REVIEW: ‘Wonder Woman’ Issue #9

Wonder Woman #9 is published by DC Comics, written by Tom King, with art by Daniel Sampere, colors by Tomeu Morey, and letters by Clayton Cowles. There is a backup story written by King, art by Belén Ortega, colors by Alejandro Sanchez and letters by Colwes. Wonder Woman is being held in isolation by the Sovereign, causing her to hallucinate a series of conversations with Steve Trevor.

This issue does not move quickly, mainly due to it existing in Diana’s mind while imprisoned. It shifts from setting to setting as she converses with Steve, varying from domestic scenarios to superhero antics. What is happening around them is in the background, sometimes not even part of the storytelling. A serene atmosphere takes over the issue, slowly transforming into sadness as the isolation takes effect.

The slow pacing causes Wonder Woman #9 to drag, but a remarkable exploration of a hero’s psyche is within it. Unhinged and scary at points, some distressing signs are hidden in the text. Ultimately, the revelation at the end isn’t surprising, with the truth of what’s happening easy to figure out early. But the conversation is the most essential part of the issue, not an enigmatic plot.

The dialogue and the character development are fascinating. The conversation in Wonder Woman #9 is heavy but of the highest quality. Within it, one of the most steadfast minds in the DC Universe starts to falter. Wonder Woman’s isolation hugely damages her sanity, and her degradation is alarming to read. While conversing with Steve, Diana creates streams of consciousness that deliver her backstory and describe what’s happening in her head. The distress is disturbing to read, especially within a character who is known for her resolve and strength.

Discovering what Wonder Woman dreams about is fascinating, with explanations coming later in the issue. However, there are pages where the volume of dialogue is far too much, close to reaching the levels of Brian Michael Bendis.

The art is captivating, completely reinventing the scenario page to page. Sampere brings that stunning world-building each time, crafting constructs and landscapes and characters that exit around the conversations. Wonder Woman and Steve change outfits every time the scene changes, too. The clothes can be intricate party attire, casual sweats, superhero gear or any other variant.

Several new designs unfold in mind-blowing fashion in Wonder Woman #9. The details are immaculate, blurring the lines between what is real and what is fake. The scenarios demonstrate just how varied a character Wonder Woman is. She fits in everywhere, whether in a roadhouse or outside the Hall of Justice, like a Greek God. She is divinity and sensitivity all at once.

The colors capture the beauty of the locations. The areas that Diana and Steve find themselves in have a unique beauty, with some slight difference that adds individuality and an aura to the comic. On a moonlit beach, the water’s edge glows an iridescent blue. In the snow, the freezing conditions are met with a stark white.

Throughout the book, Diana and Steve’s hair remains a partnership of black and blonde. Cowles does not have an easy job as the letterer. There is a lot of text in the pages, and finding space to put it can be difficult. However, most of the time, the layout of the word balloons is successful.

The backup story is delightful. Trinity, the daughter of Wonder Woman, has faced the consequences of picking a battle with Circe. Her protectors, Batman and Superman (Damian and Jon) have been turned into corgis. The story is terrific and hilarious, with fantastic dialogue. It shows the variety that King has in his scripts, where humor can mix with drama. Ortega turns the young superheroes into puppies, giving them terrifically emotive faces. The whole story is filled with joy.

Wonder Woman #9 is a cerebral climb through an incredible mind. To try to portray the length of time that Diana is kept in total isolation, King finds a way to display her fraying mind. And for much of that, the comic is brilliant. It’s gorgeous and filled with small gags and tiny details that display how Wonder Woman is breaking down.

King’s experience whilst working with the CIA possibly granted him a deeper insight into the effects of such a situation. Drawing it out across the comic makes that length of time seem unbearable. But the Wonder Woman #9 plot moves at a snail’s pace. Spending the whole issue under this concept limits the forward momentum, and very little has been achieved by the end of the chapter.

Wonder Woman #9 is available where comics are sold.