Dark Connections and Darker Divinity: Wonder Woman #46

The following is my review of Wonder Woman #46, which was posted on PopMatters.com.

When it comes to the ancient mythologies, the major themes often reflect distinctly human traits. Gods, demigods, and everything in between tend to highlight extremes and embellishments of these traits. The modern superhero genre frequently utilizes the same approach, forging heroes that embody powerful traits that reflect the best and worst of humanity. In that context, Wonder Woman reflects the best of mortals and gods alike.

Unlike the traits embodied in Superman or Batman, Wonder Woman's story is closely tied to that of the Olympian gods that she and her fellow Amazons worship. Much of her power, persona, and heritage stem from the stories of these gods that go back to ancient times. Sometimes, they empower Wonder Woman and drive her forward. Other times, they present her with adversaries and conflicts. In recent times, her struggles under James Robinson utilize a little of both.

There are a great many upheavals going on in Wonder Woman's life, both as high-profile hero in the DC Universe and on the personal front. After being reunited with her long lost twin brother, Jason, she goes through a bit of an adjustment period, having lived much of her life under the assumptions her mother, the gods, and her Amazon sisters instilled. More and more of those assumptions are now coming into question. The events of Dark Nights: Metal and her recent dealings with Grail have Wonder Woman at another crossroads that may result in more than just shocking family revelations.

While secrets and lies are a frequent catalyst in mythology, ancient and contemporary alike, Wonder Woman #46 lays the groundwork with conflict more relevant to Wonder Woman's recent personal struggles. Between discovering her long-lost brother and watching Barbara Minerva transform into Cheetah again, she's already familiar with divine melodrama, albeit on a smaller scale. James Robinson keeps the scale small at first, but it steadily escalates.

It starts with Cheetah's escape. It's sudden, violent, and brings her face-to-face with Veronica Cale, the woman most responsible for Barbara Minerva becoming Cheetah again. On the surface, it presents itself as simple revenge scheme in the mold of John Wick. That's how Wonder Woman approaches it when she enters the picture, but it gets distinctly less simple from there. That tends to happen whenever gods, new and old alike, get involved.

Parallel to Cheetah's story, Diana's twin brother, Jason, follows his own plot that reunites him with his adopted father, Glaucus. Like Cheetah's blood-soaked revenge story, his starts out simple. Rescuing his adopted father from people intent on studying the biology of immortals doesn't break much new ground. As with Diana, though, that changes once some divine details emerge.

Unlike Diana, though, Jason's story is still new and has a few lingering plot holes. Robinson doesn't overlook them, but doesn't give a full answer either. Jason's emergence within Wonder Woman is already heavily influenced by the Olympian gods. His connection with them is a bit less certain compared to his sister, if only because he's shown a tendency to be far less responsible. The hints dropped by Glaucus also indicate that they've influenced Jason more than he thinks.

This provides an ominous backdrop once the impact of Dark Nights: Metal catches up to the story. It's somewhat abrupt, hitting Diana both literally and figuratively as she tries to deal with Cheetah. Most stories involving gods and god-like beings tend to evoke powerful passions throughout the mortal masses, especially among those expected to provide worship. Anything that disrupts that worship is an attack on their very soul.

The passions, in this case, have little to do with piety. True to ancient mythologies that highlight the importance of the gods, their absence or lack of influence leaves the world of dangerous and prone to chaos. This is where Dark Nights: Metal starts spreading its influence and Wonder Woman is on the front line. Being a demigoddess, herself, it's fitting that she finds herself drawn into the chaos. An agent of that chaos even ends up being a familiar face who bears a familiar red cape and symbol on her chest, which further raises the stakes.

Wonder Woman #46 takes its time to set up a new plot involving the Old Gods, the emerging Dark Gods, and how it all effects Wonder Woman, someone's whose story involves battling divine chaos every other week. The connections between Diana's recent clashes and Dark Nights: Metal are subtle, but relevant. However, they're too subtle to generate much impact, aside from the last couple of pages. While the story is full of bloody battles and divinely-fueled chaos, it still moves too slowly to really test Wonder Woman in a meaningful way.

It still makes the necessary connections and establishes a foundation for a divine conflict that will bring new, but familiar contributors to her struggle. Whether they'll help or hinder her efforts remain to be seen. One of ancient mythology's most common themes, aside from gods impregnating mortal women, involves how determined gods are at maintaining their godly status. Those who worship them can be just as determined and if Wonder Woman #46 is any indication, she'll may end up fighting both.

Final Score: 6 out of 10

Petty Villains Makes For Shallow Conflict: Wonder Woman #40

The following is my review of Wonder Woman #40, which was posted on PopMatters.com.

There are certain villains who don't need much push to fall into that never-ending cycle of evil, resentment, and constantly seeking new henchmen. Characters like Thanos, Lex Luthor, or Darkseid rarely a lot of motivation to walk that path. They're kind of expected to because they fill a particular role. They're the kind of villains whose existence makes the struggle of the heroes necessary. They provide obstacles that often have to be fought with fists rather than words.

Then, there are the villains who need a much harder push to walk that path. These are the Walter Whites of villains, characters who tried to live an honorable life, but chose a different path when circumstances worked against them. As such, the dynamics driving these characters tend to be more complex. Sometimes, they can be downright erratic because it's not always clear whether such a character qualifies as a villain. When those dynamics are working, though, these kinds of characters can be uniquely compelling.

Most of Wonder Woman's villains don't fall into the category of a Walter White. Historically, her villains involve gods, demigods, mythical monsters, and alien tyrants. The dynamics with those kinds of characters tend to be pretty basic. That's what makes Silver Swan a breath of fresh air in James Robinson's ongoing run in Wonder Woman. She's no demigod or mythical monster, but her conflict with Wonder Woman is uniquely dramatic in that it's so personal.

The story that begins in Wonder Woman #38 takes someone who never showed an inclination towards evil and guides them down that path. Wonder Woman #40 marks the culmination of that journey. It puts Wonder Woman in a difficult position, one in which every punch and every attack she unleashes against Silver Swan is like a jab to the heart. It's one of those battles that's destined to feel like a loss, even when she wins. That kind of inner struggle and tends to bring out the best in Diana.

There are key instances in the story where Wonder Woman demonstrates that unique strength. The path that leads to her showdown with Silver Swan is pretty direct. There aren't many diversions or mysteries to solve. There's no need for Batman's detective skills or a favor from Olympus either. The path to that dramatic clash is pretty straightforward, so much so that there isn't much room for tension. Given Silver Swan's willingness to attack a hospitals and slit throats, particularly the one of the long-lost brother that Diana just reunited with, there isn't much need for it.

Much of the clash and the story around it is fairly basic. Silver Swan's motivations don't include some grand, deranged vision that involves tearing the universe asunder while using the pained cries of her enemies as background music. She just hates Wonder Woman because she feels betrayed by her. Before she becomes Silver Swan, she believes she's Wonder Woman's friend. She draws strength from that as she deals with her own personal issues. Then, when she really needs that friendship, it's not there and that pushes her over the edge.

In terms of the catalyst that turns someone from a friend to an enemy, it's pretty shallow. Silver Swan is no Lex Luthor or Joker. She's no Mole Man either. She never comes off as psychotic or broken. If anything, she comes off as petty, as though she's somehow entitled to Wonder Woman's support during her time of need. She sees her as the emotional equivalent of an Uber driver, someone she can call on to feel strong and loved again. She doesn't seem to realize that Wonder Woman, as a full-fledged member of the Justice League who has to battle alien tyrants and demigods every other week, has a lot on her plate.

This is what makes Silver Swan seem downright petty, even by villain standards. It also makes it hard to see her side things when the battle between her and Wonder Woman finally erupts. Quality villains, even the exceedingly unlikable kind like Lex Luthor and Darkseid, have some sort of grievance to bring to the table that makes their hatred of heroes seem legitimate. Silver Swan primary grievance is that Wonder Woman didn't inconvenience herself enough for her. That makes her difficult to sympathize with, let alone root for.

She still manages to come off as a highly-driven villain that hurts Wonder Woman on an emotional level. That part of the story still carries plenty of dramatic weight and that gives Wonder Woman #40 a sense of depth. However, the impact of that depth is somewhat undermined by how rushed the final battle ends up being. There isn't much time to build the tension. There's still plenty of heartfelt strain, but it ends before anyone needs to catch their breath.

That's somewhat necessary, though, because a good chunk of the story is spent on how Diana's long-lost brother, Jason, is adapting to being part of Wonder Woman's life. That's a compelling story in its own right and while it does make for some colorful moments in previous issues, it's more of a distraction in Wonder Woman #40. Despite being a demigod like Wonder Woman, Jason does more to hinder rather than help his sister's efforts against Silver Swan.

The family drama and the personal drama just don't effectively mix. Given how dramatic and convoluted things can get whenever demigods are involved, that comes off as a missed opportunity. The aftermath of the battle itself also leaves a lot of issues unresolved. While Robinson does plant the seeds of new mysteries and further complications with Jason, it doesn't make for much impact because it contributes so little to the battle against Silver Swan.

On paper, the story surrounding Silver Swan and Wonder Woman's newfound family connections has all the necessary components for a big, dramatic story full of heart, tragedy, and jokes about Zeus' various infidelities. It's an opportunity to create a new villain for Wonder Woman that tests her in ways that make iconic heroes even greater. Just being able to do that without creepy clown makeup is an accomplishment in modern comics.

Unfortunately, the story that culminates in Wonder Woman #40 doesn't make use of those components. The characters and situations are there, but connections and motivations aren't. Silver Swan isn't going to be placed in the same tier as Lex Luthor, the Joker, or even Cheetah anytime soon. Robinson does leave her story open for more development, she has a long way to go before she becomes the kind of villain that deserves Wonder Woman's tears and fists.

Final Score: 5 out of 10

Evil Wonders: Wonder Woman #33

The following is my review of Wonder Woman #33, which was posted on PopMatters.com.

No matter how dysfunctional a family is, there's usually some kind of sentiment binding it together. That sentiment isn't always healthy. Many sitcoms, good and bad alike, are built on that kind of dysfunction. Add gods, demigods, and superheroes to the mix and that dysfunction takes on a level that even the trashiest prime-time sitcom can't match. Wonder Woman's family may not have that kind of dysfunction, but whenever gods and demigods enter the mix, it usually means she'll eventually start punching something.

Wonder Woman's family already has its share of complications, thanks largely to an origins story that is still muddled between clay figurines and Zeus not being able to keep it in his pants again. The events of Darkseid Wars adds another complication in the form of Grail, who is basically the anti-Wonder Woman. As the daughter of Darkseid and a self-professed daddy's girl, she exists to spit on everything Wonder Woman stands for while looking more menacing than any illegitimate offspring that Zeus could ever sire.

Grail is one of those characters who has the potential to be a true nemesis to Wonder Woman. Superman has Lex Luthor. Batman has the Joker. Wonder Woman really doesn't have anyone on that level who isn't a renegade god or demigod. Grail, after taking down the entire Justice League in Darkseid Wars, can challenge Wonder Woman on every conceivable level. Wonder Woman #33 finally puts Grail in that position and James Robinson makes the most of it.

Darkseid War introduced Grail, but offers little insight into who she is and what motivates her. She never comes off as an overly complex character. There's no effort to craft some elaborate story about how she ends up on the path of evil. Her father is Darkseid. Evil is literally in her blood and she doesn't even try to avoid that. She embraces it. Like Lex Luthor and the Joker, she is not in conflict with who she is. She's evil and she's fine with that. That kind of self-awareness may be basic, but it's oddly refreshing in an era where too many villains try to come off as tragic figures.

That simple, streamlined persona helps move the story along. Wonder Woman #33 isn't just about establishing Grail as someone who can battle Wonder Woman without relying entirely on played out themes from Greco-Roman mythology. It's about tying her story into Wonder Woman's world, specifically the ongoing conflict with her long lost brother. Again, Wonder Woman's divine brands of family dysfunction are complicated, but that makes Grail's simplicity all the more appropriate.

Like Wonder Woman, much of Grail's story revolves around her family. She isn't just driven by her dark heritage. She actively works to protect and preserve it. The recent events surrounding Dark Knights: Metal puts Darkseid in a strange, but vulnerable position. After his defeat, he reverts to the form of an infant and it's up to Grail to play the role of mother to her father. It sounds weird, but when Greco-Roman traditions involve multiple instances of incest, infidelity, and unholy unions, it barely raises an eyebrow.

Grail still embraces this role. She never shows any hesitation or reservations about helping Darkseid return to form. She's just like him, wanting nothing more than to spread death and destruction to everything she touches. Even when aiding her father means murdering various demigods, mostly the many illegitimate children of Zeus, she does so without a second thought. She never sees it as evil or inconvenient, for that matter. She's just an evil daughter helping her evil father.

This makes for plenty of brief, but brutal moments that reinforce the extent of Grail's persona. She is evil to the core and that doesn't bother her in the slightest. While this goes a long way towards establishing her as a menacing villain for Wonder Woman, it doesn't make for too compelling a plot. Wonder Woman #33 offers a great many insights into Grail, at least with respect to her role in the ongoing story surrounding Wonder Woman's brother. Beyond that, though, there aren't many complexities or revelations.

The simplicity of Grail's character may help move the story along, but it offers little else, in terms of intrigue. She has a problem, namely her father's nascent state. She has to solve that problem by killing the many demigods that Zeus sired when he kept thinking with the wrong head. She goes about solving that problem with the kind of gratuitous violence that would make any evil father proud. There's not much more to the story beyond that.

There are some characters whose evil nature needs to be belabored every now and then. Grail established during Darkseid Wars that she is not one of them. Anyone who has Darkseid for a father doesn't need that kind of effort. While giving her a defined role in Wonder Woman's ongoing narrative is important, Grail doesn't get much depth beyond that. For her to truly become the Lex Luthor or Joker for Wonder Woman, she needs more than just a desire to help her father.

Wonder Woman #33 still succeeds in exploring Grail, demonstrating just how menacing a threat she can be to anyone she faces, demigod or not. Robinson skillfully guides her into a collision course with Wonder Woman while the artwork of Emanuela Lupacchino provides the necessary brutal imagery to that journey. More than anything else, that journey ensures that any pending clash between Grail and Wonder Woman will carry a lot of dramatic weight.

The family dynamics for both Wonder Woman and Grail, as dysfunctional and divine they may be, create a unique appeal that feels right at home in the bizzare, yet lecherous world of Greco-Roman mythology. Wonder Woman still embodies the higher values that mythos, but Grail is set to embody the worse. The fact she can do all of this without being the bitter offspring of Zeus makes that feat all the more remarkable.

Final Score: 6 out of 10

Obscuring a Mythos: Wonder Woman #1

The following is my review of Wonder Woman #1, which was posted on PopMatters.com.

The strength of any ancient myth is measured by how well it conveys its themes. There's a reason why certain myths transcend generations, cultures, and network cancellations. They reflect ideals and insights into the human condition. The stories may include colorful plots like gods knocking up mortal women, but the strength of that story is what separates timeless myths from boring reruns.

Wonder Woman's entire persona is built around the themes of ancient myths. From her divine creation to her divine abilities to her divine insights into the affairs of man, she personifies the strength of every myth, regardless of who some playful god impregnates. She epitomizes the ideals of womanhood and the warrior spirit. The strength of her story transcends eras from the hyper-masculine bravado of the '80s to the communist paranoia of the '50s.

Now, the events of DC Rebirth are poised to confuse and confound this story, adding uncertainty to the entire foundation of Wonder Woman's mythos. Is she the daughter of Zeus? Is she molded from clay? Is she the rightful God of War? Is she destined to emasculate Steve Trevor at every turn? These are all questions that linger in the backdrop of Wonder Woman #1, but little is done to answer any of them. There aren't even any telling hints, be they ominous teasers or divine impregnations.

Instead, Greg Rucka attempts to set up a new story and a new conflict with Wonder Woman. On paper, the concept has some merit. He even succeeds in fleshing out this concept to some degree, but that success is marginal at best. That's not to say it fails though. There is some intrigue at work within this narrative. It just leaves too many unanswered questions and too few reasons to get excited. The effect is undeniable. When Wonder Woman fighting mythical monsters fails to excite, then there's definitely something missing.

The story itself basically starts in the middle of a conflict. Wonder Woman is on a journey, which is a common narrative in many classical myths. That journey puts her in an exotic locale that is much more colorful than the streets of Gotham or the skies of Metropolis. While the snarling beasts aren't quite as memorable as homicidal clowns, it does reflect Wonder Woman's mythical heritage and gives her a target for her mythical strength. Without any added context, however, it may as well be a typical Tuesday for Wonder Woman.

That's not to say there aren't other forces behind the scenes, providing context to Wonder Woman's journey. Rucka actually introduces a key figure in Wonder Woman's mythos that has been absent in recent years, namely Etta Candy. However, this version of her is very different a lot less colorful. She's basically an Amanda Waller wannabe, running some secret government operation that adds unnecessary bureaucracy to everyday heroes. It's an intriguing introduction with intriguing potential, but much of that potential goes unrealized.

Wonder Woman #1 focuses less on realizing potential and more on creating a foundation. That foundation does build somewhat on the recent events of DC Rebirth, which led Wonder Woman to question the details of her origins story. Any origin that involves gods impregnating mortal women or bringing clay figurines to life is bound to be confusing, but the foundation here does little to resolve that confusion. In some ways, it outright ignores it, which is a noticeable crack in the foundation.

Rucka tries to fill those cracks in by developing a sub-plot with Steve Trevor and Etta Candy, tying their conflicts to Wonder Woman's journey. The connection between these details is lacking, but it there is at least some sense of cohesion. It's limited, but it effectively gives roles to Wonder Woman's supporting cast. As Batman can attest, a supporting cast is vital in any iconic mythos.

Unlike Batman though, Wonder Woman's supporting doesn't directly aid her journey. They just make sure nobody distracts her so she can focus on the task at hand. However, the nature of that task doesn't become clear until later in the story. Before then, Wonder Woman spends most of her time just warning the monsters that attack her and fighting them when they ignore her warnings. It's not exactly the kind of tactic that makes a myth epic.

Even so, Rucka does make an effort to highlight the most important aspects of Wonder Woman's character. She's not just a warrior and an icon who can survive being on a team with Batman and Green Lantern. She's a woman of compassion and mercy, offering it even to monsters who stand in her way. Even though they ignore it as if it were typical trash talk, it reinforces a key component of Wonder Woman's identity.

That identity is a lot more vital in wake of DC Rebirth. With Wonder Woman being so unsure of her origins, it makes sense to remind herself and others of who she is and what she stands for. It ends up being the only real certainty conveyed in Wonder Woman #1 because many other details are left undeveloped and unaddressed.

There's nothing egregious about the way Rucka handles Wonder Woman or her supporting cast. Nobody sleeps with a god, makes a deal with Mephisto, or trusts Lex Luthor. The story surrounding these characters is simply lacking in context and detail. Without that, the story falls flat and there's a reason stories like that don't make their way into AP English classes or comic racks.

The aftermath of DC Rebirth is affecting all corners of the DC Universe. With Wonder Woman, however, these effects seem detached and distant. Wonder Woman #1 tries to build a new foundation on top of one that is still incomplete. The elements of her mythos are there. There are even a few new elements that have the potential to develop. Despite this, the details aren't there. The connections are weak, if present at all. For a mythos as iconic as Wonder Woman, the standards are high and potential alone never slayed a titan.

Final Score: 4 out of 10

Ambassador Swanson: Ron F@%*#! Swanson Meets Wonder Woman

We all come up with crazy, fucked up ideas at some point. Maybe we've had too much to drink. Maybe we've had one too many bong hits. Maybe the guy who sold us weed accidentally slipped some LSD into a joint. Most of the time, we forget these ideas as soon as we sober up or as soon as we find something good to watch on Netflix. But every now and then, we see some of those ideas through.

This past year, one of my favorite TV shows came to a solemn yet fitting end. Parks and Recreation was one of those shows that helped put a smile on my face while I was waiting for new comics to come out. It had so many memorable moments and many came from my favorite character, Ron Swanson, also known as Ron fucking Swanson.

I'm not a woman, but even I find this sexy.

Played by the brilliant and exceedingly manly Nick Offerman, Ron was the manliest motherfucker since Chuck Norris' beard. He's tough, he's blunt, and he loves America like few do. He's also got a rocking mustache that just exudes manliness. Women love him. Men respect him. And he does this without ever resorting to the douche-bag behaviors that supposedly make Don Draper manly. I feel as though TV has lost a true icon of masculinity with the end of Parks and Recreation. But he can live in in other ways.

This leads me to Justice League. Throughout the history of DC comics, Wonder Woman has encountered many men who claim to represent the best of mankind. But Superman is an alien. Batman might as well be an alien with the shit he does. And Steve Trevor is a nice guy, but he's not the kind of guy who drips testosterone from his chest hair. At some point, Wonder Woman and her Amazons sisters have to encounter a man who can embody the greatest features of masculinity. And after six seasons of Parks and Recrecation, I'm convinced. Ron Swanson is that man.

His mustache alone ensures he's overqualified.

For this reason, I've crafted a quick little one-shot story that may or may not be the only crossover between Justice League and Parks and Recreation in existence. It's not a story full of epic battles and heart-wrenching drama. It's just a funny, entertaining one-shot that puts Ron Swanson on Themyscira, an island full of warrior women. Do I really need to go into detail why I think that idea is awesome? I'll skip the details and just let Ron and his awesome do all the talking.

Ambassador Swanson

This is just a simple one-shot. It does not tie into my other ongoing DC story, "Strangers In Paradise." I'll continue working on that, but I felt it would be nice to mix things up a bit. With Parks and Recreation over and the Amazons having lost all their credibility in the comics, I think this is just the right time for something like this. I hope everyone enjoys it. Or as Ron Swanson would say, "Or don't. I couldn't care less." Nuff said!

A Royal Struggle: Wonder Woman #38

The following is my review of Wonder Woman #38, which was posted on PopMatters.com.

There's a reason why the royal family is regular fodder for British tabloids. It's the same reason the Kim Kardashians and Donald Trumps of the world are fodder for American tabloids. There's this eerie fascination with high society, be it royal or rich. These people live in a world so different and so detached from reality that, like the wreckage of a derailed freight train, we just can't look away. It's not something most people are proud of, but it's an industry that still has a fertile market.

If Wonder Woman and Themyscira existed in real life, she would certainly have her share of tabloid headlines. These are the same publications that regularly report that aliens have placed chips in the brains of every President since Lincoln. But when real gods and goddesses are involved, it has a special level of intrigue. So much so that the affairs of Wonder Woman's world would probably require its own TV network. If Oprah has one, then Wonder Woman could certainly manage.

It's this world that has become so chaotic and so disorganized that it's several steps beyond a train wreck. And Wonder Woman, the feminine ideal who is supposed to be able to have it all in that classic feminist mentality, has been struggling to manage it. She's the God of War, the Queen of Themyscira, a member of the Justice League, and Superman's lover. That's a lot of responsibilities to juggle, even for a demigod. And in Wonder Woman #38, even the embodiment of feminine strength struggles with it.

The core of this part of Wonder Woman's story isn't built around one major struggle. It's a series of smaller struggles that are overwhelming her. It's death by a thousand paper-cuts rather than death by guillotine. Granted, a smaller struggle by her standard still involves being a god and dealing with infighting on an island of immortal warriors, but these struggles still come off as real and genuine. Her fears and insecurities manifest in a very real, albeit not entirely literal, way that makes her relatable in a way usually reserved for shows that rip-off Dawson's Creek.

It's jarring in some ways. Wonder Woman isn't supposed to be vulnerable. This is the same woman who can battle the entire Olympian pantheon on Monday and still have enough strength to fight off an invasion by Darkseid on Thursday. However, Wonder Woman really doesn't do much battling in this story. In fact, she does next to none. On paper, that sounds like it shouldn't make for a good Wonder Woman story. But in practice, it's still a story worth telling in the sense that it's probably the easiest story to overlook.

For Wonder Woman and the many characters like her, male and female, there plenty of stories about them fighting epic battles and winning with varying degrees of style. But there aren't quite as many stories about how they manage their lives in between battles. Wonder Woman battles the First Born, becomes both the God of War and Queen of the Amazons in the process, and somehow finds time to be a member of the Justice League in between. How does she cope with that? This story offers some insight into that question. In terms of an answer, at best it leaves room for improvement.

Wonder Woman confides in her insecurities, but she's not crippled by them. She's still Wonder Woman. She's not going to curl up into a fetal position and whine about it. She understands that being the God of War and being the Queen of the Amazons carries with it some heavy responsibilities. To her credit, she attempts to imbue her own values of compassion and understanding to these tasks. But in the same mold as "Mr. Smith Goes To Washington," these ideal values clash with the same fodder that keep tabloids in business.

The gods of Olympus still plot against her. The Amazons she's supposed to rule don't care for all these new changes, as kind as they might be. Compassion and understanding just aren't enough in a world where people need to get upset about something and trolling message boards just aren't enough. Wonder Woman can do all the right things for all the right reasons, but it's still a struggle and that's what makes her story so compelling.

But as compelling as it is, the story itself moves along at a painfully slow place. In addition to not doing much fighting, the other ongoing plots surrounding the newly-introduced Donna Troy and the the Justice League don't make much progress. There is some, but it comes off more as a movie trailer at times. It helps that there is still plenty of character depth to compensate for this lack of progress. It's just not as balanced as it could be.

If this part of the story were a tabloid story, then it probably wouldn't get many people worked up. There aren't any scandalous affairs. There are no hookers or drugs involved. There aren't even any embarrassing photos of bad hangovers or botched botox. But there is a power struggle in both Themyscira and among the Olympians. Power struggles may not get the same headlines as scandalous affairs, but they do feed into the public's fascination. Even if the details are mostly teasers, there's still a story worth following in Wonder Woman #38.

Wonder Woman's humanity and vulnerabilities take center stage in this story, but there are still conflicts unfolding all around her. And if the ending is any hint, she'll have to share that stage with Donna Troy. The pressure is building for Wonder Woman. There's only so much that even the world's strongest woman can handle. At some point, she has to confront her limits. That doesn't make her less a feminine ideal. It just makes her someone who can keep fighting, despite tabloid-level scrutiny.

Final Score: 7 out of 10

Godhood, Womanhood, and Humanity: Wonder Woman #35

The following is my review of Wonder Woman #35, which was posted on PopMatters.com.

What does it mean to be a goddess? What does it mean to be a warrior? What does it mean to be a mother, daughter, or woman? These are all some of the profound questions that Brian Azzarello has been exploring since his run on Wonder Woman began at the onset of the New 52 relaunch. These questions have been the main driving force in the battles that Wonder Woman has fought. While she hasn't had many clear answers, she has confronted many challenges that have made it very difficult to be the Wonder Woman that inspires feminists and perverse male fantasies alike. And despite plenty of complications and allies/enemies/frenemies, she has always risen to the occasion.

This ability to keep fighting, even in the face of gods and the deranged offspring they sire, is part of what makes Wonder Woman who she is. Since this series began, she has been in a constant fight against an endless horde of gods, demigods, and monsters attempting to ascend to the throne of Olympus. At times, it has been like Game of Thrones, but with less full-frontal nudity.  

Wonder Woman #35 is supposed to be the end of that fight. However, it does not unfold like a heavyweight title fight that people overpay to see on pay-per-view. It's a fight that highlights everything that makes Wonder Woman more than just a woman and a warrior. Essentially, it exposes what makes her so wonderful.

This fight began when Wonder Woman crossed paths with Zola, a young woman who became the latest in the Jerry Springer style affairs of Mount Olympus found out she was pregnant. The fight can only end when the First Born, who claims to be the true heir to Olympus in Zeus' absence, is defeated. In this sense it doesn't just parallel Game of Thrones. It parallels the struggles that have plagued royalty since kings foolishly believed that power struggles wouldn't complicate family affairs. It also sets the stage for a bitter struggle that forces Wonder Woman to fight with more than just her fists.

That said, most of the story is built around the same format as that final boss battles in a Street Fighter game. Wonder Woman gets pretty roughed up by the First Born. Even Poseidon gets involved since no Greco-Roman god misses out on a chance to usurp the power of a family member. It's a struggle where Wonder Woman is badly overmatched in many respects. But instead of following the same formula that every bad sports movie has followed since the Karate Kid, Wonder Woman rises to the occasion in a different way.

While Wonder Woman is a warrior capable of going toe-to-toe with gods, aliens, and the Lex Luthors of the world, she is also capable of great compassion and empathy. In many ways, this acts as one of her greatest warriors as a weapon. And what makes the struggle in Wonder Woman #35 so satisfying is that she uses this weapon to great effect. Her capacity for mercy and compassion help change the tone of the battle at one point. It acts as a reminder that there are more ways to win a battle than just carrying a bigger sword or relying on the infidelities of the gods.

This helps set Wonder Woman apart from the other gods and demigods that surround her. She has a chance at numerous points in the battle to kill. And unlike Batman, she has no issues with killing. She's even pointed out at times that the reason she doesn't have rogues gallery that requires numerous spin-offs and sequels is because she "takes care of them" as she once described it. However, that doesn't always mean slitting throats or snapping necks. As the God of War, she is in a position to kill the First Born, but she doesn't. That alone says a lot about her because the First Born gave her plenty of reasons to be "taken care of."

In many respects, the First Born is the opposite of Wonder Woman. He will not show mercy or compassion. Even when Wonder Woman gives him a chance, he literally throws it away. She even points out his inability to understand these concepts, but in a manner far more effective and painful than therapy or counseling. That's not to say she's exceedingly kind in how she defeats the First Born. She's still a warrior. She can't be too understanding in the same way the Amish can't be too tech savvy. But she gives context to her actions, expressing faith in the ability of even the First Born to learn compassion.

It isn't just the First Born that Wonder Woman tries to beat with compassion either. She needs that same compassion to deal with a striking (and somewhat contrived) revelation about Zola and her son, Zeke. It's another situation that deals in old school royal conflicts that usually don't have peaceful resolutions. But Wonder Woman is able to inspire compassion, even among gods who aren't in a position to make use of it. That inspiration is among her greatest strengths, at least among those who haven't earned her wrath.

But as inspiring as Wonder Woman is, the characters that benefit are lacking in the same depth. The final revelations about Zola and her son are among the weakest parts of this struggle. These revelations are akin to someone being stranded on a desert island for three years only to find out there was a luxury resort with a yacht and a helicopter pad on the other side of the island. It takes away some of the humanity that has helped make Wonder Woman's struggle so compelling. While it does address some plot holes as only depraved Greco-Roman Mythology could, it feels incomplete.

That feeling of incompleteness doesn't detract from Wonder Woman's strengths, but it does detract from the story. Wonder Woman #35 is presented as a culmination of so many plots and conflicts. While it does address the major plots, it negates many of the smaller sub-plots. It still finishes the story, but only to the extent that it took the express lane in lieu of the more enjoyable scenic route. It's a story that has required Wonder Woman to utilize all her strengths for all the right reasons. For her, it's a testament to what makes her one of the most iconic characters in comics, female or otherwise.

Final Score: 7 out of 10