Back Issue Box: Superman Adventures #31

Superman Adventures #31 is the second part of a fun story which includes a dark take on Supergirl, a crazed surviving parent of Supergirl, and perhaps the bleakest ending I have ever seen in an all ages book. I guess is shouldn't be surprised given that Mark Millar of Kick-Ass and Wanted fame is the writer.

The initial impetus to review this story was to once again show that the trope of a Supergirl turned evil had permeated even the all ages continuities. But to be honest, I like how this resonated more with the recent Mr. Oz/evil Jor-El stories that we saw in recent years in the Superman books.

And it is interesting to see all of this Kryptonian fighting Kryptonian given the Zod/Superman fights of recent years as well.

But it is the bonkers ending of this tale that really struck me.

Aluir Amancio is again on art and brings the dynamics of the cartoon series to the page. This is an action heavy issue and despite the 'cartoony' style, Amancio does a good job of showing the destruction that would ensue if Earth had to try and fend off three insane Kryptonians.

On to the book.

Back Issue Box: Superman Adventures #30

It's been a while since I thumbed through the back issue boxes and looked at an issue from the past which somehow resonates with what is happening in comics now.

Once again we are in the midst of a 'dark Kara' run in the world of Supergirl and so I thought I would take a look at Superman Adventures #30 and #31 for yet another take at an evil Supergirl. But these issues resonate even beyond that initiating fact. There is STAR Labs working with dimensional gate technology that overwhelms them. There is a surviving parent of Kal's who has gone dark (much like Jor-El did recently). There is even some life/death issues with the Kents although I don't know if the resurrection in Doomsday Clock has hit the main DCU.

The issue is written by Mark Millar. This is obviously early Millar, before he hit it big with Wanted, Kick Ass, and every other deconstruction of the superhero genre he has done. It is pretty clear, that at least these days, Millar loathes the concept of hero. Interestingly enough, in this story you see he still believes in the heroic ideal but for a kid's book this story is pretty dark.

The art is done by Aluir Amancio in a very Bruce Timm-esque style including some rather saucy appearing panels for Kara and Lois.

These issues are on the DC Streaming App which made my needing to scan a heck of a lot easier. So enjoy the bright colors.

On to the story.

Review: Superboy #25

Superboy #25 was released this week, the second part of Krypton Returns, the sequel to H'El on Earth. It is a sort of strange crossover mostly because we know much of the ending. Krypton has to explode. And Superboy, our titular character, is going to die.

The book is plotted by Scott Lobdell but scripted by regular Superboy writer Justin Jordan, ex-Supergirl scribe Michael Alan Nelson, and Lobdell. I can't help to believe that the mix of talent here has smoothed out some of my expected dialogue woes.

And I found the format a little interesting as well. I assumed that with each Super having their own 'mission' in the past, that each issue would be dedicated to the title character. But instead of this whole issue being Superboy's mission, we look in on all the characters, keeping the entire story moving forward. I suppose this makes a little more sense, keeping readers engaged in the entire story. It also means that Superboy is only in a small portion of his own book.

Ed Benes is on art and I will admit I haven't seen his art in a while. His style seems just a bit rougher than I am remember. He inks his own pencils here which might explain things. The books I bought with him on art (Supergirl, Birds of Prey) had Alex Lei on inks.

I have lots of worries about this overall story. I will admit this issue was better than I expected although there were a couple of things that struck me as wrong.

As in H'El on Earth, Superboy actually gets some of the better bits of the story, acting like a hero. His mission is to go back in time so Kara gets sent to Earth so that the timeline where she stabs H'El with Kryptonite plays out.

He thinks what I am thinking.

I am not really clear on exactly what the point of this is.

What timeline is Superboy in? Is it the timeline where H'El saves Krypton? Because if H'El has saved Krypton, Zor-El wouldn't be making a rocket to begin with. We are told this scene takes place a week before Krypton explodes ... so we know it isn't the re-written H'El timeline.So already I am a little confused.

The only explanation is that the H'El/Jor-El save is a last second thing. Thus, everything would be proceeding as before ... including the Zor-El rocket. But if Jor-El saved the planet before 'a week before' than we are on the other timeline.

I don't even know if I understand what I am writing.

So I am hoping for some more explanation here.

And then there is this new wrinkle. This is one of those things that on first blush seems a little off.

The new Eradicator in the New 52 is a living embodiment of Entropy. But he was born in the heart of Krypton and is hell-bent on making sure that Krypton explodes. And for some reason, he decides to attack Kara. Luckily, Kon is there to protect her.

All right, now I have a lot of questions.

Is this some Kryptonian that has been transformed and is insane? Or is there really a physical embodiment of Krypton's destruction?

Is he the embodiment of Entropy (like the Time Trapper)? Or just Krypton's entropy?

Is he made of Kryptonite?

And why attack Kara? Unless he wants to kill Kara to stop her from going back in time to stop her from stabbing H'El so that he can't go back in time and save the planet? Whew. Why not attack H'El instead?

I hope Lobdell explains this (although he often doesn't do that, asking the readers to simply 'go with the flow). Because whenever I have this many questions, the story won't work unless I get some answers. At least I know why Kon was sent back a week before the planetary destruction (assuming we are on the non-H'El-saving timeline); the Eradicator was going to kill her.

I actually liked the old idea of the Eradicator.

I also wanted to point out that there is a lot of indicia these days, tagging all the supers as created or based on Siegel and Shuster. I wonder if Siegel would want to be associated with this Superboy.

Lobdell has always treated Supergirl poorly in his stories and this doesn't change here. I am trying read the Supergirl parts with a less jaundiced eye but it is hard. I am expecting the worst so even small slights seem to stand out.

Kara is sent back to the Clone Rebellion to try to stop some portion of a battle called Sky Core which would make Krypton explode earlier than anticipated. The Oracle plops her into the middle of a group of clones. We have read how Kara (and I assume most Kryptonians) considers the clones as abominations. Here they are shown to be crude, almost sub-human beings. Laden down with weapons, speaking in broken phrases, they immediately try to kill her.

Supergirl has always wanted to 'go home' so here, trying to assure Krypton eventually blows up, she considers herself a destroyer. More Supergirl angst.

I do think the way the clones are shown is a decent wrinkle. Maybe they are unstable, violent creatures. I assumed the point of this mission was to show Kara her prejudice. Instead, it might verify her feelings.

Maybe I am old-fashioned. I like to think of my Krypton as a bit more Utopian, a nice place to live.

As Kara engages the pack of clones, she thinks back to battle training she got from her Aunt Lara. Here Lara intends to strand Kara in the middle of nowhere with a broken vehicle unless Kara can get the spare power cables in Lara's backpack. It is obviously an exercise. But do I really need Lara to hand Kara a knife and say 'get them from me'. Do I need Lara to say 'Kryptonians are always at war'?

It really is just another example of the dark nature of the DCU. Here, an aunt gives her niece a weapon and asks tells the niece to attack her. And that is because the world they live on is such a dangerous place.

No wonder this Supergirl is so angry and isolated.

And then we get to the Superman mission. Now he has been sent back in time to months before Krypton's destruction. Remember his mission is to stop H'El at H'El's 'moment of success'. So I guess if Kal is successful then Kon is in the normal timeline where the planet dies. Wha ..?

Kal ends up in his father's lab and gets smacked around by his mother. Luckily his armor morphs to reveal the El crest halting the brawl.

In another decent wrinkle, Superman is weakened by radiation poisoning. Maybe his cells are being effected by the Kryptonite simmering in the planet core as it nears destruction?

We head back to Kon's mission. Of all the supers, he is the least effected by the change in environment. His telekinesis isn't effected by a red sun. He uses his powers to perforate the Eradicator. I have to assume the 'spirit of Entropy' isn't bound to one body. But for the time being this form is down for the count.

The one moment that I really liked was this one. As Kara notes the quakes are worsening, Kon knowingly just says 'yeah.' He knows what those quakes mean.

The panel works well. It is dark evoking the funereal mood. Kon is looking down sadly. But best of all, the bottom of the panel seems to just fade away, adding a sense of loss or that things are ending. I know it is smoke from the Eradicator ... but it works. Art and words complementing each other.

Meanwhile, back in Kara's mission, she wakes up to find that she, even without powers, was able to battle all the clones and defeat them. She is a bit battered but she is victorious.

Did she kill them? I hope not.

But she doesn't get far before you-know-who shows up.

That's right, we finally see H'El.

Remember, he has time travel abilities. So going back in time centuries before Krypton's explosion is child's play. So how will a powerless Supergirl fight him?

Time travel stories are always dizzying. And moving the three characters into three different times makes it more confusing. And wondering which timeline is the 'true' timeline versus any of the myriad of ones altered by H'El makes it even more befuddling.

And I still don't quite know why the Oracle didn't just send the Supers back together to fight H'El when he arrives on Krypton, before Jor-El can even save him. Isn't there an easier solution?

Despite all the questions, I suppose this was an okay issue, moving this story forward on all threads, and with only a couple of odd moments. The Benes art is pretty slick. I don't know if this story will end well ... or will even be comprehensible. But if I can look past the 'why' questions and the 'when' questions, I can appreciate this as a middle chapter. It does what it is supposed to do.

Overall grade: B-

Review: Action Comics Annual #2

Action Comics Annual #2 came out this week, the first part of Krypton Returns, Scott Lobdell's sequel to H'El on Earth.

Now my issues with H'El on Earth are well documented on this site. It was muddled, with plot holes and was near incomprehensible in some places. And, of course, Supergirl was treated horribly in that arc. The middle chapter, Superman 23.3 H'El #1, wasn't strong either. It was a jumbled mess of an origin as we are told that cell samples that made their way through the universe gained omnipotence and intelligence. Lobdell has often said that the reader simply needs to go with the flow, ignoring things that make no internal sense or aren't explained and I'm not surprised that he asks for that. Because a lot isn't explained and there is much which makes little sense.

I tried my best to go into this issue with an open mind. But I bought it with some trepidation wondering if this story would be any different. Would it make sense? Would there be holes or leaps in the plot that are hard to comprehend? Would Supergirl be treated better?

Sadly, the truth is there was no difference. The issue seems to stumble along, the plot clunkily pushing forward rather than smoothly rolling out.  It is loud and brash. There is a lot that I have to simply accept as a reader as it doesn't make much sense. And outside of one nice moment between Kara and Kal, Supergirl is treated poorly, cold and bratty and ultimately immature.

On the other hand, the art in places is quite lovely. I know I like Rocafort more than others but his art shines here, the crazy panels and page compositions working with the chaos of the story.  And Dan Jurgens fill in pages are fine.

The story starts with Superman witnessing a Temporal Tsunami destroying an uninhabited galaxy. Planets are destroyed and suns extinguished. A portal appears and he steps through it. He suddenly finds himself standing in front of the Oracle with Supergirl and Superboy.

Immediately we see how Lobdell is going to proceed. Supergirl icily lets it be known she isn't happy Superboy is there. Funny how Superman and Superboy are looking up and she is looking down. I get the feeling that Lobdell doesn't like Supergirl. She seems more interested in shunning Superboy rather than what brought them together.

Remember, Mike Johnson had her beg H'El to spare Superboy's life, realizing life is sacred, in the Supergirl chapter of H'El on Earth.

The Oracle points to a nearby planet and the trio realize that they are suddenly in orbit above ... wait for it ... Krypton. Apparently, the accumulated yellow sun energy allows Superman and Supergirl to survive in space under the red sun.

Of course, Supergirl acts impulsively. She is thrilled that H'El (the guy she loved then hated then tried to kill) was successful in saving the planet. She tries to fly 'home' but is stopped by Superman. She then is angry with him for not letting her be happy about the return of the planet.

It is clear this is a 'new' Krypton with 25-odd years of time having passed. When the three are attacked by a Kryptonian warship, even Supergirl has to agree they can't just fly down. Of course, she does so icily once again.

We are 9 pages in and she already has 2 icy word balloons and has acted bratty and impulsive.

The Oracle teleports the three to a Kryptonian moon where we get several pages of exposition. First, the Oracle 'possesses' Superboy and fills in some of the details of what has happened.

H'El learned that he was nothing but cells on a ship. He decides he will rule Krypton. But Krypton is doomed. So he keeps going back in time, trying to change details. Remember he had killed Jor-El in Superman #23.3. He undoes that until finally one of the many timelines of Jor-El he actually figures out how to stop the planet from exploding.

I already have said that I think H'El's origins are rubbish. So nothing new there.

But there is something mythic about Krypton being doomed to die. The fact that Lobdell has one Jor-El figure out how to save the planet sort of cheapens the life of the 'real' Jor-El. It means that the DCU Jor-El was a failure for not figuring out how to stop the planet blowing up. What is a hero's story for saving Kal-El now becomes an 'honorable mention'. Why wasn't he more like that Jor-El?

During each of these dry runs, H'El murdered anyone who stands in his way. He has corrupted the timestream so much that it is lashing out with the destruction we saw earlier.

You know who doesn't care about all that destruction and death? Supergirl apparently. She doesn't see what the big deal is. After all, she got her world back. She actually says they should be throwing H'El a parade. Remember, the H'El she loved then hated then tried to kill.

 Isn't that supremely immature? Selfish? Un-heroic?

The Oracle's possession almost burns out Superboy. Supergirl has to slap Superboy's body to shock Kon into regaining control.

Then Lobdell has Faora come out of the shadows to finish the story. In this new timeline, the Oracle educated and trained Faora to be his mouthpiece.

So why possess Superboy at all if you teleported the family to the moon to be near your acolyte? It is one of those meaningless plot wrinkles that was probably put in just so Supergirl can smack Superboy. Because Faora picks up right where the Oracle left off.

It turns out that H'El took over Krypton and made it a horrible war-like world. He has made half the population slaves and the other half military troops. The place looks more like Apokolips than Krypton.

Of course, Kara remembers the 'other' Faora and is rude to this one, vowing to make Faora pay for her crimes and questioning the veracity of what she is saying now.

Are you sensing a pattern here? Supergirl isn't very nice in this book.

The Super-family gets to witness this new hostile Krypton first hand. eeking over the bend they see soldiers forcing the weak into manual labor under the threat of violence.

Superboy falls back to the tried-and-true 'I am a living weapon' mode, attacking the soldiers and apparently perforating them with telekinetic bolts. Superboy the killer.

And then the inexplicable and needlessly complex plot twist.

To stop H'El from saving Krypton and ruining the universe by weakening the time stream, the heroes need to split up to three key moments in the past. Supergirl heads to the clone wars. Superboy needs to make sure Supergirl gets to Earth so she can be around for this moment (because that makes perfect sense in a time stream where Krypton doesn't blow up). And Superman needs to stop H'El.

Seems like a sort of Dr. Evil from Austin Powers plot right ... overly complicated and easily thwarted. Why not go back in time and stop H'El from irradiating his cells preventing him from doing anything?

Remember, on this world, the events of Krypton's destruction didn't happen. Why would Zor-El be making a rocket to begin with?? 

Taking Faora at her word, they prepare to dive into the portals.

Okay, it isn't all bad.

This is a scene I think most Supergirl fans have been waiting for and seems apt after the 'find happiness' pledge at the end of the Cyborg Superman story.

She apologizes for being difficult and thanks him for trying to help her.

Okay, great sentiment.

But how do you corroborate this attitude with the 'hooray H'El, hate Superboy, I don't care how many people died as long as Krypton is back' attitude from earlier in this issue?!

I am happy this scene happened. I am shocked that Scott Lobdell wrote it. Why does he write her so awfully everywhere else?

Once we go back in time, Dan Jurgens take over on art. We get to see a couple of pages of each of the members on their side adventures, I did like this scene the most as Kara tries to figure out who Superboy is (he is wearing the family crest) as she sneaks out of the house with a antigrav harness. Looks like she has always had a thing for the kneeless boots.

But there are other things to see in the other side scenes.

Supergirl is basically powerless in the past having been exposed to yellow sunlight for less time that Superman.

And Superman meets Lara Van-El. Not Lara Jor-El. Lara Van-El. In this new timeline, it seems Lara did not marry Jor-El. So maybe Kal doesn't exist here. Yet another time travel story conundrum.

The issue ends with H'El vowing revenge and death on the Superfamily. He looks back in time and sees the family interacting with the Oracle. He still seems to be pining for Kara, loving her but feeling betrayed. Remember, the girl he lied to and hit.

Anyways, if H'El is so obsessed with Kara, why hasn't he used his time bending powers or his planetary clout to woo her or marry her in the new timeline? It, again, is a sort of nonsensical plot thread since H'El has control over reality right now.

Anyways, I tried my best ... I tried ... to see the bright spots in this issue. The Rocafort art is slick. The scene where Supergirl and Superman reconcile is very nice. Lara Van-El is an interesting wrinkle.

But so much of this issue seems strained and worrisome. Supergirl being a selfish brat. Superboy killing. An unnecessary complicated plot. A lot of exposition. It doesn't exactly flow.

And so Krypton Returns begins. I knew I should have been worried after all.

Overall grade: C-

Review: Batman/Superman #3.1 Doomsday

Batman/Superman #3.1 Doomsday came out last week and was one of the more intriguing books during Villains' month. Written by Greg Pak and drawn by Brett Booth, the book isn't necessarily about Doomsday as much as it is about the El family and General Zod.

Sure, we see Doomsday, hear how he earned his name, even learn a bit about his origins. But he seems more like a plot device than a character, something to move the plot along ... like a bomb threat or a natural disaster.

Perhaps the most interesting thing about the book is the setting, Krypton several years before its destruction. We hear from all the Els about what Doomsday meant and how he effected their world. We see a loving Zor-El (something I didn't think existed anymore) and strong Lara. And then, in a sort of story curve ball, we hear about a prophecy for the El family, one which struck me as the most beautiful segment in the issue. It weaves some of the problems I have with the current DCU in with some nice Reign of Superman homages. 

Booth brings his usual style to the book, a kinetic feel to the action sequences, a soft touch to the personal moments. But the prophecy pages stand out, drawn as a sort of 'stained glass' giving it a mythic feel. Wonderful.

The book opens with Jor-El and Lara with Zor-El and Alura celebrating 'Remembrance Day'. But no one seems happy about it. This is a solemn day, remembering a day of disaster ... a Doomsday.

I actually like this play on words. Doomsday is a day which becomes synonymous with the creature that brought on that day.

One thing that does seem a bit out of place is the interaction between these four in comparison to the prior peeks we have seen recently. Things have seemed strained ... maybe hateful ... between the El brothers but here they are together and actually quite cordial to each other. Maybe they are on their best behavior sort of like visiting relatives you dislike on holidays?

Lara was on hand as a military person on the actual Doomsday. I still am getting used to this bad-ass version of Lara. She sees the Doomsday creature land in the city, destroying buildings, killing indiscriminately, impervious to anything Lara throws against it - hand blasters and such. She says Krypton had become complacent and it showed when Doomsday arrived.

I love this panel progression by Booth. We see the current Lara remembering, the cityscape in the background. And then suddenly we are in the past, her cowering in the same panel spot, the cityscape in flames, the panels rougher. Such a smooth transition.

Doomsday seems unstoppable until Colonel Zod shows up. Armed in ancient weaponry, he holds his own against the creature. But while he battles, the city falls down around them. Thousands were killed.

So is Zod the hero?

Or is this some sly commentary on the ending of Man of Steel?

But it is interesting that Zod somehow had access to weapons that seem to work.

Before we hear how this fight ended, the group hears a squeal from inside.

It's from Kara! She's inside.

Zor-El is sent in to comfort her and he assumes she was listening in on the scary Doomsday discussion.

This is about as friendly and paternal we have seen Zor-El act since the New 52. Sure, it is clear he had a special relationship with Kara in the early Green/Johnson issues but always around battle training.

We know that Zod is in the Phantom Zone at this point because he tells Kara that he can't get to her (sort of like a Boogey Man). Remember that Zor unknowingly helped Zod with the fake Char attack (as seen in the Zod issue). Even then he seemed moody and angry with his brother. So, while welcome, it felt a little off from the villain we saw in Cyborg Superman.

I am not against this in any way. I like this Zor-El, hugging his daughter and telling her he will keep her safe. This is better than the desperate man who experimented on his daughter or the bitter man willing to risk his family's lives to one-up his brother.

Still, Kara is bright and doesn't believe in the immutable happy endings her father tells her. And so he relays to her the prophecy of the house of El.

Booth's art changes to this more angular, darker, even more stylized motif, again giving it some sort of mythic feeling.

We hear of the Knight of El, sent from his home, always using his powers to help. Always.

That's Superman.

But the people the Knight helps fear him and shun him and hunt him. I can't help but think that this is also some commentary about the current DCU. In the current New 52 world, Superman is feared by the populace, hunted by the military.

Still, when a monster ... Doomsday ... arrives, the Knight does what he must do; he helps, he saves. But then he dies. So Pak is bringing into continuity the idea of Superman dying at the hands of Doomsday.

I like the aftermath of his death. People suddenly realize what they have lost with the death of their knight. They stood alone in a dark, cruel universe. Is this also Pak talking about the New 52. That if the true Superman, the ideal Superman 'dies' then the universe is a grim place.

But that death inspires. The 'glory of the word of El' ... they help, they die, others rise to do the same.

I love this splash page, a sort of riff on Reign of the Superman. When Superman dies, others rise. There are Supergirl, Power Girl, Superboy, Steel, even an Eradicator kind of guy.

I love this page, Supergirl smack dab in the center as the logical legacy.

Just great stuff by both Pak and Booth.

Now maybe I am transferring my own issues with the New 52 onto this myth. It could easily be interpreted as a Christ story with a death, and followers arising preaching the good word.

Still Kara can't get past the uplifting ending to this myth. She wants to hear the 'true story'.

Look at this loving Zor-El again, calming her fears, tweaking her nose, telling her he will always keep her safe.

I loved this scene.

The story does take a darker turn when we see that the reason Kara squealed is because somehow Zod is able to communicate with her from the Phantom Zone.

He created Doomsday to scare the Kryptonian populace into picking up the sword. He also created the Char threat to do the same! How many plots did he have to strike terror into the heart of Krypton. Not only did he slaughter real Char, he slaughtered his own people ... both at Doomsday's hands and his own from the aftermath of the battle.

Zod is creepy, saying he wants blood ... maybe Kara's. He says he will kill Zor-El if she talks.

I wonder how long this went on in her youth. Poor Supergirl ... psychologically terrorized by Zod's phantom on Krypton. Lied to by her father. Alone on Earth. Why must DC do the worst it can to her?

I do like that we see some of the fire in even a young Kara. She defiantly stands up to him. Great pose.

But Zod isn't thrown off. He is close to being free. Doomsday is in there with him. And that El myth ends with the death of the Knight. Things are not well.

I thought this was a very good issue. I love that it is set on Krypton with a young Kara and a loving Zor-El. This is more a Supergirl story than a Superman story. I love the 'myth' sequence, bringing into play some elements of Reign of the Superman and commenting on the current New 52. I like that the threat of Zod and Doomsday is suddenly real and palpable.

And I am a big fan of Brett Booth. I loved his Supergirl in his Justice League run. And I think this Doomsday is a monstrosity of spikes and brawn. On top of that, we I love the switch in styles to create that storybook feel to the Word of El.

It is hard for me to believe I almost didn't pick up this book. I am a believer in these creative teams.

Overall grade: B+

Review: Action Comics #23 Back-Up Feature

You know that feeling when a movie or book starts out great and then fizzles? That feeling that something wonderful was there, right in the grasp of the creators but sadly slipped away? That has been my feeling of the World Of Krypton Back-up feature which has run through Action Comics and the recent Superman Annual.

Action Comics #23 ended the story by writer Frank Hannah with art by Tom Derenick. And what started out as an interesting look at a young Jor-El and Lara decayed to a straightforward action book with some questionable ethics by our two protagonists. A Jor-El willing to mind control the planet. A Lara Lor-Van with a sadistic and murderous streak. That seems miles away from the curious elated scientist and strong young soldier we saw in the first chapters.

Something was there. And then it wasn't.

The loud violent second half of the tale does seem in line with the New 52. And I don't mean that in a good way.

As anticipated last issue, Jor-El is able to stymie the plans of Colonel Ekar but simply refusing to work the 'harmonic resonator'. While I don't like hearing that Jor-El made this thing at least he still has the ethics to not use it to enslave the populace. He is willing to sacrifice himself, or subject himself to torture, before he will cross that line.

Although by creating this thing, maybe he crossed that line already, albeit with his 'nudging' rather than Ekar's edicts. It just feels wrong for Jor-El to have done this.

Before the beating can get too severe, the loyal members of the Kryptonian military break in. Ekar is slaughtered before Jor-El's eyes.

Just like that the threat of the Eradicator cult is over.

Lara meanwhile takes out some frustration on Jax-Ur, giving him a good thrashing. And she continues to protest too much calling Jor-El a fool.

And yet, after Jor-El destroys his creation, immolating the harmonic resonator, there is that look of hidden love in her eyes.

So maybe the point of this story is to show us a young brash Jor-El and Lara, too young to know what's right but learning. I feel better about both in this one panel than I did in the three chapters before.

And it ends with a nice 'first appearance' of General Zod. He is the trooper who killed Ekar. And he is old friends with Jor-El.

I suppose there is some grist for the mill here. They are friends. It would be an interesting story to see how these two drift apart, eventually becoming enemies.

Still, this ending fell flat and I don't know if I liked my protagonists too much in the middle. And it is too bad that Philip Tan couldn't stay on art.

Overall grade: C+

Review: World of Krypton Back-Up Feature In Superman Annual #2

After being in the back pages of Action Comics for a few months, The World of Krypton back-up feature suddenly appeared in the back of Superman Annual #2. I wasn't expecting to see it here. It isn't even mentioned on the cover. I hope that people following this story know enough to look here if they want. This didn't seem to make sense to me, unless DC wants this story to be done prior to Greg Pak taking over Action. Maybe they needed to sneak in a chapter somewhere.

The sad thing here is that I had high hopes for this story when it first started. The wide eyed young Jor-El and the stern military cadet Lara was a sort of new take on the characters and seemed to capture some of the re-invigoration that the New 52 was supposed to do. In those early chapters, writer Frank Hannah seemed to capture the exuberance that these two young people brought to their very different lives.

Unfortunately, the story has taken something of a left hand turn and veered more towards the 'over the top' theatrics I have come to expect in the New 52. Instead of letting the characters carry the story, this has become a story driven by action. Worse, the young Jor-El has become a scientist engaging in mind control. And the young Lara has become an angry woman with a cavalier attitude towards killing. Suddenly we went to far afield with these character. Re-imagination is one thing. Re-writing characters completely is something else.

It also doesn't help that Philip Tan's slick art isn't on this story either.

Having escaped the Eradicator's troops, Lara and Jor-El head back to the science council to see if they can help.

I find it interesting that the head of the council says the Eradicator doesn't have many followers. This guy took over the capitol building. He has held it without much interference. He sent a troop ship to find Jor-El. This sounds like someone with a lot of followers.

I can feel that Hannah wants to bring some sort of 'opposites attract' feeling to Jor-El and Lara. But it doesn't work when I have to hear Jor-El defending the machine he built to 'persuade' people to thing creatively. I don't care what he thinks. That's mind control.

Now the Colonel wants to up the ante from persuasion to total control. Only Jor-El knows the machine that well.

Hmmm ... maybe coming here wasn't a bright idea.

I will say, the most sympathetic character here is Jax-Ur. He seems like a follower who got caught up with the wrong people. I don't get the sense he necessarily has bought into the Eradicator's ideas as much as got carried along with what he thought would be the winning side.

But he definitely has feelings for Lara and is willing to lie to save her. I do like that Lara won't give up her principles even if it means her death.

Captured, Jor-El is strapped to the 'harmonic resonator' and told to activate the Colonel's protocols.

I would like to think that Jor-El would rather die than enslave the planet. I suppose he could always use the machine to control the minds of the Colonel's men.

Anyways. It just feels like this story started out rather wondrous but the bloom is off the rose. Let's hope Hannah is able to pull off a miracle and have the ending recapture some of that earlier spirit.

Overall grade: C

Review: Action Comics #22 Back-Up Feature

I have been enjoying the back-up feature in Action Comics, a story written by Frank Hannah looking back at the early days of Jor-El and Lara. If there is any area of the Superman mythos which might be a bit malleable, it is that time period for those characters. Since Superman #0 last year we have known that Lara was a trained military officer. So seeing her here as a cadet has been interesting. And to see a wide-eyed optimistic and curious Jor-El has been fascinating.

Unfortunately, the latest chapter in Action Comics #22 seemed to go one step too far in this new characterization. We go from a determined Lara to one who seems to kill with a nonchalant attitude that seems off for the loving mother we have seen before. And the curious Jor-El suddenly is the architect of a mind-control device affecting the entire world. This also seems off from the guy who was so singular in his thoughts as to stand up to the Science Council with his findings and then defy them by saving his son.

It doesn't help that Philip Tan is off art on this chapter. The slick visuals he was bringing are replaced by the pedestrian work of Tom Derenick. Slightly off characterization and average art brought the buzz I had for this little story down a bit.

As seen in the prior chapters,a military coup is unfolding on Krypton where a high-ranking officer has blasted his way into the Science Council, killed some members, and wrested control. Hmmm. Sounds sort of like the beginning of the Man of Steel.

While the military troops hold the Council chambers, a smaller phalanx has been sent to kill off presumed enemies of the new state ... and that includes Jor-El. It looks as though the discovery if the sunken city of Xan and the presumed-extinct Teklons are merely set pieces. Perhaps there is a future story planned?

Regardless, when the troops come to get him, Jor-El jettisons his gear, flinging himself to the surface. And the commotion agitates the calm Teklons such that they lash out at whatever is near. In this case, it is a revolutionary soldier.

Seems a bit risky to me. Jor-El's team was also swimming in those waters. I suppose when staring down the barrel of a gun, the most desperate of time, you have to resort to desperate measures.

Here is the plot point I have the most trouble with. The Colonel who has organized this coup wants to take control of a 'sensory harmonic resonator', a machine controlled by Jor-El which is able to nudge the Kryptonian population towards 'intellectual curiosity'. While it isn't outright mental domination, it does seem like mind control. I think my Jor-El as a noble person who would value freedom above all. It is his civil liberties which allows him to save Kal. So to have him holding the keys to this thing feels really off.

And, of course, the Colonel wants to weaponize it, bringing the populace to its knees in a calm and controlled way.

We heard last issue that Cadet Lara Lor-Van might be harboring some feelings for Jor-El. We also saw that she recognized that he might be the best person to help her stop this coup. As part of her rescue of Jor-El, she casually destroys a troop carrier, presumably killing a bunch of her fellow soldiers (although working for the Colonel). I don't mind a stronger and tougher Lara, but I would prefer one with a bit more acknowledgment of the sanctity of life.

There is this pretty nice moment after Lara rescues Jor where he asks why she saved him. While he might be an ally to stop the coup, I also think she can't deny her attraction to him and not wanting to see him as a casualty.

The colonel running this coup has so far been unnamed. I actually wondered if it might be Zod (although it would be hard to be promoted after treason). Well, it turns out he is the New 52 answer to the Eradicator. Again, way back in Superman #0 that the Eradicator ends up heading a doomsday cult which embraces the end of the world.

I liked the Eradicator in the old DCU so I hope this one captures some of that essence. I don't quite understand the extreme close-up of the ring. Unless it is some sort of Black Zero symbol.

Anyways, a killing Lara, a mind-controlling Jor-El ... it seemed a bit too far astray from the welcome freshness of the early chapters. Will see if this can be turned around.

Overall grade: C

Review: Action Comics #21 Back-Up

Action Comics #21 came out last week and continued the World of Krypton back-up story that looks back at Jor-El and Lara's early days.

Part of DC's impetus for The New 52 was that it allowed creators to have some freedom with characters, another reboot to try to inject some freshness into some classic characters. It can't be easy. It is tricky to try to reconfigure characters that have decades of steady characterization. An angry disaffected Supergirl doesn't work. An army of Firestorms doesn't work. An aloof Superman doesn't work. That isn't new energy or freshness. It is simply wrong.

But minor characters that can be tweaked? Now that is where new universes can be used to their maximum potential. So I am having a fun time reading this World of Krypton story by writer Frank Hannah and artist Philip Tan and its interesting take on Superman's parents.

I am used to seeing a square-jawed Jor-El who is both stoic and morose. I am used to Lara being a devoted mother, fussing over a cradle. So I don't mind seeing a young Jor-El wide-eyed and exploring ruins. And it is fascinating to see a Lara in military garb throwing backround kicks at Colonel Zod (?). Both of these new characterizations, done in the character's youth, build on the foundation of desperate and intelligent parents willing to buck the system and build a rocket to save their child. It is a refreshing look at these two without shattering what has come before, without erasing who they have been and trying to re-write history.

This is how you can mesh a fresh take on a character as well as maintaining a historical perspective and a respect for what has come before.

Last issue ended with a Colonel from the Kryptonian military barging into the Government council and assassinating the Minister of Science. This opens up with this dramatic shot of Lara, a soldier in the military, attacked her commanding officer for such treachery.

After decades of seeing a brave Lara say that she would rather die with Jor-El than risk getting into Kal's rocket, we get to see just where that courage may have sprung from.

Now I think (and I will reread) that this Colonel has so far been unnamed. It would be easy to think this was Zod but how can you be promoted after this act of treason?

We also got to meet Jax-Ur last month, another cadet in the military who is romantically linked to Lara.

Now in the past, Jax-Ur has been a murderer and rogue scientist, condemned to the Phantom Zone. Here, at least, his villainy remains preserved even if he is, instead of a genius, someone following along with this mutiny.

He does his best to try to convince Lara to fall in line and join the revolution.

Philip Tan's line work is very slick here. I like these sort of retractable, malleable helmets.

Now you can imagine that it might be easy for a low ranking military officer to just be quiet in this sort of situation and try fall in line. But Lara again shows some steeliness here, bashing Jax-Ur and making her escape.

This is a far cry from the Lara of old. This one is strong and pro-active. And yet that doesn't invalidate that picture of the 'desperate parents' trying to save their son in any way possible.

The text here is a little over the top but nicely captures how crazy this decision is by Lara to be the lone voice of reason.

What I did like was this action splash page, so reminiscent of Superman splash pages and iconic pictures. Her fist jutting forward, red cape flapping ... you can almost hear her saying 'up, up, and away!' albeit through grit teeth. Maybe their is some 'nature' to Kal's heroism to go along with the Kent's nurture.

She thinks of the only person who can help her stop this coup ... Jor-El! He is the enemy of her enemy and unfortunately being hunted down himself.

So overall a very nice (if too short) back-up feature again showing us a young Lara and a young Jor-El. I think this look at their early lives when they were flush with young vitality is an interesting time period and one that I don't recall reading too much of in the past. That makes it feel fresh.

But again, these adventures in their youth seem to bolster their main story, that of courage in the steps they took to save Kal.

Kudos to Frank Hannah and Philip Tan for this great little feature.

Overall grade: B+