New WW Creative Team: Becky Cloonan, Michael Conrad and Travis Moore

[Perseus]

Still glad this team run is over, it got so boring so fast.

[Dr. Poison]

Wow. AIPT gives Wonder Woman #800 a rare 10! I don't think they even gave Historia a 10. WOW!

Attachment 132802

https://aiptcomics.com/2023/06/20/wo...an-800-review/

While I would have preferred more Donna & Cassie and less Batman & Damian, I'd have to give it a solid 8. The writing for both stories was great and most of the art was as well. It would have been nice to see a few rogues in the stories but that's life...

[Largo161]

Re #800: As the young folks say nowadays, the artists ate and left no crumbs. Now…was I moved by this tribute/parade of guest stars? Only slightly.

The Trinity story was fun and compelling. I’m stoked to watch this mystery be revealed. Never read anything by King so I had no expectations. He does the bickering siblings dynamic well.

[PopQuezy]

I must say that I was quite underwhelmed with this issue. While I wasn't a fan of the Wonder Woman goes through various Realms arc, I did truly enjoy the addition of Siggy to the cast. I also enjoyed seeing Diana and Deadman. I liked how Cloonrad incorporated Etta, and I liked the redemption of Cheetah. I also think Cloonrad's reinvention of the Holiday Girls was splendid and unexpected. I liked the Image-Maker arc, and while I wasn't a fan of the Villainy Inc arc, I did like the use of Dr. Psycho and Dr. Poison.

This issue just felt there for lack of a better word. I think TotA really nosedived the quality of storytelling from Cloonrad, and for me, they never recovered. I don't think this was an awful run, and there are things I hope are adopted in King's run. However, I'm mostly just happy this run has ended.

I hope King's run can be a lot more exciting.

[WonderLight789]

Glad that this is over. To me this run was super boring. High stakes were never a thing, no matter how much the team talked about making big moments. They failed.

[Garrac]

Gonna miss Cloonrad. I won't say their run was perfect, but it was a nice touch of refreshing air to see authors caring about Wonder Woman, making just fun stories, using the mythology of the character with old, current and new characters from the wonderverse, and trying to make it feel more like that, a universe (having seen that since Phil Jimenez tbh). Will be interesting to think about this run in retrospective, and to compare it with Steve Orlando, as the both of them parted from similar pitches, but developped them on diferent ways, with Orlando leaningm ore on nostalgia, while Cloonrad tried the long term plots. Sadly, both of them were attacked with toomuchtextism and a lot of artists coming and going (would it have been that hard to have the same penciller for 5 minutes?). At the end of the run, I can say I have enjoyed this.

And also, they gave us Siggy, aka the best wondersecondary since Ferdinand, lol

[HestiasHearth]

Tepid run for the most part. Glad the "Cloonrad era" is over, and looking forward to the new artist in the new run (the Trinity story was so-so, but boy, did that art shine!!!!!!!!)

[Sebastianne]

[HotBoy]

Readers have to keep in mind that writers can't just come onto a book and do whatever they want--no matter how good the idea might be. Especially not on characters that are tied to film, TV, merchandising, and other bread-and-butter enterprises.

You would think by now that we would know--based on the testimony of George Perez, Phil Jimenez, Greg Rucka, Gail Simone, and Steve Orlando, among others--that Wonder Woman is one of the most difficult books to work on because of artistic constraints placed on creators by editors, publishers, and executives, most of whom couldn't care less about the wants and desires of a few thousand comic book readers (who might want to see a Gundra or a Queen Clea) compared to the hundreds of millions of dollars made via other avenues. Their commitment is to their shareholders. And if that means creating a Wonder Woman that they think would appeal to a wider audience in spite of the fact that the new version contradicts the source material...

Well, we've seen with our own eyes that they would do it in a heartbeat.

For these reasons, I've learned to extend some grace to the creatives working on Wonder Woman.

Except for Brian Azzarello. Azzarello intentionally and willingly aligned with the corporate agenda for Wonder Woman in ways that I still find deeply sexist and misogynistic.

[Primal Slayer]

I think it's more of a question:


They also said they had plans for Cassie/Donna only for them to be largely ignored

[HotBoy]

I think it's more of a question:


They also said they had plans for Cassie/Donna only for them to be largely ignored

Exactly that.

One of the more risky things that wanted to do was put Diana in a polyamorous relationship with Steve and Siggy that was mutually loveable. They really fought for that.

But DC/WB kept saying hell no.

[Agent Z]

Readers have to keep in mind that writers can't just come onto a book and do whatever they want--no matter how good the idea might be. Especially not on characters that are tied to film, TV, merchandising, and other bread-and-butter enterprises.

You would think by now that we would know--based on the testimony of George Perez, Phil Jimenez, Greg Rucka, Gail Simone, and Steve Orlando, among others--that Wonder Woman is one of the most difficult books to work on because of artistic constraints placed on creators by editors, publishers, and executives, most of whom couldn't care less about the wants and desires of a few thousand comic book readers (who might want to see a Gundra or a Queen Clea) compared to the hundreds of millions of dollars made via other avenues. Their commitment is to their shareholders. And if that means creating a Wonder Woman that they think would appeal to a wider audience in spite of the fact that the new version contradicts the source material...

Well, we've seen with our own eyes that they would do it in a heartbeat.

For these reasons, I've learned to extend some grace to the creatives working on Wonder Woman.

Except for Brian Azzarello. Azzarello intentionally and willingly aligned with the corporate agenda for Wonder Woman in ways that I still find deeply sexist and misogynistic.

What DC allows and doesn't allow for Wonder Woman is unusually arbitrary.

[Agent Z]

Readers have to keep in mind that writers can't just come onto a book and do whatever they want--no matter how good the idea might be. Especially not on characters that are tied to film, TV, merchandising, and other bread-and-butter enterprises.

You would think by now that we would know--based on the testimony of George Perez, Phil Jimenez, Greg Rucka, Gail Simone, and Steve Orlando, among others--that Wonder Woman is one of the most difficult books to work on because of artistic constraints placed on creators by editors, publishers, and executives, most of whom couldn't care less about the wants and desires of a few thousand comic book readers (who might want to see a Gundra or a Queen Clea) compared to the hundreds of millions of dollars made via other avenues. Their commitment is to their shareholders. And if that means creating a Wonder Woman that they think would appeal to a wider audience in spite of the fact that the new version contradicts the source material...

Well, we've seen with our own eyes that they would do it in a heartbeat.

For these reasons, I've learned to extend some grace to the creatives working on Wonder Woman.

Except for Brian Azzarello. Azzarello intentionally and willingly aligned with the corporate agenda for Wonder Woman in ways that I still find deeply sexist and misogynistic.

What DC allows and doesn't allow for Wonder Woman is unusually arbitrary.

[WonderScott]

What DC allows and doesn't allow for Wonder Woman is unusually arbitrary.

Or it’s it’s highly arbitrated by the suits side of things. The relationship between art and commerce can be a doozy.

[HotBoy]

Or it’s it’s highly arbitrated by the suits side of things. The relationship between art and commerce can be a doozy.

You said a mouthful!