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 - Justice League Season One

After being accidentally awakened on their native planet, a group of Martians launch a full scale invasion on Earth. Seven of Earth’s greatest heroes band together to stop this threat and become the legendary team known as the Justice League. Together they are Earth’s only hope against despotic aliens, treacherous Atlanteans, and nefarious supervillains.

Justice League is an animated series that made its debut in 2001, created by Bruce Timm and Paul Dini. Its first season consisted of 26 episodes and featured the voice talents of Kevin Conroy, George Newbern, Susan Eisenberg, Phil LaMarr, Michael Rosenbaum, Carl Lumbly, and Maria Canals.

As far as iconic superhero cartoons go, Justice League is way up there with Batman: The Animated Series and X-Men: The Animated Series. This seminal adaptation of DC Comics’ premiere team introduced a generation of kids to superheroes like Wonder Woman, the Flash, and Hawkgirl alongside old favourites Batman and Superman. With its sophisticated multi-episode story arcs and streamlined animation, it stood above its contemporaries (and even most of its successors) in terms of quality. What also helped to set it apart was its pitch perfect casting. From Carl Lumbly’s ambivalent Martian Manhunter to Maria Canals’ attitude-filled Hawkgirl to Michael Rosenbaum’s comedic Flash, the voice work on Justice League is distinctive and embodies each character flawlessly. In fact, it’s so good that it’s hard to imagine anyone else in these roles.

The series opens with “Secret Origins,” a three-part saga that sees Superman and Batman assembling a team of heroes to defeat a Martian invasion. It clearly draws inspiration from the first arc of Grant Morrison’s JLA run, though it’s streamlined significantly and features a slightly different roster. While the alien invasion narrative is predictable, it does its job of assembling the team in a way that makes sense and provides the epic grandeur that is necessary for origin stories of superhero groups. It does struggle a bit with its introductions. Green Lantern, Hawkgirl, and the Flash are without actual origins, while Wonder Woman’s gets mangled to the point that it’s unrecognizable (more on that later!). Still, it’s a great start.

Aside from the opening arc and the concluding one, the rest of the first season is comprised of two-part arcs. These vary in quality. The Aquaman-centric “The Enemy Below” is a standout. It introduces the King of Atlantis as he deals with the treachery of his half-brother Orm. Orm covets the throne and will do whatever it takes to get it, including starting a war with the surface world and attempting to murder his own brother. It’s a surprisingly dark storyline with some truly harrowing moments. Beyond that, it also accomplishes portraying Aquaman as someone who is not to be trifled with.

“Paradise Lost” and “Fury” are also some of the better episodes from the first season, though both are somewhat hindered by their failure to properly portray Wonder Woman and the Amazons. “Paradise Lost” sees Wonder Woman striking out on her own to recover artifacts for the sorcerer Felix Faust, who has turned her Amazon sisters to stone and won’t reverse his spell unless Wonder Woman completes his tasks. It’s a fun globe-trotting adventure that feels very reminiscent of Indiana Jones. It also features one hell of a smackdown between Superman and Wonder Woman while they are under the influence of one of the artifacts. “Fury” is an all-female romp as Wonder Woman and Hawkgirl team-up after a renegade Amazon unleashes a plague that only affects men. It’s enjoyable from a superficial level as it gives the series’ lead heroines the opportunity to interact with one another and get to kick butt without their male teammates sucking up the spotlight. However, its thematic elements are problematic as it’s clearly attempting to tackle feminism, but is done through the lens of a male writer and a male director.

“Injustice for All” is another noteworthy episode. Long-time Superman foe Lex Luthor escapes from prison and enlists the aid of Ultra-Humanite in order to assemble a gang of supervillains capable of taking down the Justice League. These types of superhero team vs. supervillain team are typically among my favourites whenever they crop up in comics and adaptations. They generally provide for a lot of interesting interactions and “Injustice for All” does not disappoint. From Lex and Ultra-Humanite’s rivalry to Cheetah’s flirtations with Batman, writer Stan Berkowitz gives us plenty of fun dynamics that punctuate this episode. Its only shortcoming (surprise, surprise) has to do with Wonder Woman. Cheetah is amongst the cast of villains used in this episode, yet she’s not acknowledged or even portrayed as a Wonder Woman villain.

The best episode from season one may be the three-part conclusion “The Savage Time.” In it, the Justice League (sans Batman – thank the Gods) are transported to an alternate past where the Nazis won World War II with the aid of the immortal villain Vandal Savage. Along the way, the League are fractured and must rely upon the aid of others to prevent Savage’s further assault on western Europe. Hawkgirl and the Flash ally themselves with the high-flying Blackhawks, Green Lantern becomes a part of the US military unit known as Easy Company, and Wonder Woman takes part of a sabotage mission alongside the spy Steve Trevor. Savage is a menacing villain and the technology that he introduces into the war makes for some great imagery. More importantly, “The Savage Time” digs deep into the motivations and emotional core of its lead heroes. The trio of Hawkgirl, Green Lantern, and the Flash are integral to the overall plot, but they also offer differing point of views on war. The contrast between Hawkgirl and the Flash is especially fascinating. Hawkgirl has a more militaristic, greater good approach whereas the Flash has a “no man left behind” perspective that’s more personal in its nature. Green Lantern, meanwhile, proves himself as a capable hero without the use of his ring. This is crucial to showing the audience that he’s more than just some ring-slinging space cop. I also must admit that I quite enjoyed all of the interactions between Wonder Woman and Steve Trevor. While I may not like them much as a couple in any medium, their dynamic here was quite cute.

The rest of the episodes from season one vary greatly in quality. Those that feature Green Lantern more heavily (“In Blackest Night,” “The Brave and the Bold,” “Metamorphosis”) tend to be on the duller side. “Legends” is a frustratingly disposable entry as it uses analogues for the Justice Society rather than the actual characters, which would have made for a more impactful storyline. “War World” suffers from being ridiculously predictable by pulling out the gladiator games trope (which is done in just about every TV show – including Smallville, Supergirl, and twice in Justice League Unlimited). If that weren’t enough, it’s also one of the (many) episodes where we see Superman severely depowered in order to make him seem more vulnerable.

Part of what makes Justice League so special was its strong adherence to character development. The first season is significant for its plotting of a budding relationship between Hawkgirl and Green Lantern. Both are very militaristic characters, though the former is wilder and more impulsive. She’s exciting and gives the usually straight-laced Green Lantern a foil. We see this replicated with his dynamic with the Flash, who serves as the comedic relief on the team. Ultimately, these are the characters that help to ground the series and they end up being the standouts. While this trio was afforded a lot of great character development that endears them to the audience, the same cannot be said for Wonder Woman. It’s clear from the onset that the producers don’t understand her character and they don’t even seem to like her. Where Hawkgirl is the cool girl on the team and can hang with the guys, Wonder Woman is presented as the prissy ice princess who is antagonistic towards men. In this series, Wonder Woman is very aggressive and there’s very little warmth to her. She’s not driven by any kind of divine mission of peace, which is evidenced by the shift in her origin story from a warrior who earns the right to be the Amazons’ champion to a petulant princess who steals her armour. Her lack of compassion and the overall harsh nature of her character betrays a very shallow portrayal. This is extended towards the Amazons as well. They’re not given any kind of depth or interiority. Instead, they’re man-hating extremists whose isolationist views are coded as weird and aggressive. It’s a place that Wonder Woman can’t wait to escape from, rather than a peaceful home that she loves to return to from the harsh realities of Man’s World. The problem is that the series is plotted by a bunch of men who can’t seem to understand why women would want to isolate themselves from the rest of the world (i.e. men) and who have a very difficult time writing women as anything more than love interests or aggressive warriors. It’s clear that they were pulling mostly from a late Silver Age or Bronze Age context for the Amazons, but it feels dated and unnecessary as they chose to ignore (and thus disrespect) George Perez’s influential work on the character and her mythos.

After all these years, Justice League still holds a special place in my heart. While it can at times adhere too much to common tropes and it fails miserably at portraying a well-written Wonder Woman, there’s a lot to love about its first season. The voice work is stellar and the amount of character development that is packed into these 26 episodes is nothing short of amazing. Hawkgirl remains the star for me and she steals every single scene she’s in, so further applause is in order for Maria Canals for that. The complex storytelling that is achieved is also brilliant and is worthy of praise. While the first season doesn’t quite hit a home run, it’s always worth a watch – though some mild cherry picking may be necessary.

Review - Wonder Woman Volume 2: Year One

With the outside world in peril, Princess Diana of Themyscira must leave her island paradise to do battle against Ares as he threatens to plunge Earth into darkness. She must depend upon the help of Steve Trevor, Etta Candy, and archaeologist Barbara Ann Minerva to navigate Man’s World and overcome the God of War’s malicious influence.

Wonder Woman Volume 2: Year One collects Wonder Woman issues 2, 4, 6, 8, 10, 12 and 14, written by Greg Rucka and illustrated by Nicola Scott.

When it comes to Wonder Woman, DC’s Rebirth initiative served as a much-needed palate cleanser for the character. Greg Rucka and artist Liam Sharp got the character back on track with TheLies, while Rucka’s partnership with Nicola Scott resulted in a revised take on the iconic character’s origins. Where The Lies was about undoing the damage done to Wonder Woman during The New 52, Year One is about providing a modern and definitive origin for her. There’s just one problem – she already has one. Though it’s been 30 years since George Perez rebooted Wonder Woman’s origins following the events of Crisis on Infinite Earths, it remains a classic and is thus difficult to top.

If there’s one thing that is consistent about Year One it’s Rucka and Scott’s acute understanding of Wonder Woman. It is a character-centric arc that plots her development as a naïve princess of a hidden island to a self-assured superheroine. Diana doesn’t have all the answers and she makes mistakes, but she also has the guts and bravery necessary to save the day. In a similar vein, Barbara Ann Minerva ends up being a standout character in her role as Diana’s pseudo-mentor. She’s really the one character who helps Diana understand Man’s World and it adds a really interesting dimension to her as she’d been consistently portrayed as a near-irredeemable villain prior to Rebirth. Rucka and Scott also incorporate Diana’s patron gods into the story, even going so far as to make them crucial to the final conflict. That said, Year One never quite manages to re-capture the magic of Perez’s iconic origins. Though the character work is strong and the overall tone is engaging, it’s remarkably light on action and the stakes are not quite as high as they were in the 1987 reboot.

Year One is buoyed by Nicola Scott’s flawless art. She draws readers in with her lush, detailed pencils. In many ways, Scott falls into the same titanic camp as George Perez and Phil Jimenez with her work. I’ve long said that Scott is one of the best when it comes to drawing Wonder Woman. She understands the costuming, the body language, and the optimism of the character better than most. She’s also adept at differentiating characters from one another, which is something many comic book artists often fail to do. I especially love how striking Queen Hippolyta is. I’d also be lying if I said I didn’t appreciate the fact that she gives us copious amounts of panel time of Steve Trevor in various stages of undress. It’s a really fascinating way of subverting the male gaze by catering more to a female (and gay male) gaze. It’s brilliant.

Wonder Woman Volume 2: Year One is a commendable redo of Wonder Woman’s origins. It’s accessible and entertaining with gorgeous artwork throughout. Though it’s light on action, it has a lot of great character moments that are enough to draw readers in. There have been many creators in recent years who have tried their hand at revising Wonder Woman’s origins – some have been successful (Renae De Liz), while others have been wildly off base (Grant Morrison). Thankfully, Rucka and Scott sit comfortably in the success end of the spectrum.

RATING: B+

Review: Wonder Woman '77 Volume 1

Special agent Diana Prince is hot on the trails of a Soviet scientist. With her trusted partner Steve Trevor at her side, she must go undercover at a disco where a certain silver-clad villainess throws a wrench in her plans. Then, she must do battle with the new Cheetah and contend with a wannabe Wonder Woman.

Wonder Woman ’77 Volume 1 collects Wonder Woman ’77 #1-2, written by Marc Andreyko and illustrated by Cat Staggs, Jason Badower, Matt Haley, Drew Johnson, and more.

In the same vein as DC Comics’ Batman ’66, Wonder Woman ’77 acts as a continuation of the iconic television series starring Lynda Carter. As someone who had watched the television series long after it had finished airing, I had mixed feelings regarding its quality. I thoroughly enjoyed the first season, which was set during World War II and saw Wonder Woman facing off against Nazis, but found the second and third difficult to sit through due its inconsistent tone and unmemorable writing. The latter two seasons failed to adapt any villains from the comics, so the titular Amazon Princess faced off against generic villains in topical episodes that seemed to replicate the formula that made Charlie’s Angels a ratings juggernaut instead of focusing on what made Wonder Woman unique. With that said, Andreyko and company give readers the series we deserved all along with Wonder Woman ‘77. This first collection is ridiculously fun and is perfectly suited for fans of the show, as well as comic fans and newbies to Wonder Woman, since it really captures the essence of the character while also giving her adventures worthy of her status. Additionally, the artists working on the issues in this collection are immensely talented. They manage to gloriously capture the aesthetic of the time period and the stunning beauty of Lynda Carter.

From its very first story, Andreyko begins reimagining Wonder Woman’s rogues’ gallery to fit the tone and setting of the series. For instance, Silver Swan becomes a demented disco singer (in a fierce stage costume, I might add) serving the Soviet Union. He also introduces Cheetah as a villain outraged by a Wonder Woman exhibit at her museum and Doctor Psycho, who conjures up a faux Wonder Woman to trick the Amazon Princess into believing she is powerless. I really like Andreyko’s approach because he seamlessly introduces these characters into this world in a way that is believable and works for the era, but is somehow also timeless and would work for any time period. He also gets creativity props for doing a story with Solomon Grundy, which I felt was unexpected in a really great way.

For anyone looking for a great read, Wonder Woman ’77 Volume 1 is all kinds of fun. It never takes itself too seriously and embraces the camp that was inherent in its parent series while also doing its own thing. Marc Andreyko has a firm grasp on Wonder Woman’s character and really nails her voice. Just as importantly, he doesn’t disappoint on the villain front. He gives us Silver Swan, Cheetah, Doctor Psycho, Solomon Grundy, and a great new baddie named Celsia. Hell, we even get to see Giganta and Golden Age Cheetah! Even though the artists rotate, the art is of a high caliber throughout. This is especially important as the illusion of Lynda Carter is kept consistent from start to finish.

RATING: A-

Review: Wonder Woman Volume 1 - The Lies

Unable to return home, Wonder Woman seeks the help of an unlikely ally to get back to Themyscira. Venturing deep into the jungles of Bwunda, the Amazon Princess makes a deal with her one-time nemesis Cheetah in the hopes that she may be able to aid her in her quest. But first she must do battle against the God Urzkartaga and free Cheetah from his divine influence.

Wonder Woman Volume 1: The Lies collects Wonder Woman: Rebirth #1 and Wonder Woman #1, 3, 5, 7, 9, and 11, written by Greg Rucka and illustrated by Liam Sharp.

Superficially, The Lies reads as a deliberate retcon disguised as a storyline. It seems designed to erase the stories that preceded it from DC Comics’ The New 52 initiative, slowly washing away Azzarello and Cliff Chiang’s divisive take on Wonder Woman. On a deeper level, Rucka and Sharp are restoring Wonder Woman’s mythos to a more faithful interpretation while also keeping some of the elements that helped to modernize the character. For instance, The New 52’s controversial take on the Amazons is excised while Cheetah’s past as Wonder Woman’s friend remains intact. Rucka and Sharp are to be commended for their efforts as they have a clearer understanding of who Wonder Woman is and what a great Wonder Woman story should consist of, which contrasts their predecessors who seemed more intent on changing the character to suit the tastes of their audience. Furthermore, they have the creative talent necessary for taking what amounts to a retcon and transforming it into a well-crafted narrative.

The premise for this arc is simple enough. Wonder Woman discovers that something is amiss in her life and uses the lasso of truth on herself to figure out why only to find out that many of her memories are false. Now unable to return to Themyscira, she allies herself with Cheetah to find her way home. Along the way she does battle against a God and reunites with her former flame Steve Trevor. It’s a remarkably breezy arc that moves along at breakneck speeds, teasing out the mystery surrounding Wonder Woman’s manufactured memories in a way that keeps the reader engaged. Rucka impresses throughout, especially when it comes to the dialogue he writes for Wonder Woman. There are very few writers out there who truly “get” her and it’s thrilling to read. While there’s a lot of action in this arc, some of my favourite moments are the quieter ones. I love the exchanges between Diana and Etta, as well as the romantic interlude between Diana and Steve upon their return from Bwunda. Though I’ve never been a big fan of Steve and Etta is rarely given much to do by contemporary writers, I found myself genuinely interested in seeing more of them. The same could not be said for Cheetah and Veronica Cale. The former I felt was compromised and neutered, becoming an ally ended up diminishing why she’s such an effective villain for Wonder Woman. With Veronica Cale, it’s essentially an instance of Rucka trying to make fetch happen with her character. Wonder Woman doesn’t need her own Lex Luthor. If he was intent on having a strong, independent woman pulling the strings behind a shadowy organization, he could have gone with someone like Baroness von Gunther or Doctor Cyber.

Liam Sharp’s art really elevates The Lies and enriches the reading experience in a way that perhaps hasn’t been celebrated enough. Even without the words on the page, Sharp’s work tells a distinctive story. The way he composes his pages is cinematic and makes the reader feel as if they are watching a movie rather than reading a comic. For one thing, his settings are awe-inspiring. From the lush green jungles of Bwunda to the ominous ruins of Themyscira, there’s a richness and depth to this trade that is rarely found in comics. Sharp should also be applauded for his character work. While there are some issues with consistency, I’m sufficiently impressed by how unique everyone looks in this arc. Wonder Woman is vaguely reminiscent of Lynda Carter, Etta Candy receives a much-needed makeover, and Veronica Cale looks positively Emma Frost-ish.

Wonder Woman Volume 1: The Lies is a great jumping on point for new readers. It’s an accessible storyline that sheds the past few years of continuity in favour of re-establishing who Wonder Woman is and should be. Rucka and Sharp focus on the essential elements of the character’s mythos, trimming down her supporting cast, and giving us an engaging and straightforward narrative. It’s certain to please both new and old fans for this very reason.

RATING: A-

Review: Justice League vs. Teen Titans

After disobeying orders during a mission with the Justice League, Robin is reprimanded and sent to learn about teamwork from the Teen Titans. Though he clashes instantly with the group of teenage heroes, Robin is drawn to the enigmatic sorceress Raven. It’s through this connection that Robin is convinced to help the team as they are drawn into a battle with the demonic villain Trigon.

Justice League vs. Teen Titans is a 2016 animated film directed by Sam Liu and features the voices of Stuart Allan, Taissa Farmiga, Jerry O’Connell, Jason O’Mara, and Rosario Dawson.

The storyline for Justice League vs. Teen Titans is loosely adapted from The New Teen Titans #4-6 by Marv Wolfman and George Perez. In both versions, the Teen Titans race against the clock to prevent Trigon from entering into our dimension and turning the planet into a hellish wasteland. Where they differ is in the film’s lack of cohesion and the divergence from the canon. Justice League vs. Teen Titans essentially tries to be a sequel to Justice League: Throne of Atlantis and Batman: Bad Blood and a spin-off for the Teen Titans. The product that director Sam Liu and screenwriters Bryan Q. Miller and Alan Burnett put together feels like a cobbled together mess of two films crammed into one. The presence of the Justice League throughout feels unnecessary, especially since there’s a forced continuation of the relationship between Superman and Wonder Woman that takes away precious screentime from the film’s true stars (the Teen Titans). Furthermore, the absence of Aquaman, Green Lantern, and Shazam isn’t addressed in a satisfying way.

This film is at its best when it focuses on the Teen Titans and is actually really entertaining when it actually explores the interpersonal relationships between the characters. The rivalry between Robin and Beast Boy proves to be rather amusing, which culminates in a (somewhat dated) scene where they compete against one another in a game of Dance Dance Revolution. Similarly, Robin and Raven make for an interesting duo. The sullen bird-named heroes both have villainous father figures (an actual father in Raven’s case). There’s also a sense that Robin may have the inklings of romantic feelings for Raven, which is admittedly kind of cute. Unsurprisingly, Robin and Raven are the standout characters of this film, the latter especially due to her having a fully developed character arc. That said, there is an uncomfortable exchange between Raven and one of the male members of the team when she retells the story of her conception. Whether it was Miller or Burnett who wrote the dialogue, their flippant approach to making a punchline out of an instance of implied sexual assault is disgusting.

The same, however, cannot be said about Blue Beetle and Starfire. Blue Beetle is a rather obvious stand-in for Cyborg, whose status as a Titan was nullified by being a founding member of the League instead. He’s given very little to do throughout and there’s not much to convey that he has a personality. With Starfire, who has a couple of eyeroll worthy fan service moments, she comes across as a glorified babysitter who seems to be constantly hovering around the team. In fact, it was a major misstep to have her serve as the team’s mentor. This is probably more of a personal preference than an objective criticism though. For one thing, Starfire is portrayed in this film in a rather dippy manner, especially giving the lilting tones that Kari Wahlgren uses. As such, it seems her characterization draws more from the 2003 cartoon than the comics. Furthermore, all of her lines and the role itself would have been more effective had they been given to Donna Troy. She’s a better leader, a far more nurturing individual, and would likely not have been portrayed as if she had nothing but air rattling around between her ears. Quite frankly, the continued mistreatment of Donna at the hands of Warner Brothers and their employees is irritating and is disrespectful towards the legacy and importance of Wonder Woman. The legal red tape is no more, so stop leaving her in the dustbin. She’s an amazing character, one of the best you all have, so start putting her in adaptations!

Justice League vs. Teen Titans is one of the weakest entries into the DC Animated Movie Universe, which is a shame because it’s adapted from such a seminal comic book series. The character designs, performances (Rosario Dawson in particular continues to shine as Wonder Woman), and direction overall is quite good, but it’s the writing that drags the quality down. It juggles one too many subplots and has an unwieldly large cast that is woefully underdeveloped. It would have been more effective as a film had it stuck closer to the source text (this means having both Donna and Wally as part of the cast) and if it kept the Justice League members to cameos. As it is, Justice League vs. Teen Titans is a bit of a mess with occasional stints of compelling character moments.

RATING: C+

Review: DC Comics Bombshells Volume 2 - Allies

As the otherworldly Tenebrae descends upon England, the Bombshells are dispatched to eliminate the evil force once and for all. With the combined might of Baroness von Gunther, Edward Nygma, and Nereus on its side, it becomes quite clear that lives will be lost and sacrifices must be made in order to defeat the Tenebrae.

DC Comics Bombshells Volume 2: Allies collects DC Comics: Bombshells #7-12, written by Marguerite Bennett and illustrated by Laura Braga, Mirka Andolfo, M.L. Sanapo, and Marguerite Sauvage.

Allies is the thrilling conclusion to the first year of DC Comics: Bombshells and finally sees the title’s heroines assembling together to fight the Tenebrae. Writer Marguerite Bennett builds towards this final confrontation through a series of interconnected vignettes that develop the protagonists’ arcs and establish the villains. For instance, Stargirl learns the truth about her parentage while Supergirl and Mera team-up to do battle against the Tenebrae beneath the waters surrounding London. Meanwhile, Catwoman and Huntress free Batwoman from the clutches of Brother Night and Wonder Woman does battle against Baroness von Gunther. Each of these narratives are brimming with action and punchy dialogue, particularly the segments featuring Batwoman. Bennett is to be commended for being able to give these characters distinctive voices and for reinventing them for the time period this book is set in.

I am continually impressed by and engrossed in the character work that Bennett does in Bombshells. Mera and Stargirl prove to be the runaway stars of this particular collection, as both are given important arcs and contribute greatly to the final fight against the Tenebrae. We learn that Mera has effectively misrepresented her past, which comes back to haunt her and it threatens to harm the people she cares most for. With Stargirl, she vacillates between her unshakeable desire to be a hero and her deepening insecurities over being a human in a world of superhumans. For both characters, they demonstrate heroism in through selflessness and determination. It’s both endearing and poignant, particularly during the climax (which left me rather teary-eyed). Beyond the inspirational aspects to these characters, Bennett also injects a lot of fun into them as well. Mera’s dialogue is very playful and she even reveals herself to be Wonder Woman’s first kiss. She’s also written to speak in song, which is a really unique quirk.

Mirka Andolfo provides a highly stylized aesthetic that is vibrant and whimsical. It has a vague shoujo-like quality to it, which pairs really well with the tone of Bennett’s dialogue. Marguerite Sauvage’s art is comparable to this as well. It’s very cute and feminine, but she really nails the toughness of these characters (especially Batwoman). Laura Braga’s art is more traditional for the superhero genre, but is certainly amongst some of the best in contemporary comics. I absolutely adore the way she illustrates Wonder Woman and admire just how beautiful all of her characters are. Her action sequences are particularly memorable as well. Lastly, Sanapo captures the pin-up origins of Bombshells quite well with her style. It manages to be both playful and sexy.

DC Comics Bombshells Volume 2: Allies is great fun. It’s fresh, hip, and irreverent, but also retro in all of the right ways. Bennett’s dialogue is dynamic, her character work is nothing short of brilliant, and the action is blockbuster-sized. There’s a lot of depth in Allies as well and it has its fair share of moments that tug on your heartstrings (provided you’re as sensitive a reader as I am). This series also showcases female talent at its finest. The art is polished and electric, while the story itself is cohesive and epic in scale. In an ideal world, Warner Brothers would greenlight a Bombshells movie ASAP and hire Bennett as the screenwriter. Yes, this series is that good.

RATING: A

Review: Wonder Woman Volume 7 - War-Torn

Torn between her duties as the leader of the Amazons, as the God of War, and as a member of the Justice League, an exhausted Wonder Woman must deal with an insurgence on Themyscira led by a group of rebels who object to her judgements. At the same time, Wonder Woman and the Justice League are tasked with finding and rescuing missing villages from an unseen foe.

Wonder Woman Volume 7: War-Torn collects Wonder Woman #36-40 and Annual #1, written by Meredith Finch and illustrated by David Finch.

Having inherited Wonder Woman from Brian Azzarello, Meredith Finch must have had a difficult task ahead of her as the writer of this title. Depending on whom you ask, Azzarello’s run on Wonder Woman was either a brilliant and fresh reinvention of the character and her mythos or a disrespectful slap in the face to decades of beloved stories. As such, Finch would have been faced with either continuing on down the path Azzarello had chosen or forging her own. What she does is a little of both. The narrative she crafts deals with the aftermath of the First Born’s banishment and the Amazons’ displeasure at Wonder Woman’s decision to have men live on Themyscira. The latter storyline creates a pressure cooker wherein each moment our titular heroine takes off from her homeland brings the Amazons one step closer towards civil war. Finch also introduces Donna Troy to the New 52 canon, giving Donna her umpteenth new origin. This time around she’s forged from clay and given life by the sorceress Hecate. She is then used as a tool by the book’s antagonist Derinoe in an attempt to usurp the throne from Wonder Woman.

I quite enjoyed Finch’s initial arc on Wonder Woman as I feel it connects the character more to the DC Universe than Azzarello’s did and it focuses far more on Diana as a woman rather than as a demigod. The Justice League serves as supporting characters in this collection and they act as anchors for Wonder Woman in the mortal world. Finch even pens a couple of really great scenes between Batman and Wonder Woman, which helps to continue the history of their friendship. She also seems to understand the character on a more fundamental level as we see Wonder Woman portrayed with a wider range of emotions and as someone who doesn’t solve all conflicts with the tip of her sword. She’s complex and, like any woman, is stretched thin by trying to do too much and be everything for all people. This adds a new dimension to her character and helps readers to see her as more human than many other writers allow her to be. Another step in the right direction was with Finch’s approach to the Amazons. There’s no tip-toeing around the fact that Azzarello’s Amazons were unlikeable in their thirst for violence and desire for segregation, but Finch paints a much more layered portrait. She presents them as a people who have been burned in the past. Some are willing to change and others are not, but regardless of what they believe it is emphasized that Amazons are more than just warriors – they are sisters. This helps to pull the weighty cloud of sourness off of them and brings them closer to what Wonder Woman fans expect and want from the Amazons.

Where War-Torn runs into problems is with its art. Though David Finch is undeniably a talented artist, he’s also inconsistent and walks a thin line between drawing women as empowered and as overly sexualized. Whether the baby faces he draws are appealing to readers is subjective, but he is to at least be commended for attempting to match the emotiveness of the script. Unfortunately, he seems ill-equipped to illustrate anything beyond doe-eyed bemusement. That’s not to say that he doesn’t render a couple of really great splash pages or that Diana and Donna’s climactic fight isn’t done well, but there’s a quality to his work that just doesn’t seem to match the tone of the book.

Wonder Woman Volume 6: War-Torn represents a small step in the right direction in the Post-Azzarello landscape in the narrative of the Amazing Amazon. Meredith Finch provides more emotional depth to the titular heroine and proves herself capable of crafting a great superhero story. Her dialogue is sometimes hit-and-miss, but this is a small con in a collection full of mostly pros. For instance, she makes great use of supporting characters like Dessa who seems to be the New 52 megamix of Philippus and Artemis. David Finch’s art leaves much to be desired and will possibly turn some readers away. Thankfully, his wife’s willingness to try something new and move the direction of this title further from the Olympian melodrama that Azzarello’s run focused on does more than enough to make up for his shortcomings on pencils.

RATING: B

Review: Wonder Woman Volume 6 - Bones

With the First Born sending his forces of darkness to Paradise Island to slay the Amazons, Wonder Woman must unite her people as their new queen in order to survive this onslaught. Meanwhile, the Olympian Gods are in danger as the First Born makes it his mission to eliminate all immortals. As time begins running out, it becomes clear that the key to his defeat may be Zola and her child.

Wonder Woman Volume 6: Bones collects Wonder Woman #30-35 and material from Secret Origins #6, written by Brian Azzarello and with art by Cliff Chiang and Goran Sudzuka.

After nearly three years on Wonder Woman, Brian Azzarello concludes his critically-acclaimed (and often divisive) run in Bones. It’s an action-packed finale that features a bloodied battle on Paradise Island as the Amazons fight off an assault by the First Born’s forces while Wonder Woman herself faces off against her wayward brother. It’s a satisfying way to end a run that had its ups and downs, thus tying up all the loose ends and even making strides in giving the Amazons a chance at redemption for their past indiscretions. There’s also a rather brilliant twist towards the end that feels right at home with Azzarello’s penchant for playing with Greek mythology’s more twisted elements.

What is crucial about Bones is that it brings back the focus to the star of the book. Despite being the headliner in the title, Wonder Woman has at times not seemed as important or as interesting as her supporting cast. She’s vacillated between being Zola’s bodyguard and being a pawn in the games of the Gods. This trade paints a much clearer portrait of who she is. She is a leader capable of inspiring others and uniting a divided nation, she is a loyal friend who will do anything to protect those she loves most, and she will fight for the greater good even when it means she must take a life to do so. All of this character exploration is done by spending less time with Wonder Woman in action and more time with her actually talking or having others talk about her. It's refreshing and it helps to remind readers that Wonder Woman isn't and should never be defined solely as a warrior. She does more than just swing a sword around.

Brian Azzarello, Cliff Chiang, and Goran Sudzuka’s tenure on Wonder Woman is a rare gem in the landscape that is mainstream comics. It’s uncommon to get a series that is as cohesive narratively and aesthetically as this one, telling an epic story from start to finish with artwork that is unique to this world. It’s not interrupted by rotating artists nor is the story derailed by crossovers or events. If anything, Azzarello and co.’s Wonder Woman reads like a comic book from outside of the Big Two and this works to its advantage. For those who stuck with these series, Bones should be a thrilling (and slightly bizarre) conclusion that does everything it needs to. It’s unlikely to sway any naysayers, but there at least seems to be an effort made to address the criticisms of Azzarello’s characterization of Wonder Woman and the Amazons. As a whole, this creative team and their run is worthy of being considered one of the best.

RATING: A-

Justice League: The Darkseid War Part 1

While investigating the deaths of several women sharing the same name, the Justice league uncover a nefarious plot set in motion by their old nemesis Darkseid.  It soon becomes evident that a dark secret from the Amazons’ past has returned to ignite a deadly war with the tyrannical ruler of Apokolips. With the potential death of a God looming, the greatest battle the Justice League may ever face lies ahead of them.

Justice League Volume 7: The Darkseid War Part 1 collects Justice League #40-44 and material from DC Comics Divergence #1, written by Geoff Johns and illustrated by Jason Fabok.

The Darkseid War reads purposefully as a culmination of the conflicts and events of Geoff Johns’ best-selling Justice League from DC Comics’ New 52 initiative. Taking place after the events of Convergence, this multi-part story arc reveals that Darkseid had a daughter named Grail with an Amazon and she has grown up with the singular mission of destroying her father. To accomplish this Grail and her mother have allied themselves with the seemingly unstoppable Anti-Monitor. Darkseid returns to the pages of Justice League, bringing a nice symmetry to the series after playing a crucial role in their origins during the opening arc of the title. The introduction of Grail is well-done and she serves as a rather neat addition to the League’s rogues gallery. I also appreciate the effort made to intertwine her origins with Wonder Woman’s, as it helps to add a sense of importance to both characters and links the two together in a meaningful way. This proves consistent with the overall direction Geoff Johns has taken with Justice League. It’s been a carefully piloted with stories that are written with purpose and give greater prominence to Wonder Woman than ever before.

The first part of Darkseid War is action-heavy and features quite a bit of exposition, but is still remarkably light on character development. For the most part, the Justice League don’t actually feel like the stars of the book. With such a heavy focus placed on Metron and Mister Miracle, many of the League members become marginalized within the story. For instance, Cyborg and Shazam don’t offer much to the overall narrative and are thus easily forgotten. Regardless, there are many great character moments. Notably, we get to see the Flash working a crime scene, Batman taking control of the Mobius chair, and Jessica continuing to test her limits with the Power Ring. Johns also pens some fantastic interactions between Superman and Lex Luthor, as well as between Green Lantern and Batman (which is a dynamic I missed after Hal was removed from Justice League for a time).

Overall, this is a promising start to what could be an epic storyline. Johns’ dialogue is on point, as it almost always is, and I appreciate the focus he’s continued to place on Wonder Woman. Additionally, Jason Fabok’s glossy art elevates the quality of the book tremendously. His work is polished, his characters distinctive (especially Wondy!), and his ability to render compelling action sequences is impressive. Put simply, The Darkseid War is quite possibly one of the strongest story arcs from Johns’ Justice League run.

RATING: B+