Review: Superman #16

Superman #16 came out this week, the final chapter of the Multiplicity storyline.I had gone into this arc with high hopes and the first chapters really gave off a grand scale vibe. This had the feeling of a company wide mega-crossover.

But this final chapter seemed to end too quickly. We didn't get too much explanation of Prophecy's motivations, just a tease of some incoming multiversal threat. And we certainly didn't get an explanation of how these Supermen save themselves. It just all seemed to end ...

And that was a bit deflating. Because everything up to this point was just clicking.

Writers Peter Tomasi and Patrick Gleason are obviously building to something. We see Mr. Oz in this issue. We hear about this threat coming to all Earths. We know there is an army of Supermen out there. And I have had little to complain about in their run. But I wonder if they were constrained on pages and needed things to end magically to keep a company-wide timeline on track.

Art on the book was a mix of Tony Daniel and Clay Mann and the book is pretty lush. I thought the art was very good and continued that feel that this was something grander than a simple issue in a monthly book. Between the cover and the final battle with Prophecy, there was an echo of Crisis on Infinite Earths #12. There was an outright swipe of Crisis on Infinite Earths #7, the image that is always homaged.

Or am I just imagining this?
On to the book!

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

Bits Of Doomed Not Commented On Yet

One of the things that happens when you review a bunch of books and limit yourself to a maximum number of scans per issue is that things you really wanted to talk about get pushed to the side.

Superman:Doomed is big enough that there have been a couple of things that when I first read the issues I wanted to comment on but didn't or forgot or pushed aside.

There have also been a couple of things I hadn't noticed, which commenters on this site pointed out to me which I thought I would share more broadly. Thanks to everyone who chimes in here as I think it helps me see things from a different perspective or get a better grip of some finer points!

So some Bits of Doomed - never before discussed.

The first is the change in cover on Superman/Wonder Woman #9. The originally solicited cover is directly above. On this cover, it looks like Diana and Supergirl are working in tandem, chasing Superman to try to help.

The released cover is at the top of the post with Supergirl now shooting heat vision at Superman. The direction of the beams seems incongruous with Kara's head position and (I think) sully the composition of the cover. And I don't know why Kara needs to constantly be attacking her cousin.

I don't think this was an improvement.

I'd like to thank blog-friend Supertorresmo for pointing out something crucial in Superman/Wonder Woman #9 as well. With Superman pummeling Hessia, Wonder Woman feels compelled to stand up to him. Somehow she is able to match his power despite his being in full Super-Doom mode.

Supertorresmo pointed out that in this battle Diana has removed her gauntlets which makes unleashes her full god power. That explains the different coloring of Wonder Woman here. This is a nice touch as it shows continuity with the Azzarello main title.

I will admit I didn't notice it. An exposition balloon of some type would have been exceedingly helpful.

In Superman #31, we get a glimpse at some of the technology that Shay Veritas has stashed in The Block.

The red waterfall-like object on the far right caught my eye when I read the issue. Veritas talks about these items are from the 'omniverse'. Could this be some sort of small version of the Kryptonian Fire Falls?

As long time readers of this blog know, I am a huge fan of the Fire Falls.

I have covered appearances of the falls in the Silver, Bronze, Modern, and New 52 eras of DC comics. I even mentioned them in the Sterling Gates Man of Steel Prequel comic.

The Falls have been a plot device in the past, even curing Supergirl of a demonic possession. Could they be used here?

Lastly, in Action Comics #32, we see Krypto alive and seemingly well in the Arctic.

Remember, you heard it here first. Krypto surviving exposure to the Doomsday virus will be used in the finale of Doomed.

Okay, that's all the extra bits!

Review: Superman/Wonder Woman #9

Superman/Wonder Woman #9 came out this week, the next chapter in the Superman:Doomed storyline, and the second chapter of the Enemy of the State mini-arc.

Apropos of this title and its focus, this issue concentrates on the Kal/Diana relationship and how this Doomsday affliction is effecting them. Writer Charles Soule does his best here to show that there is some deep love between the two. That there is true affection between them. Part of that is through their actions, Diana completely supportive and protective of Superman. Part of that is through their words - although their romantic dialogue reads a little stiff.

The issue also does its best to move the Doomed story forward, showing Superman's decline and bringing things to a head on Earth. It also answers a nagging question from the first arc of this book. And, for me, most importantly, it brings Supergirl into this story.

I will say that Kara isn't exactly portrayed well here. This is somewhat surprising given how Soule has written her in Red Lanterns. She has shined there.

Finally, I have to again comment about Tony Daniel's art on this book, the biggest draw for me here. He really draws a fantastic Diana. I would love to see him on the Wonder Woman solo book. (If only he would get rid of the high heels on the boots!)

The book also had a nice Bombshell cover, drawn by Emanuela Lupacchino. These are supposed to look like 40's pop art and pin-ups. I like the propaganda feel to this cover, similar to WW2 posters.

With a Kryptonite cloud looming overhead (supposedly safe for humans), the Doomsday part of Superman has grown in power and is close to taking control.

I think it is interesting that we see this conflict within Superman's mind as a battle of wills between Clark and Superdoom. Is this a disease? Or a possession? Is this just a visual representation of the voice in his head?

I like how Clark is the 'good half', not a clean looking Superman. Clark is the default personality, not Superman. And I like his sentiment. There is always a way.

With Superdoom screaming and angry, Diana arrives with Hessia. Diana asks her physician friend to try to help heal Superman from this affliction. I think this is a good idea and a nice touch. It makes sense that Diana would turn to her friend to use her skills to help. (I guess there is no purple ray in the New 52?)

To help her survive the Doomsday death field, Hessia dons her armor. I like the caduceus spear, the perfect weapon for a doctor I suppose.

When I first saw this armor, it reminded me somewhat of Genocide, the supervillain from Gail Simone's Wonder Woman run. The tossled red helm, the yellow energy crescents looking like the embedded lasso - maybe I am the only one who saw that?

Ironically, Hessia heads to Superman not to heal but to kill. She immediately engages him in battle. This isn't what Diana wanted but Hessia explains her thoughts.

She tells Diana that she is triaging the situation. Physicians need to prioritize care. In this instance, if you need to save the world full of patients, you need to eradicate the disease of Superdoom. It is an interesting take and slanted look at triage.

Is this a betrayal of Diana by Hessia? She went to Superman under a pretense of care.

What I did like was how strongly Diana defends Superman, telling Hessia that he can defeat Doomsday with help.

But Hessia isn't hearing it. She knows that Superman is a threat.

And to prove it, she puts Clark to the test ... by revealing that she is the one who sent the pictures of Kal and Diana to Cat Grant. Finally, that mystery is solved. I actually also think this makes sense for Hessia given her friendship with Diana. She heard Diana bemoan the fact that Kal was hiding their relationship. She heard Diana wonder why Clark always hides his life. As a friend, she forced the issue ... for Diana.

Unfortunately, it takes Clark by surprise. He wasn't happy about the secret relationship coming out. And that manifests itself as anger. Doomsday takes over and thrashes Hessia.

It forces Diana into action. She can't let Superman kill Hessia. But she also believes in him. She believes he can take control. He can prove Hessia wrong. And Diana believing in him, trusting him, has to make Clark fight harder.

This was a great page with a nice panel of Diana flying into action. We see here hogtie him here and bring him into space, away from the Kryptonite cloud. It is these action shots of Diana by Daniel that are the highlights of every issue.

And away from the K-energy, Clark wrestles control again. He finally ... finally ... realizes he needs to leave Earth.

FINALLY!

But first, before he exiles himself, there has to be some stilted dialogue from the two lovers. Clark says he will come back to show Diana all his dance moves. Diana knows her darling will beat this and return.

It is a goodbye speech without being a goodbye speech. There is hope here ... but it reads like they realize that there may be no hope.

But ... I don't know ... it just read a little stiff. Part of that might be because I just haven't understood why these two would be together. And there is something weird about Diana saying 'darling'.

At least Clark realizes he needs to leave. That's good right?

It would be if the Red Lanterns didn't show up and stop him. They blast him with all their power, halting his flight, and enraging him.

There is Kara telling the Lanterns they need to stop Kal.

Unfortunately, her first thought is to attack Kal ... not help him. You would think she would want to learn more about what was happening to see if she could do anything about it. And calling him Kal-El seems overly formal. Why add the last name?

In Red Lanterns, Kara has tried to help Bleez, the Judge, the world of Primeen. Here, she attacks her cousin. It felt like a half-step back for Supergirl. She has progressed nicely recently. This felt like the 'old' Supergirl.

The attack makes Superman lose control. Suddenly he is Superdoom again and he throttles the whole Lantern team.

What is more crazy is Supergirl's response. She yells out for Superman to stop, wondering why he is attacking.

Ummm .... you just had the whole team blast him Kara. What did you think his response would be?

This felt like another half-step back.

Does that mean she took a whole step back?

Again, it is odd given that Soule has treated Kara great in Red Lanterns.

Thrown to Earth, the Lanterns try to regroup. But Diana intevenes.

She asks Guy what he is doing. I love Guy's response. He has to protect Earth. But he also knows that Superman is the best person amongst them. It further cements a running theme through this arc - the response of other heroes when seeing Superman suffer. They all, so far, clearly look up to him.

But Diana has to ask Guy who he is. I am so confused about current DC continuity. Guy was a Green Lantern in Blackest Night and Diana doesn't know who he is?? This makes no sense.

With the Reds on Earth, Clark regains control and flies into space.

So, what to think of this issue which had some ups and downs.

I like the fierceness of Hessia, her conflicted decisions as a warrior and a healer. And I do like the reveal that she gave Cat the info.

I didn't like Kara's brief interaction with her cousin. I was hoping she would be more supportive and caring.

The romantic dialogue felt a bit off when Diana says goodbye to Clark. But I love how much she believes in him and defends him tirelessly.

And, as usual, the art is just beautiful. Nice panel contruction. Diana looks fabulous and strong. Tony Daniel is just putting out incredible work.

Overall grade: B/B-

Review: Superman/Wonder Woman #8

Superman/Wonder Woman #8 came out last week, the third part of last week's Doomed barrage, and officially chapter 2 of the arc. The prologue issue was a smash-em-up, an action packed brawl between the killing machine of Doomsday and the DCU. The end result was a Doomsday ripped in half. The first chapter in Action Comics was more of a set-up issue, showing that Superman was infected by Doomsday during the battle, filling him with rage and changing his body.

And those two chapters were a nice set-up for the story. The true story here is how killing Doomsday will change Superman on all levels - metaphorically and physically.

Now, seething with rage, and trying to go it alone, we get to chapter 2. This is Wonder Woman, the significant other, now trying to help her beloved. Chapter one was Clark responding to the infection. Chapter 2 is Diana's response. And, if I am going to believe that this relationship is based on real feelings, then I suppose this is a natural story progression. People know I have a problem with this pairing - mostly because I have yet to read anything that makes me think it makes sense. Writer Charles Soule does his best to show that Diana truly cares for Superman, seeking him out when he goes off the grid, revealing their relationship to some of his Clark friends. While I applaud Soule trying to bolster this relationship and mesh this with Brian Azzarello's interpretation of Diana, it still seems off to me.

All that said, Tony Daniel is back on art this issue and I am so happy he is back. If there has been one thing which has been consistently tremendous in this book it is Daniel's art. I mean it, his art is one of the main things keeping me coming back to this book. It is beautiful.

One thing that Soule does is start out the issue with Diana entering Clark's apartment. It is in semi-ruins as if Clark has been smashing things. And he sits in the dark, talking roughly, and being crass. He clearly is sick.

The remainder of the book is a series of flashbacks as Diana hunts down Clark. And these flashbacks are interspersed with more of this conversation. I suppose the story-telling technique works. By leaving this scene every so often, I felt increasing suspense. Superman is clearly unhinged here and so I kept waiting for him to lash out. Showing another flashback made that suspense simmer a bit.

But one thing I like about this Superman is that he is a bit unfiltered under the fever of the plague. He calls Diana an alien. And then skirts near creepy with his pleas of wanting to 'have fun'.

I hate to see Superman brought low like this ... but I suppose that is the basis of this whole arc.

Diana's first stop is Clarkcatropolis to talk to Cat. It seems that the one big break of the Superman/Wonder Woman kiss photo has been a financial boon. Suddenly the site has an office! And workers! I do wonder if we will ever get back to that story. Who sent it? And why to Cat?

It turns out that Clark has gone AWOL for several days. He hasn't been in contact with anyone.

I do wonder why Cat, who has been posting Wonder Woman photos on the site doesn't recognize Wonder Woman sitting in front of her?

And yes, indeed, it does seem that Clark has been acting strange. When he did show up to work at the site, he snapped at Cat. It concerned Cat.

Back at Clark's apartment, Clark starts to ask some questions that as a reader I have asked. I don't expect a lot of crossover with the Azzarello title because I think it is an Elseworlds. But here Superman wonders why Diana hasn't asked him to help out with her problems. He wonders why she hasn't said she loves him back.  I have asked those questions myself. Even now, after saving the world from Doomsday and suffering, she still hasn't said the L-word.

A couple of other things I liked here. I like the S-shield to be a huge element in the Superman costume. By making it tiny tiny here, Daniels evokes the feeling that the Superman part of Clark is withering, shrinking.

I also like that Clark tells Diana that he would rather die than become a monster. Is this a plea to her to do what might be necessary?

Cat doesn't seem to be of much help so Diana seeks out Lois. She finds her being arrested by the Army just outside of Metropolis.

So this is where I have a little problem. We know Lois is possessed by Brainiac. We have seen her mentally shut down throngs of people. Why would she ever let herself be caught like this, let alone cuffed. Couldn't he make all these soldiers unconscious? Convince them to let her go? Mind-trick them into thinking she didn't do anything wrong?

Of course, if she did that we wouldn't get this scene with Diana. Convenient ...

Diana showcases a new power. As God of War she can telepathically communicate with all soldiers! I don't know ... I think that is interesting enough that I don't mind it. But she is doing all this as Diana Prince.

She learns that Lois was downloading some military mainframe with crazy glowing eyes. Despite that concern, she commands the army to release Lois and they do. I don't know ... it seems that this might be a bit short-sighted of Diana. Hasn't she seen enough crazy things to want this to be investigated more? And if Lois is Brainiac, wouldn't she sense that Diana is Wonder Woman? Or at least be curious why the Army obeyed Diana? It's a bit too convenient.

And the resulting conversation between Lois and Diana is also a bit awkward. Lois also hasn't seen Clark in weeks. But he did call Lois ... a sort of 'drunk dial'. Yeesh. A sick Clark calling and propositioning Lois? Ugh.

But Lois doesn't know where Clark is either. So Diana has to ask someone else. And it just so happens that Batman is approaching Metropolis. He also is concerned about Clark.

What a great splash by Daniel. Shown just because it is spectacular.

It turns out that Batman has figured the whole thing out (I guess I shouldn't be surprised). The samples he took at the battle site show that Superman is mutating into Doomsday.

Batman was heading towards Clark's home. It would be the first place to check right?

Amazingly, Diana hasn't checked there!!! She doesn't recognize or remember how important the Clark part of Superman's life is. She interrogated his friends before she checked his apartment!

This is just one more thing that makes me question just why these two are together. Diana just hasn't been written in any way that would make me think she would love Superman romantically. She didn't even think to go to his apartment? She has eaten lunch there!

It is just odd. I suppose Soule needed her not to go straight there to plot this issue. But ... it seems weird. This is my biggest problem with this book.

At least she shows how much she cares for Clark at the end of the issue. She gives him a nice inspirational speech. He is stronger than this ... even stronger than the disease. He can defeat it.

And, don't ask me how, he does. He is able to actually morph back to his human form and get the rage under control. It makes me think this is more like a Hulk-problem than a true disease.

This sequence with Diana is just drawn lovely.

I can't believe Daniel was at Boston Comic Con last year and I didn't get a commission. His stuff stuns me.

Anyways, this was an okay chapter in Doomed, probably the weakest of this week's trifecta. While it is interesting to see how the plague is warping Superman's body and mind, it can't get past the fact that Diana was worried about him for days and didn't go to his apartment. And Lois not utilizing her Brainiac powers? And Diana letting Lois go? And Cat not recognizing Wonder Woman? The first problem is significant. These others are annoying.

Still, beautiful beautiful art.

Overall grade: C

Review: Superman/Wonder Woman #6

I have been of two minds whenever I read the Superman/Wonder Woman comic each month. For the most part I have found the writing to be rough especially the romantic scenes between the main characters which have been off-putting, forced, and weird. On the other hand, I have found the art by Tony Daniel to be absolutely superlative. This is the best work I have seen by him. The art has basically saved this book from being cut from my pull list.

Superman/Wonder Woman #6 came out this week and, in general, follows that pattern. In general.

Again, the 'tender moments' between the characters are still read a bit forced, a bit odd. For the most part, this is a brawl issue, a high action issue that reads fast. That said, writer Charles Soule does inject some interesting new interactions into this story, specifically the Olympus contingent of Wonder Woman's family. So I might ratchet the plot up of this issue a touch from prior.

The art by Tony Daniel contiues to shine. He continues to knock it out of the park. I am just drinking in the art here. In fact, after reading this book I am upset at myself for not getting a commission from him at last year's Boston Comic Con.

You might recall that last issue ended with the two power couples heading their separate ways to heal up and strategize. I didn't think it was a good idea then. How do you let two malevolent Kryptonians just fly off? And it turns out my worries were justified. Zod and Faora are shown building a massive Phantom Zone projector.

One of my complaints last issue was that Superman fought like a novice last issue, being outflanked and pummeled. This issue we learn why ... and it isn't pretty. Back when they were 'friends' Superman didn't worry about Wonder Woman in battle. Now that they are a couple, he can only think about protecting her in combat. Ummm ... a bit paternal? Sexist? Chivalrous? I don't know. It seems to me strange that he is thinking about protecting her more now. That just seems old-fashioned to the point of being antiquated.

And then when Wonder Woman says that they are the 'shelter from the storm' for each other. I just don't think I have ever felt that in their interactions.

Superman and Diana head to Olympus to pick up the weapons that Hephaetus has been crafting for them. He not only outfits them in armor but gives them his 'invisible chariot' so the two can sneak up on Zod and Faora. I love this panel with the two heroes semi-seen as they exit.

Call me old school, but I like Wonder Woman having some sort of invisible vehicle to cruise around the world.

While I have basically slobbered over Daniel's art, I think his work in this issue is just a bit less polished than last issue which was just incredible.

Then it is truly an old fashioned donnybrook.

In a nice change of pace and a good way to shake up the reader a bit, we get a twelve panel, Frank Miller-esque, 300-ish page.

This really worked for me. The multiple panels sped up the fight for me, made it feel more frenetic and crazy than a couple of panels would have. And the black palette with just splashes of red made it feel more brutal.

The Hephaestus armor turns out to be a weapon, absorbing the physical energy of the Zoners' attacks and then being able to be detonated like a bomb.  Again, a nice use of a semi-splash page. Big moments need big art.

Unfortunately the trigger for the bomb is for Clark and Diana to hold hands. Makes this whole thing seem like a schoolyard crush. And it once again feels forced to me.

Hephaestus isn't the only Olympian joining this skirmish. It turns out that Apollo used his sun powers to boost Zod and Faora's powers almost immediately. I am glad Soule explained away that prior question I had.

Still upset at Clark for punching him, Apollo decides to even the odds again, super-charging the Zoners with sunlight. The mega-powered villains are able to swiftly overpower Superman and Wonder Woman. And finding them still too difficult to kill, they toss them into a nearby, unused nuclear power plant. Hmmm ... how convenient.

Anyways, I did like that Apollo and Eris side with the Zoners. It reminded me of the Trojan War when the gods lined up on opposite sides. And of course Eris is going to want more chaos and strife. These side plots are more interesting to me.

It turns out that Zod wants to open up a huge Zone gate to free everyone and everything. That includes Warworld, just tossed into the Zone in last weeks Batman/Superman Annual.

I have to say 'continuity' in DC offices must be a curse word. When the hell does this story happen?

Weakened and trapped in the nuclear reactor, Clark comes up with a sort of last-ditch plan. Diana's magic sword can split an atom causing a reaction with the remaining fissionable material in the core. The resulting nuclear explosion will destroy the Zone gate. It could kill them.

Knowing this might kill them, Clark professes his love for Diana. I think this is the first time the 'L' word has been used by either of them.

I have to say, I don't like Diana's Han Solo-esque "Of course you do." No 'I love you too'. No kiss. No return of affection. They could be dead in a few seconds! I think Diana, if she truly loves Clark, would have said something different, kissed him, something .... anything else.

My biggest complaint is that these two characters have never acted like they love each other. This moment didn't help that complaint.

And it ends with this final image.

Are they dead? Is Diana unscathed in the invulnerable cape? Did it shut down the gate? Are Zod and Faora injured?

It is a decent cliffhanger. But ... the moment before soured it for me.

So more of the same with this book. Decent action. Nice side plots. Gorgeous art.

But the relationship between the main characters still isn't working for me. There hasn't been anything here that makes me think these two actually feel romantic about each other.

Overall grade: B-

Review: Superman/Wonder Woman #5

Superman/Wonder Woman #5 came out this week and for the most part was a rollicking, high intensity, slugfest. And for that, it was a success. This was a good, old fashioned, super-powered brawl and I don't mind those every so often. And this was the biggest of the bigs fighting: three Kryptonians and Wonder Woman trading blows and bloodying knuckles.

Because of the action, there was very littleon the Clark/Diana relationship, the part of this book which has been the weakest for me. There has been nothing about that part of the book that has made me believe in the relationship or think it makes sense. Even the tiny bits of the relationship talk in this book were rough. I wonder when the plug will be pulled on the romance? Maybe with the upcoming 'death of Superman' arc?

It might be damning with faint praise, but this is my favorite issue of this title. And I think the main reason is the art by Tony Daniel. I have praised Daniel's work on this book while thrashing the plot since the premiere issue. Daniel just shines here, putting together a book that is simply gorgeous. After reading the issue the first time last night, I actually thumbed through it a second time without reading the words, just looking at the art. That might be the highest praise I can give an artist. I don't know of I need this butt-shot of Faora to sell me.

I still think the premise of this book - that Superman and Wonder Woman are a couple - is completely wrong. But this pulse-pounding issue was something of a guilty treat.

Last issue, Diana seemed confused about her relationship with Superman and his devotion to the Clark identity. Looking for some distance to mull things over as well as checking in on the Amazons, she heads to Themiscyra.

Over in Wonder Woman, Hippolyta has been petrified and the Amazons transformed into snakes. So it isn't like Diana's mother and sisters are going to impart wisdom to her. But the idea of visiting home, taking a breath, and maybe 'feeling' her sisters and their knowledge makes sense.

But look at this near splash page, showing the grandeur of the place, Wonder Woman and Hippolyta small elements on the page, as if the place is more important, grander ... that just works. Beautiful.

But it is odd to hear Diana so unsure of herself. How she doesn't understand why Superman would want to be Clark. And why she feels so offput by it.

I suppose it shows some vulnerability in Diana when it comes to matters of the heart (emphasized by Daniel's showing her from behind).

I come from a background where the Amazons weren't just warriors but were ambassadors of love and knew how to handle a sword. Guess that's gone.

But I also think this Diana wouldn't waste her time mulling this thing over. I would think she would realize that this much hand-wringing would indicate maybe it wasn't meant to be so and simply end it. To see her pining about Clark and her lack of understanding him and wondering if she should change seems off.

Meanwhile, General Zod has pulled Faora out of the Phantom Zone, and like Zod, she is temporarily mad from the extraction. Zod is strong enough to corral her and distract Superman within the Fortress to escape.

So two evil Kryptonians are now flying around the Earth. Superman decides it would be best to handle this quietly. So rather than call in the cavalry (which might be prudent) he tries to call Diana who apparently isn't answering. I assume it is because she is on Paradise Island, cut off.

Superman call Batman and asks him to track her down. Batman immediately presumes that Diana is ignoring Superman's calls because they got into a tiff. Not exactly the highest opinion of Wonder Woman is it? He think she is so immature that would mute her phone?

Sad. It is this characterization that bothers me about this book.

On Themyscira, Diana discovers that the Gates of Tartarus have been torn open, allowing beasts of the underworld to escape. So we get a brief side adventure of Wonder Woman tracking down and killing this demon. With little alternative, she uses her magic lasso to lash the Gates together.

But really I include this to reiterate that Daniel's art is stunning. This whole sequence has a nice kineticism to it, as you feel Diana straining to slow this thing down.

After that brief insanity, Faora gets her wits back. Zod gives her a quick rundown of the situation including their newfound powers and the presence of an old enemy, Kal from the house of El.

Soule has the two villains fight in concert against Superman, basically trashing him. And while I understand that they have military training and have fought together, Superman has 5+ years of using his powers under his belt. He should be able to fly better, maneuver better, use the adjunct powers better. This seemed too one-sided.

It doesn't help that Faora uses her heat vision to try and immolate a nearby village. I would love to see some riff on the classic dialogue from Superman II.

Zod: I have found his weakness. He cares for these people.
Ursa: Like pets?
Zod: I suppose so.

Luckily, Diana decides to leave Themyscira and immediately gets a call on the comm-link about Superman fighting. And she rushes to his side.

I still don't like the high-heeled boots. But this is a glorious picture of Diana - stern, powerful, beautiful.

And, maybe because of her training, she absolutely brings it. She is able to fight the two of them at once while Superman gathers himself. Even in pure tests of strength she seems to be the equal of Zod and Faora.

In one particularly brutal moment, she presses the red hot blade of her sword (sizzling from Zod's heat vision) to Faora's face. I mean ... that is vicious!

As I said, the action here is crazy, ferocious, incredible. I love seeing Wonder Woman dominating a battle like this.

I don't mind seeing the warrior Diana when it is called for. What I don't like is that this has become her default personality. It limits her.

That effect of training may be just a little bit overdone here. Yes, Superman probably doesn't have true, intense, combat training. But he has been fighting the never-ending battle for five years. He shouldn't be such a novice in a fight. That seems to limit him too.

And another beautiful panel here with the two pairs of combatants and the Earth itself all with a different x-axis. This highlighted the three-dimensional issue of super-fighting.  And again, Diana looks great.

With the fight at an impasse, Zod grabs Superman and threatens to kill him. He will allow Superman to live if Diana allows them to leave alive as well. Diana agrees ... leading to a strategic retreat (the same words she used when rationalizing her trip to Paradise Island).

So I don't know what to think of this.

If Zod and Faora go and raze New York City, or sink Europe, killing billions, will Diana be happy about this decision? Why not call in the troops? Couldn't the rest of the Justice League help out? Or any other super-heroes? And am I happy that Superman just got wrecked by these two, even when in one-on-one combat?

So, there are a couple of wonky character moments - as usual regarding the relationship. And the ending seems just a smidge unrealistic.

But that doesn't take away from a breath-taking issue of unbelievable action. And that's sometimes what I read comics to see. And the art is so fantastic that you could erase the words it would still be worth the price. Let me put it to you another way, if this issue Superman called his ally Wonder Woman to help him, I would have been thrilled.

Overall grade: B