If there remained any question otherwise, Brian Azzarello and Cliff Chiang prove once and for all that their ongoing saga of Diana of Themyscira is the very best that DC Comics has to offer.
(That really is a complement, I promise)
Written by Brian Azzarello
Illustrated by Cliff ChiangWonder Woman had no choice but to abandon London to the bloodthirsty First Born—but now it’s time to take the city back! If Diana is truly War’s greatest student, then now is the time to prove it!
“Wonder Woman” is an interesting book, in that it’s easy to forget how good it is. Issue by issue, Azzarello, Chiang, and the other artists involved on the title have established a consistent level of quality that is easily taken for granted. Fortunately, every once and a while the team throws down the gauntlet, demanding readers to take notice of this astoundingly crafted book.
Leading up to last September’s “Zero Month,” Wonder Woman #12 acted as a spectacular close to the first year’s story arc. Now, in the final issue before the upcoming “Villain’s Month,” Azzarello reprises the televison-esque model, capturing that exciting magic of the “season finale.”
Most would expect Azzarello to bring the battle against the First Born to a crescendo, especially after last issue’s tragic loss. In this, the writer doesn’t disappoint. Just as in the aforementioned issue #12, the gauntlets come off, and Cliff Chiang delivers a dizzying clash of the titans. Diana taps into the Odin Force (or Zeus Force?), Orion goes pro-wrestler, and War gives Aragorn a run for his money. The whole thing is everything you could wish for in a superhero comic about characters from Greek mythology. However, even with the emphasis on fisticuffs and bloodshed, this issue is really all about Diana’s relationship with her step-brother and mentor, War.
Ever since the lighthearted and innocuous jaunt into Diana’s past in issue #0, the sub-plot regarding Diana and War’s broken relationship has been subtly developed, but overshadowed by the coming and goings of New and Old Gods. Over the past year, War has gone from dangerous wildcard, to misguided father figure, to a world weary old man, just trying to do the right thing. The character continues to grow, and this issue sees the next evolution of the God of War. Just as with the introduction of the New Gods into the “Wonder Woman” mythos, Azzarello once agains grows the series in a way that is both surprising and perfectly organic.
One could go on and on for days analyzing and dissecting the final five or so pages of this issue, but to do so here would constitute as major spoilers (something Matt really frowns upon). Suffice it to say that Azzarello and Chiang have crafted a finale that is brilliant in its succinctness, in its ability to nail every emotional beat, and the absolutely limitless foundation it sets for future stories. It’s the Wonder Woman story that has been dying to be told, the one you always wanted but never knew it.
Among the mind-blowing, grandiosity of it all, Azzarello wiggles in his signature brand of wry, sardonic dialouge. While the First Born’s brutish pontification does grate after a while, it’s overshadowed by Diana’s introspection, Zola’s witty quips, and War’s cold, calculated comebacks. Each character’s voice shines through the page, rising above stereotype and expectation.
The level of visual quality is equally represented. From the cover, which stands out as perhaps the series’ best to date, Cliff Chiang sets the bar particularly high. Underneath the cover is more of the delightful artwork fans have come to expect from this rising talent. Employing thick character outlines, Azzarello’s pages take on an unusually surreal appearance, even considering the subject matter. This is no normal battle, this is a clash of gods, and Chiang captures the weight of every punch, every slam, every sonic boom inducing crash. Most impressive, however, is his quick transition in tone. At the issue’s climax, all the sound and clamor ceases, and a hush of pencils, inks, and colors falls. The final page, completely silent, strikingly colored, and astonishingly anachronistic, is the perfect encapsulation of this modern day myth.
It’s really easy to jump on the DC hate-wagon and dismiss the New 52, but to do so completely would be to disregard a modern classic in the making. Between the work being done here by Azzarello and Chiang and the upcoming OGN by Grant Morrison and Yannick Paquette, it would seem that the lesser of DC’s Trinity is finally receiving a much needed renaissance. If nothing else, “Wonder Woman” proves that character is still relevant, and is just as interesting and engaging as her male counterparts. Kudos’ to all involved on this series for another spectacular year.
Final Verdict 9.7 – Buy. It’s really that good.
