Wonder Woman #4 continues to be a complex thriller balancing Diana's goodness with an evil that's manipulating the American government. There are some deeply relatable elements at work here as we see the media craft an untrue narrative, especially when juxtaposed with how Wonder Woman truly is in her day-to-day life. Political theater is a true peril of our time and it appears Wonder Woman is at the center of it. Read Full Review

The stakes couldn't be higher, the writing and ton couldn't be stronger, and the main character couldn't be more amazing, and we're only four issues into this new series! Read Full Review

Wonder Woman #4 remembers the hero’s heart. That is what makes Wonder Woman so special: the fact that she’s a weapon of war with a soul that shines brighter than any star. There may be a haunting sadness to the book as it nears its conclusion, but it has so much compassion within it that a smile can be found among the tears. Read Full Review

Sampere delivers some fantastic art throughout the issue. The art is visually stunning and I love the composition of the panels. Read Full Review

While the main plot starts to lose its steam, the quiet moments between Diana and the young boy, Jack, who is dying is one of the sweetest, and most earnest moments weve seen from Diana in quite some time. Mix that in with Samperes art, and its the first story since Uncanny X-Men #303 thats put a lump in my throat while reading it. Plus we get another installment with the Trinitys children, by King and Ortega, thats just so fun. A real sweet piece thats made me smile. Read Full Review

Wonder Woman #4 tugs at the heart. It has beautiful scenes with Diana and Jack on Paradise Island, alternating with scenes of the President and the villain of the arc. The villain seems unnecessary to the story and is a bit clich, but overall the story arc is good and Im invested in wherever it goes next. Read Full Review

Wonder Woman #4 showcases both the strengths and weaknesses of Tom King as a creator. The Wonder Woman portion works as a standalone story. Though it does not work in the context of everything else going on. The sense of urgency for the world turning against the Amazons needs to be picked up. Luckily King has Daniel Sampere and Belen Ortega for both stories in Wonder Woman #4 to lift the storytelling up. Read Full Review

Wonder Woman #4 is a bizarrely conflicted comic that has scenes of genuine emotion combined with rushed, impossible-to-believe scenes in a plot going nowhere. Sampere's art is fantastic, and the sweet moments between Wonder Woman and a dying boy are excellent, but everything surrounding Wonder Woman's day out is either rushed or poorly developed. Read Full Review

Overall, this is a frustrating issue that just illustrates that we're dealing with someone who doesn't understand the character and doesn't care to. Read Full Review

King's Wonder Woman is a cypher, and even a lovely scene with a young man in the final stages of a terminal disease doesn't quite give me a sense of what this is meant to be. Read Full Review

A wonderful issue in every way.

What a great comic! Art and writing is top notch!

This is so political! I love it.

I feel similarly to how I felt with the previous issue here, when it comes to both the main story and the backup story. I did really like a lot of of the stuff with Diana and Jack, though, particularly towards the end of the issue. Sampere, of course, drew just about everything beautifully, and Ortega's art fits right in with the tone of the backup story, as well.

Solid issue but the back up was fantastic and probably the best thing Tom King's done in a while.

Hard not to appreciate this story.

It, and this run have not been subtle in its messaging, but King knows very well what the core of this character is about, love and compassion.... above ANYTHING else.

This is the issue where this arc takes a weird shift and the focus becomes much more myopic, which isn't great because I feel like King has so far failed to make Wonder Woman herself engaging. I don't really *get* what King is going for with her character, even with the minimal character depth we do get. She's talking about choosing love, but it seems like she's a very contemptuous person in her interactions with anyone who's not currently a dying child. It just seems disconnected. Sure, people are multi-faceted and sometimes Wonder Woman is right to be cold, but why is she threatening her fellow Amazons when talking it out seems like the better option? It points to the major flaw I find in Diana's characterization thus far. King wants to show that she's strong and powerful, and has agency, but we don't see the value in that strength and power, and agency, because we never see her struggle, nor do we ever see her question herself.

There is a great moment with the dying kid, and it actually hits back on the larger patriarchal conflict this book is about. The child is questioning whether they're bad or abnormal for not liking what's expected of them to like by society's self-imposed gender norms. Whether they're sick and dying because those norms seem so ingrained into everything that it must be how God wants it. It has to be something far beyond humanity's control. Something innate. That's good stuff. Wonder Woman rambles on it too long, but I applaud the effort.

Unrelated, I wonder if we'll get follow up on that scene with Steve Trevor where he gets into a fight over some rude, sexist comments from another soldier. This scene is played straight, but it nags at me because it's played straight. I'm not sure what it's saying. Because while the soldier is being sexist and wrong, he's also doubting Steve's manhood and Steve has to prove him wrong by... Punching him out. Which seems like toxic masculinity if I've ever seen it. But is the scene saying, "Hey, Steve's right" or is it saying, "Hey, look at all the ways patriarchy affects us"? Eh, I don't know. The scene with the kid questioning whether he's bad or not is what saves this one for me.

The backup is cute although I find it really reductive to say Damian has no hopes and dreams. Kind of flies in the face of everything I've ever read with that character. But it's Damian, so who cares? more

Loved the back-up, which almost felt like a Tomasi-written Super Sons adventure featuring Lizzie. The main story was good with amazing art, though the big storyline didn’t move forward all that much, though we do get to see The Sovereign extend his influence into the seat of power in America. Another great chapter but I’m ready to see how the end-game plays out.

I’m not sure what it was, but something felt very off with Diana here and it made this issue one of the first clunkers in what’s been an amazing first few issues from Tom King. Diana’s interactions w/ the parents of a dying child felt out of character, including her asking them to call her Wonder Woman when it felt like she’d allow them to call her Diana. How she even ended up involved in this weird Make-A-Wish style situation was never explained and felt like a really strange way to set up the conversation towards the end about her being a mother given Trinity/Lizzie’s involvement in the series (her introduction via backup stories with Damian and Jon continues to be utterly endearing). The political subplot was still well written, if not redundant to what we’ve seen so far.

Daniel Sampere’s art was limited given the lack of meat to work with in a rather uneventful issue, though it’s still one of the better drawn comics on the market. I love his little newscast pages where we get to see his interpretation of our 24-hour newscycle. more

If you read my Amazons Attack review, then you know I'm a fan of this event that Tom King has set up. It makes no sense that thousands of Amazons would move from Paradise Island to live in "man's world." They might visit, try out the food, and the men and then go back to the island. Also, having one person commit a murder would never cause the entire world to turn on a particular group of people. I think he's trying to make a commentary regarding current-day immigration. Despite all of this this turmoil, Wonder Woman decides to take a day off to spend with a cancer kid. It's touching and the art is great, but it doesn't fit into the larger story. It makes Diana seem like she doesn't care about what's going with her sisters. She is an ambassador! Then the boy tells Diana that there's "something wrong inside him" because he's a fan of WW and not Batman and Superman like his friends. I think Tom King is alluding to the being gay because he's a fan of WW. This is complete crap if this is what he's trying to comment on. Just stop it already. Let's get back to the story and see if he can make any sense out of it by the end.

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6.5/10.

I was initially rather impressed. But as the series goes on, he seems to be trafficking in some racial and gender stereotypes that I find troublesome. The art is the saving grace.

This book once again frustrates. It is a tale of two stories. And dont get me wrong, the art throughout the book is gorgeous. However, if you know King, he often uses amazing art to cover up his poor story telling.

Main Story:

1) This book was a slog to read. So much text and so much of it meandering. I didn't have fun reading this, it felt like a chore.
2) I dont know how anyone can defend the tone. Its really really mis-matched. Of course I don't expect King to be above using a dying child to go for the cheap 'feels'. It is sort of his MO to kill children at this point. That being said, the contrast he was trying to paint falls flat. If you would have had that dying child story with another writer in another situation I would have loved it, but it is contrast with the Sovereign. Her inactions and chilling with a kid will no doubt cause lives to be lost down the line. It was also the extremeness of it. Like Tom King needed us to bond with Diana, so he was like ok lets pull out the classic dying kid trope. Its cheap and hackney. Why not use her connecting with people who think she is a monster but she shows them what a hero looks like? Not a kid who already loves her. Totally misses the mark.
3) All the characters act so dumb in the first story. Just feel like a bunch of poor choices, and the fact the Sovereign is just essentially the ruler of the USA still feels like a cheap writing device.

Back-up story.

1) This is the only reason I buy this book. The art is great and the story is sweet. It would not surprised me if King used a ghost writer to write this because it doesn't feel like his writing at all. It has hope, lightheartedness and laughter. If you are honest with yourself in King's writing history, he doesn't really do that. Dude has a lot of issues. more