Review: Superman Annual 2023

Wow.

Superman Annual 2023 came out this week and was phenomenal. I really feel like we are riding a wave of superb Superman stories and this annual was a near perfect reflection of that. In writer Joshua Williamson (and Phillip Kennedy Johnson) I feel we have someone who understands the character, respects Superman's history, and wants to move forward with fresh new stories. 

This Annual isn't really a Superman story. He is on the periphery of this story. Instead we deep dive into Superman's supporting cast, both allies and villains. There is a page that was an emotional gut punch for me. And we end on perhaps the most delicious cliffhanger I have read in a while. There are a couple of new faces to boot, adding new spice to the delicious mix.

We have callbacks to the modern era and Cat Grant. We have callbacks to the Bendis era (I feel I am a bit of a Bendis apologist here). For someone like me, this shows respect for those that came before. 

Add to that a heady mix of excellent artists and you have a winner. Jack Herbert brings his fine-lined detail here. Edwin Galmon has a sort of water color panache. Caitlin Yarsky brings a solid look to Mercy Graves. Max Raynor is ... well .. Max Raynor, bringing energy and polish. And old Supergirl friend Mahmud Asrar is here. I do wish that the book was separated into chapters with each artist getting the credit they deserve. Or give us old school page numbers and list which artist was on which pages. They deserve people to know.

I outright loved this book. It was joyous and raucous and sad between the covers. Brilliant.

On to the details.

Review: Superman Kal-El Returns Special #1

The Superman Kal-El Returns Special #1 came out this week and was an entertaining anthology of stories looking at Clark's return to Earth and his touching base with some of the important people in his life.

As I have said in my Action Comics reviews, writer Phillip Kennedy Johnson has been doing a solid job bring the supporting cast of Superman back into the book now that Superman has come back from Warworld. I happen to think that Superman has a solid cast that should be spotlighted in his books. 

In this issue, we have different creative teams looking at some of the most important people in Superman's life and how his arrival on planet has impacted them. 

In what I think is the best story, Mark Waid and Clayton Henry give us a World's Finest story set in the present day. Waid has a solid handle on these two and their camaraderie. They are easy and old friends who immediately team up to fight a villain. There is just a natural amicable feel to this story that just sparkles.

Sina Grace and Dean Haspiel look at Superman's Pal Jimmy Olsen. It is a fine story of Superman being inspired by humanity as much as he inspires. 

Legend Marv Wolfman teams up with artist Jack Herbert to give us another look at Jon taking on Lex, but this time with his father giving him some advice. This story also gives us a look at the Lois and Clark reunion and how the two took some time to get romantically reacquainted. This was a lot of fun.

And finally Alex Segura and Fico Ossio have Superman reuniting with the League and teaching Naomi how the life of a Leaguer is one of sacrifice. This one has one little continuity curve ball in it that has me scratching my head.

I would have loved a reunion story with Kara. Too bad that isn't here. Still, this is a solid book building on the Kal-El Returns arc by filling in some gaps.

On to the book.

Review: Superman #34 (or is it #800)

Superman #34 came out this week, an issue also touted as the 800th issue of a book titled Superman (complete with a Superman #233 homage cover), and continued the Imperius Lex storyline taking place on Apokolips.

I am impressed with the tale that storytellers Peter Tomasi and Patrick Gleason are giving us here. And I can best sum this up by saying that at points in the story I describe it as confusing and compelling. I am confused at motivations and the emotions I am feeling. But I am compelled to read on. I am utterly engaged as a reader. So please read on ...

Lex Luthor is being held up as a Messianic figure to the hunger dogs on Apokolips, a title he isn't sure he wants. Meanwhile, his new relationship with Superman (Lex almost acted like a young Syndrome to Superman's Mr. Incredible last issue) take a fascinating turn here.

But the bulk of the issue is devoted to Lois Lane and I am thrilled by it. Lois shows just how strong and capable she is, even on a hellish landscape like Apokolips. Without batting an eye, and with keeping her need to protect her family in her sight, she wills herself to a place of prominence. Long gone are the days of Lois yelling 'Superman help me'. This Lois is just as ready to pick up a weapon and fight Shai Hulud.

And separating the super-family can only lead to a fun arc. We saw Lois this time. We get a hint of what Jon is going through at the end. Eventually there will be a reunification. But what will the members have to do to get there. This gives Superman, Lois, and Jon all a little spotlight time.

The art is done by Ed Benes and Jack Herbert. And while the usual Benes flair is there, it feels more grounded by Herbert's art. The images really bolster the story.

On to the book.

Review: Action Comics #982

Action Comics #982, the next chapter in Revenge, came out last week and was a perfect middle chapter, moving the pieces on the board, building momentum to the finale, and adding a few new mysteries. This book ends with a truly phenomenal splash page, a great cliffhanger, and a moment I feel I have been waiting for since the New 52 happened. If this comic was only that page, I would probably give it a high grade. Trust me ... we'll get there.

Writer Dan Jurgens certainly keeps the plot moving along. He has a lot of moving parts to deal with in this story. The Revenge Squad is 6 members deep. He has Lois, Jon, and Superman to write. And we get the other guests that come on board. That sounds like a Legion of Super-Heroes comic. But Jurgens takes the time to make sure we know each character's motivations and to make them unique.

The art is done by Jack Herbert and Jose Luis and both bring great emotion and action to the proceedings. There are a number of panels here which struck me. One has become my Twitter header. And that ending page! It all works well.

This issue ended and I immediately wanted to read the next part. That is the sign of a great middle chapter.

On to the book!

Review: Action Comics #981

Action Comics #981 is the third chapter of the Revenge storyline, an arc uniting some of Superman's deadliest foes into a lethal squad.

I often find the middle chapter of an arc to slow things down a bit and this issue holds form. There is a great cliffhanger. There is a nice building momentum in some side scenes. And there is a lot of fighting. But this issue didn't feel like it had the substance of the prior chapters.

It's not like this is a miss of an issue. It's not like I disliked the issue. But as I have said elsewhere, I am expecting a lot of the Superman books these days. And this one didn't seem to hold up. I wonder if my overall apathy about General Zod is coloring my view. Because I do think Dan Jurgens up to this point has elevated this book substantially.

Jack Herbert brings a fine lined elegance to the art here. I don't know if this style is best suited for the brawl which dominates this issue as well.

Honestly, I think maybe I sound a bit too harsh here. But this was mostly big splashes of haymaker punches. I think enjoyed the smaller moments more than the melee.

Review: Superwoman #8

It's hard to believe that it has been 8 months since Superwoman #1 came out. I didn't know what to expect with the title when it was announced. But I knew I liked Phil Jimenez and the concept of Lois (and then Lana) acting as a superhero seemed fascinating. And the first issues were fantastic, a rich read of inset panels and interesting characterization.

Where did the book lose its way?

The last couple of issues have been scattershot. Just as chock full of panels and stories, but no where near coherent. I still don't know exactly what Lena was plotting, what was going on with the Bizarros, and how she was thwarted. And the book seemed to be veering away from solid characterization to more 2-dimensional situations for Jimenez to get on his soapbox a bit. It didn't help that the book is solidly set in the Superman book universe but seemed to exist separately. When exactly did this storyline take place? Why is this Lex portrayed so differently from the one in the main books? When did Metropolis get taken over without any Superman around?

It all comes to a boil in Superwoman #8, the finale of this first arc and Jimenez's last issue. This is a long psychological look at Lana and her issues. It involves Lois and Clark. It looks like all of this book might end up being swept away with the rewriting of Superman history in his own Reborn series. And like last month's book it comes across as a little preachy.

All this story and confusion and politicking might end up never having happened. Weird for a new book.

The art is done by the interesting mix of Jack Herbert and Stephen Segovia. They bring a sort of Perez/Jimenez flare that fits the tone of the book. But most of the book is people talking so there isn't much action for them to convey. Still the emotion is there.

On to the book.

Review: Superwoman #7

Superwoman #7 came out last week so I am a bit late in covering this issue. But in some ways, the time was needed. This issue is a super-dense and somewhat confusing closure to the first arc. I wonder if the story got away from writer Phil Jimenez. I have praised Jimenez in the past for packing a lot into his books, making them feel like two issues in one. But here I felt like there were so many threads being covered that I was feeling frayed as a reader.

As all the characters and plots are being wrapped up, I found myself asking 'why'? Why did Lena need the temporal cubes? Why is she invading the Phantom Zone? Why is the suit called 'Insect Queen'? Why does the Atomic Skull demand an apology from Lex? Why doesn't Lex know how to reboot his armor? Why does Lana sound like she has been mistreated by all the men in her life? Why does the Gestalt ship need to change configuration? Why? When I ask that many whys, the story is lost on me.

I also can understand that this book might be the title for Jimenez to look at feminism and that is fine. But I think that the downgrading of Lex and some of the speeches by Lana feel a little forced. I'd love a Lana story about feminism. I don't know if I need a feminism story with Lana as speechmaker. Maybe I am saying this too clunky. Maybe it is better for me to say that I would rather be shown the feminist slant than be told it.

The art on the book is done by Jimenez and Jack Herbert. The two styles seem to jibe well with each other. And as usual, it is a packed issue with inset panels and great page layouts.

On to the book.

Review: Superwoman #6

Superwoman #7 came out last week and was something of an overstuffed and semi-confusing issue. One of my compliments about this book is that Phil Jimenez (as is his style) tends to really fill his issues with story. Between scene changes, inset panels, and strong dialogue, a Jimenez issue often feels like two issues. It isn't coincidence that Superwoman tends to be the last review I do the week it comes out. It takes me that long to digest.

But this issue felt as if Jimenez tried to put a bit too much into the issue without as much explanation or discussion as felt I needed. Things seem to happen and we move on before we learn why what happened happened. So why does the Superwoman Bizarro break free? Why is that Bizarro inexplicably ripped in half in one panel but whole a page later? What did Lena learn from the Kryptonite Man? When did Natasha make an squadron of armors? Etc etc.

It also doesn't help that another aspect of this story is to build up Lena at the expense of Lex. I just commented in my review of Action that Dan Jurgens is making me rethink Lex as a possible hero. Here, perhaps to narrate a hot political topic, we learn that Lex takes credit for Lena's work, steals her ideas, and is only who he is because of Lena. And I don't know if I need that wrinkle in Lex's story. Why play out feminism issues in Lex's origin, something pretty firmly set? Why not use all that story for a different villain with less history? It is a good story to be told but maybe not with Luthor.

The art is a mix of Jimenez, Jack Herbert, and Matt Santorelli and they do well mixing in the action sequences and talking scenes.

But still, I left this issue a bit reeling. I don't necessarily know what truly happened here.

Review: Superman #49

Superman #49 came out this week, the latest chapter in The Truth. We know that next month will wrap up this over-arching story arc. And so the Superman books have been sprinting to an ending that I know won't seem meaningful.

And so we have Vandal Savage doing his best to pull the comet which gives him power to Earth to be captured where he can bathe in its rays and become all powerful. At the same time he is trying to rid the world of humanity, leaving only his blood line alive. And to do so, he needs to smash the Stormwatch ship, the JL Watchtower, and the Fortress of Solitude into one ship which can house the comet. He also needs the ship to act as a tractor beam to drag the comet into his trap. And he needs to keep the heroes out of his way.

Superman has regained some powers but it is from Kryptonite. So his powers come at a price. He is dying.

This issue is a tremendous punch-em-up. There is a lot of action. But it all seems like a lot of noise. This arc has lost its way. And I'll be happy when its over.

For me it is most interesting to look back at the beginning of the arcs when The Truth began. We had Wrath making people angry and Metropolis split over its support of Superman. We had Hordr_Root blackmailing people. We had Smallville upended. All of those plots have been altered or erased as we get to this climax.

The art in this issue is done by Jack Herbert and be brings a nice flow to the issue. I definitely miss Howard Porter's pencils. But Herbert brings a sort of fine-lined precision to the affairs.

Review: Batman/Superman #27

Since its inception, I have had worries about The Truth. A depowered Superman story can be interesting. Having Clark be revealed as Superman can be interesting. But most of my concerns about the overall arch has been the coarsening of Superman's character, making him angry, a monster, a loner. It is as if the creators have forgotten that Clark is Clark, the lessons learned from his parents creating the man he is.

I have been saying that this has been going on too long.

Batman/Superman #27 came out this last week and maybe there are signs that The Truth is coming to an end. There are plot points that come to a pretty fast ending in this issue. Almost too fast. Perhaps I am the worst type of comic reader, complaining about pacing being too slow and then too quick? Also, this is clearly a Batman and Superman issue. The Bat-family, featured so prominently in the last issue, are barely seen.

But, to be honest, I was able to look past some of this sprint to the finish in this issue mostly because there is plenty of very good characterization in the issue. In most of the issue, Superman read like Superman, sounded like Superman. Pak uses a flashback told several times through the issue to have the heroes reflect back on who they are and what they represent.

I very much enjoyed the art in this issue. Cliff Richards provides the 'current' art with the heroes fighting Vandal Savage. Richards brings a very clean look to those scenes. I love his interpretation of Batgirl. The flashback scenes are done by Jack Herbert who brings a more thick-lined, rougher feel which works with this being a memory. The cover is done by Yannick Paquette and while beautiful, that scene does not appear anywhere in the book.

The issue starts with Commissioner Gordon remembering a battle that took place in Gotham where Superman and Batman fought the Supremacists. During that fight, Superman flings a doomsday device into space. Unfortunately, at the same time Jimmy Olsen falls off a roof. Superman makes the choice that the good of the many outweigh the good of his Pal. Luckily, Batman is there to save Jimmy.

Gordon can't help but notice that Batman and Superman clearly trust each other implicitly. In the flashback it shows Gordon smiling when he sees Superman in action. That is a far cry from the gruff distrusting man he is now.

The point being that things were better in the past when these heroes were at their best. It is a very nice contrast to where they are today.

Now the plot becomes a bit silly at this point. Batgirl discovers that the Nazi Warship we saw last issue has been rewired so that all power is going to the turrets. It is basically a giant cannon.

So Vandal Savage's incredible plan, requiring massive energy, is to power a 1940's super-gun. That seems almost silly.

After thinking with his fists for a while, Superman decides to plan more. The team has to dismantle the gun. They have to save the miners. They have to capture Savage. Then Batman says there is one more objective - keeping the team alive.

I love Superman's irritated look. That clearly shouldn't need to be said. Of course, Superman wants them to live. That is old school Superman.

That said, we haven't seen that guy in a while. He shouldn't be annoyed when last issue he was ready to storm the camp like an idiot. So I am glad to see this characterization again.

And Superman planning things makes sense too. But we haven't seen that in a while either. Just last issue, Batgirl was the one laying out the strategy.

And so a plan is made. Part of it is Superman and Batman bringing the fight to Savage, even briefly, in order to take out his teleportation device.

Again, Superman can sense that Batman simply doesn't trust him. I have to say, Superman hasn't been acting too trustworthy lately. So I don't see why Superman should be surprised. Superman tells Batman that the two are both human now. They need to work together.

But the words and art work nicely together. That first panel Superman saying that things are not what they used to be while he is holding a rifle. And the second panel with the small space that feels huge as they two seem to size each other up. That is just about perfect complementary comic panels.

The two retrofit the teleporter to bring them to Savage's flying base. It is a hit and run mission with Superman using the gun to disable Savage's guidance systems. Savage himself, much stronger than I remember him being, wades in and basically mops the floor with the two. Nearly defeated, the two heroes slip back through the teleporter to the mining site, destroying it as they leave. Savage can't just blip in to finish the job. He has to fly there.

It is a nice action sequence. Richards does a nice job keeping things lively, changing viewpoints and giving us palpable hits like this one.

Savage arrives and learns that the Batfamily and Superman are hiding miles out of the base. The villain decides he will use his Nazi Super-turret to wipe them off the face of the Earth. But the heroes have rewired the ship. Now all energy goes to the engines. The plan is the ship will head into orbit where Savage can simply be captured. Unwilling to be captured, Savage rips his way out of the ship, destabilizing it such that it explodes. It is assumed Savage escaped.

Okay. So all this energy Savage has been working on for the last year was to be used to power this big gun? That was a stretch. In this issue we learn the Wayne Tech portable sun needed to be fueled by the uranium the miners were harvesting. That doesn't sound like a self-sustaining energy source, like implied when we first learned of this thing. That seems silly.

And now the big gun is destroyed, thus snipping that plot string abruptly. That seems fast.

I don't know ... I should want all this to go away. But this seemed like a poor payoff for all I have had to live through.

What's nice is that the mission has helped close the chasm between Superman and this Batman. They can trust each other. Gordon actually tells Superman his secret identity, the ultimate sign of trust in these circles.

Hooray.

That is my Superman.

The initial flashback battle between the world's finest duo and the Supremacists was revisited in the middle of the issue, showing how Superman respects the original Batman for always being there.

After this new friendship, Superman remembers the fight once more, remembering that despite their differences the two heroes could always count on each other.

I thought this flashback again used art nicely. The two panels commenting on justice and vengeance are inked in a way that it reminds me of Frank Miller. Of course in Miller's view the two fight each other. And yet the next panel is them out of the shadows and back to back showing that the differences don't have to lead to conflict. It can lead to teamwork.

So I am of two minds with this issue. The whole plot is a bit inane and wrapped up too quickly, too neatly. And yet, this issue shows us a Superman who is a hero, who feels he wants to be trusted, who is a planner trying to save people. That characterization does carry the book for me.

But Savage needed a portable sun to power a Nazi gunship? Really?

Overall grade: B

Review: Superman/Wonder Woman #12

Superman/Wonder Woman #12 came out this week, another Doomed Aftermath and the last issue for writer Charles Soule. With both of those endings, the book reads like a 'last issue', a way to once again showcase the Clark/Diana romance and prove that it is valid.

For me, the relationship has been the weakest part of this book. I have enjoyed Soule immensely on She-Hulk and Red Lanterns. But here, it feels like he is trying just a little too hard to make me tolerate this loving relationship. I am sure that much of it is my baggage. I am a Lois/Clark guy. It would take something significant to make me think these two characters should be together. Unfortunately, the romantic interludes in this book have been relatively cringe-worthy. And I have yet to understand why these two are together when they are so wholly different.

Still, Soule gives it a good go here in this issue. The two certainly seem to enjoy each others affections.

Jack Herbert and Cliff Richards split the art on this issue and it is very nicely rendered. There were months were the art of Tony Daniel was the only thing keeping this book on my pull list. But these two do a fine job. And Daniel gives us an excellent cover to wrap up his time on the book. I actually didn't see this was a scrying pool with Strife until I got the book home.

And with the trusted creators Peter Tomasi and Doug Mahnke coming on, looks like this book will remain on my pull list for now.

The book starts with Wonder Woman fighting Giganta on a soccer field filled with fans. How the heck did that happen? I have to say that it felt a little off for me. It just seemed to further advance the "Diana as Gladiator" persona, as if she had people buy tickets to watch her fight a villain. Remember when Diana was an ambassador of peace?

I suppose it did allow Soule the opportunity to have this kiss put on the jumbotron. This is supposed to show us that Superman is now comfortable enough to have their romance plastered in front of the masses. And Wonder Woman raises one of her feet in the air like a swooning princess.

It still doesn't feel right.

I will admit that I liked the next several pages. Soule recaps the whole series in pictures showing us how much time has elapsed. It starts with the scene from Superman/Wonder Woman #1 where Superman gives Diana an alien flower that likes cooking oil.

But then life happened. So while the couple fights Apollo, Zod and each other that flower mutates into something toothy on Diana's kitchen counter.

If this did anything, it reminded me that there really has been no 'down time' for the power couple. Plus it was interesting to see these scenes replayed with the new artists.

Maybe because there has been no 'down time', plus the fact that Superman has been in deep space for months, the two are very amorous with each other ... hugging, touching, squeezing each other!

In fact, there is a sly rapport here as Superman tells Diana that 'he isn't dead' just as she inserts a key into its hole.

I suppose if you like these two together than it makes sense that they would fall into each others' arms with some passion.

The plant likes oil. And as it has been starving it seeks out crude oil, drinking a gas station and then entering an oil pipeline, drinking straight from the tap.

Who is to blame? Superman for giving a dangerous gift? Wonder Woman for neglecting it?

The two begin to squabble, trying to blame the other.

Luckily, Diana realizes that it doesn't feel right. She knows this isn't them.

Should this make me think their feelings are legitimate?

Diana realizes that this is the work of Strife. Of course Eris wants to stir things up. And Diana isn't going to have it.

I do like that Diana almost immediately figures out what is happening and how to stop it. This is better than seeing the Clark and Diana come to blows again.

While Diana takes care of family business, Superman tries to stop this plant, now big enough to be draped over an oil platform in the ocean.

I haven't read Swamp Thing for any prolonged period of time since Alan Moore. This interaction does make me want to seek out Swamp Thing #20. Superman tells Swampy that they can be human ... as much as they want to be.

As someone who thinks Superman considers himself a man before a Superman, as someone who loves Earth more than Krypton, he would make a good sounding board for the 'not human ... was human ... more than human' Swamp Thing.

Anyone out there read Soule's Swamp Thing? How is it?

Initially Swamp Thing wonders if maybe he shouldn't stop this thing. If it drinks up all the oil, the world might heal a bit. But Diana, as the god of war, let's Swampy know that first there would be war ... and suffering.

Seeing her wisdom, Swamp Thing calms this thing - "Enough my friend." And he uses his abilities to shrink it back into it's simple flower form.

This is an interesting creative choice for Soule. This is his last issue to write these two. He could have had them go out with a bang. But instead he has a guest star solve the problem.

And suddenly the two do have a moment to catch their breath and enjoy a sunset. Superman tells Diana that no matter what their relationship faces, they are ready.

It is a little cliche to have the two looking out at the sun, a feeling of a journey ahead of them, dripping with love. It can't be coincidence that Swamp Thing guest starred here. Because this ending reminded me of this ...

The cover of Alan Moore's last issue of Swamp Thing oh so many years ago. (Man I am old!) In that issue Swamp Thing  also returns after being away for months (like Superman) ... in space (like Superman) ... with Abby thinking he has died (like Diana). And they rekindle their love.

I have to say that this is as close as Soule has come to me feeling like their might be some real love between these two. They have said it an awful lot in this comic but I haven't *felt* it. At least here he comes close.

But he still didn't get there.

Still, for an epilogue, for a parting issue to show how legitimate this romance is, this was a decent try. But if you want to read what real romance feels like in a last issue, you should seek out Swamp Thing #64. That is a very good read.

Overall grade: B

Review: Batman/Superman Futures End #1

September has been the Futures' End crossover month for DC Comics and so far it has been something of a mixed bag. Action Comics and Green Arrow were great. Supergirl was very good, if a little flawed.

For me it seems like when the stories are simply looking at a possible future, they tend to be character driven and strong. When they lean too much on the happenings of the Futures' End mini-series, they don't shine quite as much. Of course, I am not getting Futures' End and that may be while they feel flat. Maybe without knowing the main story, these issues don't resonate.

Batman/Superman Futures End #1 falls into this latter group. This is a future that seems tightly tied to the Futures End main book. There has been a falling out between Batman and Superman already. Superman has 'left humanity' to farm in the desert. And Batman is left licking his wounds and wondering what the world would be like if Superman was still around.

This is basically a Batman book. Superman appears in one panel. And writer Greg Pak does a good job of showing us Bruce's inner thoughts about Clark. There is anger about Superman's leaving. But also disappointment. Pak does such a good job writing Superman and making him a beacon of inspiration for others. Here we see that his goodness may have rubbed off a little on Bruce, if only that Bruce recognizes he isn't that symbol of hope.

The are is done by Jack Herbert and Cliff Richards. There thin lined, shaded look is crisp and works well here.

Now it is my own fault, but I really don't know what has happened prior to this story that leads to the dystopia of the world 5 years hence. It sounds like there was an interplanetary war (maybe Earth 2?) and somehow this main DC Earth was victorious. But part of that victory led to Superman isolating himself. It also led to Bruce being significantly injured and unable to act as the Batman.

Here we see Bruce seething as Clark's name is read as one of the dead. He knows Superman isn't dead. That instead he has abandoned mankind. He knows Superman could help here ... but won't.

The world is celebrating this victory, united and pulling together. But Bruce knows it will all fall apart soon. The world needs Superman.

We learn that the act which drove Superman into hiding was done by Bruce himself. Batman did something to end the war which Clark found so objectionable that it broke up the friendship. Here was see Batman remembering that time period. He did 'what Superman couldn't'; he had different boundaries than Superman and did what 'had to be done'. The result is Superman attacking Batman and then retreating.

What could incense Superman so greatly? Did it kill a huge amount of people?

I know I don't want a killer Batman. I know I don't want a sulking Superman.

And so Batman begins cleaning up his world. Using a robot suit, he picks up the rubble of the Batcave. Bruce talks how Superman could clean it all up in seconds. But I think he is talking about more than the cave. Superman could clean up the world ... if he was only around. If Batman hadn't driven him away.

And so I think there is this self-loathing here by Batman. The world needs Superman and the hope and goodness he brings. But he isn't around because of Bruce.

But we also know Batman is stubborn. He won't apologize for what he did. He won't apologize to Clark.

So the world keeps careening on.

But then a bigger threat happens. Metallo, who had been imprisoned on Venus (!!) has broken free. More than ever, acutely, the world need Superman.

Batman swallows his pride and heads to the Fortress to try to convince Superman to come back. But Kal isn't there. Instead Stee let's Batman know that Bruce isn't welcome.

Now, more than just the act Batman did, the word trust is thrown in. Whatever Batman did, it was ugly on multiple levels.

This is Batman though. He gets into a new robot suit, designed by Hiro the Toyman. And he somehow uses massive amounts of Kryptonite energy to short out Metallo, defeating him.

Of course Batman wins. He has been unstoppable for the last 15 years or so in comics.

But it isn't a clean victory. Batman was pummeled. Those injuries we saw in the beginning of the issue are worsened. He is paralyzed.

And then the rather poignant ending. Alfred talks to Bruce about a letter he found, a letter Bruce wrote to Clark but never gave him. It must have been an apology.

Paralyzed, stuck in his hospital, realizing even more that the world needs Superman, Bruce calls for Clark.

But we see he never comes.

Whatever Bruce did, that rift is a chasm, that wound is deep. Superman isn't coming back. And Bruce is alone.

The issue ends with a great line. This world got the hero it deserves ... Batman, paranoid, willing to cross some lines, and hurting.

It seems that the current comic world has put Batman up on a pedestal. It has made him all-powerful and uber-cool. It has made him him look brilliant while making Superman look naive and moronic. This is the first comic I have seen in a while to show that a world where Batman is the inspiration is going to be a a dark place.

For that reason only, I have to applaud this book. Too bad the undercurrent of why this happens is that Superman has gone into hiding, something I don't think Superman would do.

Overall grade: B

Review: Action Comics Annual #3

Yesterday I reviewed Superman/Wonder Woman Annual #1, the third chapter of the Superdoom mini-arc of Superman:Doomed.

Today I am reviewing Action Comics Annual #3, the last chapter of the Superdoom section. Written by Greg Pak with art by a cadre of artists including Ken Lashley, Aaron Kuder, Jack Herbert, Will Conrad, Pascal Alixe, Cliff Richards, and Julius Gopez.

I thought the plotting of the SM/WW Annual was a bit choppy, sort of hard to follow, with subplots added and removed as feints, and with the Doomsday virus being so haphazard in its potency that I don't quite understand if I should be worried.

Action Comics Annual #3 re-adds another wrinkle into the many moving parts of this mega-arc - the Brainiac-possessed Lois. Now there are a couple of nice moments in this issue and one very good Lois moment, but overall I felt more befuddled about the overall plot after reading this issue. Now I suppose that it will all come together in the end. But the biggest thought I had after reading this was that I couldn't wait for Superman:Doomed to be over.

With the wide palate of the artists on board, the book has a sort of rushed hodge-podge feel to it. The individual pages are quite nice but together, bouncing from one style to another, didn't help my feelings of mild confusion.

And after reading Superman/Wonder Woman Annual #1 and this, I still had another Superman:Doomed issue on my pile.

The book opens nicely with some Aaron Kuder art pages showing just how trapped in her own body Lois is. I have been waiting to see Kuder's version for Lois and I am very happy.

I love Lois' tenacity as she tries to break out of this psionic cage Brainiac has placed her. We see how trapped she feels. We see her fighting, trying to bend the mental bars. And we hear just how angry she is for having to live all of this, experience it all, and be part of it despite not consciously doing it.

I keep going back to the original story where this possession of Lois happened ... the investigation of The Twenty, which started 5 years ago when The Collector initially came to Earth and infected 20 people with psionics. Is this mega-plot the culmination of 5 years of manipulation by Brainiac? Will we ever learn?

In the background, Batman has organized a group of people involved in recent Brainiac and Superman stories in hopes of stopping the Coluan. It has become clear that Brainiac is the major threat here. And without Superman, Earth is in trouble.

So Superman villain Harrow (from the Tower) released Superman villain Doomsday from the Phantom Zone by Superman villain and Phantom Zone inhabitant Dr. Xa-Du. But it turns out that Brainiac was already in The Tower's IT and was manipulating these events so that Doomsday would infect Superman and make him fly off the planet. Because Brainiac wants Earth intact but wants Superman off it.

Whew ... that is one crazy plot for a 12th level intellect. How many things needed to go right for it to even happen?

And then things could have gone wrong. What if Superman lost to Doomsday? Or died of the infection? What if Superman lost control and destroyed the Earth? What if (like Ghost Soldier says) Superman won't leave Earth?

Oh yeah ... Dr. Xa-Du is part of this story.

He hasn't been seen in this arc since Batman/Superman #11, released in the last week in May! Back then, he was dragged out of the Zone to help the heroes. He told the heroes that Doomsday broke out of the Zone on his own and Xa-Du wants to help re-cage him/kill the infected Superman.

But here ... after wondering what he has been doing this whole time ... he is trapped in some energy cage. And now he isn't talking about helping the heroes at all. He is doing villain talk here. He can't wait for Superman to kill everyone so he can escape and be a bad guy.

He seems like such an after-thought now. I was hoping for something more here.

This issue's main plot on Earth is Superman and heroes fighting the coma-probes or some sort of advance fleet from Brainiac.

Superman is completely Superdoom initially. But then he runs into the Martian Manhunter. And somehow J'Onn is able to use his mental powers to put a psionic wall in Superman's mind. And this telepathic block somehow puts the Doomsday virus into remission. Superman is normal again.

So is this an actual disease attacking the body? Is it a mental problem?

But this flip-flopping of Doom to Normal to Somewhere in the middle is confusing.

But the virus is too harsh for telepathic blocks. So how about tugging on the heart strings?

The Ghost Soldier brings Baka to the surface. Despite Superman being infected by the Doomsday virus, he looks normal here, and Baka can touch him directly without dying from a killing field.

Glad to see Baka again. Glad that Superman's mind and feelings can overpower the Doomsday persona. But things were so out of control that Superman left the Earth. Superman's friends - Lana and Batman, etc - couldn't get him to become normal. His significant other - Diana - couldn't get him into remission.

But Baka can?

Can you see why I don't quite grasp the magnitude of the Doomsday virus or the threat it represents?

Unfortunately, the next page Superman is back to Superdoom ...

Hey ... remember Dr. Xa-Du is here.

Well somehow Batman has a great plan. They will use Dr. Xa-Du's technology to turn the Kryptonite in the air intangible, whisking it away, so that Superman can defeat the virus.

And to use his tech ... for some reason ... Harrow has to physically beat him up.

Huh??

It somehow works. The Kryptonite leaves Earth (explaining how it happened last issue mid-fight with Diana).

At last ... the good moment.

Superdoom confronts Brainiac-Lois.

And somehow, Clark and Lois connect and talk on a mental level, a sort of meeting in the minds. It just happens. In one tiny thought bubble we hear that Lois finally smashes out of her cage and is able to talk to Clark with her telepathy. (Man ... I would have loved to see a panel of her smashing the cage. That is a big moment.)

There is this nice moment, showing maybe some smoldering CLois love? Clark takes her hands, amazed at how much she fought Brainiac. Heck, she defeated him by breaking free.

It is a very nice moment. It made me miss the Lois/Clark relationship.

But we follow that scene up with another moment which was hard for me to truly understand.

Despite being Superdoom, Superman so loves Lois that he sends the Doomsday killing virus to decay the Brainiac infection in her body. That is some tight control of something that before this was uncontrollable. I suppose it shows how much he cares for Lois. But it also makes me wonder about this condition all over again.

And ... let's not bury the lead ... she knows Clark is Superman. While still telepathic, she is free, and she knows.

I want a human Lois. So please remove the powers.

But will they leave her with the knowledge?

And then ... yet again ... another turn on the Doomsday virus. Batman's plan does work. The Kryptonite leaves the Earth. And somehow ... somehow ... the removal of that let's Clark completely suppress the Doomsday virus. He is back 100% and with Krypto ends up smashing the landed Brainiac army to bits. Look, the people love him! They are happy he is back.

My response?

Arrrrgggghhh!!!!

Just last month, pre-K-bomb, the virus was so out of control, he was planning to leave Earth anyways! He was near gone then! So why should the removal of the Kryptonite alone do this??

I just don't understand the clinical condition of Superman. Page to page, panel to panel, he is either a 12 foot tall spiked demon or a normal guy or a mix. What is happening???

Maybe this is my problem? But if the core plot, this infection, is treated haphazardly, I can't get into the conflict.

At least ... at least ... I got some fine Lois moments.

Overall grade: C

Review: Superman/Wonder Woman Annual #1

Superman/Wonder Woman Annual #1 came out yesterday, chapter 3 of the Superdoom portion of Superman:Doomed. It was also one of three parts of the Superman:Doomed storyline that was released yesterday, a glut of this story. And, unfortunately, I think it was too much all at once.

I have been sort of teetering about this whole story arc recently. While there have been some interesting scenes and small moments of characterization that have shined, over all it just hasn't grabbed me. Now it is true that I don't particularly like the idea of Superman as Doomsday, as a feared being, as a monster. I don't know if he has been established enough in the New 52 as a pure hero where such a devolution would have a strong impact. But more importantly, I think the story has become too big, with a lot of moving parts, all that need to be accounted for. As a result, sometimes I have to make a leap of faith in understanding what is happening. I just don't know if I 100% understand exactly what is happening right now. And that is never good.

Now this book and Action Comics Annual #3, in theory take place simultaneously, which is an interesting way to try to market the books. It also means something big happens at the end of this book that doesn't make sense until I read the Action book.

Lastly, I actually like most of the artists listed on this book. And there are a lot of them - Tony Daniel, Ed Benes, Cliff Richards, Pascal Alixe, and Jack Herbert. But there are so many that I think it sort of was distracting. It is a stunning cover by Tony Daniel. I think it is a shame he is heading to Deathstroke.

The book opens up with a recap page of the electronic version of the Daily Planet. I do like that there are more '404' errors on the page, maybe showing that Brainiac is coming nearer?

But this paragraph puzzled me. I wondered why Smallville has become comatose, why it was targeted. Now this paragraph says Superman has 'centered his activities' there.

Has he? When in the New 52 did Superman establish himself in Smallville?

Last issue ended with the Cyborg Superman leading a fleet of Brainiac ships to Earth. I thought this might be an introduction of the Cyborg as a Superman rogue. But turns out, this was something of a feint.

Superman rips off the Cyborg Superman's arm while the fleet flies by. The Cyborg says he was there to simply delay Superdoom from trashing the fleet before it made it to Earth. Superman leaves him and tails the ships.

We see the Cyborg Superman again ...

I wonder just what is going to become of this Zor-El Cyborg. He is a slave of Brainiac. He is Supergirl's dad. Can he ever become someone I am interested in?

Part of the moving parts is Steel and Lana, in deep space, tracking the Smallville brain signal but now turned around and streaking back to Earth.

I don't mind Lana being feisty and strong and part of Superman's life. But I don't necessarily need her to be pumped up too much. Here she notices that Brainiac's ships are landing in a specific pattern, most likely to boost the coma-signal to encompass the whole planet. Steel patches her through to the gathered resistance (Wonder Woman, Batman, Cyborg, Harrow, Ghost Soldier, Shay Veritas, and Luthor).

So one of the most talented electrical engineers can recognize and intergalactic despots fleet placement? Maybe too much?

Regardless, 36% of the pods need to be destroyed to snuff out the plot.

Throughout Doomed we have had these internal monologues between Clark and Doomsday. Here is one moment of good characterization. Clark knows that he can destroy the Brainiac probes but to do so means entering the K-cloud surrounding Earth and therefore losing control. The Doomsday virus would take over.

The Doomsday persona actually wants to go to Earth knowing that he will win. I don't know if it is flattery or a sarcastic jibe, but I like how he tells Clark that Pa Kent would be proud of him.

The fact that the internal monologue is Clark and not Superman, the fact that Jonathan Kent is an important part of him ... these are important parts of a Superman I want to read.

Clark wins out and Superdoom flies to Earth.

Meanwhile, Earth's heroes are swarming to destroy the probes as well. Humanity's fighting nature is enough to impress the Cyborg.

While not strictly cheesecake, Diana is nearly falling out of her top this whole issue.

But the coma-pods also seem to be a Brainiac feint. Or maybe he has a plan B?

Because while the probes are being knocked out, the Cyborg is constructing some kind of Star-gate near Earth.

Steel feels he has no choice but to try to stop the Cyborg even though he is hopelessly overpowered.

I am beginning to think that John Henry Irons is starting to get some feelings for Lana. While I doubt he is about to say 'I love you' (he just met her), he might be saying that he cares or would like to know her better if they survive. We'll see if I'm right.

Superdoom and the heroes on Earth start to make some headway against the probes, but Superdoom does indeed gain the upper psychological hand. He is about to wade into a small town in Romania, killing the inhabitants with his killing field.

There isn't anyone who can stand up to him except Wonder Woman in her God-mode.

Didn't we already see a scene like this in this arc. When I feel like we are retreading things within an arc, it might mean it is too long.

Wonder Woman fighting Superman. The internal monologues where Clark says he will prevail. Superdoom reverting from full Doomsday to completely normal to just a couple of horns. It seems like we are walking in place sometimes.

Steel does indeed get thrashed by Cyborg Superman such that Lana has to fly into the fray, firing phasers at Cyborg.

The Cyborg is pretty much unscathed by simple lasers. He rips the ship apart. Luckily Steel can fly to the rescue and spread his skin over Lana to rescue her. I do sense some romance here.

But the coma-nodes begin to self-destruct? It is odd. And it also seems like a forced plot point that in the end doesn't matter. Sort of a maguffin.

That's because the Brainiac mother ship, which is bigger than Earth (!!!), arrives through the stargate.

The end of the book has the Kryptonite in the air suddenly disappear (we need to read the Action Annual to see why). As a result Clark can overcome the Doomsday persona. But on one page an artist has him being mini-horned. And this artist has him being completely normal and not shedding the Doomsday death field at all.

I just can't wrap my head around Doomsday virus and what it is doing. The complete mutation and significant death field to completely normal switcheroo seems to be almost variable. If, this many chapters in, I don't have any idea about the threat of this infection or cannot anticipate how it can effect Superman, I feel frustrated.

Add to that the feints of what is a threat and what isn't and I am starting to feel a little bored, despite all the action. It makes me wish that this story was ending sooner than it is.

And there were 2 more chapters released yesterday.

Overall grade: C