Another incredible issue of this run. Kelly Thompson once again makes great use of Greek mythology while still maintaining what makes Wonder Woman a compelling character in the first place. Her freeing Prometheus was a great example of this, peacefully asking the eagles to stop tormenting him. This issue had a different artist from the previous issues, illustrated by Mattia De Iulis, and his art is absolutely stunning. He has a great sense of scale. The shot of her first encounter of Prometheus and her first encounter with the Basilisk are some of my favorite shots of the issue. The Basilisk scene especially was great, referencing Wonder Woman's fight with Medusa in the main continuity by blinding herself. I really curious how the next issue will conclude this portion of the story.

This is a very excellent issue, not only tying it in to Devil's Reign, but also tying it in to Secret Invasion by introducing Skrull Queen Veranke as a villian (since she impersonated her during SI)! I can't wait for next issue!

It is a excellent dark retelling of The Amazon's origin from George Perez's run of Wonder Woman. The artwork by Phil Jimenez are absolutely gorgeous. The writing by Kelly Sue DeConnick is very compelling, suiting the grandeur of the Greek pantheon.

One of the better DC/Looney Tunes crossovers, if I'm being honest. I love the imagination Tony Bedard employed to bring the Tasmanian Devil into the DC Universe. He is apparently one of many guardians who lurk within the Labyrinth. Speaking of the Labyrinth, I love the lore they introduced about it, and how it's spread all throughout the world via portals. It's a really neat idea and is great world-building. I loved that this story didn't forget that Wonder Woman can communicate with animals with her understanding of Taz's gibberish. Their relationship throughout the story was cute, and them teaming up to take on the Minotaur and subsequently Circe was fun. The artwork, by Barry Kitson, is serviceable, although some shots did look awkward with the more realistic rendition of Taz. I did, however, liked how the Troll's under Circe's control looked Jack Kirby-esque in design. Overall, a really fun team-up story that understands both Diana and Taz's character.

Listen up, you primitive screwheads! When I heard that Red Sonja and Evil Dead were getting a crossover, I was absolutely ecstatic. Two of my favorite franchises going head to head, only better that it is written by Tim Seeley, who wrote the previous AOD crossover with Vampirella/Army of Darkness. This was a really good start, setting up both characters perfectly for the story presented. I never thought Red Sonja existed in the same time period as 1300s England, but the more I think about it, it makes perfect sense. Ash acts just like his movie counterpart, right down to the slapstick comedy. It actually felt like I was reading a performance from Bruce Campbell. The artwork, by Jim Terry, is a little too scratchy for my taste, but does a great job of depicting the slapstick comedy that comes with Ash Williams. But still, this was a good first issue, and I look forward to the rest of the miniseries.

I'm very conflicted about this issue. While the way Diana dealt with the Sovereign was satisfying in that it kept her perfectly in character, with Wonder Woman being a Warrior for Peace, the rest of the issue left me confused at the revelations at play. While I'm not pissed off at the apparent future deaths of Wonder Woman and the Wonder Girls, it brings the question of why this wasn't brought up before this point in the story. Not only does death not hold any meaning in comics anymore, but especially in Wonder Woman's case, which is closely related to Greek mythology. Where death is never the end of a story. As the writer, Issac Asimov, once wrote, "Death is no denial of godhood if it is followed by resurrection; rather it is the offer of a great hope to humanity that death can be conquered." This is also followed by the reintroduction of Emelie back into this story, while also showing that Etta Candy has her in hiding. What the hell happened off-screen in this storyline? I'm just baffled by how this was executed, just leaving a lot of things that really should have been shown in the background or not at all. I did like that Tom King did reference some obscure Wonder Woman stories and villains in this issue, so he has clearly done his research for the character. It's just the execution that is really lacking in this issue.

The idea of Wonder Woman and Batman teaming up isn't inherently a bad idea. Hell, Liam Sharp wrote and drew a crossover between the two that I thought was pretty good. But the execution here leaves a lot to be desired. Wonder Woman seeking Batman's help to solve a case makes absolutely no sense, especially since she has the wisdom of Athena. I guess one could assume she wanted someone to hold her back from attacking the gods for their belligerence, but it certainly isn't written that way, with her only explanation being "you're the World's Greatest Detective." In fact, this whole issue just feels too focused on Batman as opposed to Wonder Woman, IN HER OWN DAMN BOOK. At one point, Zeus puts Batman on a different level above gods and mortals. The obsession of DC to put Batman on god level is getting ridiculous at this point. Wonder Woman did feel out of character in this issue for the majority of it. It is explained near the end of the issue that she is tired of the gods treating humanity like playthings, which is understandable, but it is placed in an awkward point in the story. The final moment between Batman and Wonder Woman of him admitting that she made him believe in God again was a good moment, but I feel it would have been better in a Batman issue. I haven't seen such a falloff for a run.