REVIEW: ‘Wonder Woman’ Issue #8

Wonder Woman #8 is published by DC Comics, written by Tom King, 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 Sánchez and letters by Cowles. Wonder Woman is held captive by the Sovereign and tormented by his own twisted version of a lasso.

The issue is all about pressure. It does not move forward much; instead, it keeps Wonder Woman in one place. She is bound by the Lasso of Lies, the nefarious antithesis to Diana’s Lasso of Truth. For the most part, the issue splits between two versions of Wonder Woman. One is in the present and the reality of the situation, a constant humiliation from the elderly Sovereign. The other is inside Wonder Woman’s mind, a pastiche of the 1950s housewife image. Both of them beat heavily on the themes of daughters and ingrained misogyny. This theme is prominent and immensely powerful in its delivery.

Through the presentation and the dialogue, the systemic degradation, belittling, and reduction of women over centuries is apparent. The plot exists to enrage, and the slow torment that Wonder Woman goes through isn’t easy to sit through. However, there is a pressure building that means the ending is worth waiting for. The execution is exceptional.

Wonder Woman #8 boasts fantastic dialogue. The Sovereign’s smug voice practically begs for someone to cave his face in. He delivers long monologues, using scripture to justify his sexist points. His ideology and motivations behind his relentless pursuit of Wonder Woman and the Amazons have been a mystery for much of the series. Still, it becomes clear that he is just a pig who believes men are stronger and more powerful than women. In response, Wonder Woman’s defiant fury simmers under the surface, occasionally showing signs of its ferocity. Elsewhere, there is a brief scene with the Wonder Girls, which provides a brief respite of levity and humor in the otherwise intense comic.

The art is sensational. The issue remains captivating for a book with quite a rudimentary and static setting. The creator who deserves the most considerable plaudits for that achievement is Sampere. His realism is phenomenal. He captures the slowness beautifully, as that pace is crucial to the eventual ending. Every degrading thing the Sovereign does builds hatred for him. He is a frail, elderly man with prominent wrinkles towards the top of his head. His eyes are hidden by shadow, obscuring much of his emotion. The facial structure resembles that of The Vulture, with an age that is rare within superhero comics.

The colors are fascinating. The characters within the spotlight are brightly colored. Wonder Woman’s outfit becomes a point of order from the Sovereign at one point. She’s also covered in blood and wine, the red streaking over her skin. But aside from a circle of light, the room is pitch black. This hones all of the attention on Diana. The housewife scene is purposefully saccharine, with bright, pastel tones on the walls and the clothes. The lettering is distinct and always easy to read.

The backup story sees young Lizzie, babysat by Superman and Robin, sneak away with the Time Sphere and go on her little adventure. The backup stories are full of personality and comedy as we gradually learn more simultaneously. The art is fantastic by Ortega. A montage features an entirely new character design for each panel, and the details are exceptional. The amount of joy and energy pouring out of the backup stories is limitless.

Wonder Woman #8 leans into why the character exists in the first place. Diana is a beacon of hope and encouragement for women and girls worldwide. King taps into that idea, and the Sovereign’s misogyny presses down heavily on the protagonist. Whilst the illusion in her mind is about wives, it is also about daughters and the disparity between them and sons. The dialogue is the most crucial part of the comic, and the long monologues deliver a message constructed purely to be torn back down again.

Wonder Woman #8 is available where comics are sold.