Liam Sharp Talks Wonder Woman Exclusive

“A superhero book where violence is the last resort”

♦Tripwire’s Contributing Writer OLLY MACNAMEE spoke exclusively to Wonder Woman artist Liam Sharp about the title’s first story arc, the importance of DC’s flagship female superhero icon and more…

As well as celebrating her 75th anniversary Wonder Woman was one of many DC titles to be relaunched as part of DC’s big Rebirth initiative last year, and to much critical acclaim too. With Greg Rucka back on writing duties and Liam Sharp announced as the series’ new, regular artists, and with the recent UN ambassadorial role she held, briefly, there seems no better time than now to catch up with Liam Sharp as he reflects on the first story arc and the imminent launch of a new chapter in Wonder Woman’s complex life, with issue no. 15 (out on 25 January). Covering the role of Wonder Woman in the world today, her brief UN honorary ambassadorial role, artistic influences as well as his own development as an artist, Liam gave some very thoughtful – and thought-provoking answers – as you will see for yourselves below.

Olly MacNamee: Before getting onto the tougher questions, I’m interested in knowing about your working day and what it looks like when you produce such detailed pages? Are you simply a masochist, or just really, really fast? Your art seems to have a real zeal and energy to it that clearly shows you’re enjoying your run on Wonder Woman already.

Liam Sharp: Thank you! Well I have three children of various ages, all going to different schools, so I’m up and dropping my daughter off at the BART (Train) station at 6.30am three days a week as she attends the Academy of Art, San Francisco, where she has a scholarship. Then I’ll usually drop Jeff off at his school around 7.30. My wife, Chris, and I will then often go for a quick half-hour stomp round the reservoir after that – check on the turtles, sometimes otters, and egrets – then it’s home for a coffee and on with the work day! I like to be drawing between 8.30 and 9.00am, and I prefer to start a new page every day – that keeps it moving. I’ll finish drawing somewhere between 6.30 and 7.30 usually. From what I understand, though, it would seem I’m pretty fast! That’s not a badge of honor for me, and certainly not something to judge quality of work by. I just prefer it if I can ink myself because I like the freedom to express different moods in the way I approach the drawing and the finish, and that means I have to be pretty diligent and committed.

OM: What were your influences when coming to your portrayal Wonder Woman? Facially, for example, she seems more Mediterranean than ever before. I assume that as intentional, given her origins. But, with her recent adventures in the jungles of Buwanda fighting the demonic forces of Urzkartaga, there is more than a smattering of horror too. I can see some Don Lawrence in there too, and even a more European influence too with the hyper detailed landscapes, for example.

LS: I think I’m very mid-Atlantic in my art-style, though tend to be drawing on influences from the 60’s, 70’s and 80’s mostly. Frazetta is there in the trees, Buscema in some of the figure work, Alcala in some of the finishing, Barry Windsor Smith in the detail and symbolism – though there is also a bit of Sienkiewicz, and even Mazzuchelli in recent pages. I can see the Don Lawrence influence too, now that you mention it! I think storytelling-wise there’s more of a Frank Miller approach, though not slavishly. There’s even some 2000AD, Glenn Fabry in there. All these people have inspired me over my career and have become just part of what I now naturally do, but their influence is unquestionable.

OM: In this opening arc, I couldn’t help feel that there were echoes of real world politics within this story. I’m thinking particularly of the 200 girls abducted by Boko Haram here. Is there room for political discourse in comics, even mainstream comics, such as Wonder Woman. In fact, is there, dare I say, even an opportunity in comics to provoke debate beyond cover art controversy?

LS: Of course! Wonder Woman has always been a provocative and political character. Her sexuality also matters to many people – though just as many others don’t care. What she represents, politically and socially, seems to very pointedly represent her era at any given time. We draw on our understanding of the world, as creators, and our best works often represent our views because they are the things that matter to us. I’ve grown hugely over my 30 years in comics, and there are many things I drew from a slightly naive perspective as a young man that I would question now. Learning and growing is all part of the process, otherwise we’re stagnating – there’s something shallow and hollow in a story that purports to be free of any cultural significance or commentary. Two men fighting over a field is political – especially when family and friends start to get involved!

OM: What can you tell us about the new story arc your involved with as the series’ regular artist? I believe it all kicks off in issue 15? Who is Wonder Woman anyway?

LS: Your question here is the question the series asks, and what Diana has to find out. It’s a very bleak place to start, and deals with alienation in a way I think a lot of people will relate to. But it’s also about friendship, love, and the sometimes difficult, morally ambiguous things that people do to try and make things right. We’ll be seeing more of the characters we’ve grown to love, but also revisiting some much-loved characters we’ve not seen in a while. It has a very different tone to ‘The Lies’!

OM: I am very much aware of Nicola Scott’s personal views on the adoption, and abandonment too, of Wonder Woman as an honorary UN ambassador. What’s your own take on this issue? Do you think the people that make these decisions even read the comics?

LS: I find it frustrating and sad. My main take-out is this: A certain recently vacated post at the UN, long over-due a woman in the role, once again went to a man. Inadvertently rubbing salt in the wound of all those who were, rightly, upset by this, Wonder Woman was at the same time made honorary ambassador. A fictional female as ambassador, a real female passed over. This I can completely get behind, but instead of saying, “you know – Wonder Woman wouldn’t have stood for this! She would have stood WITH us!” they instead decided to go after her based on perceptions. There’s no question that a version of Wonder Woman that is sexualized, white and big breasted exists, and that she wears a skimpy costume. But our version – the ‘current iteration’ they wrongly referred to – is Mediterranean, 6ft 2inches tall, with proportionate breasts and drawn wearing a gladiatorial costume (not that a busty white woman in a swim-suits should be somehow considered unworthy of representing women’s rights, or the LGBTQ community for that matter. It’s a kind of body-shaming.) In her civilian clothes she wears jeans, t-shirts, dresses… whatever any normal person would wear. But fighting she dresses like a gladiator – like an Amazon!

But aside from that, what they really missed – and where they did the biggest disservice – is that this is a character that actually changes lives. At every show, bar none, usually multiple people will tell me this. That Diana gave them strength when they could find it nowhere else. That she inspired them. That her goodness reached out to them. That she helped them face the truth of who they really are. That she enabled them to come out as gay, or lesbian, or any number of brave and bold revelations. It’s profound, and it’s important, and it’s why her fans are so incredibly passionate about her. In attacking Wonder Woman they attacked all of these people, and in a way sought to de-legitimize what she represented to them.

Then there’s the decades of committed work from artists and writers so casually slighted.

It was a real, gut-wrenching shame.

OM: And, what areas would you like to explore thematically, narratively, artistically, in future issues of Wonder Woman?

LS: This book can, and does, do them all! It’s rooted in antiquity but reaches for the stars. It’s idealistic and utopian, but couched in dystopian modern-day chaos. It’s a superhero book where violence is the last resort. It’s also a very psychologically explorative book. I’m spoilt, as it already deals with so many things that I have a long-standing or vested interest in! That goes for the art to – it contains so many things I love to draw, but it pushes me in new areas also, and I like that. It helps me grow as both an artist and storyteller.

OM: Finally then, Liam, how has your move to America gone, Trump and the forthcoming armageddon aside? Will we be seeing you any time soon over this side of the pond in 2017?

LS: I love the US. I have always wanted to live here – probably since I first saw Grease and Star Wars and Elvis movies as a small kid. It seemed to be the place where all the really exciting things happened! But I find I’m happier in my own skin here – more confident, oddly. I love the size of it, the still kind of frontier mentality – it’s young and reaching. It’s energized.
It is also scary, and divided – but so is the UK and Europe right now.

Sometimes I fantasize about living in an old, English sprawling stone cottage with a big studio and rolling green hills outside, but when I really think hard about it I always have the same answer: Maybe one day, but not yet…

Wonder Woman No. 15 is out on 25 January, published by DC, while the trade paperback collecting Liam and Greg’s first story arc will be out this February.

Liam Sharp Wonder Woman www.tripwiremagazine.co.uk