Trinity: Daughter of Wonder Woman #5: Young Love

Trinity: Daughter of Wonder Woman #5 brings the teenage Lizzie, Wonder Girl, back to the streets of Gotham to locate another missing corgi. Although she is hesitant to admit it, she is genuinely elated to return to this time period because it means she gets to see her crush, Jason Todd, once again. What follows is a very fun, romantic-comedy-style adventure between the two teen heroes, highlighting the story’s greater themes of love, loss, and growth.

The way this story is being told, jumping not only between multiple time periods, but also transitioning between the different Lizzies’ perspectives, really helps round out this character who is currently just a baby in the main, present-day continuity. Wonder Girl’s story has unfortunately been the weaker of the bunch, mainly because it has been the most disconnected from the main plot of uniting the Lizzies with their deceased father, Steve Trevor. That said, this romantic-comedy-style issue does lend itself well to the sensibilities of teenagers, who are quick to fall in love and think little of anything else as they go through rapid hormonal changes.

One of the highlights of the series, very apparent here, is the comedy that writer Tom King infuses into the commentary on the greater DC Universe surrounding these characters. For example, in this issue, Wonder Girl cannot help but burst into laughter when she hears Jason refer to himself as “Robin: The Boy Wonder.” In this instance, Lizzie acts as the fresh face in this universe, learning the things comic book fans have known and accepted for years, but realizing for the first time just how ridiculous it all can sound.

Belen Ortega continues to excel with art that makes both the comedic elements and the more heartfelt moments stand out spectacularly. Watching Lizzie burst into laughter feels just as genuine as the final page, which shows her in tears as she’s embraced by her time-displaced variants. All the while, the action scenes are top-notch, giving this comic the classic DC feel while showcasing a side of King’s writing that only Ortega’s art seems able to bring out.