Wonder Woman:
Superhero and Feminist Icon
by Andrew Wales
The year was 1942. Perhaps one of the most groundbreaking and influential examples of a woman portrayed in a visual work of art could be seen not in art museums, but instead on newsstands across America. At the height of the brand new superhero comic craze, a new kind of costumed adventurer was presented – a woman. Sensation Comics was launched, but something more was as well. Wonder Woman found herself in a unique position in America’s popular culture – to entertain and serve as a spokesperson and model for her gender. This character became in time a feminist icon, and a catalyst for much controversy.
Art Criticism
After being given a try-out as a back-up feature in All Star Comics and well received, Wonder Woman was made the star of a new comic book in Sensation Comics #1. (Daniels, 2000, p. 31). Artist H.G. Peter presented her to the American masses with simple line work, emphasized by the large yellow circle behind her. Two evil-doers draw further attention to her by their aiming guns. The line of bullet fire points to the subject, bullets which she easily deflects with her bracelets. The buildings in the background let us know that her stories will take place in contemporary times and have a patriotic flair. Short lines radiate from the capitol building as it shines behind her. In emphasizing the building in this way the artist somewhat detracts from what the focal point is supposed to be. The primary colors in the masthead and in Wonder Woman’s costume boldly dominate the scene as opposed to the neutrals in the background and in the gangster characters. There is not much variety in the line work of Peter. The villains’ faces are grotesque caricatures of evil. Surprise and fear shows on their faces and in their melodramatic body language.
Soon Wonder Woman was the star of a second self-titled comic book. Sales were phenomenal. By the third issue alone, Wonder Woman was selling half a million copies. (Bunn, 1996, p.95).
History
Wonder Woman was not the first female superhero, but she was the first that was not simply the female counterpart to some already established male hero (such as Bulletman’s assistant, Bulletgirl). She was also the first to have such an important influence that Wonder Woman comics are still made today, more than sixty years after her comic book debut.
Her creator was William Moulton Marston, a psychologist. Marston was one of the first to claim to invent an early form of the lie detector. He performed many experiments of testing systolic blood pressure to detect deception. This became one component of the polygraph (Bunn, 1997, p.92).
In 1928 he published his book “Emotions of Normal People” which expounded his “DISC” Theory, it was later developed further by John G. Gier. He hypothesized that people’s personalities could be categorized into quadrants of dominance, inducement, steadiness and compliance (Jones, p. 200). He had some unusual ideas about affecting change in gender stereotypes, such as women achieving dominance in society through the sexual enslavement of men (Daniels, p. 19). His arguments were often based on crackpot science, such as his claim that the “woman’s body contains twice as many love generating organs and endocrine mechanisms as the male.” (Daniels, p. 13).
Even more controversial than his theories was his home life. He lived with his wife and two children. Also living with them was his former graduate assistant and the two children he had with her. The two families lived amiably together even after the death of Marston. However, the unconventional living arrangements probably attributed to Marston’s lack of employment opportunities in academic circles (Daniels, p. 31).
Marston enthusiastically hawked his “psychological expertise” to act as a consultant to women’s magazines, the motion picture industry, advertisement agencies, and eventually comics. In 1928 Marston was engaged to direct Universal Pictures’ Public Service Bureau to “apply psychology to all departments of the motion picture concern” (Bunn, 1996). At what might be considered a low point he picked up cash by using the polygraph in an ad from Life magazine to demonstrate the emotional responses of unshaven men to Gillette Blue Blades. (Daniels, p. 21).
After being “interviewed” by Olive Richards (his mistress) for an article in Family Circle, he was able to break into the comics industry as a consultant and eventually, a writer. The interview was called “Don’t Laugh at the Comics” in which he made statements about the comics industry from the perspective of a psychologist. He was offered a position on the editorial Advisory Board of DC comics. Marston later wrote about his contributions, “Among other recommendations which I made for better comics continuities was a suggestion that America’s woman of tomorrow should be made the hero of a new type of comic strip. By this I mean a character with all the allure of an attractive woman but with the strength also of a powerful man.” (Daniels, p.22).
In an era when writers and artists were routinely deprived of any creator’s rights, Marston made out well. He retained ownership of the character and royalties on sales in perpetuity. If the publisher failed to bring out an issue, rights would revert to him or his heirs. (Jones, 2004). Marston chose the artist, Harry Peters because he liked how he made his heroine look queenly and innocent. Peters’ style looked antiquated to his editor, but Marston dug in his heels (Jones, p. 208).
It was then that he began writing comics. Here was his chance to combine his theories and his philosophy and his fantasies in a popular format that might find an audience. “Wonder Woman,” Marston said, “Is psychological propaganda for the new type of woman who should, I believe, rule the world.” (Jones, p. 208).
Marston generated controversy with some of his story plots. Every story included scenes of someone being bound. Marston’s colleagues on the advisory board criticized the bondage and Wonder Woman’s skimpy costume. One female colleague resigned in protest. (Daniels, p. 72).
Looking back on his achievements, Marston is viewed by some as having made a transition from professional academician to one who popularized psychology. By others he is viewed as somewhat of a charlatan. From his own viewpoint, he maintained his faith in psychology as a force for good and zealously offered psychological expertise and advice whether the platform was a magazine article or a comic book (Bunn, p. 93, 106).
In spite of his dubious characteristics, Marston had a visionary view of a possible feminist movement. He explained the need for a female superhero by saying, "Not even girls want to be girls so long as our feminine archetype lacks force, strength, and power... 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 (Daniels, p. 22)". He saw in comics a chance to do some good: “If children will read comics,” he asked, “why isn’t it advisable to give them some constructive comics to read? Feeling big, smart, important, and winning the admiration of their fellows are realistic rewards all children strive for. It remains for moral educators to decide what type of behavior is to be regarded as heroic” (Daniels, p. 12).
Just for Us Girls!
On the part of DC Comics, the introduction of the Wonder Woman character was motivated by the desire to capture the interest of more female readers. This end was achieved. Girls loved the character. Juanita Coulson, author of “Of (Super) Human Bondage said, “While America was riding a historical roller coaster toward Pearl Harbor, to my delight a costumed marvel appeared just for us girls. (Or so I naively thought at the time” (O’Reilly, 2005, p. 274). This audience was presented stories in which a woman routinely saved the day. In a reversal of the stereotypical roles, the woman hero saved the male love interest time after time.
Alice Marble, the world’s amateur tennis champion was introduced as associate editor of Wonder Woman. In each issue she presented a feature called “Wonder Women of History” which presented brief, inspirational biographies of prominent women such as Amelia Earhart in comic book form. (Daniels, p. 38).
The Wonder Woman comics inspired the next generation of woman leaders. Gloria Steinem, one of the leaders of the feminist movement has been described as Wonder Woman’s best friend and severest critic. In her introduction to a book of classic Wonder Woman tales published by Ms. Books, Steinem described her childhood delight in the character, “the relief, the sweet vengeance, the toe-wriggling pleasure of reading about a woman who was strong, beautiful, courageous, and a fighter for social justice.” (Daniels, p.132).
Steinem’s career began in the comics. In the early 1960s, she was a contributing editor to Help, a humorous comic magazine. Among Steinem’s contributions to Help was the script for the 1961’s “We Were Spies in a Ladies’ Turkish Bath”. Steinem had been a young fan of Wonder Woman, who had first appeared when she was seven. (Daniels, p. 131).
Steinem’s magazine, Ms. made its debut in July 1972 and featured on its cover a drawing of a gigantic Wonder Woman in her original costume, defying gunfire and crushing a fighter plane. The old comic book character was being revived as a mascot for the magazine and indeed as the symbol for the movement then described as “women’s liberation” (Daniels, p.131).
A new generation of comic book writers and artists had stripped Wonder Woman of her superpowers, and feminist writers argued that she should have them returned. “Wonder Woman Revisited” by Joanne Edgar, a two-page essay in Ms. Magazine on the character criticized the new changes in the comics as seemingly part of an evil male plot. Soon thereafter DC comics complied with the suggestions and brought back the iconic character complete with star-spangled uniform and magic lasso (Daniels, p. 131).
In 1973 Ms. Books published a collection of classic Wonder Woman stories in book form that offered a story selection that was politically correct. The book ignored the stories that demonstrated the wilder aspects of Marston’s imagination. Instead, Steinem presented the adventures that narrated feminist ideals. (Daniels, p. 131).
Boys Liked her too!
Wonder Woman was a feminist book, but some point out that it was not necessarily written for women. There have always been more male readers of Wonder Woman than female. Perhaps the males of the 40s and 50s needed the message the most. “If he really did succeed in altering the social climate,” says writer Les Daniels, “it might have been by exposing millions of boys (who would become men by the 1960s) to the ideals of feminism” (Daniels, p. 33).
Conclusion.
The Wonder Woman character has entertained and educated generations. However, her stories and her creator are full of contradictions. Does she promote a positive female role model or not? In my view, depending on whose doing the writing and drawing, sometimes she does and sometimes she doesn’t. However, as a cultural icon, she has taken on a life of her own. She has become a symbol of the powerful women, taking charge and righting wrongs. Her stories continue today in a monthly comic book and a new movie is being talked about. Beginning as a ten-cent comic book image she became a symbol. She has defeated Nazis, monsters and all sorts of evildoers in her fictional stories, but perhaps her greatest feat is that when she appears on the scene she never fails to generate discussion on feminist issues.
Bibliography
Bunn, Geoffrey C. (1997). The lie detector, Wonder Woman and liberty: the life and
work of William Moulton Marston. History of the Human Sciences, 10(1), 91-119.
Daniels, Les. (2000). Wonder Woman: The life and times of the Amazon princess -- The complete history. San Francisco: Chronicle Books.
Jones, Gerard. (2004). Men of tomorrow: geeks, gangsters, and the birth of the comic book. New York: Basic Books.
Gough, Bob. (2006). Could Wonder Woman come from India? Retried July 5, 2006, from ComicBookMovie.com Website: http://www.comicbookmovie.com/news/articles/2795.asp
O’Reilly, Julie D. (2005). The Wonder Woman Precedent: female (super)heroism on Trial. The Journal Of American Culture, 28(3), 273-283