Download Free Wonder Woman 2011 15 Book in PDF and EPUB Free Download. You can read online Wonder Woman 2011 15 and write the review.

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!
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
The epic finale to the "War-Torn" storyline is here! Wonder Woman faces off against Donna Troy, who's destined to become her ultimate nemesis, in a battle that will seal the fate of Paradise Island! Plus, in the backup story, discover the circumstances of Hippolyta's rise to queen as an ancient threat pits the Amazons against the Spartans!
There's no time for Wonder Woman to fully comprehend the fallout from last issue's shocking turn of events as her family gathers to prepare for an assault on Olympus.
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.
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.
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.
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 Womancomics, 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.
The action is out of control as Bones, Chase, the DEO, Abbot and the Religion of Crime all descend on Gotham City to take part in the fight against Medusa!
This book explores representations of Wonder Woman and Captain Marvel in comics and film, as well as political struggles over these works, to illuminate contemporary cultural concerns about gender, sexuality, race, migration, imperialism, and war. It focuses on the only two female superheroes who have long histories grounded in feminist activism and military service, and who have starred in blockbuster origin films at a time when resurgent progressive activism has been met by an emboldened backlash against movements for equality. Interdisciplinary and intersectional, the book employs insights from political science and political economy, feminist theories, critical race theory, postcolonial theory, and queer theory to explore how these characters’ feminism and militarism render them particularly appealing and profitable in contentious times. This is a concise, accessible text suitable for students and scholars in comics studies, media studies, film studies, and women’s and gender studies.