This past week Wonder Woman #35 came out, bringing to a close the three year long story arc by Brain Azzarello, Cliff Chiang & friends. For those keeping track, that’s actually 38 installments: 35 regular issues, the flashback #0, the origin of the First Born in #23.2 during Forever Evil month, and a story in Secret Origins #6. It’s been quite a ride, and on the whole a successful one, at least in my estimation as a reader.
Speaking of Secret Origins #6, the twelve page tale contained within makes a nice prequel to this whole run. Written by Azzarello & Chiang, with artwork by Goran Sudzuka, it fills in a few blanks in the New 52 back story of Princess Diana. As in past continuities, Queen Hippolyta attempted to fashion a baby daughter out of clay; this time, however, the gods did not gift the clay with life. Instead the philandering Zeus made his presence known, and he seduced the Amazon matriarch, giving her the gift of a daughter. Hippolyta chose to perpetrate the lie about Diana being born of clay to protect her from Hera’s jealousy.
More significantly, we find out that Diana and Aleka, bitter rivals in the present, were once the closest of friends. There may even have been an unrequited love on Aleka’s part for the Princess. But Diana was restless, and wanted to explore the world beyond Paradise Island. Aleka felt betrayed & abandoned by Diana, which led to their current animosity.
Truthfully, the Wonder Woman tale in Secret Origins #6 could have used a few more pages. I think it’s a mistake to try to cram three different character origins into each issue. The histories of not just Wonder Woman, but also Deadman and Sinestro all needed more room to breathe. I think it would be better if Secret Origins became a double feature.
Moving along to Wonder Woman #30-35, the final six issues penned by Azzarello, the epic he has been weaving comes to an interesting, thoughtful, exciting conclusion. Truthfully, when I first read these issues, they did feel decompressed. However, sitting down and going through them again today in one sitting, I see that Azzarello took the time to bring closure to many of the subplots and themes that he had been developing over the previous two and a half years.
As Wonder Woman #30 opens, the First Born has seized control of Olympus, transforming it into a bloody charnel house that mirrors his twisted psyche. Consumed by millennia of rage at having been left to die by Zeus in ages past, he is ready to wipe out every single member of his family so that he will be the last god in existence. The surviving members of the Greek pantheon and their offspring, including Diana, have gathered on Paradise Island to mobilize the Amazon army to oppose the First Born’s nihilistic designs.
Before any move can be made against the mad god, though, certain affairs of state must be addressed. Hippolyta is still a lifeless statue, Hera inexplicably unable to restore her humanity. Instead Hera announces that Diana is the new Queen of the Amazons, a proclamation met with some disapproval, especially by Aleka. Thus Diana finds herself in the difficult position of having to assume yet another new identity. Already struggling to fill the role of the deity of War, now she must become a monarch. That involves not just leading her people into battle, but also into the future.
And a significant part of that future is the question of the role of men. A number of readers, perhaps understandably so, took issue with Azzarello writing the Amazons as man-haters who seduced males in order to breed before slaying them, and who exiled all of their male children to the realm of Hephaestus. Diana herself was unhappy when she learned of this. Now that she is Queen, she sets out to try and change the Amazons. She assigns to them the collective symbolic role of motherhood to Zeke, the infant boy who her friend Zola gave birth to after a one night stand with a disguised Zeus. Diana also has Hephaestus transport all of the sons of the Amazons back to Paradise Island, to fight alongside their mothers & sisters against the First Born.
“We need to evolve. We’ve isolated ourselves to the detriment of our society… and some of our children. The old ways… do they actually work anymore? Do we just cling to them because that’s the way our forebears intended? We need to look at ourselves and open the doors we’ve closed. And now is a good place to start.”
Azzarello also continues to examine how immortality is perhaps more of a curse than a blessing. If one is unable to die, at least from old age, then does one eventually begin taking life for granted? Without the ever-present certainty of death in the future, does one become aloof and disconnected from the rest of the world?
Previously the once-imperious Hera was turned mortal, requiring her to learn to deal with fear and loneliness and vulnerability. Azzarello showed the former queen of the gods gaining humility and an entirely different perspective on existence. She became friends with Zola, the woman who she once wished dead. But now restored to divinity, Hera once more begins to feel disconnected from humanity. When Zola tries to ask her what is going on, Hera coldly replies “I’m no longer mortal. I’m a god. Life, death… for me, it’s once again like one of those shows we would watch and laugh at together. It’s beneath my concern.” Listening to all of this, Zola angrily responds “You once said you were afraid of dying alone. Well, hope you like living alone… goddess.”
Strife also seems to epitomize the dangers of everlasting life. The goddess of discord seems utterly bored by existence, and the only way in which she can tolerate it is to create trouble. Strife is the ultimate shit-stirrer. She is like someone who hands a long, pointy stick to a group of children, encourages them to use it to poke at a hornet’s nest, and then sits back sipping a glass of wine, smiling in amusement as chaos & suffering unfolds before her. The carnage & devastation being wrought by the First Born is but one more diversion to entertain her.
Indeed, when the First Born and his army some come calling, Paradise Island is transformed into a war zone. The casualties on both sides are horrific, something that does not bother the First Born in the slightest. “There is no sentimentality in life” he harshly states to Diana. Having never felt love, having been rejected from the moment of his birth, the First Born wants nothing more than to share his pain with the whole of existence.
Diana, on the other hand, refuses to set aside her empathy and mercy. It is an integral part of who she is. As seen back in issue #0, years before when Diana was a teenager, the old god War, then her mentor, severely scolded her for her unwillingness to slay a fallen foe, and rejected her as his pupil. Now in the present, Diana is saved by that act of kindness. The Minotaur serving the First Born is revealed to be the very same one who Diana showed mercy to all those years ago, and it refuses to kill her. This act is enough to restore Diana’s faith in her abilities & beliefs, and to once again stand against the First Born.
Orion from the New Gods also pops up once more, playing a small but crucial role in the conflict. When last seen he is charging off into battle alongside the goddess Moon. That’s an appropriate pairing, since Moon is also known as Artemis, goddess of the hunt, and Orion is named after the mythical hunter. I think they would make a lovely couple, assuming they don’t kill each other first!
In my previous Wonder Woman review I wondered where, exactly, Zeus had gotten off to. The former ruler of Olympus was conspicuous in his absence throughout the entirety of Azzarello’s storyline. Well, as I predicted, we do indeed find out exactly where Zeus has been… although it was actually the last place I expected. Of course, the revelation makes perfect sense once you think about it. And, looking at some other blogs online, such as Martin Gray’s Too Dangerous For A Girl, it appears that a few people did actually see this coming. Well, I was surprised, okay?
In terms of artwork, these issues are all very strong. Sudzuka illustrates Wonder Woman #30 & #31 in full, and does the finishes for #32 over Chiang’s layouts. Issue #s 33 to #35 are illustrated by Chiang going solo for the big wrap-up. The coloring is, as always, courtesy of Matthew Wilson, who does superb work. Chiang’s covers for all six issues are fantastic, with very striking layouts & designs.
Both Chiang and Sudzuka do a fine job at demonstrating their versatility on the interior art. There are many great, dramatic pages, as well as some nice, effective character-driven sequences. It’s difficult to pick out a favorite. But one of the stand-out images is by Chiang in issue #34, as Hephaestus leads his troops into battle, headed up by a trio of giant mechanical war elephants. Now there’s something you don’t see every day.
As I mentioned before, the reactions to Azzarello & Chiang’s run on Wonder Woman have been mixed. I will admit that there were a few rough patches, especially early on. But I’m glad that I stuck with the book, because this was a really great run with a satisfying conclusion that tied everything together. At some point in the near future I look forward to sitting down and re-reading this storyline in its entirety, and finding out what I get out of it the second time around.