Heading into the final stretches of this modern day Greek epic, Azzarello and Chiang waste no time getting into the nitty-gritty.
Written by Brian Azzarello
Illustrated by Cliff Chiang
Colored by Matthew WilsonIf the helmet fits…then it’s time to play God!
“Wonder Woman” under Azzarello and company has been quite an interesting comic. Understatement of forever, am I right? Jokes aside, I’m referring mostly to the series’ structure and pacing. The book will go on for long stretches of issues at a leisurely pace, a slow burn where quirky interpretations of capricious gods and goddesses sit around and shoot the breeze. Then, out of nowhere, the book completely pulls the rug out from under you, shuffles the entire board, and lets things go from there. Rinse and repeat, simple as that.
“Wonder Woman” #29, if you haven’t already guessed, is a rug-pulling issue.
It should be obvious from the cover. I’m never a big fan of covers that spoil the story contained inside, to any degree. However, Cliff Chiang absolutely earned this one. After slowly building Diana up as a character that unabashedly rivals her male Trinity counterparts, the symbolic acceptance of War’s helmet is arguably the apex. This is Wonder Woman at her most epic, and Chiang absolutely nails it with this subtle yet striking image. Besides, in this latest chapter of the story, the journey is just as important as the destination.
That journey consists of 19 pages of status quo upheaval, character growth, and huge sci-fi/fantasy action. Picking up directly from last issue’s (literally) explosive finale, “Wonder Woman” #28 deals with the consequences and the fallout. A god dies, and an unexpected one returns. A mantle is taken, and an army is formed as the lines of battle are drawn. It’s hard to discuss much of the issue without getting into spoiler territory, as nearly every beat carries weight and leads into another shocker. Suffice it to say, the issue follows up on “Wonder Woman” #28 with dramatic aplomb.
No disrespect to Goran Sudzuka or Tony Akins, who have both done some incredible work in their time on “Wonder Woman,” but the book truly sings with Chiang is in the artist’s chair. The artist’s unique visual flair was one of the key characteristics that set this book apart at the launch of the New 52, and it continues to do so over two years later.
In the context of this issue, Chiang especially nails the Firstborn’s new look, which is slightly reminiscent of recent depictions Anton Arcane. You know, with the addition of vampiric god-vein whips. The horror of the character is matched only by the hellish new state of Olympus. Matthew Wilson’s richly saturated colors, heavy reds, greens, and blues depending on the scene in question, make the finished product even more noteworthy.
It’s quite redundant to point out at this point, but very few books remaining from the original New 52 launch have managed to sustain such a high level of quality. Brian Azzarelo and Cliff Chiang are creating a definitive run, and it’s issues like this one that prove it as such.
Final Verdict: 8.9 – Buy
