Superman/Wonder Woman Vol 1 4 | DC Database | FANDOM powered by Wikia
Superman/Wonder Woman () Vol. .. ); Language: English; ISBN ; ISBN ; Product Dimensions: x x. The current Batman arc “Superfriends” moves forward this week as Batman encounters Comicbook Top Ultimate Users · Comicbook Ultimate Staff · Top 10 Hot Topics What elements of their relationship will King emphasize, and which will be pushed to the wayside? Wonder Woman Annual (vol. Superman/Wonder Woman (Volume 1) is a comic book series that explores the relationship between Superman and Wonder Woman. Superman/Wonder.
Villain's Journeyand so it's difficult for Soule to make Wonder Woman's argument feel authentic and earned. Also, given that the veritable basis of the DC Universe is super-heroes disguised as mild-mannered citizens, and a number of Wonder Woman's peers also have secret identities, her significant difficulty understanding it rings false.
The 5 Best Batman and Wonder Woman Stories
The reader's sympathies will be with Superman -- we're not about to say, "Yeah, he should give up that Clark Kent stuff" -- and Soule must walk a fine line to not have Wonder Woman come off as the villain of the piece.
One of the strongest moments of the book, one that really solidified to me that Soule has it under control, is in the sixth chapter when Superman makes a passive-aggressive remark and Wonder Woman stops him, reminds him that they're "not children," and asks him about the issue.
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- The 5 Best Batman and Wonder Woman Stories
If superheroes must have relationship problems, then this, at least, is how I'd want to see them solve them, with insight and maturity, better than what normal people might do.
If this title could have been dismissed as "just" a romance book, Soule dispels that notion with the one-two-three punch of Doomsday, General Zod, and Faora, possibly the most notable and headline-making of Superman's villains.
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It's wonderful to see all three in the New 52, even as I'm now completely stymied as to what it is that happened when Superman previously "died" in the New 52, given that he doesn't act as though he's met Doomsday before.
Two other favorite moments: First, that in the book's grand conclusion, Soule takes that old chestnut about how a sword is so sharp it can split an atom, and actually uses it to have Superman and Wonder Woman split an atom. Very creative, and the resulting blast and the damage to Superman is well-rendered by Daniel whereas his Wonder Woman is supposedly banged-up, but doesn't look it.
Second, that when the heroes reconcile, they go to the London bar first debuted in Brian Azzarello's Wonder Woman, and low and behold, Clark and Diana bond over their shared love of dancing.
Superman/Wonder Woman - Wikipedia
This does feel authentic to the characters, and it's a smart choice by Soule in giving the couple common ground outside superheroics. Basically all a reader loses in foregoing War and Peace for Doomed is two Futures End tie-in issues with the term "tie-in" used loosely and I'd deem that a fair trade-off.
War and Peace got stuck with a lot of the issues that simply recap events taking place in other chapters. That's another reason to read Doomed and not War and Peace, because a lot of what happens in Doomed happens in chapters other than these. As Futures End tie-ins, the two Futures End issues here are almost Elseworlds and approaching, in their disconnectedness, almost nonsensethough Soule does build on the framework of Brian Azzarello's Wonder Woman in interesting ways.
Superman/Wonder Woman, Volume 1: Power Couple
This makes for less dynamic reading than Action Comics Vol. Superdoomquite aside from trying to read five or six separate parts of a giant crossover as a cohesive piece.
But the first "Doomed" chapter collected here, for instance, involves the Doomsday-virus-infected Superman mouthing off to Wonder Woman in Clark Kent's apartment interspersed with flashbacks to how Wonder Woman came to find him there. It might charitably be called a "mood piece," but really it's a whole issue of Clark and Diana in Clark's apartment that moves the story forward not at all. And War and Peace is relatively full of these -- Superdoom's fight with another Amazon that doesn't affect the story, an issue that mainly just checks in with the expansive cast, and so on.
Diana arrives at Clark's apartment to find the Doomsday-ized Superman oddly transformed to a misogynist, which I never knew to be one of Doomsday's attributes Superman opines on how he "should have known better" than "giving a girl a key" to his apartment, and then wonders if he and Diana "cannn We come to find that Diana went to Clark's office first to try to find him, which seems a bit of uncharacteristic desperation on Diana's part; Soule's positing that Diana doesn't think to check Clark's apartment until Batman suggests it because Diana focuses on Superman over Clark is clever on one hand, but also seems an equally uncharacteristic mistake on Diana's part on the other.