The major feeling of this comic book pilot is that T'Challa must overcome serious instability in order to establish himself as a leader for good. Although his romantic notions about his service have always been that he was doing good, but his version of good leads him to direct military combat against his own citizens. That is offered as the major crisis of the book, that T'Challa's feedback is universally concerning. His father's report is also condemning, as is the random woman and the woman in green.
Analyzing that woman in green is a fascinating exploration into archetypal association. The woman represents something feminine and green like a lizard. She is like the serpentine femme fatale whose kiss is deadly as a snakebite. But in this case, she is not a romantic object of the king; rather, she stands in the midst of his people who are criticizing him brutally. That passes the test for her archetypal nature, because scrutiny has always been the anima's painful game.
This means that underneath this complicated network of assumptions and status quos, T'Challa has a heart that longs for the approval of his people. That is a sign of love. In the end, the threats against his throne come across like a wife finally threatening divorce to get some changes around the house. The people don't follow through on that threat, but the tone of the comic is set: can T'Challa convince the people he has their best interest at heart? More importantly, does he have their interests at heart, or is the haunting voice of his father's criticism true—does he secretly only think about himself?
