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WONDER WOMAN #46 (Sep 1990) DC Comics

cover:  George Perez
WONDER WOMAN #46
Date: Sep 1990
Cover Price: $1.00
Publisher: dccomics.com

Description

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    Credits
    "Chalk Drawings" (22 pages) 
    writer:  George Perez
    Mindy Newell
    art:  Jill Thompson
    Romeo Tanghal
    colors:  N/A
    letters:  N/A
    editor:  N/A
    Related

    WONDER WOMAN #46 (Sep 1990)
    DC Comics
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    Book Riot: 26 Of The Best Comic Book Covers Of All Time

    posted Jul 12, 2019, 3:04 PM by Vu Nguyen

    From bookriot.com


    WONDER WOMAN #46 (Sep 1990)
    DC Comics
    26 Of The Best Comic Book Covers Of All Time

    Book Riot has talked about the best comic book artists working today and what makes a great cover in general. Now, it’s time to present 26 of the absolute best comic book covers of all time!

    Because I am terrible at ranking things, I’ve just put them in chronological order. I’ll start with a few age-old classics that have been referenced and parodied a thousand times, then move on to the modern masterpieces that deserve their own place in comics history.

    Without further ado, let’s take a look at some fantastic—and sometimes historic—comic book covers!

    Excerpt:

    Wonder Woman #46 (1990)

    This is not your typical Wonder Woman story (it’s about a teenage girl who loses her friend to suicide), so it needed an atypical cover to go with it. Jill Thompson handily delivers with this piece.

    JLA/Avengers #3 (2003)

    George Pérez is the undisputed champion of drawing massive crowds of people while still managing to make everyone look distinct. Nowhere is this more evident than his (and Tom Smith’s) covers for the JLA/Avengers crossover event.





    The Huffington Post spotlights George Perez
    posted Jun 29, 2017, 6:24 PM by Vu Nguyen

    From huffingtonpost.com


    WONDER WOMAN #46 (Sep 1990)
    DC Comics
    Wonder Woman and Creator George Pérez
    06/29/2017 06:56 pm ET by Clarence Haynes, Contributor


    As legions already know, the 2017 Wonder Woman film is a worldwide phenomenon, having broken a number of records and becoming the top grossing live action film globally to be directed by a woman—in this case Patty Jenkins, known for the acclaimed indie work Monster. WW is also about to be the top grossing installment domestically in the DC Extended Universe thus far, outperforming the likes of Batman v. Superman: Dawn of Justice and Suicide Squad, and will be the third top grossing DC Comics film adaptation of all time in North America, not adjusting for ticket price inflation.

    (excerpt)

    Pérez, a Puerto Rican illustrator and writer at the height of his career took on a project focusing on a sisterhood of actualized, transcendent women from Greek mythology. Amid layered circumstances, I see the work as an exercise in empathy, serving as a call for men to step beyond how we’ve been taught to behave and sit in the experiences of another gender. Pérez didn’t only present standard superhero fare but also devoted entire issues to characters adjusting to the changing circumstances of life, a heartening decision considering the title’s positioning towards young people. One issue showcased written entries from four different characters—three career-oriented women and one teenage girl—revolving around Diana becoming known to the larger world, with a later story detailing her visit to modern Greece and the original land of her ancestors. Another narrative presented in an annual showcased the life of Diana’s publicist, who was revealed to be devoted to her conservative family yet shunned along with her gay brother for living out of the box. And another plot thread dealt with the main youngster of the series, Vanessa Kapatelis, coping with a friend’s suicide.

    Contemporary takes on Wonder Woman have been built upon progressive themes, yet Pérez’s relaunch stands out for treating the series like serious literature with a humanistic vision. He has later said women were surprised to find out a man had written this particular WW run. The legacy of his work asserts that male creators can immerse themselves in women’s lives, create layered narratives where women are center and then get out of the way.


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