Review: R.E.B.E.L.S. #20

R.E.B.E.L.S. #20 held the coveted 'bottom of the new comic pile' position last week, reserved for the comic I think will impress me the most. And why wouldn't it be there. Tony Bedard has consistently written a great book. The issue marked the end of the 'War of the Brainiacs'. It promised a throwdown between Lobo and Pulsar Stargrave.

And it sported a David Finch cover of Lobo, a cover that oozed just enough Simon Bisley to hearken back to Lobo's heyday while retaining enough 'Finch-ness' to clearly be his work.

As I have said ad nauseum here, the draw of R.E.B.E.L.S. is Vril Dox. So of the storylines above, I was most looking forward to seeing how Brainiac 2 would best Brainiacs 1 and 3. Surprisingly, it was the Lobo plot that entertained me more. Still the dichotomy of the two battles in this book gave the issue an interesting feel.

With Pulsar Stargrave razing the surface of Colu, Brainiac 2 fetches his secret weapon ... his old L.E.G.I.O.N. pal Lobo. Flying back to his home world, Vril notices Lobo's red lantern ring and wonders why Lobo isn't wearing it. Given his brief time as a Yellow Lantern, I wonder if Vril might make a play for the red ring himself. To Brainiac, might makes right. I wonder if that ring might be too big a temptation.

When Lobo arrives, Brainiac 1 seems very intrigued by him. In an added wrinkle I didn't anticipate, Brainiac 1 wants to capture and study the last Czarian. That makes complete sense given Brainiac's thirst for unique knowledge.

To aid his quest, the original Brainiac cracks the firewalls of Brainiac 3 and takes control of Stargrave, setting the Solaris against the Main Man. But Lobo isn't easily dispatched. Even when half-disintegrated (as beautifully and grotesquely rendered above by Claude St. Aubin), Lobo regenerates, tips his hat, and fights on.

Now I freely admit that a little Lobo goes a long way. I don't think I would want to read his adventures on a monthly basis. But in small doses, he is a lot of fun. Like here where he yanks Pulsar Stargrave from the sky with a tug of what appears to be infinite chain, spiking him into the ground.

Silly? Yes. Fantastic? Completely.

And big moments deserve big art. I thought this was a great splash page.

While that battle rages on ... big and grandiose and fiery and loud ... a more subtle battle, one of wits and cunning, is being fought behind the scenes. Since 'the enemy of my enemy is my friend', Brainiacs 2 and 3 team up to defeat their elder.

At first it seems as thought Vril and Lyrl have opted for brute force, gunning there way into where Brainiac is hiding. But in truth, they are holograms meant to confuse Brainiac while the real Brainiac 2 and 3 try to wrest control of the planet from their tyrannical forefather.

Turnabout being fair play, Brainiac enters his descendants' war room as a hologram as well and attempts to technically overrun their defenses and mentally defeat them.

There is a nice juxtaposition here with two such very different confrontations taking place ... Lobo and Stargrave literally toe to toe while the Dox's can't even physically face each other.

The elder Brainiac is the superior intellect though. He quickly defeats Vril and Lyrl, the two of them barely able to muster a defense.

I love the snide putdown 'you don't have the bandwidth'. Perfect.

Topside, it looks as thought Pulsar Stargrave may have snared Lobo.

Brainiac is not satisfied with mere victory. He wants to suck the younger models dry of their knowledge. It leads to a protected area within Vril's mind.

Here is where I figured Vril the schemer would have been waiting for this moment. I thought for sure he would have booby trapped his own mind with some retrovirus or some other technological poison pill.

Instead, in the weakest part of the book, it turns out that area is where Vril has buried all his sadness from never having been loved by Daddy Brainiac. Overcome by this emotional assault, Brainiac 1 collapses in tears and is unable to get control of himself. He runs away from Colu with Pulsar Stargrave and the Coluan data banks in tow.

This just didn't work for me. I don't need Vril to have suppressed Daddy issues. And I don't need Brainiac to flee while crying. It belittles both characters. Moreover, this is the second big battle (along with Starro) that Vril has won by luck. I need to see him win with his guile.

Unclear of the next step, Vril and Lyrl seem close to a reconciliation when they are cornered by the rookie Green Lanterns we recently met.

So, as usual, there was a lot to like about this issue ... the over the top Lobo fight, the Brainiac family feud fought from a distance, and the contrast of those fights adding to the flavor of the book.

But the ending of the Brainiac battle was something of a letdown. That seemed to deflate the issue a bit. And I hope Lobo isn't a permanent addition to the book ... not when we already don't see enough of the other R.E.B.E.L.S. team members. I would still highly recommend this book to anyone who would listen to me.

As I said above, Claude St. Aubin does some good work here.

Overall grade: C+

Baltimore Comic-Con: Terry Moore Commission

Before the Baltimore Comic-Con, I was looking over the artists in attendance and trying to come up with my primary target for commissions. The short list was Terry Moore, Amanda Conner, and Jamal Igle.

It is always tricky to line up commissions at a big convention like this. It is a matter of not only preference, but also cost, ability to get on the artist's list early, and the artist's commission schedule.

For example, there are some artists that don't go in order down their commission list. They cherry pick the commission requests that interest them. I don't begrudge them at all. But it is hard to put money 'on hold' for a commission that might never come to fruition. Also, some artist's lists fill within the first 5 minutes of a convention. Will I be able to get there in time ... where is my position in the entry line ... becomes crucial.

But as always, it is whether I not I like the artist's work that is the ultimate hurdle. I love Terry Moore's art so I was thrilled when I was first on his commission list and doubly thrilled when I was told he loves to draw Supergirl. I was pretty eager to get the commission in my hands and so probably swung by Moore's table to check progress to often. Another thing I have learned about commissions is to never linger. Let the artist take their time, you'll get a better product. I think I violated that rule. My apologies to Mr. Moore if I was something of a nuisance.

The bottom line is I got an absolutely great and original commission for my collection. I have plenty of commissions of Supergirl flying/floating in the clouds or striking a heroic pose. This one is just so fresh ... a young happy Supergirl surfing a meteorite while she sips a Dr. Pepper. She is unbelievably cute. This definitely a Moore piece. You recognize his style immediately.

So the Terry Moore Supergirl commission is spectacular. The Jamal Igle Linda Lang commission is phenomenal. I have a couple more commissions to show which are also great. This con was definitely a productive one for my commission collection.

Review: Outsiders #32

Is this the end of my first stint collecting The Outsiders? Is this the last issue? Hmmm ...

To be honest, the only impetus to bring me here was the Eradicator, a character not seen for 3 issues. And one thing that was working here was Katana, struggling between the loyalty of a samurai and knowing that the one she follows, Geo-Force, is clearly insane. And we haven't seen enough of her recently.

So purchasing Outsiders #32, I wondered if I heard the bells tolling. I mean, how many times can I say on this blog 'I am giving The Outsiders one more issue'?  Dan Didio's writing just has been all over the map with some attempts that humor that fall flat, overly dramatic prose, and 'bad ass' lines. For me, it sometimes feel like he is trying to hard because the quieter moments of this book have been the best.

At least this issue was going to focus on The Creeper, one of my favorite underused characters.

Having rescued Metamorpho from being consumed by Chemo, Owl-Man, Freight Train, Metamorpho, and The Ray make their way back to the Stagg Industries secret lab where Chemo had been housed. As if Stagg is trying to cover up this debacle, the station is abandoned with no people and almost no equipment around.

The Ray tells the Outsiders that Sapphire Stagg was very sick and that despite some novel attempts by Simon Stagg to save her (including Black Lantern power - should Lex be worried), Sapphire has died. Interesting. But to be honest, I don't believe it. The only debate in my mind is whether Sapphire has been mutated into Element Girl or some sort of monstrous villain.

While Owl-Man realizes that Stagg is on the wrong side of the law and can't be trusted, Freight Train is a bit more naive. He activates a sensor in the abandoned lab, letting Stagg know that the group is there.

If Stagg wanted to erase the existence of the lab, he also would want to eliminate the witnesses. The lab is consumed in a massive explosion. Stagg as an overt villain rather than a conniving business man is intriguing.

As for the Creeper storyline, this part of the issue is pretty titillating. Maybe overly so. This is one of those places where it is so over the top that it almost reads like a parody.

First, Serene tells The Creeper that she needs his seed to repopulate the Creeper demon corps in Hell. So she has captured him in order to copulate. Of course, Serene hopes that this will solidify her place in Blaze's Hell.

Now our Creeper doesn't want to be forced into doing anything he doesn't want to. Nor does he want to be the father to a host of demon soldiers.

But his 'amusing banter' throughout this sequence, including 'death by sex' and penis jokes were more cringe worthy than humorous.

Realizing he needs a way out, the Creeper goads Segura, Serene's werewolf lover and guardian, into a jealous rage by discussing how 'slutty' she is and how prolific their amorous session will be. Angered by this speech, Segura attacks the Creeper, freeing him from his bonds.

Seems sort of like an easy out. A werewolf demon so in love and devoted to his succubus lover that he attacks a man who is threatening their monogamy (even if Serene is the one to initiate it).

The Creeper loses all control, angry not only at the situation but also his own damnation, and nearly kills Segura.

I didn't realize that the Creeper was this powerful ... maybe his abilities are increased in Hell?

As surprising as Segura defending Serene was ... it is more surprising that Serene stops the whole 'mating ritual' to tend to Segura's wound. She lets the Creeper walk out of Hell!

Hmmm ... I don't think Blaze will be too happy with that decision. Wouldn't it be wiser to have the hordes of Hell detain the Creeper so Serene can complete the deal at a later date? Don't you think Blaze is going to kill Serene based on this?

It seems a bit too easy.

In the one part of the Creeper story that worked, Jack Ryder slumps in his chair at home only to hear that he is being sent to Markovia as a reporter. Irony! Finally something that was understated and effective. Look at how exhausted he is ... and he has to head back to where he just came from.

On a whole, this issue just failed on many levels. The whole tenor of the Creeper story was wrong. The turn of events felt wrong ... too simplistic to bring the story to an end.

And Philip Tan's art, which usually is one of the draws for the book, wasn't his usual top notch material. In many places, it smacked more of 1990's Image than his usual hyperstylized way.

So is this the death knell for the title for me? Alas ... no. The next issue promises a plot involving the Eradicator, Katana, and Halo. Those are the reasons I bought this book. So I am still giving this book one more issue.

Overall grade: C-

Review: Action Comics #892

Is it ever too late to review a comic?

Between the Baltimore Comic-Con and a couple of missed days blogging because of travel, I am woefully behind in my reviews. I still have Action Comics and The Outsiders from 2 Wednesdays ago as well as The Last Family of New Krypton and R.E.B.E.L.S. from this week. All this as well as more goodies from the Baltimore Con as well as a back issue I want to review. I promise to you I am going to eventually catch up.

Unfortunately, it means that the next week's reviews might read like old news.

As for Action Comics, I remain somewhat blase about the Paul Cornell storyline here and Action Comics #892 didn't really change things. It isn't that the story has completely failed. There are a lot of elements here that have a lot of potential. It is more that it hasn't grabbed me and made me say 'wow'. I wouldn't normally collect a Luthor book so it better be something spectacular. And maybe it will get there.

Of course, I will again say that it isn't like this storyline is starting at a perfect time. I was one of many who just wanted Superman back in his books after New Krypton.

Luthor is tracking Black Lantern energy signatures around the globe and the first one brings him to Antarctica. Given the attack by Mr. Mind last issue, Luthor decides to bring along some muscle. So Deathstroke the Terminator is one of the crew.

The group discovers the energy, a black energy globe half buried in the snow. Luthor advises Deathstroke to check out the energy up close while he stays behind. Lex then divulges to the Lois-bot joining him that it took some strength to send the Terminator first ... that his need to possess the power made him want to go first, to rush in.

This is one of those pieces of the puzzle that interests me. Is whatever is behind these energy globes manipulating Lex? That's my guess. It is unlike Lex to throw caution to the wind. Something must be pulling his strings ... or trying to. I like that Luthor is able to shake off those compulsions. We see this throughout the issue and really is the best part of the story so far.

The energy globes have several different properties. The first is that they are some sort of alternate spacetime pocket. Moreover, the energy seems to have been in the snow billions of years. The energy of the Black Lantern's destruction spewed these effects throughout time and space.

It is a lot of techno-babble. I don't know if I understand exactly what it means other than there are probably lots of these things around for Lex to study.

But Blackest Night was built around the emotional spectrum. These globes are emitting eaves of emotions, affecting those who come close to it and/or feel strong emotions.

Unfortunately for Lex, the one closest to the globe, indeed physically touching the energy, is Deathstroke who goes mad and attacks the group. Luckily, in his insane state, the Terminator isn't on top of his game. Luthor, in a classic Lex-suit, is able to hold him off.

But as I said above, Lex' need to understand and possess this energy is his primary interest, even above his own well being. While he is fighting Slade, Lex commands his Lois-bot (who we know packs big guns) to protect the lead analyst, allowing the scientist Spaulding to study the black energy.

Lex has to be being played. The usual Luthor would want his own life preserved, especially given the recent revelation that these globes exist throughout timespace. We are talking about the Terminator here; the guy recently almost took out the JLA on his own.

The battle sucks Lex in and for a moment it looks like he will be taken over by the energy.

But showing off his personal mental strength, Luthor actually fends off the possession vowing he won't lose his intelligence. Every so often I am reminded why Luthor is such an effective villain. It is moments like this where you see just how powerful a mind he is. He defies and defeats some universal power. Pretty cool.

The whole episode ends as quickly as it started. When the Spaulding finishes his analysis, the energy globe dissipates. Suddenly it isn't a new spacetime nor is it influencing people's emotions. This energy is evolving?

I don't know. This issue wasn't bad. But I am waiting for the 'oh my god' moment or some tremendous hook.  And the fact that I don't really understand this new energy kind of frustrates me too. That could have been the big hook ... and it came close. The issue ends with the promise of a Grodd/Luthor punch-up next issue. I hope with each issue we see the bigger story move forward so that I feel like I am traveling somewhere.

Pete Woods' art continues to sparkle. 

The back-up Superboy feature was a prologue to his solo book and was done by his creative team of Jeff Lemire and Pier Gallo.

Now this does what a preview should do, grab the reader and end with a nice hook.

Smallville is under attack from giant sized mud monsters. Superboy and the Teen Titans are trying to stop them with varied success. So that's a nice opening, thrown into a big action scene.

One thing that stood out was the inclusion of local Smallville genius (and future Luthor-analogue) Simon joining in the battle. I like how he is using remote control tropical frogs to fight huge swamp things. I wondered if their coloring, so close to the Parasite's, hinted that they had some draining powers.

When Smallville and loved ones become threatened, Superboy singlehandedly eliminates the threat, smashing the mud beings to bits.

Now here is the one thing that really stuck out in this story ... and made me pause.

Part of the battle unroofed the underground tunnel Clark used to go back and forth from the Kent's secretly.

But why the heck would Superboy spell it out like that in front of Simon? Does that mean Simon now knows that Clark Kent is Superman? That shouldn't happen. It struck me as wrong. I don't even know if all these Titans knew that information.

The tunnel is filled with horror ... pig men, a captured Lori Luthor (Lena's daughter), nuclear waste. What the heck is going on there?

And before Superboy can jump to the rescue, the Phantom Stranger shows up and says Superboy cannot enter or Smallville will die. Now that is a cliffhanger! This would have been a great story if not for the Kent tunnel miscue.

Pier Gallo's work is a lot smoother and less sketchy than I remember from the great Car-Vex storyline from Adventure. This cleaner style probably works in the brighter world of Superboy. I will be getting this title and most likely reviewing it here.

Overall grade (issue): B

Review: Superman Secret Origin #6

After some delays, Superman Secret Origin #6 finally hit the stands last week.Written by Geoff Johns and drawn by Gary Frank, the mini-series solidifies the Superman origin by really looking back at his classic roots while merging it with some ideas we have seen in some of the other forms of media where Superman has appeared.

All along I have said that this read as a nostalgic love letter to the fans of the man of steel. It has been pitch perfect in it's portrayal of Superman. He has been a man of integrity, compassion, and strength. He always comes back to the fact that he is here to help and with that simple tenet he immediately becomes a role model for the weary people of Metropolis.

But more importantly, I think this issue resonated a bit more for me this simply because of what is happening with Superman elsewhere. This month I can read Superman talking to his supporting characters and fighting Metallo in the streets of Metropolis ... or I can read him walking through Detroit and playing pick-up basketball. For me it is sort of a no-brainer.

With Superman on the run from Luthor and the army, General Lane attempts to overrun the Daily Planet.

One theme that I liked here was the fear of Superman being an alien. Look at the fear ... the shock ... on Lois' and Perry's faces; as if Superman being a mutant-human is so much easier to accept. But here it is a jarring revelation, like a kick to the gut ... so wonderfully rendered by Gary Frank. Wide-eyed, the Planet's staff needs to wrap their collective heads around this revelation. Superman is still a relative unknown. Do his actions speak louder than his ancestry? Does this shake their trust in him?

This is a different sort of fear than the one seen in the New Krypton storyline; this one is more subtle.

Now one thing I don't necessarily like how Superman is fighting the US military in these last chapters. Even if these are Lane's men, trained to follow orders, and fearful of Superman, it is still hard for me to think of them as the 'villains' in this book.

That said, this splash page is lovely.

Luthor successfully resuscitates John Corben, creating Metallo. Fueled by Kryptonite, Metallo joins the fray. Trust me, he isn't happy and he begins thrashing Superman. Enraged and out of control, he lashes out against friend and foe alike.

So much of this story is Johns defining Superman's character and the reaction of the people of Metropolis. Despite facing one of the few people who can hurt him, despite Lois' pleas to leave and save himself, Superman stays ... fighting on ... never giving up. Metallo is threatening the people in the area and Superman can't leave them. In a nice visual cue, the real monster of this scene is literally unmasked. Who is more alien here? Who is the bigger threat? Superman or Metallo?

At least Superman has an understanding of what a soldier should be ... a protector. I think Superman realizes now that maybe he is, in a sense, a soldier. He is a protector of the people. And if he needs to put his life on the line to protect them, he will. Flown into the thin air of the upper atmosphere, Metallo falls unconscious.

Undeterred by the good Superman has done, General Lane continues to hound Superman. He orders his men to arrest both Superman and Lois.

Another recurring theme in this book has been Superman's ability to inspire, to raise the hopes of an entire city. As much as I don't necessarily like Superman fighting the army, I don't know if I like some ordinary folks rising up either. In particular, I don't think the soldier defending Superman in panel one deserves getting hit with a bottle in panel two.

But just when it looks like mob violence is going to erupt, here comes Superman again reinforcing his belief that we all need to help each other; we need to improve each others' lives.

It is a simple premise but it defuses the moment. Superman just seems to transcend all the politics, all the fear, all the anger in the people there.

And so we get to see the aftermath of this encounter.

In a spectacular homage to the Superman animated series as well as Superman:Man of Steel, Superman confronts Luthor outside his penthouse office. Luthor even tosses a statue through the window like in the Animated series premiere movie.

It is clear. Superman will be watching Luthor from now on.

And we see the beginnings of a romance, the fire of love just beginning to smolder.

I love Frank's Lois.

And we see that the fickle finger of Luthor isn't the supreme power it once was. People are starting to look to each other rather than looking to Lex. Gone is the bleating crowd begging for his love. That view from the balcony looks more like a view from a prison. Maybe some foreshadowing?

Instead, we see a new Metropolis, people are looking up. Even the angry elderly woman from earlier in the series is forgiving now. Everything has changed. Superman has inspired a city to reach higher.

I haven't hidden how much I love this mini-series. It is clear that Geoff Johns has a love of this character, an understanding of what Superman should be ... a bright light to guide people, to lead by example.

But for me the thing that impresses me the most about this mini-series is that despite re-telling a 70 year old story, it felt fresh. This isn't a radical new take on the Superman origin. This isn't John Byrne's new look and feel of Krypton, his more confident Clark. This isn't Mark Waid's Birthright Superman where Clark goes off to Africa to get in touch with life and Superman has a 'life detecting aura power'. There wasn't anything new here ... but it was all new too. Does that make sense? It felt almost like when an oil painting is restored, when a layer of wear is removed and the colors are bright once more; suddenly it looks like a new masterpiece.

I have talked about Johns' ability to update Silver Age concepts of the Superman mythos. But, as I have said before, I also like how Johns' seems to be able to take concepts from the Superman of film and television and fold those into the mix. Let's face it, there are some people out there whose only understanding of Superman is from the animated series or the Donner film. So why not add some of the best of that stuff here. What you get is the most inclusive origin story, but silky smooth.

In many ways I am sad that this series, despite all its delays, is over. As of now, there is no comic where Superman is in Metropolis, acting as Clark Kent, working for the Daily Planet, and fighting super-villains.

Overall grade (issue): B/B+
Overall grade (series): A

Baltimore Comic-Con: Discussion With Sterling Gates and Jamal Igle

Supergirl #50 autographed by Sterling Gates, Jamal Igle, and Cliff Chiang

One of the coolest parts of the con was being able to talk to Sterling Gates and Jamal Igle at length about Supergirl, both the character and the title.

I did my best to remember not only what I was supposed to ask but also the questions that some of you posed here. Unfortunately, some of the fanboy in me bubbled to the surface so I may have forgotten some.

I tried to organize the information I got at the con into topics. The information comes from the DC Nation panel, DC Sunday conversation, and my discussions with the creators.

1) Jamal on art: Jamal is currently scheduled to pencil Supergirl #59. There was no official word on who is art duty on Supergirl #60.

2) Proud moments: Sterling was extremely proud of Supergirl #47, feeling the complex nature of Alura coupled with her outpouring of emotion and regret in that is issue was powerful, therefore one of his favorites on the title. He added that he could rattle of a long list of other favorites, citing Zor-El's death (Supergirl #36) and Supergirl's 'Closet of Solitude' (Supergirl #54) as two other examples.

Jamal's favorite moment was also the death of Zor-El scene.

3) Alura’s death: Alura’s death scene in War of the Supermen was initially going to be longer with more dialogue. But in the end, it was decided to be abrupt and without heavy prose, a contrast to the Zor-El death scene.

4) Cutting room floor: There were a few other ideas for scenes in War of the Supermen that didn’t make the final cut. There was going to be a true Reactron origin story, fleshing out his backstory just before his death. Another idea that was floated around involved Supergirl fighting Doomsday through the streets of Metropolis, but that was nixed early.

5)BizarroGirl storyline: Supergirl #57 is being drawn by Bernard Chang and concludes the BizarroGirl storyline. This includes an appearance by the Bizarro Justice League.

The thematic idea of BizarroGirl being a dark reflection of Supergirl is played up in the conclusion as recent events in Kara’s life are played out imperfectly on Bizarro world. This helps Kara come to grips with her own issues.

Jamal slipped a Bizarro Sterling Gates into Supergirl #56. The Bizarro Sterling sees Supergirl and says ‘she am so ugly’.

6) Supergirl Annual #2: The story establishes Supergirl’s relationship with Brainiac 5 and shows how and why he comes to care for her so much. For fans of this relationship, this book sounds like it is going to be great. When I mentioned the concern over Brainy's comment about Supergirl's death in Supergirl #52, Sterling reminded me that Brainiac 5 is from a thousand years in the future and would know more than us about not only what would happen to Kara but when it would happen.

There will be several ‘Easter eggs’ in the Annual, homages to Silver Age Supergirl/Legion stories. I can’t wait to go hunting.

The decision on whether Supergirl (and even Superboy) will be recurring characters in the Legion book is up to Paul Levitz and the Legion creative team. It is hard to know how that would impact a potential ongoing Supergirl/Brainiac 5 romance.

7) Future: Supergirl #58 and #59 will be the much-anticipated Cat Grant/Toyman storyline that has been building for some time. That story includes a new villain as well.

I have to say it was pretty cool to be able to talk to the current creative team of Supergirl for so long and to hear their passion for the character.

Review: Superman/Batman #75

Superman/Batman is the only super-family title which I don't have on my pull list and I sometimes wonder if I am missing out on good stories. It seems like I get about 6 issues of the title a year and I always enjoy them.

Superman/Batman #75 was a double-sized anniversary issue and had a lot to get my attention. For starters, the Frank Quitely cover was lovely. I really like Quitely's style so it was great to see his version of the original Legionnaires.

But beyond that, the promise of multiple quick 2 page stories about the World's Finest (or some version of the two) by some of the best talent in the business made this a can't miss book. While there were some hits and misses, overall I was pleased with this book.

Ironically, the story I was least impressed with was the main story. Written by Paul Levitz and drawn by Jerry Ordway, the story is more of a Legion story as they travel back in time to interact with Batman and Superman.

Unfortunately, it felt like there were several pages missing as I read this story. There were some points that just didn't seem to connect. Nor did it necessarily make much sense.

The story starts in the future with a green-glowing Kryptonite powered Lex Luthor clone from some planet (can't be Lexor can it?) battling the Legion on Earth and stealing a time bubble to go back in time to 2010 to kill Superman.

Back in 2010, the Luthor clone poisons Superman with his inheretn K-energy and then steals a chunk of Green K. But much of it seems to happen off screen so when Ultra Boy bemoans how he was beaten up by the clone I had to keep checking that pages of my book weren't stuck together. And how the heck is a Luthor clone that powerful. It just didn't flow well. Batman helps the Legion out in stabilizing Superman from deteriorating more. He also has to break into LexCorp to steal some tissue that will help revive Superman. But none of this was explained in a satisfactory way.

The Luthor clone then goes back further in time to kill Superboy with the stolen Green K chunk.

One of the few high points of the story was the appearance of Shrinking Violet (I think the first since the Johns/Levitz reboot). I found her current costume interesting sort of a mishmash of many of Vi's prior suits ... from her original, to her time in Legionnaires, to her stint as Atom Girl in Waid's reboot. While it's not the Grell green body suit (my favorite Vi costume), I thought this was a nice amalgam, even with it's jarring color scheme.

In the past, the Legion is able to take out the Luthor clone before it kills Superboy.

But who the heck was this thing? Where did he come from? Maybe this is one of those things where this is the set-up and later in the Legion book we learn the origins. But this story was just too confusing and odd.

Once that story was finished, we were then treated to the quick hits. Many of these were absolutely tremendous and made the book worth the money.

First there was Billy Tucci's story which starts off with Superman and Batman fighting the Joker. The joke is on us as the reader though as the reality of that story fades away showing that the heroes are actually two young costumed kids at a convention pretend fighting with an adult in a Joker costume.

The story ends with them going to battle a buxom cosplay Catwoman. Very fun!

My jaw dropped when I saw the Adam Hughes' art on his two page story. His story is five simple words, but the images have all the weight here. Yes, worlds end ... the pre-crisis Kara joyously jumping from her rocket, playing in space with Streaky, Barbara Gordon fighting as Batgirl ... but life goes on ... the new Supergirl flying to the sun while Oracle looks on.

Look at that Streaky panel. Hughes has massive talent.

In a play on the legacy aspect of the characters, JT Krul and Francis Manapul have Batman and Superman talking to Red Robin and Superboy about the famous Tim/Cassie kiss.

I talk about how small moments round out a character. It was so great to read these characters discussing something so grounded in 'real life'. Everything works here including Manapul's classic art and the coloring of the two separate stories.

Duncan Rouleau does a funny riff on Ace the Bat-hound and Krypto the Super-dog as they try to figure out which is the best superhero pet.

The best moment is when they both agree that 'Streaky must die'! I still think it is unbelievable that Streaky has somehow worked his way back into the DCU, even if it is in 'out of continuity' stuff like this and Wednesday Comics.

Again, this was a lot of fun.

Brian Azzarello and Lee Bermejo do Lex Luthor and the Joker as 'Calvin and Hobbes'. It is fantastic as the Joker says the only way to defeat the heroes is to force them to kill (nice homage to Dark Knight Returns). And Lex doing the classic deadpan look at the audience Calvin did is perfect.

Again, this was a lot of fun.

Finally, Peter Tomasi and Gene Ha do a story with a father reminding his son about the basic lessons of comic books and how those can be adapted and used in real life. As a dad myself, I thought this was a wonderful little story reminding me of a simpler time in comics when things were a bit black and white.

There were other stories here I haven't mentioned ... a sequel of the Lil Leaguers story with Rafael Albuquerque,  some pinups, etc.

So many of these were precious, fun, nostalgic. It amazes me when so much can be said in 2 small pages in comics. And to be honest, the Adam Hughes' art on those two pages were worth the cover price alone. I only wish the main story would have held up its end of the bargain.

Overall grade: B (2 pages stories alone would get an A)