Wonder Woman 1942 134

"Menace of the Mirror-Wonder Woman!" Wonder Woman fights the Image-Maker, a villain who exists within a world of mirrors.

From the beautiful apsaras of Hindu myth to the swan maidens of European fairy tales, tales of flying women - some carried by wings, others by rainbows, floating scarves, or flying horses - reveal both fascination with and ambivalence about female power and sexuality. In Women Who Fly,Serinity Young examines the motif of the flying woman as it appears in a wide variety of cultures and historical periods, expressed in legends, myths, rituals, sacred narratives, and artistic productions. She introduces a wide range of such figures, including supernatural women like the Valkyries ofNorse legend, who transport men to immortality; winged deities like the Greek goddesses Iris and Nike; figures of terror like the Furies, witches, and succubi, airborne Christian mystics, and wayward women like Lilith and Morgan le Fay. Looking beyond the supernatural, Young examines theextraordinary mythology surrounding twentieth-century female aviators like Amelia Earhart and Hanna Reitsch.Throughout, the book Young traces the inextricable link between female power and sexuality and the male desire to control it. This is most vividly portrayed in the twelfth-century Niebelungenlied, in which the proud warrior-queen Brunnhilde loses her great physical strength when she is tricked intogiving up her virginity. Centuries earlier the theme is seen in Euripides' play Medea, in which the title character - enraged by her husband's intention to marry a younger woman - uses her divine powers in revenge, wreaking chaos and destruction around her. It is a theme that remains tangible evenin the twentieth-century exploits of the comic book character Wonder Woman who, Young argues, retains her physical strength only because her love for fellow aviator Steve Trevor goes unrequited.The first book to systematically chronicle the figure of the flying woman in myth, literature, art, and pop culture, Women Who Fly is an exciting, fresh look at the ways in which women have both influenced and been understood by society and religious traditions around the world.

Ages of Heroes, Eras of Men explores the changing depiction of superheroes from the comic books of the 1930s to the cinematic present. In this anthology, scholars from a variety of disciplines including history, cultural studies, Latin American studies, film studies, and English examine the superheros cultural history in North America with attention to particular stories and to the historical contexts in which those narratives appeared. Enduring comic book characters from DC and Marvel Comics including Superman, Iron Man, Batman, Wonder Woman and the Avengers are examined, along with lesser-known Canadian, Latino, and African-American superheroes. With a sweep of characters ranging from the Pulp Era to recent cinematic adaptations, and employing a variety of analytical frameworks, this collection offers new insights for scholars, students, and fans of the superhero genre.

Steve Trevor and Mer-Man compete for Wonder WomanÕs hand, only to find themselves at odds with a knight in shining armor with a flying saucer.

Steve trails Wonder Woman to Paradise Island and discovers he has a rival.

William Marston was an unusual man—a psychologist, a soft-porn pulp novelist, more than a bit of a carny, and the (self-declared) inventor of the lie detector. He was also the creator of Wonder Woman, the comic that he used to express two of his greatest passions: feminism and women in bondage. Comics expert Noah Berlatsky takes us on a wild ride through the Wonder Woman comics of the 1940s, vividly illustrating how Marston’s many quirks and contradictions, along with the odd disproportionate composition created by illustrator Harry Peter, produced a comic that was radically ahead of its time in terms of its bold presentation of female power and sexuality. Himself a committed polyamorist, Marston created a universe that was friendly to queer sexualities and lifestyles, from kink to lesbianism to cross-dressing. Written with a deep affection for the fantastically pulpy elements of the early Wonder Woman comics, from invisible jets to giant multi-lunged space kangaroos, the book also reveals how the comic addressed serious, even taboo issues like rape and incest. Wonder Woman: Bondage and Feminism in the Marston/Peter Comics 1941-1948 reveals how illustrator and writer came together to create a unique, visionary work of art, filled with bizarre ambition, revolutionary fervor, and love, far different from the action hero symbol of the feminist movement many of us recall from television.

After Diana Prince finds that Steve Trevor is too shy to consider taking Wonder Woman out, she asks Queen Hippolyta for advice. She tells Diana a story of how she used some clever tactics to get the attention of a certain demi-god.

Diana discovers that a girl is hiding out from a trio of women whose leader seeks to bring her back as a collared slave.