Sunday, April 7, 2013

Why Wonder Woman?

Well, it goes like this...a young boy in the mid 1970's, flipping through comics while his parents channel flip, when THIS comes on:
Mind blown.
Keep in mind, this was before Christopher Reeve was my silver-screen Superman.  This was before Bill Bixby turned into Lou Ferigno on The Incredible Hulk.  (Which, by the way, fill out my 70's childhood triumverate.)  And for many other kids like me, Lynda Carter WAS Wonder Woman.

She'd be better than who's in office now...
Wonder Woman was originally created by a man named William Moulton Marston.  He wasn't some kid fresh off the streets trying to make it in the pulps; he was a PSYCHOLOGIST, who studied the physiological effects of lying (so, yes, Virginia, that golden lasso idea eventually led him to invent the first lie detector).  Under his pen, she wasn't one of your four-color chippies.  She was as complex as the mythology that inspired her.

She's an Amazon warrior fighting for peace, a princess that seeks out fair justice.  Her depiction as equal to her male counterparts, both going toe-to-toe with Superman and as Diana Prince, a capable woman in the U.S. military of WWII, led her to become a powerful symbol of feminism in the 1960's and 70's, as well as one of women's rights around the world.

New 52 WW.
And yet, in spite of the fact that so many WONDERful writers have penned her adventures, such as Gail Simone and Greg Rucka, when you're asked to list DC's big guns, she's always listed third, behind a certain man of steel and another dark knight.  But, when the New 52 relaunched, Brian Azzarello and Cliff Chiang gave Diana the kind of story and respect she deserved, fully embracing mythology by twisting it, and creating something bravely new.

If you're a first time visitor to our site, please feel free to write a page in the comments below.  And in answer to the above question:  Why Wonder Woman?


Because she KICKS ASS!!!


  1. Wonder Woman


    Norway. The Past.

    Wonder Woman, dressed in modern arctic clothing (her jacket red to keep some link to her costume colours), is fighting a burly viking. He is about a foot taller than her.

    The viking wears a menacing looking helmet which hides his eyes in shadow. Snarling teeth are the only other facial feature to be seen through his massive braided beard.

    He is bearing his double headed battle axe down on Wonder Woman - who holds it off with her bracelets, arms crossed.

    Three other viking warriors lie unconscious in the snow.

    A tier of 4 small square panels
    - extreme close up of Wonder Womans face - exertion and concentration
    - the vikings gritted teeth - spittle flies with his heavy breath
    - close on the axe pressing down on the crossed bracelets. There is a slight chip in the axe from the impact.
    - close on Wonder Womans boot, the snow gives as she shifts her weight. (note, arctic footwear, not costume boot)


    Wonder Woman kicks the Viking in the gut. He buckles backwards with the force.

    7. She crashes down on his helmet with both bracelets.


    Wonder Woman kneels over the fallen viking, binding his hands behind his back.


    CAPTION: *Translated from Norse.


    (I hadn't seen anyone using this layout notation before seeing Ray Wonsowski's scripts on this site. Nice idea!)




  2. Is there supposed to be dialogue in Panel 8?

    Other than that it's a solid script with a nice eye/handle on action.

  3. Thanks Dan. I should have spotted that was missing.

    I had the dialogue in angle brackets to indicste it was translated but blogger picked that up as a html tag.

    It should have read:

    Where is the gateway, Folkmar?

    1. Damn Brian you write so wonderful action, something I sadly suck at so I am impressed to see a writer pull it off with such flair and style.

      Also your last line has my very intrigued to read more, which is always a good thing.

      Oh and I really like the second option for your page layout it adds to the action in your script very nicely.

      Great work sir.

    2. Hi Shaun,

      Thanks for the feedback.

      I think I prefer the second layout option too now. Changes the timing to let the tension of p1 hang for a little longer.

      The composition of the figures in p1 could really change the flow of the 5 panels as a unit - with throughlines in some sort of figure 8 or X configuration to suggest a repetition and building pressure. Of course that's all a bit much to put into the script itself :)


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If you want to play along at home, feel free to put your scripts under the Why? post for the week.