A round up of the DC comics featuring Wonder Woman in the week ending 11th April 2014. The Medium Is Not Enough is a UK media blog with daily news, views, exclusive reviews and good conversation. There’s a bit of a bias towards the latest and greatest US TV, but we also cover UK/British TV and look for the best in international TV as well. Add in film, theatre, art, books, comics, events and media journalism and you’ve (hopefully) got one of the best places on the web for media lovers.
Superman/Wonder Woman #7
Is it any good?
It’s still very good, but this issue is a little lighter than normal in terms of plot, it has to be said, although it contains some great character work.
Largely, it’s designed to do two things: catch the strip up with activity in other titles; and get us ready for the Doomsday crossover that’s coming in the next few months. To do that, we have a slightly strange jump of who-knows-how-long between the events at the end of last issue and now, during which Diana and Clark aren’t supposed to have seen each other at all. A bit unlikely, given the declarations and events of the previous issue, but given how isolated Wonder Woman is as a title and what has been going on there, a necessity one suspects.
Either way, writer Charles Soule and artists Paulo Siqueira, Eddy Barrows and Barry Kitson (standing in for Tony Daniel) do a decent job of addressing those events as swiftly as they can, with London, which was pretty devastated by the First Born in Wonder Woman, clearly being rebuilt in the background of various panels this issue. We also see Diana addressing a question that will have been pressing on the minds of Wonder Woman readers since that tumultuous issue and which Brian Azzarello naturally hasn’t even attempted to answer in any depth – what does it actually mean for Wonder Woman to be the Goddess of War? Soule gives us an answer that’s both interesting and in character for Diana, but I’m sure there’ll be more to come.
One especially nice touch this issue is Soule’s use of the two characters’ different methods of recuperation to tell us more about them as people. Superman heads off to his Fortress of Solitude and gets his Kryptonian technology to look after him. Meanwhile, Wonder Woman heads off to find her Amazon friend Hessia, who uses the Amazons’ purple healing power to heal her.
You remember the Amazons’ purple healing power don’t you? It hasn’t been used as part of the nu52 before, but it’s been a part of Wonder Woman lore since Steve Trevor crashed landed on Paradise Island and Diana used it to heal him in William Marston’s very first issue of Wonder Woman:
Soule uses this to show not just the difference between Superman and Wonder Woman as superheroes – one is very much a science-fiction superhero, the other a superheroine of magic and myth – but as people: Superman is used to being alone, to solitude, whether that’s as a twice-orphan, the near-last Kryptonian, as a blogger without many work colleagues or a man without many friends who don’t wear masks and capes; Wonder Woman is used to sisterhood, to being part of a collective and to giving and receiving aid from her friends. It is to some extent why she seems to drive and control their relationship, since by embracing togetherness, she basically knows how to navigate it better.
Soule shows this again in the club scene. Firstly, the club doesn’t look like the mosh pit ofWonder Woman #4, where Wonder Woman dressed very differently (and was conspicuously taller)…
So although this could still be Soule capitalising on that previous piece of character background, it seems more likely that Diana simply likes dancing at lots of clubs, which shouldn’t be totally unexpected in a character with Greek heritage (although one who clearly hasn’t hung out much in Greece if in her experience, not all men like to dance – or is that perhaps a dig at Steve Trevor?). Indeed, here, Diana is clearly loved by everyone in the club, wants to spend time with other people and wants to dance, and the warmer colours of her outfit versus Clark’s darker colours reflect their different levels of sociability:
All this shows us sides to both Clark and Diana that we’ve not seen in any other nu52 titles. Together with all the relationship details, it’s certainly an issue to squee over.
Artistically, the issue is a bit more variable than normal, thanks to Daniel’s absence: on the whole, Siqueira and co do a good job, but Siqueira’s artwork is notably starker than Daniel’s. That works well for ‘drained’ Clark in the first few pages of the title, but gives Diana a slightly harsh quality. The flipside of that is that Barrows’ and Kitson’s work later in the title is at least as good as Daniel’s, although not as precise, and facially, they give us a prettier Diana, albeit one who is a little more, erm, well endowed than normal.
As an intriguing footnote, I also wonder if perhaps the starred tanktop is a reference to Donna Troy, Diana’s pre-nu52 sister:
Something to think about, hey?
While not the usually action-driven piece – Doomsday largely just floats around in the sea a lot, while various baddies discuss how bad he is – it’s still a really good issue and things are only going to hot up subsequently as the next story arc kicks off in earnest.
In Superman #30 first, though. Ah, crossovers…
Superwoman by Brett Booth
Thanks to John for the submission.
Progeny of Clark and Diana?
Katy Perry in Esquire
For those who believe,
No proof is necessary.
For those who don’t believe,
No proof is possible.
dc comics bombshells.
By far my favorite drawing I have completed in recent memory, maybe even of all time.
Sorry, guys. I don’t care how much kryptonite Batman has. Superman’s speed and strength is too much for Batman to handle.