A Contextual History of Wonder Woman (2001)


Nearly twenty years ago, for no better reason than it amused me, and without thought of publication for there was nowhere to publish it then, I wrote the following piece about Wonder Woman, as she was in 2001. It’s sat on my laptop(s) ever since, taking up pixels. In the week when Wonder Woman 750 has appeared, I rediscovered it, and, realising I’d never posted it here, decided to repair that omission. I have neither updated, revised nor ‘improved’ it in any way, the last of which may be fairly easy to tell.

Wonder Woman

If I were to say that the current Wonder Woman is simultaneously the first, third and second to bear that name, and that her mother is, at one and the same time, the third, fifth and first, taking her name and identity directly from the character she inspired fifty years later, who preceded her by several years, you would be lost beyond all hope of comprehension.
Yet such a statement is meat and drink to a comic book fan, who regularly is expected to unravel such complex relationships with ease.
To the layperson, a considerably lengthy explanation is necessary to enable you to understand how such a situation could arise.
The first Wonder Woman (that is, the first first Wonder Woman: don’t worry, all will become clear) dates from 1941, making her debut in an unrelated back-up story in All-Star 8 and proceeding immediately to headline the new Sensation Comic: she gained her own title in a shorter period of time than anyone before her and continued to appear in both Sensation and Wonder Woman until the former’s cancellation in the late 40’s.
Wonder Woman guested with the Justice Society of America in All-Star 11, appeared again in 12, when she was invited to become team secretary, and stayed with the JSA until their final adventure in All-Star 57 (although she played a purely passive and cameo role until issue 38 and was arguably demeaned when Black Canary became the JSA’s first official female member whilst Wonder Woman was never officially upgraded from secretary).
Wonder Woman’s title enjoyed continuous publication throughout the 50’s making her, along with Superman, Batman & Robin and back-up features Green Arrow and Aquaman, one of the few characters to have been continuously published since the Golden Age.
Wonder Woman was the daughter of Hyppolita, Queen of the Amazons. After their escape from bondage at the hands of Hercules, the Amazons withdrew from Man’s World, to Paradise Island. Hyppolita longed for a daughter and petitioned the Goddesses, who instructed her to form a baby girl from the clays of the riverbank. They then invested the model with life, the baby being named Diana and growing to become the best and strongest of the Amazons.
The Amazons learned of war in Man’s World when a USAF craft piloted by Major Steve Trevor accidentally penetrated the protective clouds that shielded Paradise Island from the world. Diana rescued the pilot, the first man she had ever seen, and immediately fell in love with him.
The Amazons resolved to send a representative to Man’s World, to help bring peace. Hyppolita forbade Diana to compete but her daughter entered the competition masked, and duly won out. To go into Man’s World, she was given a special costume, consisting of a red bathing suit top decorated by a golden eagle, blue culottes (later cycle shorts and even later orthodox trunks) spangled with silver stars and red boots (later laced Grecian sandals).
In Man’s World, Diana was given the name Wonder Woman thanks to a chance remark by Steve Trevor. She took over the identity of Army Nurse Diana Prince, who wanted to follow her boyfriend to California (and who, presumably, never came back). Later, Diana Prince entered the military, rising to the rank of Lieutenant.
Wonder Woman had super-strength, speed and agility. She could not fly, but could glide upon wind currents. She was not invulnerable, but was supremely skilled at deflecting bullets with her Amazonian bracelets. She possessed a magic lasso which, once looped around someone, forced them to obey her. She had an invisible robot plane which she controlled with her thoughts.
If Wonder Woman’s bracelets were bound together by a man, she lost all her powers. If she removed them, she lost all self-control and became a raging madwoman.
Wonder Woman was created by psychologist Wiliam Moulton Marston, with the assistance of artist Harry G Peters. Marston had complained about the lack of female role models in comics and was, in effect, challenged to come up with one.

Wonder Woman

The first inarguable appearance of the second Wonder Woman was in Brave & Bold 27, in 1960. B&B had started out as an adventure series, but was phasing into a try-out title, alongside the purpose created Showcase, which had very successfully introduced new (Silver Age) versions of Golden Age heroes such as Flash and Green Lantern. Now the new versions joined with the Big Three, Superman, Batman and Wonder Woman and a couple of other characters to form the Justice League of America, a revival of the JSA-style hero team.
Which led to certain problems with internal consistency.
Wonder Woman (along with Superman and Batman) had been a member of the Justice Society where she had served alongside the Golden Age Flash and Green Lantern. She (like they) was now a member of the Justice League, serving alongside the Silver Age Flash and Green Lantern. But the Silver Age Flash’s origin had made it plain that, to him as much as us, the Golden Age Flash was nothing but a comic book character. How, then, could Wonder Woman serve with both?
This essential contradiction went unexplored (officially: no doubt it exercised the minds of fans) for a year, until the seminal “Flash of Two Worlds” in Flash 123. This established the fact that there were two Earths, each occupying the same physical space but, due to their fractionally different vibration rates, forever invisible and intangible to one another – that is, until the Silver Age Flash accidentally tuned into the vibration rate of the other world and discovered that on this world the Golden Age Flash was more than just a comic book character.
This story would go on to be the foundation stone of DC’s Multiversal continuity for a quarter century. The Golden Age characters had lived, still lived, somewhat older, greyer, still with their powers but a bit rusty and with less stamina, on what would, in 1963, be termed Earth 2, whilst their newer counterparts lived on Earth 1.
No doubt the terminology was chronologically inverted, but to make that complaint ignores the reality of comic book publishing: Earth 1 was the current Earth, the mainstream, supposedly our own reality but with added superheroes, whereas Earth 2 was just that, a second Earth, a different Earth, where things were parallel but not the same.
There were two Flashes and two Green Lanterns and, within a year or so there would also be two Hawkmans and Atoms. It was less apparent that there also had to be two Supermans, two Batmans (and Robins) and, of course, two Wonder Womans.

Wonder Woman

These, however, were the Big Three, comics’ primal trinity. That there were now two of each was a logical necessity: that these alternates were virtually identical a logical requirement of their status. All three had experienced no break in their publishing history where it could be said that one had been replaced by another, and it was left to the obsessive fan to debate at which exact point DC had begun publishing the adventures of one in succession to the history of the other.
Thus the second Wonder Woman could only clearly be said to have first appeared when the first JLA adventure was published but, though her first unequivocal appearance was written by Gardner Fox and drawn by Mike Sekowsky and Bernard Sachs, her creator was still Marston.
Though the Earth 1 Big Three were initially avatars of their originals – who would dare tamper with the Holy Trinity? – DC eventually cottoned on to the cute notion that where the early history of each character differed from the final and accepted form of the legend, those early and discarded characteristics now had a home.
Superman’s early days were littered with rejected elements – working for the Daily Star, not Planet, only developing powers as an adult, Luthor with a shock of red hair – which found their home in the Earth 2 version. Rather fewer distinctions could be drawn in the other two. The yellow oval that, in imitation of the Bat-signal, was placed around Batman’s symbol in 1964 was held to belong to the Earth 1 Batman only. And when the Earth 2 Wonder Woman finally made her bow, in 1967, she was found to have retained the original red boots, instead of adopting Grecian sandals.
As DC grew more confident in their parallel world system, moving it from gimmick to a fecund source of stories (sadly, the fecundity was in quantity, not quality), more differences appeared between the two Wonder Womans.
At first, it was the Earth 1 Wonder Woman, losing her powers and adopting a kind of Diana Rigg- Avengers existence, albeit only for a few years whilst her Earth 2 counterpart remained a fully-fledged Amazon. By the late Seventies, however, DC was fully alive to the possibilities of having a second version of a long-established character: things could happen to the Earth 2 Diana that could not be permitted to her more ubiquitous Earth 1 counterpart, because they would represent permanent change.
Thus the Earth 2 Wonder Woman could marry her Steve Trevor (instead of him dying in a hail of bullets, as happened to the Earth 1 version when DC simply ran out of ideas), and become the proud mother of a teenage superheroine: Hyppolita (Lyta) Trevor, aka The Fury, who had half her mother’s Amazonian strengths.
In the late Seventies/early Eighties, Wonder Woman transferred to TV in the bodice busting form of Lynda Carter. At first, her adventures were set in World War 2, with the comic immediately switching over to tales of the Earth 2 Wonder Woman to match: when a later series brought everything up to date, the Earth 1 model resumed control.

Wonder Woman

And a further change occurred in the early Eighties when Wonder Woman adopted a new costume: to tie in with a charitable Wonder Woman Foundation sponsored by DC, issue 300 saw the Amazon swap her golden eagle for a stylised WW logo across her capacious bosom. Naturally, her earlier counterpart retained her eagle.
But despite all this activity, despite her undoubted longevity, Wonder Woman had not, for many many years, been a big seller. With DC gearing up for massive continuity changes in 1985 with Crisis on Infinite Earths, the fate of the Amazing Amazon was just one of the issues under consideration.
Crisis would bring to an end the Multiverse: a battle royal at the beginning of time would shatter the Multiverse from its inception, destroying all of reality for the briefest of spans before Time began anew, as a single Universe. The heroes of many parallel worlds, the Earth 2 Superman and Wonder Woman amongst them, as well as their modern counterparts, bounced back to the present day, in the new Universe, with full memories of the parallel worlds that had existed until just instants before.
The Universe had room in it for one Superman, one Batman and one Wonder Woman: the original, Golden Age versions were displaced, and had to be disposed of.
Superman, the progenitor, the first of the first, had the honour of striking the final victory blow, after which he was spirited away to some unidentified, unreachable paradisial retirement dimension, never to be seen again1. After that, he not only no longer existed, but never had. With the exception of Lois Lane, his wife, rescued from the reality storm as a final gift to go with him into Never-Never Land, his continuity disappeared with the Multiverse. His cousin Kara, aka Power Girl, was carried over into the Universe: in due course her ‘phoney’ memories of a Kryptonian background were replaced by ‘true’ memories of deriving her powers from the long dead Atlantean mage, Arion, her much-removed grandfather.
Batman had already had the decency to be killed off on Earth 2, dying with his boots on, saving Gotham City one last time, from an inadequate and totally inappropriate adversary. However, he left not merely his now-adult Robin, but also a daughter, by his late wife, the Earth 2 Catwoman. This daughter had become a heroine as the Huntress. Robin, of course, had to go, there being room only for one, but most people would have kept the Huntress if they could. However, when not only the character’s parents but her entire raison d’être have suddenly ceased to ever exist, it became entirely too difficult to proceed. Thus Robin and The Huntress were trapped beneath a crumbling building whilst saving lives but, when the rubble had been cleared away, there were no bodies to be seen – as if they had never existed. A new Huntress was created, and is still around to this date, but no-one pretends she has anything like the appeal of the daughter of Batman and Catwoman.
As for the original Wonder Woman, she survived the battle and, like her male equivalent, retired with honours, being translated to Mount Olympus and joining the pantheon of Greek Gods, with her Steve Trevor at her side. After which she ceased to have ever existed2. Her daughter, the Fury, carried on: she was now the daughter of a retrospectively-created Forties Greek Superheroine also called The Fury, and had been raised by an adoptive American family called Trevor.
But, unlike the formerly Earth 1 Superman and Batman, the second Wonder Woman also did not survive Crisis: during the final battle, she was hit by a bolt of Chronal energy flung out by the villainous Anti-Monitor, which reverted her to the clay she had once been. It did more than that: in a manner entirely different to the Crisis itself, it ensured that not only did the second Wonder Woman no longer exist she, like her predecessor, never had existed.

Wonder Woman

The scene was therefore set for a third Wonder Woman to appear, who would not only be the third Wonder Woman but also, naturally, the first. After all, there hadn’t been any before her. Let us think of her as the second first Wonder Woman.
The third Wonder Woman made her debut in Legends, a six issue crossover series drawn by John Byrne, but her true debut was reserved for the first issue of her new series, Wonder Woman 1. She remains created by William Moulton Marston, but this new version was the work of artist George Perez, abetted as scripter (over Perez’s plots) by Greg Potter – replaced after two issues by Len Wein.
Perez’s Wonder Woman resembled the original – shorts became standard female briefs, she wore boots and bore the now official WW symbol – and her origin was clearly based upon Marston’s original. The Amazon race were now the embodiment of the spirits of all women who had died of violence at the hands of men, Hyppolita’s being the only one to have been pregnant at the time, and Diana’s, after her ‘birth’ from the clays of the riverbank, being that of the unborn child.
Once more Steve Trevor’s plane accidentally penetrates the wards separating Paradise Island from Man’s World, but this is now a ploy by Aries, God of War, who is seeking to foment nuclear destruction. Trevor is a much older man now, clearly in his 50’s: an uncle to Diana rather than a would-be lover (his romantic interest will come in the form of an up-dated Etta Candy, once a cartoon fat girl comic relief side-kick, now a capable if overweight Air Force Lieutenant).
And in Man’s World, Diana is given the name Wonder Woman by a publicist wanting to cash in on her symbolic value, and assumed to be a superheroine by virtue of her costume – which is rather the abbreviated battle armour given her by her Amazon sisters.
The third Wonder Woman was briefly a member of Justice League Europe, very briefly that is, and in later years has come aboard the latest JLA, but that was many developments down the line. She was the one and only Wonder Woman: the role of secretary to the JSA – now the hero team of another generation instead of the hero team of another world – was retrospectively vested in 40’s strongwoman Miss America. Until…
But that is to get ahead of our account.

Wonder Woman

For now, the third Wonder Woman stood alone. Her series, directed by Perez, who eventually grew confident enough to script as well as plot/draw, and then to cede the art to Jill Thompson whilst he wrote, proved to be the success Wonder Woman should always have been, justifying DC’s drastic efforts to sweep the decks clear.
Perez moved on after five years, leaving his charge in the hands of writer Bill Loebs. After a couple of years, Loebs introduced the fourth Wonder Woman.
She appeared in ‘The Contest’, along with hot new artist Mike Deodato (one of a number of hot artists whose facility with the human body and the art of story-telling took second place to his ability to generate violent pictures filled with extraneous detail), which ran in Wonder Woman 0, 90-93. Hyppolita, unhappy at the general lack of success of Diana’s mission to Man’s World, called her home and required her to re-submit to the original selection process, to prove herself still the best Amazon: Diana was – you couldn’t see this one coming? – beaten.
The victor in this new contest, and the fourth Wonder Woman, Artemis – a redhead bearing an unfeasibly long and horrendously complex pony-tail – was an Amazon from Bana-Migdoll, being a separated strain of the Amazon race introduced under Perez, who had followed Hyppolita’s more aggressive and vengeful sister, and who had not taken all that well to absorption into the main Amazon race on Paradise Island.
Artemis had a far more aggressive nature, not being content to subdue and overcome evil but being far more inclined to slaughter it outright, in as visually explicit a manner as was compatible with the Comics Code.
The fourth Wonder Woman was a nod to the more violent times, the last thrashings of the grim’n’gritty movement, a warrior (with all that implies).
Fortunately, the perceptive among you will have taken regard of the issue number in which she was introduced. With Wonder Woman (second series) just over half a year from its centenary, a landmark usually marked by an over-sized issue and a life-changing moment, it was fairly clear that Diana’s resumption of her traditional role would be the feature event.
In the meantime, Diana refused to confine herself to Paradise Island, and returned to Man’s World to continue her career, in a fetchingly tight dark blue bra-top and cycle shorts. The two characters ran parallel until the climactic issue 100 when, in battle royal, Artemis paid the ultimate price in defeating a ravening monster, recognising with her dying breath Diana’s greater right to the Wonder Woman name and cossy.
Artemis would return from the dead in a later mini-series, but not as Wonder Woman, and hence has no further role to play in this account.
Diana resumed her role as Wonder Woman, until 1998. With issue 107, her series had been taken over by writer-artist John Byrne who, some eighteen months later, chose to play another game with the character, leading to the fifth Wonder Woman and the onset of total textual complexity.

Wonder Woman

To clear the way for another successor, Diana this time was to die. Like the first Wonder Woman (the first first Wonder Woman, that is) she was translated to Mount Olympus, to become one with the pantheon of Greek Gods, although the second first Wonder Woman would prove to be far less amenable to giving up her humanity for divinity than the first first Wonder Woman had (presumably) been and, after an appropriate length of time, returned to life and her given role.
In the meantime, the fifth Wonder Woman was Hyppolita: Diana’s mother assumed her role in Man’s World, in penance for the part she had to play in her daughter’s death. Hyppolita was the fifth Wonder Woman, but we must remember that she was also the third Wonder Woman, after Diana and Artemis.
Her costume was identical to that worn by Diana and Artemis, except that she wore a skirt of sorts, its length varying with the artist in question (one particularly juvenile minded artist not only drew it as a mini-skirt but planned his shots to give as many glimpses of Amazonian white panties as he could get away with).
Whether this change of apparel was intended to reflect Hyppolita’s greater dignity as an older (albeit still immortal) woman, or as a Queen, remained unspecified.
But Byrne had great ideas in mind. No sooner had Hyppolita appeared on TV for the first time as Wonder Woman than she sparked a memory of recognition in the mind of Jay Garrick, the Golden Age Flash. Almost fifty years earlier (in a short story published in 1997) Flash had been captured by an old foe: he had escaped thanks to the advice of a mysterious elderly stranger who resembled his father (and whose identity was obvious to anyone who had ever read more than three comics). Whilst this stranger had been spouting Get-out-of-Jail-free advice, Flash had glimpsed a woman in an overcoat and a strange costume in the background. Meanwhile, in 1998, Jay Garrick was convinced that he had now recognised the mysterious woman.
Hyppolita had no recollection of the incident, but was willing to accompany Jay back in time (courtesy of the invisible robot plane and Paradise Island’s somewhat nebulous situation in the time stream) to 1941 to check out the details.
Needless to say, and without any time-consuming speeches about how at-last-I-realise, the elder Garrick gave the requisite information to his younger self, wrapping up that short-lived mystery with the perfunctoriness it deserved.
But Jay persuaded Wonder Woman to let him visit the old JSA headquarters at the Smithsonian before returning to the present, not thinking that some of his old comrades – not to mention his younger self – might be about. This led to an adventure with Nazi’s that Jay only seemed to remember as it went along.
At the end, Jay returned to the future alone: Wonder Woman had decided (with no apparent explanation) to remain in the Forties, which she did for half an hour, present day time, returning to 1998 having stayed in the Forties until 1950. If you know what I mean.
The moment she returned, Jay remembered all those JSA adventures that had included Wonder Woman. What’s more, now everyone remembered the Forties Wonder Woman, they could all remember how Diana (the second first Wonder Woman) had been given the name of Wonder Woman because of the recollection of the first Wonder Woman (Hyppolita, the third Wonder Woman).
So, just to get this straight, the first Wonder Woman was now Hyppolita, who was actually the third Wonder Woman in current continuity, and the fifth one overall. She was active between 1941 and 1950, as an interlude from being active in 1998-9, in succession to Diana, the first Wonder Woman (the second first Wonder Woman, that is), but the third Wonder Woman overall, who was given the name Wonder Woman in tribute to Hyppolita, who was the second Wonder Woman to succeed her but had appeared forty plus years before her, both taking her name from and bequeathing it to her daughter. Meanwhile, the Earth 2 Diana was actually the first Wonder Woman (the first first Wonder Woman), but she never existed anyway, and the second Wonder Woman was originally the same as the first Wonder Woman, and she never existed anyway either, but not for the same reason. And, so as not to leave her out, the odd one out in all this is Artemis, who was the second, fourth and third Wonder Woman, according to which angle you look at her.
All of which is clear as mud to you, and daylight to the comic book fan, who may not be regarded as quite as big an idiot as you thought. And if you think that’s complicated, let me tell you about the pre-Crisis history of the Spectre.

And here’s one we hadn’t had by then

Breaking the Vibrational Barrier: 1972


Justice League of America 100, “The Unknown Soldier of Victory!”/Justice League of America 101, “The Hand that Shook the World”/Justice League of America 102, “And One of Us Must Die!” Written by Len Wein, art by Dick Dillin (pencils), Joe Giella (inks, issues 100, 101 and part 102) and Dick Giordano (inks Part 102), edited by Julius Schwarz.


The Justice League’s Satellite headquarters is empty and quiet. It is the League’s one hundredth meeting, and in honour of the occasion, everyone who is or was a Justice League member, together with associates Metamorpho, the Elongated Man and Zatanna, have gathered to celebrate at the League’s original cave sanctuary, outside Happy Harbor in Rhode Island.
With Batman shanghaing former Wonder Woman, Diana Prince, into attending, the only ones missing are the Martian Manhunter, deep in space on New Mars but still thinking of the occasion, and former mascot ‘Snapper’ Carr who, despite being sent an invitation, is still too ashamed at his betrayal of the League to face his former friends.
But as the girls lift the cake cutter, everybody fades out, an experience familiar to most of those present, because it means they are being transported into Earth-2 again.
The augmented League arrives at the headquarters of a very sombre Justice Society, most of whose members are present. Doctor Fate explains that Earth-2 is under threat of destruction from a giant, nebular hand, threatening to crush the Earth, unless its master, the Iron Hand, is given world domination within 24 hours. Twice the JSA have gone against the nebular hand, and twice they have failed. Now they seek the JLA’s assistance.
By the use of his magic, Doctor Fate has found an unidentified grave, high in the Himalayas. He proposes that Zatanna and the Thunderbolt should join theirs magic to his to summon the being known as Oracle to seek his assistance. Oracle responds, at first belligerently, but agrees to advise due to the respect he believes is due to Doctor Fate. He explains that the Nebular hand can only be defeated is with the help of the Seven Soldiers of Victory: which is all very well, but nobody can remember who they are.
Oracle explains that they were a team of seven heroes who were first drawn together to combat the evil plans of the villain, the Hand. The Vigilante, Green Arrow and Speedy, the Crimson Avenger, the Shining Knight and the Star-Spangled Kid and Stripesy each fought personal villains who were in the pay of the Hand: Having defeated their foes, the septet arrived at the Hand’s base to foil his plans, with the Vigilante causing the Hand’s machine to fall on him, seemingly crushing him.
Taking the name Seven Soldiers, the heroes stayed together as a team, until they had to face the Nebula Man. Working together, the Seven Soldiers built a Nebula Rod, whose energies destroyed the Nebula, but killed the soldier who used it: his is the mysterious grave. The other Soldiers were blasted randomly through time, causing the modern world to forget them.
Quickly dividing themselves into seven teams of three, with Oracle’s mystic assistance, the heroes are sent into the timestream to locate and return with the individual Soldiers. Only Diana Prince remains, to coordinate with any latecomers.
In the land of the Aztecs, Doctor Fate, The Atom1 and Elongated Man save the Crimson Avenger from committing human sacrifice under the influence of a radioactive stone. They are summoned back by Oracle.
Meanwhile, in a hidden HQ on Earth-2, the villain gloats. He names himself the Iron Hand, and his right hand is made of metal.
End of part 1.


Diana Prince updates latecomers Green Lantern2, Mr Terrific and Robin on the current situation.
In Ghenghis Khan’s day, Metamorpho, Superman and Sandman not only rescue the Shining Knight from his hypnotised servitude, but prevent the Mongol warlord destroying a village.
Green Lantern2 cannot stand sitting around waiting. He takes his two colleagues on a trip to the Himalayas, to find out which fallen Soldier occupies the mysterious grave. En route, they stop to save some children from falling into a crevasse caused by an Earthquake.
In Medieval England, Dr Mid-Nite, Hawkman1 and Wonder Woman2 rescue Green Arrow from Nottingham Castle, where he has taken the placed of a wounded Robin Hood.
Elsewhere, in the present, the Iron Hand identifies himself as the Law’s Legionnaires’ old foe, the Hand. He was not destroyed in their battle, though his hand was crushed, and he has replaced it with this destructive mechanical device.
In Ancient Egypt, Batman, Starman and Hourman escape capture and imprisonment in a pyramid to rescue Stripesy from slavehood, dragging stones.
At JSA headquarters, Diana Prince waits and worries, unaware of the Iron Hand creeping up behind her.
End of part 2.

Following a recap by Oracle, who continues to summon back the successful heroes and their Soldier after each adventure, in the Wild West, Black Canary, Green Arrow and Johnny Thunder rescue the Vigilante from a Red Indian tribe, despite the two heroes each trying to lay some pretty chauvinistic claims over the affronted Canary.
In prehistoric times, Wildcat, Green Lantern 1 and Aquaman prevent havoc being caused to the human race by a neanderthal tribe coming into contact with a flu-ridden Star Spangled Kid.
Finally, in mythical times on Crete, The Flash1, Zatanna and the Red Tornado escape being turned into hybrid human/animals in order to defeat Circe and release Speedy from his magical centaur form.
The heroes and the Soldiers are back. Almost simultaneously, Green Lantern2 and co return from the Himalayas, having found the grave, but the Crimson Avenger intervenes to confirm that is was his friend and associate Wing, the unofficial ‘Eighth Soldier’ who died, and who is buried with full nobility there.
There is no time for celebration, for the group of heroes is suddenly interrupted by The Iron Hand, clutching Diana Prince as a hostage. With his attention focussed on over thirty heroes ready to pounce, the Iron Hand is not ready for Ms Prince pretending to feint before throwing him in a judo toss and karate chopping his iron hand off. Unfortunately, that was how he was controlling the Nebular hand, which is now out of control.
Rapidly, the Seven Soldiers rebuild their Nebula Rod, which is taken into space and charged at the Sun. There then follows at argument: whoever delivers the Rod will die, like Wing, and the heroes compete over who might have the best chance of surviving,
In the discussion, no-one notices Red Tornado leave with the Nebula Rod, leaving behind a note in which he suggests that his android body might survive, and that if it does not, only a machine has been lost. By this time, it is too late: Earth-2 is shook as the Hand detonates and is dissipated. Red Tornado does not return.
Chastened at the loss of their android comrade, the heroes remember both him and Wing.
* * * * *
Crisis on Multiple Earths Volume 3 contains the team-ups from 1971 – 74. It has a very interesting introduction from Len Wein, writer of three of the reprinted stories, detailing his thought processes in each of them, together with information on the background of each story.
Wein was asked to take over Justice League of America from Mike Friedrich without being told he was going to start with not only the landmark issue 100, but also the tenth annual Justice Society team-up. It was a mammoth task, but Wein approached it with vigour and determination to write a story worthy of the event, and succeeded splendidly.
It’s very much in the grand Gardner Fox tradition, or as much of it as was possible a decade on. Though 1972 is itself a long time ago, enough time had already passed that it would never be possible to write pure Fox again: plot-intense with the characters mere functionaries of what was necessary to direct the story. Wein could base his script upon the characteristics of Fox, but it would be leavened with the kind of character interplay, personality-driven moments that would have been an utter redundancy a decade before.
It’s a strange irony that an event that relied so heavily in its appeal on the nostalgia of seeing the heroes of a bygone age should in only ten years generate nostalgia for itself.
As far as the story is concerned, it is a very simple tale, more simple in its telling than anything Fox himself had ever produced: menace threatens Earth-2: the only people who can save Earth-2 are lost in time: the heroes rescue them: they save the day. What makes it three issues is the sheer volume of characters involved, what makes it work is Wein’s whole-hearted commitment, and the joy in what he’s doing which is very noticeable after O’Neil and Friedrich, who noticeably aren’t happy with what they have to do.
That this anniversary special became the first JLA/JSA team-up to go past the traditional two-issue length was Schwarz’s decision but Wein’s suggestion. In trying to develop a sufficiently spectacular story, Wein hit on the idea of returning to the roots of the first team-up by bringing back another team from DC’s Golden Age. The Seven Soldiers of Victory, who occasionally operated under the rubric of the Law’s Legionnaires, were National’s only other superhero team in the Forties: indeed, they were in a way National’s answer to All-American’s Justice Society. They were never remotely as successful, lasting fourteen issues of Leading Comics (not the two that Wein, in his introduction, misremembers).
As a one-off, a special adventure, it was a great idea, and that was Wein’s intention. Unfortunately, in conceiving the story, he had changed the annual JLA/JSA team-up forever as, with a handful of exceptions, it was no longer sufficient for the two teams to cross the vibrational barrier and meet. Instead, there must always be guests, some other team, no matter how contrived, to add spice to the mix.
On the art side, Joe Giella was reaching the end of his tenure on Justice League of America. Dick Giordano, one of the finest inkers of the period, with a crisp, clean line that gave Dillin’s pencils a sharper edge from which it clearly benefited, inked two of the chapters in the last issue of the story, and would take over full-time with the following issue.
As far as the cast goes, this is obviously the biggest number of heroes to date, no less than 32 costumed characters (counting Johnny Thunder’s inevitable sports jacket and bow-tie) and that’s without the non-powered Diana Prince! Of course, for the 100th issue, Wein had to use, or at least reference, all the past and present JLAers, and he adds to the Earth-1 cast by featuring Metamorpho (who memorably turned down JLA membership), Zatanna (whose quest to find her long-lost father, Zatara, ended in Justice League of America) and the Elongated Man (who had no previous contact with the JLA that I am aware apart from being one of The Flash’s best mates, but who would be inducted by Wein three issues after this story).
On the Justice Society side, Wein included as many of its members as he could, notably putting Doctor Fate in the forefront as usual: Fate’s popularity in these stories can be demonstrated by the fact that he had appeared in eight of the first ten, whilst for Wildcat this was only his second appearance. Basically, all those JSA members with direct counterparts in the League – excepting latecomer Green Lantern – are left out, along with the Spectre, who is dead-dead.
There’s really very little to say about the story itself, except to note that this is the only time the Earth-1 and Earth-2 Green Arrows appear in the same tale, and it’s interesting that they show not the slightest bit of enthusiasm for getting together with each other. Our familiar, bearded liberal crusader even responds with a great, fat “So what?” when he’s told he has a counterpart on Earth-2, and whilst he wouldn’t necessarily have been assigned to rescue his doppelganger, it’s abundantly clear that they have nothing to say to each other, even in the group scenes at the end.
I suspect that our own Ollie held the unreconstructed version that represented his past in a fair amount of contempt, and I wouldn’t mind betting that the clean-shaven Oliver had much the same opinions of his hot-headed, anarchic, alternate.
Fun though these three issues are, there are just a couple of points that must be mentioned, where things fall below the overall standard. The first of these was commented on in a subsequent letter-column: that the menace that had taken two-and-a-half issues to combat was knocked into a cocked hat by the non-superpowered Wonder Woman with a judo toss and a karate chop (which is as near as I can get to an exact quote, though I no longer remember the fan’s name). The other is its ending.
Just as in O’Neil’s second effort in 1970, the story ends in tragedy, and sacrifice. That time it was the Spectre who gave his pseudo-life to save the two planets, this time it is the Red Tornado, with a typically self-loathing reference to himself as a handful of cogs and circuits, who proves his innate humanity by giving up all claim to it and carrying the Nebula Rod to explode the Nebular Hand.
It ought to be a time of regret, of reflection, and Wein makes the appropriate noises, but the sad truth is that that is all they are: noises. The Red Tornado was created in 1968 and this team-up was only his fourth-ever appearance, each time as one of a team. When he appeared I described him as a character full of potential, none of which had been remotely approached since then, as indeed it never could be, as long as he was a member of the Justice Society. His ‘death’ was meaningless.
It was also somewhat ludicrous, as it took place against a background of superhero willy-waving, with people queuing up to claim a place on the suicide mission, whilst the rest of the team easily shot their pretensions towards invulnerability down. And whilst everyone is taken up with this, twenty-odd stone of metal has it away on its tippy-toes with the Nebula Rod, without anyone – not even Superman’s super-hearing – catching the slightest chink. It spoiled the mood.
As to post-Crisis status, I see no reason why it couldn’t be adapted with very little change.

Wonder Woman: Kanigher and the “C” word


The book in question

I’ve read all manner of stuff in comics over the fifty years that I’ve been involved with the things, weird, incomprehensible, brilliant, dull, inspired and just plain awful, but I don’t think I have ever read anything so head-scratchingly, bewilderingly bizarre as Robert Kanigher’s Wonder Woman.
For the last decade or so, DC’s Showcase series has been a cheap and easy way to read long runs of old series, mostly but not exclusively from the Sixties. The volumes provide you with a good long read: Wonder Woman Volume 4 reprints 21 issues from 1965 to 1968, nos. 157 – 177, mostly written by Kanigher and drawn by regulars Ross Andru and Mike Esposito. To make them cheap enough to be attractive, the stories are reprinted in black and white, which is a drawback, but in this instance, nothing that has any bearing on the contents.
I first read this volume several months ago, in utter disbelief, but having just run two Wonder Woman blogposts very shortly before, I decided against doing a post on it at that time. The time has come to read it again – it is equally incredible-in-not-a-good-way – and bite the critical bullet.
Kanigher had been writing Wonder Woman since the late Forties, succeeding creator William Moulton Marston after the latter’s death. His work on the series was already legendary, in the sense of notorious, for its slapdash, wing-it approach, in which incident would follow incident with a complete lack of logic, as if Kanigher did not know, when he typed one page, what the next would contain. And there was the accidental creation of such characters as Wonder Tot and Wonder Girl, who were supposed to be Wonder Woman at different stages of her earlier life but who, instead, started appearing alongside her.
It’s not hard to imagine the comic being the perennially low seller it has always been rumoured to be. Indeed, though I’ve never seen this officially confirmed, it’s long been common knowledge that Marston’s original deal with All-American comics included a clause by which ownership of Wonder Woman would revert to the Marston family if a Wonder Woman comic was not published for a certain length of time, and it was widely believed that the series continued because DC had too much income in licensing deals tied up in the character to afford to lose her, no matter how badly the series sold.
Assuming this to be true, it seems equally clear that as a consequence, nobody gave a damn what Kanigher did with the character. Certainly Kanigher didn’t.
Volume 4 covers the end of one differing phase of the series and all of the rest, although the difference is purely superficial. This is not immediately apparent from the meat of issues 157-8, but a back-up story in the latter, a mind-boggling piece of metafiction that takes what Stan Lee and Jack Kirby would do by inserting themselves into stories and beats it, whimpering in fear, to the ground.
But we cannot ignore that two-part story, for many reasons. This is the (in) famous tale that introduces that most incredible of Sixties villains, the Chinese Communist Oriental mastermind, called Egg Fu.
No, let’s just stop right there. Egg Fu. Before we go even the slightest bit further, let us reflect that here is a character whose very name, even in 1965 amidst the Cold War, embodies a hideously embarrassingly, mind-numbing racism.
Egg Fu. Oh God. And who, or more properly what is Egg Fu? Dear reader, I am afraid there is no way of softening the blow in advance, he is an Egg. A gigantic egg, with yellow skin. He has a painted on face consisting of giant bushy eyebrows, eyes slanting inwards at a 45% angle, a gigantic mouth filled with absolutely non-stereotypical buck teeth, and curling moustachios. Oh, and he has the usual oriental incapability to pronounce the letter R, unress it is funny. A word is already stirring in my head.

Now do you believe me?

The actual story-line begins with Wonder Woman’s boyfriend, Col. Steve Trevor of US Army Intelligence, being asked to volunteer for a mission that has already claimed the lives of eleven pilots, a mission he embraces with an impressive gung-ho loyalty. However, it being probable to the point of certainty that he too will be killed, Steve is given an hour to make peace with his fate, settle his affairs and say farewell to his loved ones, without of course giving away the slightest clue that he’s not coming back.
Steve being Steve, his only thought is to snog Wonder Woman one more time.
Now Wonder Woman, in this era, is close at hand, playing Lieutenant Diana Prince, also of US Army Intelligence, though Diana is only a glorified typist. Naturally, her Amazonian hearing has already alerted her to her beloved Steve’s suicide mission, and only her Amazonian Code is keeping her from the profuse weeping that she automatically breaks out in any time she is threatened with being separated from her handsome boyfriend by more than ten feet.
It should be acknowledged that in Wonder Woman we have an inverted Lois Lane situation: Wonder Woman loves Steve Trevor as both Wonder Woman and Diana Prince but Steve has only eyes for her as Wonder Woman, to such an extent that his only topic of conversation with Lieutenant Prince is his endless extolling of the virtues and beauty of Wonder Woman.
We are about to see a hideously perverse demonstration of this, a gesture of emotional contempt and self-absorption worthy of a monograph in itself. Steve, having arrived in Diana’s office too quickly for her to turn into Wonder Woman, accepts with comparative ease the fact he’s not going to see his Angel for a last time. So, in flagrant disregard for the secret aspect of his orders, he asks Diana if she’ll spend that hour with him, walking on the beach, talking, even snogging at one point – but solely on the basis that at every moment (even during the kissing), Steve will be pretending Diana is Wonder Woman because he can’t get hold of Wonder Woman, and what woman in her heart would deny him that last pleasure?
We’re only up to page 3 and I am reeling in shock that this very notion is not being greeted by, at minimum, a jolt to the testicles from an elephants knee.
But Diana being Diana, as well as Wonder Woman (and the absolute worst of love-struck simps in both guises), it’s the least she can do. And what if their beach idyll is interrupted by the arrival of Chinese Communist Saboteurs coming ashore and trying to shoot them both? Colonel Steve will save the day!
Pity that he can’t see that Lt. Prince has tears pouring out of her eyes in every frame
Once it comes to the mission, Steve is naturally a winner. The fiendish Egg Fu has created automatic defences that detect the vibrations of aerial photography and blow up anything that tries to use it, but Steve’s already bailed out and is taking pictures on the way down with a camera. Just in case he’s tried something sneaky like that, Egg Fu has him bombarded with X-rays, but these are special X-rays. Instead of wiping out photographs, they lift people fifty feet in the air and fill them with explosive energy that turns them into weapons to be flung against US Navy battle fleets of the kind Wonder Woman is fighting to save, in accordance with her Amazon code, whilst all the time leaking tears left, right and centre over poor Steve. Who, incidentally, as a consequence of said Amazon code, she’s compelled not to even smooch, let alone give him a (sanctified-by-marriage) Amazonian shag.
As it happens, Wonder Woman’s compulsion to touch Steve gets her – and him – destroyed, absolutely blown to atoms, by book end, but here comes Hyppolyta (aka Wonder Queen) with the marvellous ASR machine, which the Amazons have invented to restore mountains destroyed by earthquakes and volcanoes. Wouldn’t you just know it, it does work on humans, but whoops, now Wonder Woman has the same explosive content as poor Stevie, and every time the two hapless lovers so much as touch fingers, they are blown about in painful explosions.
However, the love between this pair is so strong and demanding that, despite the risk of concussion if they so much as brush against each other, they keep attempting to do so every two to three pages, because they are so much a pair of lovestruck idiots that they apparently forget, from what explosive contact to the next, just what happens if they try to cop a quick feel.
The solution to this conundrum is exactly as you’d expect from the story so far. Though Egg Fu is an egg, whose features are painted on, suddenly his moustachios move independently, and capture Wonder Woman and Steve in a trap. In order to get rid of them, he hurls them into space, only for them to make contact with one of a number of anti-matter particles falling on the Earth. But these are special anti-matter particles that do not destroy everything instantly upon coming into contact with positive matter, but instead wipe out atomic explosive particles forced into the body of people, freeing them up to touch without blowing each other seventeen ways to sideways.
Thus freed, Wonder Woman drops her lasso of truth, which forces people bound by it to do her bidding, around Egg Fu and orders him to stop his villainy. But Egg Fu lesists so fuliously that, well, he cracks. I mean, he’s an egg, remember!
You’d think that’d be enough for two issues, but Kanigher follows this up with an eight page back-up story announcing the new phase of the series starting next issue, which is either a brilliantly self-mocking piece of premature metafiction, or a piece of shite. You pays your money…
Murder is about to be committed, and Wonder Woman can’t stay. She flies off in her robot plane, like a true coward (I mean, heroine) whilst teenage protesters gather with placards outside a “certain comics company”, protesting against a “certain editor”, who is “killing” Wonder Woman. Much play is made of how said “Editor” is an untrustworthy psychopath, because he reportedly wears a yellow bow-tie (wait, it’s not… Barry Allen, is it?).
Meanwhile, the entire supporting cast cowers in the editor’s office, awaiting their fate. This means: Steve Trevor, Wonder Queen, Wonder Girl, Wonder Tot, Manno and Mer-Boy, Birdman and Bird-Boy and the Glop. Beads of desperate sweat pearl their collective foreheads.
The fleeing Wonder Woman defeats her very old foe the Duke of Deception, out to destroy Paradise Island as a parting gesture before Mr Bowtie murders him, the Amazons cower in subdued, panicky groups, and even Angle Man (who is equally quickly defeated) is in mortal fear.
Because next issue, Kanigher is taking the series Golden Age. Wonder Woman will henceforth retell all the original Golden Ages stories, starting from that secret origin, with artist regulars Andru and Esposito now having to draw with old Harry G Peters’ stiffness, and the entire supporting cast is killed – by having their photos flung into a desk drawer. Only Wonder Woman herself, Queen Hyppolyta (undergoing an abrupt makeover back from blonde to brunette) and super-cutie Steve are spared.
All this in two issues.

Indeed she was

What follows does not, in all honesty, plumb the depths of execrability of these two issues. It is badly drawn, deliberately, all over the place, repetitive – Wonder Woman for the next thirteen straight issues cannot be introduced without the words “Beautiful as Aphrodite, Wise as Athena, Stronger than Hercules and Swifter than Mercury!” which as descriptive epithets go lacks the concision of “Boy Wonder” or even “Scarlet Speedster” – and starts to display an underlying psycho-sexuality that is disturbing to contemplate.
In truth, the Golden Age stuff doesn’t last long, not that it is easy to tell just where Kanigher’s focus is at any time. It’s partly a re-telling of Wonder Woman’s origins, her coming to America and her taking over the real Lieutenant Diana Prince’s life, mingled in with reintroductions of some of the Golden Age villains in, well, frankly, not really updated forms.
The characteristics of Wonder Woman and Steve Trevor do not change. In every respect except actual lust, Wonder Woman is slavering for Steve, repressed only by her sacred Amazonian code and her promise to Aphrodite not to reveal her identity or give up her mission, both of which are utter bars to any kind of relationship with Steve that anyone normal would recognise as emotionally healthy.
She loves him. She yearns to be near him. She will act in any old kind of stupid way to protect him, despite the evidence that he hasn’t got the sense of a rabid gopher.
Because Steve is obsessed with Wonder Woman, or his ‘Angel’ as he insists on calling her to everyone under the sun, most often of all his long-suffering colleague, Lieutenant Diana Prince. Once again, the issue of lust in any recognisable form is absent from this relationship, which, given that Steve is a US Army Colonel before he meets Diana, makes his subsequent less than adolescent passion seem even more improbable. At least Diana has the excuse of complete ignorance about sex (and men) prior to that fateful and ineptly retold moment.

Just another, everyday thing

Indeed, Steve’s obsession is not merely total it is monomaniacal. It doesn’t matter what the situation, where they are, how appropriate it may be, what conditions of peril and danger this pair of prize twits may be in, Steve wants a kiss from his ‘Angel’. And in the face of even the most rational degree of resistance from Wonder Woman, Steve will force that kiss on her, no matter what danger she is preoccupied with saving him/them from, no matter what greater peril or risk he is creating, just as long as she is doing anything that keeps her from fending off his advances.
Yet Wonder Woman does not seem to see anything remotely wrong about this behaviour. She does not even resent it as a momentary intrusion, no matter what effect his inappropriately expressed passion has upon her and the job she is doing. Any normal female would have worn her throat out shrieking variations on “Are you out of your stark, staring, fucking mind?!?!?!” long ago, but this is not in Diana’s vocabulary. Indeed, the slightest thing that removes her as much as an inch from her masochistic goal of being in the divine presence of her suitor brings tears to her eyes faster than snatching a favourite dolly from a two-year old girl. Wonder Woman, outside of the Justice League, appears to be the only superhero who spends over 50% of her time crying.
This emotionally disastrous state of affairs is further heightened by the willingness of both its partners to interpret the slightest signs of any friendly gesture towards a member of the opposite gender as incontrovertible evidence of undying love, and a cue for heartbroken withdrawal from the scene, no matter how implausible the circumstances, though misapprehensions of this nature usually get cleared up (without a backwards mention) in the next panel.
Yet the sight of Diana being nice to someone who, no matter how implausibly old or ugly they may be, happens to be male is not the only thing that can disturb Steve’s unhealthy state of mind towards his ‘Angel’. One of Wonder Woman’s many assets is her lasso of truth, which, if bound about a person, compels them to obey the wielder. Given the sheer power represented by this weapon, it’s already frightening that Wonder Woman manages to lose it and get bound by it in almost every story, usually because she forgets to protect it (forgets? forgets?! FORGETS!!??). Steve is well aware of this, having witnessed Wonder Woman end so many adventures by catching crooks in her lasso, yet when she is in her turn bound and force to obey an enemy who has her act against the United States, Steve instantly bellows his hatred of Diane for turning traitor, no matter how many times she points out that she is helpless to do anything else.
This bull-headed stupidity only serves to torture Wonder Woman more than the mere fact of treason could already do, yet once she frees herself and saves the day, there is not a word of explanation, nor any request for forgiveness over the whole, horrendous affair.
And it is to be contrasted with Steve’s complete hypocrisy in getting his own hands upon the magic lasso, binding his ‘Angel’ with it, and using his control over her to order her to marry him.
Hypocrisy? Hang on, that’s the least of things. Let’s just repeat that. The leading superheroine’s beloved boyfriend – a Colonel in the US Army, in Intelligence, a person of high responsibility – is actually prepared to cheat his loved one into a state of personal slavery, compelling her into a marital and sexual relationship not merely against her express wishes but in complete override of her personal autonomy. No matter how often she pleads with him to let her go, to let her marry him at the right time, freely and of her own love and volition, he takes overt pleasure in refusing her appeals, in insisting on his forcing her, in exercising his blatant control over her.
This isn’t love. It isn’t even obsession, this is an openly expressed intent to rape, enslave and subjugate another human being. In a comic aimed at 8 – 12 year olds.
And when Steve’s grasp of the lasso is jolted from his hands, and Wonder Woman regains control of herself and her destiny again, there is not the slightest suggestion that she holds any resentment towards him, that she regards his behaviour and his attitude towards her as anything more than natural and unexceptionable, nor that he harbours the remotest doubt as to his conduct, nor that he would think for even a fraction of a second before taking exactly the same steps the moment opportunity re-presents itself, thus presenting Wonder Woman with the prospect of sapending her every waking moment in a state of heightened watchfulness against the guy who professes to love her and who has openly stated his intention to obliterate her will. And then she’s also got to watch out for the bad guys.
This isn’t the only aspect of the bizarre and unhealthy psycho-sexual background to the series, which also appears in the revival of the Golden Age character, Dr Psycho. Psycho was a midget, drawn with an overlarge head decorated by a penile nose and a jutting chin that, being also cleft, resembled a scrotum. In mainstream comics: the Comics Code Authority was certainly not as fascisticly vigilant as it might have been.
From his Golden Age origins under Marston, Dr Psycho was an out-and-out misogynist, originally charged with eliminating the influence of women on creating an atmosphere of peace. As written by Kanigher, he’s just a woman-hater whose hatred is based in rejection due to his deformed looks. It doesn’t take much to transfer this generalised loathing into a specific mad-on for Wonder Woman, with Psycho’s determination to force her into a symbolic role as the ultimate in female ability and potential, so that defeating her will be a slap in the face for womankind.

That’s certainly a viable story role, though it’s undermined by Kanigher’s presentation of Wonder Woman as an extremely dodgy role model to begin with. There’s even a sequence where Dr Psycho pretends to want to reform, to become Diana’s friend. It’s all an obvious fake and it does the Amazon no credit that she’s prepared to be so thoroughly taken in by it – as well as it forming the basis for the most absurd of Steve’s outbursts about her abandoning him.
What strikes me throughout this whole sequence of stories, and which I suspect has been going on for many years prior to this particular set of reprints, is Kanigher’s attitude. His control over the series is completely unchecked, and has been since he took over editorial control of the character in the late Forties, following Marston’s death. To have a writer edit himself was unique at DC, and to have allowed the position to continue for twenty years reinforces my belief that the continually weak sales were irrelevant against the licensing income.
Kanigher was in complete control, with only the vaguest of responsibilities to anyone. His heart was, always and forever, in his war books, and it’s notable that the preponderance of the characters he created were in that field. As far as superheroics go, he created Barry (The Flash) Allen in 1956, and Black Canary in 1948, demonstrating an ability to take the form seriously at some point, but Wonder Woman under his hand is the product of contempt: unrestricted, unbridled contempt, for the characters he wrote, and for the readers that bought them.
It’s too sustained, too repetitive, to be anything else, and the only question is as to how much was conscious and how much unconscious. We have his reputation, but the extended Comics Journal  interview in 1982 was enough of itself to demonstrate Kanigher’s innate self-superiority, his pretension and ego. Personally, I believe Kanigher knew what he was doing and that he wrote shit for characters he regarded as inherently imbecilic and readers who would buy any old crap he chose to dish up.
Back in the Sixties, I only once read Wonder Woman outside Justice League of America, in which, like all the other members, she was a cipher with powers. Partly, it was disinterest, partly that I had favourites for those rare occurrences when my parents would indulge me, and a lot of it was down to the small boy’s urge not to have his parents think he wanted to read about girls.
From the few memories I can disentangle, I suspect I bought a virtual reprint issue: it began and ended with Wonder Woman at the comic book shop (!) and in between there was this story that seemed to start in the middle and which looked funny: it was all very peculiar and off-putting.
So to finally read Wonder Woman of that era in extended form, and to have made all the allowances possible for time, space, maturity and everything else that distinguishes then from now, I am still in shock that this was considered, well, publishable. That DC thought it fit to publish not just a comic but so many comics, on and on, eight times a year, that demonstrated such naked loathing towards its subject and, I say again, contempt, for its readers.
It’s a constant, cheerless parade of notions clearly devised on the basis of what-can-we-do-next-that-the-little-fuckers-will-still-swallow? An exercise in trying to find out how inane, bizarre and stupid the story could go before the kids would actually revolt and recognise they were having the unmerciful piss ripped out of them every time they plunked down their 12c.

JSA Legacies: No. 12 – Wonder Woman


Wonder Woman – in all her guises

Wonder Woman marks another problem. For one, there is her anomalous status within the Forties Justice Society of America: a guest in All-Star 11, taken on as secretary in issue 12 and, two early adventures aside, a permanent onlooker, frequently appearing in only a single panel, for years. Even when the Amazing Amazon finally started getting into the act properly, in All-Star 40, there was never any time when she was granted membership.
The bigger issue is that Wonder Woman was one of the Big Three, the Trinity, the three archetypal heroes for whom there was no break, no discontinuity, but continuous publication that spanned the Golden and Silver Ages, that spanned Earths 1 and 2, before and after they were created. Wonder Woman is one of the unchanging ones, the primal three who, no matter what twists and turns and occasional changes will be made, will always be the one version.
A decade ago I wrote an unpublished essay, poking fun at the convoluted state of affairs that had come into being, whereby there had been a total of five Wonder Womans at that point, but of which three of them had been Princess Diana (errr…) of the Amazons.
I’m tempted to copy and paste it here, although any updating of it would now have to recognise seven Wonder Womans, five of them Diana. But it’s not of a piece with this series, so I will deal with the character in a straightforward manner, though in rather less depth than usual.
Whatever her standing as a Forties member, Wonder Woman is indelibly linked with the JSA, having made her first appearance in All-Star 8, in an unrelated bonus story. She was created by psychologist William Moulton Marston, under his pen-name Charles Moulton, and drawn by artist Harry G. Peter, Marston’s personal choice (over the objections of Charlie Gaines at All-American), although Peter’s contract did not allow him to claim any creative aspect.
Marston, who had already played a large role in creating the Lie Detector Test, was a free-thinker who espoused the principles of free love and of bondage/submission as a cure for human violence (a course he advocated freely through his creation: those old Wonder Woman stories are seriously weird-in-a-not-good way). Wonder Woman came about in part due to the early backlash about comics, their violence and their overall suitability for kids.
Marston advised All-American that they needed a female superhero, to introduce loving authority into their comics. Gaines invited him to create such a character, and agreed a deal whereby Marston retained a proprietary interest in the Amazon: should All-American/National/DC fail to publish her for one month, the rights would revert to Marston or his heirs. Marston originally named his creation Suprema, but Sheldon Mayer replaced it with Wonder Woman.
Marston created his character out of myth. The Amazons, under their Queen, Hyppolita, had retreated from the world to hidden Amazon Island, where they lived in peace and were perfect specimens of womanhood. Hyppolita, a beautiful blonde, longed for a child: the Gods instructed her to form a baby from the clay of the riverbank, into which they breathed life, creating Diana, the best Amazon ever.
In 1941, an American plane, containing Colonel Steve Trevor, crashed through the barriers surrounding Amazon Island. Diana saw, and fell irreversibly in love with, the first man she saw. After learning of the War in Man’s World, Hyppolita decided to send an Amazon representative there, to spread peace. She organised a competition to find a worthy winner, but forbade Diana to take part. Diana entered wearing a mask (that would have fooled no-one) and won. Reluctantly, Hyppolita gave way and allowed her daughter to don the special costume that had been made for the winner – coincidentally consisting of a bustier red top decorated by the American Eagle and blue culottes, decorated with silver stars, just like the American flag.
Diana then ventured into Man’s World with Col. Trevor. Almost immediately, she met Army Nurse Diana Prince, who was identical to her and who was crying because she couldn’t get to the West Coast to be with her fiancé. So Diana gave her the money and took Miss Prince’s ID, to be near her beloved Steve.
The following week, Wonder Woman’s regular series started in the first issue of All-American’s new anthology title, Sensation Comics. Sheldon Mayer had her added to the next JSA story in preparation, in which the JSA disbanded to go to War and Wonder Woman subbed for the Spectre, and invited the kids to vote on her as the Justice Society’s first girl member.
Before the votes came in, narrowly in favour, Gaines had decided that Wonder Woman was big enough to get her own title – faster than anyone before her – which debarred her from membership. So, rather than have her elected directly to Honorary Membership, which would have been silly, Mayer added her as Secretary, which was merely demeaning.
As I’ve already said, it took until All-Star 40 to get Wonder Woman into the action regularly, and by the JSA’s final appearance in issue 57, she was the only member appearing anywhere else, in her solo title, Sensation having bitten the dust as well by then.
Wonder Woman stayed in publication throughout the Fifties. After Marston’s death in 1947, the series was taken over by Robert Kanigher, who softened the bondage elements and, indeed, trivialised the series out of all recognition. I’ve recently had the experience of reading Kanigher’s last two years of work on the title which, according to all I’ve heard, is of a kind with what he’d been doing for years, and it’s underpinned by what I can only describe as utter contempt, for the character and the reader alike. Hardly surprising that, for decades, the series sold terribly, being kept alive by the reversion deal that would have cost National all its lucrative licensing rights.
At some, unidentifiable, point, the series stopped being about Wonder Woman 1, of Earth-2 and became that of Wonder Woman 2, of Earth-1 (see, it’s starting to get crazy already). Wonder Woman 2 was a founder member of the Justice League of America in Brave & Bold 27, and a regular in the series until 1969.
The two versions of Wonder Woman were identical up to that time. The Earth-2 Wonder Woman didn’t appear in any team-ups with the Justice League until 1967, and tended not to appear very often, because no-one could tell the difference, except during the period from 1969 to 1972 when, under Mike Sekowsky’s editorship, the Earth-1 Wonder Woman lost her powers, pulled her hair back into a pony-tail, dressed in white jacket and trousers and took on crime as a Diana Rigg/Emma Peel figure.
When this version failed, Wonder Woman regained her powers but had to undergo a twelve-issue Labours of Diana trial, each supervised by a different JLA member before the League would take her back. Then the series switched to World War 2 and the Golden Age Wonder Woman for a few years, until the success of the TV series and Lynda Carter jumped it back to the present day. In any guise, it continued to flounder.
In the Eighties, her costume, which had undergone periodic minor changes – culottes to tight shorts, boots to laced Grecian sandals, shorts to cycle shorts, back to boots, cycle shorts to swimsuit bottoms – underwent a major and permanent change at the request of a major women’s foundation, with the American Eagle replaced by a stylised WW logo across the most famous breasts in comicdom.
Also, Roy Thomas brought the Golden Age Wonder Woman up to date in Infinity, Inc, showing her as older, married to Steve Trevor, and with a teenage daughter, Lyta, who became the superheroine The Fury.
However, both these Wonder Womans were swept aside in Crisis on Infinite Earths, the Earth-2 version being elevated to Godhood, together with her Steve Trevor, as part of the Greek Pantheon, and the Earth-1 version having her chronal pathway reversed, all the way back to the clay of the riverbed.
So, from two all-but identical Wonder Womans, we were down to none. Like the rest of the Trinity, DC were set on a total reboot for Wonder Woman, this time by plotter/artist George Perez. Perez retained the shape of Wonder Woman’s origin but produced a stronger mythic bedrock: Amazon Island became Themiscyra, Hyppolita black-haired not blonde, the Amazons were now the reincarnation of women murdered in hate by men, and Diana was the soul of the child of the only one (Hyppolita) who died pregnant.
Steve Trevor was reimagined as a man in his early Fifties, removing at a stroke the romantic entanglement that had been so hideously and embarrassingly used for so many decades (especially by Kanigher). Diana entered Men’s World as an innocent, with no need of a secret identity, as an Ambassador of Peace.
Wonder Woman 3 (still Diana, although in context, the first Diana of one) was of a different order to her predecessors. The series became a top-seller for the first time since the Forties, and deservedly so.
The removal of a Forties Wonder Woman from continuity left the JSA without a secretary. By a retcon, strongwoman Miss America was eased into that role and all those adventures, though very few stories were told, or retold, with her in that role. It would be superseded in the late Nineties by another, more pertinent retcon.
The new Wonder Woman briefly joined Justice League Europe but tended to go her own way, not returning to a Justice League role until the 1997 reboot. Before this, there were a couple of changes.
After Perez, Bill Messner-Loebs took over as Wonder Woman writer. For issue 0, he had Diana back on Themiscyra whilst Hyppolita re-enacted the contest to be Wonder Woman, only for Diana to be beaten this time by Artemis, a fierce fighter from a more warrior-like strain of Amazons. Artemis went out in Men’s World in the Wonder Woman costume (Wonder Woman 4). She was a full-figured woman with a spectacularly long red ponytail and impossibly long legs (a product of the prevalent artistic ‘styles’).

Artemis

However, Diana did not take her demotion lying down, and returned herself to Man’s World, without powers, this time dressed in dark blue: jacket, bra and cycle-shorts.
As Wonder Woman 0 followed issue 93, the imminent arrival of the anniversarial 100 suggested Artemis would not be a long-term character, and she duly died in battle in that issue, allowing Diana to resume her rightful role.
Surprisingly, not for long. Incoming writer/artist John Byrne was quick to kill Diana – who was translated to the Greek Pantheon. This time she was replaced by Queen Hyppolita, acting out of guilt over her role in Diana’s death. In honour of her senior status, the Queen’s dignity was preserved by her wearing a star-spangled, but still abbreviated skirt instead of the bathing suit bottom.

Hyppolita

Wonder Woman 5 did not last long either (Diana proved to be very unsuited to be a Goddess and wanted back), but did last long enough to go back in time to the Forties with Jay (Flash) Garrick to help him resolve a newly-recollected matter. Jay returned almost immediately, but Hyppolita stayed on an extra half-hour, during which she lived Wonder Woman’s entire Forties career as it had originally happened – bye bye Miss America(n pie) – and set the temporal record on its head.
Though Wonder Woman 5, Hyppolita thus became Wonder Woman 1 (in post-Crisis continuity) as well as Wonder Woman 3 in DC history, whilst Diana now turned out to have been named Wonder Woman due to memories of the Forties career her mother had whilst continuing Diana’s career. Don’t worry, it all makes sense to comics’ fans.
I’m going to draw a veil over the following decade of Wonder Woman’s career, in which changes have occurred (including a radical change of costume that everybody knew was never going to last). But post New 52, we have yet another Wonder Woman, who is yet again a variation on Diana, who we may as well call Wonder Woman 6, and a quickly-killed alternate Diana/Wonder Woman (7) in Earth-2.
There is obviously far more to write about the legacy of Wonder Woman but, excepting those two brief interpolations of Artemis and Hyppolita, neither of whom were ever more than just interpolations, it is one woman and one character’s story. There is no real legacy to be discussed here, any more than there is for Superman or Batman.