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Monday, August 13, 2012

Joe Kubert

Joe Kubert just died. He was popular artist and drew many different characters, including Tarzan and Hawkman, but whenever I think of him I think of "Sgt. Rock".



Joe Kubert


From Wikipedia, the free encyclopedia
    
Joe Kubert

Kubert at the Big Apple Convention in Manhattan, October 17, 2009.
Born(1926-09-18)September 18, 1926
Yzerin, Poland[1]
DiedAugust 12, 2012(2012-08-12) (aged 85)
NationalityAmerican
Area(s)Artist
Notable worksSgt. Rock
Hawkman
Tarzan
AwardsAlley Award (1962, 1963, 1969)
National Cartoonists Society Awards (1974, 1980)
Eisner Award (1977)
Harvey Award (1997)
Official website
Joseph Kubert (/ˈkjuːbərt/; September 18, 1926 – August 12, 2012) was an American comic book artist and founder of The Kubert School. He is best known for his work on the DC Comics characters Sgt. Rock and Hawkman. His sons, Andy Kubert and Adam Kubert, have themselves become successful comic-book artists.
Kubert's other creations include the comic books Tor, Son of Sinbad, and Viking Prince, and, with writer Robin Moore, the comic strip Tales of the Green Beret.
Kubert was inducted into the Harvey Awards' Jack Kirby Hall of Fame in 1997, and Will Eisner Comic Book Hall of Fame in 1998.

Early life

Kubert was born September 18, 1926[2] to a Jewish family in a shtetl called Yzeran (Jezierzany), in southeast Poland (now Ukraine).[3] He was the son of Etta (née Reisenberg) and Jacob Kubert.[4] He emigrated to Brooklyn, New York City, United States, at age two months with his parents and his two-and-a-half-year-old sister Ida. Raised in the East New York neighborhood, the son of a kosher butcher, Kubert started drawing at an early age, encouraged by his parents.[5]
In his introduction to his graphic novel Yossel, Kubert wrote, "I got my first paying job as a cartoonist for comic books when I was eleven-and-a-half or twelve years old. Five dollars a page. In 1938, that was a lot of money".[5] Another source, utilizing quotes from Kubert, says in 1938, a school friend who was related to Louis Silberkleit, a principal of MLJ Studios (the future Archie Comics), urged Kubert to visit the company, where he began an unofficial apprentice and at age 12 "was allowed to ink a rush job, the pencils of Bob Montana's [teen-humor feature] 'Archie'".[6] Author David Hajdu, who interviewed Kubert and other comics professionals for a 2008 book, reported, however, that, "Kubert has told varying versions of the story of his introduction to the comics business at age ten, sometimes setting it at the comics shop run by Harry "A" Chesler, sometimes at MLJ; however, MLJ did not start operation until 1939, when Kubert was thirteen".[7]
Kubert attended Manhattan's High School of Music and Art.[5] During this time he and classmate Norman Maurer, a future collaborator, would sometimes skip school in order to see publishers.[6] Kubert began honing his craft at the Chesler studio, one of the comic-book packagers that had sprung up in the medium's early days to supply outsourced comics to publishers.[citation needed]

Career

Early career

Kubert's first known professional job was penciling and inking the six-page story "Black-Out", starring the character Volton, in Holyoke Publishing's Catman Comics #8 (March 1942; also listed as vol. 2, #13). He would continuing drawing the feature for the next three issues, and was soon doing similar work for Fox Comics' Blue Beetle.[8] Branching into additional art skills, he began coloring the Quality Comics reprints of future industry legend Will Eisner's The Spirit, a seven-page comics feature that ran as part of a newspaper Sunday supplement.

1940s and 1950s

Kubert's first work for DC Comics, where he would spend much of his career and produce some of his most notable art, was penciling and inking the 50-page "Seven Soldiers of Victory" superhero-team story in Leading Comics #8 (Fall 1943), published by a DC predecessor company, All-American Comics. Through the decade, Kubert's art would also appear in comics from Fiction House, Avon, and Harvey Comics, but he was otherwise worked exclusively for All-American and DC.[8] Kubert's long association with the Hawkman character began with the story "The Painter and the $100,000" in Flash Comics #62 (Feb. 1945).[9]
In the 1950s, he became managing editor of St. John Publications, where he, his old classmate Norman Maurer, and Norman's brother Leonard Maurer produced the first 3-D comic books,[10] starting with Three Dimension Comics #1 (Sept. 1953 oversize format, Oct. 1953 standard-size reprint), featuring Mighty Mouse.[8] According to Kubert, it sold a remarkable 1.2 million copies at 25 cents apiece at a time when comics cost a dime.[11]
At St. John, writer Norman Maurer and artist Kubert created the enduring character Tor, a prehistoric-human protagonist who debuted in the comic 1,000,000 Years Ago (Sept. 1953). Tor immediately went on to star in 3-D Comics #2-3 (Oct.-Nov. 1953), followed by a titular, traditionally 2-D comic-book series, written and drawn by Joe Kubert, that premiered with issue #3 (May 1954). The character has gone on to appear in series from Eclipse Comics, Marvel Comics' Epic imprint, and DC Comics through at least the 1990s.[8] Kubert in the late 1950s unsuccessfully attempted to sell Tor as a newspaper comic strip.[12] He also contributed work to Avon Periodicals, where he did science-fiction stories for Strange Worlds and other titles.[8]
For E.C., Kubert drew a few stories for Harvey Kurtzman's Two-Fisted Tales, alongside E.C. stalwarts Wally Wood, Jack Davis and John Severin.

DC Comics and Sgt. Rock

Beginning with Our Army at War #32 (March 1955), Kubert began to freelance again for DC Comics, in addition to Lev Gleason Publications and Atlas Comics, the 1950s iteration of Marvel Comics.[8] By the end of the year he was drawing for DC exclusively, working on such characters as the medieval adventurer Viking Prince, the superhero Hawkman, which would become one of his signature efforts, and, in the war comic GI Combat, features starring Sgt. Rock and The Haunted Tank, two more signature strips.
From 1965 through 1967 he collaborated with author Robin Moore on the syndicated daily comic strip Tales of the Green Beret for the Chicago Tribune.
Kubert served as DC Comics' director of publications from 1967 to 1976. During his tenure with DC, Kubert initiated titles based on such Edgar Rice Burroughs properties as Tarzan[13] and Korak. Kubert also supervised the production of the comic books Sgt. Rock, Ragman and Weird Worlds. While performing supervisory duties he continued to draw for some books, notably Tarzan from 1972 to 1975. Kubert also did covers for Rima the Jungle Girl from 1974 to 1975.[8] Kubert and writer Robert Kanigher created Ragman in the first issue (Aug.-Sept. 1976) of that character's short-lived ongoing series.[14]
In the early 1960s, Kubert moved to Dover, New Jersey, where he and his wife Muriel founded The Kubert School and raised their five children:[15] David, the eldest, followed by Danny, Lisa, and comic-book artists Adam and Andy Kubert.[16]
Kubert wrote and drew a collection of faith-based comic strips beginning in the late 1980s for Tzivos Hashem, the Lubavitch children's organization, and Moshiach Times magazine. The stories, "The Adventures of Yaakov and Yosef", were based on biblical references, but were not Bible stories. Many were based on stories of the Lubavitcher Rebbes and their disciples.[17]

Later career


PS, The Preventive Maintenance Monthly (Feb. 2006). Cover art by Kubert.
Kubert made a return to writing and drawing in 1991 with the Abraham Stone graphic novel Country Mouse, City Rat for Malibu Comics' Platinum Editions. He returned to the character for two more stories, Radix Malorum and The Revolution published by Epic Comics in 1995.
Also for Epic Comics, he delivered the four-issue Tor miniseries in 1993. 1996 saw the publication of Fax from Sarajevo, initially released as a 207-page hardcover book[18] and two years later as a 224-page trade paperback.[19] The non-fiction book originated as a series of faxes from European comics agent Ervin Rustemagić during the Serbian siege of Sarajevo. Rustemagić and his family, whose home and possessions in suburban Dobrinja were destroyed, spent two-and-a-half years in a ruined building, communicating with the outside world via fax when they could. Friend and client Kubert was one recipient. Collaborating long-distance, they collected Rustemagić's account of life during wartime, with Kubert and editor Bob Cooper turning the raw faxes into a somber comics tale.
Kubert drew a pencil-illustrated graphic novels,Yossel: April 19, 1943 (2003) and 'Jew Gangster' (2005) both from IBooks. In 2003, Kubert returned to the Sgt. Rock character, illustrating 'Sgt. Rock: Between Hell and a Hard Place' a six-issue miniseries written by Brian Azarello and wrote and drew "Sgt. Rock: The Prophecy", a six-issue miniseries in 2006. 2005 also saw the publication of 'Tex, The Lonesome Rider', written by Claudio Nizzi and published by SAF Comics.[8]
As of the mid-2000s, Kubert was the artist for PS Magazine, a U.S. military magazine, with comic-book elements, that stresses the importance of preventive maintenance of vehicles, arms, and other ordnance.
In 2008, Kubert returned to his Tor character with a six-issue limited series published by DC Comics entitled Tor: A prehistoric Odyssey. In 2009, Kubert contributed a new Sgt. Rock story for Wednesday Comics, published by DC.[20] His son, Adam, wrote the story, his first foray at scripting. In 2011, he did the introduction and lenticular 3-D front cover for Craig Yoe's Amazing 3-D Comics![8]

Death

Kubert died on August 12, 2012, three weeks short of his 86th birthday.[16]

Awards

Kubert's several awards and nominations include:
  • the 1962 Alley Award for Best Single Comic Book Cover (The Brave and the Bold #42)
  • a 1963 write-in Alley Award for "Artist Preferred on Sea Devils
  • a special 1969 Alley Award "for the cinematic storytelling techniques and the exciting and dramatic style he has brought to the field of comic art"
  • 1974 and 1980 National Cartoonists Society Awards for best Story Comic Book, plus a 1997 nomination for Best Comic Book.
  • The 1997 Eisner Award for "Best Graphic Album: New", for Fax from Sarajevo
  • The 1997 Harvey Award for "Best Graphic Album of Original Work," for Fax from Sarajevo
Kubert was inducted into the Harvey Awards' Jack Kirby Hall of Fame in 1997, and Will Eisner Comic Book Hall of Fame in 1998. In 2010, Kubert received the Milton Caniff Lifetime Achievement Award from the National Cartoonists Society.

Hardcover reprints

Volume 1 (2005) ISBN 1-59307-404-2; ISBN 978-1-59307-404-3
Volume 2 (2006) ISBN 1-59307-416-6; ISBN 978-1-59307-416-6
Volume 3 (2006) ISBN 1-59307-417-4; ISBN 978-1-59307-417-3
Volume 1 (2001) ISBN 1-56389-781-4; ISBN 978-1-56389-781-8
Volume 1 (2002) ISBN 1-56389-830-6; ISBN 978-1-56389-830-3
Volume 3 (2004) ISBN 1-56389-998-1; ISBN 978-1-56389-998-0

References

  1. ^ Horn, Maurice. Contemporary Graphic Artists: A Biographical, Bibliographical, and Critical Guide to Current Illustrators, Animators, Cartoonists, Designers, and Other Graphic Artists. Gale Research Co., 1986. Archived at Google Books. Retrieved August 12, 2012.
  2. ^ Joe Kubert at the Lambiek Comiclopedia. Retrieved August 12, 2012.
  3. ^ Meth, Clifford (June 4, 2005). "Joe Kubert: From Shtetl to Grand Master - Part One". "Meth Addict" (column), ComicsBulletin.com. Archived from the original on August 20, 2008. http://web.archive.org/web/20080820053033/http://www.comicsbulletin.com/meth/111759071768379.htm.
  4. ^ [1]
  5. ^ a b c Kubert, Joe (2003). "Excerpt from Yossel". JBooks.com. Archived from the original on July 21, 2011. http://www.jbooks.com/firstchapters/index/FC_Kubert1.htm.
  6. ^ a b Steve Stiles. ""The Genesis of Joe Kubert", Part 1, by Steve Stiles". Stevestiles.com. http://www.stevestiles.com/kubert1.htm. Retrieved 2012-06-08.
  7. ^ Hajdu, David. The Ten-Cent Plague: The Great Comic-Book Scare and How it Changed America, page 357. Farrar, Straus and Giroux, 2008. ISBN 0-374-18767-3; ISBN 978-0-374-18767-5.
  8. ^ a b c d e f g h i Joe Kubert at the Grand Comics Database
  9. ^ Wallace, Daniel; Dolan, Hannah, ed. (2010). "1940s". DC Comics Year By Year A Visual Chronicle. Dorling Kindersley. p. 49. ISBN 978-0-7566-6742-9. "Artist Joe Kubert began his most memorable work on the gravity-defying superhero Hawkman in this issue..."The Painter and the $100,000" written by Gardner Fox marked the start of a long and fruitful run between illustrator and character."
  10. ^ "WonderCon Special Guests," Comic-Con Magazine (Winter 2010), p. 20.
  11. ^ "Joe Kubert Interview: A Myth in the World of Comics". UniversoHQ.com. c. 2001. Archived from the original on January 22, 2011. http://www.universohq.com/Quadrinhos/interview_kubert01.cfm.
  12. ^ The Tor samples consisted of 12 daily strips, reprinted in six pages in Alter Ego #10 and later expanded to 16 pages in DC Comics' Tor #1.
  13. ^ McAvennie, Michael "1970s" in Dolan, p. 151 "Tarzan enjoyed a prolific period in comics when DC acquired the rights to novelist Edgar Rice Burroughs' iconic ape-man. Much of that success should be attributed to writer, artist, and editor Joe Kubert, a lifelong Tarzan fan whose gritty, expressive style was perfect for the jungle hero."
  14. ^ McAvennie "1970s" in Dolan, p. 171 "Writer Robert Kanigher's origin of the frayed hero was pieced together into moody, coarse segments by Joe Kubert and Nestor, Frank, and Quico Redondo."
  15. ^ Jennings, Dana. "Paper, Pencil And a Dream", The New York Times, December 14, 2003. Accessed March 29, 2012. "Mr. Kubert said that Dover, which has 18,000 people and is bisected by the Rockaway River, suits him. He and his wife, Muriel, raised their five children here, and it was here that they opened their school."
  16. ^ a b Kuperinsky, Amy (August 12, 2012). "Joe Kubert, N.J. comic book legend, dead at 85". The Star-Ledger (Newark, New Jersey). Archived from the original on August 12, 2012. http://www.nj.com/entertainment/index.ssf/2012/08/joe_kubert_dead_dies_85_nj.html. Retrieved August 12, 2012.
  17. ^ "Kids Zone - Bookshelf - Comics". Chabad.org. http://www.chabad.org/386330. Retrieved 2012-06-08.
  18. ^ Dark Horse Comics (November 1996), ISBN 1-56971-143-7
  19. ^ Dark Horse Comics (October 1998) ISBN 1-56971-346-4
  20. ^ Renaud, Jeffrey (July 22, 2009). "Wednesday Comics: The Kuberts". Comic Book Resources. http://www.comicbookresources.com/?page=article&id=22150. Retrieved May 27, 2010.

External links

October 8, 2010




Joe Kubert Cover Gallery
































"It's Murder" From Kerry Drake:



































































Watch Joe Kubert talk about his work on youtube:


Mark Evanier Talks About Joe Kubert:

Saturday, July 14, 2012

"Landing Of The Flying Saucers!" - Wonder Woman #68




Here is a Wonder Woman story I reblogged from "Pappy's Golden Age Blog". It was originally published in 1954 in WONDER WOMAN # 68.

Pappy's Golden Age Blog may be seen at http://pappysgoldenage.blogspot.com/



































Wonder Woman



From Wikipedia, the free encyclopedia


    
Wonder Woman
Wonder Woman
Cover for Wonder Woman #1 (1942). Art by Harry G. Peter.
Series publication information
PublisherDC Comics
ScheduleMonthly
FormatOngoing series
GenreFantasy, superhero
Publication date(vol. 1)
Summer 1942 – February 1986
(vol. 2)
February 1987 – April 2006
(vol. 3)
August 2006 – July 2010
(vol. 1 cont.)
August 2010 – October 2011
(vol. 4)
September 2011 – Present
Number of issues(vol. 1): 329
(vol. 2): 226 (+ 8 Annuals, 1 Special)
(vol. 3): 44 (+ 1 Annual)
(vol. 1 cont.): 15
(vol. 4):
Main character(s)Princess Diana of Themyscira
Creative team
Writer(s)(vol. 1)
William Moulton Marston, Mike Sekowsky, Robert Kanigher, Martin Pasko, Gerry Conway, Dan Mishkin
(vol. 2)
Len Wein, George Pérez, Mindy Newell, William Messner-Loebs, John Byrne, Phil Jimenez, Greg Rucka
(vol. 3)
Allan Heinberg, Gail Simone
(vol. 1 cont.)
J. Michael Straczynski
(vol. 4)
Brian Azzarello
Penciller(s)(vol. 1)
Harry G. Peter, Ross Andru, Mike Sekowsky, Dick Giordano, John Rosenberger, Jose Delbo, Gene Colan
(vol. 2)
George Pérez, Chris Marrinan, Mike Deodato, John Byrne, Phil Jimenez
(vol. 3)
Terry Dodson, Aaron Lopresti
(vol. 1 cont.)
Don Kramer
(vol. 4)
Cliff Chiang
Inker(s)(vol. 1)
Mike Esposito, Dick Giordano, Vince Colletta
(vol. 2)
Bruce Patterson, Andy Lanning
(vol. 3)
Rachel Dodson, Matt Ryan
Colorist(s)(vol. 2)
Carl Gafford
(vol. 3)
Alex Sinclair
Wonder Woman is a fictional character, a DC Comics superheroine created by William Moulton Marston. She first appeared in All Star Comics #8 (December 1941). The Wonder Woman title has been published by DC Comics almost continuously except for a brief hiatus in 1986.[1]
Wonder Woman is a warrior princess of the Amazons (based on the Amazons of Greek mythology) and was created by Marston, an American, as a "distinctly feminist role model whose mission was to bring the Amazon ideals of love, peace, and sexual equality to a world torn by the hatred of men." [2] Known in her homeland as Diana of Themyscira, her powers include superhuman strength, flight (even though the original Wonder Woman did not have this ability), super-speed, super-stamina, and super-agility. She is highly proficient in hand-to-hand combat and in the art of tactical warfare. She also possesses animal-like cunning skills and a natural rapport with animals, which has been presented as an actual ability to communicate with the animal kingdom. She uses her Lasso of Truth, which forces those bound by it to tell the truth, a pair of indestructible bracelets, a tiara which serves as a projectile, and, in some stories, an invisible airplane.
Created during World War II, the character was initially depicted fighting the Axis military forces, as well as an assortment of supervillains. In later decades, some writers maintained the World War II setting, with many of its themes and story arcs, while others updated the series to reflect the present day. Wonder Woman has also regularly appeared in comic books featuring the superhero teams Justice Society (from 1941) and Justice League (from 1960). Arguably the most popular and iconic female superhero in comics, Wonder Woman is also considered a feminist icon.[2] She was named the 20th greatest comic book character by Empire magazine.[3] She was ranked sixth in Comics Buyer's Guide's "100 Sexiest Women in Comics" list.[4]
In addition to the comics, the character has appeared in other media; most notably, the 1975–1979 Wonder Woman TV series starring Lynda Carter, as well as animated series such as the Super Friends and Justice League. Although a number of attempts have been made to adapt the character to live-action film, none has yet emerged from development hell. An animated film was released in 2009, with Keri Russell voicing the title role. In 2011, Adrianne Palicki starred in a failed pilot for a would-be series about the character.
In May 2011, Wonder Woman placed fifth on IGN's Top 100 Comic Book Heroes of All Time.[5]

 

 

 Publication history


Wonder Woman's first cover, Sensation Comics #1 (January 1942)

 Creation

In an October 25, 1940 interview published in Family Circle titled "Don't Laugh at the Comics", William Moulton Marston described what he saw as the great educational potential of comic books.[6] This article caught the attention of comics publisher Max Gaines, who hired Marston as an educational consultant for National Periodicals and All-American Publications, two of the companies that would merge to form DC Comics. At that time, Marston decided to develop a new superhero. Family Circle published a follow-up article two years later from issue of the Boston University alumni magazine, it was Marston's wife Elizabeth's idea to create a female superheroine:
William Moulton Marston, a psychologist already famous for inventing the polygraph (forerunner to the magic lasso), struck upon an idea for a new kind of superhero, one who would triumph not with fists or firepower, but with love. "Fine," said Elizabeth. "But make her a woman."[7]
Marston introduced the idea to Gaines, co-founder of All-American Publications. Given the go-ahead, Marston developed Wonder Woman with Elizabeth, whom Marston believed to be a model of that era's unconventional, liberated woman.[7] Marston was also inspired by Olive Byrne, who lived with the couple in a polygamous/polyamorous relationship.[8] Both women served as exemplars for the character and greatly influenced the character's creation.[7] Wonder Woman debuted in All Star Comics #8 (December 1941), scripted by Marston and with art by Harry G. Peter.
Marston was the creator of a systolic-blood-pressure-measuring apparatus, which was crucial to the development of the polygraph (lie detector). Marston's experience with polygraphs convinced him that women were more honest and reliable than men and could work more efficiently.[9]
"Wonder Woman is psychological propaganda for the new type of woman who should, I believe, rule the world," Marston wrote.[1] Although Gloria Steinem placed Wonder Woman on the first standalone cover of Ms. in 1972, Marston, writing in an earlier time, designed Wonder Woman to represent a particular form of female empowerment. Feminism argues that women are equal to men and should be treated as such; Marston's representative of femininity is a 6-foot-tall Amazon wielding a golden lasso that forces obedience on those it encircles.[neutrality is disputed] In Marston's mind, women not only held the potential to be as good as men but to be superior to men.[original research?]
In a 1943 issue of The American Scholar, Marston wrote:
Not even girls want to be girls so long as our feminine archetype lacks force, strength, and power. Not wanting to be girls, they don't want to be tender, submissive, peace-loving as good women are. Women's strong qualities have become despised because of their weakness. The obvious remedy is to create a feminine character with all the strength of Superman plus all the allure of a good and beautiful woman.
During this period, Wonder Woman joined the Justice Society of America as the female member,[10] albeit as the group's secretary, since the custom was that characters who had their own comic books would hold only honorary membership.

 Evolution of the character


Wonder Woman's new costume, in Wonder Woman #607 (Feb. 2011). Art by Don Kramer.
Initially, Wonder Woman was an Amazon champion who wins the right to return Steve Trevor — a United States intelligence officer whose plane had crashed on the Amazons' isolated island homeland — to "Man's World" and to fight crime and the evil of the Nazis.
During the Silver Age, Wonder Woman's origin was revamped,[11] along with other characters'. The new origin story increased the character's Hellenic and mythological roots: receiving the blessing of each deity in her crib, Diana is destined to become "beautiful as Aphrodite, wise as Athena, stronger than Hercules, and swifter than Hermes."[12]
At the end of the 1960s, under the guidance of Mike Sekowsky, Wonder Woman surrendered her powers in order to remain in Man's World rather than accompany her fellow Amazons to another dimension. Becoming a mod boutique owner, the powerless Diana Prince acquired a Chinese mentor named I Ching. Under I Ching's guidance, Diana learned martial arts and weapons skills and engaged in adventures that encompassed a variety of genres, from espionage to mythology.
Due in part to popular demand -- including Gloria Steinem choosing to feature the original super-powered version of Wonder Woman on the cover of the first issue of her Ms. Magazine -- in the early 1970s the character returned to her superhero roots in Justice League of America and to the World War II era in her own title.
Following the 1985 Crisis on Infinite Earths series, George Pérez, Len Wein, and Greg Potter relaunched the character, writing Wonder Woman as an emissary and ambassador from Themyscira to Patriarch's World, charged with the mission of bringing peace to the outside world.
In August 2010 (issue #600), DC Comics replaced the character's iconic stars-and-stripes singlet with a blue jacket (later discarded), red and gold top and dark pants, retaining only her tiara and lasso.[13]
In 2011, DC Comics relaunched its entire line of publications to attract a new generation of readers. In this new continuity, Wonder Woman wears a costume similar to her original costume. Also, her origin is significantly changed and she is no longer a clay figure brought to life by the magic of the gods. Instead, she is a demigoddess, the natural-born daughter of Hippolyta and Zeus.

Powers and abilities

 

Originally, Wonder Woman owed her abilities to the goddess Aphrodite creating Amazons superior to men, with Diana being the best of their kind.
The Golden Age Wonder Woman was later updated by Marston to be able to will a tremendous amount of brain energy into her muscles and limbs because of her Amazon training, endowing her with extraordinary strength and speed. According to her first appearance, she is stronger and more agile than a hundred of the best human athletes. In Sensation Comics #6 (June 1942), she is able to tear a steel door off its hinges. In one of her earliest appearances, she is shown running easily at 60 mph.[14] In the same comic, she jumps from a building and lands on the balls of her feet. She can even type at a rate of over 160 words a minute during a test given to her. It was implied, and ultimately confirmed, that any woman who underwent Amazon training would gain superhuman strength.[15] The TV series took up this notion,[16] and in the first episode of Super Friends, Diana states to Aquaman, "...the only thing that can surpass super strength is the power of the brain." In early Wonder Woman stories,[17] Amazon training involves strengthening this ability using pure mental energy.
Her powers would be removed in accordance with "Aphrodite's Law" if she allowed herself to be bound or chained by a male. However the effects of this varied.[18]
In the television series, her magic belt allowed her to retain her powers when she was not on Paradise Island; removing it weakened her.[16] Also, she had no powers when she was her alter ego Diana Prince; there was no given explanation for this.
In the comic books, with the inclusion of Wonder Girl and "Wonder Tot" in Diana's back-story, writers provided new explanations of her powers; the character became capable of feats which her sister Amazons could not equal. Wonder Woman (vol. 1) #105 reveals that Diana was formed from clay by the Queen of the Amazons and was imbued with the attributes of the Greek and Roman gods by Athena — "beautiful as Aphrodite, wise as Athena, swifter than Hermes, and stronger than Hercules."[12] Wonder Woman's Amazon training also gave her limited telepathy, profound scientific knowledge,[12] and the ability to speak every language known to man and beyond. She was even fluent in caveman[12][19] and Martian.[19]
Although Wonder Woman's mythos was returned to its original interpretation between 1966 and 1967, new abilities were added: super breath, the ability to blow jet streams or transform water into snow, which apparently came from Hercules; ventriloquism; imperviousness to extremes of heat and cold; the ability to ride the air currents as if flying, even sensing air updrafts with her fingers; telepathy, including the ability to project images; microscopic vision; the ability to vibrate into another dimension; the ability to bestow wisdom to other beings; the ability to throw her tiara with such skill it could stop bullets; and others, according to the Encyclopedia of Comic Book Heroes.[20]
Depending on the writer, Diana's invulnerability and power varied greatly according to the needs of the story. Throughout the late 1950s and early 1960s, Robert Kanigher, for example, portrayed Wonder Woman as being so strong that she, after standing atop her hovering plane and lassoing it with her magic lasso, was able to effortlessly lift Themyscira out of the way of an approaching tsunami using just one hand. As prominently featured in all existing Wonder Woman Showcase (Volumes 1 to 4) her strength and even speed seem to be limitless. She could lift and throw buildings and houses. Lasso and swirl huge items like Ferris' wheels and Icebergs. She was able to make a coin into a bridge with her strength, or drill through a mountain within seconds, as well as hurl spaceships with enough accuracy she could bowl over a whole fleet. Her fingernails could cut through a steel door.[21] She was even able to flip straight over while nearly paralyzed, and split a tree falling on her with her Amazonian boots.[22] Kanigher showed Wonder Woman as a preteen able to lift whales, push a ship away from a whirlpool, and also as a toddler able to blow so hard on her birthday cake that she sent it into orbit.[23]
In the Silver and Bronze ages of comics, Wonder Woman was able to further increase her strength. She was unable to remove her bracelets without going insane. In times of great need, however, she would do just that, in order to temporarily augment her power tenfold. Since she would become a threat to friend and foe alike, she would use Amazonian berserker rage only as a weapon of last resort.[24]
Before Crisis on Infinite Earths there were two Wonder Women: the first one lived on Earth-Two; the second, on Earth-One. The first canonical appearance of the Earth-One Wonder Woman is Wonder Woman (vol. 1) #80 (February 1956). Their first published meeting is Justice League of America (vol. 1) #100 (August 1972); however, their earliest meeting within the DC continuity is Wonder Woman (vol. 1) #228 (February 1977), which takes place in 1943, prior to the events of the Justice League of America story.

 


 Skills

All versions of Diana depict her as a masterful athlete, acrobat, fighter and strategist, trained and experienced in many ancient and modern forms of armed and unarmed combat, including exclusively Amazonian martial arts. Batman even noted that she is the greatest melee fighter of all. In some versions, her mother trained her, as Wonder Girl, for a future career as Wonder Woman. From the beginning, she is portrayed as highly skilled in using her Amazon bracelets to stop bullets and in wielding her golden lasso.[34] She is a superior warrior who has beaten Batman, Big Barda, and Black Canary in sparring matches.

 Weapons

Diana has an arsenal of powerful god-forged weapons at her disposal, but her signature weapons are her indestructible bracelets and the Lasso of Truth.
Her bulletproof bracelets were formed from the remnants of Athena's legendary shield, the Aegis, to be awarded to her champion. The shield was made from the indestructible hide of the great she-goat, Amalthea, who suckled Zeus as an infant. These forearm guards have thus far proven indestructible and able to absorb the impact of incoming attacks, allowing Wonder Woman to deflect automatic weapon fire and energy blasts.
The Lasso of Truth, or Lariat of Hestia, was forged by Hephaestus from the golden girdle of Gaea.[28] It is virtually indestructible;[28] the only times it has been broken were when truth itself was challenged, such as when she confronted Rama Khan of Jarhanpur,[38] and by Bizarro in Matt Wagner's non-canonical Batman/Superman/Wonder Woman: Trinity.[39] In Sensation Comics #6 (June 1942), Hippolyta claims that not even Hercules can break it. The Lasso burns with a magical aura called the Fires of Hestia, forcing anyone within the Lasso's confines to be truthful. It also at one time had the power to force anyone caught to obey any command given them, even overriding other kinds of mind control; this was effective enough to defeat strong-willed beings like Captain Marvel.[40] Diana wields the lasso with great precision and accuracy and can use it as a whip or noose.
As early as the 1950s,[23] Wonder Woman's Golden Tiara has also doubled as a dagger and a throwing weapon, returning to her like a boomerang.[28]  It is also possible for Diana to contact Amazons back on Paradise Island using the power of the star shaped, star ruby, in the center of her tiara.[35]
Diana once possessed the Sandals of Hermes, or talaria, which granted the wearer great speed and flight, and the ability to travel beyond the mystical veil that protected the island of Themiscyra from Man's World. They were passed on first to Artemis and later to Wonder Girl. Diana also once possessed the Gauntlets of Atlas, which magnify the physical strength and stamina of the wearer; they too were passed on.
The Golden, Silver, and Bronze Age portrayals of Wonder Woman showed her using an Invisible Airplane that could be controlled by mental command. It was variously described as being either a creation of Amazon technology or the legendary winged horse Pegasus transformed into an aircraft. Its appearance varied as well; originally it had a propeller, while later it was drawn as a jet aircraft resembling a fighter plane. The Modern Age Wonder Woman has continued to use the Invisible Plane, in the form of a small lightweight disc of alien (Lansinar) technology that, when triggered by her thoughts, transforms into a transparent version of whatever object or vehicle is appropriate for her needs. This disc was revealed to be a sentient life-form. Following the "One Year Later" continuity jump, Diana was given a new invisible plane, created by Wayne Industries, because her original invisible plane was stuck on Themyscira.
Diana occasionally uses additional weaponry in formal battle, such as ceremonial golden armor with golden wings, war-skirt, chest-plate, and a golden helmet in the shape of an eagle's head. She also possesses a sword forged by Hephaestus that is sharp enough to cut the electrons off an atom.[28]
As a recent temporary inductee into the Star Sapphires, Wonder Woman gained access to the violet power ring of love. This ring allowed her to alter her costume at will, create solid-light energy constructs, and reveal a person's true love to them. She was able to combine the energy with her lasso to enhance its ability.

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I removed all references to Wonder Woman killing people, making Superman's ears bleed, cutting Superman, etc. I have no idea why they'd do things like that.

I left in "Themyscira" for "Paradise Island",  because that is evidently the term that is now in use. Since I don't read the modern comics, it's not the term I'm familiar with. I would have said "Paradise Island".

Occasionally you see where someone claims that stopping bullets with her bracelets would shatter Wonder Woman's wrist bones. This is something like saying you'd suffer broken bones even if you wore a bullet proof vest. The real problem would be that it isn't possible to block bullets that accurately by moving a small shield around in front of you. 


Wonder Woman's secret identity is Diana Prince- it's really a secret identity she borrowed from the real Diana Prince.




Wonder Woman and the Holliday Girls.




The Holliday Girls were briefly revived in the 1960's.




Wonder Woman and Steve Trevor.






[left to right] William Moulton Marston, Harry G. Peter, Sheldon Mayer and Max Gaines (1942)



Robert Kanigher was an editor on Wonder Woman. Here we see Kanigher with the Amazing Amazon and some of his other other characters, including Sgt. Rock and Easy Company, Enemy Ace, Hawkman, The Flash, and the Metal Men.




Mike Sekowsky and the model he drew as Wonder Woman.



Lydnda Carter as Wonder Woman.










Wonder Woman triumphs over the "crisis".



Wonderland:
http://www.wonderland-site.com/



Wonder Woman Museum:
http://www.wonderwomanmuseum.com/



Wonder Woman Online:
http://www.wonderwoman-online.com/



Wonder Woman on Wikipedia:



Wonder Woman Wonderland ( Yahoo Club ):