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Top 10 Iconic Wonder Woman Moments (Part 2)

Entering the 21st century, Wonder Woman continued to add to her legacy as a pop culture icon beginning with her appearances in the famed Justice League cartoon along with comics by Greg Rucka and Gail Simone, and finally her own solo film in 2017.



Entering the 21st century, Wonder Woman continued to add to her legacy as a pop culture icon beginning with her appearances in the famed Justice League cartoon along with comics by Greg Rucka and Gail Simone, and finally her own solo film in 2017.

5. Wonder Woman is a Pillar of the DC Animated Universe. (2001-2006)

My first exposure to the character of Wonder Woman was in Bruce Timm, Paul Dini, and Alan Burnett’s excellent Justice League and Justice League Unlimited animated shows. Wonder Woman was voiced by Susan Eisenberg, who brought empathy, regality, and at times, a fierceness to Wonder Woman. She has a real rebellious yet heroic streak in Justice League‘s pilot “Secret Origins,” and steals her costume from the Temple of Athena so that she can help the nascent Justice League fight off the White Martians. Despite her abilities like flight, super strength, and blocking bullets with jewelry, the Justice League is initially wary of her joining the team, and snarky marine-turned-Green Lantern Corps member John Stewart refers to her as the “rookie in the tiara” in an early episode.

Because she previously didn’t have her own cartoon, like Batman and Superman, Justice League spends a lot of time building Wonder Woman’s character and backstory. In “Paradise Lost,” she returns to Themiscyra to find that all the Amazons have been turned to stone by the sorcerer, Felix Faust. What follows is an episode that would make Ray Harryhausen smile, as the Justice League and Wonder Woman battle Hades and his zombie skeleton minion things while raising literal hell. “Paradise Lost” is a defining moment in Wonder Woman’s series-long arc, as her mother, Queen Hippolyta, banishes her permanently because she brought the male members of the Justice League to Themiscyra. Her time as a superhero and in “Man’s world” has taught her the importance of flexibility and grey areas, even while still holding strong to her ideals of peace and love. She also gets turned into a little kid, a pig, and rocks a pair of cowboy boots in the time travel episode “The Once and Future Thing,” because Justice League is a damn fun show.

If you don’t have time to binge 91 episodes of what is probably the best superhero show ever made, the episode “Hawk and Dove” in the first season of Justice League Unlimited is a wonderful introduction to Wonder Woman’s moral compass. In that episode Wonder Woman, along with the brother superheroes Hawk and Dove, goes to the country of Kaznia to end their ongoing civil war. The war has been exacerbated by Ares and the Annihilator, a battle suit built by the Greek god of fire and metallurgy, Hephaestus. The suit is fueled by literal aggression, so it gets quite the power boost from the civil war, but is shut down when confronted by Dove, a pacifist. This leads to Wonder Woman remarking, “Sometimes it takes more strength not to fight.”

Wonder Woman is a trained warrior, but she always goes for the peaceful, diplomatic situation first, unlike Ares, who is fueled by humanity’s hate and thirst for violence. When she does raise her sword or fists, it’s for the cause of love.

4. Wonder Woman Becomes a Killer. (2005)

Like her fellow Trinity members, Batman and Superman, Wonder Woman has traditionally had a strict no-kill policy. This all changed in 2005’s “Sacrifice” crossover, which took place in several Superman and Wonder Comics, and led to Infinite Crisis, another reboot. The premise of “Sacrifice” is fairly simple and maybe a bit cliched: someone is messing with Superman’s mind and causing him to see his greatest foes attacking his loved ones. In reality, however, he isn’t punching Doomsday or Darkseid, but almost killing Batman and the other members of the Justice League.

Wonder Woman begins to play a prominent role in “Sacrifice” over its final two chapters, written by Greg Rucka, who penned the famous 2002 graphic novel Wonder Woman: Hiketeia, and is the current writer on her series. She and the Martian Manhunter use his telepathic abilities and her Lasso of Truth to find out that Maxwell Lord (a villain in the Supergirl TV show) has control of Superman’s mind, and is using his violence towards his fellow heroes to show the world that superpowered beings aren’t to be trusted. Wonder Woman and Superman fight in a literal bone-shattering battle in Wonder Woman #219, where he doesn’t hold back and almost throws her into the sun.

Diana keeps trying to reach out to her friend, but eventually has to resort to the Lasso. She finds out that the only way that Lord will stop controlling Superman is if she kills him. In a fairly understated series of panels, Wonder Woman snaps his neck, which destroys her relationship with both Superman and Batman and basically breaks up the Justice League. It’s very much a low point for her as a character, and extremely controversial at the time.

Greg Rucka shows a more pragmatic side of Diana in this story, and shows that she is still a warrior even though her day job in the comics was the ambassador from Themiscyra to the United Nations. An out-of-control Superman could have apocalyptic consequences, and when forced with the choice to kill her friend or a manipulative villain, she chose Maxwell Lord over the Man of Steel.

3. Gail Simone Puts Her Mark on Wonder Woman in “The Circle” Storyline (2008)

Many women have written Wonder Woman comics, from Dorothy Woolfolk (who also invented kryptonite) in the 1940s to modern writers like Renae De Liz in Legend of Wonder Woman, and even best-selling novelist Jodi Picoult. The female writer that had the longest tenure on Wonder Woman  was Gail Simone, who has written a wide variety of comics, from Batgirl and Deadpool to Red Sonja and the indie horror comic Clean Room. Her first story arc was “The Circle” in Wonder Woman #14-17, with artists Terry Dodson, Rachel Dodson, and Ron Randall. It’s one part spy thriller, another part Silver Age superhero romp, with a villain named Captain Nazi and some talking apes.

Most importantly, Simone, the Dodsons, and Randall explore the relationship between Wonder Woman and her mother Hippolyta, as well as some of the Amazons’ negative reaction to her birth. Each issue begins with a flashback featuring Hippolyta’s bodyguards, The Circle, who are jealous that she made a child for herself out of clay when the rest of the Amazons aren’t allowed to have children. They seek to keep the Amazons pure by killing Diana, who they call the Dragon. In the present day, The Circle helps Captain Nazi and his superpowered skinhead army occupy the mostly-abandoned Themiscyra out of sheer revenge and a similar authoritarian bent.

Throughout the story, Gail Simone contrasts Wonder Woman with The Circle. Hippolyta’s former bodyguards are motivated by revenge, which is why they’re compromising their so-called morals to team up with Nazis, while Diana is motivated by peace and understanding. In the first issue, she fights some of villain Gorilla Grodd’s minions, and instead of punching them back to Gorilla City, Wonder Woman empathizes with them and realizes they are being swayed by a charismatic, evil figure. She ends up giving them a place to stay in her apartment, and they help her fight against the Circle and Captain Nazi.

Gail Simone knows how Wonder Woman ticks and infuses her stories with humor (Diana’s reaction to getting a birthday cake from her spy buddies and the Justice League is priceless) and heart, and she even successfully introduces elements from when the hero was the de-powered agent, Diana Prince. She nails Diana’s essence in this quote, which has been circulating throughout the Internet: If you need to stop an asteroid, you call Superman. If you need to solve a mystery, you call Batman. But if you need to end a war, you call Wonder Woman.”

2. Wonder Woman Makes Her Live Action Film Debut (2016)

After 75 years and one cameo in The Lego Movie (2014), Wonder Woman, played by Israeli actress Gal Gadot, made her big screen debut in Batman v Superman. She appeared in the film for maybe fifteen minutes, but was easily the highlight of the rushed, grimdark mess of a superhero blockbuster. Even before she put on the tiara and bracelets, Gadot’s Diana had searing chemistry with Ben Affleck’s Bruce Wayne, even though her role in the plot was to set up Justice League via even more cameos from security cameras. This seemed like a call-out to Justice League Unlimited, where Bruce told Diana that he had feelings for her (in the famous “The Little Piggy” episode where he sings rockabilly standard “Am I Blue” so that Circe would her transform her back from a pig human), and their romantic tension was one of the big relationships developed in the series.

Where Gadot really shines is in the big action sequence after Batman and Superman get their shit together through the power of a name that has become an overused meme to fight the oversized cave troll that was supposedly Doomsday. A single guitar screams in Hans Zimmer and Junkie XL’s score as she leaps into action and saves “the World’s Finest” spandex-clad asses. It’s in this moment that Zack Snyder reminds filmgoers that he’s a decent action director, and makes his trademark slow-mo feel fresh again with a close-up of Diana choking out Doomsday. She doesn’t get much dialogue, but Diana’s smile in the heat of battle shows her warrior spirit and love for battle. Unencumbered by broody man pain, she is free to kick ass.

Even though many fans and critics were disappointed by Batman v Superman, Gal Gadot’s scene-stealing turn as Diana Prince/Wonder Woman provided some sword swinging and shield bashing hope for the DC Extended Universe, with her getting her own film and having a hopefully a larger role in Snyder and Joss Whedon’s Justice League. Who else is going to throw side eye at Batfleck’s dad jokes?

1. Wonder Woman Comes Out As Bisexual (2016)

As part of their Rebirth initiative, Greg Rucka returned to DC Comics after a six-year absence to tell an epic, interweaving, and time-spanning story with artists Liam Sharp, Nicola Scott, Bilquis Evely, Renato Guedes, and Mirka Andolfo about Wonder Woman’s search for and return to Themiscyra, which has disappeared from this plane of reality. However, the most newsworthy element of Rucka’s new run on Wonder Woman was his revelation of Diana’s queerness in an interview with Matt Santori of comic book website, which was picked up by mainstream news outlets like Entertainment Weekly and Time.

In his retelling of Wonder Woman’s origin in “Wonder Woman: Year One” storyline, Rucka and artist Nicola Scott clearly show Diana having romantic relationships with women, especially in Wonder Woman #2, which juxtaposes her and Steve Trevor’s lives before he crashed on Themiscyra. He explicitly stated in the interview that “Themiscyra is a queer culture,” which makes sense for a utopian society of women. It goes back to her creation by William Moulton Marston, who was part of a polyamorous relationship tat included his wife Elizabeth Marston and their lovers Olivia Byrne and Marjorie W. Huntley, and gave her the catchphrase “Suffering Sappho.”

Over the past few years, DC Comics has stated in interviews and showed on the comics page that several of their most iconic female characters, namely Catwoman, Harley Quinn, and Wonder Woman, are bisexual or pansexual women. Wonder Woman even appeared on the cover of the New York Times bestselling graphic novel Love is Love, which was created in response to the 2016 Pulse night club shooting, with all the proceeds going to the victims, survivors, and their families of this tragic event.

Wonder Woman is a truly a hero to women and queer people everywhere.


By day, Logan is a data entry administrator in Louisville, home of the Kentucky Derby. But when he has free time, he enjoys writing about his favorite comics, movies, and TV shows. He also interviewed a vampire once and cries about the future of the L.A. Lakers at least once a day. Logan will watch, read, or listen to anything by Joss Whedon, Neil Gaiman, Edgar Wright, Damon Albarn,Donald Glover, Abbi Jacobson and Ilana Glazer, Gerard Way, Grant Morrison, Kieron Gillen, St Vincent, and Black Mask Studios so you should ask him about those things on his Twitter. (

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A Cataclysmic Event: ‘No Man’s Land’ is The Double-Edged Sword of The Batman Mythos

Just like the story of the fictional Gotham City, No Man’s Land has always felt cut off from the rest of the Batman fandom…



No Man’s Land

Over 20 Years After Gotham Endured its Most Insufferable Time

Hush, Knightfall, The Killing Joke, Year One, The Long Halloween, and The Dark Knight Returns. Whenever anyone gets into a topic regarding Batman’s history of comics the same titles always get thrown around with unmistakable reasoning. All of these stories are phenomenal chapters of the dark knight’s legacy that fundamentally influenced and reforged the character of Bruce Wayne along with his world of allies and rogues time and time again. They changed the way in which audiences view not only Batman’s mythology but how other comic books unfold overarching plots focusing on both their lineup of complex interpretable heroes and villains.

Batman’s overwhelmingly large critically acclaimed catalog will forever be deemed as must-reads and well-known tales to those who have never even cracked open a comic book, however, there is one anomaly that is well-deserving of a place on the grand pedestal. It oddly never gets the acknowledgment it should have within the conversations of the Batman fandom, but it is still critically important to the caped crusader’s ever-expanding modern mythos.

It is truly ironic that Batman: No Man’s Land is arguably one of the most impactful pieces of media the world’s greatest detective has ever been featured in when accounting for his own history of storytelling. The saga always appears as the comic series that not many people seem to have even partially read, yet its creative influence on comic book culture still lurks from the turn of the century. Just like the story of the fictional Gotham City in the source material comic book, No Man’s Land has always felt cut off from the rest of the Batman fandom despite its neverending appeal to DC’s mainstay creators who forged the modern image of the billionaire who built their house.

With a sparse amount of collected releases and little to no spotlight from its parent company or fandom, Batman: No Man’s Land is arguably one of the most underappreciated stories of Gotham City, yet one of the most impactful.

No Man’s Land is a massive crossover event written by ten different writers through DC’s lineup of late 90s Bat-family comics. This included Detective Comics, Batman, Azreal, Robin, Nightwing, Catwoman, and a few miscellaneous issues from other DC characters. The eighty issue run started in 1998 and ended in the year 2000, however, the series has since been published as seven individual books under the Batman banner being Cataclysm, Road to No Man’s Land Volumes One and Two, and of course No Man’s Land Volumes One through Four.

Without spoilers, the story of Batman: No Man’s Land is focused on a massive self-centered crime war taking place on an isolated Gotham City after the dark knight’s home is struck by multiple natural disasters that cut the central island off from the mainland. Cataclysm is the first chapter in the No Man’s Land saga that depicts the destruction of Gotham by earthquakes. It is arguably the one part of the series that readers can skip as the story is easy to understand without any deep background knowledge of the situation.

The followup chapter Road to No Man’s Land is the real beginning of the consequential aftermath showing how the city fell into chaos as all of Arkham Asylum and Blackgate Prison’s inmates are left free of regulation. Bruce Wayne pleads the government for help but is initially denied any resources as the United States declares Gotham as the first-ever location in the USA to be exempted from their protected territory, leaving the Bat empty-handed and forced to adapt to a new breed of crime-fighting to save his home. While the government threw in the towel on the most crime-infested city in the world, The Gotham City Police Department lead by Commissioner James Gordon attempts to defend its remaining turf as they begin to embrace the unstoppable crisis.

GCPD Map of No Man’s Land

No Man’s Land is the climax, falling action, and resolution of the story arc. It depicts a numerical day count to show how Gotham’s situation has not improved one bit despite the number of months that have passed since the gangs began carving up territory. As the counter slowly rises each issue, the situation further unfolds and resolves through a miracle uncommunicative collaborative effort between the GCPD, abandoned civilians, and the Bat-family.

If this all sounds familiar to you, it likely should. No Man’s Land was the core inspiration for the highest regarded Batman media outside of the comic books- stories that many fans judge the defender of Gotham by today. Batman Arkham City, Gotham, The New 52, and The Dark Knight Rises all borrow several plot elements and character setups from the introduction and rising action volumes of the comic series.

While it did not introduce many new characters the crossover did see the debut of the third Batgirl Cassandra Cain, a new relationship between Harvey Dent and Reena Montoya that would ooze into the first volume of Gotham Central, and most importantly character development for those introduced in the DC Animated Universe that were transitioning into the comics at the time such as the Joker’s sidekick lover Harley Quinn and Lex Luthor’s bodyguard Mercy Graves.

From a cast perspective, No Man’s Land further evolved Batman lore by extensively developing the relationships between specific rivalries and allies- Batman and Gordon most noticeably establish a more so friendly relationship rather than a “just coworkers” status. The core story itself is where the original comics thrive the most due to how it created a manipulative groundwork for other future narratives in the Batman franchise, but it also indisputably began establishing the character interactions we find in the mythos’ modern comics. Perhaps it might have even arguably developed Gotham City into its own character as the location itself draws a deeper persona amidst the chaos at hand during its most desperate hours.

No Man’s Land: Legends of The Dark Knight

Batman: No Man’s Land turned 20 recently and the only piece of media DC published that somewhat celebrated the original comics was the final season of FOX’s crime drama prequel series Gotham– a setup that was more than likely coincidental as the show’s story had always been building up to becoming a “no man’s land” warzone atmosphere. Gotham seasons four and five adapted several aspects from the books, but as expected the show mostly stuck to its own original plot despite heavily featuring numerous callbacks and references to the source material.

Typically DC usually puts out a new collected edition for an important comic book’s anniversary- if not maybe even a social media post at the very least- but No Man’s Land received surprisingly no recognition at all last year. As mentioned before, the latest release of this series was last published as seven separate volumes in 2011. There is currently no box-set or omnibus available for a reader’s convenience but the older publications are still in print and can be obtained at local comic book shops, online stores that sell graphic novels, or even digitally on DC Universe’s streaming service.

The No Man’s Land saga of the Batman mythos is like a double-edged sword. It is a fan-favorite for some, but an undiscovered gem for the vast majority. It passed by in a long string of storylines, yet its significance still has sunk deep into Bruce Wayne’s world no matter the form it is being adapted into. To the creators behind the scenes who continue to construct new features in the dark knight’s eighty-year legacy, it is a crucial precursor for the work that proceeded it despite the low impact it may have had on those who consumed it. The staggering length and price may push audiences away, but for those interested who have the means of seeing it through, it is well worth reading through the story of a dark island that inspired visionaries like Christopher Nolan and Bruno Heller’s interpretations of Batman’s home turf.

Will No Man’s Land ever resurface in a new compact collected edition? As said for all pieces of unpopular yet desired Batman media, “the world may seem dark…”

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‘Read Only Memories’ Comic is Well Worth Reading

Based on the hit game of the same name.



Read Only Memories IDW Comic Review

Gritty detective stories set in the future have been a source of great creativity in a variety of media forms since the days of Blade Runner. Read Only Memories, the new title from IDW, is no exception to that. It takes classic tropes of both genres and mixes them with a new style.

Lexi Rivers

Santa Cruz, California. 2067. Lexi Rivers is a private investigator who takes on a case from a newly sapient robot. She’s tough but not in that ubiquitous “badass” way female characters are often slotted into.

From moment one, she is interesting and engaging. Lexi starts by posing as a reporter to interrogate a target. Initially, her goal is to determine if the woman is faithful to her partner or not. It’s a classic detective case.

In many ways, Lexi’s a classic detective. She takes rough, morally questionable jobs to make ends meet. Lexi has feelings for a woman who’s probably too good for her. She sneaks favors from friends to make something out of nothing.

Lexi is a detective through and through.

The Story

Read Only Memories

After leaving one case behind, she encounters Hedy, a robot in search of its missing loved one. The story then deftly carries the reader through different locations and people. This is how the story introduces you to the futuristic world and defines Lexi’s life with as little exposition as possible.

Sina Grace, the writer, is extremely effective at doing just that.

Fortunately, a running internal monologue is a huge part of the detective genre. It gives the storyteller a means to get out important information and key details without seeming out of place. Realistically, Read Only Memories has a lot of details to pick up on in the early going.

It’s a big world filled with numerous moving parts. Thankfully, the story gives you what you need to understand. You’re not confused by what’s going on because some of it’s familiar from other stories. Read Only Memories successfully takes those familiar parts and does something interesting with them.

Visual Style

Read Only Memories

Realistically, it can be hard to set the tone of a futuristic detective story without feeling derivative. Stefano Simeone, the artist, has chosen a style that conveys the futuristic vibe well.

Quite smartly, Stefano uses a color palette that sets it apart from the standard detective genre but creates a futuristic feel. Mostly, it’s wonderful shades of pink, blue, and purple. The look is unique and fantastic.

Read Only Memories: What’s Next

Remember, this is only the first issue. In the end, it leaves you in that classic detective story moment. You realize that the simple case is a lot more complicated. Issue two should build nicely from there.

Additionally, it’s worth noting that issue one isn’t burdened by gratuitous or unnecessary violence. Lexi does get her clock cleaned by a gang member who doesn’t like her sticking her nose where it doesn’t belong. But that’s it.

Yet another classic detective moment.

There will certainly be more action in future issues but this is a smart way to start. It puts the focus on the narrative and not the violence. If it starts with an action-packed issue, then that is what readers will expect throughout the series.

Reading along as Lexi unravels the mystery presented by Hedy will be amazing. Truthfully, the true test of this story will be in its resolution. Preferably, the journey should be enjoyable but a mystery’s conclusion has to be satisfactory to be worth it.

The rest of the series will be more than worth the read if issue one of Read Only Memories is any indication.

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Comics Editor Allison O’Toole Talks Kickstarter for Wayward Kindred



Wayward Kindred is raising funds with Kickstarter.

If you enjoyed the Wayward Sisters anthology from TO Comix Press, they have a Kickstarter for its spiritual successor, Wayward Kindred. After holding an open call for submissions earlier this year, Wayward Kindred is pressing forward with its goal to tell a wide range of stories about monsters and families. Previews of the anthology include a cursed skeleton uncle, half-vampire teens, siblings transformed into wolves by their aunt, and sentient insects teaching their language to a human child. It looks like a fascinating mix of different stories and art styles funneled through the captivating vision of monsters.

After editing the award-winning Wayward Sisters, Allison O’Toole is back to edit Wayward Kindred. A freelance comics editor, she’s worked on a growing list of comics, including Jason Loo’s The Pitiful Human-Lizard, Sam Beck’s Verse, and other TO Comix Press publications like volumes of The Toronto Comics Anthology. With a few days left to raise funds, O’Toole was able to speak with Goomba Stomp via email about the Kickstarter for Wayward Kindred and her work in editing comics.

GS: How would you describe your role as a comics editor? Is it a lot of project management and big picture development with some oversight over language?

Allison O’Toole: That does cover a lot of it! The editor has her hands on every stage of the comic, from the pitch all the way to the lettering, so you’re doing the expected editing tasks at each stage—requesting changes for clarity and storytelling, that sort of thing. But you’re also building schedules and chasing after people to get things in on time. Depending on the publisher, you may also be helping out with other administrative tasks and promotion.

Could you talk about your path to becoming a comics editor? What drew you to editing comics versus other career paths with them? (Like writing, drawing, lettering, etc.)

I started out in comics review, and moved into editing when I realized that it combined my creative impulses with my administrative experience. I love to collaborate with creators and to help them create the best comic they can, so editing seemed like the best fit for my interests and skillset!

How did you end up working with TO Comix Press?

When the publisher, Steven Andrews, was looking for assistant editors for Volume 3 of the Toronto Comics Anthology, I was actively looking for more work experience in editing! Part of the mandate at TO Comix Press is to support creators who are early in their careers, so I was able to come on and learn a lot from that experience, so after assistant editing two anthologies, Steven let me lead my own project: Wayward Sisters. It went well, so now we’re working on that project’s spiritual sequel. 

Did the idea for Wayward Kindred come directly from Wayward Sisters, like the name suggests? Or did it originate somewhere else, followed by the realization that it could fit with Wayward Sisters?

I love monsters, so it was inevitable that I’d want to do more anthologies about them. I definitely want to suggest a connection between the two books, but they’re very different! The concept for this one came specifically from reading Nagabe’s gorgeous manga, The Girl from the Other Side, which I was reading while working on Sisters, so I decided that it would make a good follow up, rather than doing a traditional sequel. 

Could you walk us through the process behind developing an anthology like Wayward Kindred?

Well, to keep it short, once you’ve got an idea, coming up with a budget is the next step—that dictates how many stories and creators you can take on. Then you make a timeline. Even for short comics, we try to allow 2-3 weeks for each stage of the process, so you can build back from your target launch date (for us, the Toronto Comic Arts Festival in May). You then can open up for submissions, decide on the line up that would make the strongest book, and get started! Some folks like to do crowdfunding at the beginning of the process, but we like to get that in once we have some gorgeous art to show off. Once the art is all in and edited, you send the proof to the printer, and then fulfill the Kickstarter!

You can learn more about the TO Comix Press method for running anthologies in the articles at our website.

Did you end up pairing unattached writers and artists for Wayward Kindred, like the submissions page said would happen if you received pitches from incomplete creative teams? If so, how did you approach matching artists to writers?

We always accept unpaired pitches at TO Comix Press! It’s part of helping creators with fewer print credits find a place to get published. We go through all of the artist submissions and try to decide which portfolios would bring out the best in the pitched story. Often that means looking for similar stories in the artist’s portfolio, but this is a sense that comes from experience looking and reading many, many comics. Reading comics is the best way to get started in making them!

What have you enjoyed most about editing Wayward Kindred?

It’s always so exciting to see stories come together, especially after months of working with creators. We’re getting letters in now, and I can imagine how the readers are going to feel when they have the stories in front of them, and that’s always a thrill for me.

TO Comix Press has previously held Kickstarter campaigns for other publishing projects. How do you approach crowdfunding for a publication?

We’ve got an article about this on the TO Comix website as well! We’ve found that Twitter is always a major source of income for our Kickstarters, so we do everything we can to get folks talking about the campaign on Twitter. 

What draws you to monsters as characters and a source of storytelling?

I’m interested in monsters’ versatility as metaphor. They can stand in for any taboo you can think of, for any kind of outcast figure, for any kind of cultural anxiety—there are so many rich opportunities for storytelling! 

Wayward Kindred is a spiritual successor to Wayward Sisters.
“Forked” by Seungwoo Baek, Grayson Lee, Cam Lopez and Nikki Powers

Do you have any favorite monsters? Like werewolves, dragons, etc.?

Werewolves are my favourite, I just think they’re very cool. For more specific monster stories, I love Mary Shelley’s Frankenstein, an early example of a sympathetic monster. I enjoy scary monsters, but I love a sad monster the most—that’s probably part of why I love werewolves, too. 

You’re also editing AFTERLIFT for comiXology. What is it like editing for a company like comiXology versus a publisher like TO Comix Press?

Editing a series has fewer moving parts than an anthology, so I like that. In an anthology, you’re editing many more pages, and wrangling many more creators, which can get a bit chaotic. A series is nice because you have a smaller team (on AFTERLIFT, it’s a team of only 4!), so it’s easier to keep track of. Then again, a series usually has a more rigid release schedule, which adds pressure, so they both have their pros and cons. 

Do you have advice for anyone interested in editing comics? 

If you want to edit, I’d say the same thing I say to any creators getting their start: networking is key! If you can’t meet people in person, then join Facebook groups, or forums online, find other folks who are hoping to learn as they go alongside you, and your careers can also grow together. 

If you’re looking to edit and you don’t have a portfolio with comics experience (or editorial experience in a different medium), publishing reviews on a blog is a great way to show folks that you know and understand comics. You can also show that you can keep things on a schedule if you publish reviews on a regular basis. I got my early editorial experience editing at pop culture websites, which wasn’t exactly the same as editing comics, but got me started on scheduling and keeping on top of writers. 

Is there anything else you’d like to say about Wayward Kindred?

I’m so excited about this anthology, and I hope that the readers love it as much as we do!

Thanks again for taking the time to chat. Good luck with Wayward Kindred and your other projects!

Wayward Kindred recently met its Kickstarter goal, but there are a few days left to raise more funds and pre-order a copy. The anthology is available to backers for a minimum of $15 as a digital download. Higher reward tiers include a physical copy and prints.

TO Comix Press advocates for transparency, and they have shared reports explaining how funds were used for a selection of their previous publications: Wayward Sisters, Shout Out, Yonge At Heart, and Toronto Comics: Volume 3.

Wayward Kindred is scheduled for release in May 2020.

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