Wonder Woman 14

Today, Scott and Taylor are discussing Wonder Woman 14, originally released November 21st, 2012.

Scott: ‘Tis the season for excess. We eat too much, spend too much, we eat too much again and, when things start feeling a little hectic, we tend to think too much. So, as I sit here debating whether to have more stuffing or more mashed potatoes, I can’t help but wonder if Wonder Woman is biting off more than it can chew. Of course, that’s silly; this comic has proven time and time again that it is one of the most clever and well thought-out series around. So the fact that this issue followed four separate storylines in four distant locations shouldn’t worry me, right? But if Wonder Woman is going to turn into the great meal I know it can be, at some point all of these different ingredients are going to have to come together on one plate, so to speak (I don’t know if I’m trying too hard to make this into a Thanksgiving analogy, or not hard enough).

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Wonder Woman 13

Alternating Currents: Wonder Woman 13, Taylor and Scott

Today, Taylor and Scott are discussing Wonder Woman 13, originally released October 17th, 2012.

Taylor: Continuity is a something I appreciate. I enjoy waking up in the morning having a fairly good sense of who I am, where I am, what I’ve been doing and what I need to do during the coming day. I also appreciate continuity in its more mundane and nuanced forms; I appreciate the fact that I can expect my coffee to taste a certain way and even that I can expect the people I know to behave and think in a similar to fashion to that of the day before. Most days I can appreciate the regularity of the subway that takes me to work every morning, but as happens every so often (or more often than not lately), that continuity and expectation of service is broken. Whether it’s an equipment malfunction, signal failures, or a sick passenger, the Red Line of the CTA has a knack for failing to deliver on its promised, regular service that drives me to absolute madness. Maybe I appreciate regularity more than the normal person, but I think most people can appreciate a certain amount of continuity in their life, whether it’s in their daily commute or their comic books. Wonder Woman is a title that garners a fair amount of its strength from consistency, which by no means is a bad thing.

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Wonder Woman 12

Today, Patrick and Peter are discussing Wonder Woman 12, originally released August 15th, 2012.

Patrick: One of the biggest strengths of Brain Azzarello’s Wonder Woman is the richness of its details. The gods are reinvented for comics and the resultant designs are full of specifics that delight by their own virtue. It’s not uncommon in this series to meet a new character or a new creature just because it’s going to be really really really cool. I took Demeter’s introduction last month to be one of those knock-me-down detail-fests that I love so much, but that was shortsighted of me. In any other narrative, introducing a character at this stage in the game would automatically foreshadow that character’s involvement in the conclusion of the story. It turns out that was the case here, but I was too suckered by the writing to see the authorial gears grinding away behind it. That’s awesome.

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Wonder Woman 11

Today, Patrick and Drew are discussing Wonder Woman 11, originally released July 18th, 2012.

Patrick: Drew! It has been ages since you and I wrote about this series together. Last month, we had help from guest-writer (and voice of our Cram Sessions), Siri Hellerman. Otherwise, Shelby usually gets in on writing about Wonder Woman, and we’re thrilled to get that female perspective. It’s by pure random chance that you and I selected the butchest issue of Wonder Woman yet to review. Thankfully, the more action-heavy tone didn’t overpower the series’ usual style, cleverness and depth.
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Wonder Woman 8

Today, Patrick and Shelby are discussing Wonder Woman 8, originally released April 18th, 2012.

Patrick: Last month, we were promised a trip to Hell. Given all the characters in-play in Wonder Woman, I foolishly assumed we’d get something of an Orpheus story. But that assumption proved too narrow and too literal: Brian Azzarello may have been given license to explicitly alter the Wonder Woman mythos, but he takes the same liberties with Greek mythology. The result is a trippy adventure through the underworld that is recognizably epic (in both the traditional and modern sense of the word) and wholly, boldly new.
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