Wonder Woman vol. 2 #210
#this is THE most important moment in comics to me #this is THE defining moment of diana #not only of wonder woman #but of d i a n a #there is NO hesitation #there is no mourning #there is no fear #there is what is right #there is what needs to be done #and there is a HERO who bears the pains #for the human race so they wont have to #diana will sacrifice EVERYTHING #and she wont hesitate to do it #y’all can fucking keep batman #but i’ll stay with diana any day
WAIT, THIS DOESN’T SHOW JUST HOW AWESOME DIANA IS.
This is from ruckawriter's run on WW (the best ever, imho). Medusa turns one of Diana's employees into stone (Diana is a full-on ambassador as well as superhero) and then challenges Diana to a fight. Diana is skeptical, but Aphrodite pretty much says, “Listen, we're not gonna take this shit from Medusa, you gotta fight her.” So Diana shows up pretty ready, blindfold, armor, all that. But it turns out Medusa has manipulated the event to be televised, so that after she defeats Diana, she can look into the screen and turn all the people watching into stone.
Just TAKE THIS SHIT IN FOR A HOT SECOND (all images courtesy of scans_daily)
Then the stuff above happens. YES, BITCHES, DIANA—WHO HAS RECENTLY HAD A SWORD RUN THROUGH ONE OF HER KIDNEYS— TAKES ONE OF THE SNAKES SHE CUT OFF MEDUSA’S HEAD WHILE BLINDFOLDED AND SQUIRTS THE POISON IN HER EYES SO SHE IS BLIND SO MEDUSA CAN’T FUCK WITH HER.
Why? BECAUSE SAVING AND AVENGING EVEN ONE MORTAL LIFE IS WORTH HER OWN GODDAMN VISION THAT’S WHY.
But after that badass “Never?” THIS PHOTO SET LEAVES OUT THE BEST PART. WONDER WOMAN IMMEDIATELY CHOPS OFF MEDUSA’S HEAD. NO HESITATION. NO NEGOTIATION. NO DESTROYING A WHOLE CITY JUST TO BEAT HER UP A LITTLE MORE. CHOP AND DONE.
DROP THAT MIC, DI.
DROP IT LIKE THE MAGMA-HOT SHIT THAT IT IS.
To Rucka’s credit, this wasn’t no false-ass sacrifice, either. She stays blind AND STILL SAVES EVERYONE’S ASSES.
How does she get her sight back? She does something for Athena and Athena grants her one boon. So what does our Diana do? Ask for her sight back?
NOPE. SHE ASKS FOR LIFE TO BE RETURNED TO A CHILD KILLED BY MEDUSA.
And Athena was like, “Shit, Wonder Woman, you’re better than all of us, I guess you can have your sight back, too.” And Diana’s pretty much like, “Fine, that’s cool I guess, I was still getting shit done without it.”
THIS IS WHY I HAVE A LOT OF GODDAMN FEELINGS ABOUT WONDER WOMAN.Thank you for explaining the context!
- DC: People don't want to see female heroes!
- DC: They're too difficult to relate to, okay?
- Marvel: *successfully turns Black Widow into a fan favorite character with plans for an eventual solo movie*
- Marvel: *successfully gets a second season of a hero team show with half the regular cast as female characters*
- Marvel: *successfully greenlights another spin-off series with a female lead*
- Marvel: i'm sorry what
Q:If you were given the chance to give the Big Two an overhaul, what would you do? This can be anything from firing/hiring people, to changing character stories and origins.
both houses: I would compartmentalize their lines for story logic reasons.
DC: Batman/Green Arrow type of stuff would be kept separate from the superheroes. Also: Green Lantern has developed into an internally cohesive mythos that would exist better within its own line.
Marvel: similar deal. I would simply separate the X-Men from the rest of the Marvel Universe. On a personal note, I like Ultimate Marvel and I would probably expand resources into supporting that line.
I would dial down (ie, eliminate) crossover and event comics because I know that while they sell well in the short term, they are disruptive to the companies’ nominal business of serial storytelling.
Trust is a huge part of serial storytelling. Series like Hawkeye and Wonder Woman opened big for their respective companies. The reason that they remain successful is that the creators are permitted to run a tight and cohesive ship, disregarding “outside” “events.” In comics like Hawkeye and Wonder Woman, you come to the table for the creative team and their take on the premise. That is what you get. There is a consistency and a firmness and dedication to retaining a cohesive identity for the project.
As a reader, I trust series much more when the series doesn’t try to rope me into other projects in the hope that I will double (and later triple and quadruple) my reading list. A bird in the hand is worth two in the bush. In these companies’ attempts to influence customers to buy more products by crossing things over and tying series into one another, they’ve influenced me as a buyer to stop buying their products altogether. Money isn’t infinite and neither is attention. The object shouldn’t be to try to convince each customer to purchase the entire line of products. The object should be to instill customer confidence to where each customer wants to purchase at least one series.
DC: I would either figure out a release negotiation for Milestone or renegotiate the contract of usage of Milestone properties. And I would stop acting as if black writers are difficult to find.
DC: I would make Teen Titans into a comic more in spirit of the tv show. The TV show is a viable property. The comics have been dreadful and inexcusably off-message.
DC: I would do something with Mister Terrific.
DC: pour more financial resources into Vertigo and work on restructuring Vertigo contracts to be more competitive with other creator-oriented imprints.
Marvel: more resources into developing the Icon imprint
Marvel: continue the trend of series that follow a strong creative vision such as Hawkeye, Ms Marvel, Daredevil.
Marvel: simplify the X-Men line by reducing it to one comic titled “X-Men,” or something similar.
Marvel: simplify the Avengers line by reducing it to one comic titled “Avengers” or something similar.
Marvel: the more that people get used to there being only one of something, the less reluctant customers would be to buying things not explicitly titled “Avengers” or “X-Men.”
Marvel: there need to be a comic series titled “Agents of SHIELD.” It doesn’t matter that the tv show is bad. What matters is that this is an unexploited property.
Marvel: I would end the double-shipping program full stop. Once per month is great for comic books. It’s a money grab that turns the company into its own competitor.
MDC: one thing that should change is story density. I shouldn’t be able to read a 20-page comic book in two subway stops. We’re often looking at three to five panels per page. I’m thinking more like five to nine panels per page should be the way to go. Don’t be afraid to cram more story in there. And also don’t be afraid to tell complete stories in single issues. One doesn’t need six issues to get from Point A to Point Z. Since my belief is rooted in creating customer confidence, I believe that customers should get their money’s worth. ALSO: if stories are one issue, you don’t have as much reader discouragement from continuing if a reader happens to miss a few issues or if new readers want to begin reading the series.
MDC: death is pointless and just wouldn’t be used. The company isn’t realistically going to eliminate its own assets so just stop pretending that it’ll happen.
DC/Vertigo: full, erect, genital cocks.
Ahh! This was a big mess of a crazy weekend.
I dunno, crazy is a bit wrong I think, unless it’s a qualifier followed by tiring, then it’s totes true.
JOHN OSTRANDER: UP AGAINST THE WALLER
It’s always interesting to see your children grow up. In my case I don’t have any flesh and blood children; I have the offspring of my imagination, of my heart and mind – the characters I’ve created in my stories, especially in my comics. By growing up, I mean seeing them in other media. And occasionally their sending money home.
In that regard, the most grown up of my offspring is, without a doubt, Amanda Waller, a.k.a. the Wall. She first appeared in the DC miniseries Legends but was created for my version of the Suicide Squad. For those of you who don’t know, the Suicide Squad was a covert team that Waller put together using jailed supervillains. They were sent on secret missions pursuing American governmental objectives and, if they succeeded and survived, they were set free or had their time significantly reduced. If they died – no loss. If they failed or were uncovered, they could be easily disavowed – hey, they were bad guys doing bad guy things.
Waller created this version of the Squad and was herself created to do that in the DCU. Len Wein and John Byrne are credited as co-creators since she first appeared in Legends but Amanda originated with me. (The same way that Tim Truman is, rightly, co-credited as GrimJack’s creator although the character also originated with me.) As conceived, Waller was middle-aged, black, heavy set, on the short side, and with no super-powers; just an iron will and a terminal bad attitude which is why her nickname is “the Wall”. I’ve always said that some aspect of the characters we write exist within us; it’s been pointed out to me that would mean that I have an angry middle aged black woman inside of me. Maybe I’m just channeling Tyler Perry.
She’s also one of my favorite characters to write; actually, I don’t so much write her as just take dictation and pay attention to where she wants to go. She gets the job done and doesn’t care what she has to do along the way; she is morally a gray character by design. Some think of her as an anti-hero; the site IGN listed as her 60th Greatest Comic Book Villain of all time. For my view, she’s not a villain but she is deeply flawed. Just the way I like my characters.
Waller has appeared all over the place – in video games, in animated series (Justice League Unlimited as one example), animated movies, television shows, and movies. I find seeing the different variations of her interesting and gratifying, especially financially. I have what is called “participation” with Amanda; DC licenses her out and I get a taste of the money that comes in because she was an original character. I don’t have the same deal with the Squad itself; there was an earlier version. Amanda, bless her, sends some money home every now and then.
Both Amanda’s appearance on Arrow and in the New 52 DC Universe is changed; rather than older, stouter, and shorter, she’s now model thin and young and, well, sexy. I’ve always thought of Amanda as many things but “sexy” was not one of them.
I don’t control what happens with Waller or where she goes or how she looks; she is owned by DC Entertainment and Warners. I knew that going in. She is their property. That said, I think the changes made in her appearance are misguided. There were and are reasons why she looked the way she did. I wanted her to seem formidable and visually unlike anyone else out there. Making her young and svelte and sexy loses that. She becomes more like everyone else. She lost part of what made her unique.
Still, I look forward to the Squad episode of Arrow and not only because of the eventual check that it will bring in. It’s interesting to see how your children turn out and to see how much of you is in them whether they are flesh and blood or just the children of your imagination.
nobody makes fun of DC more than DC does
BRUCE BEING CALLED DEEDEE IS MY FAVORITE THING EVER
Batman: The Widening Gyre #3
Turning and turning in the widening gyre
The falcon cannot hear the falconer;
Things fall apart; the centre cannot hold;
Mere anarchy is loosed upon the world,
The blood-dimmed tide is loosed, and everywhere
The ceremony of innocence is drowned;
The best lack all conviction, while the worst
Are full of passionate intensity.
Surely some revelation is at hand;
Surely the Second Coming is at hand.
The Second Coming! Hardly are those words out
When a vast image out of Spiritus Mundi
Troubles my sight: somewhere in sands of the desert
A shape with lion body and the head of a man,
A gaze blank and pitiless as the sun,
Is moving its slow thighs, while all about it
Reel shadows of the indignant desert birds.
The darkness drops again; but now I know
That twenty centuries of stony sleep
Were vexed to nightmare by a rocking cradle,
And what rough beast, its hour come round at last,
Slouches towards Bethlehem to be born?
-The Second Coming by W.B. Yeats
That last panel is up there with Jon Hamm’s sex faces from Bridesmaids.