Wonder Woman #9 continues to show the incredible resolve of Wonder Woman as she fights against the threat of losing her mind. The creators continue to show Diana's strength in ways we haven't even imagined. Plus, there's another super cute backup story! Read Full Review

The overall story feels a little stuck in place  which is probably the point  but it's still a strongly written and gorgeously drawn issue. Read Full Review

Sampere delivers some beautiful art throughout the issue. The visuals are fantastic and brilliantly detailed throughout. Read Full Review

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. Read Full Review

There is something incredibly creepy about this story, but Sampere's art keeps it all above water as the seemingly endless dialogue makes its point with the subtlety of a sledge hammer. Read Full Review

Wonder Woman #9 is all style and zero substance. By far this is one of the best looking comic books you will see right now. The work done by Daniel Sampere is purely amazing. This makes it even more unfortunate that for as incredible as this comic book looks, the writing does nothing to match that quality. All of the problems with the narrative just leaves you hoping this wraps up as fast as possible and we move far away from the Sovereign story. Read Full Review

The result is the most muddled issue to date that is merely wrapped in very pretty packaging. Read Full Review

Wonder Woman #9 forces the reader to stand by and watch as Wonder Woman holds on to her sanity while enduring months of mental torture. Daniel Sampere's art is a joy to behold, but Tom King's script dips into torture porn territory of the misogynistic variety. Read Full Review

While I do think it could have been executed better,I did like Diana's resilience and perseverance being shown here, even if it involved her eating a rat, of all things. Also, Sampere's art continues to be one of the highlights of this series.

In part 2 of the ‘Sacrifice’ arc, Tom King delivers a gripping psychological analysis that showcases Wonder Woman’s unparalleled mental and emotional resilience.

After facing the Sovereign’s Lasso of Lies last issue, Diana is now forced to endure # the cruel fate of solitary confinement, which is still somehow legal in our real world. To survive, Diana creates an imaginary version of Steve to keep her grounded and sane. King’s dialogue between the two reinforce that Diana isn’t just physically strong, she’s one of the most mentally and emotionally capable heroes around.

Each page is a new convo, in a new location, visualized through Daniel Sampere’s beautiful artwork & Tomeu Morey’s rich colors. One of the standouts includes Sampere’s version of Barcelona, his hometown. The last page was a perfect visual encapsulation of Diana’s grit & determination.

What really stole the show was the backup story featuring Lizzie & corgified versions of Damian & Jon. This was such a fun, light-hearted tale & I have absolutely loved seeing this trio’s relationship grow each issue. Belén Ortega’s art is A+++ as usual & I’m begging DC to give Ortega the series artist job if/when Trinity gets her own solo series.

Overall, Wonder Woman #9 is a must-read that highlights the Amazonian warrior’s unwavering spirit and determination. King’s writing, combined with the talented artwork, makes this issue a standout in the series. Don’t miss it! more

While i wasnt a huge fan of the pacing here the art was incredible and i do love the ideas used here. Wonder Woman finding comfort through illusions in her mind. Very well done

This is solid but at this point in the series you are either ok with King’s snail pace storytelling or are off it. Not the strongest issue in the run but it’s a deep dive into WW psychology. Sampere on art is incredible.

Meme panels aside, this was actually a good issue.

We finally get into Diana's psyche and, while obviously King will default to his clichés, I think he was succesful in defining his version of the character without letting his preferences override Wondy.

I don't like that she's always being comapred to Batman and Superman, but I loved the last panel.

This is a good issue on its own. The main issue with it is that it is too drawn out for what its achieving and probably should have been pieced up into another side arc maybe with the other wonder girls for 2 issues or so.

The art as always is flawless. Theres a lot to like here but the pacing is slow.

This is an issue that has a good enough idea, with a good enough premise, that is let down by the execution of said idea and premise. King just writes Wonder Woman weird. I wish there was a more profound reasoning here, but there isn't. She's an overly stoic strong female character, at her core, and that rigidity makes for an uncompelling character arc. She does lose grip and get broken down here, but the way it's done is odd. We get her comparing herself to the rest of the Trinity, which I don't think she'd do. We get an homage to her killing Maxwell Lord (which was ill-advised at the time, so I'm not sure why we're playing up the murderer in Diana). This is just more evidence of what I've been saying in these reviews. Tom King doesn't know how to write Wonder Woman. She's a contradiction, and I get that her characterization has been all over the place in her book since... Forever, but King shouldn't be contributing to that haphazardness, and should be trying to mend the characterizations together. Make them coherent. But King is ill-equipped for that, because he writes this archetype the same way every single time. Oh, and there's a page in here about how Diana grew up on western media and art, and I find that really weird. Wouldn't that kind of drastically change the context of Diana's origin? This arc is starting to become a bit reminiscent of Knightmares, and I really hope next issue bucks that trend. Otherwise, we're in for some turbulence.

The backup is cute, but I'm starting to need more than cute from these backups.

Oh, and why write in Diana eating a rat? That's going to be a meme. more

I like how Diana doesn't break but the issue drags. I would have preferred her not having ate the rat which would have made the ending even stronger showing ho she can't be broken.

The back up was actually enjoyable with Damian & Jon as dogs so King couldn't continue his awful depictions of the characters. But that falls apart at the end as they revert back to King's petty portrayal of them.

SPOILED REVIEW.

We begin this adventure with Sovereign ordering a guard to open a cell door, “Open it.” Wonder Woman, sitting on the floor, disheveled and holding a rat, responds, “All right, old man. What’s next?” TO BE CONTINUED…

The backup story features the lovely Zatanna in San Francisco, of all places, performing a magic trick before an audience of one, Elizabeth. She pulls a rabbit out of a hat, to the amazement of none. Lizzie asks Zatanna for advice on how to convince Jonathan Kent and Damian Wayne that they are not corgis. This is absurd, of course, because Circe has clearly turned them into corgis. They fetch sticks like corgis, wag their tails like corgis, roll over and get belly scratches like corgis, and fight over a tennis ball like corgis. Later, they wake up, clearly not corgis. THE END.

Will let Wonder Woman sum up this issue, “I don’t know. Does it matter?” more

I don't know why Tom King is so addicted and loves non-linear structure, but this story was just plain old boring. It's Diana Prince being stuck in illusions, and the only thing that is carrying this series is the art, and the back-up story. The problem with the main Wonder Woman Story is the stilted dialogue taking up most of the pages, and how the pacing is stretched extremely to the point where it's not engaging

The art is good. But Tom King just continues to destroy everything he touches. He has the reverse Midas touch.

Absurd imaginary stories in Diana's mind. That is all this issue is.
Just think about what CIA's Tom King would put there.
The CIA looks at law and wipes its feet on it. So that's the values you will be reading.
So murder? Hey, that's OK with the CIA.
Just remember it is all one big fake-out in this one big, long "imaginary" story.
(At least for now.)
Which allows King to write what he REALLY DOES want to write, but have plausible deniability.

But it also says everything you need to know about values of DC Comics that they published
CIA's Tom King's caricaturization of legendary WWII hero Steve Trevor cooing that murder is "fun." No amount of "great art" or sci-fi narrative can cover the foundational stench of moral and values decay.
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Bats20832 - May 21, 2024

And of course, as usual, since it is Tom King, he gets the characters in the imaginary stories he pens also all wrong, having them think and act of character, because he generally could care less about the actual characters... just the narrative he promotes.

justonemore - May 22, 2024

.... Dude, everytine i read a review of yours, It has a lot of crazy stuff. You're strange, man.

Phantom of Krankor - May 23, 2024

CIA's Tom King

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