Review: Smallville Alien #1

Smallville: Alien #1 came out this week, the equivalent of Smallville Season Eleven #20. With the need to make comics accessible to everyone, the decision was made to keep the numbers on the book low. Someone may be more apt to pick up a first issue rather than a twentieth. I would love if there would be some episode number on the book as well though, aiding me in aligning these things in my long boxes.

I have sung the praises of the Smallville comic for a long time here as it represents the best of all things: classic Superman sensibilities and great stories. That's all Superman fans are looking for. Now I worried about Alien as an arc because it follows Olympus which, frankly, was just freaking spectacular. Would Alien suffer from having to follow in those big footsteps.

Luckily, Alien works just fine. Writer Bryan Q. Miller takes a step back in this issue, catching us up with all the players in the book, moving the over-extending arc of the Crisis forward, and throwing in a more recent trend in comics - people distrusting Superman. Not bad at all. I have been eager for the Crisis stuff to be brought to the forefront of this book so seeing a Monitor made me happy. There is one thing that made me cringe a bit ... more on that later.

The art is done by Edgar Salazar and continues a trend of very smooth looking artists on this book. There isn't the degree of stylization that we saw with Jorge Jimenez but it is slick. And, as always, Cat Staggs provides a great cover. Love her work.

Last issue, Superman finally revealed to the world that he is an alien. It certainly wasn't an easy decision.

Miller allows us a glimpse back to some of that home-town Smallville 'Pa Kent' wisdom. In Clark's early years, he had to give a speech in front of the school auditorium. Clark thinks the crowd is 'huge' when in actuality it is only a handful of people. Still when his nerves are about to overwhelm him, Pa is able to calm him down with a little mantra "find your center, stand your ground, speak your piece'. It is that intestinal fortitude that allowed Clark to reveal his alien heritage ... because it was important to do so.

I do love that Clark's speech, even at that young age, was 'What's so funny about truth, justice, and the American way'.

Meanwhile, the world is still reeling a bit about the news. Clark hopes his reveal will show people that those 'different' don't need to be vilified and feared. Instead, it seems like it has had the opposite effect. People are fearing Superman instead.

Despite saving a Japanese bullet train (which has the young Hiro Toyman as a passenger - probably pre-villain), the rescued passengers run away from Superman. Except for these folks who ask some pointed questions.

Hopefully this Superman will simply carry on. Being an inspiration and doing good in this cynical world isn't easy. But Superman should rise above.

Meanwhile in Russia, a Monitor somehow blips into our universe and crashes to the ground.

Called to the White House, the President shows Superman the satellite images. Superman knows what the Monitors can do, killing the Earth 2 Chloe for one, and vows to investigate.

Whenever you see a Monitor, a Crisis can't be far behind.

The President isn't the only one who is interested in this Monitor. When Lex hears about it, he wants in.

This is such a bizarre and intriguing Lex. Recovering from his amnesia, I don't think this Lex really has a raison d'etre yet. He seems to be reacting as opposed to acting. You know there is this underlying malevolence in him. Nothing is constructive. Everything is destructive.

I keep waiting for this Lex to shake off the confusion of his existence and become the calculating ruthless villain as opposed to just a bored bad guy grasping.

As I said above, Miller uses this issue to catch us up on some of the lingering plot lines that are out there.

One of them is the fact that Chloe and Oliver have moved to the West Coast. Miller brings Chloe back to Metropolis on a visit. Since she merged her mind with the 'other' Chloe, she is haunted by visions of that destroyed planet. We see glimpses of Earth 2's destruction.

Chloe is an integral part of the Crisis arc so I am glad to see her back.

In this scene we also see a more well-adjusted Tess, now a 'clothed' electronic spirit.

And then the thing that made me thrilled and cringe at the same time.

Lex decides to fly to Moscow in his private jet and Clark joins him. To make it appear that Clark and Superman can't be the same person, a flying red/blue figure streaks above them.

But it isn't Superman! It's Supergirl!!! Fantastic!

I am glad that Miller has had Supergirl return to the present. I would love to see more of her here. And she looks gorgeous.

But you put Supergirl in a Crisis story and bad things could happen.

Bryan Q. Miller ... if you read this ... 'DON'T KILL SUPERGIRL!!!!'

Characterization is a strong point of this book and I love that Chloe has returned to Metropolis because her role as loving wife and expectant mother is boring to her!

That is totally consistent with her character!

And Miller adds a little bit of backbone to Clark as a hard hitting reporter. On the flight, Clark asks Lex about the attack on STAR Labs back in the Tess Special. Lex states that Lexcorp would never do that. Clark then points out that he wasn't besmirching the corporation and instead talking about Lex himself.

It actually gets a nod of respect from Lex.

I am glad Miller doesn't have Clark as a buffoon in this book.

For once, it isn't the United States Government that is the villain of the story! It's the Russian Government!

Russia has the Rocket Red Brigade escort the Lex plane to the ground. And we see the Monitor hooked up to some very Granny Goodness style  machinery.

I have no complaints here. So far so good! This is a perfect opening chapter, grabbing me with some good hooks and continuing great characterization of not only Superman/Clark but the supporting cast too! And we see Supergirl again!!!

But please Bryan Q. Miller .... PLEASE .... DON'T KILL SUPERGIRL!!!

Overall grade: B+

Review: Superman/Wonder Woman #3

From the beginning, I have felt that the Superman/Wonder Woman romance was wrong for both characters. I didn't think it suited either of them or was consistent with more classic interpretations of either Clark or Diana. I wasn't 100% closed to the idea but I knew it would take something spectacular, something new, to make me think this was right for either of them.

With that in mind and knowing that the first arc was going to redefine the Phantom Zone villains, I decided to add Superman/Wonder Woman to my pull list. I would give the book a shot to see if writer Charles Soule could sway me. Besides, I knew already that I enjoyed Tony Daniel's art. At the very least, it would be a beautiful book to look at.

Superman/Wonder Woman #3 came out this week and like the first two issues, the characterization of the characters seems just a bit off. They don't seem comfortable with each other. This relationship feels somewhat forced. And the characterization of the two doesn't jibe with me. Now don't get me wrong, there are a couple of nice moments in the book. And the art is stunning. But this Diana is a far cry from the God of War in her solo title. And this Superman seems to eager to distance himself from humanity. And then they seem to pick the oddest time to get amorous and frisky. Maybe this is the early stage of any relationship, where passion seems stronger than love?

Anyways, unless things change, I don't know if there is going to be a second arc in my collection.

The book opens with Cat Grant finally opening up the flash drive that was sent to ClarkCatropolis. On the stuck are pictures of Superman and Wonder Woman kissing.

This is exactly the sort of publicity that the small start up blog needs. So it will be interesting to see how Clark (who wants the relationship to remain a secret) responds. Will he try to bury the story, make it a non-story, or spin it in a way he wants?

This is one of those times that having a dual identity is troublesome.

Let's start the guesses on who sent the drive. Who would be able to even get those pics? Luthor? It would give him pleasure to put Clark against Superman in a news war. That's all about I got.

One of my complaints about this book is the sort of uneven characterization Soule puts into the book. I also question how healthy this relationship is.

First the good part. Overpowered by the Apollo sunburst, Superman can barely control himself. He huddles down on the moon trying to burn off some of his energy. He talks to Batman during the process. One thing I liked about this was Batman's assessment of Superman here. Okay, calling him a dumb farmboy might be over the top. But the idea that it is the 'man' and not the 'Super' that defines Superman is how I think of the character. He is considers himself someone who can help more than the average person can. I like that.

But the bad part is that Soule thinks that Diana feels above everyone on the planet. She has 'no connection' to the world of everyday folks and that is problematic. Frankly, that just reads completely wrong to me. I wonder if Diana fans feel even more irritated by that than me.

Lastly, Superman tells Batman that he doesn't want Diana to know about his problem with the sun energy. Not exactly the openness I might want in a relationship. Isn't early to hide things from each other?

So the strong men talk about the ways of the world.

Diana gets to stroll around town talking about what gift she should get Clark for Christmas.

This also seemed off. I suppose if the prior scene was Clark and Bruce doing the same I might be able to deal with it more, contrasting the 'ordinariness' of it. But having Diana stress over buying her boyfriend a gift seems to denigrate her.

Now last issue ended with Zod breaking through onto Earth, in the desert.

Here is seems insane at first, screaming insensibly, trying to fly, and then cruelly stomping a passerby into a bloody pulp and smearing the man's blood on his face.

I talk about the over the top nature of comics these days and this is a good example. We know Zod is a bad guy. I don't know if this scene added anything to my understanding of his character. That is the definition of gratuitous.

The Justice League of America shows up to investigate the incursion onto our world. It was nice to see Vibe and Hawkman try their best against him. I also think that the 'breach' idea tied in nicely with Vibe's title.

And sorry to all the Martian Manhunter fans out there as he is used as a measuring stick character again. Zod is already powerful enough to lay J'Onn out.

Then Superman and Wonder Woman arrive together and Zod is trapped within the coils of the magic lasso.

But, in my mind, things start to unravel a bit. Zod suddenly starts to speak calmly and claims that he was confused by his surroundings.

Of course, the blood he smeared on his face isn't there any more. Because that might be tough to explain.

And what about the place of his actual incursion ... remember the spikes perforating and slaughtering the caravan? And how about that poor nomad stomped to death? Did the JLA track him from his entrance onto Earth or did they just stumble onto him?

The point is all the evidence of him being a brutally violent man is simply erased or ignored. If Superman saw the pulped man in the desert, he might have a different attitude towards Zod.

And then these panels, probably my least favorite ones in the issue. Just pages after Soule reminds us that Superman is more man than Super, Superman decides that he wants to distance himself from mankind. When the JLA asks to take Zod in, Superman says he remembers what 'the government does to his people', a reference to Action Comics #2, an event that happened 5 years ago in continuity. He is worried what Earth will do to Zod! Daniel cloaks him in shadows and silhouettes kicking up the darkness in Superman.

Is this really Superman? Is this the Superman DC wants? Someone who distrusts mankind to the point of flaring up with anger at other heroes? What happened to Batman's 'dumb farmboy'??? This whole thing is completely wrong.

So Wonder Woman's characterization is off. And now Superman's characterization is off.

Superman brings Zod to the Fortress and puts him in a zoo cage until things can get sorted out. Superman tells Wonder Woman that the cage cannot be broken out of, even by someone of Kal's power levels.

Let's say that Soule needed Zod in the Fortress as a plot point.Couldn't he have had Superman say in the last scene that he would take Zod because he had something strong enough to hold him as opposed to isolating himself from humanity?

And doesn't this seem like a recipe for disaster, taking someone to your top secret headquarters filled with your secrets?

And then the most awkward bizarre ending. Wonder Woman decides that now is the right time to give Clark his Christmas gift ... the gift of time, a time where they can just be with each other and not worry about the world. It leads to some in air passionate kisses.

But ... really? Is it the right time for 'time'? The script could have read like this.

Diana: Hey Clark, I know you just got into a heated argument with the Justice League, discovered there is a third survivor from your doomed world, and have imprisoned him in your sanctuary, but ... let's go french kiss!

Clark: Perfect timing!

I can't believe that she thinks it is the right time for this tryst. And I can't believe that he agrees with her!

What would the really life equivalent be?

Normal Diana: Hey Clark, I know your long lost thought dead relative just showed up and is staying in your house. And I know you just got into an argument with your friends. But let's go make out!

Normal Clark: Perfect timing!

It just felt like a forced element to show the two embracing again. Luckily we don't gaze on their snogging too long. The news of their relationship has broken and Clark hears the world debating it!

So there is a lot of stuff in this issue that I simply have a hard time with. The odd characterization of the main two characters is the biggest. But the lack of investigation on Zod's appearance on Earth also was glossed over.

I will again say, I am loving the art of Tony Daniel here. Beautiful.

Overall grade: C/C-

R.I.P. Peter O'Toole

It was with great sadness that I heard of Peter O'Toole's passing yesterday.

O'Toole was one of those brilliant actors that was great in everything that he did. That included his role of Zaltar in the Supergirl movie. Zaltar was a quirky dreamer of a scientist in the movie who befriends Kara and teaches her about the Omegahedron. There was something whimsical about the performance. Even if it wasn't going to be an Academy Award nominated role, even if he was doing it for a pay check, he was Zaltar. And his interactions with Helen Slater are great.

Of course, I love O'Toole in other movies too. Everyone mentions Lawrence of Arabia and they should. That movie is classic David Lean, the cinematography so beautiful you could weep. But O'Toole's intensity as Lawrence exploded off the screen. Lawrence is my favorite Lean movie (yes ... more than Dr. Zhivago or Bridge over the River Kwai) and I think O'Toole's performance is a big part of that.

But if you asked me which is my favorite O'Toole movie it would be My Favorite Year, a comedy in which he played Alan Swann, an alcoholic actor of swashbuckling movies trying to sober up for a live TV sketch show. I know ... it isn't Lawrence ... but there is something nuanced about this performance too. Even if it is a comedy, there is a sad backstory to Swann. He loves his crazy celebrity life but he craves something more.

Still, for Supergirl fans, he was Zaltar and he'll be missed.

Back Issue Holiday Box: DCU Infinite Holiday Special #1

For the first time in a while I actually skipped a day of blogging, not posting on Thursday of this week. I will be honest, I have been running around like a crazy Anj. Between work, standard family fare, and the holidays, I simply ran out of time.

With the holidays on my mind, I thought I would review a Supergirl Christmas story from 2007, one of the tales in the DCU Infinite Holiday Special #1. 

"All I Want For Christmas..." was written by then Supergirl scribe Joe Kelly with art by Ale Garza, who was going to be taking over the Supergirl title soon after. In December 2007, Supergirl #13 was on the rack, the middle of the Power Boy love story with the 'crystal Hell, kill Kal-El' stories right around the corner. For me, this was not a good time to be a Supergirl fan as things were going to get dark and horrible. She seemed weighed down by angst, bratty, and miserable. And yet, Kelly's last issue (Supergirl #19) seemed to turn all that around. I have always wondered if Kelly was hoping to stay on the title longer, ready to right the ship after cleansing her of all the nonsense. The following year's Supergirl story by Joe Kelly was so uplifting. Maybe that is what he wanted her to be.

I hadn't read this story in a while and you see some glimpses of hope in this story. Kelly still has this be an edgy Kara but you get the sense she is ready to be happy and a hero. The ends are there; the means are still rough. It surprises me that, given this story, we still had 7 more months of a terrible Supergirl ahead of us.

But enough dwelling on the bad. This is the holiday season.

The story starts out with Clark extolling the virtues of Christmas and Supergirl being snarky about the whole thing. Santa isn't in the bible. Jesus wasn't born in December. Shops are 'pimping out' salvation. It all seems like a joke to her.

Superman asks her to look past this stuff and instead concentrate on the spirit of Christmas. And maybe a good way to do that is to help out others and answer some of the Christmas letters that get sent to Superman.

Surprisingly, given the feel of the book at this time, she takes his suggestion to heart.

We see her fixing homes, flying with gifts and wearing a Santa hat, playing with kids, visiting babies, and doing flying sleigh rides. She even is smiling in some of the pictures.

But, more consistent with her character at the time, we also get that bored panel in the right corner, as if she is wondering why she is even bothering. Because making kids happy and doing good isn't its own reward.

Well, reality sinks in a bit. One of the letters is from a young girl named Brooke who wants to see her father who is serving in the military overseas.

Supergirl heads to the house to gather some information and is shocked to see the mother slam the door in her face, telling her to mind her business.

So much for Christmas cheer.

Heading to the Batcave, Supergirl tries to figure out what's going on. I do like the winter hat look.

But remember this is the 2007 Supergirl.

She doesn't like to be told what to do.
She doesn't want to do nice things.
She has problem with authority.

Okay, I will say it for the millionth time ... I DON'T WANT A SUGARY SWEET Silver Age SUPERGIRL!

But despite the fact that she really is trying to do something nice here, the trappings are of this irritated young girl.

And the scene ends with her kissing Alfred and leaving a Christmas gift for Bruce!

Can you see why I might have thought that Kelly was trying to show that maybe just bubbling under the surface is a Supergirl who wants to be a hero and do what's right? Did he add this element just for the holiday story?

It turns out that Brooke's father isn't a nice guy at all. Cheated on his wife. Lost their savings. Became a drunk. Thinks the mother 'trapped him' with the pregnancy!

So he also tells Supergirl to fly away and mind her own business.

Remember, we were just at the beginning of the 'mad Zor-El' aspect of Supergirl's story. She has her own Daddy issues. And since this guy has a chance to put things right, she pushes things.

She finds the father again and flies him high into the sky ... and then drops him!

Luckily, she catches him.

But this is her effort to scare him straight. Would he really want to die without clearing things up with his ex-wife and daughter. She can't force him to do anything. But she knows he can make things better.

This is one of those 'young heroes learning' moments that I love. This is the right thing to do. Maybe dropping him wasn't the right means to get to this end. But her heart is in the right place.

Again, you can see why I might be lured into optimism with this story.

And then this ending.

A smiling Supergirl, wanting to open presents, talking about Christmas miracles!

And the last panel has Brooke writing a new Christmas letter to Supergirl now ... not Superman. She has a new hero. And the father is hugging her. Again, isn't this a nice Supergirl story, one built on love and hope and compassion ... albeit with the rough edges of youth.

And yet ... for some reason, the image that was burned in my brain with this story is the mother's expression in the lower panel. She does not seem happy. Even her silhouette in the last panel it is clear her arms are crossed.

This isn't a miracle for everyone. This woman probably still wants this guy out of her life. I can only hope that eventually this guy learns to fly right and everyone is content with this family dynamic. But that sullen expression kind of soured a more magical ending.

Still, this is a pretty good Supergirl story as she learns the meaning of Christmas spirit, as she helps people out, sacrificing her time for the betterment of others, going the extra step to make sure someone is done right by her.

Happy holidays to everyone!

Overall grade: B+

Review: Worlds Finest #18

Worlds' Finest #18 came out this week and wrapped up the storyline with the tattoed super-powered arsonist while continuing to delve deeper into the storyline of Power Girl's unpredictable power lapses. Like most Worlds' Finest issues, this was a decent book with some nice moments. If you are wondering if I am damning with faint praise, it felt that way when I typed it. I feel like this could be an incredible book, a book that wows me. The characters have interesting backgrounds and play off each other well. And the art on the book has for the most part been very good. I suppose I should be happy that the book is entertaining.

My initial concern with the book was the never-ending 'escape back to Earth 2' plot that seemed to never go anywhere. So I am glad that writer Paul Levitz has seemed to move farther away from that. This last arc was definitely set on Prime Earth without a whiff of Apokolips or boom tubes. And the characterization of the two leads continues to be the high point of this book, even if they feel different from prior Huntresses and Power Girls. Even this issue, Levitz answers another of my critiques ... that it is hard to find an opponent that suits the different power levels of the heroes. But,as usual, my overall feel was 'not bad' rather than 'fantastic'. It comes so close!

The art is by RB Silva and I just don't think his current style works for this book. There is some nice work on panel shape, layout, and construction. But the overall looks seems too jagged and rough for the material. The cover by Emanuela Lupacchino is stunning and stood out nicely on the racks.

Last issue ended with Power Girl saturated with yellow sun energy and out of control. So the title 'Control Issues' is appropriate.

Here Karen is bleeding energy, blasting heat vision, and damaging the Brooklyn Bridge.

While we are concentrating on Power Girl's issues, I also have to wonder if we are going to hear about Huntress' power levels as well. Earlier in the title she is able to withstand withering radiation. Here she is reaching out to the glowing star that is Power Girl. Is Huntress going to end up a little tougher than typical humans while Power Girl ends up weaker than typical Kryptonians?

I also wonder if Levitz will answer why all this happening now? The pair have been here for years. In fact, the timing of their being on this Earth is one of the things that I have to reconcile in some places each month.

In what seems to be a simple answer, Power Girl's overload is extinguished by a quick dunk in the East River. Again, how is Helena able to withstand being in Power Girl's proximity here? Did the water boil as Karen was doused?

What I like is the interplay between the characters. Karen complaining about the dunk in the polluted waters. Helena's sly half smile for getting the job done in this disgusting way.

And I appreciated the continuity check of Power Girl saying maybe Supergirl would have been a better hero to crash near. And Huntress saying that wasn't a good interaction was funny as well. While I think that Power Girl/Supergirl story in Supergirl was great fun, it did include Karen being attacked by Sanctuary. Maybe that wasn't a good interaction.

As I review this issue, I am realizing that I really should probably grade it better. Levitz answers a lot of the concerns that I have had in the past including this pet peeve.

One of the things that I dislike about storylines where a character has power outages is that they never seem to blip out at a truly bad time. Here (and coming up) Levitz shows that he isn't going to make this mistake. After repairing the damages to the bridge, Power Girl again depowers, crashing into the river again. As a huge coffee addict, I loved Karen's quip.

And Helena in the background having to dive into the bilge and saying Karen will owe her is also on target.

We cut away to our tattoed villain and learn a bit of her origin. I really hope we learn more about her because she seems complex and complicated and has more stories inside her.

What we learn is that she approached this man, a priest of some demon called Xazdi. She was angry and she wanted to fight the superficiality and vanity of the world around her. And this guy infused her with some of Xazdi's power via tattoos and sent her out.

What I like about her is that she seems to regret the decision. She wants to return to her former self. But this priest isn't ready to take away an agent of chaos. To make things worse, if she doesn't use the power it will burn her up from the inside. She is basically forced to release this chaos energy.

Now what I want to know is who she was before this. Why was she so angry? What led her there? And could she release this power in a more constructive way?

But is her name really Tats?

What I find fascinating is that we go from the pleading innocent face asking to be stripped of her power to this slit-eyed angry woman bleeding dark magic. She seems so torn.

What I thought was a throwaway character might have some potential.

Back in their apartment, Helena and Karen have a conversation which wanders from stopping Tats to weightier matters about living on this new Earth. Karen wonders if all the people they knew on their world are somehow here ... not only Superman and Batman but friends and teachers and (sigh) boys (that last one from Karen).

It sounds like Karen is ready to reach out while Helena seems to be shuttered in even more. She doesn't want her heart ripped out again.

So this is one of those conversations that is hard to wrap my head around at this time in the characters' lives. They have been living on this Earth for several years. Don't you think they would have talked about this before?

I really like what Silva does here, putting Karen in a tube top shirt that seems to mimic the Bronze Age Supergirl shirt. And Helena wearing a Batman/Batgirl shirt is cool as well. Outside of the iconography, the styles talk about the characters as well. Helena, covered up, oversized, long sleeved, dark. Karen in snug, more open, bright clothes.

And then more characterization.

You can tell these two love each other deeply but recognize their differences. This staccato fire of labels is great, letting us know what the two think of each other.

The two split up and Helena is able to track down Tats to this Xazdi temple.

Arriving first, Huntress is able to defeat Tats and the priest we saw earlier. That is a good fight and an even match for her.

But then the Xazdi statue comes to life and isn't happy about his acolytes being trashed.

And so that opens the door for a Power Girl level fight. Karen had been tailing Helena and so arrives in time to battle Xazdi. I think Levitz succeeds in making sure that both characters have someone on par for to battle. I didn't think Huntress should be fighting Hakkou. I don't want Power Girl fighting evil priests.

But then Levitz also answers the bell as well having Power Girl lose her powers at the worst time, mid-fight!

I very much like Silva's page layout here, the angled panels tipping down as Power Girl goes down for the count.

But then the issue ends almost too easily with Power Girl firing an explosive bolt from Huntress' crossbow, destroying the animated statue.

I suppose I should like that Karen was able to think quickly and use her wits to win. But one arrow destroys this god's effigy? Maybe he was more a Huntress level enemy after all.

This story needed to wrap up given that next issue starts the crossover with Superman and Batman. The conversation about finding this Earth's doppelgangers was a foreshadow for this new arc. As someone who tired pretty quickly of the 'on again off again powers' Supergirl arc way back in Adventure Comics, I hope this Power Girl plot ends with the crossover.

Still, I suppose I should give Levitz and Silva credit for moving this book forward, dealing with what I have thought have been some of the problems with the book so far, and continuing the characterization I enjoy so much.

Maybe I liked this more than I thought!

Overall grade: B/B+

Supergirl And The Emotional Spectrum

I have talked about my unease with Supergirl upcoming donning of a Red Lantern ring in the coming months to the point that I don't think I need to reiterate my concerns.

But I thought it would be interesting to take a look back at Supergirl's interactions with the emotional spectrum in the past. I know that this is a different Supergirl in essentially a different universe. But it isn't like that last Kara had an easy life with no concerns. She had just as many bad turns in life if not more. And yet somehow, after some rehab with Sterling Gates and Jamal Igle, and despite ongoing tragedy, she never succumbed to the dark path of rage.

The most we have seen of Supergirl and the emotional spectrum was in the Blackest Night:Superman mini-series, written by James Robinson and drawn by Eddy Barrows. I reviewed these issues when they came out but that was over 4 years ago. I hope this doesn't feel like a retread. You can look at late 2009 to see those reviews.

Given the upcoming change, I thought it would be worth revisiting.

So in 2009, the Black Lanterns were threatening the entire DCU, raising the dead to become an army for Nekron.

But there was a slight problem. You see concurrently, DC was also doing a long arc in the super-books where a New Krypton was in our solar system, on the opposite side of the sun, and filled with the citizens of Kandor.

A city filled with super-powered Kryptonians would be a bit of a wild card in the Blackest Night story arc. Wouldn't thousands of Superman-equivalents impact the threat. They needed to be dealt with and Blackest Night:Superman is where that happened.

There were 2 plot lines in the series. In one, Superman and Superboy (Conner) battle the pre-Crisis Earth-2 Kal-L and Lois (both of who died in Infinite Crisis).

In the other, Zor-El rises from the dead on New Krypton and battles Alura and Kara. Remember, these aren't loving zombies. They are vicious and this Zor-El attacks his family both physically and psychologically.

Let's see how Kara deals with facing her loving father in a cruel undead form.

First a wild conglomeration of feelings.

Fear of this creature.
Hope she can return her father to normal.
Love for her father.
Compassion for what has happened to him.

Zor-El unloads with a string of insults about how Kara has disappointed him, a pathetic creature.

And then the realization by Kara that while this might be her father's remains, it isn't her father.

I loved this panel back then and I love it now. Kara an even mix of rage for this desecration and will to battle him.

I have said before that Kara can be fierce in her desire to do what is right.

And then that continued mix of will to weather the mental and physical barrage by Zor-El and rage for this indignation.

Yes there can be rage. But always tempered by a strong will, a control.

This Supergirl had a rough early history on Earth - brainwashed by Darkseid, split into Dark Supergirl, failing in the phony Kandor when she was seduced by Pru-El. Then she dismissed a life of heroism, went rave dancing, got duped and abused by Power Boy, bled crystals, and tried to kill Superman.

Yep ... DC loves piling tragedy and angst onto Supergirl. Don't you think that this Supergirl could have given into rage and joined the Red Lanterns?

And yet with strong writers and a rehabilitation of sorts, she didn't. Instead she tried to deal with her life, to better herself, to help others. And even after that rehabilitation, when it looked like life had dealt her a bad hand again (here, the death of Alura and the destruction of New Krypton, survivor's guilt), she still strove to do what was right.

See DC! The right writers can bring her there. You don't necessarily need to go darker before turning to the light.

Now maybe Tony Bedard and Charles Soule are planning this redemption. But it is still nice to see that this Supergirl didn't succumb to mindless anger.

As for DC, the took New Krypton off the board of Blackest Night. A force field was erected around the planet, trapping the Kryptonians on New Krypton, negating Nekron's ability to raise the dead and keeping the zombies out.

Personally, I still think Kara would be an Indigo Lantern before she would be a Red.

Review: Batman/Superman #6

Batman/Superman #6 came out last week and was a fun read. This is a fast-paced crazy action story by Greg Pak. And that sort of story works well with what artist Brett Booth brings to the table. It is also soaked with a gamer mentality which adds another wrinkle to this story.

I have been intrigued with Pak's approach so far to Superman. The first arc in Batman/Superman was like an art film. The ongoing run in Action Comics is like ... well... like a great action movie. This arc in Batman/Superman is like a cartoon. For that genre, it is a wild entertaining ride. Whether it is violence-spores, or nanobots controlling Batman, or a hive-mind of desensitized gamers working for Mongul, it is an insane mishmash of plot points to justify the brawling.

And yet amid the fantastic brawling, there are still a few character moments that make this meatier than a simple slugfest. In fact, the best moment might be from Jimmy Olsen and the beta-testing gamers.

Add to that the 'wide screen' horizontal layout and Booth adds some wild splash pages and narrow long panels which feed the story.

'Boss Fight' is an apt name for this video game inspired story. And here is Superman fighting the boss of this level.

Oh yeah ... hidden in all those crazy plot threads is the big bad Mongul. As we learned last month, Mongul is hoping to use the masses of gamers to help him overrun the super-heroes on Earth so he can take control. To fuel their fighting game strategizing minds, he has sent spores to Earth which triggers violent thoughts in people's minds. It is even effecting Superman as he keeps checking himself.

Remember, last issue Superman worried about Batman taking on true super-villains like Metallo. Here he is shocked that Batman tried to take on Mongul. Nice opening page here. Superman throws Mongul miles away buying him time to assess the situation.

For example, apparently Batman is dead, a smoking wound gaping in his chest.

As I said, the sideways panel allows Booth to do panels like this, showcasing a wide view.

Mongul's plot seems to be working though as the Toy Master's beta testers still think this is some virtual reality game. I like how Superman saying 'Hell' is considered out of character.

Superman is fighting that rage, leading to the 'H-E-double hockey sticks' mild curse. What we do know is that Toy Master's woman assistant is an alien aiding Mongul.

But the gamers still think this is a game. Even though Batman is 'dead' he is up and running, maintained by nanobots that have been in injected into his system. And since Batman has been 'upgraded' to a meaner, stronger, super-powered version, why not have him fight Superman. I mean ... it must be three minutes since a Superman vs. Batman fight happened!

It does allow Booth to do a 2-page spread on this axis of the two heroes brawling.

Amazingly, Batman is such a strong persona that he is able to wrest control back from the gamers. And the gamers suddenly realize this is real.

And then we get a nice little discussion which shows us the outlook of the characters.

Batman wants to destroy Mongul's consoles which links the hive-minds of gamers into the nanobots. Even if it means he will die, it will save the world from devastation. It is practical and self-sacrificing. Very Batman.

Superman thinks there has to be another way to stop Mongul without sacrificing Batman's life. That is pure Superman, always thinking of other solutions than violence and death.

But the best is the gamers who use their influence to stop Batman. Even if they wanted him to die in the game, in real life they have 'common sense'. They know better than to want to kill heroes.

Is this some commentary on people's worries that violent games desensitize people to real life interactions? Who knows.

Could it be some riff on current video games like Injustice? Maybe that comic readers don't all want to see that translated to the 'real life' of the DCU? Maybe I am transferring.

Regardless, I was thrilled to see this though. Best moment of the book for me!

Their restraint is overwhelmed though. Mongul's sidekick opens up the 'new video game' to the masses. Suddenly millions of minds, hopped up on violent spores and tuned into video game strategy, log on and link up. Their on target - Superman.

I liked this panel, a nice representation of a matrix-like computer world, 'face time' panels open, and the sidekick giddy as she sells it.

The plan is unfolding just as planned. Millions of minds will work for Mongul, helping bring about their own slavery.

It is a simple and well-worn art panel, but I like the woman's face overlooking the city and then pulling back to show the world.

Will Superman be defeated by XBox Live?

I felt like I should pop some popcorn for this story. It is a wild fight-filled issue, layered with video game overtones, and shown in wide-screen format. It is a Michael Bay sort of story. And every so often, that is just fine. It isn't the first arc of this title. It isn't what is happening in Action Comics. But it is entertaining. And that is all I really ask for.

Overall grade: B