Diana and Atlantiades continue to be confronted by the angry inhabitants of Summergrove. The discussion do not go well, and Atlantiades has to admit that they can't put things as they were before, as it is outside their powers. Instead Atlantiades unleashes all of their powers to overwhelm the minds of the inhabitants.
Diana and Atlantiades continue to talk, but it's a child who helps bring home to Atlantiades that there is more to human life than simply following the immediate desires. Atlantiades decides to stay in Summergrove, to guide them to find a new balance. But they also come on rather heavily towards Diana, who now is so hot even the gods want her.They are like the sun. Beauty and light as though beauty and light did not exist before they stopped into the world. And like the sun… that light is pitiless.
At the same time, Maggie's sword starts glowing, and she decides to investigate the black space in Atlantiades's shrine, despite the advice not to from Aphrodite. Maggie christens her sword Toto while citing The Wizard of Oz, and then encounters and is chased by a colossus in the shape of a minotaur. As she sets out to confront the colossus, she is saved by Diana, who had been fetched by Cadmus. Apparently the black space was the portal through which Atlantiades had arrived in our world. The issue ends on a cliffhanger with the colossus getting up again to confront the two of them.
Wilson has talked about her run turning into superhero Sandman, and there is something of that her. The issue is basically a long discussion on the limits of powers both real and self-imposed as well as on desires and responsibilities. But it ends with some nice action and what looks like real progress towards the Themyscira plotline.
In a way, the issue is more transitory than anything else: the Atlantiades plotline is not so much finished but closing out the first act, while Diana and her companions continue on with their quest. This is not a Diana who resolves to punch things to resolves them, but tries to improve the situation around herself, but also is challenged by the people involved.
Art-wise it's good. A couple of pages are done by another artist than Xermanico—Derenick and Hanna are credited on the cover but not the inner credit splash page—and while they do a good job adapting to Xermanico's style, they make Atlantiades appear much more female to me.