Your story arc is called “The Just War.” What does that tell us about where you’re taking Wonder Woman?

What I wanted to do in this arc is take some classic, beloved or notorious Wonder Woman characters, and kind of hold them upside down, shake them and see what falls out of their pockets. In this case, that meant bringing back Ares in a form and in a way that we really haven’t seen him before. So, he’s coming back thinking that being the god of war doesn’t necessarily mean being unjust. That maybe he can bend his powers to bring about positive change. He kind of becomes a caricature of what Wonder Woman herself stands for. She has to reckon with her own modus operandi and what she thinks her role is in the face of this extremely powerful old enemy who’s now suddenly wanting to be her best friend. It’s, in many ways, a meditation on violence and whether wars are fought in the same way as they’ve been in the past, whether there is such a thing as a just war anymore.

In your work on “Ms. Marvel,” you’ve tried to balance the fantastical with everyday American concerns. Will you keep doing that in this series?

That’s exactly what I was looking for. I think what’s fun about Wonder Woman, especially in some of her more recent incarnations, is the way that she juxtaposes these mythological features with the very banal, everyday facts of living in our society in the 21st century. For me, it’s really about re-examining those Greek myths that have timeless themes in the context of a society that has smartphones and Wi-Fi and international espionage and gentrification and income inequality and all the things that you encounter on a daily basis. To see whether they’re still relevant and to keep them relevant is an interesting artistic challenge.

You needn’t answer if you don’t want to, but how is your upcoming hysterectomy affecting you as you look ahead to the release of this book?