Wonder Woman #11
Written by Greg Rucka
Art by Liam Sharp and Laura Martin
Lettering by Jodi Wynne
Published by DC Comics
‘Rama Rating: 9 out of 10
Greg Rucka has been a breath of fresh air in his work with Wonder Woman thus far. This issue sees the conclusion of “The Lies” arc that has appeared in the odd-numbered issues of the series, and Rucka wastes no time setting up the dominos again. Liam Sharp’s art really carries us through to the end of this arc. His work has all the hallmarks of making this run an essential one, and he’s definitely gotten over some of the inconsistencies that we saw in earlier issues. “Lies” is a very loaded title for an arc because there’s sort of a binary outcome for the conclusion. The last issue paid off a lot of dangling plot for longtime readers, but Rucka clearly has more up his sleeve.
The main confrontation at the center of this arc has resolved, but Rucka isn’t letting his foot off the gas. He’s already hinted that there was something bigger at work than Cadulo and Urzkartaga, and we start to see more of that here in the scenes between Etta Candy and Sasha Bordeaux. Meanwhile, Diana and Steve’s victory lap isn’t going all that well. Rucka does a really great job of circling back to the ideas presented in Wonder Woman: Rebirth and the first issue of his run. Diana is searching for her story, and while the villains may have been defeated and she got her man, something is off. As Steve and Diana wander around Themyscira, Rucka plays a bit on the ending of Planet of the Apes. The worst is over and yet, everything that Steve and Diana think they know is wrong. The pacing is excellent and ...spoilers... the conclusion lives up to the arc’s title.
Liam Sharp’s work has really grown over the course of this arc, bringing a familiarity with the characters that has come with multiple renderings that makes the artwork shine. Characters’ poses are less stilted. The expression work is warmer. Not only has Sharp gotten more comfortable drawing these characters, but there’s an obvious affection for them as well. And that frees Sharp up to really go to work on his staging and his background work. These pages are stunning in just how packed full of detail they are without seeming overly busy. Colorist Laura Martin’s work is sublime, cutting the book into two larger color schemes (mysterious greens and yellow for the Etta/Sasha scenes, and lush purples and reds for Diana and Trevor) that flow well into one another and help sell Rucka’s pacing.
If Wonder Woman isn’t already on your pull list, I’m not quite sure why. The character is being written possibly better than she’s ever been, and Rucka is exceptional at keeping up the intrigue in his plots. Even as this arc ends, the stakes feel huge for what’s to come. Readers might be put off by the dubious nature of the truth in this story but Rucka is making sure it’s clear that something much larger than what we’ve seen is at work. Rucka’s take on Diana is refreshing and fun, even if the future is a little bit uncertain for her, that’s a good place to be.