Note that this is still technically Rebirth, but they gave it a Volume 1, probably because the original Rebirth storyline was wrapped up in the last volume.
Steve Trevor goes MIA on a covert mission to the war-torn country of Durovnia. In rushing there to find him, Wonder Woman instead finds Ares! He has escaped from his imprisonment on Themyscira to… fight for truth and justice, as Wonder Woman does? But what does his escape mean for Diana’s homeland? Steve, meanwhile, is among a group of mythical beasts led by a boy to none other than Aphrodite. She explains that she has no memory of how she came to be on Earth and that she cannot find her way back to Olympus. Steve begs her to help him and Wonder Woman stop the war – but how do you stop a war with love?
There are no right or wrong answers in this graphic novel. There are only intentions, actions, and consequences. Some turn out good, others not so good. We see our heroes trying to wield love and forgiveness against hate and fear. Not only during the war-like conflict, but against prejudices and fear of refugees.
The art was very stylish. The figures are fluid and the action dynamic. Though there are some big fight scenes, it never feels cluttered. The facial expressions looked kind of weird at times: as if they were too stretched out or too squished, and it was distracting.
Overall I was pleased with G. Willow Wilson’s Wonder Woman debut, and I am eager to see what else she does with the character.
Wilson, G. Willow, Cary Nord, Xermanico, and Jesus Merino. Wonder Woman (Vol. 1): The Just War. 2019.
It’s Diana’s 16th Born Day! She is very eager to turn 16, as she hopes it means her Changeling phase is over. She often wonders if there is something wrong with her, as she was shaped from clay instead of being born naturally, to make her go through such an ugly phase that her sisters have never been through. During her Born Day Feast, a storm whips up, which starts throwing lifeboats from the outside world against her shores. The boats are full of war refugees. In saving their drowning children, the way back to Themyscira is closed to her and Diana becomes a refugee herself. She ends up traveling to a refugee camp in Greece, and from there to America, by a married couple named Steve and Trevor. Posing as an exchange student, they set her up with a Polish woman named Henke and her granddaughter, Raissa. Diana quickly learns about the bad and seedy side of New York City, but has Raissa to help guide her and show her the ways of this new world. When they discover a child trafficking scheme, can these two teenage girls make a difference?
I had been looking forward to Laurie Halse Anderson’s YA rendition of Wonder Woman, and was not disappointed. This is a heavy graphic novel chock full of questions of diversity and social justice that Ms. Anderson is never afraid to ask. Diana’s naive nature translates beautifully to the minds of a teen reader just starting to ask these big questions for themselves. We see our main character transform from a teenager to an adult in both body and socially, to become an informed and upstanding citizen of the world. That sure is something for our youth to aspire to today.
Though the book didn’t have a set color scheme, gold and teal are used throughout. Most notably, they are used at the very beginning and very end, serving as a nice visual bookend. The linework is thin and delicate, which belie the great strength and emotion in the story and the characters.
For fans of Ms. Anderson’s prior work, this is a must-read. For everyone else, it’s a Wonder Woman story perfectly suited for our times.
Anderson, Laurie Halse, and Leila Del Duca. Wonder Woman: Tempest Tossed. 2020.
On our quarantine weekends, Fiancé and I have been marathoning movies. We pull out the couch (it doubles as a futon), sprawl out with pillows and snacks, and go to town. So far we’ve marathoned Lord of the Rings (extended editions, obvs), Batman (pre-Nolan and Nolan directed), Christopher Reeves’ Superman saga, the entire Marvel Cinematic Universe, bounced around between some DC animated movies we haven’t seen yet, and now we’re working on the DC Cinematic Universe that started with Man of Steel.
I’m sure this has been done, because how could it not have been, but I couldn’t help thinking while watching Captain Marvel of the comparisons it drew to Wonder Woman. Watching Wonder Woman again only threw the differences into greater relief.
Wonder Woman is the DCU’s take on Diana’s origins. Set during World War I, Diana leaves her home, Themyscira, when she rescues a pilot named Steve Trevor. He carries important information that could end the course of the war. Believing that Ares, the god of war, is behind the rampant destruction, Diana spirits Steve off the island and pursues Ares to fulfill the Amazon’s sacred duty of protecting the world from the vengeful god.
Captain Marvel follows the story of Vers/Carol Danvers, a Kree Starforce member/human fighter pilot. After absorbing a vast amount of energy from an experimental engine, she gains incredible powers but loses the memory of her life on Earth. What she does remember comes back to her in dreams and short flashes. In 1995 she winds up back on Earth, escaping from the Skrull (with whom the Kree are at war), and instead of trying to get back to Kree, decides to team up with a man named Nick Fury to find out more about her past.
The simplest way to explain the plots of both movies is perhaps: flagship female superhero finds herself out of her element, and must find a way to save the world while simultaneously working within the confines of a setting she’s unfamiliar with.
Wonder Woman did this SO much better than Captain Marvel did, and here’s why.
The first reason is in the portrayal of the heroines by their actresses, and how they interact with their mentor of the world they are unaccustomed to. Gal Gadot’s performance of Diana suggested naive innocence and idealism. Diana is doggedly determined to rid Man’s World of Aries’ influence and stop the war, but she has very different ideas of how to do it than everyone else. She doesn’t understand all the hoops and red tape Steve knows they need to navigate, and gets frustrated with the inconveniences. Chris Pine’s Steve Trevor is cynical, world-weary, yet focused and determined to do something too – and he’s willing to indulge Diana’s seemingly crazy ideas if she’ll help.
Watching these two – it’s magical. There’s real chemistry between these characters. Half the fun of watching this movie is watching Steve’s exaggerated, exasperated patience with Diana asking a million questions a minute, like a petulant child. Yet, you can’t help but love them each for it. Their relationship progressed organically from mentor/student to friends to lovers, all while remaining mostly equals, making it seem more real and believable.
Brie Larson’s portrayal of Carol was, to put it nicely, unemotional to the point of being flat. I suppose it was to show how the Kree are generally in strict control of their emotions… but Carol is human and not Kree, right? So despite her thinking she was Kree for most of the movie, it would stand to reason that we would see some excess of emotion from her at some point, right? Even if it was on accident?? Even in moments where it’s completely warranted and expected, such as her reuniting with her best friend, Maria – right???
The vibe I got from Carol and Nick Fury’s interactions were more of almost a buddy cop dynamic. This isn’t necessarily a bad thing. There’s just less of that mentor-ship that we see going on with Diana and Steve. It’s clear both Carol and Nick have been around the block, albeit in different ways and in different galaxies. However, their connection seemed a bit forced to me; yes, they teamed up out of necessity, but if I felt Carol was feeling anything at all, it was smug arrogance, solely through her interactions with Fury. More on this in a moment.
Though both Diana and Carol are superhuman beings, and warriors to boot, Diana is shown to be more well-rounded in the emotions department. There was never any point in Captain Marvel where I felt emotionally connected to Carol. I think this is more the fault of the writing more than it is Larson’s portrayal, which leads me to my second point:
The way misogyny is handled in both movies is VASTLY different, and makes a HUGE impact on the way the titular characters interact with their environments, and the emotional weight of each story.
You ever wonder why the No Man’s Land scene in Wonder Woman is so powerful? Why you cry like a baby every time you watch it? Admit it, you know it’s not just me 😉
It’s because, for the entire movie up until that point, we see Diana being told “no.”
No, you can’t be a warrior
No, you can’t leave home
No, you can’t dress that way
No, you can’t come into this war council
No, you can’t go to the front
Now, no one says these things in so many words, and it’s not always that obvious. It may be only on your second or third viewing that you REALLY pick up on all the subtle ways that Diana is being restricted – which mirrors what happens in real-life with instances of misogyny. It’s not always being told “no” exactly, more often it’s being dismissed or sidebarred – which we see Diana go through. When we get to the No Man’s Land scene, and Steve tells Diana they are not going to help the village of Veld, Diana has heard her last “no.”
It’s so powerful because Diana is FINALLY standing up for herself, what she believes in, her mission, and she is going to do it no matter what anyone says. It’s so powerful because she has tried to assimilate into Man’s World and to their ways, but she finally realizes that their ways don’t work, and she carves herself a new path, her own way. It’s so powerful because she is embracing her feminine power to save the world, and her ultimate superpower: not her brute strength, but her ability to provide hope in a completely hopeless situation.
The brilliancy and beauty of this scene is in the movie’s moves up until this point to try and hem Diana in, so subtle that it’s nearly subconscious. When you see her finally break free in this scene, the movie has earned all the ugly tears you shed over it, and then some.
Captain Marvel didn’t have an equivalent scene, though it tried to. Near the end of the movie, Carol confronts the Supreme Intelligence and breaks her inhibitor chip. It also gave us a slew of flashbacks to Carol’s childhood in which we are shown in quick succession how Carol has been told “no,” and that’s what’s allows her to break free and come into her full power, which we then see in the next scene: the “I’m Just a Girl” scene, where Carol fights her former Kree squadron for the Tesseract.
The problem with this scene – and with the movie in general – is Carol is explicitly told “no,” in so many words, in those flashbacks. We are beaten over the head with scenes like this:
Carol and Maria getting hit on by a sleazy guy at a bar
Carol and Maria can’t become fighter pilots
Carol needs to control her emotions
Carol can’t play baseball
Carol can’t go that fast on a go-kart track
… All because they are girls or women.
Carol, and the audience, are explicitly told these things, instead of being shown them. The subtlety that worked so well in Wonder Woman is missing altogether from Captain Marvel. The obviousness of the misogyny in this movie strip much of the meaning away from the instances in which they occur, or their motivation for Carol.
I mentioned above that I felt Carol to be a cold, arrogant presence throughout this movie – this is why. It felt as if she was so hell-bent on proving her worth, despite her being a woman, that that’s all her character became. This crippled her relationship with Fury. Instead of Fury becoming a guide to Carol when she returns to Earth, he became the receiving end of the superiority she picked up from her time as a Kree. It felt as if he was reduced to a comic relief sidekick alongside Carol, instead of the force of nature we had previously seen and known him to be. Though this is a prequel movie for Fury, and he arguably doesn’t quite have the experience to be a mentor yet as he’s early in his career, the fact remains that as far as she knows, he is still Carol’s bridge between Kree and Earth – and to me it felt like Carol knew better than he did.
Now, I know Carol was brainwashed to believe she was really a Kree. It seemed as if all the flashbacks from Carol’s former life on Earth shown in the movie were instances like these: blatant misogyny. What it really needed was more of Carol being a badass like Maria talked about during the kitchen scene. The Carol Maria talked about sounded awesome! She was a pain in her best friend’s butt! She was an amazing pilot! She loved to go out and dance and do kareoke! She was an aunt figure to Maria’s daughter, Monica! THAT’S the Carol we needed to see – the truly human Carol!!!
In fact, the one thing Captain Marvel did better than Wonder Woman was the inclusion of Maria’s character. What little we saw of Maria and Carol’s friendship was AMAZING!!! They had such a great friendship, of two women (one of them of color!!!) LOVING AND SUPPORTING EACH OTHER UNCONDITIONALLY!!! There wasn’t enough time spent on any female characters other than Diana in Wonder Woman for us to see any friendships form between her and another woman (though I am hopeful we see this between Diana and Barbara Ann Minerva in WW84, coming out in October at time of posting).
The movie needed more of this truly human Carol. The pre-brainwashed Carol as seen through Maria and Monica’s eyes, to make the audience care about her, and to make us believe that she is more than a single dimension: that of being a woman with something to prove. It’s otherwise difficult for the audience to remember that she IS supposed to be human, and therefore it’s difficult for the audience to emotionally connect with her.
The heavy-handed misogyny in Captain Marvel also strips away any and all emotional impact we are supposed to feel from anything – especially the final fight scenes, after Carol finally comes into her full power. The movie tried SO HARD to show us Carol’s girl power that that’s all her character was reduced to. When we finally get to the “I’m Just a Girl” fight scene, we just roll our eyes at yet ANOTHER in-your-face instance of Carol’s femininity. Captain Marvel hamstrung itself on its’ own feminism.
The dynamic of each movie within its’ respective universe is also interesting to think about. The DCEU was okay at best until Wonder Woman (the 4th installment) finally helped them to find their stride. While no DCEU movie they create afterward will come close to being on the same level, their subsequent movies have become overall lighter and more fun in tone than their predecessors – and more like the MCU.
The DCEU tried too hard in their beginnings to become what the MCU was in their middle that they rushed into a huge crossover with no other basis than Man of Steel, and failed at it.
The MCU is a carefully-crafted, decades-long cinematic event. I may be a die-hard DC fan, but even I can admit that Marvel’s movies FAR outstrip DC’s in scope, continuity, and storytelling. Captain Marvel was the third to last installment in the Phase 3 of the MCU saga – between Ant Man and the Wasp and Avengers: Endgame (technically, but I personally consider it the second to last because I don’t count Spiderman: Far from Home as being part of Phase 3, but that’s a post for another day). My point being, this movie is smack dab between a hilarious, high-stakes heist, and the epic ending to one of the greatest cinematic sagas in all of film history, and introduces a character VITAL to that ending, just one movie before. And it unfortunately feels like a slog to get through. It feels like forced required reading just before that cinematic climax that only serves two purposes: to explain the Carol-Ex-Machina moment in Endgame (disappointing), and how Fury lost his eye (even more disappointing).
The MCU tried to recreate with Captain Marvel what the DCEU did with Wonder Woman – a first movie for a female hero in their camp – and failed at it.
… Okay, now that I got my nice, objective views out of the way, I’m sorry I can’t hold it in anymore I need to say it the very biased way I said it to a friend: Captain Marvel??? More like Captain Knockoff: Superman Without Any of His Likeable Qualities Wearing a Chinese Bootleg Wonder Woman Costume
Y’all KNOW they PURPOSELY created CM’s costume to look TOO SIMILAR TO WW’S like JUST LOOK AT IT AND TRY TO TELL ME I’M WRONG
I think y’all knew which camp I was in to begin with, but I hope I explained the important differences between these two movies, and why those differences had a significant impact on each movie, sufficiently!
Eleven-year-old Diana is lonely! She is the only kid on the entire island full of Amazons. Though she loves her mother and all her aunts, she feels like everyone is now too busy for her. Remembering the story of her birth, she sculpts a friend out of clay and sand and tries to breathe life into her. To Diana’s surprise, her friend Mona comes to life! Mona and Diana run around, have fun, and create mischief together. It’s all fun and games until the daring Mona tries to recruit Diana into a prank that – in Diana’s opinion – goes too far. Did Diana create a friend, or a monster?
Shannon and Dean Hale are a husband and wife team of juvenile books. Shannon has written the award-winning Princess Academy and the Ever After High book series for children. It’s easy to see here why they make a good team! Their Diana is too old to consider herself a kid, but too young for anything else. She feels like it’s impossible to be like the women she’s grown up with and looks up to. They perfectly captured that frustration and loneliness everyone her age feels.
The art is, frankly, adorable. I loved the soft, rounded, and expressive figures, which children will love and are easy to look at. The palette is bright and colorful, in jewel tones that perfectly reflect Diana’s island home. The limited action scenes read a little goofy to me, as I’m an adult reading a children’s book, but there is no excessive violence and no blood. I’d happily give it to a child who expresses interest in it without worrying that they would get scared.
Here is a rare book of a Diana who is not yet Wonder Woman, but not a child anymore either. The target audience will see their own feelings reflected in Diana, and will easily be able to navigate the adorable art.
Hale, Shannon, Dean Hale, and Victoria Ying. Diana: Princess of the Amazons. 2020.
Before she was Wonder Woman, Diana grew up on Themyscira. It isn’t always easy being the youngest of an entire island full of warrior women. They were reborn as Amazons because they died nobly, with a goddess’ prayer on their lips – every single one of them except for Diana. Some call her Pyxis (clay pot), some say she’s made of mud. Diana is determined to prove her right to be among them during an annual race across the island. Along her route, Diana witnesses a shipwreck and rescues a girl about her age from the wreckage. Her name is Alia, and with her coming strange and terrible things start happening on the island. The girls discover Alia is a descendant of Helen of Troy, whose blood was cursed to make her a Warbringer: a harbinger of death and destruction. Diana removes Alia from the island to try and find a way to remove the curse. If it fails, Alia asks Diana to kill her instead, before she can start another World War. Killing another is against the Amazon code. Can Diana remove Alia’s curse, or will she be forced to do the unthinkable?
This is a graphic novel adaptation of Leigh Bardugo’s YA novel (the first in the “DC Icons” series) that came out in 2017. At the heart of the story is the moral dilemma that Diana faces: is it better to spare one life yet potentially cause countless other deaths, or better to take one life to spare countless other lives?
I was appreciative of the Amazon’s origin here, as it was written first in George Perez’ run. Myths and deities other than Grecian are included as a result, though the focus is on Grecian myths primarily.
It being a YA novel, there was a romance between Diana and another character that to me seemed forced. There are representations of people of color – Alia herself is African American, which contributes to the story in multiple ways – and LGBTQ+ characters. Wonder Woman’s character is tolerant and accepting of all kinds of people, so I was thrilled to see many types of representation here – where it’s right at home!
Differing hues of sea blues and greens dominate the book. Other colors such as red and yellow are used as highlights. Decisive and precise lines accentuate the characters’ strength and determination. Though there is a lot going on sometimes, especially in the action scenes, the panels are never cluttered.
This is an impressive adaptation of the best-selling YA novel. The dilemma young Diana, and her diverse companions, face compels readers to keep going until the very end.
Bardugo, Leigh, Louise Simonson, and Kit Seaton. Wonder Woman: Warbringer (The Graphic Novel). 2020.
Superheros have been dealing with the repercussions of death and destruction for years and who better than author Tom King, a former CIA operative, to know that this would start to wear on these DC heroes. Thus Superman, Wonder Woman and Batman band together to build a secret mental health clinic in rural Nebraska called Sanctuary where heroes can go for anonymous assistance. It is staffed by androids and offers virtual reality reenactment and counseling to help them with their issues.
Event books seem to be my kryptonite with DC. While I rarely read about individual superheroes, except for Aquaman lately, I am a sucker for these stories that bring everyone together in sometimes implausible ways. So the story begins with Harley Quinn and Blue Beetle duking it out, as each accuses the other of being a murderer- and we soon find out that there was a slaughter at the Sanctuary with several heroes dead. While most of them are heroes of little note, Wally West who is the original Kid Flash, is one of the casualties. The Big Three are called to investigate, and they are dumbfounded, as they had put in place many safeguards to protect their traumatized brethren.
The story had some incredible highs and lows. While I applaud the idea that superheroes would need counseling to process their grief and the insight that King brought to the large cast of characters, the ending was very convoluted. I had to poke around in The New 52 and DC Rebirth to understand why the culprit did what they did, and it still didn’t make a lot of sense. But no matter, this character will be yet again retconned and their crimes will not matter in the future. In addition, the release of private confessionals to the public and Lois Lane’s decision to go to print with the story rubbed me the wrong way. In real life, there are “outings” of people’s private lives all the time for sensationalistic effect, all in the name of the “public’s right to know”.
Yet, the book worked in smaller moments. There were some interesting pairings- towards the end Batgirl, Harley Quinn, Blue Beetle and Booster Gold band together to solve the mystery of what happened. As I don’t read a lot of DC, I was unaware that Harley and Poison Ivy were a couple, but the two of them have a brand new mini-series that takes place directly after this event, aptly named Harley Quinn and Poison Ivy. I enjoyed seeing Batgirl prevent Harley from spiraling out of control, and the bromance between BB and BG. I looked up several of the heroes I was unfamiliar with, and the insecurities that the four Robins showed (see below) was pitch-perfect. Tom King is now known as someone who writes about deeper psychological issues, and that is readily shown in this story.
The artwork by Clay Mann, Travis Moore, Mitch Gerads, Jorge Fornes and Lee Weeks was absolutely outstanding. For so many artists, the style stayed remarkably consistent. The two-page splash pages that opened each issue were visually stunning, with distinct drawings of both small settings and large outdoor expanses. The nine-panel pages were my favorite, as each character was drawn with precision, with facial expressions showing their personalities and conveying the distress that they each of them was working through. Rich colouring and lettering also added to the top-notch illustrations.
All in all, a thought-provoking story that may trigger some difficult feelings for some readers, as mental health is a loaded topic for some, but is worth discussing and bringing out into the open. I was glad to read an online preview from NetGalley before it was published and will plan or ordering this graphic novel for my library.
Aztek has come to Wonder Woman and asked for her help entering the realm of the gods to rescue one of her own. The legendary Amazon Atalanta has been missing for hundreds of years, and by Aztek’s description, it appears to be her. Diana can’t leave her aunt on her own any longer, but neither can Artemis, of the defected Amazons of the Bana-Mighdall. Atalanta is many things: an aunt, a legend, a hero – and three powerful women are coming to her rescue, whether the gods like it or not.
There is more to the story, but I can’t say anything further without spoilers 😉 Suffice it to say that this is a volume in which women of different viewpoints and talents come together for a common cause – which is always welcome, and appreciated! It was refreshing to see Aztek, who is a character I know little about, and for the Central and South American pantheon to have a bit of the spotlight, instead of the requisite Greeks.
This volume also contains the Wonder Woman 75th Anniversary Special, which is a collection of one-shots from many different writers and artists who’ve worked on Wonder Woman over the years. Many were no more than a few pages long, but captured Diana’s character succinctly and sufficiently at different points throughout her career. Here’s to another 75 years!
Orlando, Steve, Laura Braga, Aco, Raul Allen, and Patricia Martin. Wonder Woman (Rebirth, Vol. 9): The Enemy of Both Sides. 2019.
Usually, Wonder Woman is Kathleen’s domain, but when I saw this oversized graphic novel that was illustrated by one of my favorite artists, Alex Ross, I just had to read and share!
Published soon after the tragedy of 9/11 in NYC, this story is shaped by the shock of the American people that terrorism could happen on our own shores. As such, it is a hopeful narrative that shows compassion to all nations of the world. Paul Dini begins this story with Diana’s birth at Paradise Island, and her later wish to join ‘Man’s World’ as an ambassador to help mankind. Her amazing powers are appreciated by many and she helps fight evil in large and small ways. However, others do not respect her goodwill and often her intentions are misinterpreted and rejected. She asks for advice from Superman, who wisely tells her to work alongside people instead of above them. She takes his words to heart and no longer always wears her Amazonian outfit, so she can blend in with other cultures and help from within. Finally, her spirit of truth shines through for all to see.
Ross’s painted watercolors are beautiful as always and done in his trademark photo-realism style. Diana often is shown to resemble Lynda Carter, the iconic actress who played Wonder Woman on television in the 1970’s. The layout is not typical graphic novel panels, but often are two-page spreads or montages with a few thin black lines to differentiate the pictures and to direct the flow of the action sequences. The people in the crowds are so realistic, you know that Ross is painting them from models as he did later in the superb Kingdome Come, which also featured Diana in the DC classic.
This book only reinforced that Wonder Woman is a hero for the ages, but also ably connected her to our modern-day world. This lovely stand-alone graphic novel was a treat and I highly recommend it for both the message and the art!
Hello, friends! It’s my birthday today, and I just moved into my first apartment over the weekend, so I am BEAT! My muscles have never been so sore, even when I first started going to the gym and lifting weights. In fact, one could even say I need a vacation! Here are my top 5 dream fictional vacation spots ;D
5. Middle Earth
I mean, I wouldn’t want to visit when Sauron is doing his bit with the Ring, but the scenic imagery in these books is unparalleled. Tolkien was a master of placing you in the environment so exactly, you’re surprised to look up from the book and realize you’re not there. Especially in the fall time! Autumn is my favorite season, so I’d love to visit then. Perhaps the elves, or the hobbits, to wander the explosively colorful forests or sample some cider. If I were braver I’d venture underground to visit the dwarves, but alas! I’m not made of such stern stuff.
He found himself wondering at times, especially in the autumn, about the wild lands, and strange visions of mountains that he had never seen came into his dreams. ― J.R.R. Tolkien, The Fellowship of the Ring
One of the things I love most about this series is the imagery. The descriptions of the countryside the characters journey through is reminiscent of Lord of the Rings, but I also love the food descriptions. Just as in Middle Earth too, there are many different regions with different types of food, and Alison Croggon details them all lovingly. I love to eat, so I’d travel to Pellinor for the food alone!
The taste on her palate was pungent and rich, the flavor of woodlands and dark earth simmered in sunshine. ― Alison Croggon, The Naming
3. Assassin’s Creed series
This one is a little unusual, as the Assassin’s Creed series takes place in real history, with some sci-fi elements. The biggest being that the main character relives the memories of his ancestors, which are locked in his DNA, by use of a machine called the Animus. Therefore, the games are highly accurate to their respective time periods, and totally immersive. I’ve since fallen off with this series (Black Flag was where I stopped playing), but I go back to the early games again and again. It’s easy to lose myself for hours in their landscapes.
Assassin’s Creed is stylistically my favorite, as it takes place in the Middle East during the Third Crusades. Middle Eastern art and architecture is my favorite style, and was a joy to study in school. Playing a game within that place in history is a wonderful experience for me.
The runner up would have to be Assassin’s Creed: Revelations, which takes place in Constantinople in the 16th century. That sprawling city, with it’s eclectic mixture of Middle Eastern and European elements, made me curious enough to research and seek out information on Constantinople, and the Turkish empire, on my own.
And of course, who WOULDN’T want to visit the Renaissance Italy of Assassin’s Creed II and Brotherhood, and rub elbows with the master artists??? I think I need say no more ;D Hurry up and invent that Animus already!
I mean, come on! It’s also known as Paradise Island! There are beaches to lay on and tan with the ocean steps away. There’s ancient Greek art and architecture galore for an art nerd like me. Plus, it’s protected by the Greek gods, so there’s a guarantee your vacation will be uninterrupted by mortal danger… and even if there is, the entire island is populated by badass warrior women, so you’d be safe. Who wouldn’t want to visit???
Daring sword fights, magic spells, princes in disguise… wait, I think I’m mixing up my Disney movies, but I daresay the sentiment remains the same ;D The lush textures and flavors of Broadway and live-action Aladdin adaptations were totally spellbinding for me. What I wouldn’t give to wander the marketplaces of Agrabah: to run my hands over the silks and jewels, to taste the fruits and delicacies, and drown in all the scents! And visit the royal palace, to lounge sunbathing beside the fountains and make friends with a certain tiger ;D And, of course, if you’re up for a little adventure, the Cave of Wonders is only a camel ride away.
Any of my dream fictional vacation spots make your list, too?