It's a Trip to the Fae Realm in Wonder Woman #776

Don’t trust the faeries in Elfhame! Diana and Ratatosk find their way through the next realm on their quest to confront Janus. Wonder Woman #776 is written by Michael W. Conrad and Becky Cloonan. Art by Jill Thompson pages 1-20. Pencils and Inks by Becky Cloonan, and colors by Jordie Bellaire pages 21-22. Letters by Pat Brosseau.

Diana Arrives in Elfhame — Art by Jill Thompson

Cat Purcell: Although not quite the meet-up with Queen Mab or Morgan le Fey that I’d hoped, I am eager to explore the land of faeries with Diana and Ratatosk. I LOVED changeling stories as a child and always wished to be spirited away by them. The edges of trickery and manipulation to watch for in the faeries’ world have always fascinated me, so I was quite pleased with this issue, and the wonderful tone Thompson’s art brought to the story.

Andrea Ayres: Conrad and Cloonan talked up Wonder Woman #776 at SDCC@Home this past weekend, and they did not overhype it. I loved fantasy worlds as a child. This felt like a story you could read again and again. I want this issue printed on thick card stock. I want to treasure it.

Do Not Eat or Drink in the Faerie Realm

Cat: Diana bursts through the water in the most stunningly depicted red robe and feathered bodice. She and Ratatosk come upon a feast fit for a faerie king, and our poor squirrel can’t resist the temptation to take a bite. He’s a BOY!

I grew up on a series of books called The Enchanted World, one of which was “Fairies and Elves”. It’s filled with stories of classic tales and beautiful artwork. One of the repeating themes of the Unseelie is the lesson one shouldn’t eat the food or drink offered in the land of the fae. One of the things that surprised me in this scene was Diana knew not to eat the food, but Ratatosk, the messenger of Yggdrasil–the tree that connects the nine worlds–didn’t know this! What did you think about this opening scene, Andrea?

Andrea: I couldn’t stop imagining all of the beautiful cosplays that will emerge from this issue alone. When I first heard Thompson was painting #776, I wondered how it would translate, given the vibe of the rest of the series. It turns out my concerns were unwarranted. The hand painting lent itself so well to the telling of the story of Elfhame.

Elfhame comes from the Old Norse translation of Fairyland. There’s a glorious and extensive history about the Scottish oral tradition of the fairy tale featuring the Queen of Elfhame, fairylands, and the Seelie/Unseelie courts. For our review, I don’t think it’s necessary to dive too deeply. Though for fae lovers out there, Wonder Woman #776 is ripe for exploration and research.

To be fair to Ratatosk, even if I knew not to eat a fruit pie. I would probably still eat the fruit pie. You are correct to say, however, that, curiously, he didn’t know this. I never trust anything that little squirrel does. Erm, I guess he isn’t a squirrel anymore? What did you think of his transformation?

Cat: I was surprised at first. It’s odd that a being as old as time who knows the world’s secrets would turn into a child! But the fae love nothing more than swapping out children and playing tricks on the youth, so I can see it. I am glad they kept his cute little horn. But I also noticed Ratatosk’s broken English made much more sense in his boy form. Perhaps his stilted way of talking isn’t due to his childlike nature, but more like a translation difference between squirrel mouths and forming words.

Before they get very far, bloodthirsty Redcaps find them and make it known they aren’t welcome here. Next thing we know, an elf accuses them of murdering their queen! How did you take this introduction?

Andrea: You know, if it were me and I’m in a new place accused of murder, I can tell you this: I’m not thrilled about it. The introduction works because you’ve got the annoying (but still quite dangerous) Redcaps and Gwyn demonstrating the mischievous threat of the fae well. Gwyn is the protector of the fae-realm. Think Legolas but, like, a lot more brutal. There’s a sense that this is a place constantly attempting to trick or fool you. When the trickery fails, there’s always old-reliable: enchantments.

Okay, time to ask the question. Did the whole waking up in an actual tower scene hit TOO ON THE NOSE of damsel in distress? I have been waiting to ask you this the entire time. Please let me know your thoughts.

Cat: You know, it did hit too hard. This was the one thing that I was not pleased within Wonder Woman #776. Diana is the LAST hero I ever want to see as a damsel in distress, locked in a tower. It’s a trope well known in this genre and one I would have preferred skipped, particularly after having been drugged to sleep. Thompson’s art with the lightning, dark and stormy night in the background almost makes up for it. I hate to see my warrior princess helpless in a tower. I would have rather they kept her in the more familiar trope of being chained up. But, alas, this is not her realm.

Deadman Appears in a Pool — Art by Thompson

Do Not Make Promises You Can’t Keep

Andrea: Something I have to remember about this comic is how it’s meant for a broad audience. Diana is warned about the faerie puddle and Fae magick; it feels too obvious. However, if I’m reading this as a fairy tale with younger folks, these more explicit statements make more sense. It may also shed a different light on the damsel in distress trope, even though #776 uses it. I wonder if this issue sufficiently subverts it? That deserves more of a deep dive than I can give right now, but it’s worth thinking through.

Meanwhile, we see the other side of Janus, who has assumed Diana’s appearance. It makes more sense now why Gwyn has accused Wonder Woman of regicide. On page 10, we get a lovely little silhouette image of Diana talking to Janus, and it’s just too good not to call out. Diana steps on the puddle as Siggy crashes through the roof of the tower. These are two signals, to me anyway, that Cloonan and Conrad are interested in breaking the well-worn tropes rather than shoring up their foundation. Am I too deferential here?

Cat: No! I appreciate that you called attention to this! I’d forgotten that Janus has taken on Diana’s appearance, even so much so that we thought she was a “bad” version of her self-image back in Asgard. I see what you’re saying about her taking control, especially in that particular silhouette shot. I chuckled at Diana’s expression brushing off Janus as a half-god. She has as much power as she can in this scenario.

I loved Deadman as depicted by Thompson, and as much as I wanted to hate Sigfried coming to the rescue, I can’t. He’s so charming, especially as he sorted through finding a needle in a haystack to go to Diana’s aid after receiving the messenger bird for Ratatosk. How did you feel about him just dropping in?

Andrea: You know, sometimes you just need some light-hearted romance in your life. Perhaps Siggy dropping in doesn’t have to be anything more than a fun way to bring two lovebirds together?

Either way, it brings us to a short little interlude where we get a chance to see Diana and Siggy on a brief adventure together. The middle of the issue makes me wish we could see how they toiled in Elfhame together. I know Conrad and Cloonan are only giving us a tour of all these wonderful worlds, but boy do I wish we could have spent more time here. I want to see how they faced these foes. There are many beautiful creatures and characters to explore in Elfhame, and I can only picture this as a little series of books. My brain can’t stop thinking about how much fun those would be with Thompson’s art. It reminds me of this little set of Beatrix Potter books I had as a kid. Alas, I digress.

Cat: Yes, her dreamy watercolors and natural tones are just perfect for this montage of Diana and Siggy facing a rat king, striking thorns, and helping the creatures of this realm along the way. I think this is precisely why I can’t be upset about the tower rescue. A little fun romance is needed in these issues where Diana faces monsters and brings back the dead, while unfortunately, one step behind Janus. The panel where Diana shows her wit by thwarting the Redcaps with the very flowers that put her to sleep was a nice touch, followed by the couple looking out at the horizon before them as they make their way to Ratatosk.

Do Not Disrespect the Land

Andrea: Please give me a toad to ride. I could do with an entire tale of stories about this toad and the new Fae Queen (Agrona). So Gwyn is all ticked off and wanting to be the macho royal defender of Elfhame, and Siggy is not having it. At the end of the issue, we have a fight between two posturing, ego-driven men. Siggy is caught up in the glory and loses sight of Gwyn’s brother, who is busy preparing a mighty blow against him from above. Diana uses her lasso to stop Gwyn’s brother in another circumvention of the damsel in distress trope.

Agrona is Welsh. Translated, it means strife or slaughter. She is a river goddess, hence her choice of steed. From my limited research on her, she’s the Scottish equivalent of the Morrigan goddess Macha. Ugh, it’s so ripe for exploration and to think we have to leave Elfhame soon! It makes me sad! What did you think about the ending between Siggy and Diana? They went full fairy tale, and I don’t think I hated it.

Cat: I loved it. This ending melted my heart. As much as I’m reluctant to leave Elfhame so quickly, Sigfried’s reunion with Ratatosk is adorable and Diana’s attempted farewell with him is charming. I think that for now, Elfhame will be in good hands with Queen Agrona and I always enjoy seeing Diana use the lasso, even if this one isn’t quite hers. Now for how Siggy, Diana and Ratatosk will fare in New York?

Andrea: Listen, I’m excited that Diana is going to Earth, but New York City doesn’t hold a candle compared to the fae realm.

Cat: I’m actually a bit scared for Sigfried as they go through The Big Apple. I know Diana will guide him well and be a good support for him. But I do worry it’ll be a bit overwhelming.

Cat: This issue has been my favorite yet in this arc. It’s got adventure and danger, trickery and romance. The writing of Conrad and Cloonan really shines in this tale and I could gush about Thompson’s art in ways that would get me in trouble for my word count! If you’ve merely been reading our pieces, THIS is one to pick up and hold in your hands!

Andrea: Overall, I thought this was such a fun issue. It reminds me, as a lot of my life has been reminding me lately, maybe I don’t need to take everything so damn seriously. Maybe there’s room for romance, for silliness, for just a fun story to share with people. I honestly cannot imagine Wonder Woman #776 working without Thompson’s art. It highlights how integral the art, the colors, the letters are to the story. I know it’s something people who love comics say they know, but it’s made me reflect on how I can bolster my discussion of comics that acknowledges the interconnectedness of these pieces. That may be a weird way to end our talk, but I mean it to compliment the creative team on #776. They paid attention to, and had a deep respect for, one another.