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Wonder Woman #8

Comicscore Index
Generally favorable ratings

Based on 12 critic ratings.

Wonder Woman vs. The Sovereign!

After being captured by a team of villains, Diana finds herself at the mercy of the scariest of them all. Unbe¬knownst to our hero, the Sovereign has been pulling her strings since the very beginning of our tale, and now it’s time for her to see the world his way as she falls under the influence of the Lasso of Lies!

Plus, Trinity visits the past and unexpectedly changes the future!

Publication Date
Kindle Edition
Print Lenght
34 pages
Amazon ASIN

12 Critic Ratings & Reviews from:
  • 100

    But Why Tho?

    Wonder Woman #8 leans into why the character exists in the first place. Diana is a beacon of hope and encouragement for women and girls worldwide. King taps into that idea, and the Sovereign’s misogyny presses down heavily on the protagonist. Whilst the illusion in her mind is about wives, it is also about daughters and the disparity between them and sons. The dialogue is the most crucial part of the comic, and the long monologues deliver a message constructed purely to be torn back down again.

  • 100

    Get Your Comic On

    The subtext is incredible. King is able to as we much between the lines as he is using them. The Sovereign and his attitude towards Diana is shockingly caustic. But I defy anyone reading it not to think it’s dangerously close to plenty of attitudes encountered on both social media and in real life. What’s perhaps the most disturbing is that Sovereign is doing this to Diana simply because he can and because her ideologies stand at odds with his. King’s ability to bring that level of context in to the superhero world is unparalleled. Speaking as someone who has followed his DC work for a number of years this is some of his finest work to-date.

    Cutting through some of that tension is the backup story. King is able to exorcise a bit more levity through another chapter in the story of Lizzie, Damian and Jon. Whilst the story is inherently more positive, it’s lifted further thanks to the weightlessness and joy of Belen Ortega’s artwork. This chapter finds Damian allowing Lizzie to travel back through time to help with a school project. There’s obviously disastrous consequences that are absolutely hilarious to watch play out on the page and which play in to Ortega’s whimsical imagery.

  • 95

    Geek Dad

    As Sovereign, a mad patriarch who is trying to restore what he believes to be the natural order, torments her, Diana strains against her bonds and tries to remember who she is. Which is going to be trickier than she thinks – because she’s caught in an alternate world that’s more than a little eerie.

    That world finds her as a ’50s-inspired housewife, dutifully serving her husband – an emotionally abusive Steve Trevor, who views her as a distraction at best and a failure at worst. It’s clear that this isn’t the real Steve, but King and Sampere manage to infuse the scene with a lot of tension. Sampere’s art is also interesting in these scenes, feeling painted and reminiscent of Marguerite Sauvage in places. There’s an intriguing subplot involving the Wonder Girls capturing Sarge Steel and trying to get information out of him, but this issue is mostly a tense, one-on-one play as Diana is lost inside her mind and battles her way out bit by bit. It’s a brilliantly done spotlight that sets up next issue’s showdown.

    This story is so intense that it makes the mood whiplash in the backup all the more welcome. It’s another Super-Sons story, this time with a pre-teen Lizzie. Damian was in charge, and rather than help Lizzie with her homework, he sent her back in time to study the real thing in feudal Japan—which creates a chaotic series of events that send the timeline into complete flux, with some hilarious visual effects. I’m always surprised in these stories just how good King turned out to be at writing comedy.

  • 90


    Wonder Woman is finally in the grasp of her new enemy, and his tortures are as bad as they get! Sovereign’s badness is on full display, from trapping Wonder Woman in an abusive 1950s-style housewife scenario in her mind, to pelting her with Bible verses in real life. He’s cruel, it’s truly wicked and a really unique sort of torture. The issue is missing the big, bombastic battles of the first several issues, but we’ve clearly moved on to a new chapter and new badness. This is some really creative torture that gets to the heart of Wonder Woman as a character, and that’s key when doing a story like this. Even in such a wild situation, we’re still focused on these characters and who they are.

    We also get a short visit with the Wonder Girls that is really fun, and I’m glad they’re still making the subplot slot. And the ending is heroically awesome. I love how King doesn’t shy away from the fact that Wonder Woman is the hero, Sovereign is the villain, and the good guy is going to defeat the bad guy. The fun is in how the story is told, and I find this to be a very well told story. I very much look forward to see where all of this is going and how it’s all going to come cannonballing into the end.

  • 86

    The Super Powered Fancast

    The Story: King delivers a great issue that is the embodiment of a nightmare for Diana. Having her without the agency that defines her is something that takes the story in some dark and dangerous places. Adding to it the personal humiliation at the hands of a man she could easily crush creates some great tension as you wait for the moment that she finally destroys him and his actions make that desire grow with every interaction.

    The Art: Sampere delivers some beautiful art throughout the issue. The visuals are filled with gorgeous detail and I love the visual comparison between the suburban nightmare and the real nightmare Diana is facing.

  • 85


    Wonder Woman #8 is another masterclass in art, with thought-provoking ideas and incredible character work. There isn’t a superhero comic like it.

  • 80


    While this technically starts a new arc, the comic ends with Wonder Woman free and her hand around the throat of her adversary, so it will be interesting to see where things go from here.

  • 80

    First Comics News

  • 70

    Graham Crackers Comics

    Treading on some dangerous ground for a big payoff, as writer Tom King starts us off with domesticated Diane in a Stepford Wife dress making dinner on page one! That’s definitely going to trigger some people. This one is all on the reader because when all the philosophy is done and over with, the mysterious Sovereign is in for trouble. Experts may be over analysing the discussions here for eons to come. A thought provoking issue but definitely a heavy dark tone here. And then we get some early shenanigans with Trinity. I would suggest reader that first.

  • 55

    Comic Book Revolution

    If Wonder Woman #8 was a standalone issue without any sort of history behind it the creativity would’ve made it a winner. Unfortunately, Tom King has dropped the ball so hard with making Sovereign a credible threat that the story in this issue falls apart almost immediately. The saving grace is the continued excellent artwork by Daniel Sampere that carries the entire story to at least be a visual showcase.

  • 45

    Weird Science DC Comics

    Wonder Woman #8 is a slowly-paced, tedious, boring, and off-putting comic. King wastes a lot of time delivering multiple heavy-handed messages about Religion, the patriarchy, and misogyny to play out what amounts to one scene. If Sampere’s art wasn’t so good, this comic would be a total waste.

  • 30

    Wonder Woman #8 is at best tedious and at worst an incredibly overdone example of style over substance. The issue sees Diana trapped in a 1950s inspired domestic hell thanks to The Sovereign and his lasso, but while it is superficially The Sovereign and his evangelical misogyny that is the “evil” here, the “ah ha!” of it all is that it’s Diana’s own limiting beliefs – the particular one being that the rope cannot be broken – that is the real prison that she has to break through to escape from her oppressed alternate reality. It’s a weird enough presentation of the situation made even more clumsy with the heavy use of bible verses spouted by The Sovereign which is itself made clumsy by the fact that as an antagonist or a villain, it’s a character that hasn’t exactly been particularly well-established enough to this point to feel like much of a real threat. As a result, when Diana almost as if by magic manages to right herself and take back her power, it doesn’t quite feel like any of it had any real stakes. The short version? It’s tedious, heavy-handed, weird, and has a muddled message about misogyny and patriarchy to boot. The art, however, is glorious.

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]