Wonder Woman: Resurrection

Wonder Woman: Resurrection
Wonder Woman Resurrection review
  • North American Publisher / ISBN: DC - 978-1-4012-6805-3
  • Release date: 2017
  • UPC: 9781401268053
  • Contains adult content?: no
  • Does this pass the Bechdel test?: yes
  • Positive minority portrayal?: yes
  • CATEGORIES: Superhero

If there’s been one certainty of Wonder Woman through the years it’s that the gods are conniving and treacherous, each with their own agenda and secrets. That behaviour was key to Brian Azzarello’s run, and for her finale Meredith Finch returns to the territory, introducing previously unseen Greek gods and the resurrection of the title concerns the possible return of Zeus. No-one other than Zeus considers it a good idea, and Wonder Woman’s opposition is founded on it needing the death of an infant.

Having drawn most of his wife’s run, David Finch jumps ship halfway through her finale, and the majority of the remaining pencils are from Miguel Mendonça, who achieves much the same dynamic superhero style, but with fewer lines.

There’s a fair amount of uncertainty perpetuated throughout Resurrection. Perhaps we can always be sure Wonder Woman tells the truth, but she can still be prone to manipulation. As in previous volumes, Finch manipulates her plots to ensure her outcomes, resulting in an extraordinarily uncertain Wonder Woman whose gullibility prolongs events. Finch may have intended a later explanation, but the opportunity was swept away by the ‘Rebirth’ reboot, so we’ll never know, but her characterisation of Ares is also considerably at odds with the way he’s been portrayed earlier in the series, and other elements are unresolved. The opening chapter seems to be setting up a new scenario on Earth, and that likewise is never addressed, which is probably just as well because on this showing the terrorist’s motivations are wafer thin.

Allow for the overall story being more important than niggles, and Resurrection works. Finch certainly drops shocks running contrary to expectation, and the uncertainty prevailing all the way through eventually muddies the waters so successfully that when in the final chapter the big villain makes their play, it’s surprising.

Perhaps given more editorial guidance and a longer run, Finch would end up writing some really good Wonder Woman. Instead she finishes here, and the series picks up with Greg Rucka’s return in The Lies.