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‘Wonder Woman #62’ (review)

Written by G. Willow Wilson
Illustrated by Xermanico
Published by DC Comics

 

Wonder Woman #62 wraps up the first story arc for G. Willow Wilson on Diana Prince’s book and changes the way Wonder Woman and Ares relate to each other from here on out.

The conflict in the fictional Durovnia is coming to an end as the Prime Minister and the rebels work to start talks and lay down their weapons. Our heroic team of Wonder Woman, Aphrodite and Steve Trevor have brought both sides to the bargaining table but not before God of War Ares shows up to sow chaos. We’re given a natural end with this issue, fit for trade dress as the action winds down, but not before one of Wonder Woman’s key defensive weapons ends up in the hands of Ares.

Ares’ bloodlust and his own sense of what ‘justice’ means has him targeting the Prime Minister of Durovnia with his mighty axe. Wonder Woman is able to take down the war god with her lasso but the rope is seized by her enemy. Rarely have I seen use of Wonder Woman’s lasso being used effectively against a powerful enemy and with great art to back it up. Wilson deftly explores the meaning of the lasso as a weapon, a loop with no beginning or end as the opposite to Ares’ mighty steel axe. Like a master of Judo, the lasso allows her to use the enemy’s own force against itself. It’s super fun to see familiar Amazonian weapons explained in a modern context and with a new twist. Because Ares is more of a brute force enemy, he’s not able to use the lasso against Diana, so she clearly has the advantage.

Meanwhile, our sleepwear-casual Aphrodite is the one puts an end to the violence. She whispers a secret to her fellow god that makes him turn tail and walk away after Diana bests him in combat. We’re treated to two pages of Diana and Ares discussing justice and war at the end of the issue, as this conversation has continued throughout this story.

Etta is still in the hospital, recovering from injuries and Steve Trevor is back at home as well after being held hostage by some other immortal beings for a time before being taken to Aphrodite.

We head into issue #63 with a sense that this battle is over, but with both Themyscira and Olympus having fallen, there are now refugees in the form of mystical creatures here on Earth. Will Diana be able to help these refugees?

In conclusion, I will echo parts of my previous reviews of this storyline. G. Willow Wilson’s run stands to redefine Wonder Woman post-feature film and make the Golden Age character relevant to modern times.

Batman and Superman have been redefined and brought to the modern age effectively by many modern artists and writers. One could argue that with Batman, it’s easy, just update the tech, or with Superman you put him in space or have him return to The Daily Planet or whatever, also updating the tech to put these heroes in a modern light.

Wilson has proven herself to be someone that can create great comics and with Wonder Woman can update her motivations or integrate her into the world we live in now by pointing attention to what is going on in the world today with politics, refugee crises in many countries and the discourse surrounding these issues. By giving voice to Ares’ views on ‘justice’ she’s able to show different sides of each faction’s motivations for resolving conflict. I’ll be looking forward to her similar illuminations on the refugee crisis in the coming issues, if that is where the story is going.

With Bendis, Wilson, DeConnick and more creators who have worked at other companies headed to DC for some of these key titles, the transition from New 52 to Rebirth and the current continuity is a richer place for storytellers and I am happy for that.

 

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