DeConnick and Jimenez will bring a new dimension to Wonder Woman’s people with their original story.

Jimenez takes full advantage of the prestige format with which the Black Label line is published, working with colorists Hi-Fi, Arif Prianto, and Romulo Fajardo, Jr. And the idea of warriors existing to protect peace transcends gender and is just a historical notion. If you’re expecting a showcase of awe-inspiring art worthy of the gods themselves, you’re well in luck. Right from the opening issue of Historia, it’s clear that this is unlike any Wonder Woman story that came before it, with DeConnick and Jimenez drawing heavily from Greco-Roman mythology and the classic art of the era. And what I was really interested in doing was using the garb and the environments to expand on the character development that Kelly Sue gave me in the script.Nicola Scott, who has often worked with Greg Rucka on some truly memorable Wonder Woman stories, including updating Diana Prince’s origins in Wonder Woman: Year One, joins DeConnick with colorist Annette Kwok for Historia’s third chapter. Gamer Network Limited, Gateway House, 28 The Quadrant, Richmond, Surrey, TW9 1DN, United Kingdom, registered under company number 03882481. Written by Kelly Sue DeConnick, each installment of the three-issue miniseries is illustrated by a different superstar artist, with Phil Jimenez kicking things off, Gene Ha bringing the middle chapter to life, and Nicola Scott closing out the initial leg of this epic tale. The inaugural issue had concluded with the introduction of Hippolyta, a woman who endured some of the gravest injustices society had to offer.

And so, prioritizing the comfort of those men and getting their own needs met in a way that didn’t appear demanding or burdensome was a survival adaptation. Again, because these are characters who are speaking to us now and because I just didn’t want to spend a lot of time like…we’ve seen Hera in a toga, right? So, what I’d like to say is while it has been a long time, it also took us some time to ramp up and get used to the creative process for work. Kelly Sue DeConnick and artist Phil Jimenez aren’t just creating a new story— they’re crafting a fully realized culture.

I love this work because it is, to me, clearly the work of a woman and maybe less clearly, but certainly I can see it, the work of a gay dude. That said, of course the fifties came along, as well as the Comics Code Authority, and sort of eradicated that part of Wonder Woman, up to the eighties when Pérez reintroduced it.