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The fate of the Amazons is about to be revealed, major new characters will be introduced, and a new villain will arrive with enough power to defeat the combined might of Wonder Woman and her Justice League teammates!
The Gods walk among us. To them, our lives are playthings. Only one woman would dare to protect humanity from the wrath of such strange and powerful forces. But is she one of us--or one of them? WONDER WOMAN begins anew under the creative team of Brian Azzarello and Cliff Chiang!
For superbaby girls, here's the super-cool companion to My First Superman and My First Batman Books. Wonder Woman joins her Justice League pals with her very own touch-and-feel book. There's no telling who will get a big thrill out of tossing Wonder Woman's lasso, admiring her shiny gold cuffs and headband, or zooming through the sky in her helicopter. Six fun touchables will amuse kids of all ages.
The entire run of writer Brian Azzarello (100 BULLETS) and artist Cliff Chiang's (PAPER GIRLS) bold new imagining of one of comics' most iconic characters is now collected in its entirety in his giant-size omnibus edition! Raised as a daughter by the Queen of the Amazons, the warrior princess called Diana is different from the rest of her countrywomen. They've all heard the legend of how she was formed from clay to give the childless queen the daughter she dreamed of--and they treat her like an outsider and outcast because of it. But Diana is different than everyone else, just not for the reasons everyone thinks. It's because she's the daughter of Zeus. With a new cadre of brothers and sisters as allies and enemies, Wonder Woman's world is rocked to its core when her eldest brother, the First Born, was freed from his slumber. Her newfound family is in ruins and her friends scattered, she must turn to Orion and the New Gods of New Genesis to save herself, her newborn brother Zeke and his mother Zola from the First Born's wrath. Collects Wonder Woman #0-35, 23.1 and a story from Secret Origins #6
William Marston was an unusual man—a psychologist, a soft-porn pulp novelist, more than a bit of a carny, and the (self-declared) inventor of the lie detector. He was also the creator of Wonder Woman, the comic that he used to express two of his greatest passions: feminism and women in bondage. Comics expert Noah Berlatsky takes us on a wild ride through the Wonder Woman comics of the 1940s, vividly illustrating how Marston’s many quirks and contradictions, along with the odd disproportionate composition created by illustrator Harry Peter, produced a comic that was radically ahead of its time in terms of its bold presentation of female power and sexuality. Himself a committed polyamorist, Marston created a universe that was friendly to queer sexualities and lifestyles, from kink to lesbianism to cross-dressing. Written with a deep affection for the fantastically pulpy elements of the early Wonder Woman comics, from invisible jets to giant multi-lunged space kangaroos, the book also reveals how the comic addressed serious, even taboo issues like rape and incest. Wonder Woman: Bondage and Feminism in the Marston/Peter Comics 1941-1948 reveals how illustrator and writer came together to create a unique, visionary work of art, filled with bizarre ambition, revolutionary fervor, and love, far different from the action hero symbol of the feminist movement many of us recall from television.
Wonder Woman was created in the early 1940s as a paragon of female empowerment and beauty and her near eighty-year history has included seismic socio-cultural changes. In this book, Joan Ormrod analyses key moments in the superheroine's career and views them through the prism of the female body. This book explores how Wonder Woman's body has changed over the years as her mission has shifted from being an ambassador for peace and love to the greatest warrior in the DC transmedia universe, as she's reflected increasing technological sophistication, globalisation and women's changing roles and ambitions. Wonder Woman's physical form, Ormrod argues, is both an articulation of female potential and attempts to constrain it. Her body has always been an amalgamation of the feminine ideal in popular culture and wider socio-cultural debate, from Betty Grable to the 1960s 'mod' girl, to the Iron Maiden of the 1980s.
A remarkable exploration of Wonder Woman’s creation, mysterious identity, and evolution—and her extraordinary impact on her legions of fans. For generations, Wonder Woman has been a symbol of equality and female empowerment, her complex saga deeply rooted within the feminist movement. A staple of the comic book industry, she is arguably the best-known female superhero of all time. In Wonder Woman: Warrior, Disrupter, Feminist Icon, Regina Luttrell details this legendary superhero’s origins, history, and evolution, from an ambassador of peace and love to the fiercest warrior in the DC Universe. Luttrell reveals how Wonder Woman’s journeys are a reflection of each wave within the feminist movement and how her impact on culture and society continues to be felt today. Wonder Woman has become the epitome of technological sophistication, globalization, and modern-day feminism. She is truly a warrior, a disrupter, and a feminist icon. Luttrell’s fascinating history includes the perspectives of famed feminist Gloria Steinem in her essay “Wonder Woman,” as well as personal interviews with creator William Moulton Marson’s surviving family members. Featuring a captivating examination of the oft-overlooked contributions of Marston’s life partners and inspirations Elizabeth Holloway Marston and Olive Byrne, Wonder Woman is an incredible, in-depth exploration of this iconic feminist superhero.
Increasingly over the past decade, fan credentials on the part of writers, directors, and producers have come to be seen as a guarantee of quality media making—the “fanboy auteur.” Figures like Joss Whedon are both one of “us” and one of “them.” This is a strategy of marketing and branding—it is a claim from the auteur himself or industry PR machines that the presence of an auteur who is also a fan means the product is worth consuming. Such claims that fan credentials guarantee quality are often contested, with fans and critics alike rejecting various auteur figures as the true leader of their respective franchises. That split, between assertions of fan and auteur status and acceptance (or not) of that status, is key to unravelling the fan auteur. In A Portrait of the Auteur as Fanboy: The Construction of Authorship in Transmedia Franchises, authors Anastasia Salter and Mel Stanfill examine this phenomenon through a series of case studies featuring fanboys. The volume discusses both popular fanboys, such as J. J. Abrams, Kevin Smith, and Joss Whedon, as well as fangirls like J. K. Rowling, E L James, and Patty Jenkins, and dissects how the fanboy-fangirl auteur dichotomy is constructed and defended by popular media and fans in online spaces, and how this discourse has played in maintaining the exclusionary status quo of geek culture. This book is particularly timely given current discourse, including such incidents as the controversy surrounding Joss Whedon’s so-called feminism, the publication of Harry Potter and the Cursed Child, and contestation over authorial voices in the DC cinematic universe, as well as broader conversations about toxic masculinity and sexual harassment in Hollywood.
With this remarkable study, historian Keira V. Williams shows how fictional matriarchies—produced for specific audiences in successive eras and across multiple media—constitute prescriptive, solution-oriented thought experiments directed at contemporary social issues. In the process, Amazons in America uncovers a rich tradition of matriarchal popular culture in the United States. Beginning with late-nineteenth-century anthropological studies, which theorized a universal prehistoric matriarchy, Williams explores how representations of women-centered societies reveal changing ideas of gender and power over the course of the twentieth century and into the present day. She examines a deep archive of cultural artifacts, both familiar and obscure, including L. Frank Baum’s The Wizard of Oz series, Progressive-era fiction like Charlotte Perkins Gilman’s utopian novel Herland, the original 1940s Wonder Woman comics, midcentury films featuring nuclear families, and feminist science fiction novels from the 1970s that invented prehistoric and futuristic matriarchal societies. While such texts have, at times, served as sites of feminist theory, Williams unpacks their cyclical nature and, in doing so, pinpoints some of the premises that have historically hindered gender equality in the United States. Williams also delves into popular works from the twenty-first century, such as Tyler Perry’s Madea franchise and DC Comics/Warner Bros.’ globally successful film Wonder Woman, which attest to the ongoing presence of matriarchal ideas and their capacity for combating patriarchy and white nationalism with visions of rebellion and liberation. Amazons in America provides an indispensable critique of how anxieties and fantasies about women in power are culturally expressed, ultimately informing a broader discussion about how to nurture a stable, equitable society.
Despite the growing importance of heroines across literary culture—and sales figures that demonstrate both young adult and adult females are reading about heroines in droves, particularly in graphic novels, comic books, and YA literature—few scholarly collections have examined the complex relationships between the representations of heroines and the changing societal roles for both women and men. In Heroines of Comic Books and Literature: Portrayals in Popular Culture, editors Maja Bajac-Carter, Norma Jones, and Bob Batchelor have selected essays by award-winning contributors that offer a variety of perspectives on the representations of heroines in today’s society. Focused on printed media, this collection looks at heroic women depicted in literature, graphic novels, manga, and comic books. Addressing heroines from such sources as the Marvel and DC comic universes, manga, and the Twilight novels, contributors go beyond the account of women as mothers, wives, warriors, goddesses, and damsels in distress. These engaging and important essays situate heroines within culture, revealing them as tough and self-sufficient females who often break the bounds of gender expectations in places readers may not expect. Analyzing how women are and have been represented in print, this companion volume to Heroines of Film and Television will appeal to scholars of literature, rhetoric, and media as well as to broader audiences that are interested in portrayals of women in popular culture.