After a second caper with Batman on Mount Olympus, Tom King returns with a romantic one-shot tale featuring Diana and Steve Trevor from Wonder Woman #22. Perhaps even more interesting is that Mouseman is introduced, just as the last big cliffhanger revealed that Trinity is under Mouse’s protection. This is another story set in Washington, DC, and a battle featured in familiar places, so Wonder Woman is even more of a buckle-up as she shows that she is an American guardian.
What you will soon find out is the art of Caitlin Yarsky. Steve Trevor is a bit more cartoony, and Wonder Woman looks even younger. The latter details are useful for the story as they are “near the beginning.” It can be speculated that this story takes place at the beginning of Steve and Diana’s relationship, but shortly after they first slept together.
The story begins with Diana waking up next to him in bed without him. She leaves him a note about the mouse issue, but soon he rushes her to make sure she is OK. The story coincides with the fascinating quality of art, as writer Tom King holds Steve’s full adoration and respect for Wonder Woman. Not only her personality, but her appearance and bravery.
Yarsky’s art shines when he reaches the scene where the mouse is attacking the Capitolville. These aren’t just mice, they’re not huge mice, they’re Wonder Woman’s incredible double-page splashes that involve one with her lasso. Yarsky is also good at making Diana very casual as he punches Diana and tells Steve about their dates.
I love this double page spread!
Credit: DC Comics
Two things shine with this obvious buffer issue before King and Sanpele get back on track. One is Diana’s kindness to all living creatures, not particularly harmful, and is exploited. The other is how Mouseman imitates the rioters of January 6th, leading to his bravely positive and exaggerated attitude towards embarrassing government buildings. The issue is not necessarily overtly political, but it’s easy to see the connection. Mouseman is a bit of a stupidity, so that’s a satire at a real event.
Ultimately, I feel this issue is very light for one-shot stories where you buy time for a bigger story to unfold. It strengthens the love between Steve and Diana, but I have never known or seen it in this series yet. If anything, it may be setting Mouseman with something that shows that he shows why he helps Wonder Woman. But that’s a hypothetical.
Wonder Woman #22 is a fascinating detour that highlights Diana’s sympathy and Steve Trevor’s admiration, all wrapped in a satirical, oversized rodent brawl. While you can’t move the main plot forward, it offers a sweet and visually fun entanglement that balances light commentary with moments of Heartfelt characters.
“Wonder Woman” #22 is a healthy side mission
Wonder Woman #22
Wonder Woman #22 is a fascinating detour that highlights Diana’s sympathy and Steve Trevor’s admiration, all wrapped in a satirical, oversized rodent brawl. While you can’t move the main plot forward, it offers a sweet and visually fun entanglement that balances light commentary with moments of Heartfelt characters.
Caitlin Yarsky’s expressive, all-age art style gives the story a warm, whimsical tone that fits romantic one-shots.
Wonder Woman’s compassion and power are highlighted in both character-driven and action-packed moments.
He downplays the current event through Mouseman’s over-the-top antics.
This issue feels like a filler or a detour, not a must-see installment for a bigger arc.
Steve and Diana’s romance, though sweet, does not offer much new insight.
