Olympians.

Visit this link for news on upcoming stamp events.

The Postal Service receives no tax dollars for operating expenses and relies on the sale of postage, products and services to fund its operations.

WONDER WOMAN and all related characters and elements © and & ™ DC Comics. DC LOGO: ™ & © DC. (s16) “Wonder Woman created by William Moulton Marston.”

Review: Wonder Woman #2

I'm getting some Deja vu with this one, and not just because it's one of many recent takes on Diana's origins (one of four in the last three years), but because it's the third Wonder Woman #1 in a month's time from Greg Rucka. The first was Rebirth which, in the manner of rebirth issues, is safely ignored. The second was last month's rock solid modern day Wonder Woman story. This, is the start to a year one story that will follow Wonder Woman in her fist days as the champion of Themyscera. Let's put aside the subject of double shipping and the oddities it creates and consider this as the start to its own distinct story. As such, it's really good, and possibly the superior of the two Rucka penned Wonder Woman stories. There are two key decisions set Rucka and Scott's origin story apart from the recent others (Azzarello's, Renae De Liz, and Grant Morrison's) and both are hugely effective. Firstly, the book begins after Diana is already grown, foregoing, at least for the moment, the Greek mythology origin story that is neither interesting nor deserving of a retread. Secondly, the story doesn't just follow Wonder Woman, splitting its time instead between Diana and Steve Trevor. This keeps the necessarily dry Themyscera portions from overpowering the book and builds anticipation for the two characters to have their significant meeting (which sounds like a euphemism but isn't).

And on that note, it should be noted, even with Rucka using his not inconsiderable skill and experience to write it, the Themyscera woman warrior culture remains extremely dull. Names like Kasia, Areto, and Evrayle blend together until all I could remember was that most of the women’s' names sound like fuel-efficient mid-sized cars.  Sword and sandals intrigue isn't something I tend to enjoy, which is a matter of taste and wouldn't be worth noting, were I not sure that a lot of people agree. But there is an upshot: while I don't care even a little about oracles, princess training, or royal birthrights, Rucka infuses it all with the underlying pathos of a small-town girl who longs to leave home. Instead of emphasizing her spunk and rebelliousness, we are given a glimpse into the soulfulness that is to me, the character’s key attribute. Scott draws a few beautiful, silent scenes of a melancholy but peaceful Diana staring at the night sky which are paralleled with Trevor slowly realizing his own life is a little empty.

It's a bold choice to not make the character’s origins overtly dramatic or high-stakes. There's a certain tendency in prequels to telegraph where the story is going by exaggerating the character’s iconic characteristics, but the book takes a subtler route. And subtle is a good term for Scott's art, which is extremely pretty and refined with a certain softness to the characters’ facial features that makes everyone a little unnaturally lovable (it sounds odd to say, but it's true). One full page image of Diana finding a withered, blackened tree is notable not only for its beauty, but for its reserve, not hitting you over the head with its ominousness.

As always seems to be the case, I have reached the end of the review without really touching on the plot. There are a few elements in her that seem to set up something of a mystery going forward (that may tie into the fractured state of Diana's memories evinced by last month's issue), but for the moment, there's not a lot to hang onto beyond some good characterization and impressive pathos. Frankly, that's enough not only to make this a great read, but a clear candidate for the best issue of DC's Rebirth so far.

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Wonder Woman #2

Writers: Greg Rucka

Artist:  Nicola Scott

Colorist: Romula Fajardo Jr.

Publisher:  DC Comics

Price: $2.99

Format: Ongoing; Print/Digital

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