Wonder Woman Historia: The Amazons

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As Book One begins on November 30, the limited series will span across three parts, telling a story that takes place over thousands of years.

Nicola Scott, who has often worked with Greg Rucka on some truly memorable Wonder Woman stories, including updating Diana Prince’s origins in Wonder Woman: Year One, joins DeConnick with colorist Annette Kwok for Historia’s third chapter. This is really embarrassing, but I really love The Great Courses Plus, which is a series of actual professors giving you their actual lectures, only they’re standing on a very awkward soundstage looking at cameras when they’re told to.We took all the language and iconography that we’re used to in stories about men as heroes, and put women at the center. Timothy also filled in as an editor for the comics section and core features pertaining to film and TV. It’s also a story, going back to Marston, which historians and literary theorists have often analyzed for themes of queerness and open sexuality.

So, what I’d like to say is while it has been a long time, it also took us some time to ramp up and get used to the creative process for work. There’s no point in making art about the past unless you’re using it to talk about the present or the future, because the past is past.The inaugural issue had concluded with the introduction of Hippolyta, a woman who endured some of the gravest injustices society had to offer. And what I was really interested in doing was using the garb and the environments to expand on the character development that Kelly Sue gave me in the script. Right from the opening issue of Historia, it’s clear that this is unlike any Wonder Woman story that came before it, with DeConnick and Jimenez drawing heavily from Greco-Roman mythology and the classic art of the era. To prepare us for this reframed classic that uses the past to reveal our present, we spent an afternoon with Phil and Kelly Sue to discuss Historia in the making.

Starting out as a columnist for the Image Comics preview magazine Image+, Sam also translated the Eisner Award nominated-Beowulf for the publisher. And so, prioritizing the comfort of those men and getting their own needs met in a way that didn’t appear demanding or burdensome was a survival adaptation. And the idea of warriors existing to protect peace transcends gender and is just a historical notion.Gene Ha, with colorist Wesley Wong, takes the baton with Historia’s second issue, offering a darker look at this classical world. One thing I do like to stress is that when the book was announced, not a page had been written, not a page had been drawn. The last chapter of Historia is ultimately a war story and epic tragedy in the Homeric tradition as only DeConnick and Scott can tell it.

KSD: So, I was not overly interested in the actual history of Greece, or the Mediterranean, because this isn’t really that story. That doesn’t explain all of the time, but I like to defend myself by saying it’s not like we had a lot of pages in the can when the book was announced. And for all the gorgeous artwork, of which there is certainly no shortage, this miniseries only works with the scripting provided by DeConnick who confidently tells her origin story while masterfully maintaining the narrative through the extended page count and changes in tone. I listened to something like fifty hours of the classicist Elizabeth Vandiver’s lectures on mythology, and on Herodotus and Homer, and was very interested in all of that as well.That said, of course the fifties came along, as well as the Comics Code Authority, and sort of eradicated that part of Wonder Woman, up to the eighties when Pérez reintroduced it. I think of being queer as being anti-tradition, anti-patriarchal, as something that upends kind of a traditional and often conservative, regressive point of view. We all know the Marston stuff was mired in Marston’s own fetishized view of sex and women, but it’s still amazing work to me because of the fact that this was 1942, the middle of World War II, and it was so clear and obvious on the page.