Broken Frontier

June has been a historical month for DC Comics with the release of three anniversary issues for its Trinity with Batman #700, Superman #700, and now, Wonder Woman #600. Of the three, Grant Morrison's Batman has probably been the most successful due in large part to its single author and select focus of tracing Batman's evolution through time by tying it into the larger framework Morrison is developing in other series. Unfortunately, Superman #700 failed to live up to expectations and the promotional hype surrounding its release. By now, audiences have had the opportunity to see if Wonder Woman #600 measures up alongside these other books. In the final analysis, Wonder Woman #600 finds itself somewhere in between.

Much like Superman #700, Wonder Woman is a showcase of various authors each having their turn with the Amazonian princess. Stories by Gail Simone, Amanda Conner, Louise Simonson, Geoff Johns, and lastly, once again, J. Michael Straczynski are complemented by ten portraits of Wonder Woman created by a host of both former series artists and newcomers as well. While the story by Geoff Johns is perhaps the strongest and most original comic element, it says something that the introduction by Lynda Carter and the afterword by J. Michael Straczynski are the best pieces of writing in the book itself, pieces devoid of graphic illustration. Audiences have to wonder if the self-congratulatory nature of these anniversary issues has gone too far in that innovation in storytelling has taken a backseat to promotions tied into Wonder Woman adopting a new costume?

Once again, DC has missed a stellar opportunity with Wonder Woman #600 because instead of embracing the future realistically over merely stating simplistic platitudes about change, DC has taken the safer road to accommodate its insular comics readership. Women who grew up with Lynda Carter as their role model for Wonder Woman and who hear about this issue through news coverage will find Carter's essay a strong reminder for why they love the character, but will most likely be sadly disappointed by the stories that follow as they play primarily to the continuity-sensitive crowds who immediately recognize the ancillary characters who interact with Wonder Woman.

The first story by Simone finds Wonder Woman sharing the spotlight with her fellow heroines of the DC Universe and it begins quite strong. Although many of these faces may be puzzling for newcomers and yes, even for some DC regulars, Simone's intent is clear as she reveals Wonder Woman's status and the power she wields. Had the story simply ended there, while a somewhat disappointing and abrupt termination, it would have fared better because the inclusion of the Silver Swan is awkward, particularly for readers unfamiliar with her as Simone provides little to no context for her relationship with Diana. While Simone's not so subtle motivation at showing Wonder Woman's timeless value to the world, a value that persists regardless of the era (or who is writing the character) is commendable, it reads as heavy handed and forced for a writer who has left such a definitive mark on Wonder Woman.

Much like Simone's entry, Amanda Conner's story begins strong and has recurring elements of humor interwoven throughout, but is largely forgettable. Always a pleasure for her visual interpretation of characters, Conner presents a short piece on Power Girl and Wonder Woman. While the insider jokes regarding Egg Fu and Manga Monster are indeed funny, the story itself about Power Girl's difficulties with her cat, while trademark of Conner's time with Power Girl, just seems out of place in such a monumental issue devoted to Wonder Woman.

Following suit, Louise Simonson's return to comics resembles Dan Jurgen's efforts in Superman #700. Although her short contribution "Firepower" is well-written, the saccharine nature of Wonder Woman besting Superman in beating the magically-endowed villain and Superman's quip about being a gentleman and "this was definitely a time for 'ladies first'" can either come off as corny or insulting depending on the emphasis.

In terms of originality and generating intrigue, Geoff Johns' "The Sensational Wonder Woman" is by far the strongest contribution. Combined with the strong pencils of longtime collaborator Scott Kolins and colors by Michael Atiyeh, Johns' piece is mainly a setup for Straczynski but in terms of delivery, it supersedes even that. Although it's unclear on the source of the voice over narrations (Gods, allies, villains), Johns taps into something special here in terms of the character's history that should have been reflected throughout the issue. The follow through by Straczynski, however, while connected to Johns' "rebirth," reads as a failsafe for DC if this rebooting of Wonder Woman does not connect with audiences. Perhaps an Elseworlds story, perhaps an alternate universe or parallel dimension, DC's commitment to Wonder Woman here must be questioned. For while they recognize her potential, they still appear incapable of understanding what needs to be done with the character to make her successful. Additionally, while Straczynski's afterword explanation for Wonder Woman's new costume rings true when compared with other heroes in comics, particularly female superheroes, some readers may be left wondering if this transformation is merely a surface change in appearance rather than a substantive shift into something new for the character.

The result of an intensive fan campaign to send postcards to DC's Dan DiDio, perhaps DC does not deserve criticism for missed opportunities with Wonder Woman #600. As a hardcore Wonder Woman fan-driven experiment, the comic is probably a success for those steeped in her various incarnations and continuity gaffs. Although largely ignoring new readers, the Straczynski concept has a stronger foundation here than in Superman #700 for future development once the publishing milestone issue is left behind.