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Wonder Woman (2023)
Wonder Woman Vol. 3: Fury
Witness the birth of Wonder Woman’s daughter! The mysteries surrounding Trinity’s origins finally revealed and explored – but will the start of a new life mean the end of another one? And where does Wonder Woman’s greatest love, Steve Trevor, fit into this new status quo?
The war against the Sovereign is turning a dangerous corner and Steve Trevor must take matters into his own heads – but the consequences might prove deadly! Plus, when Trinity is born, how will Wonder Woman adjust to motherhood in the wake of so much tragedy and bloodshed? These questions and more explored as Tom King’s Wonder Woman epic continues into its third volume, featuring art by fan-favorite artists Daniel Sampere and Khary Randolph.
The war against the Sovereign is turning a dangerous corner and Steve Trevor must take matters into his own heads – but the consequences might prove deadly! Plus, when Trinity is born, how will Wonder Woman adjust to motherhood in the wake of so much tragedy and bloodshed? These questions and more explored as Tom King’s Wonder Woman epic continues into its third volume, featuring art by fan-favorite artists Daniel Sampere and Khary Randolph.
176 pages, Paperback
First published May 20, 2025
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94 people want to read
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Displaying 1 - 30 of 50 reviews
June 24, 2025
Tom King, I hope you never write Wonder Woman ever again. This is one of the slowest and most boring comics currently going. It loops on a never-ending cycle of repetitive dialogue, drawn out monologuing, and an inability to create atmosphere, action, or tension despite containing six issues of content. A complete waste of time and money. Daniel Sampere, you deserve better. Diana, you deserve better. Wonder Girls, you deserve better. Fans, you deserve better.
November 1, 2025
I really enjoyed this book. This is an epic revenge book. Good artwork. I especially love the scenes where the punches and kicks connect. This is also the origin of Trinity.
The Sovereign enraged by his inability to break Wonder Woman and her subsequent escape, thanks to the Wonder Girls, takes his revenge on the one person close to Wonder Woman/Diana Prince she cannot protect. He expected an emotional response. What he gets is a cold, calculated, coordinated fury unleashed. She is not coming to get even. She is coming for everything. However, could one revenge plot unleash a bigger one?
The book is in the usual Tom King style. It takes place in the here, there, and elsewhere. The book had a good amount of action, but the psychological destruction was what makes the story. Each chapter starts with an issue cover and a variant cover, so there is no cover gallery at the end.
The Sovereign enraged by his inability to break Wonder Woman and her subsequent escape, thanks to the Wonder Girls, takes his revenge on the one person close to Wonder Woman/Diana Prince she cannot protect. He expected an emotional response. What he gets is a cold, calculated, coordinated fury unleashed. She is not coming to get even. She is coming for everything. However, could one revenge plot unleash a bigger one?
The book is in the usual Tom King style. It takes place in the here, there, and elsewhere. The book had a good amount of action, but the psychological destruction was what makes the story. Each chapter starts with an issue cover and a variant cover, so there is no cover gallery at the end.
June 26, 2025
Wonder Woman, by Tom King and Daniel Sampere, is a 2025 Eisner Best Continuing Sereies nominee. I liked the first two volumes more than most of my Goodreads friends, so will see if we begin to come together on this.
Wonder Woman, Volume 3: The Fury (2025) is the work of Tom King and Dan Sampere, and like King’s Animal Pound (based on Animal Farm) it is about the present moment in politics, though their WW is more fun. I mean, what have superhero comics been about, basically, from Action Comics #1 on? This is in part what King reminds us of, here, that good will conquer evil. And that happens in comics, and it happens here.
The first issue focuses on the death of WW’s (Diana of Themyscira, or Dian Prince) lover, Steve Trevor (again). The issue is titled, “What is the point of Steve Trevor?” and the whole volume actually makes this clear: He is the love of her life, the father of their daughter, and those foundations (and of course caring about the world as a whole) create principles on which you act for the side of good.
In WW3 (Wonder Woman Volume 3, not yet an actual WW3) we got a Bad Guy in the White House that needs to not be there. He is narcissistic, uses the office to further his own needs, calls himself a King, and so on. So this is familiar territory in comics, you get the bad guy out of there, and she does, no surprise. But as King has it, the Bad Guy has mere sycophantic associates who do what he tells them to do, and Diana has at least two families to count on; 1) Superman and Batman, ⅔ of the DC Triumvirate, and 2) her Amazonian sisters. Family is different than associates who do your bidding. People can defeat evil if they stick together and act out of love and truth and justice.
Which is kinda what Animal Pound is about, too, and like I said, most comics. But King also knows these are comics, and he can’t just make a political point; he has to entertain, he has to make you laugh, he has to use DC characters we know. And he does.
So we have WW face down Solomon Grundy (born on a Monday) and Angle Man (what do you mean you never heard of him?! He uses a triangle to help teleport himself, and so on!).
So this is Detective Comics, so we have a criminal case that needs to be investigated. Clark Kent (The Batman, the original DC detective) goes in to interview the Prez, the reporter. Jimmy Olsen runs a podcast (subscribe!) on the investigation. Superman gets in the act.
One other weird thing is that King has a Monkey, or Chimp, as detective, suspiciously like Peter Falk’s Columbo; that was funny. What am I missing here? Is this a running DC joke?
There’s a sculptor angle of this one. The Prez knocks over and breaks statues of Lincoln and Washington (I cannot tell a lie versus Lying all the Time) in the Oval Office, and Diana is sculpting a statue of her One True Love. What do thes icons mean? How do they shape our worlds?
King does some (I found it inspiring) speechifying as Diana moves toward the Oval office: “At times, chaos comes to our shores. We are tested, we are wounded, we are broken but we are not conquered. . . we rise to face our enemy again. . . “ So this is typical comics territory, using comics to inspire action, exactly what the Declaration of Independence and the Emancipation Proclamation and 4th of July and Juneteenth are about--fightingo for family, democracy, love.
But just in case you are thinking this is sappy and too “woke,”
King doesn’t forget he is here to entertain! In the midst of Diana’s inspiring approach to the Oval Office three of the Amazons taking care of the baby listen as the baby (loudly) fills its diaper, part of the real world of love and parenting. That’s funny.
And speaking of monkeys: Amidst all the baby stuff in this volume there is the inclusion of a funny version of Ten Little Monkeys Jumping on the Bed substituting princesses for monkeys.
I liked it a lot, admire it, was equal parts moved by the sad Diana-Steve scenes, inspired to take action for social justice, and laughed at the Chimp and Angle Man.
Wonder Woman, Volume 3: The Fury (2025) is the work of Tom King and Dan Sampere, and like King’s Animal Pound (based on Animal Farm) it is about the present moment in politics, though their WW is more fun. I mean, what have superhero comics been about, basically, from Action Comics #1 on? This is in part what King reminds us of, here, that good will conquer evil. And that happens in comics, and it happens here.
The first issue focuses on the death of WW’s (Diana of Themyscira, or Dian Prince) lover, Steve Trevor (again). The issue is titled, “What is the point of Steve Trevor?” and the whole volume actually makes this clear: He is the love of her life, the father of their daughter, and those foundations (and of course caring about the world as a whole) create principles on which you act for the side of good.
In WW3 (Wonder Woman Volume 3, not yet an actual WW3) we got a Bad Guy in the White House that needs to not be there. He is narcissistic, uses the office to further his own needs, calls himself a King, and so on. So this is familiar territory in comics, you get the bad guy out of there, and she does, no surprise. But as King has it, the Bad Guy has mere sycophantic associates who do what he tells them to do, and Diana has at least two families to count on; 1) Superman and Batman, ⅔ of the DC Triumvirate, and 2) her Amazonian sisters. Family is different than associates who do your bidding. People can defeat evil if they stick together and act out of love and truth and justice.
Which is kinda what Animal Pound is about, too, and like I said, most comics. But King also knows these are comics, and he can’t just make a political point; he has to entertain, he has to make you laugh, he has to use DC characters we know. And he does.
So we have WW face down Solomon Grundy (born on a Monday) and Angle Man (what do you mean you never heard of him?! He uses a triangle to help teleport himself, and so on!).
So this is Detective Comics, so we have a criminal case that needs to be investigated. Clark Kent (The Batman, the original DC detective) goes in to interview the Prez, the reporter. Jimmy Olsen runs a podcast (subscribe!) on the investigation. Superman gets in the act.
One other weird thing is that King has a Monkey, or Chimp, as detective, suspiciously like Peter Falk’s Columbo; that was funny. What am I missing here? Is this a running DC joke?
There’s a sculptor angle of this one. The Prez knocks over and breaks statues of Lincoln and Washington (I cannot tell a lie versus Lying all the Time) in the Oval Office, and Diana is sculpting a statue of her One True Love. What do thes icons mean? How do they shape our worlds?
King does some (I found it inspiring) speechifying as Diana moves toward the Oval office: “At times, chaos comes to our shores. We are tested, we are wounded, we are broken but we are not conquered. . . we rise to face our enemy again. . . “ So this is typical comics territory, using comics to inspire action, exactly what the Declaration of Independence and the Emancipation Proclamation and 4th of July and Juneteenth are about--fightingo for family, democracy, love.
But just in case you are thinking this is sappy and too “woke,”
King doesn’t forget he is here to entertain! In the midst of Diana’s inspiring approach to the Oval Office three of the Amazons taking care of the baby listen as the baby (loudly) fills its diaper, part of the real world of love and parenting. That’s funny.
And speaking of monkeys: Amidst all the baby stuff in this volume there is the inclusion of a funny version of Ten Little Monkeys Jumping on the Bed substituting princesses for monkeys.
I liked it a lot, admire it, was equal parts moved by the sad Diana-Steve scenes, inspired to take action for social justice, and laughed at the Chimp and Angle Man.
August 26, 2025
The full origin of Trinity lays out two of the most drastic changes to Wonder Woman's status quo in quite a while: a death and a birth.
Additionally, the Wonder Girls get another moment in the spotlight, Detective Chimp goes full Columbo, and Jimmy Olsen remains as annoying as ever.
I continue to find Tom King's run on Wonder Woman to be incredibly gripping, often amusing, and very entertaining.
FOR REFERENCE:
Originally published in single magazine form in Wonder Woman (2023) #14-19.
Contents (All stories written by Tom King): #14. What Is the Point of Steve Trevor? / Daniel Sampere, illustrator -- #15. Fury, Part 1 / Daniel Sampere, illustrator -- #15. Elysium / Khary Randolph, illustrator -- #16. Fury, Part 2 / Bruno Redondo, penciller; Caio Filipe, inker -- #16. The Secret History of The Sovereign / Khary Randolph, illustrator -- #17. Fury, Part 3 / Daniel Sampere, illustrator -- #18. Fury, Part 4 / Daniel Sampere, illustrator -- #19. Fury, Finale / Daniel Sampere, illustrator -- Covers and Variant Covers / Daniel Sampere, David Talaski, Bruno Redondo, David Nakayama, Nicola Scott, illustrators
Additionally, the Wonder Girls get another moment in the spotlight, Detective Chimp goes full Columbo, and Jimmy Olsen remains as annoying as ever.
I continue to find Tom King's run on Wonder Woman to be incredibly gripping, often amusing, and very entertaining.
FOR REFERENCE:
Originally published in single magazine form in Wonder Woman (2023) #14-19.
Contents (All stories written by Tom King): #14. What Is the Point of Steve Trevor? / Daniel Sampere, illustrator -- #15. Fury, Part 1 / Daniel Sampere, illustrator -- #15. Elysium / Khary Randolph, illustrator -- #16. Fury, Part 2 / Bruno Redondo, penciller; Caio Filipe, inker -- #16. The Secret History of The Sovereign / Khary Randolph, illustrator -- #17. Fury, Part 3 / Daniel Sampere, illustrator -- #18. Fury, Part 4 / Daniel Sampere, illustrator -- #19. Fury, Finale / Daniel Sampere, illustrator -- Covers and Variant Covers / Daniel Sampere, David Talaski, Bruno Redondo, David Nakayama, Nicola Scott, illustrators
August 26, 2025
Hell hath no fury like a woman scorned? If that woman is Wonder Woman, all of the rage of every Red Lantern combined hath no fury to equal. DAMN....
Highlights:
- Diana's clay created baby (with some of Steve's DNA) is named Elizabeth and she is wonderful. Diana teaches her like a good mother would and even the Amazons love her.
- With the help of Detective Chimp, The 3 Wondergirls, and Cheetah, Diana is able to make her way to the Sovereign, who is now hiding in the Oval Office of the White House. With a dagger made from her fury incarnate, he carves LIAR into his chest and surrenders to her. (Readers, this whole scene of her storming the White House brings obviously closely implied parallels, allowing us to wish a "hero" would come shut down our Tyrant...)
- Trinity, the girl who has mastered the three Lassos, is in fact a grown Elizabeth, but her getting this whole story from the Sovereign is after the "upcoming" Wonder War, which appears to kill Diana and all the Wondergirls. (Wonder when this will happen?)
- Lyssa, the new "Matriarch", rival to Diana and eventually to Trinity is born, and revealed to be the one who starts the Wonder War, but is also trapped in a cabin guarded by the troops of ?Mouseman? (who is that?). Etta Candy helped deliver the baby and say to the mother than Wonder Woman will save them.
Excited to see what happens when I get back to this title. The story has been building for quite a while.
Recommend.
Highlights:
- Diana's clay created baby (with some of Steve's DNA) is named Elizabeth and she is wonderful. Diana teaches her like a good mother would and even the Amazons love her.
- With the help of Detective Chimp, The 3 Wondergirls, and Cheetah, Diana is able to make her way to the Sovereign, who is now hiding in the Oval Office of the White House. With a dagger made from her fury incarnate, he carves LIAR into his chest and surrenders to her. (Readers, this whole scene of her storming the White House brings obviously closely implied parallels, allowing us to wish a "hero" would come shut down our Tyrant...)
- Trinity, the girl who has mastered the three Lassos, is in fact a grown Elizabeth, but her getting this whole story from the Sovereign is after the "upcoming" Wonder War, which appears to kill Diana and all the Wondergirls. (Wonder when this will happen?)
- Lyssa, the new "Matriarch", rival to Diana and eventually to Trinity is born, and revealed to be the one who starts the Wonder War, but is also trapped in a cabin guarded by the troops of ?Mouseman? (who is that?). Etta Candy helped deliver the baby and say to the mother than Wonder Woman will save them.
Excited to see what happens when I get back to this title. The story has been building for quite a while.
Recommend.
May 19, 2025
beautiful and heart breaking, the conclusion to the sovereign storyline and it ends on such a high note. king really nails the emotional moments and perfectly captures who diana is and why her relationships are so meaningful to her character
November 21, 2025
4.1 stars
Powerful stuff with a really frustrating ending.
Powerful stuff with a really frustrating ending.
September 17, 2025
Following the previous volume of Tom King and Daniel Sampere's Wonder Woman run, which tied in with the crossover event Absolute Power, now is the time to get back into the main narrative, which not concludes the central conflict with the Sovereign, but also reveals the true origins of Trinity. Throughout this run, the Sovereign has been trying to break Wonder Woman for multiple issues, and it seems his final try is to kill the love of her life, as explored in the opening issue of this volume.
As #14 uses a non-linear structure, it may feel like the death of Steve Trevor comes out of nowhere, but it is a deeply moving tale of a superhero in mourning. Considering King has often taken an introspective look towards these larger-than-life characters, to the point of them going through some psychological trauma, the writer is at his best when he shows a bit of positivity. As much as Diana Prince breaks down in tears over the loss of her true love, she remembers the good times and to honour her memory of Steve, she builds a baby from clay, built from the threads of soul that is her and Steve. And thus, Elizabeth Marston Prince — paying tribute to William Moulton Marston's wife who was one of the main inspirations for Wonder Woman — who would go on to become Trinity is born.
What is surprising is that for most of that volume, Diana is pretty much in mother mode as she takes care of her newborn child, whilst others like the Wonder Girls commit to the ongoing battle against the Sovereign. There is even a whole issue devoted to Detective Chimp whose presence becomes a recurring annoyance for the Sovereign, which ends up setting up the villain's downfall. This issue includes a back-up, in which Jimmy Olsen dissects the secret history of the Sovereign in a humorous manner, which reminds you of how the character was written in Matt Fraction and Steve Lieber's Superman's Pal Jimmy Olsen.
It is only when we get to issue #18 where Wonder Woman decides to take action as she literally storms into the White House to confront the King of America. Considering that King started this run in late 2023, King has always somewhat integrated real-world issues into the DC universe, and with this title, he is touching upon current American politics, even with the inclusion of villains like Doctor Psycho and Giganta.
By this point, you ought to know King's approach to storytelling, especially when it comes to superhero action. While you do get some striking action-packed imagery from main artist Daniel Sampere that showcases from the strength of Diana and the Wonder Girls, King can devote an entire issue to a single situation where the panels are less about kinetic movement and more about the slow build-up to the final destination. That said, Sampere's art is just impressive throughout, making great use of panel layouts for methodical storytelling, whilst still maintaining that sense of visual fun you want from these colourful characters. A special shout-out to Bruno Redondo who draws the Detective Chimp issue as he brings a lot of the same visual energy that Sampere delivers, except that he delivers plenty of visual comedy involving a cheeky monkey dressed up as a detective.
Despite the odd detours that sidelines the titular hero, when the book focuses on Diana Prince, Tom King and Daniel Sampere bring out the best of this character, who is now going through a new status quo. As this volume wraps up the Sovereign arc, there is the mystery regarding Emelie, the rogue Amazon who sets up the chain of events at the start of this run.
As #14 uses a non-linear structure, it may feel like the death of Steve Trevor comes out of nowhere, but it is a deeply moving tale of a superhero in mourning. Considering King has often taken an introspective look towards these larger-than-life characters, to the point of them going through some psychological trauma, the writer is at his best when he shows a bit of positivity. As much as Diana Prince breaks down in tears over the loss of her true love, she remembers the good times and to honour her memory of Steve, she builds a baby from clay, built from the threads of soul that is her and Steve. And thus, Elizabeth Marston Prince — paying tribute to William Moulton Marston's wife who was one of the main inspirations for Wonder Woman — who would go on to become Trinity is born.
What is surprising is that for most of that volume, Diana is pretty much in mother mode as she takes care of her newborn child, whilst others like the Wonder Girls commit to the ongoing battle against the Sovereign. There is even a whole issue devoted to Detective Chimp whose presence becomes a recurring annoyance for the Sovereign, which ends up setting up the villain's downfall. This issue includes a back-up, in which Jimmy Olsen dissects the secret history of the Sovereign in a humorous manner, which reminds you of how the character was written in Matt Fraction and Steve Lieber's Superman's Pal Jimmy Olsen.
It is only when we get to issue #18 where Wonder Woman decides to take action as she literally storms into the White House to confront the King of America. Considering that King started this run in late 2023, King has always somewhat integrated real-world issues into the DC universe, and with this title, he is touching upon current American politics, even with the inclusion of villains like Doctor Psycho and Giganta.
By this point, you ought to know King's approach to storytelling, especially when it comes to superhero action. While you do get some striking action-packed imagery from main artist Daniel Sampere that showcases from the strength of Diana and the Wonder Girls, King can devote an entire issue to a single situation where the panels are less about kinetic movement and more about the slow build-up to the final destination. That said, Sampere's art is just impressive throughout, making great use of panel layouts for methodical storytelling, whilst still maintaining that sense of visual fun you want from these colourful characters. A special shout-out to Bruno Redondo who draws the Detective Chimp issue as he brings a lot of the same visual energy that Sampere delivers, except that he delivers plenty of visual comedy involving a cheeky monkey dressed up as a detective.
Despite the odd detours that sidelines the titular hero, when the book focuses on Diana Prince, Tom King and Daniel Sampere bring out the best of this character, who is now going through a new status quo. As this volume wraps up the Sovereign arc, there is the mystery regarding Emelie, the rogue Amazon who sets up the chain of events at the start of this run.
July 29, 2025
This would be so much better without the CONSTANT narration from Sovereign. You are not allowed to experience a single action sequence, a single emotional beat, hell, even a single line from your favorite characters... without your eyes being pulled towards the little blue windows where the guy is doing his inane speeches.
It would be different if the narration was done by someone even the slightest bit charismatic, or fun, or even insane? But no, just the driest talk imaginable. And while it does tie the panels together at certain points allowing the narrative to unfold more clearly, it's unnecessary in a majority of the scenes. For example, I can tell Yara is getting away with robbing a bank without Sovereign going into excruciating detail about it.
The lowest point of the book for me was when Sovereign, instead of just yapping in the background, becomes the protagonist of the narrative. At least, for how dull he is, you could take Sovereign seriously before. But after getting hounded by a Detective Chimp who seems to be there just as an excuse to reference Columbo and then made the subject of a Jimmy Olsen TikTok, he just seems ridiculous. There's a reason why stories clown on the villains AFTER they've been defeated, to relieve the tension, because if you do it before it takes away their credibility and just makes their defeat seem inevitable. The punishment Sovereign gets is the complete opposite of funny, in reality, as it has sadistic overtones that are actually disturbing? Killing him would have been more extreme perhaps but certainly a lot less weird...
It would be different if the narration was done by someone even the slightest bit charismatic, or fun, or even insane? But no, just the driest talk imaginable. And while it does tie the panels together at certain points allowing the narrative to unfold more clearly, it's unnecessary in a majority of the scenes. For example, I can tell Yara is getting away with robbing a bank without Sovereign going into excruciating detail about it.
The lowest point of the book for me was when Sovereign, instead of just yapping in the background, becomes the protagonist of the narrative. At least, for how dull he is, you could take Sovereign seriously before. But after getting hounded by a Detective Chimp who seems to be there just as an excuse to reference Columbo and then made the subject of a Jimmy Olsen TikTok, he just seems ridiculous. There's a reason why stories clown on the villains AFTER they've been defeated, to relieve the tension, because if you do it before it takes away their credibility and just makes their defeat seem inevitable. The punishment Sovereign gets is the complete opposite of funny, in reality, as it has sadistic overtones that are actually disturbing? Killing him would have been more extreme perhaps but certainly a lot less weird...
June 26, 2025
Took me a while but I really warmed up to this series. Not so much the plot per se - I don't fancy unsubtle Sovereign as an antagonist - but the way it's told. I admit, I'm weak, but here the form outweighs the substance. Typical King.
The mechanical, irrepressible, unstoppable way in which WW's revenge takes shape, interspersed with breathers that are sometimes really moving, is fascinating. King has mastered his narrative to the hilt, at the limit of doing too much but knowing when to stop at the right moment.
WW is once again portrayed as a true goddess, in the mythical sense of the word. Sublimated by Sampere - and Redondo as fill-in - and Morey, she radiates power and control. As a bonus we know Trinity’s origin. Quite touching.
The final cliffhanger is a killer.
The mechanical, irrepressible, unstoppable way in which WW's revenge takes shape, interspersed with breathers that are sometimes really moving, is fascinating. King has mastered his narrative to the hilt, at the limit of doing too much but knowing when to stop at the right moment.
WW is once again portrayed as a true goddess, in the mythical sense of the word. Sublimated by Sampere - and Redondo as fill-in - and Morey, she radiates power and control. As a bonus we know Trinity’s origin. Quite touching.
The final cliffhanger is a killer.
June 11, 2025
Diana marches onto the very steps of the White House, where she aims to finish the Sovereign once and for all. The third major arc of Tom King's and Daniel Sampere's Wonder Woman run is "Fury", an apt title given Diana's palpable rage towards her newfound foe. The last volume saw Diana taken to her lowest point, and the culmination led to the fall of Steve Trevor (again). The opening issue of this volume (Wonder Woman #14), "What is the Point of Steve Trevor", sets out to ground the stakes for the "Fury" arc (Wonder Woman #15-19).
This arc is the culmination of the shadow government plot, whereby a secret monarchy has ruled the United States under the guise of a representative democracy since the very founding of the nation, a substantially interesting premise for the series. Perhaps there's a little too much of Tom King's own history as a spook coming into play with the writing, but the series has been enjoyable thus far - and a big part of it continues to be Sampere's great artwork.
This arc is the culmination of the shadow government plot, whereby a secret monarchy has ruled the United States under the guise of a representative democracy since the very founding of the nation, a substantially interesting premise for the series. Perhaps there's a little too much of Tom King's own history as a spook coming into play with the writing, but the series has been enjoyable thus far - and a big part of it continues to be Sampere's great artwork.
September 16, 2025
Tom King gets back to the good stuff in this third Wonder Woman volume. Admittedly, King is an expert at an extended reveal of how a villain was finally defeated. And that's really all this volume is: we open with a startling death, followed by Wonder Woman (and friends) thoroughly demolishing the Sovereign. The art's stunning, the pacing is superb. It's a lot of fun!
(Of course, big picture, it feels weird that King introduced the Sovereign, this person who's been behind the scenes for hundreds of years, in his first Wonder Woman volume, and now, by the third volume, he's defeated. So... he wasn't really that powerful after all?)
I expected the series to end here, but oh no, there's a twist! I think? I honestly have no idea what happened on the last few pages
(Of course, big picture, it feels weird that King introduced the Sovereign, this person who's been behind the scenes for hundreds of years, in his first Wonder Woman volume, and now, by the third volume, he's defeated. So... he wasn't really that powerful after all?)
I expected the series to end here, but oh no, there's a twist! I think? I honestly have no idea what happened on the last few pages
June 20, 2025
Reading the earlier individual issues was a sometime frustrating experience...well because it was written by Tom King.
very stylish and dramatic scenes..but really few answers to the main point of the first 13 issues.
So saying that this Volume was exactly what we needed.
filling in the blanks on Steve Trevor ,Where on earth Trinity came from and the full story of Sovereigns demise.
very stylish and dramatic scenes..but really few answers to the main point of the first 13 issues.
So saying that this Volume was exactly what we needed.
filling in the blanks on Steve Trevor ,Where on earth Trinity came from and the full story of Sovereigns demise.
August 23, 2025
A satisfying end to the Sovereign arc. He finally crosses the line by killing someone close to Diana, and she gets systematic, cold blooded revenge in ways he did not anticipate. I enjoy a good revenge tragedy, and this is very well executed.
May 30, 2025
Still some decent concepts but flagging a little. King always has more trouble the longer his run lasts on a book. That might be happening here.
December 30, 2025
The standout element of Fury is Daniel Sampere’s artwork—truly spectacular from start to finish. His dynamic layouts and expressive character work kept me turning pages even when the story faltered. Every panel feels alive, whether it’s a quiet moment of reflection or a full-scale battle. This visual energy is the reason the book succeeds; it elevates the narrative and gives Wonder Woman the grandeur she deserves.
Plot-wise, there are some fascinating highlights. The shaping of a child from the clay of a beach and bringing her to life is a striking mythic touch, adding depth to Diana’s world. Learning more about Wonder Woman’s daughter and the history behind the Wonder Girls was genuinely engaging. The Sovereign emerges as a decent villain with intriguing potential, though much of that promise feels wasted here—likely setting up future arcs. These elements hint at a richer mythos that could shine with tighter storytelling.
Unfortunately, the writing doesn’t always rise to the occasion. Dialogues and monologues are overwrought, repetitive, and often too celebratory of the writer’s own voice. This tendency slows the pacing and undercuts the dynamism that the art works so hard to create. A sharper focus on story momentum and character-driven tension would have made this volume far more effective. The themes of identity and legacy—particularly Diana’s role as a mother and leader—are compelling, but they get buried under verbose narration.
In conclusion, Fury is uneven but worth reading for its visuals alone. Sampere’s art is bold, kinetic, and emotionally resonant, making even the weaker narrative beats feel epic. While the writing struggles with excess, the volume still delivers thrilling action and intriguing mythological threads. I’m not quitting the series—in fact, I’m speeding up my reading to catch up to the current run and see where this goes next. For fans of Wonder Woman, this is a flawed but visually stunning chapter in her ongoing saga. I never got into WW's previous arcs, but this was an interesting intro for a newbie like me. Hoping to introduce my daughter to this mythos one day.
Plot-wise, there are some fascinating highlights. The shaping of a child from the clay of a beach and bringing her to life is a striking mythic touch, adding depth to Diana’s world. Learning more about Wonder Woman’s daughter and the history behind the Wonder Girls was genuinely engaging. The Sovereign emerges as a decent villain with intriguing potential, though much of that promise feels wasted here—likely setting up future arcs. These elements hint at a richer mythos that could shine with tighter storytelling.
Unfortunately, the writing doesn’t always rise to the occasion. Dialogues and monologues are overwrought, repetitive, and often too celebratory of the writer’s own voice. This tendency slows the pacing and undercuts the dynamism that the art works so hard to create. A sharper focus on story momentum and character-driven tension would have made this volume far more effective. The themes of identity and legacy—particularly Diana’s role as a mother and leader—are compelling, but they get buried under verbose narration.
In conclusion, Fury is uneven but worth reading for its visuals alone. Sampere’s art is bold, kinetic, and emotionally resonant, making even the weaker narrative beats feel epic. While the writing struggles with excess, the volume still delivers thrilling action and intriguing mythological threads. I’m not quitting the series—in fact, I’m speeding up my reading to catch up to the current run and see where this goes next. For fans of Wonder Woman, this is a flawed but visually stunning chapter in her ongoing saga. I never got into WW's previous arcs, but this was an interesting intro for a newbie like me. Hoping to introduce my daughter to this mythos one day.
May 25, 2025
Що ж, це навіть для мене самого дивно. Але я вже читаю третю арку «Диво-Жінки» від Тома Кінґа й Деніеля Сампере. І, не повірите, мені це навіть подобається. «Диво-Жінка, Том 3: Гнів» #13-19 — це кульмінація напруги, яку Том Кінґ вибудовував ще з першого випуску. Якщо старт серії мав багато політики, а середина — психологічний портрет героїні на межі. То тут ми отримуємо велику трагедію та знищення дійсно сильного лиходія.
Ця частина історії завершує війну Диво-Жінки з Сувереном — монархом у тіні, який довгий час керував Америкою. Протистояння досягає апогею — смерть Стіва Тревора. Гнів Діани після цього — не просто відповідь, а остання межа. Вона веде армію амазонок у Вашинґтон, зносить штучний кордон, і б'ється як ніколи. У підсумку — Суверен знищений. А Диво-Жінка народжує доньку. Яка можливо у майбутньому стане новим символом надії.
Уся арка — про гнів. Гнів втрати, зради, безсилля. Діана не мститься — вона карає. Гнів амазонки — це гнів жінки, що не дозволить знову бути жертвою. Ця Кінґова Діана — одна з найлюдяніших і водночас найстрашніших інкарнацій героїні, яку мені вдалося бачити у коміксах. Її мовчазний біль, її лють, її рішучість бути справедливою навіть тоді, коли це уже не має сенсу. Це, мабуть, і є та справжня Диво-Жінка. Вона не ідеальна, вона не всемогутня — але вона не зламалась. Її бій — це не битва проти лиходіїв, а боротьба за правду в світі, який цю правду не хоче бачити.
Ще хотів би згадати про Детектива Шимпанзе, який був окрасою цієї арки. І оця частина, де він залучений у розслідуванні, його діалоги, гумор і сам образ, також сильно запам'ятався. Його участь неочікувано освіжає тон розповіді, який ви самі знаєте, часто буває у Тома Кінґа.
Фінал арки двозначний. Так, зло переможено. Так, Діана має доньку. Але Тревора ніхто не поверне. Її боротьба залишила шрами. І майбутнє — з дитиною, яка може стати як героїнею, так і зброєю — тривожить. Розумію, що не всім сподобається стиль оповіді Тома Кінґа, його затяжні роздуми та діалоги, політичний підтекст, розрив із класичним супергеройським сюжетом, але особисто мені усі три арки сподобалися.
Ця частина історії завершує війну Диво-Жінки з Сувереном — монархом у тіні, який довгий час керував Америкою. Протистояння досягає апогею — смерть Стіва Тревора. Гнів Діани після цього — не просто відповідь, а остання межа. Вона веде армію амазонок у Вашинґтон, зносить штучний кордон, і б'ється як ніколи. У підсумку — Суверен знищений. А Диво-Жінка народжує доньку. Яка можливо у майбутньому стане новим символом надії.
Уся арка — про гнів. Гнів втрати, зради, безсилля. Діана не мститься — вона карає. Гнів амазонки — це гнів жінки, що не дозволить знову бути жертвою. Ця Кінґова Діана — одна з найлюдяніших і водночас найстрашніших інкарнацій героїні, яку мені вдалося бачити у коміксах. Її мовчазний біль, її лють, її рішучість бути справедливою навіть тоді, коли це уже не має сенсу. Це, мабуть, і є та справжня Диво-Жінка. Вона не ідеальна, вона не всемогутня — але вона не зламалась. Її бій — це не битва проти лиходіїв, а боротьба за правду в світі, який цю правду не хоче бачити.
Ще хотів би згадати про Детектива Шимпанзе, який був окрасою цієї арки. І оця частина, де він залучений у розслідуванні, його діалоги, гумор і сам образ, також сильно запам'ятався. Його участь неочікувано освіжає тон розповіді, який ви самі знаєте, часто буває у Тома Кінґа.
Фінал арки двозначний. Так, зло переможено. Так, Діана має доньку. Але Тревора ніхто не поверне. Її боротьба залишила шрами. І майбутнє — з дитиною, яка може стати як героїнею, так і зброєю — тривожить. Розумію, що не всім сподобається стиль оповіді Тома Кінґа, його затяжні роздуми та діалоги, політичний підтекст, розрив із класичним супергеройським сюжетом, але особисто мені усі три арки сподобалися.
October 4, 2025
In some respects, Tom King’s Wonder Woman is his second (or third? if you count Batman/Catwoman) shot at Batman, which if you may recall ended in the extended “City of Bane,” intended to be the epic culmination of the whole story of that run. By that point, the popular momentum had long since run its course; most fans had checked out after the aborted wedding of Bat and Cat, which itself was well after they’d already scoffed at “I’ll break his [censored] back” being repeated across an entire issue…
The point is, Fury is a whole collection of climax, which itself climaxes with the knowledge that the story continues. If you’re into that sort of thing, it proves what an epic King has sketched for Wonder Woman. As these things go, not without controversy, especially as concerns the fate of Steve Trevor.
Well.
The Sovereign gains his given name, in this one, Henry Charles. We witness the birth of Trinity (and her archnemesis). We even get Detective Chimp in what I’d like to submit as probably one of his great moments. (Can we get a Detective Chimp comic already???)
This is the second longest King’s been on a solo credit run in an ongoing series. In this era, it’s actually something of a wonder itself. Publishers these days have itchy trigger fingers. They restart and hand the creative reigns over to someone else all the time. King, he might not be the guy DC was so eager to let loose for a good span of years, but in this run? He’s been gifted very comparably what he had with Batman, which he was given in the wake of Omega Men, poor-selling, limping to a conclusion the company let play out simply because it saw real talent in him.
So the epic showdown with Wonder Woman’s worst foe, down to another generation, continues…
The point is, Fury is a whole collection of climax, which itself climaxes with the knowledge that the story continues. If you’re into that sort of thing, it proves what an epic King has sketched for Wonder Woman. As these things go, not without controversy, especially as concerns the fate of Steve Trevor.
Well.
The Sovereign gains his given name, in this one, Henry Charles. We witness the birth of Trinity (and her archnemesis). We even get Detective Chimp in what I’d like to submit as probably one of his great moments. (Can we get a Detective Chimp comic already???)
This is the second longest King’s been on a solo credit run in an ongoing series. In this era, it’s actually something of a wonder itself. Publishers these days have itchy trigger fingers. They restart and hand the creative reigns over to someone else all the time. King, he might not be the guy DC was so eager to let loose for a good span of years, but in this run? He’s been gifted very comparably what he had with Batman, which he was given in the wake of Omega Men, poor-selling, limping to a conclusion the company let play out simply because it saw real talent in him.
So the epic showdown with Wonder Woman’s worst foe, down to another generation, continues…
May 24, 2025
First of all, I loved the entire Wonder Woman vs. the United States arc from the beginning. I think it's one of King's finest works, and I really enjoyed the conspiracy plot about a secret monarchy ruling the United States through a shadow government, which explains why electoral politics are merely for show.
That said, I really didn’t care for some of his commentary—like portraying George Washington as an exceptionally honest and democratic figure who rejected power, based on the old, highly exaggerated myth that he had the chance to become a king but turned it down. I get that King is ex-CIA, but there was no need to pander to the current power structure in order to criticize it metaphorically.
Also, this is purely speculative, but I feel like Tom King is Steve Trevor? Like, Steve is portrayed as such a glorified character—a genuinely honest man serving an evil government that ultimately betrays him. I couldn’t help but feel like this was King projecting his own experience in the CIA. Which is kind of gross, because the whole story ends up revolving around this otherwise nobody American soldier, and for some unexplained reason, Wonder Woman is madly in love with him and does everything either for him or because of him.
Regardless, it was an enjoyable ride and King writes really well.
That said, I really didn’t care for some of his commentary—like portraying George Washington as an exceptionally honest and democratic figure who rejected power, based on the old, highly exaggerated myth that he had the chance to become a king but turned it down. I get that King is ex-CIA, but there was no need to pander to the current power structure in order to criticize it metaphorically.
Also, this is purely speculative, but I feel like Tom King is Steve Trevor? Like, Steve is portrayed as such a glorified character—a genuinely honest man serving an evil government that ultimately betrays him. I couldn’t help but feel like this was King projecting his own experience in the CIA. Which is kind of gross, because the whole story ends up revolving around this otherwise nobody American soldier, and for some unexplained reason, Wonder Woman is madly in love with him and does everything either for him or because of him.
Regardless, it was an enjoyable ride and King writes really well.
October 17, 2025
A great conclusion to the Sovereign saga! Wonder Woman and the Wonder Girls truly shine in this story. I also love how this is setting up for future conflicts and mysteries. I am so intrigued to find out where this goes!
Really my own critique is that it still feels like Lizzy/Trinity doesn't quite fit in this story. Deciding to have a child is a big deal, and you'd think Diana wouldn't just do it on a whim like this? I feel like there needed to be more build up to her wanting a daughter and then having a daughter, because literally earlier in this series she laughed at the idea of having a kid. Also I find it a bit weird that Diana uses Steve's life thread to create his child after he's dead and he never agreed to having a child. That kinda rubs me the wrong way. Overall, it feels like Tom King gave Wonder Woman a daughter because he wanted her to have a daughter, not because Diana herself would choose to have a daughter. So while I love this series in general, I'm still not sold on Trinity as a character. She doesn't need to exist for this story to work.
Really my own critique is that it still feels like Lizzy/Trinity doesn't quite fit in this story. Deciding to have a child is a big deal, and you'd think Diana wouldn't just do it on a whim like this? I feel like there needed to be more build up to her wanting a daughter and then having a daughter, because literally earlier in this series she laughed at the idea of having a kid. Also I find it a bit weird that Diana uses Steve's life thread to create his child after he's dead and he never agreed to having a child. That kinda rubs me the wrong way. Overall, it feels like Tom King gave Wonder Woman a daughter because he wanted her to have a daughter, not because Diana herself would choose to have a daughter. So while I love this series in general, I'm still not sold on Trinity as a character. She doesn't need to exist for this story to work.
This entire review has been hidden because of spoilers.
July 8, 2025
After Absolute Power derailed the previous volume somewhat, we're back on track here as we windup the story of the Sovereign's capture and set up whatever the hell's coming next. The whole story points towards a future that really can't happen in mainstream continuity, so I'm curious to see what King does with it, but before we get there, we have six more issues (plus the occasional backup) centred around the climax of Diana's war with the so-called King of America and her relationship with Steve Trevor and the birth of her daughter.
Once again, King's very deliberate formality in his storytelling may well turn off some fans, but I think it gives it an elegance that the character deserves, and each issue is a masterclass in comics storytelling that moves the story forward but also works as a contained whole. Plus, needless to say, Sampere's art is wonderful throughout: bold, crisp, dynamic linework, which tells the story and reflects the characters' emotions perfectly. What more could you ask for?
Tom King's run on WW has clearly been divisive, but I remain a huge fan and can't wait to see where the cliffhanger that ends this volume leads us.
Once again, King's very deliberate formality in his storytelling may well turn off some fans, but I think it gives it an elegance that the character deserves, and each issue is a masterclass in comics storytelling that moves the story forward but also works as a contained whole. Plus, needless to say, Sampere's art is wonderful throughout: bold, crisp, dynamic linework, which tells the story and reflects the characters' emotions perfectly. What more could you ask for?
Tom King's run on WW has clearly been divisive, but I remain a huge fan and can't wait to see where the cliffhanger that ends this volume leads us.
June 25, 2025
La historia va de menos a mas. Me está gustando mucho el hecho de que se le de protagonismo a la "familia" de Wonder Girls (no nada mas a Cassie), por lo mismo mi número favorito fue el #17 donde las tres se enfrentan al grupo de villanos de organizado por el Sovereign. También disfruté mucho la escena donde las tres están cuidando a Lizzie y esta ensucia su pañal y Cassie la está cargando, casi me reí en voz alta. Quizás si hubiera que encontrarle un pero es que el último número se queda en un cliffhanger y la verdad me voy a quedar picado hasta que salga el siguiente (y por eso, sumado a que no me gusta que maten personajes aunque eso desencadene lo que vemos aquí y que el primer número no me fascinó es que le puse cuatro estrellas).
August 24, 2025
2025 Eisner Award finalist - Best Continuing Series, Best Writer (Tom King), Best Lettering (Clayton Cowles)
This is not your typical superhero tale with nonstop action. It's a tale of vengeance, with Wonder Woman slowly, methodically, and terrifyingly taking down The Sovereign, shadow king of America. What's refreshing is that Wonder Woman quietly uses her many superhero contacts to help her, including her Amazonian sisters, the members of the Justice League, and Detective Chimp (?!). It's a long game that sees Wonder Woman endure unimaginable hardships to achieve her goals. In the process, we learn about the origins of Wonder Woman's daughter Trinity. Daniel Sampere does most of the artwork, rendering Wonder Woman and everything else beautifully.
This is not your typical superhero tale with nonstop action. It's a tale of vengeance, with Wonder Woman slowly, methodically, and terrifyingly taking down The Sovereign, shadow king of America. What's refreshing is that Wonder Woman quietly uses her many superhero contacts to help her, including her Amazonian sisters, the members of the Justice League, and Detective Chimp (?!). It's a long game that sees Wonder Woman endure unimaginable hardships to achieve her goals. In the process, we learn about the origins of Wonder Woman's daughter Trinity. Daniel Sampere does most of the artwork, rendering Wonder Woman and everything else beautifully.
April 20, 2025
FINALLY! We're to the origin story of Trinity...
The Sovereign is on the ropes. Wonder Woman and her sisters/friends (all of the Wonder Girls) are taking apart his holdings...piece by piece. Additionally, Trinity has been listening to The Sovereign's tale and the story is leading up to his downfall. She's learning about the final moments of his rule and what her mother did.
Secrets revealed!!
====
Bonus: I didn't know Tom King was an ex CIA employee...
Bonus Bonus: Trinity is a great 'All In' character and adds so much to Wonder Woman lore
The Sovereign is on the ropes. Wonder Woman and her sisters/friends (all of the Wonder Girls) are taking apart his holdings...piece by piece. Additionally, Trinity has been listening to The Sovereign's tale and the story is leading up to his downfall. She's learning about the final moments of his rule and what her mother did.
Secrets revealed!!
====
Bonus: I didn't know Tom King was an ex CIA employee...
Bonus Bonus: Trinity is a great 'All In' character and adds so much to Wonder Woman lore
June 11, 2025
2.5 stars
Technically better than vol2, because it’s not dragged down by mandated event tie-ins or fill-in artists, but still so much worse than vol1. King remains fixated on telling the story almost exclusively through plodding monologue narration from the antagonist Sovereign. It’s slow and humorless and self-important as it describes the past action it’s placed alongside. Sovereign has to be one of the least compelling series-length antagonists I’ve seen in a long while. At least these issues still looks nice, though.
Technically better than vol2, because it’s not dragged down by mandated event tie-ins or fill-in artists, but still so much worse than vol1. King remains fixated on telling the story almost exclusively through plodding monologue narration from the antagonist Sovereign. It’s slow and humorless and self-important as it describes the past action it’s placed alongside. Sovereign has to be one of the least compelling series-length antagonists I’ve seen in a long while. At least these issues still looks nice, though.
January 14, 2026
The third volume of Tom King's Wonder Woman opens with what might be its best single issue so far (#14), even if it involves a well that Wonder Woman writers have gone to a seemingly infinite number of times over the years, but in this case it's done in service of introducing another major development for the character (well, in the present timeline). The remainder of the volume sees the Sovereign arc reach its denouement, which cannot help but struggle around that the Sovereign isn't terribly interesting or threatening in addition to his defeat being preordained by the framing device.
July 8, 2025
After the last volume was largely ruined by crossovers, it's good to get back to the heart of King's Wonder Woman story here.
Much of the joy is in his innovative storytelling, offering seven strong one-off stories, each told with a unique point of view. But the events are also epic, from the (somewhat) surprising beginning to Diana's FURY that infuses the rest of the story.
And finally, we learn more about Trinity!
A great volume.
Much of the joy is in his innovative storytelling, offering seven strong one-off stories, each told with a unique point of view. But the events are also epic, from the (somewhat) surprising beginning to Diana's FURY that infuses the rest of the story.
And finally, we learn more about Trinity!
A great volume.
July 20, 2025
This series seems to be back on track. I thought volume 2 had fallen off a bit and maybe it's because this one focuses on the downfall of the Sovereign? Though it appears at the end that he might have had another trick or two up his sleeve, since there is at least one more volume promised. Really satisfying story of how Diana gets her revenge, with excellent artwork throughout. Highest recommendation.
December 26, 2025
(4.5)
“Wonder Woman: Fury” picks the main plot line back up, thankfully. We get a surprise event to start things off, then we get into Wonder Woman finally in a position to fight back against . This is pretty satisfying revenge, but we are also returning to the set-up story that began in issue one.
There are still dangling threads I’m curious to see play out, so I will likely pick up volume four.
“Wonder Woman: Fury” picks the main plot line back up, thankfully. We get a surprise event to start things off, then we get into Wonder Woman finally in a position to fight back against . This is pretty satisfying revenge, but we are also returning to the set-up story that began in issue one.
There are still dangling threads I’m curious to see play out, so I will likely pick up volume four.
June 18, 2025
The King Giveth and the King Taketh. Detective chimp Colombo issue followed by a recap issue that’s made to look like a TikTok. Still, enjoyable if maybe a bit too self-serious and a little boring at times.
Edit after finishing: wow they really hook you with the last two issues, can’t wait for the next volume (possibly the best feeling you can impart as an ongoing comic).
Edit after finishing: wow they really hook you with the last two issues, can’t wait for the next volume (possibly the best feeling you can impart as an ongoing comic).
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