What runs/stories do you recommend for someone starting WW? Could you please be specific (/nicely)
Yeah ofc!
My Wonder Woman Starter Recs (specific style 😎)
First stops: for an initial introduction to Wonder Woman, I'd generally recommend going to at least one of three places first. These three are:
Wonder Woman: Historia: The Amazons by Kelly Sue DeConnick
Wonder Woman: Year One by Greg Rucka
Wonder Woman: the Hiketeia by Greg Rucka
Of these I generally recommend reading Historia first, as it's a retelling of the origin of the Amazons as a race and how Diana came to be (so it essentially starts from the beginning) and is also the most recent of the them (if that means anything). Something to note about Historia though is that it's a DC Black Label book, so it's events aren't strictly canon in the main DCU and there are some changes and new elements present. I don't think this is something that should discourage anyone from reading it though, it's the best WW origin story out there, and even in strict main canon over the years her origin is one that has had many fluctuations and small (& sometimes big) changes. WW:Historia is three prestige format (longer) issues.
You'll notice the third book there is WW: The Hiketeia. Hiketeia is a great book if you're looking for a view into Diana as a professional and experienced hero. It's a graphic novel so standalone and not too long, and has a great Diana and really interesting plot (Diana vows to protect a young woman and finds herself pressed against the wheels of Greek Tragedy). This is also the first work with Diana done by Greg Rucka, one of her most prolific and loved writers. A sampling of this work (and also Historia) I think gives a good guide to where to go next in terms of runs on her main title.
Wonder Woman: Year One is the second book on the list up there, but I'm mentioning it last here as it's a bit more complicated in terms of format. Unlike other year one books, WW: Year One is actually a series of issues on her main title, showcasing Diana's arrival to man's world in Rebirth (and also current p sure) continuity. The issue numbering for this one is strange (only the even issues 2-14 on WW (2016)) so I recommend looking for this in trade form if possible.
These 3 books I think give a taste of some of the best standalone stuff in the Wonder Woman mythos, and give the reader a good idea of where they may want to go next in terms of longer runs on the title. So I'll break that down here as a Step 2.
STEP 2: WHERE NEXT?
Here I break down some highly recommended runs based on what they have in common with the standalone books from step 1. As a rule, these runs are going to be much longer than the above and generally more connected to the wider DCU and other books. Look for the italics to see the introduction to each new work. Explanation paragraphs follow after each italic/bold rec.
Curious about Greek mythology in WW and the Amazons' origins after reading Historia? Liked the prescence of a supporting cast and Diana learning about Man's World from Year One? Willing to read a longer run? I recommend: Wonder Woman by George Pérez
George Pérez's time on Wonder Woman totally reinvented the character after Crisis on Infinite Earths, and is fundamental in establishing many core concepts of her lore. At 62 issues, 2 annuals, and a 4-issue crossover event at the end (War of the Gods), it's definitely a commitment to read, but it's the most enduring and well-loved run on Wonder Woman for a reason--it's just that damn good. Lots of focus on mythology (although with a lighter tone than Historia) alongside Diana learning her role in relation to Man's World & establishing herself as a hero and ambassador. Pérez's run also has almost-certainly the most expansive and developed supporting cast in WW comics, something that really drives the emotional core of the series, especially in later issues. Obligatory note that this series was written between 1987 and 1992 and contains some very occasional aspects that I thought were in some way dated/uncomfortable etc. while reading (details of Cheetah's origin, depiction of the Bana-Mighdall, Hercules) but despite that I still highly, highly recommend this run. The word fundamental cannot begin to describe it.
Liked the experienced Diana of the Hiketeia? Interested to see her attempt to balance the high stakes responsibilities of an ambassador and superhero? Looking for some really badass moments and fights? Haven't read enough terrible tragedy? I suggest: Wonder Woman by Greg Rucka 2003 EDITION.
Some of Diana's coolest moments of all time are collected here. Also one of her most controversial. The 1st Rucka run is very much the story for anyone who liked the Diana of the Hiketeia and the tragedy of that and Historia. 2003 Rucka Diana is a Diana tested, forced to make decisions that are anything but easy, and live with the consequences. She's extraordinarily capable, but her enemies know that and are prepared to that end. This run, along with the Pérez run, rank among my favorite Wondy comics of all time (those and Historia are my top 3). This run is such peak Diana, especially in terms of sheer badassery. Her final confrontation with Medusa is in my opinion perhaps the greatest Wonder Woman fight scene of all time. Her encounter with Athena in the second-to-last issue breaks me every time. Cannot recommend this book more.
*a note abt this run is that it is more context-dependent than the other ones listed here, as it's the run that finishes out the Wonder Woman vol. 2 book and so has some guest appearances from characters introduced in other prior runs (Artemis of Bana-Mighdall, Cassie Sandsmark, and Vanessa Kapatelis, to name a few). I read this run before knowing much (if anything) about any of them, and still enjoyed it a lot, so I wouldn't be worried about this really but just thought I'd mention it.
Rucka's 2003 run is published from Wonder Woman (1987) #195-226. You can also find it in trade and I believe(?) omnibus. Sometimes the Hiketeia is included in collections of this series, as the 03 run is thematically similar in many places, just with a much deeper look at Diana and the world & with higher stakes.
Liked the specific characters and plot threads of Wonder Woman: Year One? Want to see what happens with Diana's exile, or learn more about Barbara Ann? Want a Diana in between the extremes of young and highly experienced? Wonder Woman by Greg Rucka 2016 EDITION may be for you.
...yes I'm putting ANOTHER Rucka book on here. He writes a great Diana, what can I say. This run is the same one that Year One came out of, just the follow ups to that story and versions of the characters. I have this run listed as separate from Year One though, as there's some really big time skips since the events of that first volume. A lot of time has passed since then, and there's more history between the characters, not all of it without drama. This run continues to be weird with the numbering, as well as some artist changes, so I definitely recommend looking into reading this in trade format (physical or digital) if at all possible. My recommended reading order is WW 2016 by Rucka vol. 2 "The Lies" (Wonder Woman: Rebirth Special #1, followed by 2016 main title odd numbered issues 1-11), then Rucka 16 vol. 3 "The Truth" (odds 13-23) then Godwatch (evens 16 through 24) followed by 25? But The Truth and Godwatch combine near the end so that doesn't really work either. This run is so good but recommending it is such a pain because the numbering is so all over the place. On God I never know which order to read this in. Going to revoke my previous statement and say read it as Rebirth Special 1, then only odds 1 through 11, then from 13 through 25 normally. That may lead to some weirdness as you read because the two stories take place at different times and have different art styles, but they come together at the end pretty dramatically so I think it's less confusing to read it this way? Maybe? So strange bc this is one of the go to good starter runs and yet it's set up so unintuitively. If someone has a better way to read this then let me know and ill edit, ik this explanation is super confusing bc neither way to read it is totally ideal imo and I feel I definitely read it in a weird order.
Going to call that a good rundown of some of my greatest recommendations in terms of Wonder Woman comics. If anything wasn't fully clear here or anyone (not just anon) has questions or wants to talk abt WW comics/my choices feel free to send as many asks or dms as you want. Have a good day everybody, & as Diana says, may the glory of Gaea be with you <3
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Names, Marbles, and Fae-vors - More Lore on my Changeling Danny Au
In my last post I talked about the Infinite Realms and the three different planes existing inside it - the Long Far, Home to the Ancients and Celestial Beings. The Fey Wilds, Home of the Fey and other such Mythological Constructs. And the Ghost Zone, Home to the Mortal Spirits. - as well as three of the different ways beings inside the Infinite Realms can travel between planes; the Lake Portals, the Cave Tunnels, and the Starflare Currents. The Lake Portals and the Cave Tunnels don't have an official term for them yet, but I'll come up with something :).
In this post we'll be talking about some of the abilities of the fey! Specifically the things they're most popularly known for: their name stealing and etiquette thing.
For those who are not as well-versed in Fey Lore, or need a refresher, (and because I just want to yap infodump), one of the first rules you learn when interacting with the Fey is that you never, ever, say "thank you" or "I'm sorry" to them! Which is crazy, because they're really big on etiquette and being polite to each other, which is why one of their epithets is "the Good Neighbor/s". So why should you not say two phrases most commonly used when being polite to someone?
There are two big reasons for this, and the reason I'll be focusing on for this au is because, to the Fey, saying "Thank You" is acknowledgement of a debt that's owed to them. It turns the action or gift into something transactional, and results in a verbal contract that the receiver must then repay later down the line -- and whatever point in time, and with whatever the Fey they are indebted to sees fit. Whether that be food, valuables, or your firstborn child.
The other big reason is because some Fey just think it's rude, and view "thank you" as something that dilutes their act of kindness, and/or implies that they are there to serve you. One of the best summarizations I've seen for fey is that they're bros; they're doing this because they think you're friends -- or something similar to the sort. It's deeply insulting to do all these nice things for a friend, only for that friend to reveal that they don't view you the same way at all.
It's for similar reasons that you also shouldn't say, "I'm sorry" either, except instead of repaying a gift, you are now making reparations for a wrong you have done. A misdeed must be repaid in full, now how are you going to make it up to them? And also because well, I imagine that if saying "thank you" is seen as rude, "I'm sorry" is the exact same way because it dilutes the act.
If you're in a situation where you must say "thank you" or "i'm sorry" there are ways to get around it. "I'm grateful", "you're too kind", "I apologize", or "I feel regret" are just some examples I saw used.
NOW! How is this used in my Changeling AU? The Fey work by these same rules, the only difference is that I've added a physical aspect to it! If Fey are capable of stealing the abstract and turning the incorporeal corporeal, then lets run with it!
"Thank Yous" and "I'm Sorrys" are debts, and Fey can magically bound you into a verbal contract with that alone. However, it's not uncommon -- and actually pretty standard -- for Fey to weave the excess magic of that debt into something physical. They create these delicate-looking, iridescent threads that they then weave into their hair for decoration. And in some areas of the Fey Wilds, use it as a way to show off wealth and/or their own wit.
Ever heard of Fairy Hair? Yeah, same concept.
Debt Threads, as I am temporarily calling them, are thin and airy, and not that much thicker than gossamer. Since it's a debt that is intended to eventually be paid back, it's not practical -- nor is it seen as such -- to use the threads for anything more than temporary cosmetics. As a result, they're usually used for decorating the hair, but some crafty fey use their threads to decorate other appendages, or as form of makeup. Despite their dainty appearance, the threads are actually very sturdy and can only be unweaved by the Fey that created it.
You can, technically, take back your debt thread. However, the threads are made using excess magic of the debt, and not made of the magic of the debt itself, which is why it's so thin and airy. So if you do manage to get it, congrats! All you've got is some pretty string and a pissed off feyrie whose hair you probably just yanked out.
Danny's managed to accrue a few "debts" before he realizes he's a fey, mostly from his friends and sister -- although there are a few from his parents, and some from the other student body from when he was unknowingly and instinctually doing Fey Bullshit. As a result, he starts forcing Sam and Tucker and Jazz to stop thanking him for things, and typically makes them repay him through petty, menial stuff. Like getting him food, or buying him a small but relatively inexpensive trinket he's been eyeing for a while. Never usually anything super important - it's his own way of apologizing for indebting them to him in the first place.
As for his parents... well, he'll hold onto those debts for now. Having a way to magically get them off his back with no questions asked is a boon he's pretty willing to keep close to his chest, and no amount of persuasion will convince him otherwise. Sorry Jazz, Fey side wins out on this one. As for some of the students he's got, Danny manages to psych himself up and release some of them from their contracts without repayment -- even if it makes his bones itch.
AND NOW THE NAMES! You never give a Fey your name because they say everything literally. "Can I have your name?" is a literal question -- they are asking for your name, and thus ownership over you. The other thing is that Names have power, if a fey knows your Full Name they can make you do things for them -- however it goes both ways so you could do the same thing if you learn a Fey's name.
Knowing a Name and owning a Name are two different things, with owning a Name being, naturally, more dangerous as you are basically submitting yourself to permanent indentured servitude, among other things. Knowing a Name can be risky because it results in being more susceptible to fey charms, enchantments, and requests.
But! I digress! Just like how Thank Yous and I'm Sorrys can be turned into a physical object, so can Names! This is not obligatory, nor is it recommended to do often because unlike debt threads, these can be taken back, but it happens!
Names can be trapped in these little, colorful glass-like orbs -- marbles, they're marbles/pearls. They can be trapped in what are basically magic marbles, and just like debt threads, be used for decoration. They're more versatile though, and are used for different things since unlike debt threads, the pearls are meant to be permanent! They make beautiful jewelry, since the pearls come in various different colors depending on the person it once belonged to, and the intent behind its creation.
The marbles have a hard outer shell, with the cores having a fluid, shimmery appearance. Look up liquid core dice, and Name Marbles have a similar appearance, just more... ethereal, with different shades of the same color swirling inside. Not two pearls look the same, and even ones that have similar colors or appearances have subtle differences in them that are imperceptible to the mortal eye. Some pearls look like the deepest trenches of the ocean, blacks and dark blues swirling around each other as flecks of bioluminescence float inside. While others look like a lilac winter sunset, with hand-held purples bleeding into pink and gold.
Convincing Danny to return the Names he's gotten is harder than convincing him to absolve the debts. It takes a lot more psyching up on his part to actually do it, and more verbal coaxing and negotiating on his friends' part. Because on an instinctual fey level, those names are rightfully his. For all intents and purposes, he was given those names freely and without reservation, and so to be told that he has to return what were essentially gifts to him is... deeply distressing.
Lots of cognitive dissonance there. His human-raised brain and morals know why he needs to give them back, and he feels bad for owning them. But his new changeling-baby fey-brain is deeply upset at the prospect, and is a liittle bit stronger than the once-human part of him. He rapidly becomes overwhelmed when trying to convince himself to return the Names. He does, eventually, end up doing it, but he's unwillingly upset the whole time.
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what i love most about the character development in uno is the ways in which the characters stayed the same. remi has taken off her rose-colored glasses but she's still unendingly kind. blyke will fight any injustice he sees but he's still impulsive and a little reckless. isen has become so much braver but he's still practical and doesn't have a hero complex. arlo is finally (finally) willing to fight the institution and even in that he needs to appear perfectly level-headed and in control. john is at last doing something heroic - by fighting people, of course - and he still completely disregards his own wellbeing and his limits. seraphina is fully rebelling against everything her parents stand for and support, but now she cannot afford to make mistakes. she needs to train her ability back to its old level and perhaps even above it, she (and leilah and darren) needs to know as much as possible in order to stay ahead of the authorities and spectre, and she has no time for frivolous things like friendship.
all of this is to illustrate that well-written character development involves keeping some key traits at least somewhat intact, and adapting other existing traits into similar ones that best fit the new environment. time and trauma change people, of course, but in a lot of ways people will remain similar to who they once were, and writing your characters this way often makes for more dynamic and emotionally devastating character development. the 'what have you become?' moment often is a lot more impactful if there are still traces of who they once were present, and positive character development is often a lot more believable if the character doesn't completely change personalities.
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