Azzarello and Chiang's Wonder Woman has been praised for putting forth an epic, cohesive and narratively self-contained superhero drama with flourishes of the urban fantasy that once defined DC's Vertigo imprint, but has also been criticized for the changes it made to Wonder Woman's core myth. What's not in dispute is that the pair have created the most memorable and talked about Wonder Woman story in years -- maybe in decades -- and to mark the conclusion of their work, we caught up with Chiang and Azzarello to look back at their run and talk about their novel take on the feminist icon.
Who is Wonder Woman?
Is she a being of love adrift in darkness, as portrayed by Brian Azzarello and Cliff Chiang in their recently ended run? A dowdy wallflower, eternally at war with her own glamorous alter ego for Steve Trevor’s affection? George Pérez’s goddess of truth? Robert Kanigher’s wannabe wife? Greg Rucka’s diplomat? Gail Simone’s savior? Robert Valley's hot rod heroine? The Justice League’s secretary? Superman’s girlfriend? Batman’s girlfriend? Lynda Carter in satin tights? William Moulton Marston’s herald of benevolent matriarchy or the sexed-up uberbabe I met as a comics-curious child? Or, in the most macro sense—the one that most of the public operates on, when it comes to Wonder Woman—is she merely the century’s most generic t-shirt symbol of girl power?
DC has a Wonder Woman problem. Or perhaps more accurately, Wonder Woman has a DC problem. The idea of Wonder Woman as a feminist icon is so imprinted in her history, and in analysis of the character, that separating her from feminism should be near impossible. But that hasn’t stopped people trying.
Much has been written over the years about the ebb and flow of feminism in the Wonder Woman comics, the relative feminism of her appearances on the small screen, and her role as an icon for the movement. A recent interview with the new Wonder Woman creative team of Meredith Finch and David Finch has brought the topic back into focus.
The Marvel Unlimited app is a gigantic, messy cache of awesome and terrible old comic books: a library of 13,000 or so back issues of Marvel titles, available on demand for subscribers with tablets or mobile phones. Like any good back-room longbox, it’s disorganized and riddled with gaps, but it’s also full of forgotten and overlooked jewels, as well as a few stone classics. In Marvel Unlimited Edition, Eisner-winning critic Douglas Wolk dives into the Unlimited archive to find its best, oddest and most intriguing comics.
In this week's edition: Replacing Peter Parker with Otto Octavius for 31 issues was a neat demonstration of how strong Spider-Man's supporting cast is -- and The Superior Foes of Spider-Man has removed its title character from the equation altogether and gotten a terrific series out of it. Even before the big mind-swap, though, there was a little tradition of Spider-Man comics without Spider-Man in them. (He doesn't appear in Amazing Spider-Man #654.1 or #676, for instance, both among 2011's best done-in-one issues of the series.) Here are some of the most entertaining examples on Marvel Unlimited.
This week, Chris and Matt are talking at length about Futures End #1 by Brian Azzarello, Keith Giffen, Dan Jurgens, Jeff Lemire and Patrick Zircher, which continues the killing trend set off by the Free Comic Book Day #0 issue. Then they talk about Rat Queens #6 by Kurtis Wiebe and Roc Upchurch and Moon Knight #3 by Warren Ellis, Declan Shalvey and Jordie Bellaire!
Though weekly series were recently a major part of DC Comics' plans, the publisher took a few years off from them to focus on its New 52 initiative. Now, more than two years into the new DC Universe, the company is returning to the format with perhaps its most significant attempt at weekly comics yet. On the heels of the recently announced Batman: Eternal year long weekly series, this morning DC revealed plans for The New 52: Futures End, its second weekly book in 2014.
Brother Lono is back. The entire team from 100 Bullets -- Brian Azzarello, Eduardo Risso, Trish Mulvihill, Clem Robins and Dave Johnson -- is together again for Brother Lono, a new miniseries starring the character who proved to be a favorite among readers of the celebrated crime series. In the first issue of the eight part story, Lono was released from prison and tasked with escorting a young nun, who's just arrived in Mexico, to a mission. But if events in the first issue -- including a rotting corpse on a bus station bench in broad daylight -- are any indication, that's not going to be easy.
Vertigo has provided ComicsAlliance with a five page preview of Brother Lono #2, which you can check out below.
In stores today is Wonder Woman #18, the conclusion to the current storyline centered on Wonder Woman's search for Zola's baby, the latest child of Zeus and Diana's half-sibling. This story also introduc
Following the success of Spaceman, the Vertigo miniseries that reunited the entire team behind the multiple Eisner award winning 100 Bullets, DC Comics and Vertigo have announced that writer Brian Azzarello and artist Eduardo Risso are revisiting the world of their critically acclaimed crime series, and once again the r
With the 300th and final issue of Vertigo's Hellblazer, out this week, several tumblers shift and lock into place. John Constantine moves to the New 52 on a full-time basis, with a new title beginning in March; the reset button is pushed on his continuity, and the most writer-driven character of the last thirty years is yanked from the comfort and promise of a Mature Readers label and forced to grow up again in a PG-13 world; and the longest-running title in the Vertigo line concludes a twenty year run, as the imprint focuses exclusively on creator-owned comics. It's a sad time for misfits everywhere, as Hellblazer is o