Comic Book Review: Wonder Woman ’77 Volume 1

Comic Book Review: Wonder Woman ’77 Volume 1 written by Marc Andreyko

Back in the 1970s, live-action television series with a woman in the lead were rare creatures indeed, and one of the best was Wonder Woman, starring Lynda Carter.  It migrated from ABC (where it was set during World War Two) to CBS in 1977, and it is this “modern day” series that this comic book series is based on.

Wonder Woman '77 Volume 1

In this version, Wonder Woman works for the Inter-Agency Defense Command in her secret identity of Diana Prince, along Steve Trevor, Jr.  Steve may or may not know  that Diana is also Wonder Woman, but at least in these issues, he doesn’t officially know or make a fuss about it. They have access to the latest 1970s technology, including the advanced computer IRA, but Wonder Woman’s powers and compassion are usually the main key to victory.

Where this comic book series varies from the TV version is that the live-action version used none of WW’s comic book supervillains, so versions of these compatible with the show’s look and feel are inserted.

The first story takes place mostly at a disco, where a Soviet defector scientist must be protected from mind-controlling songstress Silver Swan.  Diana’s outfit for this is based on the “white pantsuit” look she had during a brief period where the comics depowered her (to make her more “relevant.”)

The second story opens with Diana waking up in a world where she is not Wonder Woman or Diana Prince, but a mentally ill woman named Donna Troy.  There are some nifty references to the Cathy Lee Crosby TV movie, and the post-Crisis WW continuity.  Diana must figure out what’s going on and fight her way back to the reality she knows.

Next, there is a story that uses the Barbara Minerva version of long-time supervillain the Cheetah.  It brings in elements of the Priscilla Rich version of the character as well–Dr. Minerva is driven by jealousy when the museum she works for dismantles her prize exhibit involving years of scholarship and hard digging for a Wonder Woman-centric publicity grabber.  This allows the Cheetah spirit to take over her body so that Barbara can try to get her revenge.  The climax is a showcase for Diana’s gentle spirit being able to overcome Cheetah’s command of great cats.

Original (so far as I know) villain Celsia takes center stage next.  Due to a nuclear power plant accident that killed her home town, Celsia can project both heat and cold.  She is determined to punish the men who placed profit over life and safety.  We also get a version of the Atomic Knights, including a not-named Gardner Grayle.

And finally Diana has an encounter with the swamp monster Solomon Grundy on Halloween.  Grundy may not be the real monster here…  (Warning: domestic abuse.)

The issue is filled out with an essay by Andy Mangels about the television show, plus a gallery of covers and concept art.

One of the things I really like about this series is Wonder Woman’s dedication to non-lethal force, something that has largely been lost in recent years.  Yes, punching bad guys is an important part of her problem-solving style, but whenever possible, she uses truth and compassion to bring about resolutions.  This Wonder Woman smiles a lot, and inspires others to be better people.

Some of the 1970s elements do come across a bit cheesy, but this is not entirely a bad thing, as they fit with the feel of the show.  On the other hand, the very episodic stories mean that there’s no character growth or deeper characterization–what you see is all you are going to get.

The art is okay, with Diana and Steve being on model most of the time.

Recommended to fans of the TV show, Wonder Woman fans who prefer a lighter style and younger readers.  (It should be okay for tweens with a little parental guidance.)

And let’s enjoy that theme tune!

Book Review: Cowman’s Jack-Pot

Book Review: Cowman’s Jack-Pot by Frank C. Robertson (Also published as Greener Grows the Grass)

Chet Calder has spent eight years in the East.  Now the death of his father Dave Calder, and the crash of the stock market mean that there’s nothing left but the DC ranch.   On the stage into Calder City, Chet is seated by Mr. Doljack, the local banker.  Mr. Doljack reports that even the ranch itself is in dire financial straits, but it can be saved by ending the feud with the Murtaugh family and their Block M ranch by leasing some prime grazing land to them.

Cowman's Jackpot

Chet distrusts Mr. Doljack, who only owns the bank by virtue of having married the previous owner’s daughter.   But then who should just happen to be taking the Calder City stagecoach but Sylvia and Esta, the Murtaugh twins, who have filled out very nicely since Chet’s been away.  They are quite charming, and Chet begins to think it might not be so bad to end the feud after all.

Frank Chester Robertson (1890-1969) was a noted writer of Western novels (150 novels! plus many short stories and articles.)  This 1942 book is a good example of his craft.

Unlike many Westerns in which the protagonist is an upstanding fellow from the beginning, Chet Calder is initially a heel.  He has been away so long because he quarreled with his father over a gold-digging woman, only to have her throw him over when Dave wrote her a check.   Since then he’s been a “sportsman”, living off his father’s money while doing nothing to earn his own way or improve himself.  The Nineteenth Century equivalent of sitting around in your underwear all day playing video games, but with better chances of scoring women.

His financial circumstances having forced him to come back to the Idaho Territory irks Chet, and he treats his father’s old hands like servants, and his pride makes him snide to girl next door Marcia Whitman, who Mr. Doljack has informed him has become greedy.  None of the DC Ranch people are happy that Chet plans to make nice with the Murtaugh clan and hold a lavish party for the enemy ranchers.

Only after Chet has managed to alienate most of the people who should be his allies, while winning over none of his enemies, does he realize that he was set up from the start.  Now he has to start digging himself out of the hole he made.

Other than Chet, the lines of good and evil are pretty clearly drawn.  The Murtaughs have been poisoned by their upbringing and the long feud.  (And in an unpleasantly racist moment, the narration blames some of their evil on being of part-Cree heritage.)  One of them kills a cat just to drive home that he’s a bad’un.  Mr. Doljack is greedy and amoral (and lives in fear of his supposedly grotesquely ugly wife, who we never meet), and the other co-conspirators aren’t much better.

While the Murtaughs just want to make their Block M ranch prosperous and stick it to Chet, the other baddies are more interested in huge phosphate deposits Marcia’s father found on the DC land.  A decade before, those deposits had been unimportant, but with technological and infrastructure advancements, they’re worth millions.  Mr. Doljack is determined to get control of the mineral rights before Chet can find out their true value.

The primary weakness of the forces arrayed against Chet Calder is that their differing motivations and willingness to maneuver against each other to gain advantage or advance their own endgame results in some backstabbing that Chet can take advantage of.

Mr. Robertson has a tendency to repeat information he’s already established, and cheats a bit at the end to make sure that our heroes triumph without actually having to kill anyone.   But still, this is a nice old-fashioned Western tale for those who prefer their stories in black and white.  The last reprint appears to have been in the 1970s so good luck finding a copy.

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