Wonder Woman #614 – Review

By J. Michael Straczynski & Phil Hester (writers), Don Kramer & Lee Garbett (pencils), Drew Geraci, Robin Riggs & Trevor Scott (inks), Pete Pantazis (colors), Travis Lanham (letters)

The Story: Diana finally learns the secret of Nemisis, and faces one final battle with the darkness inside herself.

The Review: It’s a shame that most of Odyssey has been such a gigantic cluster–this really is a very strong issue. Unfortunately, it is dragging the weight of 13 other issues full of retcons, confused storytelling and character shifts behind it. The weight is such that even Wonder Woman herself can’t shoulder the burden, and so the storyline crawls across the finish line gasping and wheezing. What could have been a triumphant exclamation point and capstone on Diana’s 600+ issue career instead just leaves me sighing in relief. Odyssey is finally–FINALLY–over, and I couldn’t be happier. Love the DCnU reboot or hate it, it’s hard to imagine it doing much more harm to poor Diana than these 14 issues already have.

Continuity and character nightmares (which I’ve already pounded into a fine powder at this point) aside though, this issue does contain a lot of what makes Diana one of my all-time favorite superhero. The end sequence in particular is absolutely triumphant, and left me grinning and satisfied in spite of the 300+ pages of confusion that preceded it. It was more of a meta-textual farewell to the DCU Diana than it was a logical storyline conclusion, but at this point I’ll take anything I can get. And it WAS lovely–I’ll be keeping Hippolyta’s words to Diana (as well as Dian’s final words to us, the reader) close to my heart as we take the plunge into the DCnU next month. As annoying as it can be to have characters speaking lines of dialog that are pretty clear author-insertion, I appreciated Phil Hester’s message a great deal.

Wonder Woman #613 – Review

By J. Michael Straczynski & Phil Hester (writers), Don Kramer & Travis Moore (pencils), Wayne Faucher, Walden Wong & Drew Geraci( inks), Pete Pantazis (colors) and Travis Lanham (letters)

The Story: In a long bout of desperately needed exposition and explanation, Diana finally learns the details of, and the motivation behind, the Nemesis’s plans for her. But with the truth finally revealed, can Diana hope to overcome her old enemy without losing herself in the process?

What’s Good: Huh! What an odd feeling. I just read a really good issue of Wonder Woman. You’ll have to forgive my dazed reaction here–it’s been quite a long time since this has happened. Although this issue is extremely talky, and features one of the largest single infodumps in recent memory, I am actually okay with that. Information and explanation is what this headache of a storyline has needed for a long time. Would this have worked better if this information was parceled out more, and hinted at over the course of several other issues? Sure, but at this point I’m just happy to finally have a solid grasp on what’s going on, and what the goals of the major characters are. Fortunately, the exposition is delivered on the back of a very nice fight scene and some interesting pseudo-philosophical musings that break the back-story up a bit.

Wonder Woman #611 – Review

J. Michael Straczynski and Phil Hester (writers), Don Kramer & Eduardo Pansica (pencils), Wayne Faucher & Eber Ferreira (inks), Alex Sinclair (colors), Travis Lanham (letters)

The Story: The Morrigan make the final push to force Diana to become one of them. Not everyone survives the battle, and as her friends begin to fall all around her, Wonder Woman is given a terrifying look into one of her possible futures–and at what might happen if she is unable to resist the Morrigan.

The Review: I’m breaking with WCBR’s traditional What’s Good/Not So Good review format for this one. My feelings about this issue are a bit complicated, and I’m having trouble compartmentalizing them even after a few days reflection. (Admittedly, these feelings are more than a little informed by DC’s big re-launch announcement, but more on that later.)

Wonder Woman’s “Odyssey” continues, much as it has for the last few issues: good-but-not-great. With this being the penultimate issue of a huge (and ostensibly very important) storyline, I had hoped to finally get a big revelation about the nature of what has happened to Diana—or at least a few solid pieces of information. Instead what we’re given is more of the same—more (very good) battle sequences, more big set pieces and events…and more mystery. Given the fact that very little (if any) of what happens to Diana in this storyline will matter once the DCU resets to issue #1, I can’t help but feel that a great deal of what made this storyline interesting has been lost. The whole point of the arc was to take a different sort of Diana in an alternate (?) history, and watch her grow, change and mature into the paragon of honor, compassion and virtue that we all know and love. Isn’t that the reasoning behind the arc’s title—to make an analogy to a character that was lost at sea, and had to find their way back home? The reboot announcement denies readers the satisfaction of the all-important homecoming. Or more accurately, it renders all of the character growth, and even that homecoming moment itself, moot by negating its occurrence.

Wonder Woman #609 – Review

By J. Michael Straczynski and Phil Hester (writers), Don Kramer (pencils), Sean Parsons and Wayne Faucher (inks), Alex Sinclair with Pete Pantazis (colors), Travis Lanham (letters)

The Story: Of all the people in the world, Dr. Psycho–longtime Wonder Woman nemesis–pulls Diana in a sort of limbo between life and death. There, it is revealed that the Diana we’ve been reading about for the last nine months is merely one of an endless series of aspects of Wonder Woman that have appeared throughout the ages: always different, but always acting as an avatar of hope, heroism and leadership. (In one of those ‘other lives,’ of course, she is Wonder Woman as the DC Universe knows her: born out of a clay statue that was given life by the gods.) Diana’s current nemeses, it is revealed, wish not only to kill her as she is, but to kill everything she will be and ever was.

What’s Good: Wow! Phil Hester is really kicking ass on this. I have no idea how much is his work and how much is JMS,’ but given the dramatic shift in quality and trajectory since Hester took over, I’m more than happy to give him the lion’s share of the credit here. He managed, in this single issue, to neatly summarize everything that has happened, and provide a good and convincing explanation for the cluster we Wonder Woman fans have been subjected to for nine months. The best part of all is that the explanation actually makes some amount of sense, and actually–holiest of holies–gives us some character development! Incredible.

Remember back a few issues ago when I said the series was at a tipping point, and had the potential to be either utterly awesome, or utterly disastrous? I’m 95% sure after this issue that we’re pointed firmly in the direction of awesome. By framing this as more than just another “alternate timeline” storyline, by using it to elevate Diana and show that she is not just Wonder Woman, but that she is–and has always been–an avatar of hope and courage throughout time, and to all races and creeds of people, Hester adds a beautiful bit of meta-mythology to Wonder Woman’s origin story, while simultaneously giving this storyline something it has lacked from the beginning: purpose. The fact that the villains are out not only to destroy this incarnation of Wonder Woman, but to destroy everything that EVERY aspect of her and what she represents, also raises the stakes considerably, and gives a great big shot of adrenaline (and direction) to a story that felt like it was wandering aimlessly.

Wonder Woman #607 – Review

By J. Michael Straczynski and Phil Hester (writers), Don Kramer with Eduardo Pansica (pencils), Andy Owens, Sean Parsons and Eber Ferreira (inks), Alex Sinclair (colors) and Travis Lanham (letters)

The Story: Diana–who, I can’t help pointing out, has actually started acting like Diana for a change of pace–and two of her closest Amazon guardians descend into a labyrinth to rescue the kidnapped boy, Harry. This being a labyrinth, there is naturally a Minotaur–along with a host of other nasties–to be conquered along the way. It turns out this is only the beginning of their problems though, as Harry’s kidnapping was only a ruse to lure Diana away from the rest of her Amazonian sisters, who are quickly engaged in a battle they may not be able to win without the help of their princess.

What’s Good: Wait a second, Greek mythology? Discussions about fate and the nature of Amazonian sisterhood? Diana actually, y’know, acting like a hero? Dang. It’s almost as if I’ve actually picked up a Wonder Woman book. Which is nice, because I haven’t seem to have read one in almost, what, eight months now?

This is a positive thing, I think.

On a less tongue in cheek (and less snitty) note, Phil Hester has been the best thing to happen to this title since JMS’s ill advised…reboot? Alternate reality? Temporary rip in the space/time continuum? I’m not sure exactly what it was he was trying to accomplish with this (and at this point we probably never will find out), but really, I don’t care. If Phil Hester can keep this storyline treading water long enough to get to its end, and if he can continue to repair some of the damage done to the character and continuity along the way, I’m more than happy to leave the questions of ‘what…exactly…happened here?’ aside. I assume he and the powers that be will have to come up with some sort of explanation at some point, but I really don’t care what it is anymore. Just having Diana–the real one–back again will be more than enough to satisfy this fan.

Wonder Woman #605 – Review

By J. Michael Straczynski and Phil Hester (writers), Don Kramer, Eduardo Panasica and Daniel HDR (pencils), Jay Leisten, Marlo Alquiza, Wayne Faucher and Eber Ferreira (inks), Alex Sinclair (colors) and Travis Lanham (letters)

The Story: An interlude, as Diana returns home to relax, recover, and engage in some exposition and–amazingly–character development as well. The short slice of home life is cut short when Diana sneaks out away from her guardians, and comes face to face with a threat she may not be able to handle.

What’s Good: I’ll be honest, on reading this issue for the first time, I wasn’t a fan. It felt like such a huge and sudden shift in both setting and in character–from a dangerous desert wasteland to a penthouse apartment, and from a dark, gritty and confused Diana to a far more upbeat and happy Diana–with next to no actual transition. On the second reading, however, while these complaints still mostly stand, I started to realize that I don’t care. I don’t care if it takes a slightly awkward and mostly unexplained transition to get Diana back to where she needs to be; the fact that some sense of normalcy is being reestablished, and most of all, that Diana is acting like someone other than Conan the Barbarian, is enough for me, and I’m happy to put up with whatever small hiccups in storytelling are necessary to get it. This issue feels almost like a reboot (of a reboot?), and I can’t say that’s a bad thing.

Once things get rolling, the story is really quite good. We learn a bit about Diana’s childhood, the way she was sheltered by her guardians, and the way she discovered her need to fight cruelty and injustice. I don’t particularly love flashbacks, but this particular set was sorely needed to give the reader–FINALLY, after six bloody issues!– some idea of who this ‘new’ Diana is, and what makes her tick as a character. After six issues of the grim n’ gritty “damn the gods!” version, it’s comforting to hear her discuss battling injustice and using her powers to, y’know, help people in need. Those are absolutely fundamental aspects of the character that should never, ever change, no matter how much you may want to tweak her history and origin.

Wonder Woman #604 – Review

By J. Michael Straczynski (writer), Don Kramer and Eduardo Pansica (pencils), Jay Leisten (inks), Alex Sinclair (colors), Travis Lanham (letters)

The Story: Diana faces off against the mysterious warrior bent on destroying the last of the Amazons. As the battle rages, the warrior reveals some of his past, and Diana begins to fully understand–and tap into–the divine power that is her birthright.

What’s Good: Well, it took five issues, but I think it’s safe to say that this storyline is finally starting to come into its own. The action and fight scenes are crisp and well paced without becoming tiresome and overbearing. Diana is also starting to feel and act like herself again, which is a huge relief. The last few pages that depict her discovering her new power marks the first time I’ve cracked a genuine grin while reading Wonder Woman in a very, very long time. THIS is the Wonder Woman I’ve been waiting for, and the one that makes me look forward to opening the next issue.

Also, I have to add: I usually avoid variant covers (and their markups) like the plague, but the variant for this issue–with Diana as the Vitruvian Man–had me pulling out my wallet on the spot. Awesome stuff.

Wonder Woman #603 – Review

By J. Michael Straczynski(writer), Don Kramer, Eduardo Pansica and Allan Goldman (pencils), Jay Leisten and Scott Koblish (inks), Alex Sinclair (colors), Travis Lanham (letters)

The Story: While trying to escort the Amazon refugees to safety, Diana is attacked by the Keres—evil spirits of death—and is dragged down to the Underworld. She escapes with the help of Charon, the one-time Ferryman who is ruling the Underworld in Hades’ absence. Upon returning to her refugees though, Diana finds that she’s gone straight from the frying pan and into the fire.

What’s Good: While I’m still not…really…sure…where they’re going with this story (it’s been three issues; we should have at least some idea by now, right?) I still really enjoyed this issue. The combination of Greek mythology and Wonder Woman mythology is pretty damned inspired. I find it strange that this storyline has added so much of the Greek mythology back into Wonder Woman–she was fighting space aliens before this arc–while simultaneously divesting her of so many of her personal mythological elements. It’s an odd dichotomy, but it works well. Watching a “normal” human working their way through the creatures of Greek mythology while attempting to realize their godly potential is compelling stuff. It’s what makes all of the original tales of demigods so timeless, and it’s a very effective device here as well.

Wonder Woman #602 – Review

By J. Michael Straczynski (writer), Don Kramer and Eduardo Panscia (pencils), Jay Leisten, Michael Babinski and Ruy Jose (inks), Alex Sinclair (colors), Travis Lanham (letters)

The Story: Diana joins her people in the Temple of Aphrodite to help them escape from the human assault.

What’s Good: This version of Diana is…taking some getting used to, at least for me. (It probably doesn’t help that I’m currently re-reading my trades of the Rucka and Simone runs…that probably contributes to more perceived character whiplash than is actually necessary.) I’m having trouble adjusting to the new Captain America too, of course, but at least in that case there’s an entirely new person sporting the uniform. I guess there’s no real way to escape this kind of personality shift in Diana, given the drastic change in her experiences that this time…warp…thing has caused (and while we’re on the subject, can we please have some sort of explanation as to why this is happening? We’re two and a half issues in!), but I still have to blink and remind myself that yes, this IS Wonder Woman, and she IS talking like a common street thug.

Why is this not under “what’s not so good?” Because regardless of how any of us feel about the storyline in general (personally I have major reservations, but I’m at least waiting an issue or two more before passing full judgment), both the dramatic change in Diana’s vernacular and her change in costume emphasize that this is NOT the same character we have known for so long. This is to JMS’s credit, although (much like in Superman) he tends to beat the reader over the head with his point. A delicate writer Mr. Straczynski is not.

Wonder Woman #601 – Review

by J. Michael Straczynski (writer), Don Kramer (pencils), Michael Babinski (inks), Alex Sinclair (colors), and Travis Lanham (letters)

The Story: Diana learns about the fall of Paradise Island and sets off in pursuit of her people’s mysterious tormenters.

What’s Good: If there’s one thing JMS’ first full issue of Wonder Woman has going for it, it’s tone, and that’s a very big thing that I fully expect will carry his run.  This story feels big, it feels epic, it feels important, and it feels grand.  I’ve at times referred to comic artwork that has a “high-budget feel,” but in this case, I think that’s just as appropriately applied to JMS’ storytelling.  This doesn’t come across like just another day in the office for Wonder Woman.  Rather, this issue presents sweeping storytelling and high stakes that, if anything, feel fresh and vital.  I was excited reading this issue, and that’s not something I’ve felt about the character in some time.

A lot of this is thanks to JMS’ decision to spend the first half of the issue recounting the fall of Themyscira.  The narration does a good job depicting the scale and the heroism of Hippolyta and the Amazons.  The wholesale slaughter and the mysterious bad guy all seem credible, visceral, and emotional; this doesn’t read like just another typical scene of hackneyed mass destruction.  I was surprised by how much I was invested in this flashback, especially the downfall of Hippolyta.  The extended scene very effectively propelled Diana on a quest where she has to balance her hunger for vengeance and her obligation to save the surviving Amazons.

Wonder Woman #600 – Review

By Gail Simone (writer), George Perez (pencils), Scott Koblish (inks), Amanda Conner (writer and artist), Paul Mounts (colors), Louise Simonson (writer), Eduardo Pansica (pencils), Bob Wiacek (ink), Geoff Johns (writer), Scott Kolins (art), Michael Atiyeh (colors), and J. Michael Straczynski (writer), Don Kramer (pencils), Michael Babinski (inks)

The Stories: Gail Simone (yay!) gives us a nice story about a team up between Diana and most of the other female DC heroes (including Kate Kane’s Batwoman—double yay!), Amanda Conner gives us a fluffy but fun vignette that has Diana helping Power Girl to solve a…relationship problem, Louise Simonson tells us about a disasters nearly averted as Wonder Woman teams up with Superman to take down Aegeus, Geoff Johns (yay again!) gives us a very nice, very classic-feeling Wonder Woman tale that ends up being a prologue to…

…the Big One. Straczynski and company attempt to reinvent everything, from Wonder Woman’s costume to her attitude to her origin, to he very timeline itself. How do they fare? Read on.

The Review: We’ll get to the elephant in the room in a moment, but let’s focus on the non-JMS stories first. They’re all good, mostly because of the caliber of creators (especially writers) they pulled in for this issue. Johns’ story was easily my favorite (full disclosure: I’m a completely unapologetic Johns fangirl, so your mileage could vary), both because of the excellent writing and the story itself (short though it was.) I just love the added meaning he endows the “wonder” of Wonder Woman with. It’s not the first time it has been done of course, but Johns works it in very quietly and elegantly, without overemphasizing it or beating us over the head. I appreciate that. All of the vignettes were worth the time I invested in reading them, honestly; even “Fuzzy Logic,” my least favorite of the group, was harmless enough. It was a bit too cute for my taste, but it really does emphasize that there’s a Wonder Woman story in this issue to suit every kind of fan.

Now, on to ”Couture Shock.” I hate to start off with a complaint when there are a lot of good things to say about this story…but ugh. Worst. Pun. Ever. Yes I know it’s a reference to the new costume, but still. No thank you. It’s just BAD. With such major changes being made to such an iconic character, I really would have appreciated a title that was a little less flippant. Maybe I’m being oversensitive, but it really feels rather disrespectful, especially given how…we’ll say “passionately,” fans tend to react to changes of this magnitude. (Just titling it plain ‘ol “Culture Shock,” while generic, would have been plenty serviceable, and preferable in my opinion.)