Review - Wonder Woman: Earth One Volume 1

Forbidden to leave the island paradise of Amazonia, Wonder Woman disobeys her mother’s wishes and travels to Man’s World. Upon her return, the Amazon Princess is placed on trial for her transgressions and must rely upon the testimony of those she met in Man’s World to act as her champions.

Wonder Woman: Earth One Volume 1 is a 2016 graphic novel written by Grant Morrison and illustrated by Yanick Paquette.

As with the rest of DC Comics’ Earth One line of graphic novels, Wonder Woman: Earth One serves as a retelling of the titular character’s origins. From the onset, Morrison remained adamant about returning the character to her Golden Age roots and focusing on the elements of bondage that permeated those early stories. Here’s the problem – Morrison is so concerned with ramming the idea of “loving submission” down the throat of his readers that he actually forgets to tell a decent story. He’s so obsessed with the sexual politics of the character that he seems to abandon any kind of driving conflict or tension. The entire book is told in flashbacks through the storytelling device of Wonder Woman giving her testimony while on trial for abandoning her home island. She recounts bringing an injured Steve Trevor back to Man’s World and then we get Etta Candy’s (she’s renamed “Elizabeth”/”Beth” for some reason – but let’s refer to her by her proper name) account of their first meeting. There’s really no conflict, barely any action, and there’s not a villain to speak of (unless we count Medusa who shows up for a little bit). If anything, the real villains of Wonder Woman: Earth One are the Amazons.

Morrison depicts the Amazons as a group of ignorant, selfish, and hyper-aggressive women who are quick to judge anyone who is remotely different than they are. Something that is especially difficult to swallow is the rhetoric surrounding ’s weight, which amounts to fat shaming. The worst of them all is Queen Hippolyta. There’s no warmth or heart to her character, instead she comes across as a despotic autocrat who seeks to control her daughter and will do everything possible to ensure that Diana remains under her thumb. She’s also a liar and the reveal during the climax (if you can even say there’s a climax to something that’s flat throughout) of the graphic novel is entirely unimpressive since it poorly imitates the work that Brian Azzarello and Cliff Chiang did on the New 52 Wonder Woman title. The Amazons are crucial to the mythos of Wonder Woman and turning them into shrewish caricatures is a massive disappointment. There’s also something off about the fact that Morrison chose to use Nubia in place of Phillippus. 1) Because Black women should not be treated as if they’re interchangeable and 2) Nubia was canonically Hippolyta’s daughter Pre-Crisis so the mild homoerotic subtext I get from their dynamic feels icky.

There is a sense like the intention behind this graphic novel was meant to be positive. The desire to explore elements of Wonder Woman’s character that are often ignored by others is admirable. A truly modern approach to telling her story in a sex positive way is a great idea, I’m just not convinced that it should be done singularly by two white men. I will say that I love that Diana and Mala seemed to have had a relationship (and that Diana is romantically disinterested in Steve Trevor). The characterization of Etta (again, “Beth” in this version) is superb and she ends up being the standout. I’ll also admit that Yanick Paquette’s art is gorgeous throughout. His Wonder Woman is really elegant, his Hippolyta is majestic, and the approach to Amazonia is really fun with its unique blend of classical architecture with sci fi elements. That said, there are some panels where the characters are positioned 100% in cheesecake poses that seem to contradict what the narrative is going for.

Point blank, Wonder Woman: Earth One is not going to go down as one of the best Wonder Woman stories. With so much great work out there, Morrison and Paquette’s graphic novel falls short of the excellence that others have achieved while revising the Amazon Princess’ iconic origin. Whether it intends to or not, Wonder Woman: Earth One seems like it’s trying so hard to be feminist but falls short at every turn because it is done from the very flawed perspective of two white guys. Had more women been involved, it’s likely that some of the themes wouldn’t have been undermined by cheesecake-y art and they would have been like “Oh hey, how about we have the Amazons be more than just a bunch of man-hating harpies?” If you’re looking for a great origin story for Wonder Woman, then you really can’t do better than George Perez’s opening epic from the 1987 reboot of Wonder Woman. The 2009 animated film is also a very satisfying take as well. Wonder Woman: Earth One is mildly entertaining and is worth a read for hardcore Wonder Woman fans if only for the sake of completionism. However, with its lack of villains, shallow characterization, and obsession with loving submission, this reads more like a first draft of a script for a Wonder Woman pilot than a premiere hardcover graphic novel.

RATING: C- 

Review: JLA - Volume 1

When a group of mysterious aliens known as the Hyperclan settle on Earth, they begin righting the many wrongs that have befallen Earth’s inhabitants. However, their help comes at a great price. After uncovering the nefarious intentions behind the Hyperclans actions, Earth’s greatest heroes – Batman, Superman, Wonder Woman, the Flash, Green Lantern and Martian Manhunter – band together to defeat this alien menace as the new Justice League of America.

Then, before they can even begin to settle in as a team unit, they must combat the fallen angel Asmodel and long-time foe the Key.

JLA Volume 1 collects JLA #1-9 and Secret Files and Origins #1, written by Grant Morrison with art by Howard Porter and Oscar Jimenez.

The Justice League is arguably the most iconic superhero team in existence and perhaps no incarnation is more beloved or celebrated than Grant Morrison’s late-‘90s take. Teaming up with Howard Porter and John Dell, Morrison re-introduced the Justice League in the best-selling series JLA with a pared down roster and with a distinct focus on global threats. The introductory arc is classic in and of itself, with Morrison and Porter crafting a tried-and-true alien invasion story featuring the enigmatic Hyperclan. This four issue storyline is every bit as epic as it was intended to be and even features a rather clever twist during its climax, one which helps to further develop the oft-forgotten Martian Manhunter. The action is spectacular and the enemies powerful enough to be genuine threats to the God-like members of the Justice League. Morrison even appears to reference the narrative structure of the early stories from Justice League of America by having the heroes split up to divide and conquer over the course of the narrative. The four-part opener is then followed up with a single issue storyline involving a character named Tomorrow Woman, an android whose inventors were responsible for creation of Amazo and Red Tornado. It’s a satisfactory and breezy read that plugs into the theme of free will within an electronic mind. This collection is then capped off by two two-parters, the first detailing the League’s fight against Asmodel and the second involving them being trapped in a sort of virtual reality by the Key. The latter storyline is particularly interesting, as Morrison offers up alternative takes on the main cast. For instance, he presents Superman as a Green Lantern, references Wonder Woman’s iconic mod era and then explores a potential future where Batman marries Catwoman.

As a whole, JLA is an action-first book and delivers this type of storytelling in spades. Porter is well-suited to this task as well, drawing detailed and well-choreographed sequences that emphasize the high octane nature of Morrison’s narrative. While character development is not at the forefront or even a priority in JLA, it is through these scenes that we see the glimmering hints of the personalities behind the characters. Green Lantern and Wonder Woman especially shine during fights, with the former creating constructs that emphasize his youth and interests while the latter is shown to be a formidable fighter whose presence in the battlefield is awe-inspiring. Morrison further supplements the action with dialogue that seeks to counteract the missing component of character development. An example of this would be the contrast between the youthful Green Lantern and veteran heroes like the Flash. He’s portrayed as far more flippant and this implies what the others are like by comparison. It goes without saying that Green Lantern is the most colourful and memorable character in this set of stories.

There are a few shortcomings to this collection. For one, it highlights the rushed nature of JLA as it breezes through its first nine issues with a hectic pace that provides no room for defining the overall team dynamic. The prime example for this being that by issue five the League are already in the process of expanding membership, which shouldn’t be done until the reader has adjusted to the current line-up. Yes these heroes are iconic and six of them had their own comics at the time, but their roles and personalities within the team needed to be established first. The other major failing in JLA is that it is forced to accept and run with the changes made in the characters’ individual books. For instance, the blue Superman is thrown at the readers without any explanation and it’s especially jarring for those who are reading the book in retrospect. Another personal gripe of mine would by how Porter illustrates the John Byrne redesigned Wonder Woman costume. It looks dreadfully dated in most shots, drawn with ridiculously high cut briefs, and she appears to be spilling out of the bodice in far too many panels. Porter illustrates her with a beautiful face and an impressive muscular physique, but she looks uncomfortable and out of place standing next to her Justice League cohorts.

JLA Volume 1 is an entertaining collection of stories that offer a glimpse into what made JLA DC Comics’ best-selling series during the 1990s. It’s an action-packed trade that proves why the Justice League is as legendary as they are by giving them incredibly powerful enemies. The stories themselves are quite memorable, while the dialogue and art gives the reader just enough glimpses at the personalities of the characters. It then goes without saying that this is an important trade for any DC Comics fan, especially those who grew up on and were fans of the Justice League cartoon.

RATING: B

Review: Animal Man - Deus Ex Machina

When a terrible tragedy befalls his family, an angry Animal Man embarks on a journey to exact revenge on those responsible. Along the way he makes a terrifying discovery about himself – that he is a fictional character living in a comic book series.

Animal Man: Deus Ex Machina collects Animal Man issues 18-26, written by Grant Morrison.

Deus Ex Machina serves as the final bow in Grant Morrison’s tenure on Animal Man, becoming a culmination of all of the themes and concepts Morrison had touched upon in preceding issues. While it may have started out as a traditional superhero book, Animal Man abandons all pretenses and becomes the ultimate in all things Meta. As such, there’s a heck of a lot of dialogue regarding the nature of comic fiction and the complications of writing for a serial medium. This includes engaging with discussions regarding what happens to characters between panels, how large scale events affect continuity, and the reality of what happens when characters are not being used by a writer.

One of the most poignant sequences in this collection features Animal Man venturing into limbo, where he encounters comic book characters that have been discarded by their writers. It’s a humanistic approach to storytelling that gets readers to think about the medium of fiction. When a character is not currently being used by a writer, where do they go? Well, they remain in a kind of hypothetical limbo until someone deems them worthy. A similar series of events take place prior to this, where we see the many characters written out of continuity due to Crisis on Infinite Earths. There’s a sense of lamentation towards the Crisis and the loss that happens when change occurs.

The ultimate issue collected here, issue 26, features Animal Man coming face to face with his writer. Grant Morrison’s insertion into the narrative brings the series to the height of metafiction, which subsequently forces readers to confront deep, existential subjects. Life and death become the central themes within this collection, with Animal Man insisting that the fictional death of his family was unfair and Morrison countering that with the real life loss of his cat. Morrison also continues to tackle the very subject of writing. He questions the effectiveness of writing about animal activism out of the fear that it can become too preachy, much like he criticizes the gritty nature comic book fiction had taken and how the return of Animal Man’s family may seem too predictable.

As a whole, Deus Ex Machina tells us more about Grant Morrison than it does Animal Man. Our titular hero flitters about trying to put his life back together and find meaning in the loss of his family, yet he’s merely a vehicle with which Morrison drives at a series of difficult topics regarding life, death and fiction. Though this collection pushes against the conventions of fiction and acknowledges the reader explicitly, Morrison also shows he’s capable of crafting a story and smartly wrapping up an impressive comic book run. Even at his most unconventional, Morrison (perhaps unknowingly) wraps up the various loose ends present in the book, fills in all of the plot holes and ultimately nails down who Animal Man is in this Post-Crisis continuity.

RATING: B

Review: Animal Man - Origin of the Species

When the heroine Vixen is stalked by an invisible foe, she seeks out Animal Man for help in identifying this mysterious villain. This leads them on an adventure to Africa, where Animal Man learns the true origins and nature of his powers.

Animal Man: Origin of the Species collects issues 10-17 of Animal Man and Secret Origins #39, written by Grant Morrison and illustrated by Chaz Truog and Tom Grummett.

Origin of the Species is notable for its shifting of Animal Man from a traditional superhero title to a self-aware piece of metafiction. Its opening arc is a classic team-up tale featuring the titular hero partnering with Vixen in order to stop an outlandish villain in his quest for power. In the process, Morrison tells and re-tells Animal Man’s origins. He draws attention to the then-recent Crisis on Infinite Earths, exploring the complications of an event that rebooted a large chunk of DC Comics’ continuity. This helps pivot the series towards self-awareness, emphasizing the fact that readers are reading a piece of comic book fiction.

There’s plenty to like about this collection, particularly due to the socially-conscious tone Morrison gives the book. In issue 13, Animal Man helps the former B’wana Beast seek out his successor. This leads them to South Africa, where apartheid has created unrest and has fostered an intense racism amongst its citizens. This issue is a scathing assessment of the mistreatment of Black South Africans while apartheid was in effect, which subsequently cycles into the creation of the character of Freedom Beast (the slightly less offensive successor of B’wana Beast). Issue 15 is especially heavy. Animal Man, in yet another team-up, partners with Dolphin in order to stop the annual dolphin hunt off the coast of the Faroe Islands. It’s an affecting read that shows how monstrous humans can be in their destruction of the natural world and is difficult to get through due to the sheer violence inflicted upon the dolphins in the story. A couple issues later, we see Animal Man struggling with the extreme behaviour exhibited by the animal rights activists he’s chosen to ally himself with. It shows the flipside of activism, particularly the way in which people can turn from heroes to extremists. There’s a fine line and Morrison smartly acknowledges this.

I applaud Morrison for his ability to tackle of a lot of different themes and for his desire to tell stories that were, at that time, atypical to the superhero genre. As a whole, Origin of the Species seems inconsistent. This is due to the fact that Morrison primarily sticks to single issue storytelling, which means he often plays fast and loose with what he wants to address at any given time. However, this is also the book’s greatest strength. It’s a breezy read and it never extends a plot longer than it needs to be. At the same time, it’s also smart and interacts with topics that are still relevant today. As a side note, I’m also appreciative of the shift in Ellen Baker’s character. Previously, I’d criticized Morrison for portraying her as a shrew. In this collection, she’s far more multi-dimensional and we’re given a greater glimpse into her role as a working mother and wife. Overall, Origin of the Species proved to be an impressive read and an excellent example of the storytelling potential of the late 1980s.

RATING: B+

Review: Animal Man

Having retired from his work as a Hollywood stunt man, Buddy Baker devotes himself to becoming a full-time superhero. As Animal Man, Buddy must juggle his family life (which includes a disapproving wife, a rebellious preteen son and an inquisitive young daughter) along with his heroic duties. Can this D-lister make it big and prove to his family that he can make a difference in this world?

Animal Man collects the first nine issues of the series written by Grant Morrison and illustrated by Chas Truog and Tom Grummett.

Originally published in 1988, Animal Man came at an interesting time in DC Comics’ publishing history. The company had recently rebooted its continuity and had begun to shift towards more creator-focused material. This included releasing titles with more mature themes, which no longer bore the Comics Code Authority stamp of approval. Grant Morrison and Animal Man were part of this new era, with the former becoming a quirky book that tackled real world family dynamics and environmental issues.

This collection begins with a multi-issue arc where Animal Man investigates a break-in at an animal research facility, thus putting him in direct conflict with a seemingly villainous B’wana Beast. Meanwhile, Ellen Baker struggles with her husband’s decision to become a superhero in between looking after their children and working as a storyboard artist. In these issues, Morrison does a superb job of establishing the cast and distinguishing their personalities in a way that feels organic. He’s most successful at making them relatable, which is aided by the fact that Buddy is quite clearly intended to be an everyman. Aside from a rather puzzling (and uncomfortable) scene wherein Ellen is accosted by a disgusting hunter in a forest, this arc is well-written and engaging. Morrison’s decision to take aim at animal testing, pivoting the theme of the series towards animal rights, is clever and unique.

The issues that follow the opening arc are one-and-done stories, which all vary in quality and memorability. There’s some very clear experimentation going on and this helps guide the title towards its eventual transition to being a Vertigo imprint. For instance, one issue sees Animal Man encountering a humanoid coyote that seemingly cannot be killed. One scene involves a pseudo-Looney Tunes sequence wherein we see the origins of this coyote and why he cannot die. It’s certainly not something you’d expect from a superhero comic, but was not wholly unusual given the level of experimentation with the genre around this time.

Action and story aren’t the focus of Animal Man. Anyone expecting pulse-pounding suspense will be sorely disappointed. Instead, the series is more firmly rooted in the exploration and development of its characters. It’s not hard to relate to Animal Man. He’s just some guy trying to raise a family while following his dreams and figuring out just who the hell he is in the process. His budding interest in championing for animal rights and his decision to commit to vegetarianism endears him personally to me, as I myself am an animal lover. While Buddy is multi-dimensional and easy to relate to, I can’t say the same of his wife. Morrison casts her exclusively as a nagging shrew, constantly dogging Buddy for his every decision. Though she certainly has valid reasons to express concern over Buddy becoming a hero and not being forthcoming with her, her entire role in the series thus far seems to be all too stereotypical. It would have been far more interesting to know what makes Ellen Baker tic and to better illustrate her parenting style, thus helping her seem more sympathetic.

Animal Man is a fascinating blast from the past. It’s a taste of the creative boom that occurred in the late-‘80s at DC Comics. Morrison does a fantastic job of presenting Animal Man to his readers and creates a truly unique comic that somehow typifies the era in which it was originally published. Similarly, Chas Truog delivers some really dynamic art as the book’s primary penciller. The style is very sparse and simple, allowing for characters to be expressive and this further makes room for some fantastically vibrant colours. Animal Man is a great title for anyone looking to delve into back issues of one of DC’s most underrated heroes. It’s also perfect for people who are fans of Grant Morrison as a writer.

RATING: B