Since her debut in 1941, Wonder Woman has stood for several different things. She’s been the God of War, she’s been an avatar of peace. She’s been a symbol of women’s liberation, she’s been cheesecake eye candy. She’s been a lone champion for justice, and she’s been a member (and leader) of the Justice League. One thing has remained constant, though: Wonder Woman loves everyone and fights for that love. 

Wonder Woman: Dead Earth #1 understands that about the character, and that’s the big triumph of the comic. The story begins in a far-flung future, after some undefined apocalypse when a band of scavengers accidentally awakens Diana, who immediately rescues them from the weird monster they’re trying to escape. It seems she’s been in stasis in the Batcave (she even finds Bruce Wayne’s skeletal remains and takes his utility belt). She joins them on their way back to their home, Camp New Hope, where she’s double-crossed, held prisoner, and forced into combat against the hideously mutated (and mysteriously still alive) Cheetah. When the makeshift kingdom she’s a prisoner of is attacked by monsters, she immediately goes into action protecting Camp New Hope and wins their trust.

The book is both written and gorgeously drawn by Daniel Warren Johnson. Johnson clearly understands Diana and her message of love, which is expressed midway through the book in a gorgeous monologue while Diana is in captivity. Johnson’s art is reminiscent of the less cartoony, more sword-and-sorcery portions of Jeff Smith’s Bone, and his redesign of the Cheetah is gloriously grotesque.

Johnson is supported by colorist Mike Spicer and letterer Rus Wooton. Spicer’s coloring is exquisite, bringing Johnson’s apocalypse to life. Spicer subverts the expectation of dull browns and grays, supplying them early on but soon moving to brighter and more imaginative colors. Wooton’s lettering is raw and idiosyncratic, avoiding DC’s house style for something more rustic, more appropriate for the art style.

Wonder Woman: Dead Earth #1 is a surprise from DC’s Black Label, which until now has been home to established DC superstars like Frank Miller and Scott Snyder, playing in familiar sandboxes. It’s a nice departure for Black Label and one that’s extremely welcome.

Grade: A