There are few re­vamps that have been as suc­cess­ful — or as nec­es­sary — as what writer/ artist Ge­orge Perez (abet­ted by writer Len Wein) achieved with Won­der Woman in 1987. Perez jet­ti­soned a lot of the aw­ful baggage that had built up around the Amaz­ing Ama­zon through decades of medi­ocre or just plain ter­ri­ble sto­ries, re­launch­ing the char­ac­ter afresh as a 20-some­thing on her first jour­ney to Man’s World. He em­pha­sized the mytho­log­i­cal as­pects of the strip, re­turn­ing the Ama­zons to their roots (and put them on The­myscira in­stead of Par­adise Is­land), and set­ting up as their eter­nal foe the war god Ares (who had, un­til 1986, been re­ferred to by his Ro­man name Mars). That ar­mor you saw in the “Won­der Woman” movie? That’s Perez’s hand­i­work, as he raided an­cient Greco-Ro­man cul­ture for ev­ery as­pect of the new Won­der Woman, from clothes to ar­chi­tec­ture to ar­ma­ment to philoso­phies.