Wonder Woman’s search for missing socialite Natalia Close has taken a dark turn—can Wonder Woman convince the troubled mother to choose her real life over her villainous new persona…or was that life just a mask all along?
Sanya Anwar's story works well overall but it's definitely the kind of two-parter that reads better together since it goes through such a narrative shift from detective story to action story. It unfolds well here with there being no clear winners when you get down to it and you have to readjust your view on almost everyone based on how it plays out. Anwar's artwork looks great, the action works well, and the somber ending is one that resonates better than something where it's all wrapped up tightly and easily. Read Full Review
Anwar brings a new villain to the page that is well-suited to Wonder Womans rogues gallery. All of the more interesting Wonder Woman villains exist in a sociopathic space right on the edge of reformation. Wonder Woman could theoretically bring them in with their own consent if only she could reach them in just the right way. Nina fits the profile of that sort of character quite well. Given the right angles, Nina could prove to be a deep and insightful look at various societal issues, which is precisely the sort of thing the best Wonder Woman stories have managed over the years. Read Full Review
Sanya Anwar tells her story from #13 to #14.
The second part falls a bit flat. While Nina's/Natalia's transition to "The Mask" is great, the whole narrative shifts to make her into a Bond villain. And not the compelling kind. We get surprise goons. A helicopter getaway... and once more Diana can apparently not fly?
While a certain emotional depth is still given, it is largely taking the back-seat to Action. Though it sadly doesn't truly feel like action.
What the story and many others do though, is, show Diana's deep and continued connection to the people she saves, which is a part of her lore I greatly enjoy.
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