Wonder Woman: the story. Another Story – Danger Room –

letter F

It’s arguable to say that Wonder Woman’s character throughout history has been feminism in her nature. Originally yes, it was designed in 1941 by its creators William Moulton Marston, Elizabeth Marston, Olive Byrne and HG Peter. The protagonist came from a society made up of women who interacted only through “loving submission,” a kind of light dominance game Marston knows at the female college lodges to which Olive Byrne belongs and has a polygamous relationship with Marston-marriage. during your adventures Submission in the form of intricately connected characters became more and more prominent in DC at the time, to the point where alarm bells were ringing.† Just as Superman had to deal with more and more super villains, less corrupt and less malicious politicians, or Batman had to grow his roster of villains and openly cooperate with the police, Wonder Woman had to deal with more and more operetta villains . and less sexism. His role as secretary of the Justice Society could not have been more decisive.

To be presented with a modern and urban Wonder Woman in the style of new professionals emerging from the feminist movements of the time, we need to go back to the 1970s. It was pretty short. As early as 1987, with the help of Greg Potter, Len Wein, and later Mindy Newell, under the editorial direction of Karen Berger, George Pérez created a feminist version of the character, starting with the origins of the Amazons. reincarnated souls of female victims of sexist violence, resurrected by the power by the Olympian goddesses with the help of HermesBecome a proto-ally. The Amazons were tasked with creating a world of peace and equality between men and women, which aroused the wrath of Ares, the god of war, who influenced the talkative Hercules to end the Amazons by deception. Drugged and enslaved by the Amazons, they pretended to be friends and equals. The leader Hippolyta prayed to the goddesses who had set her free with the task of pulling her group out of the Human World and avoiding her desire for vengeance, but her sister Antiope, along with a group of warriors, killed Hercules’ men, creating a division in the amazons.

Antiope’s group set out for an unknown destination, while the rest made their way to the Isle of Paradise with the help of another allied god, Poseidon. There they created a pastoral society separated from the patriarchal world. It so happened that Hippolyta was pregnant when her partner killed her before she was resurrected by the goddesses. The soul of the unborn baby reincarnated into a clay doll with the help of the female pantheon. This first issue of Wonder Woman volume 2 is probably one of DC’s best original stories.†

For the five years that Pérez wrote the title, Wonder Woman lived. adventures with a broad mythological basis embedded in feminist messagesIt is a scene that could spark diplomatic protests today, where he dared to bring the Amazon princess before the UN, whose words aroused the ire of many leaders, including an Arab leader. With the character’s ups and downs, this vision was sustained until the New 52 version of Brian Azzarello and Cliff Chiang was introduced, where Diana was revealed to be Zeus’ daughter and more recently to have a brother. It’s an absurdity that spoils the character and is reflected in the latest movies.

For much of its history, DC released Wonder Woman by contract: otherwise it would forfeit the character’s rights, or for the associated commercial sale if it wasn’t lucrative for sale. a company highlighted by recent films and motivating the publisher to increase the number of releases of the character† In April 2022, DC released five comics that added to the Amazon Princess world. Superman only had three. One of these comics was the second part. Wonder Woman Story: Amazons The first issue has just been published by ECC.

message is message

Comicsgaters and the like always have the “comics have become politicized” mantra. These five words hide a lie and a truth: Comics have always been politicized and the problem for them is that they don’t like the political or social message.† This horror star Jim Starlin was a brutal satire against the power of religious institutions. In swamp thing, Alan Moore hid his thoughts on the stigma of menstruation in a story about lycanthropy. In hell jacket Jamie Delano warned of the danger of fascism between exorcism and John Constantine’s exorcism. At least the story was level one and the message was level two, which explains why the one-neuron one-browsers at Comicsgate didn’t get it.

Things have changed in the last ten years. Vehicles A new generation of writers has decided that the message is the one that should occupy the first reading level. and even Ethan Van Sciver fans can pick him up and clenched his little fists. Pointing out that the lack of finesse is just a fact, not a criticism. Even Kieron Gillen falls for it. in its splendor to die presents a male protagonist who plays the female role in the fantasy world he is dragged into, and the author cannot help but close the story with a speech after four chapters in which it is clear that he is dealing with fluency and gender dysphoria. Topic in case it’s not clear enough. Kelly Sue DeConnick’s recent work on her career and the origins of the Amazons is another example of this “screenwriter” trend. This is your cover†

In Wonder Woman Story: Amazons DeConnick discusses the origins of George Pérez’s version. We also find a conflict between goddesses and gods and The spirits of women killed by men also form the basis of the Amazon tribe, and it soon becomes clear that their presence disturbs the male world and much more.† However, the respective values ​​change. The edges are much more iron, much more warlike and aggressive than other versions, without the possibility of a god taking sides with the position of the goddesses. They are angry and they have a reason for it. DeConnick is also angry and his job (Captain Marvel, Bitch Planet, Pretty Deadly,…), many of which showcase third-generation feminism, whose tropes form the basis for the first level of reading history that interests us.

In the debate between gods and goddesses, they declare that they have had enough of humans. When one of the gods made one not all men,,The answer is obvious: They are tired of all men, they are all criminals. When Hippolyta does something terrible to her newborn daughter, according to society’s custom, and flees, regretting that she has been found by the Amazons, they comfort her by saying it’s not her fault, it’s the human world. When one of the goddesses decides not to side with her friends, a bitter argument ensues, but in the end the blood does not reach the river, especially because it is brotherhood. The message is there, in the foreground, clear, legitimate and clear† Time will determine its validity and durability. Strangely, while George Pérez’s Amazons were originally a homogeneous group, here each goddess creates her own tribe, we don’t know if she is a representation of the different currents and sensibilities of feminism. We also don’t know if this version of the Amazons and perhaps Wonder Woman’s origins is canonical or just another story without the support of a continuity so generously distributed in today’s DC.

Technically, the story is flawless. DeConnick shows off his talent with dialogue and lyrics, which is probably his greatest virtueensures that despite their abundance, they do not become heavy, achieve a calm rhythm that is not tiresome, all highlighted by the incredible illustrations by Phil Jiménez, who gave the coffin a precious and extremely detailed drawing, where the designs are. Highlights of the pantheon are the never-before-seen Olympians, far from George Pérez’s classicism or Cliff Chiang’s version of so-called Vertigo. Some are as shocking as the blue-skinned Zeus with ram horns, which alludes to the care taken in making and documenting this miniseries, alluding to some versions of the character that took features from the Egyptian Amun. The double page, in which the spirits of future Amazons are enclosed in decorated jars that tell how each woman dies, is nothing short of shocking. This is probably Phil Jiménez’s best work in his entire career.†

Number 1 of these 3 miniseries already has an ECC edition, number 2 features superb illustrations by Gene Ha and was released in the US in April, and the third is expected by the end of the year and illustrated by Nicola Scott. Promising a conflict between the worlds of gods and goddesses, men and women in the third part, this magnificent epic will be a must-see at Eisner this year. And also, for sure, it won’t be at some hypothetical rewards using the Joker as a Twitter avatar. Which in itself is still a price.