in story artwork

anonymous asked:

Did you read the Wonder Woman 75th anniversary special? Pretty random stuff (Thompson's pages were cool but felt so out of place, like cheap advertising), and they could've done sooo much more. BUT BOY I LOVED THOSE STORIES. I'd love to know what is your top 3 when you read it!

I loved it! I know what you mean; Wonder Woman’s history is so long and so rich, there’s so much to draw on and so much you’d like to see acknowledged or revisited, and of course that’s just impossible in an 80-page comic. But I was largely really happy with the selection of stories and the artwork we got, and particularly happy to see a lot of female creators in there.

I had other problems with the Jill Thompson pages, which I’ll get to, but I agree, it’s a little irritating to have five pages eaten up by content you can find in another book. Both the Legend of Wonder Woman and Bombshells teams produced new content for the comic, and I think their contributions worked much better.


  • Wonder Woman interviewed for the Daily Planet Sunday Magazine by her friend Lois Lane, “transcribed” by Greg Rucka ahhhhh I love it
  • Gail Simone and Colleen Doran’s ten pages of ADORABLE oh my gosh, tiny delightful flower superhero Star Blossom is the best
  • Gorgeous salute to the Golden Age with a little Legend of Wonder Woman story from Renae De Liz and Ray Dillon
  • ADVENTURES IN IKEA!!! from Hope Larson and Ramon Bachs oh my gosh so great


  • who the fuck thought it was a good idea to let Jim Lee loose on the cover.
  • Jill Thompson, surprisingly. I still haven’t read The True Amazon, and maybe the excerpt included here is… less unpleasant in context? But… ehhhh. Seeing kid!Diana hurl gendered insults and violently murder monsters before stealing their shit and basking in her peers’ adulation has not left me in such a hurry to check out this book
  • Brian Bolland gets a four-page tribute, the late-90s Eric Luke/Yannick Paquette run gets a double-page spread, and George Pérez doesn’t even get a nod? Boo. Boo, I say.

Shit. The thing with DeanCas.

Is that it makes you want to explain love a billion different ways.

They make you want to talk about love in the form of simple kisses underneath foliage of trees but also in sprawling metaphors of the universe’s energy and celestial bodies.

They make you want to define love through the the written word, the spoken word, the sung word, the drawn word. And you write a hundred thousand sentences, and you sing their ‘i need you’s, and you immortalize their faces on paper, and you speak in the tongue of the greatest love story that has ever been told.

They make you want to find love in a monstrous world; or in classroom halls, or in warm coffee shops, or in a little house with a garden, or by the ocean or maybe sea.

And the greatest thing, really, is this:

They make you want love to happen. Not even to yourself. But to somebody else. 

I don’t know about you.

But fuck.


So, imagine this. There’s a boy who, much like the child of rage, cannot feel emotions. He doesn’t feel guilt, fear, happiness. Nothing. And he becomes prey. Prey to the Slenderman. But the Slenderman works with fear and because he cannot feel fear the boy begins to “control” the Slenderman. The Slenderman stalks it’s prey and scares it before murdering, right? Well, this boy doesn’t feel the fear so the Slenderman is stuck in a loop, continually trying to scare him, continually stalking him. The boy won’t ever be scared of the Slenderman and he knows it. So, he takes advantage of it. The boy is the Slenderman’s prey and only the Slenderman’s prey. So I can imagine the Slenderman wouldn’t want anything else to hurt the boy, right? Because that’s its job. The boy webbed the Slenderman into his trap. As much as the Slenderman wants to kill the boy, he can’t. Not until he has the satisfaction of scaring him. So, in a way he guards the boy, making sure nothing else harms him. The Slenderman doesn’t share his food. And until he has his satisfaction the Slenderman will be tied to this boy, continually watching, making sure nothing else snags his food. The Slenderman sees the boy as food and nothing more, so it isn’t a loving relationship. But the boy’s smarter than he looks. He planned this, he knew just how to “trap” the monster. And now the boy has his own guardian angel, with slight demonic tendencies.