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

From Rebirth To Resolve: Wonder Woman #25

The following is my review of Wonder Woman #25, which was posted on PopMatters.com.

By every measure, Wonder Woman is having a great year. For the first time in her history, it's not unreasonable to say that hers is the brightest star in the DC trinity. Superman and Batman can have their epic battles and bitter disputes, but only Wonder Woman can say she raised her profile while maintaining the heart that makes her so endearing. She's conquered both the box office and the critics on Rotten Tomatoes, something that Batman and Superman's epic clash cannot claim.

Wonder Woman's star is burning so brightly at the moment that it's easy to forget that part of that flame has been regularly stoked by Greg Rucka and Liam Sharp in her comics. After the events of DC Rebirth, Wonder Woman goes through a sobering process of sorts. The world she thought she knew is shrouded with lies that she didn't know were plaguing her. The life she thought she had lived has gaping holes in it that she cannot ignore. For a woman used to extracting truth with her lasso and her charm, that's an unfamiliar feelings.

Like many other DC Rebirth titles, the narrative in Wonder Woman is crafted in a way that builds and escalates. At times, it tends to drag. On top of that, Rucka and Sharp explore some of the gaps that emerged while the DC universe underwent its messy rebirthing process. They end up having to retell, reshape, and update Wonder Woman's story, often while trying to tell a parallel story in the present. It's easy to lose track of the story, but it can make for a uniquely satisfying payoff.

Wonder Woman #25 marks the end of Rucka's run on the series. It also marks the epilogue of sorts of all the various plots within Wonder Woman's rebirth-induced history. It's no easy feat, revamping and retelling Wonder Woman's entire history in just 25 issues while a major Hollywood movie is making headlines in the background. Rucka rises to the challenge, providing a capstone of sorts to a journey that balances the hardened warrior, the loving spirit, and the feminine ideal that she embodies.

It's an important balancing act for Wonder Woman. Throughout her history, multiple writers approach her from various angles. For some, she's only that hardened warrior. For others, she's only that loving spirit and feminine ideal. As iconic a character she is, the stories about her tend to segment her character. All too often, only parts of her personality are explored. Rucka dares to use every one of them in Wonder Woman #25 and in many ways, it completes her rebirth process.

The story itself is built around the aftermath of a lengthy arc that jumps between time periods, exploring Wonder Woman's initial arrival into man's world and her latest clash with a couple menacing gods. Along the way, she faces an identity crisis that makes a rebirth all too necessary. She faces a painful, soul-crushing revelation. For someone who's used to getting the truth out of everyone with ease, that's an accomplishment, even for gods.

Entire chunks of Wonder Woman's life are called into question. Her faith in the gods, her heritage, and herself become subject to major doubt. At the same time, she's still trying to help her friends and still be a full-time member of the Justice League. It's stressful, to say the least. It sends the message that if someone like Wonder Woman can crack under the strain at times, then what hope does anyone have?

That hope doesn't stay lost for long, though. Early on, Rucka shows that Wonder Woman can still be Wonder Woman in the midst of so much upheaval. She can arrive on the scene with the Justice League, fight giant monsters, and hardly break a sweat in taking it down. The hardened warrior aspect of her character is rightly preserved. However, that's not the sole focus of the story or Wonder Woman's journey over the course of the past 25 issues. It's never more than a secondary focus because Wonder Woman embodies more than just a fighting spirit.

Much more of Wonder Woman #25 focuses on her heart, which is heavy and wounded. She spent a great deal of her recent journey trying to save Dr. Barbara Minerva from the clutches of Cheetah, but circumstances beyond her control make that impossible. That's pretty heart-wrenching because when something is impossible for Wonder Woman, who regularly deals with gods, monsters, and Batman, that makes clear that some things are just beyond anyone's control.

She still makes an effort to help her former friend. She also makes a desperate plea for help from the last person who would want to help her. Even with all her love and heart, it isn't enough. It shows in the way she fights. Even her fellow friends on the Justice League sense it. When she finally gets around to confronting it, she has to essentially accept what she can't control. The truth may hurt, but that doesn't make it any less important. There are people who go their entire lives avoiding that. Wonder Woman confronts it, even when she's angry and wounded. Given her immortal heritage, that's quite an accomplishment.


Rucka goes heavy on the symbolism, giving Wonder Woman a love/hate relationship with her magic lasso at a time when the truth can hurt even an immortal warrior woman. Sharp's colorful artwork keeps the tone of the story from getting too bleak or dire. In the end, her willingness to take back her lasso and accept the harsh truth for what it is highlights the end of a journey that Wonder Woman needed to take. It's a journey that strengthens every part of her character, as well as those around her.

As fitting an end as Wonder Woman #25 is to that journey, it does gloss over a few issues and rushes a few others. There's never a clear resolution with Cheetah and Wonder Woman's acceptance of the truth feels somewhat rushed. The fact she only needs a pep talk before taking back her lasso feels somewhat unremarkable, if not contrived. There are a lot of arguments she could've and probably should've had with the gods that deceived her. However, those conversations are essentially shrugged off in favor of some sexy time with Steve Trevor. On some levels, though, that's a fair trade-off.

Overall, Rucka's run on Wonder Woman is a remarkable accomplishment. At a time when Gal Gadot, Chris Pine, and Patty Jenkins are elevating Wonder Woman's star to new heights, her DC: Rebirth journey finds a way to make that star burn a little brighter. Wonder Woman is tough, compassionate, loving, loyal, and beautiful on every level. It's not something that most people need to be reminded of, but some reminders are still worth having.

Final Score: 8 out of 10

The Wonder of What Wonder Woman Embodies: Wonder Woman #10

The following is my review of Wonder Woman #10, which was posted on PopMatters.com.

There are some origin stories that don't need to be retold again. The story of how Bruce Wayne lost his parents or how Clark Kent lost his home planet are so overplayed that there's really not much new to add to the narrative. We, the audience, get the message. We know why Bruce Wayne is Batman. We know why Clark Kent is Superman.

With Wonder Woman, however, the situation is different. Despite being the third pillar of DC's mighty trinity, her origin story is one of the few that DC Comics doesn't overly belabor. The setup is already established. Wonder Woman's basic history of growing up on an island of immortal women and rubbing elbows with Greek gods is easy to grasp. Anyone with access to Wikipedia can glean those details.

What Greg Rucka and Nicola Scott are doing with Wonder Woman in DC Rebirth takes it a step further. Conflicts in the present are used to explore elements of Wonder Woman's past. One issue covers the past. One covers the present. It sounds disorganized on paper, but in the grand scheme of things, it fits together into a fairly cohesive narrative.

It's not a re-imagining. It's not a reboot or a retcon either. In many respects, it's an overdue dose of depth. Despite 75 years of history, the Wonder Woman mythos is sufficiently vague to permit a certain level of refinement. Wonder Woman #10 takes advantage of that opportunity and adds a level of refinement that brings out the best in Wonder Woman.

There are no vindictive gods, shape-shifting monsters, or invading aliens in this narrative. In fact, Wonder Woman does surprisingly little fighting in this issue, but given how she seems to fight a new god, alien, or monster every other day, it's a refreshing and overdue change of pace. Instead, the story gives us a glimpse into Wonder Woman's past, focusing on her early exploration of man's world in its simplest form, namely by taking a trip to a local strip mall.

Granted, this a strip mall in America is hardly the most comprehensive insight into man's world, but it's fitting in that it doesn't make a terrible impression. Sure, there's excessive noise, rampant consumerism, and gaudy advertising displays, but there's nothing so horrifying that it would inspire an island of warrior women to purge the world of testosterone. Steve Trevor and Eta Candy even introduce her to margaritas. That's as good an impression man's world could make without something deep fried and dipped in chocolate.

This helps create a uniquely balanced tone for Wonder Woman #10. Rucka doesn't attempt to make Wonder Woman's impression of man's world too extreme. There's no emphasis on violence, rampant gender inequalities, and oppressive patriarchy. The world in which Wonder Woman explores never comes off as a beer commercial or a bad sitcom from the late 1950s. It actually makes the case that man's world is worth exploring and protecting.

It fits nicely with the overall tone of DC Rebirth in that the narrative isn't overly focused on dark and dire themes. There's still room for hope, understanding, and justice. Those are all among the highest qualities that Wonder Woman embodies. She's not just this tough warrior woman in a tiara who fights aliens and renegade gods alongside Superman and Batman. She stands for her own set of values, embodies them to the utmost, and looks great while doing it.

She eagerly interacts with total strangers, embracing them regardless of their age, gender, or ethnicity. She's not at all put off by the sight of men interacting with women, children making unfiltered comments about her attire, or the woefully impractical shoes that some women wear. Wonder Woman has any number of opportunities to be offended or appalled, but doing so would require her to be overly petty.

Such pettiness is the antithesis of what Wonder Woman values. She loves and embraces everybody. She's willing to give others a chance and she's not going to be politically correct about it. These are all powerful values that Wonder Woman has always embodied to some degree, but there have been too few stories that explore how she shaped these values upon coming to man's world. It's still a story not nearly as familiar as Kryton exploding, but it's a story worth exploring.

Wonder Woman is less a warrior and more an ambassador in this issue, but that's not to say the hard-nosed warrior in her is completely muted in Wonder Woman #10. She does get a chance to fight. She does get a chance to protect the innocent. Granted, it's not against rampaging titan or an agent of Darkseid, but she still gets to be the wonderful hero she is at heart. It's not exactly an epic battle in which the outcome is in question. This is Wonder Woman fighting in a crowded strip mall after drinking a margarita. It can only be so epic in that context.

Despite the limited scale of the fighting, there's still some meaning and depth to the conflict. This isn't just some random attack meant to fill Wonder Woman's hard-nose warrior quota. It's an attack that has ties, albeit vaguely, to the events taking place in the present. In terms of tying Wonder Woman #10 into the larger narrative that has been unfolding since the DC Rebirth relaunch, this issue does succeed, albeit barely.

The ties to a larger narrative may be limited, but Wonder Woman #10 still succeeds in its most important task. It highlights a period in Wonder Woman's story that is poorly developed and in need of greater depth. This issue gives us that without belaboring the parts we already know.

Greg Rucka and Nicola Scott are crafting a large, ambitious story that jumps around multiple time periods, puts a modern spin on a classic superhero mythos, and highlights the core values of an iconic character. It still feels like something that's too convoluted on paper, but they somehow find a way to make it work. That is a wonder, in and of itself.

Final Score: 8 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