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Wonder Woman #4

72
Comicscore Index
Generally favorable ratings

Based on 14 critic ratings.

With the world losing trust in the Amazons, Wonder Woman takes a moment to grant the wish of a dying boy and gives him the perfect day.

Meanwhile, the Sovereign constricts his grip on the government.

Will Wonder Woman be able to hold out hope as the world around her grows darker?

Plus, Trinity spends the night at the Fortress of Solitude with her babysitters, the Super Sons!

Publication Date
Publisher
Format
Kindle Edition
Print Length
33 pages
Language
English
Amazon ASIN
B0CP6V6L81

14%
14%
29%
43%
14 Critic Ratings & Reviews from:
  • 95

    Geek Dad

    This is a quintessentially Wonder Woman story, in which no rule will stop her from doing what’s truly right, and it also features some beautiful dialogue from her young friend about his fears.

  • 90

    AIPT

    Wonder Woman #4 continues to be a complex thriller balancing Diana’s goodness with an evil that’s manipulating the American government. There are some deeply relatable elements at work here as we see the media craft an untrue narrative, especially when juxtaposed with how Wonder Woman truly is in her day-to-day life. Political theater is a true peril of our time and it appears Wonder Woman is at the center of it.

  • 90

    But Why Tho?

    Wonder Woman #4 remembers the hero’s heart. That is what makes Wonder Woman so special: the fact that she’s a weapon of war with a soul that shines brighter than any star. The story of the issue has echoes of The Kids Who Collects Spider-Man, one of the first comics to use the concept of a dying child to add humanity to the superhumans. It’s perfectly written, never lessening the horror of cancer or trying to treat it with magicians. There may be a haunting sadness to the book as it nears its conclusion, but it has so much compassion within it that a smile can be found among the tears.

  • 90

    Henchman-4-Hire

    The stakes couldn’t be higher, the writing and ton couldn’t be stronger, and the main character couldn’t be more amazing, and we’re only four issues into this new series!

  • 89

    The Super Powered Fancast

    The Story: King delivers an entertaining and often contemplative story in this issue. There isn’t a lot of action in the plot, but there is a heightened level of tension throughout the story as Diana continues to do what’s right and we see the forces lining up and plotting against her. There are some great suspenseful moments in the story as well as some amazing moments of sweetness and compassion that exemplify the best aspects of the character.

    The Art: Sampere delivers some fantastic art throughout the issue. The art is visually stunning and I love the composition of the panels.

  • 87

    Comic Watch

    While the main plot starts to lose its steam, the quiet moments between Diana and the young boy, Jack, who is dying is one of the sweetest, and most earnest moments weve seen from Diana in quite some time. Mix that in with Samperes art, and its the first story since Uncanny X-Men #303 thats put a lump in my throat while reading it. Plus we get another installment with the Trinitys children, by King and Ortega, thats just so fun. A real sweet piece thats made me smile.

  • 80

    The Comicbook Dispatch

    Wonder Woman #4 tugs at the heart. It has beautiful scenes with Diana and Jack on Paradise Island, alternating with scenes of the President and the villain of the arc. The villain seems unnecessary to the story and is a bit clich, but overall the story arc is good and Im invested in wherever it goes next.

  • 75

    Comic Book Revolution

    Wonder Woman #4 showcases both the strengths and weaknesses of Tom King as a creator. The Wonder Woman portion works as a standalone story. Though it does not work in the context of everything else going on. The sense of urgency for the world turning against the Amazons needs to be picked up. Luckily King has Daniel Sampere and Belen Ortega for both stories in Wonder Woman #4 to lift the storytelling up.

  • 70

    Derby Comics

    I’m not sure what it was, but something felt very off with Diana here and it made this issue one of the first clunkers in what’s been an amazing first few issues from Tom King. Diana’s interactions w/ the parents of a dying child felt out of character, including her asking them to call her Wonder Woman when it felt like she’d allow them to call her Diana. How she even ended up involved in this weird Make-A-Wish style situation was never explained and felt like a really strange way to set up the conversation towards the end about her being a mother given Trinity/Lizzie’s involvement in the series (her introduction via backup stories with Damian and Jon continues to be utterly endearing). The political subplot was still well written, if not redundant to what we’ve seen so far.

    Daniel Sampere’s art was limited given the lack of meat to work with in a rather uneventful issue, though it’s still one of the better drawn comics on the market. I love his little newscast pages where we get to see his interpretation of our 24-hour newscycle.

  • 70

    COMICON

    ‘Wonder Woman’ #4 continues to unfold the main storyline at a snail’s pace in an example of decompressed storytelling that’s beginning to have an effect on the book’s attempts at retaining the reader’s attention. Slow, but with stunning artwork, here’s hoping that we don’t have too many more issues like this one.

  • 60

    Graham Crackers Comics

    While still a confusing mess, at least this issue provides some good old fashion Amazonian competition. As Wonder Woman bests her fellow Wonder Women at tests of skill to keep them out of the fight, the government is putting together an old school Wonder Woman Rogues Gallery team to do battle. It was nice to see Angle Man again. Meanwhile, the future Trinity team ride Kangas and drop hints as to what happened to the Big 3. The calm before the storm begins issue.

  • 55

    Weird Science DC Comics

    Wonder Woman #4 is a bizarrely conflicted comic that has scenes of genuine emotion combined with rushed, impossible-to-believe scenes in a plot going nowhere. Sampere’s art is fantastic, and the sweet moments between Wonder Woman and a dying boy are excellent, but everything surrounding Wonder Woman’s day out is either rushed or poorly developed.

  • 40

    ComicBook.com

    To put it bluntly, Wonder Woman #4 is a mess. There are some really lovely moments – King does a beautiful job with Wonder Woman as she gives a dying child his last wish and it is really lovely, but it’s also incredibly weird because it’s just randomly shoved in the middle of this anti-Amazonian crisis and feels so wildly out of character for Wonder Woman to just go off to do that in the middle of a literal existential threat. There’s also the really weird geopolitical aspect of the story that is ugly, but not in a “the world is an ugly place” sort of way. King is going out of his way to make everything larger than life evil whilst throwing even more misogyny onto things by having the suicide from the previous issue be blamed on a Wonder Woman victory making a man feel less than. There’s a deep lack of care and sensitivity to a very sensitive issue which just feels gross. On top of that, everything feels simultaneously rushed but also going no where – and I still don’t understand where the whole “daughter of Wonder Woman” stuff comes in with the backup story. Overall, this is a frustrating issue that just illustrates that we’re dealing with someone who doesn’t understand the character and doesn’t care to.

  • 33

    Major Spoilers

    Sampere’s Wonder Woman is a very powerful figure, and her facial expressions are remarkably well-rendered, while the issue lacks anything like a battle sequence, Wonder Woman #4 has a number of very striking scenes that work visually coupled with a script full of puzzling, troubling or inscrutable moments. If this is meant to be a newly revamped Diana, it is one that has taken a very strange turn, but as a continuation, it’s kind of a bust.

More From Wonder Woman (2023)

About the Author: Tom King

Tom King has emerged as a beacon of narrative brilliance in the comic book world, weaving tales that resonate deeply with both long-time enthusiasts and newcomers alike. With a unique blend of emotional depth and complex storytelling, King’s work has redefined what it means to engage with the medium of comics. From his groundbreaking run on Batman to the introspective Mister Miracle, King’s portfolio is a testament to his ability to explore the human condition through the lens of the superhero genre.

Before becoming a household name in comics, Tom King embarked on a path far removed from the world of capes and villains. As a former CIA officer, King’s experiences have infused his storytelling with a palpable sense of realism and gravity, setting his work apart in a crowded field. His transition from espionage to comics might seem unexpected, but it’s this very background that enriches his narrative voice, allowing him to craft stories of heroism and sacrifice with authenticity.

King’s ascent in the comic book industry began with The Vision, a series that turned the Marvel android into a tragic figure struggling with the concept of family and humanity. This work, characterized by its melancholic exploration of identity, laid the foundation for King’s reputation as a storyteller capable of blending superhero action with deep, literary themes. His ability to humanize iconic characters, making their struggles and triumphs resonate on a personal level, has earned him critical acclaim and a dedicated fanbase.

However, it is perhaps his work on DC Comics’ Batman that has most profoundly impacted the comic book landscape. King’s Batman is a figure shaped by vulnerability and introspection, a departure from the invincible hero trope. Through arcs like “City of Bane” and the poignant Batman Annual #2, King explores themes of love, loss, and redemption, offering a fresh perspective on the Dark Knight’s mythos.

In addition to his superhero narratives, Tom King has ventured into the realm of creator-owned projects, such as Strange Adventures and Supergirl: Woman of Tomorrow. These works further showcase his versatility, delving into science fiction and cosmic drama while maintaining his signature emotional depth and complex character studies.

Beyond the pages of his comics, King’s presence in the industry as a thought leader and advocate for the medium is undeniable. His candid discussions about the challenges of mental health, the creative process, and the importance of storytelling in contemporary culture have made him a respected figure among peers and fans.

Tom King‘s contributions to the comic book world have not gone unnoticed, earning him multiple Eisner Awards and solidifying his status as one of the most influential writers of his generation. As he continues to push the boundaries of comic book storytelling, King’s legacy is that of a visionary who reminds us that at the heart of every superhero story lies a deeply human tale waiting to be told.

For those who seek to explore the depths of narrative artistry within the comic book genre, Tom King‘s body of work offers a rich, introspective journey into the soul of modern heroism, proving that within the fantastical, the most profound truths of our existence can be found.

[Latest Update: April 24, 2024]