Wonder Woman put on the ring and costume of a Star Sapphire as this tie-in miniseries concludes.

Shawn Hill:
Christopher Power:

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Shawn Hill

There's no way the Blackest Night: Wonder Woman miniseries is a crucial part of Blackest Night event. This final issue even ends on one of those rallying notes that would hardly rate a panel in the main series (Hal showing up and saying "let's get 'em!" more or less). However, there are some self-contained pleasures for Wonder Woman readers.

First, Rucka's back on the character whom he knows very well; his work on her last volume was a high point for that era--so this Diana sounds and acts like Diana, even when she's possessed.

The other positive aspect of the series is the sort of ersatz team-up motif. As the rings go crazy for new acolytes, former friends like Mera are made enemies, and former enemies like Carol/Star Sapphire become allies.

If the idea of an Amazonian Star Sapphire strikes you as strange (Greg Horn captures the weird amalgamation quite well on the cover), well, it's a fun diversion for a time and does find a way for Diana to make a significant contribution to the war against the Black Lanterns.

Delivering all the rainbow-hued glory is Nicola Scott, evolving before our eyes with her Wonder Woman expertise--here with Glapion's inks unexpectedly recalling the stylized and dramatically sensual work of Paul Gulacy.

Scott's images give special emphasis to the explanation for Mera's easy conversion to a rageful Red Lantern, and they capture a poignant moment of empathy between both heroines who have suffered greatly and been tragically disappointed in love. It's enough to make one ponder the still-proscribed roles of wives and girlfriends in comics, as these supporting characters often bear the brunt of their partner's (or would-be partner's) greatest setbacks and reversals.

Rucka knows Diana will never be a Lois Lane, and so she makes quick work of the Maxwell Lord revenant while also soothing the traumas of Carol and Mera. As always, Wonder Woman is a law unto herself. If there's a major satisfaction to this mini-series, it's the evidence it provides at how little Diana suffers the ravings of the reminder of the warrior's choice she made regarding Lord. An Amazon fights to live another day, especially one with endless reservoirs of love.

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Christopher Power:

Overall I have enjoyed the Blackest Night series and its spin off titles. I have found them to be fairly concise, and contributing to the Blackest Night event by telling stories that otherwise would clutter the main title. The Blackest Night: Wonder Woman miniseries has been similar in its achievements--giving us insight into the transformation of Wonder Woman from her glittering self, to a Black Lantern and finally to a Star Sapphire.

This final issue also helps us explore the character of Mera--specifically how she qualifies as being filled with enough rage to wear a Red Lantern ring (something that I complained was not covered appropriately in the other Blackest Night titles).

Greg Rucka writes an action-packed story, with the primary scenes surrounding the continuing contrast between Mera and Diana. I have questioned the motivation of both of these characters wearing the rings, and Rucka attempts to fill in some of those gaps with this series. Overall, he succeeds.

I still find it odd placing Diana as an avatar of love, but I understand what Rucka and his colleagues are trying to say about the original warrior princess--specifically, the one love that Diana has denied is now lost to her and so that void is filled by her love for humanity and her mission to the human world. She persists. She endures. She loves.

Mera on the other hand, has lost everything. A history of love, family, and duty ripped away through love, betrayal, and perceived weakness. I actually think that in a few pages, Rucka managed to convince me more of Mera’s motives than he did Diana’s.

I went from seeing Mera as being a strange choice for a Red Lantern to thinking her apt and meaningful. She represents a rage that has not been seen in the other Red Lanterns. As opposed to Mera having rage fuelled by the hate of others, or by vengeance, her rage is about weakness. It is about blame. It is about guilt. It is rage at her own inability to protect those she loved. This approach is quite profound in comparison to the mustache twisting villains we see wearing the other Red, Orange, and Yellow rings.

The art is very solid; Nicola Scott manages to capture Diana well--making her less busty and more athletic. I like it very much (despite the silliness of the Star Sapphire uniforms), and I think some people should examine how Scott draws Diana and then mimic it.

Additionally, Scott captures Mera distinctly--making her lighter, more lithe, and distinct from Diana. The action sequences are clean and creative, and the energy constructs created by Diana and Mera (surprisingly) are original and interesting.

With the ending of this series leading us directly into the future conflict with the big bad, I’m keen to see Diana kick some serious Black Lantern butt!

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