Last issue marked a turning point for the Amazing Amazon.  Now that her life has changed (possibly forever), what does the world have in store for Wonder Woman?  More importantly, what does SHE have up her non-existent sleeves?  Your Major Spoilers review awaits!

WONDER WOMAN #24
Writer: Brian Azzarello
Artist: Goran Sudzuka
Colorist: Matthew Wilson
Letterer: Jared K. Fletcher
Editor: Matt Idelson
Publisher: DC Comics
Cover Price: $2.99

Previously in Wonder Woman:  The conspiracy of Olympians that has been trailing Wonder Woman and Zola was finally broken when Diana was forced to kill the god of War.  Now, she has returned to Earth with Zola, baby Zeke and a new human Hera (former queen of the gods), while a counsel of her Olympian relatives gathers to unknown (but probably not good) ends…

THE COVER IS A FRAZETTA SHOUT-OUT?  COOL!

The cover of this issue is pretty awesome, and better looking than all the 3-D Villain’s Month books combined, but I was a little disappointed to find that the interior art is not by Cliff Chiang, but is still in a similar vein.  Having returned to Earth, Diana has set up housekeeping with Zola and Hera (who has a little bit of difficulty getting used to human expectations, including “not using the severed heads of dead friends as decoration”.)  I’m quite entertained to find Diana wearing what seems to be a white leather minidress/coat in the style of her mod 70s incarnation, but her preparations for her new digs are interrupted by the appearance of Hermes, whose recent actions have left him far from her good graces.  The scene of Wonder Woman calling her swords into existence is pretty cool (and explains where the heck she keeps the things) but in short order, she finds herself in Olympus, facing Apollo, the new king of Olympus.  She is a little bit shocked to find that she is not attacked by her family, but is instead offered her chair…

…the seat belonging to the God of War.

WHEELS WITHIN WHEELS…

Seems that, by killing Ares, Wonder Woman is the new incarnation of War, though not all of the Olympians are equally happy about it.  Azzarello continues to add layers of nuance and machination to the interactions of the Olympians, something that I appreciate greatly, and Wonder Woman, for her part, comes out of the issue looking particularly heroic, defiant and awesome.  Of course, Strife is still ticked at her, and Apollo may have some less-than-savory plans in mind, but that’s all for later.  Artistically, though not quite as striking as Chiang’s work, artist Sudzuka has things well in hand, delivering strong sequences and an awesome-looking Wonder Woman (though never quite getting Apollo quite perfect to my eye.)  The issue ends on an ominous note, reminding me what has been great about this book since the beginning of the New 52: It treats the main character as an Amazon first, and a super-duper later.

THE BOTTOM LINE: NOT LOOKIN’ GOOD FOR W.W.

With so many people arrayed against her, Wonder Woman’s quandary reminds me (in all the right ways) of Neil Gaiman’s ‘Sandman’, with plans and portents and agendas galore, all of which are swirling about our main character.  Wonder Woman herself is well-defined, and her new status as God of War opens up all sorts of story-telling possibilities for the character, befitting her status as the quintessential bad@$$ hero and foremost female superhuman of modern comics.  Wonder Woman #24 does a little housekeeping, a little posturing and a lot of maneuvering, but doesn’t come across as talky or boring, earning an impressive 4 out of 5 stars overall.  Here’s hoping the book stays in Azzarello’s hands for a good long time, as it seems he’s still got gas in the metaphorical tank…