Wonder Woman #207
Wonder Woman #207 sits squarely within Robert Kanigher's 1973 return to the title — a short but editorially significant run that restored Diana to her classic powered identity and Amazon mythology after the controversial 'mod' era. The issue is a representative specimen of Kanigher's deliberate strategy of reprocessing Golden Age plots for a Bronze Age readership: both stories are acknowledged re-workings of late-1940s Wonder Woman tales, making the issue a self-conscious bridge between the character's postwar roots and the early 1970s Bronze Age. Its two-part structure, with 'The Four Dooms' left on a cliffhanger to be resolved in #208, also reflects the serialized storytelling ambitions Kanigher was experimenting with during this period. While not a landmark first-appearance issue, #207 is a useful document of the transitional moment when DC tried to stabilize Wonder Woman's identity by literally re-anchoring her in her own history.
In "The Riddle of the Chinese Mummy Case!", Wonder Woman uncovers ancient scrolls that hint at forgotten chapters of her past, leading her on a global journey through time and mystery. Written by Charles Moulton and illustrated by Ric Estrada, with inks by Vince Colletta and letters by Ben Oda, this 1973 adventure blends archaeology and myth, while the cover by Ric Estrada and Vince Colletta captures the enigmatic allure of the tale.
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Robert Kanigher, who had been the character's longtime writer-editor before the 'mod' era, was brought back to the book with #204 in early 1973 after fan and critical pressure — including a well-publicized campaign by the emerging feminist movement — demanded Diana's return to super-powered form. By #207, Kanigher was functioning as both writer and editor, with pencils by Ric Estrada and inks by Vince Colletta; Kanigher wrote the issue's scripts under the pen name 'Charles Moulton,' the house pseudonym originally associated with Wonder Woman's creator William Moulton Marston. Both stories in the issue — 'The Riddle of the Chinese Mummy Case' and 'The Four Dooms Part I: Revolt of Transformation Island' — were explicit re-imaginings of Golden Age stories originally published in Wonder Woman #37 (1949) and Wonder Woman #33 (1949) respectively.
Trivia · 8 facts
- Cover date: September 1973; published by DC Comics as part of the long-running Wonder Woman Vol. 1 series (which began in 1942).
- Written and edited by Robert Kanigher (credited as 'Charles Moulton,' the Marston house pseudonym), penciled by Ric Estrada, inked by Vince Colletta; lettering by Ben Oda on the lead story.
- Contains two stories: 'The Riddle of the Chinese Mummy Case!' (13 pages) and 'The Four Dooms Part I: Revolt of Transformation Island' (10 pages).
- 'The Riddle of the Chinese Mummy Case' is a Bronze Age re-working of a Golden Age story originally published in Wonder Woman #37 (September–October 1949).
- 'The Four Dooms Part I' is a re-working of the Golden Age story from Wonder Woman #33 (January–February 1949); its plot — criminal scientist Inventa seizing Transformation Island and sentencing Wonder Woman and Hippolyta to death — continues into #208.
- The cover depicts Wonder Woman in bondage alongside Queen Hippolyta, rendered by Estrada and Colletta — consistent with the bondage-cover tradition associated with Golden Age Wonder Woman stories.
- The issue was produced during Kanigher's brief 1973 return run (beginning at #204), the same run that introduced Nubia in #204 and restored Diana to her classic costume and powers after the 'mod' era ended.
- A Mark Jeweler advertisement insert variant of this issue exists, as was common for Bronze Age DC comics distributed through military PX channels.
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Reprints
Reprinted in Superman Presents World's Finest Comic Monthly #105 (1974), Superman Presents World's Finest Comic Monthly #106
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