Oh, have the mighty fallen, as with Wonder Woman in this week’s newest issue. Wonder Woman #8 is a comic that reveals what The Sovereign is capable of and how his point of view is heavily focused on chauvinism and “Christian” ideals. It’s an issue that’s brutal to read but also frightening, as his point of view isn’t exactly rare in modern times.
Wonder Woman #8 opens with Diana leaning down and opening an oven. She’s in a domestic lifestyle and appears to be doting on her husband, Steve Trevor. Once you gain your wits after being completely shocked by her incredibly alien situation, you’ll notice that artist Daniel Sampere’s art is flawless. Sampere and color artist Tomeu Morey capture the saccharine setting with an almost otherworldly glow. It’s bright and somehow supposed to be an idyllic lifestyle. That is until you see how awful Steve is and how trapped Diana is. This is Wonder Woman’s greatest hell.
And we get to see this hell thanks to the Lasso of Lies. The Sovereign wields it, and we see its wrath on a hero like Wonder Woman. Most of the issue is focused on this made-up world while crosscutting with Wonder Woman on her knees, bloody, and forced to listen to The Sovereign’s outrageous ideas of what a woman is to a man and their role in the world. Writer Tom King adds weight to this character’s point of view by invoking verses from the Bible. By doing this, one can see how the Bible has been used to subjugate women for centuries.
In a compelling yet twisted argument, The Sovereign—who narrates most of the issue via blue caption boxes—explains how he sees religion and its use against the masses. Essentially, the rich prevail and utilize it to control everyone less than them. There is also some interesting identity character work, though not immediately obvious. When thinking about Wonder Woman as a daughter, one can see King steering this character in a new direction.
This is Wonder Woman’s hell.
Credit: DC
It’s somewhat important to note this is the start of a new story arc titled “Sacrifice.” Titles can help hint at where the story is going, which is ominous, especially when the narrative switches to Wonder Woman’s compatriots, who have vowed to aid her. They’re interrogating, or at least scaring the crap out of Sergeant Steel. One can imagine one of these characters will be a victim and maybe the “sacrifice” referred to in the title. Either way, it’s ominous.
King and Sampere are working on another level here. The story is subverted, and a reader needs to read between the lines to see where it’s going. The scenes with The Sovereign can feel repetitive, with Wonder Woman suffering in this dream suburban life and the real world. It’s unclear what his goal is, and it’s also a bit silly how he’s seemingly underestimating her for the second time. The idea that Wonder Woman’s willpower is one of her greatest abilities is used here, but we’ve seen that before. I suppose the problem is how this issue ends is not so surprising.
As always, a backup story featuring Damian, Jon Kent, and Lizzie, aka Trinity, takes a lighthearted approach to superheroes. The characters are a bit older, and Lizzie continues to be a pain in the butt. This time, Damian lets her use a time travel device to help with a school paper. Once again, Jon can’t believe how careless Damian is in watching over Lizzie. The story is super cute, plays around with time travel hijinks, and shows Lizzie as a fearless warrior and super smart.
Belen Ortega’s art in the backup is incredibly endearing. It’s cute when it needs to be comical and nails the historical elements of ancient Japan. A full-page splash turn to Lizzie valiantly helping people on a horse is epic and detailed.
Wonder Woman #8 is another masterclass in art, with thought-provoking ideas and incredible character work. There isn’t a superhero comic like it.
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