Image: DC Comics

Wonder Woman has been exiled from her homeland of Themyscira, but she’s always held on to hope that she would eventually make her way back to her fellow Amazons. That hope has been challenged by the recent disappearance of the realm of the gods, leaving Diana in a troubled state as she tries to find any clues that indicate the survival of her sisters. Writer G. Willow Wilson’s run on Wonder Woman has used Diana’s longing to drive the story forward, focusing on different aspects of her character while building a larger plot about this search for family. Wilson’s run began with pitting Wonder Woman against Greek god Ares on a foreign battlefield; that story looked at the complicated political ramifications of interfering in an international military conflict, leading into a remarkable standalone issue about mythical refugees coming to the U.S. and discovering they aren’t welcome.

After examining war, Wilson is shifting to another key Wonder Woman theme—truth—in her current arc focusing on sinister businesswoman Veronica Cale. This exclusive preview of this week’s Wonder Woman #65, featuring art by penciller Jesus Merino, inker Andy Owens, colorist Romulo Fajardo Jr., and letter Pat Brosseau, takes a familiar superhero story idea—the need to regulate extrajudicial law enforcement—and puts a fresh spin on it by comparing superheroes to corporations. Heroes are able to operate without oversight while companies are saddled with limitations, and this argument taps into the capitalist ideology at the core of a lot of U.S. policy.

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Diana already has a lot on her plate without this new lawsuit, and this excerpt emphasizes this overwhelming struggle with a page depicting Wonder Woman flying through storm clouds, her tears falling in the rain. That page gives readers a clear idea of Diana’s mindset, so when the action shifts to the sunnier visuals of Steve and Aphrodite, that personal tension remains.