On occasions Wonder Woman has employed a magical sword of unknown (though presumably Amazon) origin. This sword has been used most specifically against those with the power of invulnerability as invulnerability generally does not work against magical items. It is generally represented as a short sword. In Wonder Woman (vol. 4) #15, Hephaestus modifies Diana's bracelets so that she can manifest two short swords from them during battle.
Following the 2016 DC Rebirth continuity relaunch, Wonder Woman's outfit was redesigned to resemble the one worn in the film Batman v Superman: Dawn of Justice. This outfit is a red bustier with a gold eagle, a blue leather skirt with gold edges with two stars, and knee-high red boots with gold knee guards and accents. Her tiara once again is gold with a red star. She occasionally wears a red cape with a gold clasp and edges.[volume & issue needed] She continues to wear this updated outfit in DC Universe, the continuity established after Rebirth.
Wonder Woman was minorly associated with the series 52, and in the One Year Later universe following Infinite Crisis she becomes a member of the Department of Metahuman Affairs. The most memorable story arc from this era was the much maligned Amazons Attack story arc, which many fans felt was not engaging nor did it do enough service to the well-established characters. After Gail Simone took over the series, a number of memorable story arcs took place, foremost among them Rise of the Olympian and Warkiller. Following the departure of Gail Simone the character was relaunched into the storyline Odyssey, where she must discover who she is and what has happened to her life. During this period she also took part in the events of Blackest Night where she was first a Black Lantern and later a Star Sapphire.
Following Pérez, William Messner-Loebs took over as writer and Mike Deodato became the artist for the title. Messner-Loebs introduced Diana's Daxamite friend Julia in Wonder Woman vol. 2 #68 during the six-issue space arc. Messner-Loebs's most memorable contribution to the title was the introduction of the red-headed Amazon Artemis, who took over the mantle of Wonder Woman for a short time. He also included a subplot during his run in an attempt to further humanize Diana by having her work for a fictional fast food chain called "Taco Whiz".
Comic book writer William Messner-Loebs seems to have had the worst luck when it comes to healthcare and housing. Best known for his work on The Flash, Wonder Woman, Green Arrow, Epicurus The Sage and The Maxx, comics work has dried up just when he needed it most, He has been helped by the charity HERO, there have been fundraisers for him over the years and recently he was invited to co-write the KISS comic book by Amy Chu over at Dynamite Entertainment. All the while, people have wondered why DC Comics especially doesn’t put his much-loved work back into print.
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Gaines decided he needed another expert. He turned to Lauretta Bender, an associate professor of psychiatry at New York University’s medical school and a senior psychiatrist at Bellevue Hospital, where she was director of the children’s ward, an expert on aggression. She’d long been interested in comics but her interest had grown in 1940, after her husband, Paul Schilder, was killed by a car while walking home from visiting Bender and their 8-day-old daughter in the hospital. Bender, left with three children under the age of 3, soon became painfully interested in studying how children cope with trauma. In 1940, she conducted a study with Reginald Lourie, a medical resident under her supervision, investigating the effect of comics on four children brought to Bellevue Hospital for behavioral problems. Tessie, 12, had witnessed her father, a convicted murderer, kill himself. She insisted on calling herself Shiera, after a comic-book girl who is always rescued at the last minute by the Flash. Kenneth, 11, had been raped. He was frantic unless medicated or “wearing a Superman cape.” He felt safe in it—he could fly away if he wanted to—and “he felt that the cape protected him from an assault.” Bender and Lourie concluded the comic books were “the folklore of this age,” and worked, culturally, the same way fables and fairy tales did.
In one episode, a newspaper editor named Brown, desperate to discover Wonder Woman’s past, assigns a team of reporters to chase her down; she easily escapes them. Brown, gone half mad, is committed to a hospital. Wonder Woman disguises herself as a nurse and brings him a scroll. “This parchment seems to be the history of that girl you call ‘Wonder Woman’!” she tells him. “A strange, veiled woman left it with me.” Brown leaps out of bed and races back to the city desk, where he cries out, parchment in hand, “Stop the presses! I’ve got the history of Wonder Woman!” But Wonder Woman’s secret history isn’t written on parchment. Instead, it lies buried in boxes and cabinets and drawers, in thousands of documents, housed in libraries, archives and collections spread all over the United States, including the private papers of creator Marston—papers that, before I saw them, had never before been seen by anyone outside of Marston’s family.