Written by Steve Orlando
Illustrated by Aco
Published by DC Comics
“These are the games of the gods, girl. Mortal perception betrays you… Your war is false and small!”
“It’s your perception that betrays you Tezcatlipoca – No War Is Small.”
Wonder Woman #53 rounds out author Steve Orlando and artists Aco’s foray into the DCU god-scape of the Aztecan mythos. It’s another fine work of craftsmanship with excellent storytelling and spectacular artistry.
You should buy it.
The only downside is, it ends too quickly, with really not enough screen time for Nayeli Constant, the newest mortal host to wear the mantle of Aztek. Orlando introduced us to Nayeli in last year’s Justice League of America #20, in a quick team-up story with the Ray. Here he carries the legacy of Grant Morrison forward with a re-working of the dark god Tezcatlipoca, last seen and (supposedly) defeated in Morrison’s Justice League WWIII storyline, as the planet eating Mageddon.
It’s not clear precisely if this is the same dark god – more like a different aspect of the same god perhaps? – but the ambiguity is actually rather appropriate, as Orlando’s story upgrades the nature of Tezcatlipoca’s threat in a suitably mind-warping manner. It’s a worthwhile addition to the mythos of Aztek, who after all is a hero with a power set and sphere of activity that puts her on an equal footing with Superman and Wonder Woman both.
A true Meso-American Superwoman. One we deserve to see more of.
There are so many good things about this book, but here’s some of what really stood out for me.
First, there’s the way that Orlando writes Diana. In just three issues, he’s demonstrated that he has a true grasp of the character, and an unusually insightful handling of the often paradoxical sides of our favorite Warrior of Peace. That paradox makes Diana complex enough t trip over or underplay, but Orlando seems to understand that at her best – which is, of course precisely what she’s meant to be – she’s actually rather straightforward and simple. And her speech reflects that.
Leading with the conviction and spirit of one who knows the she stands for truth and nobility and the higher path, Orlando’s Wonder Woman tends to makes pronouncements that would seem stilted and overdone if she weren’t in fact Wonder Woman, and completely sincere in her convictions. I don’t know quite how to describe that except that it tends to make her sound… epic. It’s like listening to Thor or Hercules, but with all the archaic sounding idioms stripped away, and couched in a very modern, relatable style. It’s wonderfully effective, and something we don’t see enough of with Diana. Well done.
Next, is the relationship Diana has with Artemis. Orlando clearly has a lot of fun with the contrast of these two. Where Diana is consistently high minded and noble, Artemis is very clearly eager to make it clear to you that she does not care what you think. (Really.) She’s always been a brash character, sometimes tending to abrasive, but here it’s just a whole new level of snark, snark, snark.
Artemis, it seems, is constantly spoiling for a fight. But it’s not without something to back it up. She’s no pushover, and there’s no doubt she’s got bravery – almost to a fault in fact.
In the end her overbearing chest-thumping is almost endearing and does a lot to make her character enjoyable. Seriously – it’s hard not to wonder if you were to put her in a room for 10 minutes with Guy Gardner, whether they’d end up trying to kill each other, or making out.
Finally, I have to once again applaud the deftness with which Orlando handles matters of the mythic divine.
Granted there’s a body of material and a legacy to work with when it comes to Aztek. But Orlando approaches that charge with respect and talent. Clearly his take on Morrison’s multi-dimensional god-tech landscape has been very well-thought out. But in keeping with the idea that not everything is meant to be understandable to mere mortal ears, there’s a plethora of throw-away comments throughout the script that suggest, but don’t quite explain, much of the higher-level comic book logic at play with the Aztecan cosmos and pantheon.
That’s fun. Quinametzin Liches? Sky Lords and the Sky Throne? ‘Minor deities governing earth’s slightest notions’? Inhabitants and warriors, and whatever all the thirteen heavens are, and how they inter-relate. Hypertime. Even the fact that the Aztek helmet allows Nayelli to run the arcane calculus necessary to hack into a divine matrix of overlapping multi-dimensional god-stuff. Despite giving no further reference point in this story to explain what exactly is happening. Just that it is. Somehow. Marvelous.
Aco continues to provide a brilliant blend of semiotic and cultural stylization to convey both the action and the atmosphere of this adventure on a level we rarely get to enjoy. Again, these two make a spectacular team. I’ll just hope someone’s listening, and green-light’s more team time for the two them again.
To wrap up, if I’ve not yet made it sufficiently clear, the end of this sadly only two-issue run of Wonder Woman’s team-up with Aztek, is a satisfactorily mind-bending, mytho-heroic, superhero romp, and you should read it.
Again, it ends to soon, but there’s a certain power in leaving them wanting more. Orlando and Aco succeed at that. By the end of this issue, we’re left with a weirdly satisfying victory, and just enough information to provide the suggestions of much more to understand and explore in this pocket of the DC Universe. As Nayeli puts it as she concludes her adventure with the Amazons, “My family’s been faithful for so long. I never got it, but after this…we’ve got a lot to talk about.”
I can only hope we hear more about some of what those conversations will yield.*
*Hint, hint, hint.
Next Issue: Back to Qurac! Amazon Attack!
