Written by Andrew Fontana
Well, after five long years its finally happened. After being hinted at since the New 52’s inception, the reboot’s incarnation of Diana and Steve make a pass at each other at long last, bringing to the fore her most definitive romantic relationship. The characterization of both has been spot on since the first issue, and Rucka makes use of that work in the interactions Diana and Steve share. There’s a shared history between these two that’s been nearly absent in the past two runs. Rucka makes that history feel organic and earned, deftly inserting it back into the mythos while still acknowledging the New 52.
Other things happen in this issue too, of course, one of them being movement on the Lies plotline. Rucka has a tendency towards decompressed storylines, and only in this issue have we gotten a clear picture of The Lies’ real narrative thrust. Veronica kale looks to be the real villain here, and the sci-fi vibe her character gives is a palate cleanser after the mystical shenanigans of the previous issues. That last page especially promises all sorts of weirdness in the next issue. The hint of “Hippolyta”‘s true identity might be bit obvious, but the story of how the situation came to be is sure to be a fun read.
Sharp’s artwork is on point, as always. Jumping locales from the African jungle to coastal Virginia might have been a challenge for lesser artists. Sharp, however, handles the transition with aplomb. There are a wonderful sequence of panels where Diana and Steve meet up under a gloriously rendered afternoon sky. Sharp’s vision of a beautiful afternoon is brought to life through Martin’s bright colors. The artwork throughout the entire issue is strong, but these scenes of Diana and Steve talking by the shore is an absolute delight. Taken as a whole, this is a strong penultimate issue for The Lies storyline.