Women change the world…what a perfect topic for Women’s History Month!
Various authors and artists have come together in this collection to honor real-life women. The women are grouped under categories such as strength, compassion, justice, truth, and equality- the virtues that Wonder Woman stands for.
This book is a mixed bag- as all collections are when you pull in different styles of storytelling and art. I was familiar with some of them, as several have written or illustrated other books in the DC Graphic Novels for Young Adults line.
My favs were:
Ruth Bader Ginsburg: Dissent- the iconic Supreme Court Justice who fought injustice and was a role-model for all! The story highlighted some of her more famous cases such as birth control, voting rights and marriage equality.
Keiko Agena: Asian America’s BFF- The author is an Asian American who always felt left out until she saw actress Agena on the tv series Gilmore Girls. The representation felt inspiring, and helped allow the author herself to explore and grow in her profession.
Ellen Ochoa: Destination Space- Ochoa was determined to be an astronaut, and when turned down, doubled down on her training to learn the skills that NASA was looking for. I loved the group picture that showcased other women astronauts that represented firsts such as Sally Ride and Mae Jemison and included Ochoa as the first Latina in space.
Judith Heumann: How to Ignite a Spark- Heumann is a disabled woman fighting for Disability Rights. The story includes references to landmark cases that have moved forward legal rights for those who are disabled. Her advocacy helped push through Section 504- the Americans with Disabilities Act.
Edith Windsor: How One Women’s Love Changed a Nation- Windsor was in a long-term lesbian relationship, but the two were denied the right to marry. When her partner died and she legally was not recognized, she went all the way to the Supreme Court to fight for marriage equality. The illustration style was among my favorites in this collection.
Mari Copeny: Fighting for Flint- Copeny is a youth who helped bring awareness to the contaminated water that plagues Flint, Michigan. Her letter to President Obama brought attention to the community and she helped raise thousands of dollars to bring clean bottled water to the city. Her youthful passion has made a difference!
Leiomy Maldonado: Generational- showcases two different transgender individuals during different years colored blue vs red, and reveals how people have an easier time now than years ago in being true to themselves. Maldonado is featured at the end, as both unite in awe of her.
Despite the worthy intent of this book with some great biographies, I sadly was not impressed, for it seemed to be trying too hard. For a fantastic collection of short stories about women from history, read Brazen: Rebel Ladies Who Rocked The World by Pénélope Bagieu instead.
Future State is the event DC had this past summer that offered mini series on characters and events occurring either in the multiverse or far in the future after the events of Death Metal (which I’m ashamed to admit I still need to read…). This trade paperback collects all the Wonder Woman stories:
First, L.L. McKinney’s Nubia as Wonder Woman attempts to stop a villain named Grail from stealing artifacts from various goddesses. Sensing they may be connected, she seeks answers from her Aunt Nancy. Apparently these artifacts come together as a master key to open doors throughout the universe. The last piece Grail needs to steal is Nubia’s tiara… but there’s nothing THAT special about it, is there? This magic-based story, brought to life by Alitha Martinez, Mark Morales, and Emilio Lopez, is rendered in deep, vivid colors, and emphasis is given to character design and expressions. It creates a lush background for McKinney’s story.
Next is the first appearance of Yara Flor, who is my new favorite DC character! In Hell to Pay, she is the Wonder Woman of a distant future. She slays a hydra, meaning to take one of its heads to the Underworld to exchange for the soul of her sister warrior. A spirit called Caipora guides her into the bureaucratic Underworld. Through a series of mishaps, Yara finds herself in front of Hades himself, who offers her a challenge to find Potira’s soul and lead her out – or take her place. Joëlle Jones is both writer and artist for this mini series, with Jordie Bellaire coloring. While the story is essentially a retelling of the Greek myth of Orpheus and Eurydice, the main draw here is Jones’ art and Yara herself. Yara is fiery, impatient, quick to anger: so different from cool-headed Diana, and for all that, she’s lovable and has a good heart. Jones’ pencils strike just the right balance between realistic and cartoony, while Bellaire’s colors emphasize reds and mute greens, making Yara stand out on every page – just as she’d want.
If you couldn’t get enough of Yara with the last story, you’re in luck! The next story is Superman/Wonder Woman, which teams Yara’s Wonder Woman up with Jon Kent’s Superman. One morning, two suns rise over the Earth. The new sun is a tyrannical machine bent on destroying Superman. The current sun is a Brazilian god named Kuat, and he is none too happy about the intrusion. Both suns challenge Yara and Jon to a race or battle to determine which sun gets to stay – how can they possibly outwit them? I found this to be the weakest of the collection. While Dan Watters’ story was a fun look at a new Worlds-Finest-esque team-up, the art by Leila Del Duca and Nick Filardi left something to be desired. It seemed unfinished in parts: there is a panel in Issue #2 where Yara is in the background and we should be able to clearly see her face, but it’s nothing but two dots for her eyes and a red slash for her mouth. Overall the characters seemed to float above the ground, there wasn’t enough shadow to give depth or weight. The art took me out of the story and I didn’t enjoy it as much as I could have.
Last, but certainly not least, Immortal Wonder Woman takes a look at Diana, a long time into the future, after humanity and all her fellow heroes have died. She is trying to persuade the Amazons to take Swamp Thing and locate to another planet to save The Green. Her sister Amazons would rather stand and protect the planet they have left… but Diana knows they won’t be able to stand against the Undoing. It is a force that simply… eats worlds, undoes them as if they never existed in the first place. When the Undoing swallows the Earth, what will become of Diana? Becky Cloonan and Michael W. Conrad pen a great story about hope in the face of losing everyone and everything. Jen Bartel’s art really drives it home. Her colors are soft, almost pastel-like, and there is a soft light diffused throughout, like a sunset, even in the cold depths of space.
Overall, this was an enjoyable look at multiverse Wonder Women. I hope that this collection drives DC into a new direction with the character. There is much potential to play with gods from other cultures in Nubia and Yara, instead of the same, tired old Greek mythology. If you need some switching up with your Wonder Woman mythos, this is the one for you.
Nubia is lamenting what’s shaping up to be a boring summer with her best friends, LaQuisha and Jason. LaQuisha is going on a family road trip, Jason is heading off to soccer camp, and Nubia’s moms want her to work. Plans change when Nubia stops a robbery at the local EZ Shoppe… by throwing an ATM at the would-be culprits. Though she’s supposed to keep her powers a secret, one person definitely saw her: Oscar, the boy Nubia has a crush on. Though Nubia is detained by a police officer, he gives her description as someone who helped. Though Nubia is let go, Mamas Amera and Danielle ground Nubia and forbid her from going to the last party of the school year. Well, Nubia sneaks out anyway. She has to talk to Oscar and find out why he’s keeping quiet about her display of super-strength. No one would bother Wonder Woman or Supergirl if they had to save the day. How can Nubia use her powers for good if people automatically assume the worst about her, simply due to the color of her skin?
The most important part about this book is the diversity! Through Nubia, her moms, and her friends, we get a look at what it’s like to be Black in the United States. Through exposition and dialogue, we see Nubia’s fear at being stopped by a cop, her moms talking to her about what to do next time, how different characters react to microaggressions and being called racial slurs, and how a peaceful protest turned violent. It’s an uncomfortable read at times, but an important one. It may be easier for readers to digest as it’s shown through the lens of a fictional yet familiar character.
Expressive and colorful art makes this graphic novel a little easier to digest. The figures are long and lanky. I found it fun that Nubia towered over her peers, and the long, loose lines suggested she hadn’t quite figured out what to do with her limbs (or, more likely, powers!) yet. Many other iterations of a teenaged Wonder Woman use the same trope. Royal purples and deep pinks dominate the color palette; though many other colors are used, most are deep, saturated, and evoke a sunrise or sunset.
Nubia is a different kind of Wonder Woman, one that young women of all walks of life will be inspired by. I was moved to tears at more than one point in the story, and you will be, too. I’m excited to seek out more Nubia comics.
MnKinney, L. L., and Robyn Smith. Nubia: Real One. 2021.
In order for me to fully critique the movie, it’s easier to spoil it. The movie is still in theaters, and will be on HBO Max until January 25th, so there is still ample time to watch it even from home =)
A young Diana participates in a contest on Themyscira. Though she performs admirably for most of the race, she cheats to get to the end. Her Aunt Antiope pulls her out of the race, explaining that no good thing is worth getting dishonestly.
In the present day, it is 1984 in Washington, D.C. Diana works at the Smithsonian while moonlighting as Wonder Woman. A new coworker, Barbara Ann Minerva, is asked by the FBI to identify articles from a robbery. Diana has taken a liking to Barbara and offers her help (also, Diana was the one to stop the robbery, as Wonder Woman 😉 ). The two women become friends, but Barbara begins to grow jealous of Diana.
Businessman Maxwell Lord also takes an interest in Barbara, but for a different reason. He was behind the attempted robbery and is after one of the artifacts: the Dreamstone. It can grant one wish to anyone who holds it. It has unknowingly been used by both Diana and Barbara: one wish for more time with a loved one, and one wish for becoming like someone else. Maxwell Lord wishes to become the Dreamstone, so he can make everyone else’s dream’s come true – but at a terrible price. For as the wishes get granted, something gets taken away. In Diana’s case, Steve Trevor being back means the gradual loss of her powers. How can she let go and renounce her wish, when she finally has everything she ever wanted?
I’m sure you guys have been wondering for my take on this movie. I’ve been putting it off because… I didn’t like it. I was entertained enough to sit through it once. Don’t get me wrong. My expectations weren’t very high to begin with. I figured they wouldn’t be able to top the first movie, and I was right on that. I just wasn’t expecting it to be… that bad.
My biggest issues were with the length of the movie and the writing. It could easily have been 45 minutes shorter. WW84 suffers the Aquaman problem of wanting to use more villains in a single movie than they know what to do with. As Aquaman underutilized Black Manta, his arch nemesis, in favor of Orm; WW84 did the same thing with underutilizing Cheetah, her arch nemesis, in favor of Maxwell Lord.
And, oooh boy, did they mess up with Cheetah. It felt as if they tried to do the New 52 route, where Diana and Barbara were close before Barbara’s transformation. But it was so rushed, so little time dedicated to building their relationship, to where it might as well not have been in the movie at all. I was SO hoping and looking forward to seeing Diana build a female friendship equivalent to Carol Danvers’ relationship with Maria Rambeau in Captain Marvel (Nancy’s review and my comparison of CM and WW). These relationships are so, SO important and I was hoping there would be more of it in the DCEU after CM’s release. Instead, we got one work scene, one dinner scene, one gross scene of a drunk guy trying to assault Barbara, wherein Diana saves her and leading Barbara to make her fatal wish – and that was it. That was the only time dedicated to their relationship. At that point they may has well plopped Cheetah into the movie as an arch nemesis, with no context, as was the case with some villain introductions over comic book history.
Speaking of gross guys… this movie is full of them. And full of the gross, blatant misogyny that made Captain Marvel so insufferable for me to sit through. I get that it was the ’80s, and maybe it is a somewhat realistic representation of what women went through at the time, but I was totally surprised at the lack of subtlety from the first movie to this one. The microaggressions that were so effective in the first movie are totally missing here, in favor of the insultingly obvious “jokes,” unwanted advances, and the like. “They Captain Marvel‘d it,” I said to my husband later: an inside joke with us that means a complete and total lack of subtlety.
I don’t know that much about Maxwell Lord in the comic book lore, and I’m not opposed to the character making an appearance in the DCEU, but I do believe that the movie focused way too much on him, to Cheetah’s detriment. To me, he felt like the epitome of the ’80s sleazeball character, though I believe he’s supposed to be a Lex Luthor equivalent. I would have liked to see less of him – perhaps him effectively stealing the stone back, but not much more than that – in favor of a more developed relationship between Diana and Barbara, and a more gradual transformation from woman to Cheetah, from friends to enemies. They still could have had their showdown in the end. Diana’s speech about truth and honesty would still have been effective had she just been talking to her friend instead of the whole world.
(My bias could be because I’m just not a fan of Pedro Pascal… but I think my point about the writing still stands)
The best part of the movie for me, hands down, was Steve and Diana’s role reversal. This time around, Steve is the naïve one, the fish out of water, and Diana is his mentor. Of course, Gal Gadot and Chris Pine were able to recreate their magical chemistry from the first movie. But that was about the only carryover. I did also appreciate that Steve was able to lead Diana to more of her powers developing, namely the ability to make an invisible jet, and the power of flight. The contest at the beginning was a welcome scene, as we never got a “traditional” contest of Amazons to see who would be worthy to take up the mantle. I was so excited to see the same young actress who played little Diana in the first movie to reprise her role!
I found no issue with the cinematography or editing. It was a nice movie to look at, but in a different way than the first. The look of these movies reflected the times they were set in. The first movie, set in World War I, was more toned down and monochromatic. There was a bit of a sepia tone overall. WW84 was brighter, more vibrant without being as garish as the decade is known for being. Unfortunately, due to all the issues I have with it, I found it to be all beauty and no substance.
Of course, my very favorite part was the mid-credits scene… if you know, you know 😉
I have seen people both love and hate this movie. I can see it both ways. Fans of Wonder Woman the character will always love anything Wonder Woman that comes out. Fans of Wonder Woman comics will always be critical.
I can see it both ways, and I find myself more in the middle. As a fan of Wonder Woman the character, I was entertained enough by the movie. It was nice to look at, the action sequences were adequate, and Hans Zimmer’s score was effective. The message of truth and honesty is much needed in these times. But as a fan of Wonder Woman comics, I was so shocked with the nosedive the quality of the writing took, and Cheetah being cheated out of adequate character development and screentime, that ultimately… this movie was a miss for me. I didn’t love it by any means, but neither do I hate it. I meant to watch it again before reviewing, but I honestly couldn’t bring myself to. Truly, you are not missing anything if you don’t get around to seeing it. I was hoping to see it in theaters later, perhaps a re-release when it’s safer, but now I don’t think I will.
In this serial, Steve Trevor sets out to pilot an experimental plane from Washington, D.C., to Puerto Rico. However, he disappears along his route. Wonder Woman finds out upon returning home from putting out a wildfire in Montana. She and Etta Candy immediately take off for his last known location: the Bermuda Triangle. They get sucked into a giant storm and crash land on an uncharted island full of giant, deadly creatures. In their quest to rescue Steve and his crew, Diana experiences the loss of some of her powers, and they meet friends, foes, and acquaintances they do not expect. Can they untangle the mystery of the island and go home together?
When I got this trade paperback and saw the cover, I was reminded of the art from Gail Simone’s run, and I knew it was going to be good. I was correct! There is something old fashioned about this serial that I really enjoyed. First, the exposition panels that were so frequent in Golden and Silver Age comics make an appearance here. Second, this is just a good, ol’ fashioned adventure story. No big questions of good and evil, no moral ambiguity, just good, clean fun. Good beach read!
I liked that it showcased Diana talking to animals, a power of hers that is often glossed over. Like I said, the art reminded me of Bernard Chang’s work in Gail Simone’s run, and I’m a sucker for that style. It got a little long-winded near the end for me, so I skimmed to finish. It wasn’t bad, I just didn’t have the attention span at time of reading (pandemic brain strikes again). I’m considering purchasing this book for my collection, and to finish it properly some day.
If you’re looking for a light, fun, WW read that’s loosely canon, look no further!
Connor, Amanda, and Jimmy Palmiotti. Wonder Woman: Come Back to Me. 2020.
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.