Tim Hanley's Blog, page 27

Wonder Woman #14 Review: The Grand Finale of “Year One”

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It’s been so long since we’ve had an in-continuity Wonder Woman story that was this good. Outside of continuity, there have been some great Wonder Woman tales over the past few years; The Legend of Wonder Woman was amazing, while there were some absolutely stellar issues of Sensation Comics over the course of its run. But in terms of the proper mainline Wonder Woman title itself, things haven’t been great for a while now. There were cool moments here and there, but the book has lacked a sustained start to finish arc that tells a good story and captures the essence of who Wonder Woman is, what she means, and why she’s important. Greg Rucka and Nicola Scott have given us such a tale, and it’s been a joy to read each issue. Today’s finale was a fitting close to the arc, one that stands on its own as a distillation of the heart of the character while also tying into everything else going on in “The Lies,” “The Truth,” and “Godwatch.” Let’s dig into it all, but first:

SPOILER ALERT!!

I am about to reveal all of the details in this exciting conclusion!

Look away if you haven’t read it yet!

Also, go read it! It’s really good!

When we last left our intrepid heroine, the god of war had appeared at the military installation where Wonder Woman was staying, and he seemed to be in a bad mood. His poor attitude wasn’t terribly surprising; Ares is known to have a rather foul disposition. But now we know what he was after: He wanted the location of the home of the Amazons, and he was going to take it by force if he had to.

Wonder Woman wasn’t interested in force, however. She battered Ares around a bit initially, but then took a different tack, and the scene that ensued captured everything I love about Rucka and Scott’s approach to Wonder Woman. First, she realized that fighting the god of war WITH war, i.e. confronting him directly and violently, wasn’t going to end well for anyone. He’s war incarnate, after all. He’s very good at it. So instead, she decided to talk to him, and supplicated herself before him.

Second, she then appealed to what is best in Ares. She didn’t insult him or try some kind of trickery. Instead, she gave him an honourable out when she told him, “Show us thine courage in mercy.” Wonder Woman recognized his power and offered him a way to use it that would make him look good while avoiding any bloodshed. It was a tactical move on her part, to be sure, but it also showed how Wonder Woman sees the best in everyone, understands their potential for good, and tries to help them achieve that. She met Ares on his own terms, and tried to turn him onto a path that would be for the good of all, himself included. And she was willing to humble herself to do so.

Third, Wonder Woman gave herself up for her friends. Kneeling before Ares is kind of a terrible idea. Exposing herself to the god of war, defenseless, could easily have taken a grisly turn. But she was willing to take that risk, put herself on the line, and trade whatever she could in order to find a peaceful solution to what could have been a violent conflict that endangered her friends. Her new friends, at that, and beyond. She barely knew Steve, Etta, and Barbara, and she’d been exposed to the evils of this outside world, and still she was willing to give herself up to keep them, and the wider world, safe.

Fourth, when all else failed and Ares didn’t get what he wanted, Wonder Woman knew how and where to hit him. She didn’t punch him, thus avoiding playing the game on his terms. Instead, she wrapped him in the lasso of truth and used its power to defeat him. Interestingly, while the lasso has retained its classic truth revealing elements in this incarnation of Wonder Woman, its added something new: Understanding. Wrapping themselves in the lasso is how Diana, Steve, Etta, and Barbara overcame their language barrier. It united them in a manner that allowed them to understand each other perfectly, despite their many differences. It may seem a little corny, but I absolutely love a story in which truth and understanding is the weapon the hero uses to defeat hate and war.

The rest of the issue was fun as well. Athena stepped in and revealed Ares’ fiendish master plan, so Wonder Woman and Steve went off and took care of that with ease. This resulted in another great scene for Diana; she was overcome with anger while fighting a group of terrorists and almost gave into a murderous impulse, but then she wrapped herself in her own lasso and the truth steeled her against the power of Ares’ lies. The fun continued in other ways as well, with the Etta/Barbara romantic subplot developing nicely, and for readers interested in some male eye candy, Nicola Scott had a lot of shirtless Steve Trevor in this issue. There was something for everyone, really. And the issue ended with a nice nod to Wonder Woman’s past, with an array of newspapers naming her “Wonder Woman” using different fonts that harkened back to the scripts used on the covers of Wonder Woman over the course of the series’ history.

All together, it was an excellent conclusion to a fantastic run that will go down as one of the best Wonder Woman stories of all time. It was well written and absolutely gorgeous, and it set the tone for who Wonder Woman is and what she means in today’s world. With such a good beginning, I can’t wait to see what’s next. Bilquis Evely, who drew the wonderful Barbara Ann Minerva standalone issue, is taking over the art for Scott on the new arc, “Godwatch,” a transition so perfect that it lessens the blow of Scott’s departure considerably. Wonder Woman‘s going to be good for a while, gang. It’s exciting times.

Women in Comics Statistics: DC and Marvel, October 2016 In Review

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My latest “Gendercrunching” article went up before Christmas over at Bleeding Cool, but I was busy with festive things and am only getting around to posting it here now. So let’s start off the New Year with some stats!

In October 2016, DC Comics posted one of their highest overall percentages of female creators yet, coming in at 19.7% overall. “Rebirth” has been good for women at DC thus far, and its run over the last five months has marked DC’s strongest period of female representation since this project began. Marvel slipped down to 16%, however, a drop that puts them mid-range relative to their past year. It’s been a couple of months of drops for Marvel now, and they’re noticeably off their previous highs.

We also began our biannual check-in on other direct market publishers. This month we visited Image, which ticked up slightly to 18.9%; IDW, which gained more than 4% female creators overall to land at 18.6%; and Dark Horse, which dropped down to land at 17.5%.

Head on over to Bleeding Cool for all of the stat fun!

Wonder Woman’s March 2017 Covers and Solicits

DC’s March 2017 solicits came out a while back, but with the holidays and all I’ve just got around to going through them now. March looks to be another busy month for Wonder Woman and the Amazons, so let’s see what the gang will be up to, starting with Wonder Woman itself:

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WONDER WOMAN #18

Written by GREG RUCKA

Art and cover by BILQUIS EVELY

Variant covers by JENNY FRISON

“GODWATCH” part two! Godwatch grows, and Diana has her first encounter with the ghost in the machine known as Dr. Cyber!

On sale MARCH 8 • 32 pg, FC, $2.99 US • RATED T

WONDER WOMAN #19

Written by GREG RUCKA

Art and cover by LIAM SHARP

Variant cover by JENNY FRISON

“The Truth” part three! Diana, Steve and Etta come face-to-face with their newest foes—the deadly group known as Poison! But what do they have to do with the plot to unravel Wonder Woman’s life?

On sale MARCH 22 • 32 pg, FC, $2.99 US • RATED T

We’ve got Dr. Cyber in one book and Poison (i.e. a group inspired by the classic Wonder Woman villain Dr. Poison) in another, giving us a greatest hits of iconic Wonder Woman villains. Throw in the Cheetah and they’re all doctors too, a web of villainy that reflects poorly on academia but makes for an enjoyable read nonetheless. One has to assume that Dr. Psycho will show up at some point and give us a quartet of dastardly doctors. Wonder Woman‘s been a fun book since Rucka and company relaunched it, and these March issues look like they should be a good time.

Onto Trinity:

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TRINITY #7

Written by FRANCIS MANAPUL

Art and cover by CLAY MANN

Variant cover by BILL SIENKIEWICZ

“DIVIDED WE FALL” prelude! America is divided! And now a hero has fallen and it may split the country even more. Can Batman, Superman and Wonder Woman stand against riots while defending a bigoted enemy? Don’t miss the beginning of an epic adventure that will test the ideals of our three heroes!

On sale MARCH 15 • 32 pg, FC, $2.99 US • RATED T

I’ve been enjoying this book thus far, but it’s got a lot less Francis Manapul art than I anticipated. It looked like he was going to be two on, one off, but that doesn’t seem to be the case now? Clay Mann is decent and all, but Manapul is AMAZING. He brings so much style and heart to the book. DC needs to set him up on a schedule without fill-ins. It’ll take a little longer, but the end result would be so gorgeous. Anyway, it looks like we’re on to a new arc here. I’m not totally sold on the premise, but we’ll see how the execution goes. The book’s been really good, so I’m optimistic.

Now some Bombshells:

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DC COMICS BOMBSHELLS #23

Written by MARGUERITE BENNETT

Art by MATIAS BERGARA, LAURA BRAGA and MIRKA ANDOLFO

Cover by MARGUERITE SAUVAGE

Wonder Woman is back! Take a quick trip to Themyscira where Wonder Woman and Supergirl are mourning the loss of Stargirl. Then, it’s back to the action in Zambesi as Wonder Woman crashes into the fight between the Bombshells and Cheetah, who’s leading the mechanical gods!

On sale MARCH 1 • 40 pg, FC, $3.99 US • RATED T • DIGITAL FIRST

I don’t usually post the DC Comics Bombshells solicits, especially lately since Wonder Woman’s been on the backburner, but she’s front and center in this new issue and I wanted to remind everyone to mark it on their calendar and pick it up. This series is SO GOOD, and if you’ve not been reading it you’re really missing out. Plus it’s set to have a lot more Wonder Woman soon, which is even more exciting!

We’ve got some classic TV antics coming too:

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BATMAN ’66 MEETS WONDER WOMAN ’77 #3

Written by JEFF PARKER and MARC ANDREYKO

Art by DAVID HAHN and KARL KESEL

Cover by MICHAEL ALLRED

Among the world’s greatest secrets is the location of Paradise Island, mythic home of the legendary Amazon warrior women where no man may visit! But what about a BATman? In 1966, the search for Ra’s al Ghul’s trail heats up, and the Caped Crusaders fly to warn Wonder Woman that her hidden home is the villain’s goal!

On sale MARCH 22 • 32 pg, FC, 3 of 6, $3.99 US • RATED E • DIGITAL FIRST

Batman is going to Paradise Island and I can’t wait. What a fantastic premise, to send the 1960s Batman and Robin to the home of Amazons. This should be hilarious and delightful. I love that this series exists.

Finally, the adventures of the Amazons:

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THE ODYSSEY OF THE AMAZONS #3

Written by KEVIN GREVIOUX

Art and cover by RYAN BENJAMIN and RICHARD FRIEND

It’s Amazons versus Valkyries! Hessia and her warriors are closing in on the Storm Giants who are holding their comrades prisoner when a group of fierce Nordic female warriors misinterpret their intent and launch an all-out assault. Will even the Amazons’ new Viking allies be able to help them against these god-like beings?

On sale MARCH 15 • 32 pg, FC, 3 of 6, $3.99 US • RATED T+

I remain very much unsold on this mini-series, but the first issue isn’t even out yet so I’ll reserve judgment and hope for the best. The covers haven’t been giving me a lot to look forward to, and Storm Giants and Vikings and Valkyries sounds like a Thor rip-off but again, we’ll see. This could be a surprise treat. It’s got Amazons in it, after all! The potential is certainly there.

Look for all of these comics in March 2017! It’s going to be a busy one!

Wonder Woman #13 Review: A Steve Trevor Interlude Between “The Lies” and “The Truth”

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While the end of Greg Rucka and Liam Sharp’s “The Lies” arc didn’t end with a big surprise for readers, it was certainly a shock for Wonder Woman. By that point in the run, it was quite clear that the New 52 Paradise Island was being retconned as a fiction, given how drastically different everything about the Amazons was in Rucka and Nicola Scott’s “Year One,” so the reveal at the end of Wonder Woman #11 was somewhat obvious. But not for Wonder Woman. The knowledge that her memories of her home and her interactions with the Amazons over the past few years were all a lie and the realization that she’s never been back home since she left the first time seems to have shattered her. So with Wonder Woman out of commission, Steve Trevor takes over the narrative lead in this standalone issue that bridges “The Lies” and “The Truth.” We’ll dig into it momentarily, but first:

SPOILER ALERT!!

I am about to tell you EVERYTHING that happens in this issue!

Look away if you haven’t read it yet!

Get yourself a post-Christmas treat and go pick it up!

I’ve read a lot of Wonder Woman comic books and very few of them put the focus on Steve Trevor, largely because he’s always been a tricky character to make interesting. Part of the problem is that he’s usually next to Wonder Woman and she’s the best; it’s hard for any dude to look cool when compared to the amazingness of Wonder Woman. Steve’s not a bad character by any means, just a little generic and better in small doses. There’s no strong, compelling characterization of him, no real hook for readers to latch onto other than that he loves Wonder Woman. We all love Wonder Woman too so I suppose we’re all on the same page as Steve, but compared to other non-superhero romantic interests, like Lois Lane for example, he’s not so exciting.

Rucka and guest artist Renato Guedes’ solution to this problem is to make Steve Trevor a total bad ass, and it works pretty well. We’ve seen a tougher Steve throughout the New 52 era, leading special ops teams and whatnot, but much like his Wonder Woman adventures, he was often overshadowed by his superhero companions. Wonder Woman #13 is wholly without superheroes; Wonder Woman’s on the fritz, and it’s just Steve versus a revamped Dr. Poison leading an assault team to nab Diana. These are enemies that Steve can handle, and he does with aplomb.

The issue is nicely put together. Steve is stuck on a barren island in the middle of nowhere with no way to get off it (Wonder Woman was his ride home), and the Picket is compromised and Etta Candy’s on the run, so support from the mainland isn’t coming any time soon. He’s got to use what little he has to fight a well-trained assault troop, making use of his environment and his combat skills to do so. Rucka and Guedes give Steve some clever solutions out of these limited options, and watching him set up and execute his plan makes for a fun read. We’re often told that Steve is a good soldier, but Wonder Woman usually ends up doing most of the heavy lifting, so it’s cool to see how well he can handle things when he’s on his own.

It’s also great to see a new take on Dr. Poison. Her doctorate isn’t specified, but Marina Maru is clearly connected to the classic Golden Age character in some way, and she’s a pleasant change from the horrible take on the character we got during the Finches’ run on Wonder Woman. And with the reference to Maru poison in Wonder Woman #12, it seems that the Maru(s?) are set to play a key role in the story moving forward. Rucka is slyly assembling a team of Wonder Woman’s classic villains, and it should make for some good times as these new arcs begin.

Renato Guedes is a good fit for the story, and he illustrates the action well. There’s a lot more show than tell in Steve’s plans to fight the incoming soldiers, so instead of the text telling us what Steve is up to, Guedes draws it all and does an excellent job communicating what he’s getting up to. The subsequent action is clearly rendered and easy to follow, and his work makes for an enjoyable issue all around. Guedes’ artwork isn’t as lovely as Nicola Scott or Bilquis Evely’s, but his sharper lines and sharper tone are a good fit for a Steve Trevor story in the same way Scott and Evely match well with Wonder Woman.

All together, this was a fun outing, and puts us in an interesting spot to start “The Truth.” Wonder Woman is shut down, housed in a hospital in London, while Steve is set to track down Etta. “The Lies” was a slow, somewhat unexciting arc, not bad by any means but not great either. I’m curious to see what we get out of “The Truth,” and I’m hopeful that Rucka and Sharp will a) make the book more fun and compelling and b) actually give us some answers this time around. This interlude was a positive start, and I’m looking forward to where things go from here.

Wonder Woman #12 Review: The Penultimate Issue of “Year One”

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Unsurprisingly, “Year One” continues to be a joy to read. Between the four previous main issues and the special Barbara Ann Minerva outing, this storyline has resulted in one of the best Wonder Woman runs in recent memory, and perhaps of all time. Greg Rucka and Nicola Scott are in top form, and they’ve captured something in Diana that’s been missing for several years, even before the New 52 relaunch. While Wonder Woman #12 is perhaps the least exciting or interesting issue of “Year One” thus far, that’s only because it’s been preceded by such amazing issues; it’s still extremely good. Let’s dig into it, but first:

SPOILER ALERT!!

I am about to reveal all of the things that happened in this issue!

Go read it first!

You’ll like it!

Let’s start with how this issue didn’t work as well as past outings for me. It was chock full of discussions of the Sear Group, what their objective might be, and who is behind them. Like, in depth. It took up most of the issue. Wonder Woman even interrogated the terrorists with her lasso to find the real truth of what was going on. It was all fine, but it was also a lengthy, involved set up. Then the book ended with the reveal that Ares and his destructive ways were behind it all. The thing is, of course he was. Dudes are wantonly killing innocent people in a Wonder Woman origin comic book? It’s going to be Ares.

Also, and more annoyingly, he’s on the cover. That’s what you call a dead giveaway. I don’t mind the cover revealing who the issue’s villain is going to be; it’s nice to know who your hero will be facing off against. But when you’ve got 19 pages of your characters wringing their hands over who this villain could possibly be and then you set up you final page like it’s some kind of shocking reveal, maybe don’t put the bad guy on the cover. Because when you put him on the cover, the issue’s investigation becomes less of a compelling putting together of the puzzle pieces and more of a “Dang, when are these dopes going to figure this out. We already know it’s Ares.” Devoting an entire issue to characters figuring out something the reader already knows and making it seem like this is a rad cliffhanger is not the best storytelling.

But despite the anticlimactic conclusion, this was still a good, enjoyable issue. I mean, it’s as gorgeous as ever. Nicola Scott is doing the best work of her career, and Romulo Fajardo Jr.’s color work is just spectacular. I’ve enjoyed his work for years; he brings such texture and depth to the page. And with this detailed coloring on top of Scott’s fantastic, clean linework, the pages just sing. In particular, the double page spread of Wonder Woman flying, lifting tanks, and deflecting bullets is so joyous and lovely. It all looks amazing.

Scott excels at expression as well, especially in subtle moments. There’s a scene in which Barbara Minerva and Etta Candy discuss the poetry of Sappho, an ancient Greek poet from the island of Lesbos who is the root of the terms “sapphic” and “lesbian.” When Etta mentions that she’s “quite familiar” with this poetry, there’s a glance between the woman that is small but so telling. There’s a sense of a secret being communicated between them, along with a hint of flirtation. The text suggests it, but the looks we get from Etta really sell it.

Also, I think we’ve got a queer Etta Candy? How fantastic! And perhaps a queer Barbara Minerva, if her flustered response to Etta’s flirtation is any indication. But a queer Etta seems pretty clear here. Which is very cool, and fitting for the character. If you go way back to the Golden Age, Etta was the head of a bondage-heavy sorority that, given William Moulton Marston’s association of bondage with sexual pleasure, had queer implications between the lines. She was straigt throughout the Modern Age, and was with Steve Trevor for most of it, but the New 52 Etta is a completely different character and they seem to be taking her in a new direction.

We also get a confirmation of Wonder Woman’s queerness that was very good to see. Much has been made of the article in which Greg Rucka confirmed that his Wonder Woman was queer, but many fans, myself included, noted that while it’s great to publicly say so, it needs to be in the text as well. If it’s not canon, it can easily be ignored or undone. This issue gives us that canonical confirmation when Steve asks Diana if she left anyone “special” behind when she left her home, and Diana responded that she’d left someone named Kasia. It’s not the bold confirmation that some folks were hoping for, but the implication is pretty clear. Still, great as this is, I hope that Rucka continues to keep Wonder Woman’s queerness part of her story. Something a bit more direct wouldn’t hurt to help cement this aspect of her character.

Overall, this was an enjoyable outing that, while not perfectly executed, was still a delight to look at and a fun read despite its overly telegraphed conclusion. It also sets the arc up for what should be an exciting finale next month. Ares seems to be spoiling for a fight, and Wonder Woman’s been exploring her powers with Steve, so this could be quite a battle. I’m curious to see what form as takes. As much as the issue dug through the Sear Group and what they were up to, we still don’t know much about Ares other than that he doesn’t care for Amazons. Perhaps there’s something larger at play that will tie into “The Lies” and “The Truth” or perhaps the dude’s just a straight up hater and Wonder Woman will punch him out. Whatever the case, we’ll find out next month!

Wonder Woman Is No Longer An Honorary UN Ambassador, And That’s Some BS

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A month and a half ago, Wonder Woman was named an Honorary United Nations Ambassador for the Empowerment of Women and Girls in a special ceremony in New York City. The event tied in with the character’s 75th anniversary and was a big to-do all around; it marked the beginning of a great initiative to empower girls all over the world, and Lynda Carter, Gal Gadot, and Patty Jenkins were all on hand to celebrate Wonder Woman’s appointment. Current Wonder Woman artist Nicola Scott also drew a gorgeous piece that was used as a key part of the new campaign. It was all very lovely, and there was talk of big plans for Wonder Woman and the campaign throughout 2017. Then yesterday, news broke that Wonder Woman was out as an honorary ambassador.

Many have pointed out that honorary ambassadorships tend to have a short shelf life; a climate change campaign earlier this year that featured one of the Angry Birds barely lasted two days. But most articles seem to be placing the blame for Wonder Woman’s removal on a group of UN staffers who started a petition against her appointment. The October ceremony itself was protested, and the petition went on to gather nearly 45,000 signatures. The petition said in part:

Although the original creators may have intended Wonder Woman to represent a strong and independent “warrior” woman with a feminist message, the reality is that the character’s current iteration is that of a large breasted, white woman of impossible proportions, scantily clad in a shimmery, thigh-baring body suit with an American flag motif and knee high boots –the epitome of a “pin-up” girl.

Now, I can see their point on certain issues. Superheroes are very much an American genre, and making a white woman bedecked in elements of American symbolism the face of a global initiative isn’t without its issues. She’s become a global symbol over the decades, with her upcoming film set to push that even further, but I understand that at first glance people might just see her star spangled outfit and white skin and decide she’s a poor fit for a global issue.

However, “at first glance” is the key phrase here. This is a petition written by some ill-informed folks who appear to have done little more than google image searched Wonder Woman and perhaps scanned her Wikipedia article for a second. Beyond the American imagery, Wonder Woman is very much a citizen of the world who represents the values of the United Nations. She’s not even American; she’s an immigrant. And her superhero domain is global. She’s not Spider-Man, swinging around New York City all the time. Wonder Woman’s adventures constantly take her all over the world. Moreover, she’s actually been a UN ambassador in the comics, making her an ideal icon for the organization.

And the “large breasted,” “thigh-baring,” “pin-up girl” angle is just foolishness. While there have been incarnations of Wonder Woman that depicted her in an exaggerated, overly sexualized manner, that is most definitely not the core of the character. Especially right now, with Bilquis Evely, Nicola Scott, and Liam Sharp drawing Wonder Woman. And as much as there have been occasional rough patches with the art, the public’s image of Wonder Woman is more based in adaptations. Lynda Carter brought grace and elegance to the character and her costume, while Gal Gadot brings a regal strength. These characters aren’t real; they are only what we make of them. And by choosing to focus on poor depictions of Wonder Woman and describing her in these terms, the authors of this petition are reducing the character solely to her physical appearance and completely missing who she is and what she means. It’s a disappointingly sexist angle and wholly uninformed.

(Also, Tinkerbell was named an honorary UN ambassador a few years back without protest and her costume covers the same amount of area as Wonder Woman’s, so come on).

The United Nations is currently in the midst of some controversy about female representation, with a man being named the next Secretary General yet again, and people there are understandably irked. But this is the wrong place to channel that frustration. Of all the stands to take in the face of real world sexism, taking down a fictional character who’s inspired fans for decades seems rather silly. Wonder Woman is THE female superhero. She’s an icon of feminism and female strength and power. Regardless of the degree that this petition affected the end of her ambassadorship, it’s sad that the petition exists in the first place and that it’s getting increased attention now. Wonder Woman is a great character and her honorary ambassadorship was a fitting, exciting appointment, and it’s just disappointing that it’s over so soon.

Wonder Woman ’77 Meets The Bionic Woman #1 Review: A Team Up Forty Years in the Making!

We’ve been seeing a lot of interesting crossovers at DC Comics lately, from Batman and the Teenage Mutant Ninja Turtles to Green Lantern and Star Trek. It’s always fun when two different publishers get together and do something cool and unique with their licensed properties.  And now we’ve got a great new team up between DC and Dynamite that brings together two of the most famous heroines of 1970s television, Wonder Woman and the Bionic Woman. Their solo TV series aired at the same time, but they never met on screen. Now they’re doing so in comic book form.

Wonder Woman ’77 Meets the Bionic Woman is penned by noted writer and famed Wonder Woman enthusiast Andy Mangels, with art from a great newcomer Judit Tondora. The six issue mini-series is set during the third season of each television show, and features the likenesses of both series’ stars, including Lynda Carter and Lindsay Wagner.

I’m pretty familiar with Carter’s Wonder Woman and her TV show, but the only things I know about Wagner’s Bionic Woman is that 1) it was a spinoff of The Six Million Dollar Man, which I also know very little about, 2) NBC did a reboot a few years back that wasn’t particularly good, and 3) Bill Haverchuck dressed up as Jaime Sommers on the Halloween episode of Freaks and Geeks. So I came in as half-knowledgeable and half-newbie. The knowledgeable part of me was glad to see so many characters and elements from the Wonder Woman television show in the mix; Mangels clearly knows his stuff, and has populated the book with a variety of enjoyable cameos and references. We’ve got Steve Trevor, of course, but also several less famous characters.

The newbie part of me recognized none of the many characters and things associated with The Bionic Woman, but googling various elements informed me that Mangels has created just as detailed a recreation of her world as he has with Wonder Woman’s, which will be very fun for fans of the program. Also, despite my complete lack of knowledge of half of the book, I still understood everything that was going on and my enjoyment of the book wasn’t at all impaired because I was out of The Bionic Woman loop. You don’t have to be a superfan of either to understand or enjoy this book. If you are, you may well have an even richer experience reading it, but it also works well if you’re coming in cold.

The story itself was classic team-up fare. Both woman’s respective spy agencies came together to stop a serious threat, Bionic Woman villain Ivan Karp and the paramilitary cabal known as CASTRA. The “cabal” bit was especially fun, because it promises more villains down the road, perhaps a combination of both the Wonder Woman and Bionic Woman rogues galleries. Diana Prince and Jaime Sommers were appointed as the protective detail for one of CASTRA’s targets, and a Wonder Woman and Bionic Woman team-up inevitably assumed.

What I really liked about this book was that both women were immediately on the same team, fighting bad guys together. They meet up even before their agencies officially liaise, and there’s mutual respect and acceptance straight away. Each recognizes that the other is a brave woman fighting on the right side of things, and they began to work together like it’s second nature. So many superhero team-ups these days start out with a misunderstanding and subsequent brawl, but Wonder Woman and the Bionic Woman are too smart for that. Instead, they just get to work being heroes.

This respect continues throughout the issue, including a scene where it seems that Jaime Sommers recognizes that Diana Prince is Wonder Woman. Diana brushes it off, and Jaime doesn’t press the issue. I’m guessing this will come up again as the series goes on, but for now Jaime trusts Diana enough to let her keep her secret. Plus there were more important things to deal with; you can’t be digging into secret identity shenanigans where there’s an evil cabal out there hatching fiendish plans!

DC’s Wonder Woman ’77 comic series has been hit and miss for me, artwise. Sometimes it’s spectacular, with spot on likenesses and gorgeous renderings of Wonder Woman and her 1970s world. Other times, it’s clunky and rough. Judit Tondora’s artwork here is definitely on the positive end of this spectrum. Her likenesses are solid, and she has a good handle on executing a variety of action packed scenes. The book lacks the detail that characterizes some of Wonder Woman ’77‘s best outings, but it’s a nicely drawn issue nonetheless, and the colors from Michael Bartolo and Stuart Chaifetz compliment Tondora’s linework well.

The book closes with a good cliffhanger ending, and there are a lot of interesting ways the series could go from here. I’m curious to see how Mangels and Tondora decide to roll with the Wonder Woman side of things; Wonder Woman ’77 has brought in several comic book villains who never appeared on the show, so it will be interesting to see if Wonder Woman ’77 Meets the Bionic Woman does the same or hews to the classic television ensemble. One scene in particular makes me think they may be going in the former direction, but I won’t give any spoilers here so suffice it to say, very vaguely, that someone made me think of someone not associated with the show. Time will tell. But for now, the team has put together a good first issue that’s worthy of the two icons it pairs up. The book is available in comic shops today, so check it out if you’re a fan of either of the television shows or of Wonder Woman in general.

Women at Marvel Comics – February 2017 Solicits, 31 Women on 23 Books

Marvel is set to be below their recent highs in female creator representation this February, but it’s still going to be a relatively strong month for women at the publisher. They have more than 30 women in their solicits for the seventh straight month, an impressive run with far and away the best sustained numbers we’ve seen from either DC or Marvel over the best several years. Let’s take a look at who’s doing what at Marvel in February 2017:

Afua Richardson: Black Panther: World of Wakanda #4 (cover)
Alitha E. Martinez: Black Panther: World of Wakanda #4 (interior art)
Amy Reeder: Moon Girl and Devil Dinosaur #16 (co-writer, cover)
Becky Cloonan: The Punisher #10 (writer)
Brittney L. Williams: Patsy Walker, a.k.a. Hellcat! #15 (interior art)
Elizabeth Torque: Elektra #1 (cover), The Mighty Captain Marvel #2 (cover)
Elsa Charretier: Patsy Walker, a.k.a. Hellcat! #15 (cover),The Unbelievable Gwenpool #11 (cover), The Unstoppable Wasp #2 (interior art, cover)
Erica Henderson: The Unbeatable Squirrel Girl #17 (interior art, cover)
G. Willow Wilson: Ms. Marvel #15 (writer)
Gisele Lagace: The Unbelievable Gwenpool #12 (cover)
Gurihiru: The Unbelievable Gwenpool #12 (interior art)
Helen Chen: Silk #17 (cover)
Irene Strychalski: Silk #17 (interior art)
Jordie Bellaire: Uncanny Inhumans #19 (variant cover)
Kamome Shirahama: Star Wars: Doctor Aphra #4 (cover)
Kate Leth: Patsy Walker, a.k.a. Hellcat! #15 (writer)
Kelly Thompson: Hawkeye #3 (writer)
Margaret Stohl: The Mighty Captain Marvel #2 (writer)
Marguerite Sauvage: The Unworthy Thor #4 (variant cover)
Mariko Tamaki: Hulk #3 (writer)
Myisha Haynes: The Unbelievable Gwenpool #11 (interior art)
Natacha Bustos: Moon Girl and Devil Dinosaur #16 (interior art)
Nicole Perlman: Gamora #3 (writer)
Q-Hayashida: Monsters Unleashed #3 (variant cover)
Ro Stein: Champions #1.MU (interior art)
Robin Furth: Dark Tower: The Drawing of the Three – The Sailor #5 (co-writer)
Roxane Gay: Black Panther: World of Wakanda #4 (co-writer)
Sara Pichelli: Spider-Man #13 (interior art, cover)
Vanesa Del Rey: Scarlet Witch #15 (interior art)
Veronica Fish: Spider-Woman #16 (interior art)

All together, there are 31 different female creators set to work on 23 different comic books this February, 2 fewer women than in January but the same number of books. Marvel’s female creator numbers have ticked down for two months in a row, though that was somewhat expected given the high they hit in December; numbers rarely go up and up and up. It’s been an up and down game, with the overall trajectory heading in a positive direction. That Marvel still has more than 30 women in the mix after two declining months is a good sign for the stability of their ranks. A year ago there were only 18 women in the solicits.

We’ve got a couple of new names this month as well. As far as I can tell, Gisele Lagace is doing her first work at Marvel with a cover, Q-Hayashida is drawing a variant cover, and Ro Stein is doing some interior art. Three new women is a solid tally; anything that expands the rolodex is good to see.

There’s not much in the way of new series this February apart from a Daredevil-related trifecta. Kingpin, Bullseye, and Elektra are all launching books, and the latter is the one we’re the most interested in. Elektra had a book recently that got cancelled in one of the many line-wide relaunches, but she’s back again. And she’s got the Daredevil television show to thank for it if the covers are any indication; her new costume very much resembles her Netflix outfit.

Overall, February looks like it will be a slightly down month for Marvel, but their numbers have been so high lately that even a down month is still rather decent relative to their previous performances over the past few years. There’s no cause for concern yet. Chances are things will be trending up again soon, though we’ll be here each month keeping an eye on things either way.

Women at DC Comics – February 2017 Solicits, 27 Women on 21 Books

DC’s female creator representation is set to remain steady albeit somewhat below their recent highs as the new year unfolds. The February 2017 solicits have some fun new books and the numbers are largely in line with the January solicits. DC’s posted higher numbers, but they’ve posted far, far lower too. Let’s take a look at who’s doing what at DC this February:

Amanda Conner: Harley Quinn #13 (co-writer, cover), Harley Quinn #14 (co-writer, cover)
Becky Cloonan: Gotham Academy: Second Semester #6 (writer, cover), Shade, the Changing Girl #5 (cover)
Bilquis Evely: Wonder Woman #16 (interior art, cover)
Cecil Castellucci: Shade, the Changing Girl #5 (writer)
Chynna Clugston Flores: Shade, the Changing Girl #5 (interior art)
Claire Roe: Batgirl and the Birds of Prey #7 (interior art)
Elena Casagrande: Vigilante: Southland #2 (interior art)
Emanuela Lupacchino: Green Lanterns #16 (variant cover), Green Lanterns #17 (variant cover)
Gail Simone: Clean Room #16 (writer)
Heather Nuhfer: Teen Titans Go! #20 (co-writer)
Hope Larson: Batgirl #8 (writer)
Jenny Frison: Clean Room #16 (cover), Shade, the Changing Girl #5 (variant cover), Wonder Woman #16 (variant cover), Wonder Woman #17 (variant cover)
Jody Houser: Mother Panic #4 (writer)
Joelle Jones: Supergirl: Being Super #2 (interior art, cover)
Julie Benson: Batgirl and the Birds of Prey #7 (co-writer)
Kamome Shirahama: Batgirl and the Birds of Prey #7 (variant cover)
Marguerite Bennett: Batwoman: Rebirth #1 (co-writer), DC Comics Bombshells #22 (writer)
Mariko Tamaki: Supergirl: Being Super #2 (writer)
Marley Zarcone: Shade, the Changing Girl #5 (interior art)
Mirka Andolfo: DC Comics Bombshells #22 (interior art)
Msassyk: Gotham Academy: Second Semester #6 (interior art)
Sandra Hope: Gotham Academy: Second Semester #6 (inker)
Sarah Vaughn: Deadman: Dark Mansion of Forbidden Love #3 (writer)
Shawna Benson: Batgirl and the Birds of Prey #7 (co-writer)
Stephanie Hans: Deadman: Dark Mansion of Forbidden Love #3 (cover)
Tula Lotay: All Star Batman #7 (interior art, cover, variant cover), Everafter: From the Pages of Fables #6 (cover), The Wild Storm #1 (variant cover)
Yasmine Putri: The Hellblazer #7 (variant cover)

All together, there are 27 different female creators set to work on 21 different books in February 2017, one more female creator than in January though 3 fewer books. Both months of 2017 have been in the high 20s, but DC’s solicits were in the low 30s at the end of 2016. It’s a light step down for the publisher, and the continuing unfolding of the second phase of “Rebirth” doesn’t seem to be growing the female creator ranks yet.

Part of the reason for the numbers not changing much is that there aren’t really any new women in the list above. It’s a lots of returning favourites and people we’ve seen recently; everyone’s a regular. There are folks in new gigs, however. Bilquis Evely is taking over as the artist on the even-numbered issues of Wonder Woman, and Marguerite Bennett is penning a Batwoman series.

Speaking of, there are a few new books with solid female character representation. Batwoman is the only female-led solo title set to debut; it premieres with a “Rebirth” issue this month, and then the regular series should launch in March. A couple of new team books have a lot of women in the mix as well, including The Wild Storm reboot, which name checks Angela Spica, Jenny Sparks, and Voodoo in the solicit, and the new Justice League of America, which counts Black Canary, Killer Frost, and Vixen as members.

Overall, is a fairly steady month for DC, with relatively decent female creator representation. The drop in the number of books is a bit disheartening; that’s the lowest number of titles since September. But the ranks as a whole are holding firm, and remain above where DC was when “Rebirth” began . DC’s previously shown that they’re capable of higher numbers, and perhaps the second wave of “Rebirth” will continue and help the publisher reach and perhaps surpass those totals.

Women In Comics Statistics: DC and Marvel, September 2016 In Review

My latest “Gendercrunching” column is up at Bleeding Cool, and both DC and Marvel’s overall percentage remained in a fairly steady spot, though both ticked down slightly.

DC fell to 17% female creators overall, a tiny drop from August and well within the range they’ve been in for the past six months. Marvel was just a tick ahead of DC with 17.1% female creators, a small decline of 0.9% from the month before. Marvel’s a bit low compared to where they were recently, but well above their numbers from last autumn.

We also took a look at group editors at DC and Marvel, the senior editors who control specific sections of each publisher’s lineup. We broke up our stats by group editor and cut out the editorial numbers to focus solely on the creative side of things. The results were interesting: DC’s Brian Cunningham and Eddie Berganza were at the bottom of the list in the ballpark of about 3% female creators, while DC’s Mark Doyle and Jim Chadwick were at the top in the range of 20% female creators. All of Marvel’s group editors and a couple more from DC filled out the middle of the chart.

Head on over to Bleeding Cool for all of the numbers and analysis!