Wonder Woman Earth One Vol. 2 Grant Morrison & Yannick Paquette | Review


Published on Jul 10, 2019


Review the work of Grant Morrison, is never easy.

The transgressive author of Glasgow, in fact, is usually to devise stories that provide the reader with countless insights, often with many references to literary, philosophical and artistic. In this sense, Wonder Woman Earth One is no exception. In this work, Grant presents his personal vision of the superhero is the most famous and DC, making it the protagonist of a story that is detached from the continuity of the official. This has enabled it to propose a particular version of Diana, without, however, changing it radically. Morrison, however, did no more than emphasize some of the elements present from the outset of the amazonian Princess.

Its creator, William Maulton Marston, had designed as an independent woman and self-confident than men, in line with his ideas for the libertarian and feminist. He also pointed out the look sexy and not lacking in the early episodes allusions not so veiled to sadomasochistic practices and bondage (Marston, according to many, anticipated the movements of sexual liberation of the sixties). Morrison refers to these details and puts Diana in an alternate version of the DCU. The girl is an Amazon, the daughter of queen Hippolyta, has grown up in the Island Paradise, in a matrilineal society by the costumes sapphic, and for a number of circumstances comes in our world dominated by the war and by the impetus of violent, Morrison identifies with the male universe.

If in the first volume, however, the scottish writer was limited to set up the premise of the plot, in this second exit is unleashed, giving free rein to his imagination subversive. Diana poses the not easy task of eliminating all forms of conflict. In practice, and intends to create a real utopia based on the concept of love. Women are, therefore, representatives of this impulse, and males symbolize every form of violence. The american government, worried by the presence of Wonder Woman in our planet and not trusting her, trying to stop it, creating complicated machinations, to his damage involving Dr. Psycho, the treacherous Maxwell Lord, and a supervillain nazi, Uberfraulein.

Morrison puts Wonder Woman in the context of contemporary from #MeToo, but not to surrender to provocation. With the sarcasm which distinguishes him, in fact, makes fun of the speeches often specious on sexism with Diana, who, attacked by a feminist who object to his clothing discinto, says dressing up as the think it is his choice. Do not avoid to denounce the condition of subaltern women in islamic countries, the golden rule, then, of the easy accusations of islamophobia that are often addressed when someone dares to make similar criticisms. Do not miss the opportunity of making explicit references to the practices of bondage, as was the case in the stories of the forties, the lesbianism and, in general, to various forms of sexual orientation. He insists, in particular, on the idea of submission.

The submission theorized by Diana has to do with the power of love. Men, this is his thesis, must submit to it, and the only way they can achieve peace and harmony. We must not, however, forget that Morrison was involved in occultism and in the story, is recurring this phrase: ‘to Submit to the Loving Authority’. It is, in fact, a quote from Aleister Crowley and anyone who knows the works of the Magus knows that the love of which he spoke meant the instincts and impulses that are downright cruel. For a change, then, Morrison writes texts that are not to be taken to the letter, but decoded. Those who are able to do this will find the meanings of the disturbing and disconcerting (a technique, however, also typical of Crowley).

Although in the history there are numerous moments of action, we may consider Wonder Woman Earth One comic erotic. There are sequences of sex, but the eroticism and references to sexuality are ubiquitous, and I am not referring so much to the physicality, exuberant Wonder Woman because of the insistence on the subjection, in fact, that invokes the sm, the union is carnal bodies and the nature of the feminine of the Amazons. There are even hints to the theories of ‘orgone’ of the controversial Wilhelm Reich, who believed the practice of sex as an enactment of an energy (analyzed this idea in his ‘the Function of The Orgasm’, text, Morrison has clearly not read in depth). He also cites the ‘black sun’, a concept of the occult made famous by the publisher and poet Harry Crosby. The texts and dialogues have the usual inventive language that fans of Grant's know and are effective.

The volume has another point of strength in the extraordinary drawings of Yanick Pacquette manages to evoke the charm of Diana with a skill that is breathtaking. But also the other female characters have charisma, and are as alluring as ever. The attention to detail in each vignette is manic and what is most striking is the construction of the plates. The layout is always changing and gives a touch of unpredictability. Many pages are influenced by Art Nouveau, with Diana and the various protagonists placed in frames covered with a pattern of great suggestive value.

In short, this is really a volume not to be missed and it has the merit to propose a classical superhero of the comics in an unusual way.

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