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Wednesday, April 20, 2016 

Kotaku actually dislikes Morrison's take on WW

Of all the sites that could offer a negative take on Grant Morrison's Wonder Woman: Earth One, the mostly leftist Kotaku is certainly one such place. They're certainly right about this:
Wonder Woman is one of the most popular and recognizable superheroes in the world. Along with Superman and Batman, she forms part of DC Comics’ holy trinity. But, for years, it’s felt like she’s lacked a strong creative direction. Most people know her as a symbol, a lasso-wielding standard-bearer for the idea that women can do anything as well as men and that they deserve equal rights. That aspect of the character has largely withered in her regularly published adventures. She still gets referred to as an aspirational figure, but the exact specificity of her specialness has become bland. She’s more like a female version of Superman in some ways—stronger and more compassionate than the average person—but differentiated by a natural affinity for combat.
This is really no shock. By the late 90s/early 2000s, when John Byrne took up writing, that's when it really started going downhill, but it was with Greg Rucka that things got worse, especially when the series got stuck with Infinite Crisis and WW was made to break Max Lord's neck, all so she could be made into a scapegoat. I can't help notice they don't seem to get into that matter.

Interestingly, when they talk about the premise here of Hercules being the father of WW in this GN, it's said that:
The familiar beats from various Wonder Woman origin stories throughout the decades appear here. As in the recent New 52 version of Wonder Woman’s origin, the princess is a product of two warring legacies, and Hippolyta has hidden her daughter’s true lineage from her. (It’s worth mentioning that Morrison talked about the ideas in this story for at least seven years, long before the 2011 New 52 reboot.)
In that case, it's not too hard to guess where some of Brian Azzarello's ideas came from. But Morrison's setup is decidedly worse. What I really don't get is why anybody thinks WW's origin as a humanoid formed from enchanted clay wasn't good enough.
Diana’s impetuous wanderlust brings her to that outside world, where she’s stunned by the rampant aggression and inequalities she sees, especially as it applies to women. Meanwhile, her mother sends Medusa to get her wayward daughter back home. Diana returns to forestall further disaster and stands trial before the Amazons for her transgressions.

Morrison brings thematics to the foreground in Wonder Woman: Earth One. This is a metaphorical exploration first, a family drama second and a worlds-colliding adventure last. There are no fisticuffs in this story. But it doesn’t feel like it plays to Morrison’s strengths, which let him weave fresh mythic interpretations out of long-lived franchise characters by coming at their aggregated histories with new angles. Here, it feels like he’s aping the stilted Golden Age cadences of the Marston Wonder Woman stories, adding touches of Silver Age goofiness and positioning them against Bronze Age paranoia. It doesn’t cohere well and comes across as wincingly clumsy at times.

Take this version of Steve Trevor, whose crotch she grabs when tending to him.
I'd say it comes across as revolting with that kind of excessive crap inside. I'm glad to see there's others out there willing to acknowledge how gross and unnecessary those kind of story elements are. As I said before, that only makes WW look bad. If there's any anti-military theme in this book as previous info suggested, that's another serious detractor. There's also the following told about WW's community:
The Amazons are all ‘perfect’ physical specimens who make light of Etta Candy’s curvier frame.
If Candy is portrayed as overweight here, same as she was drawn chubby in the Golden Age tales, I don't get why they call it "curvy", because that's actually a positive description for women with great figures. Wouldn't "wider" sum it up better?

As crummy as the Gawker network can be, this is one example where they surprisingly didn't sugarcoat their take on the work of an overrated writer from the UK who seems to enjoy some of the opportunities that most USA-born writers aren't given at DC. And they even allowed him to put in something as crude as what's seen with the GN's take on Trevor. All this just demonstrates how they no longer care what anyone thinks of how their heroes are portrayed in the comics proper.

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