Ricky Church reviews Wonder Woman #10…
“YEAR ONE” part five! The world is finally introduced to the Wonder Woman, and adversaries—both ancient and new—take note.
SEE ALSO: Check out a preview of Wonder Woman #10 here
Throughout the ‘Year One’ story, Greg Rucka has really taken the time to examine Diana’s place among Amazonian society, her growing relationship with Steve Trevor and her initial impressions of man’s world. Wonder Woman #10 continues this, but it also features Diana in action and making her full presence as Wonder Woman known to the world in a visceral sequence. If anything, this issue celebrated many of the qualities Diana of Themyscira is known for, even in the face of abject violence.
First, let’s start with the fact that Rucka has placed a very interesting parallel between the latest issues of Wonder Woman. The previous issue had Diana and Etta Candy taking Barbara Ann to the mall to readjust to normal life while Wonder Woman #10 has Barbara Ann, Etta and Steve taking Diana to the mall to introduce her to the outside world. The former is peaceful with people lining up just for a glimpse of Wonder Woman while the latter is broken by sudden and devastating violence.
The juxtaposition of these mall scenes is interesting, but they really show what Diana represents. Even with the language barrier, Diana still takes the time to speak with children or marvel at the differences of the world without judgement. In this issue it is easy to see how the bond between the characters deepens, with Rucka utilizing the language barrier to continued great effect.
Again, though, the best aspect of this book is the art. Nicola Scott really gets to cut loose by using a wide range of skills. Even a panel where the group is sitting at a table is very detailed, from the way Barbara Ann can’t take her eyes off Diana even as she’s taking notes, Steve’s lovey-dovey expression to Etta’s enjoyment of a margarita. It’s all great looking art.
However, the highlight of course is in the action. Way back when I reviewed Wonder Woman #4, I expressed excitement at seeing Scott bringing to life Rucka’s action sequences and she doesn’t disappoint. There’s a clear fluidity to Diana’s movements, whether she’s deflecting bullets or using her lasso. It’s not only very animated and well choreographed for a comic, but also cinematic. One instance in particular achieves this cinematic quality as Diana races to save a family in a moment of suspense.
Scott’s facial work throughout the issue is also a standout aspect of the book. Whether it is close-ups of Diana, the other characters, a little girl or panicked people in the background. One aspect regarding Diana that really stood out was Scott’s use of her eyes, perfectly shifting from compassionate, worry and steely determination that we know as Wonder Woman. Another thing to look at is the use of the body; none of Scott’s bodywork use odd proportions. Again, each character movement is very fluid and Romulo Fajardo Jr.’s colours really compliment her work.
One last point is Rucka’s use of the setting and action. We’re so used to seeing Wonder Woman fighting aliens, monsters and gods that we can take it for granted when she fights something much more real like a mass shooting. Wonder Woman’s origins have always been closely tied to war, whether the original comic book origin of World War II or the upcoming Wonder Woman’s World War I setting, but Rucka cleverly updates her experience to domestic terrorism. The imagery is quite evocative of actual mass shootings, capturing the chaos and panic in the initial pages. Whether it’s intentional on Rucka and Scott’s part, it is an important moment to realize just what the idea of a hero like Wonder Woman or simply superheroes in general means in this day and age.
Simply put, Wonder Woman #10 is a gorgeous looking issue with stellar character development and action, but most importantly a lot of heart.
Rating: 10/10
Ricky Church
Originally published November 10, 2016. Updated November 14, 2019.
