REVIEW: ‘Wonder Woman’ Issue #12 (2024)

Wonder Woman #12 (2024) is published by DC Comics. It is written by Tom King, with art by Tony S. Daniel, colors by Leonardo Paciarotti, and letters by Clayton Cowles. There is a backup story written by King, art by Bélen Ortega, colors by Tamra Bonvillain, and letters by Cowles. This issue is part of the Absolute Power event. Wonder Woman and Robin are tasked with finding the location of Amanda Waller’s prison, which leads them to interrogate Captain Boomerang to get it.

Wonder Woman #12 (2024) has a very similar structure to many of the comics before. Robin and Wonder Woman are tasked with getting answers from Captain Boomerang, taking turns trying methods to loosen the vulgar Aussie’s tongue. Wach’s scene changes location, comically similar to the previous one. Where Wonder Woman might attempt a conversation, Robin’s moves are more physical and teetering on torture.

The repetition is a point of humor in Wonder Woman #12 (2024). Frustration grows among the heroes as Boomerang fails to give them the necessary information. After the helplessness that spread throughout most of the comics during the early stages of Absolute Power, seeing a fraction of dominance return is satisfying. The comic moves between a lighthearted nature and some instances of deep introspection. There aren’t any surprises, as the readers already know where Waller has been stationed. As is often the case in comics written by King, much happens in an issue, only for the story to not progress very far.

The dialogue is fantastic, revolving around a minimal cast that doesn’t know much about each other. Robin and Wonder Woman are two distinct personalities, sometimes clashing in the book. However, King’s script is excellent in terms of how Wonder Woman deals with young heroes. She is firm but incredibly compassionate and gentle. She is polite and persistent. However, as Captain Boomerang repeatedly finds out, Diana is not a pushover. Robin is petulant and impatient, the exact opposite of Wonder Woman. Wonder Woman does not feature much urgency so that the conversation can flourish.

They are the perfect foil for each other, and the casual nature of their discussions is charming and warm. Robin gets as tender and as open as he ever has been. Wonder Woman’s mannerisms not only facilitate that but also accept it. She understands youth and vulnerability more than almost any other hero. `Captain Boomerang brings chaos to the book, a constant fusion of swearing and crude humor, which often conflicts with Diana.

The art is brilliantly comedic. Having Captain Boomerang hang from various locations becomes funnier as this chapter progresses. Daniel superbly depicts the height and ridiculousness of the situation. At first, the man panics and is furious, but as the story goes on, he becomes more accepting and struggles less. The locations look fantastic, with recognisable places and heightened danger everywhere. The comedy stems from facial expressions, physicality, and body language, all executed flawlessly. The details are extraordinary.

Daniel is not a drastic separation from Sampere; their styles are similar, and their attention to detail is identical. Wonder Woman’s armor is stunning, and an exciting idea has been added to her hair. The height difference between the diminutive Robin and the statuesque Diana is consistent across the pages. Where Robin can be dramatic and expressive, Wonder Woman is calm and stoic. But when she does lash out, the power within her and the damage she can cause is terrifically illustrated.

The colors are excellent. The shades are muted, making the pages look natural and calm. Both Wonder Woman and Robin are known for their scarlet costumes, but the tones do not have intense vibrancy. Neither does Captain Boomerang’s blue coat. The sky is also gloomy, reflecting the tone of the whole event. The lettering is dynamic, responding to the voice and intentions of the dialogue without being too intrusive or distracting.

The backup story shows some progression within the secret origin hidden within this Wonder Woman run. Trinity, who has been cared for by Damian Wayne and Jon Kent in her world, is much older in Wonder Woman #12 (2024). Where she was once an adorable toddler, now she is a teenager. She still has a highly expressive face that is dripping with personality. Ortega has illustrated this backup story magnificently since its inception, and it is exciting, but it has taken a long time to get to this point. It is sometimes difficult to know where it is heading.

Wonder Woman #12 (2024) is a tremendous team-up. It is fascinating to see the character exploration as this duo of warriors approaches the same situation uniquely. Damian Wayne is eager to impress and impatient as an interrogator, while Wonder Woman’s calm and methodical personality blends the confrontations beautifully. The interactions between Diana and Damian are heartwarming and filled with emotion and humor. Even though the story revolves around the same concept, the changes in location and energetic dialogue make this tie-in an enjoyable read.

Wonder Woman #12 (2024) is available where comics are sold.