This issue lacks the shock of the new that the previous one did, but it's actually quite a bit stronger (I loved the panel of Archie's attempt to work at an ice cream shop). I suspect that may continue to be the case as we meet more characters and their personalities and relationships get more clearly defined.
I reviewed it at Robot 6 today, if you'd like to read my take on it.
Before discussing the story in any great detail, I should note that it quite gradually dawned on me that the story–or at least Kesel's script–is more meant to be in continuity, while the art is not. That is, the Wonder Woman who appears here is apparently dating Superman, and the Superwoman who appears here is pregnant, but all of the artists involved draw Wonder Woman in her old, pre-New 52 costume.
It's not necessarily a bad thing, given that the stories in this title are generally continuity-lite, but it is a weird thing, and a pretty compelling example of the fact that even when a writer is trying to write in New 52 continuity (with Kesel referencing things from Forever Evil), the artists naturally gravitate toward the more iconic version of Wonder Woman as their default. Four different artists draw Superwoman and Wonder Woman, three different artists drawing a different chapter of the story and Giuseppe Camuncoli drawing the cover, and all four of them draw pre-New 52 Diana.
Anyway, the story. Three girls are running on the beach when a mysterious fourth runner zooms ahead of them all, turns around and runs back to them. It is Wonder Woman, and she immediately puts her hands on the shoulders of the first strange girl and starts lecturing her about how awesome she herself is and how she should continually strive to be the best. The women all get into a conversation about this, with one of them mentioning Wonder Woman's clothing.
Regardless, Wonder Woman's answer is awesome.
an advertorial explaining his decision to have Diana put a full bodysuit on under her bathing suit, and a skirt, armor and knife-gauntlets on over it, David Finch cited his wife and Wonder Woman writer Meredith Finch saying pretty much the same thing as Nancy's mom there.
When Wonder Woman says she's the best, Superwoman lands on top of her like a meteor to challenge that assumption, and Wonder Woman and her evil opposite from Earth-3 beat on one another in front of the three girls, who function as a sort of
Interestingly, just a few pages after using the word "slob-shaming" when Nancy tells Wonder Woman what her mom thinks of fighting in a bathing suit, Wonder Woman literally slut-shames Superwoman:
The art is strong for two-thirds of the story. The first two chapters are by Irene Koh (who drew the first three panels I posted above) and Emma Viegeli (who drew the fourth image). While there are pretty obvious differences between the work of the two artists, with the latter using black lines to outline the figures, making them sharper and more distinct than the softer, more illustrator-like look of Koh's chapter, they are sticking to pretty similar designs.
The third chapter, by Laura Braga, is more in keeping with the design of the cover, as Wonder Woman and Superwoman's costumes suddenly shrink about ten sizes, and they get slimmer and more buxom (Braga draws Wondy's tiara much larger than the other two do, though).
Overall, it's a pretty fun and funny story, and one that manages to discuss aspects of the Wonder Woman character in a direct, almost pedantic way, while also demonstrating aspects within the story, and meeting the required superhero violence quotient. I don't know that I'd say this was one of the better Sensation stories of late, but it was certainly one of my favorites in a while.