Mental Radio

Telepathy was known as “mental radio” during William Moulton Marston’s time.  The term was popularized by Upton Sinclair’s book with the same title.1  Sinclair was not the one to coin the term.  According to archives, Grant Wallace used “mental radio” earlier but this was never published during his lifetime.  Matt Berger, Wallace’s grandson, thinks Sinclair must have heard of the term from Wallace2 since Sinclair and Wallace belonged to the same circle.

The 1909 article “The Literary Craftsmen of Carmel”3 provides circumstantial evidence to Berger's claim.  The article talks about Grant Wallace and Upton Sinclair (with photos) along with other craftsmen of the time.

Mark Twain also talked about telepathy years earlier in Harper’s New Monthly Magazine on two occasions, but Twain used “mental telegraphy”4, 5 instead of mental radio.

In Wonder Woman comics, mental radio is first seen in Sensation Comics #3 (Mar. 1942)6 and appears in the eponymous Wonder Woman #1 (Summer 1942)7 six months later.

A number of superheroes in the golden age of comics had used telepathy before Wonder Woman ever did.  However, Wonder Woman is the first to heavily feature a mental radio device to communicate over long distances, bridging the gap between fantasy (magic telepathy) and science fiction (telepathy device).

Marston discussed mental radio in Olive Richard’s article “Has This Ever Happened to You?” in The Family Circle magazine.8

“The results strongly indicate that communication by mental radio, or ‘extra-sensory perception,’ as it is called, is a fairly common phenomenon in everyday life…  Just such occurrences as that encouraged us to begin experiments in telepathy more than twenty years ago at Harvard” (Marston qtd. in Richard 14).

Marston is the only superhero creator of the golden age of comics to incorporate real-world research into comic books.  Jerry Siegel and Joe Shuster, creators of Superman, had nothing to do with the X-ray technology commonly used today, even though Superman has X-ray vision.

Marston’s telepathy research was never published.  How can he provide reproducible data like the systolic blood pressure measurements used in his lie detection research?  No empirical proof.

Wonder Woman’s golden lasso is the only superhero device modeled from a psychological laboratory discovery – the lie detector.

Wonder Woman is called “psychology’s superhero” by the American Psychological Association9 because of Marston’s contributions to the field.

So, why did Marston include mental radio in Wonder Woman comics? Because of his fascination with mental processes as a psychologist, and to show that openness trumps violence, and to reinforce the notion of a united sisterhood.

Notes

1.  Upton Sinclair.  Mental Radio.  Pasadena: Upton Sinclair, 1930.

2.  Michael Bonesteel.  “Grant Wallace and the Legacy of a Forgotten Genius.”  Riot Material, 13 Apr. 2022, riotmaterial.com.  Accessed 18 Aug. 2026. 

 <https://www.riotmaterial.com/grant-wallace-legacy-of-forgotten-genius/>.

3.  The Literary Pilgrim [pseudonym].  “The Literary Craftsmen of Carmel.”  San Francisco Call 17 Jan. 1909: p. 5.

4.  Mark Twain.  “Mental Telegraphy: A Manuscript with a History.”  Harper's New Monthly Magazine Dec. 1891: 95-104.

5.  Mark Twain.  “Mental Telegraphy Again.”  Harper's New Monthly Magazine Sept. 1895: 521-24.

6.  Charles Moulton (w), Harry G. Peter (a).  Sensation Comics #3 (Mar. 1942), J. R. Publishing Company [DC Comics].  p. 9.

7.  Charles Moulton (w), Harry G. Peter (a).  Wonder Woman #1 (Summer 1942), Wonder Woman Publishing Company, Inc. [DC Comics].  p. 1D.

8.  Olive Richard (Olive Byrne).  “Has This Ever Happened to You?”  The Family Circle 7 Jan. 1938: 14-16.

9.  Lea Winerman.  “Psychology's Superhero.”  Monitor on Psychology 47.9 (2016): 84.  Rpt. in American Psychological Association.  Web.  18 Aug. 2026.  <https://www.apa.org/monitor/2016/10/superhero>.

Reference

U.S. Copyright Office.  Catalog of Copyright Entries (Periodicals).  Part 2, new series.  Vol. 37.  Nos. 1-4.  January-December 1942.  Washington, DC: United States Government Printing Office, 1943.  pp. 111 and 407.

[This volume shows Sensation Comics #3 was published on January 3, 1942, while Wonder Woman #1 was published on July 18, 1942.]

Why Paradise Island?

William Moulton Marston, creator of Wonder Woman, never revealed where Paradise Island was during his run as Wonder Woman writer.  He simply said, “on the shores of an uncharted isle set in the midst of a vast expanse of ocean.”1

The Wonder Woman TV pilot movie in 1975 explicitly located Bermuda Triangle2 and the comic book Wonder Woman #224 (June-July 1976)3 repeated this.

Why name Wonder Woman’s home Paradise Island?

While Marston was already obsessing with mythology and tackling woman suffrage in high school in 1910,4 the appearance of Child of the Amazons and Other Poems by Max Eastman in 1913 nailed down Marston’s image of an Amazon as a fictional vehicle to advance how he saw women – since Marston already saw his non-fictional wife Elizabeth Holloway as an Amazon before then.5  From Elizabeth to Thyone (pronounced thigh o nee, looks like Taiwan to me) of Child of the Amazons to Gaia in the 1932 novel Venus with Us to Diana.

In Child of the Amazons, the Amazon Thyone falls in love with a man – this is Diana and Steve Trevor in Wonder Woman comics.

In 1914, Inez Haynes Gillmore (later Inez Haynes Irvin) published Angel Island.  American men were shipwrecked on an island of women, not Amazons but winged women.  This apparently inspired Paradise Island.  The book mentions “South Pacific Islander,”6 so I expect this refers to the Pacific Islands (Polynesia, Melanesia, and Micronesia) and not the Philippines.  We have islands and locations in the Philippines called “paradise” and “paraiso.”

Eastman and Gillmore were both suffragists.  They worked together as shown by the editorial masthead of The Masses where their names appear as contributing editors.7  Marston was a member of Harvard Men’s League for Woman Suffrage.8

In 1915, Charlotte Perkins Gilman published a 12-part serial novel, Herland, in her self-published magazine called The Forerunner.  

Herland is about a race of women, isolated from the world, who give birth without men – parthenogenesis.  There is no island in Herland, but the women are thousands of years old.  Marston’s Amazons remain immortal (thousands of years old and non-aging physically) on Paradise Island.

“The women of Herland have no fear of men.  Why should they have?  They are not timid in any sense.  They are not weak; and they all have strong trained athletic bodies.”9  Strong trained athletic bodies – very Wonder Woman comics.

In 1912, Elizabeth Holloway appeared in a musical about a world without men.10  This predates Herland by 3 years.  The primary Amazon in Marston’s life (Elizabeth aka Sadie) has a lot to do with Wonder Woman lore.

In 1913, Marston began his research11 on the lie detector and published his findings in 1917.  The lie detector is known as the predecessor of Wonder Woman’s golden lasso.

Marston was born (in 1893) at a time when suffragists and early feminists were celebrated and caricatured as Amazons – and was raised by strong women – so he absorbed the image of the “new woman” archetype early in his life (see Lepore’s Secret History and/or surf the Net for late 1800s and early 1900s history and resources to get a better feel of the milieu in which Marston grew up).

Conceptually, Wonder Woman began in the 1900s, going through iterations like Gaia in 1932 before settling as Diana in 1937,12 and finally as Diana (Prince) in the 1940s Wonder Woman comics.

So, why Paradise Island?  Because Marston wanted an allegorical safe haven for women to harness strength and independence away from man’s world, advancing his psychological framework of balancing physical strength with loving submission to authority.  In short, because of the mythical Amazons and the suffragists who sparked their revival in public discourse and modern mythmaking.

Notes

1Charles Moulton (w), Harry G. Peter (a).  “Introducing Wonder Woman.”  All-Star Comics #8 (Dec. 1941-Jan.1942), All-American Comics, Inc. [DC Comics]. p. 1.  <Panels that follow this revelation are numbered 2 and 3; the following page is numbered 2; pages 3 and 4 are not paginated, while the rest are paginated.>

2“The New Original Wonder Woman.”  Pilot TV movie.  Wonder Woman.  Written by Stanley Ralph Ross.  Dir. John Erman.  ABC.  7 Nov. 1975.  Television.

3Martin Pasko (w), Curt Swan and Vince Colletta (a).  Wonder Woman #224 (June-July 1976), National Periodical Publications, Inc. [DC Comics].  N. pag.  <Bermuda Triangle is revealed in the story and on the letters page called Wonder Words.>

4Jill Lepore.  The Secret History of Wonder Woman.  New York: Vintage Books, 2015.  pp. 6 and 343.

5Lepore p. 17.

6Inez Haynes Gillmore.  Angel Island.  New York: Henry Holt and Company, 1914.  p. 37.

7The Masses 4.3 (1912): 2.

8Lepore p. 326. <This page shows Harvard University Archives as Lepore’s source.>

9Charlotte Perkins Gilman.  “Herland” The Forerunner 6 (1915): 293.

10Lepore p. 22.

11Melissa M. Littlefield.  The Lying Brain: Lie Detection in Science and Science Fiction.  Michigan: The University of Michigan Press, 2011.  p.156.

12Trina Robbins.  The Great Women Superheroes.  Northampton, MA: Kitchen Sink Press, 1996.  pp. 3-4.

References

Eastman, Max.  Child of the Amazons and Other Poems.  New York: Mitchell Kennerley, 1913.

Marston, William M.  “Systolic Blood Pressure Symptoms of Deception.”  Journal of Experimental Psychology 2.2 (1917): 117-163.

Marston, William.  The Private Life of Julius Caesar (Venus with Us).  New York: Universal Publishing, 1953.  Rpt. of Venus with Us: A Tale of the Caesar.  New York: Sears Publishing Co., 1932.

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updated August 18, 2026

How Mars Ravelo Came Up with Suprema

In a 1977 magazine interview,1 Mars Ravelo admitted copying Wonder Woman and remodeling her into Darna for Philippine audiences.  Even then, Ravelo already made a memory slip.  He also credited Supergirl who happened to appear years later after Darna.

The prototype Supergirl first appeared in 1958.  The canonical Kara, cousin of Superman, appeared in 1959.  Darna predates either one.

In Ravelo’s later interviews (1985-1986), the idea that William Moulton Marston came to the Philippines and ripped off Darna was pitched.  Suprema was Ravelo’s initial name for Darna according to the interviews.

For a list of Mars Ravelo’s false memories and confabulations (unintentional lies) and the Supergirl publication history, please see “Heroes and Memories.”2  For the 1928/1932 Diana/Wonder Woman prototype and William Moulton Marston’s whereabouts in the 1930s and 1940s, kindly read “Latin, Law, Suprema, inter Alia.”3  You can verify the data in each article by checking the provided list of references.

The TV series Wonder Woman began in 1975.  It was a hit.  When Mars Ravelo was interviewed in 1977, Wonder Woman was still on the air and doing very well.

It is common knowledge for comic book fans that Wonder Woman was initially named Suprema, the Wonder Woman, by creator William Moulton Marston, and that Suprema was removed by then editor Sheldon Mayer.

This was not common knowledge before 1975.  

In the 1975 DC Convention, Sheldon Mayer sat on the Wonder Woman panel and revealed to the world for the first time that Marston submitted “Suprema, the Wonder Woman,” as the original name, and that he nixed Suprema.4  The word about Suprema got out to the public, in fanzines and niche comic book clubs.  I will not underestimate Mars Ravelo’s fanzine savviness and ear for superhero gossip.

It is only in 1995 that the Suprema bit got into mainstream documentation with the appearance of Les Daniels’ book DC Comics: Sixty Years of the World’s Favorite Comic Book Heroes,5 which was sold locally at National Book Store (where I got my copy).

Five years later, Daniels would publish Wonder Woman: The Complete History6 and would mention Sheldon Mayer again.

Jill Lepore’s comprehensive The Secret History of Wonder Woman quotes Les Daniels on page 392, note 17 (of the 2015 edition).7  Lepore cites “Daniels, DC Comics, 58-59.”  Pages 58 to 59 refer to Daniels’ DC Comics: Sixty Years of the World’s Favorite Comic Book Heroes, not the 1975 DC Convention Archives.  Why did Lepore lump Daniels’ book and the Archives together in a single note?  Because Daniels personally interviewed Sheldon Mayer, and the Archives and Daniels reveal Mayer’s involvement with Suprema.

With the Suprema news and Wonder Woman’s popularity in the 1970s, Mars Ravelo kept his ears wide open.  He wouldn’t credit Wonder Woman in the 1977 interview if he didn’t.

Our memories are not set in stone.  A little bit of information here and there mix with our ardent desires and frustrations, especially in our twilight years.  I listed a number of sources you can read about false memories and confabulation in Heroes and Memories, or you can simply search the Net and your friendly neighborhood library.

When Ravelo still had relatively good memory, he was comfortable if people thought his superhero works came from Western ideas.  According to Boboy Yonzon, in the book The First One Hundred Years of Philippine Komiks and Cartoons, Ravelo’s contemporary Pablo Gomez inferred that “the Ravelo superheroes were quite not original.”8

Notice how Ravelo’s memories become more and more vividly detailed every time previously unreleased information is uploaded to the Internet.  Interesting, isn’t it?  I have quoted Elizabeth Loftus regarding false memories and confabulations in Heroes and Memories.  This time, I would like to quote renowned artist Salvador Dali:

“The difference between false memories and true ones is the same as for jewels: it is always the false ones that look the most real, the most brilliant.”9

So, that’s how Ravelo came up with Suprema.  Circumstantial, yes, but worth considering. And, there’s more.

Mayer – Redondo – Ravelo – Suprema – mixing of real and made-up memories

In 1975, DC Comics produced an illustrated version of the Bible.10  This was penned by Sheldon Mayer and illustrated by Nestor Redondo, the very first artist of Darna.  Joe Kubert was also credited as artist, but looking at the artwork, that’s all Redondo.

The Bible by Mayer and Redondo is a masterpiece.  Nestor Redondo is one of the greatest artists to walk the earth, and it is fitting that he was chosen by DC Comics to illustrate a timeless classic.  Look at Redondo’s Darna, available via search engines, and you will know how great art contributed to the popularity of Darna.

Sheldon Mayer spilled the beans on Suprema, and Nestor Redondo happened to be the original visual creator of Darna.  Is that fate or what?  It feels like an inescapable artistic collaboration between Wonder Woman and Darna.

Mars Ravelo was already a man of means when Nestor Redondo worked for DC Comics.  It is not hard to think communications, however intermittent, between Darna writer and artist continued through the years.

Postscripts

Historically, Filipinos were exposed to American superhero comic books in the 1940s through soldiers stationed in the Philippines (we were exposed to American comic newspaper strips before then but not comic books).  American newspaper strips appeared in English language periodicals which were cost prohibitive. The superhero genre, brought about by the appearance of Superman in 1938, was relatively young then.  After World War II, leftover superhero comic books by American military personnel11 became accessible to, and massively popular with, the masses which led to the creation of our own superheroes.  Because Superman was virtually unheard of by regular folks in the Philippines pre-1940s, only rich collectors could afford a Superman comic book in 1939, if they’d already (possibly) heard of superheroes by 1939, that is.  Mars Ravelo was cash-strapped at the time.  The young noble heart of Ravelo would not allow his family to go hungry just to get his hands on expensive superhero comics.

The Internet is now peppered with the false notion that Darna was conceptualized and created in 1939.  Darna first appeared in 1950.  Her predecessor Varga first appeared in 1947.  Even if Darna were indeed conceptualized in 1939, she would still never predate Wonder Woman.

Let me remind you that in the 1932 novel Venus with Us12 by Marston, the prototypical Diana and Wonder Woman characters were already present, and Marston repurposed names from the novel into the Wonder Woman comics of the 1940s (see Latin, Law, Suprema, inter Alia).  Also, Venus with Us is based on Marston’s psychological framework published in 1928.13  Wonder Woman was already Diana in 1937, according to archival work by Trina Robbins.14

How can 1939 predate 1928, 1932, or 1937?  It does if we are still in the BC (before Christ) era.  But as reality stands, Darna’s timeline begins with Varga in 1947 AD – there is no independently corroborable evidence to prove otherwise.

People readily believe what confirms their biases. I do not see why we should not be proud of a copy when it is as good, if not better, than the original.

National pride should not get in the way of the truth, and the truth is:

Mars Ravelo did not give Wonder Woman a template.

William Moulton Marston had twirled Wonder Woman’s core concepts and psychological themes12, 13 into action long before the appearance of Darna, and well before the phenomenal success of Superman that birthed the modern superhero genre.

NOTES

1Bill Davidson.  “Mass Culture.”  TV Times 13-19 Mar. 1977.  Excerpt rpt. in @ffv.  “In Appreciation of Mars Ravelo.”  Star For All Seasons.  WordPress.com, 9 Oct. 2013.  Web.  6 Aug. 2026.  <https://starforallseasons.com/2013/10/09/in-appreciation-of-mars-ravelo/>.

In “Heroes and Memories,” I originally cited this as:

Bill Davidson.  “Mass Culture.”  TV Times 13-19 Mar. 1977.  Excerpt rpt. in Star For All Seasons.  Web.  20 July 2016.  <starforallseasons.com/tag/ging-1964/>.

2Robert Baytan.  “Heroes and Memories.”  4 Aug. 2016.  Web.  <https://robertbaytan.blogspot.com/2016/08/heroes-and-memories.html>.

3Robert Baytan.  “Latin, Law, Suprema, inter Alia.”  15 April 2021.  Web. <https://robertbaytan.blogspot.com/2021/04/latin-law-suprema-inter-alia.html>.

4Sheldon Mayer.  “Wonder Woman Panel.”  1975 DC Convention.  DC Comics Archives, New York.  Transcript.

5Les Daniels.  DC Comics: Sixty Years of the World’s Favorite Comic Book Heroes.  New York: Bulfinch Press, 1995.

6Les Daniels.  Wonder Woman: The Complete History, the Life and Times of the Amazon Princess.  San Francisco: Chronicle Books, 2000.

7Jill Lepore.  The Secret History of Wonder Woman.  New York: Vintage Books, 2015.

8John A. Lent, Boboy Yonzon, et al.  The First One Hundred Years of Philippine Komiks and Cartoons.  Tagaytay City: Yonzon Associates, 2009.  p. 110.

9Salvador Dali.  The Secret Life of Salvador Dali.  Trans. Haakon M. Chevalier.  1942.  New York: Dover Publications, 1993.  p. 38.

10Sheldon Mayer.  The Bible.  Illus. Nestor Redondo and Joe Kubert.  New York: DC Comics, 2012.  Rpt. of Sheldon Mayer.  The Bible.  Illus. Nestor Redondo and Joe Kubert.  New York: DC Comics, 1975.  Limited Collectors’ Edition C-36.

11John A. Lent.  “Introduction.”  Transnationalism in East and Southeast Asian Comics Art.  Ed. John A. Lent, Wendy Siuyi Wong, and Benjamin Wai-ming Ng.  Cham: Palgrave Macmillan, 2022.  p. 3.

12William Marston.  The Private Life of Julius Caesar (Venus with Us).  New York: Universal Publishing, 1953.  Rpt. of Venus with Us: A Tale of the Caesar.  New York: Sears Publishing Co., 1932.

13William Moulton Marston.  Emotions of Normal People.  New York: Harcourt, Brace and Company, 1928.

14Trina Robbins.  The Great Women Superheroes.  Northampton, MA: Kitchen Sink Press, 1996.  pp. 3-4.

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rephrased postscripts, main untouched --- August 13, 2026

Vicente Alvarez Dizon Bested Salvador Dali

Ask an educated Filipino who the most famous Filipino painter is, and you get either Juan Luna or Fernando Amorsolo.

Ask if Salvador Dali is more famous than either one of them, and you get a reluctant “yes.”  Ask who the greatest is among the three, and you get “art is subjective” – true.

One’s greatness is not diminished by another’s greater fame.

Dali lost in a contest to an artist whose stardom is dwarfed by Dali’s own, as well as by that of the two Filipino titans.

Salvador Dali lost to Vicente Alvarez Dizon, a Filipino, in the 1939 Golden Gate International Exposition sponsored by IBM held in San Francisco.  Fernando Amorsolo won in the counterpart competition, also sponsored by IBM, held at the 1939 New York World’s Fair.

I do not recall my grade or high school teachers talking about Dizon.  Luna and Amorsolo are household names, especially since there are roads named after them.  Juan Luna Street leads to the famous bargain hub Divisoria, flocked by people any time of the year but most especially during the Christmas season for offering budget-friendly decor and gift selection.

Learning about Dizon years later gives me a certain sense of national pride.

The participation of Vicenter Alvarez Dizon and Fernando Amorsolo is documented in two catalogs of the same title, Contemporary Art of 79 Countries.  The catalog is not paginated but is instead arranged by country name alphabetically.  The Philippines is referred to as Philippine Islands.  Each participating country gets a two-page spread with the artwork and the photo of the artist.

The dual victories, and Dali’s second place, are documented in The Art News and elsewhere.

from Contemporary Art of 79 Countries
featured for educational purposes under principle of fair use

from Contemporary Art of 79 Countries
featured for educational purposes under principle of fair use

References

Dizon, Vicente Alvarez.  “Philippine Islands.”  Contemporary Art of 79 Countries.  Golden Gate International Exposition.  New York: International Business Machines Corporation, 1939.  N. pag.

Amorsolo, Fernando.  “Philippine Islands.”  Contemporary Art of 79 Countries.  New York World’s Fair.  New York: International Business Machines Corporation, 1939.  N. pag.

“Art Throughout America: New York and San Francisco Popular Awards to Contemporary Art.”  The Art News 4 Nov. 1939.  15.

Wonder Woman’s Original Source of Strength

In Wonder Woman’s current iteration, her powers are bestowed by the gods of Olympus.  That was not the case originally.

Wonder Woman’s original source of strength is brain power, and the direct declaration from Wonder Woman that her strength comes from the brain (in the 1940s) is from this strip published in 1944.

In the first panel, Wonder Woman declares to an audience, “I’m often asked the secret of Amazon strength. It’s this – the human brain contains enough energy to blow up mountains.  Amazon girls are trained to direct their brain power into their muscles!”

Look carefully at the last panel and you’ll see “12-8” under H.G. Peter (artist).  That is the intended date of publication – December 8, 1944.  The intended date is not always the actual date of publication.

This Wonder Woman strip was published on December 29, 1944, three weeks after the date written on the last panel.  This strip is found on page 19 of New York Journal-American (see photo below).

Wonder Woman comic strips were distributed across the United States in newspapers that licensed King Features Syndicate content, and the date of publication for any newspaper that featured the 12-8 strip is the same.  King Features Syndicate and New York Journal-American are owned by the Hearst media empire.  New York Journal-American “ceased publication in 1966” (New York Journal-American Photographic Morgue).  King Features Syndicate still operates today.

This strip is from page 73 of the compilation Wonder Woman: The Complete Newspaper Strip, 1944-1945, and has a clearer printed 12-8 (longer panels too – more space under 12-8 making the numbers clearer – than the original New York Journal-American print).

The original newspaper strip has the title Wonder Woman and author Charles Moulton.  The compilation did away with title and author and simply stacked strips on top of each other.

Brain power was implied, if not directly declared, through Amazon training when William Moulton Marston (Charles Moulton) was the writer.

In Sensation Comics #58 (Oct. 1946), Wonder Woman brings Olive Norton, a girl, to Paradise Island to train her. On page 5, Wonder Woman tells Olive, "Feel yourself holding the bat. Your brain will give your muscles all the strength you call for!" On the next page, Wonder Woman declares, "I knew Olive could be a real athlete. All she needed was our Amazon training." Olive demonstrates feats of strength in the pages that followed.

The closest to this is possibly Wonder Woman #28 (Mar.-Apr. 1948) where Irene says, “What good is my Amazon training if I can’t break little ropes like these?  I will break them!”  Irene then proceeds to bend and destroy prison bars with bare hands.  Compare Wonder Woman’s words with Irene’s in panel 4 of the 12-8 strip: “My Amazon training sends brain power to my hands and – hola!”

Wonder Woman directly atttributes brain power in the 1973 cartoon Super Friends.  In the episode “The Power Pirate,”  Wonder Woman tells Aquaman, “The only thing that can surpass super strength is the power of the brain.”

Recap

Wonder Woman’s original source of strength is brain power.  This was directly declared by Wonder Woman in the comic strip published on December 29, 1944 (not December 8) by New York Journal-American and other newspapers published across the United States.

References

Moulton, Charles.  “Wonder Woman.”  Illus. H.G. Peter. New York Journal-American 29 Dec. 1944: p. 19.

New York Journal-American Photographic Morgue.  Harry Ransom Center,  University of Texas at Austin, n.d.  Web.  27 July 2026.  <https://norman.hrc.utexas.edu/nyjadc/history.cfm>.

Moulton, Charles.  Wonder Woman: The Complete Newspaper Strip, 1944-1945.  Illus. H.G. Peter.  Ed. Dean Mullaney.  San Diego: IDW Publishing, 2014.  p. 73.

Moulton, Charles (w), Harry G. Peter (a). Sensation Comics #58 (Oct. 1946), J.R. Publishing Co. [DC Comics]. pp. 5-6.

Moulton, Charles (w), Harry G. Peter (a).  Wonder Woman #28 (Mar.-Apr. 1948), National Comics Publications, Inc. [DC Comics].  p. 5-B.

“The Power Pirate.”  Super Friends.  ABC.  8 Sep. 1973.  Television.

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from Wonder Woman #117 (Oct. 1960)
featured for educational purposes under principle of fair use

In the photograph of the letter (above), Matthew Tristani asks, "How did Wonder Woman get her powers?" Wonder Woman replies, "I keep in shape with intensive Amazon training."

"Wonder Woman's Clubhouse" [letters page]. Robert Kanigher (w), Ross Andru (p), Mike Esposito (i). Wonder Woman #117 (Oct. 1960), National Comics Publications, Inc. [DC Comics]. N. pag.

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updated August 5, 2026