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The cover shows Wonder Woman (in costume) typing a response to Steve’s letter submission which reads, “Dear Wonder Woman, When will you marry me?” Steve is looking over her shoulder expectantly, just shy of looming. In the 1950 Issue #97 of Sensation Comics, Wonder Woman becomes the editor of the Hopeless Hearts Department of a newspaper. One notable cover, created a few years before the industry began regulating itself with the Comics Code, hints at changes to come that would give Wonder Woman more marriage-centered stories. Wonder Woman’s storylines, which saw the hero frequently bound and punishing her female nemeses with a good spanking, had been accused of lewdness before, but because she was also an important tool in galvanizing a new work force during the war, this material was overlooked. In the early ’50s, shortly after Marston’s death, the psychiatrist and author Fredric Wertham argued that comics were inspiring youth delinquency and that Wonder Woman, in particular, was espousing homosexuality. However, after the war, Wonder Woman’s salacious dress and independence came under scrutiny as gender roles were re-solidified. The first Wonder Woman issue, published in 1942 (Courtesy of DC Entertainment) For example, in Issue #5, the heroine advocates for mothers and wives to join the Women’s Army Auxiliary Corps (WAACS) and the United States Women’s Naval Reserves in order to combat a “cruel husband’s domination.” Via these storylines, Wonder Woman adeptly married the message of women’s empowerment spread by war propaganda (for example, Rosie the Riveter) and the look of the pin-up girls adorning men’s barracks. Through the end of World War II, Wonder Woman’s brazen attire was coupled with plotting that promoted women’s social and economic freedom. Her strapless bustier began to expose varying degrees of cleavage.
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In a few months, the duo pushed boundaries of propriety and changed Wonder Woman into tighter, shorter shorts. A red and gold corset with a plunging back was paired with star-spangled culottes that accentuated her curves. Peter depicted Wonder Woman with white skin, her hair styled into impeccable 1940s waves.
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His solution was a female superhero guided by love.
WONDER WOMAN ALTER EGO HOW TO
Comics on how to fight accusations by concerned parents and culture critics about the medium’s violent content. As a member of the Editorial Advisory Board for All-American Comics, Marston used his background as a psychologist to advise the newly formed D.C. According to the scholar Jill Lepore, the Wonder Woman creator William Moulton Marston was inspired by the Varga Girl centerfolds in Esquire magazine for their “cosmopolitanism” and “exoticism.” For Marston, it was important that Wonder Woman have a sexy and feminine appearance to counteract what he called the “blood-curdling masculinity” of comics at the time. When Wonder Woman made her cover debut in January 1942, the superhero was modeled after a new feminine ideal. George Clooney’s Unfulfilled Promise David Sims
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Tracing how Wonder Woman’s appearance has evolved in the comics and film and TV adaptations reveals the ways her creators tried to respond to anxieties about women’s independence in playing with her proportions, skin color, and costumes, the architects of Wonder Woman’s image over time have both empowered and objectified her, though the line between the two is often blurry. Her body in particular has been a canvas upon which authors, artists, and audiences have negotiated women’s shifting gender roles and beauty standards from the 1940s through today. Looking more closely at Wonder Woman’s 75-year-old history, it becomes clear that the heroine has consistently evoked mixed feelings-whether fear, awe, or attraction. Watching the scene, Sameer, an associate of Wonder Woman’s comrade Steve Trevor (Chris Pine) exclaims, “I’m both frightened and aroused.” She hurls the bully across the pub, where he lands in a hard crash. In a scene in the newest film adaptation of Wonder Woman, the heroine (Gal Gadot), dressed as her alter ego Diana Prince, comes to the aid of a friend by destroying a gunman’s weapon.