Wicked Comic Con Recap, Part II: Adriana Melo Commission, Sigs, And Some Conversations

Welcome to part two of my recap of Wicked Comic Con,

This is only the second year this con has been running and I felt like maybe there were some growing pains here. 

I have no idea how well it did financially but it felt a little less crowded than I anticipated given the guest list. 

Despite the prestigious attendees, there weren't any comic related panels on the docket. (Can you imagine a Harley Quinn panel with Palmiotti, Conner, Dodson, and Stephanie Phillips?)

There were plenty of exhibitors there with truly incredible collections on sale. The wall books were unbelievable. And while I wasn't there to buy key issues, they were there if you wanted. 

This was a great con. This was a great guest list. The Hynes Convention Center is a great venue. And the staff for the con were exceptionally friendly and helpful.

Thankfully they have already announced their dates for next year!

On to some of my escapades!

Wicked Comic Con Review Part 1 - Overall Thoughts, Ed Risso Commission, And Sigs

A couple of weeks ago I went to Wicked Comic Con here in Boston. 

This was the second year for the con which is definitely a comic book forward affair. There was nary a celebrity in the building. The creator list was flush with big names. The con grew from last year and was being held in the Hynes Convention Center smack downtown in Boston. I am crossing all my fingers and toes that this con remains successful because Boston needs a comic con. I don't think Fan Expo fits the bill.

I had a great time meeting and re-meeting a number of creators. The crowd was large on Saturday but there were so many creators that no one person seemed to have an enormous line. As a result, I didn't feel rushed to leave a table because of a large line behind me. I was able to talk to the creators about their works and pick their brains a little. I got books signed and a two great commissions. For the most part creators were charging $5 a signature with some wanting a bit more. Everyone wanted a bigger price if the book was being 'witnessed' by CGC. But I think $5 is reasonable. 

I worry a little. It felt (and I could be wrong) that the foot traffic on Sunday was a bit sparser than I usually see at cons. There weren't any panel discussions even though there were some heavy hitter creators there. Thankfully, they have already announced they'll be back next year! Whew! 

I can only praise. This was a super fun time for me. And I'll repeat that the creators in attendance were the cream of the crop. I hope they had a good time and would be up for more.

So what did I get?

Top Ten Supergirl Moments Of 2018 - #5 - #1

Welcome to the culmination of all things Supergirl in comics for the year of 2018.

On Tuesday, I reviewed all the non-comic Supergirl moments from this last year.

Yesterday, I started covering the top ten Supergirl comic moments of 2018, revealing my honorable mentions and moments 10 through 6.

I have to say, the top 4 really were in the running. It is always cool in my mind when I read a moment during the year and say 'this is going to be a top ten moment'. But it is the most rarefied air when I see something and anticipate a top three moment. This year, I thought for sure #4 would be in the top three. But something snuck in under the deadline to move it back a slot.

Perhaps most telling is that 2 of the top 4 appeared in Brian Michael Bendis' Man of Steel. Considering this was a mini-series set to redefine Superman, the fact that many of us were worried that Supergirl might be swept under the rug, the fact that she has such great moments was both surprising and reassuring to me that Bendis had the whole family in mind in this book.

I also will say that given the mini-reboots and reaffirmations and redirecting of Supergirl over my time at this site, one of these moments feels a little bit familiar, in a good way.

So with no further ado, here are the Top Five Supergirl Comic Moments of 2018.

Review: Superman #6

Superman #6 came out last week and was a very entertaining read.

From formatting decisions to plot progression to knock down fight sequences to emotional beats, this whole thing gave me a lot to mull over when it was done. And that isn't even mentioning the highly anticipated and highly dreaded cliffhanger ending.

But there was a story-telling moment that I have to admit surprised me and therefore impressed me quite a bit. When this grizzled and semi-jaded comic reader is caught off guard, it needs to be mentioned.

All of that means I must extend my respect to writer Brian Michael Bendis who has somehow made me interested in this Rogol Zaar story. I started out shrugging at this whole thing and looking forward to Action Comics much more. But these last couple of issues have really been standouts.

Of course, equal credit rests on the art team of Ivan Reis and Joe Prado. The book opens up with amazing double splash pages as Superman's conflicted thoughts surround the slugfest between titans. The art is just stunning. This is one of those issues where I paused before turning the page to make sure I was drinking in all the artwork.

Anyways, there is a lot to mull over in the details so on to the book.

Review: The Man Of Steel #5

For the most part, I have been very impressed with Brian Michael Bendis' The Man of Steel mini-series. Bendis seems to have a good understanding of who Superman is and what he represents. He has a handle of Superman's voice. Supergirl, the staff at the Planet, the arson subplot and new firefighter Melody Moore, and the members of the JLA have all sounded the way I expect them to. It is the character moments that have shined the most, as well as the all-star cast of artists on the book. But this stuff seems to be more on the periphery of the book.

What I hasn't really grabbed me so far are the two major plots going through the series. We have the threat of Rogol Zaar, someone we still don't know enough about to dig deep into his hate. And we have the Lois/Jon disappearance storyline, something I have tried to defend as we have been shown more and more snippets of what actually happened.

This week The Man of Steel #5 came out and, for me, it is the weakest issue of the series so far. Unfortunately, it is because the two plots I have struggled with, Zaar and Lois, are really under the spotlight here. And things are said and are done that don't make much sense for the characters or the stories. They are glaring. I can't easily swallow them for the sake of plot progression.

It is a shame because the other things continue to shine. This issue we get to see the JLA and how much they care about Superman. And this is a very good Supergirl issue with 3 moments that just shine. One of these moments is destined for a the Top Ten moments of 2018, I am sure of it.

And the art by Adam Hughes is incredible as well. There is vivid colorization. The punches are powerful. The expressive work is top notch. The art just sings.

But these high points just don't easily smooth over the low points of the plot.

On to the book.

June 2018 Solicits

The June solioits for DC Comics have been released and it is a big month for Superman fans. Finally the Bendis era takes over. Here is a link to all the solicits:
https://www.newsarama.com/39119-dc-comics-june-2018-solicitations.html

I just don't know what to think about this whole upheaval of Superman. I suppose this is what I was feeling in 1987 when Byrne completely uprooted and replanted the entire mythos. In the end, I was pretty happy with Byrne reinvigorating the property. But much of that was I felt the stories had become tepid before he took over. Right now I feel we are in a Renaissance for the Superman and his family.  So now seems like an odd time to blow things up. And this is my biggest concern. After years of suffering, we finally had a Superman I could read and enjoy. Will this be a step back?

Supergirl #6 Bengal Variant - Superman #233 Homage - Edited

A couple of days ago, Steve Orlando tweeted out this pic (from Comicosity), the Bengal variant of Supergirl #6.

If you know me at all, you can imagine how over the moon I was at this image.

Everything about this works - the smile on Supergirl's face as she smashes these chains, the links flying everywhere, the power in this pose! It is just perfect.

And it is even more perfect because it is clearly an homage to one of my favorite comics of all time!

Adam Hughes' Variant For Supergirl Rebirth #1

Back when the solicits for Supergirl Rebirth #1 came out, I was thrilled to see that Adam Hughes was listed as the artist for the variant cover. Hughes is a major talent and definitely a draw. He's one of those artists where people will buy a book they otherwise might not simply for his cover. That means more sales and more eyes reading the Supergirl story by Steve Orlando and Emanuela Lupacchino. That's a good thing.

Last night on Twitter, Hughes teased the cover and eventually shared the entire image (above) and it is stunning.

As folks who visit here often know, I am a fan of the red skirt version of the costume. So I love this new look. I'm not a huge fan of the high boots but I still like this more than the fussy new 52 costume. And seeing Hughes do it is spectacular! I think the big win here is the bright expression on Kara's face. Really wonderful. I'll definitely be picking this up (if I can).

I wish I had the opportunity and money to get a full Hughes commission back when he was doing them. Here is the quick sketch I got from him several years ago. I still treasure it in my collection.

August 2016 Solicits

The DC Comic solicits for August were released last week and it is a big month for Supergirl. People better start saving their nickels and dimes!

The company will now be 2 months into #Rebirth so new titles and new directions are everywhere. For Supergirl fans, we finally have her Rebirth special which will lead into her new series. I can't wait.

If you want to read all the solicits head here to Newsarama:
http://www.newsarama.com/29306-dc-comics-august-2016-solicitations.html

And on to the super-books.

SUPERGIRL: REBIRTH #1
Written by STEVE ORLANDO • Art by EMANUELA LUPACCHINO and RAY McCARTHY • Cover by EMANUELA LUPACCHINO • Variant cover by ADAM HUGHES
Supergirl turns to the shadowy organization known as the D.E.O. (Department of Extranormal Operations) to restore her lost powers once and for all! But as a fateful experiment sends Kara Zor-El rocketing toward the sun, disaster strikes at home in the form of the lost Kryptonian werewolf Lar-On! All the epic action of the brand new Supergirl series starts here!

There is almost too much to love about this solicit.

We already know that Supergirl will be working with the DEO alongside scientists Jeremiah and Eliza. Here, the plot includes the Kryptonian werewolf Lar-On. I know the character from one of my favorite stories of my childhood in World's Finest #258. So that sort of deep cut, Kryptonian lycanthropy, makes me think Steve Orlando is going to shine here. 

But as a bonus, we get interior art by Supergirl-alum Emanuela Lupacchino! And a variant cover by Adam Hughes!

So pumped for this. And more ...

Supergirl As Jeopardy Champ by Adam Hughes

 

I have praised Adam Hughes Supergirl art in the past. But this rough sketch that he recently posted on Twitter might be my absolute favorite. 

As someone who has a private fantasy of actually getting on Jeopardy, this picture of Supergirl trashing the competition on the show is the best of two world. Supergirl and Jeopardy is like chocolate and peanut butter!

It is even more fantastic that she is ringing in and shutting out the competition. And Catwoman's vexed expression is great.

I think Kara would crush the opposition!

Hughes explains this sketch as an actual clue that was going to be on Jeopardy as a video daily double but apparently it didn't go far.

Too bad it didn't come to fruition. Love it!

Mahmud Asrar Process Pieces

Thanks to everyone for letting me know about iFanboy's recent article with Supergirl artist Mahmud Asrar. In the post, Asrar reviews his four favorite Supergirl covers as well as breaking down the process of creating the cover for Supergirl #65. Here is the link: http://www.ifanboy.com/content/articles/Process_Stories__Artist_Mahmud_Asrar_on_SUPERGIRL__1_and_His_Favorite_Kara_Covers
As always, please visit the site and read the whole piece. It is great to hear Asrar's ideas about Supergirl.

Now if there is one thing I love as a comic fan, it is process discussion. I love hearing about the evolution of scripts and art as they go from idea to completion. So this was my favorite part of the piece. Here is Asrar's discussion and my usual commentary.

Creating the Supergirl #65 Cover:

For this one, I had a tight deadline. Maybe just a few days. The idea for it was that Supergirl would be involved with a group called the Pajama Society and the editors wanted to convey a horror vibe. So I came up with a couple of sketches where Supergirl was trying to escape from this mob who looked like they were out to get her. The trick was we didn't want Supergirl beating up on these people, neither did we want her to look helpless. So I've tried to convey her agitation and distress while still remaining a powerful female character.

You can notice a compassion she has for people even though they're out to get her. This is in contrast of the new Supergirl cover of course where she looks stalwart, heroic yet a little distanced.

This explains why the cover doesn't necessarily jibe with the inside story. The Pajama Society aren't bad guys in the book. But here Asrar was told to give it a horror vibe and treat them as a mob. But I love how he talks about this Supergirl, distressed but powerful, not wanting to pound on these people. This distinguishes her from his approach to the DCnU Kara.

The cover has always reminded my of Action Comics #499.

As for my process, I initially come up with a loose sketch, either in my sketchbook or digitally. Sometimes both. Once it's approved and we've discussed further on it with my editors I move on to pencils. 

This is the stuff I love seeing. This is the thumbnail for the cover, the seed that grew into the final product. I wonder if there were other ideas tossed around before this one was settled on. When Josh Middleton was on the covers, he occasionally put process pieces on his blog including the thumbnails not used. I love that stuff.

When I ink myself I tend to do really loose pencil roughs. I just put in all the essentials for the figures, proportions, composition and lighting. 

Here are the loose pencils. The cover is there, but not polished yet.

The grunt work comes in with the inks where I finalize the image.

Amazing how sharp everything becomes once the ink is applied. I can't wait to see Asrar on interiors as well, especially given his marker approach. I hope we will see some process stuff on his own blog.

Boston Comic-Con Wrap-Up: Adam Hughes Stops Doing Commissions

I rarely post more than once a day so this is a rambling piece about commissions I am writing spur of the moment during a small slice of free time. So if in the end it is incomprehensible or a rant, I am sorry. 

Some bad news has come out as a result of activity at the Boston Comic-Con. Because of some bad behavior, Adam Hughes, who was one of the headliners, has stopped doing commissions at conventions.

As usual and as warranted given his talent, a throng of people ran to Hughes' table in hopes of getting a commission from him, the commission equivalent of a Willy Wonka Golden Ticket. One of the folks getting a commission turned around and put it on EBay the very next day. This behavior irked Hughes to the point he has declared he will stop doing commissions at conventions other than pre-arranged ones that he has put on EBay. Thanks to Bleeding Cool for breaking the story; here is the link: http://www.bleedingcool.com/2011/05/03/adam-hughes-ceases-convention-commissions/

Now, as a big time commission buyer, I have to say that I am a bit conflicted about this story. I can completely understand that Hughes wants to make his art for fans and not for people who want to turn the piece around for a profit. I also know that the owner of the art has the right to do with it what he wants. But as a big time fan and as a commission collector, I am totally on Hughes' side of that argument.

But here is the 'on the floor' nitty gritty of the situation about commissions. Here is what it is like to be a commission collector and why it really bothers me that the man who put this sketch on EBay even got the piece.

I consider myself lucky that I have a well paying job and the financial flexibility to have money to spend on commissions. I could afford the $400 Hughes charges for a commission which I know already puts me ahead of the game in this economy. And I would love ... LOVE ... having a Hughes commission for my collection. LOVE IT! And yet, at this convention, despite being in line 3 hours before the doors opened and 11th in line overall (a choice spot), I did not go to his table to try to get one.

If you are interested in commissions at conventions, you need to strategize on who you want to get pieces from and in what order you are going to go to them. You see, the hottest and biggest artists commission lists always fill up quickly. You literally have to run to their table on day one to make sure you get on their usually short list for commissions. If you approach a bigger name artist even in the middle of day one, you are usually out of luck because their lists have filled. Even worse, sometimes slots on commissions lists are filled by vendors before the doors even open to the public. So before the doors open you need to have a rough idea of who you want, who will fill up first, who will be available later so you know who to go to quickly.

In Boston, I didn't even know if Darwyn Cooke was doing commissions but I knew if he was and I wanted one (which I really did), I needed to be at his table within the first few minutes to get on his list. So rather than head to Hughes, I went to Cooke. I learned Cooke wasn't sketching within 10 minutes of the doors opening. And in the 10 minutes it took me to learn that ... 10 minutes ... it was too late to head back to the crowd at Hughes table and get my name on his list. It can happen that fast.I crossed Cooke's name off my list and moved to numbers 2 and 3 on my commission wish list. That is the frustrating part of being the fan.

Now Hughes has to deal with the maddening crowd at his table in those first minutes and that can't be easy. He takes a long list of names at the start of the show and then peruses the list to decide which one strikes his fancy ... again I understand that as well. He needs to be struck by the muse. And he takes a long time to do the commissions which is why they are so incredible ... again I understand that as well. But that means he can only do a handful of commissions over the course of the convention. It is completely worth it. His stuff is just mind-numbingly wonderful.

Now if I had been lucky enough to get my name on his list, that would mean I would need to put $400 aside just in case I was one of the people chosen. You see, I wouldn't be guaranteed of a commission but I would need to be prepared to pay for it if I was lucky. And for me, someone who collects commissions and enjoys my commissions, someone who likes interacting with the creators and wants to get commissions, I would rather spend that $400 on art I know I am going to get rather than leave with the $400 in my pocket. Does that make sense?

Hughes clearly isn't happy when people get a full commission from him and then turn it around quickly. So maybe if I had gone to Hughes first, showed him the little photo book of my collection, including a picture of the wall I have many hung on, talked to him about how I am a true collector, clearly not someone who resells, I might have had a chance. But that initial crowd is so massive and pressing, that there is little time for that level of interaction. It is just a gathering of names on a list. That means people like me ... a 'real' fan, and yes I am gagging writing that ... lose out to someone like this person who hung around, begged and pleaded, and then put the piece on EBay for a profit.

And even if I was able to give my pitch, showed how I am not a 'reseller', there are probably a bunch of people just like me who have a similar story. And I would still have to put the money aside in hopes I was the winner of the lucky commission, knowing chances are still low. It really is a lottery. I'd still rather spend that money, giving it to other artists, than take that chance.

I don't know if there is an easy solution for Hughes concerns and my concerns. Who knew that lingering and begging helped? But I am a grown man. I really don't want to beg nor should I have to. Nor do I want to have to hold out hope that he will do my piece while the other artists I might be interested in have their lists fill. Remember, sometimes 10 minutes is all it takes for a list to fill. You sometimes have to run to an artist's table.

Maybe if Hughes decided within the first 30 minutes who he would be doing commissions for it would allow people like me the time to know I am not the winner and still be able to move on to other artists.

But now I won't even have the chance to get a Hughes commission. I'll have to be happy with the quick sketch I got from him in Baltimore last year seen above.

Perhaps the irony here is that Hughes gets to act like the spurned artist AND now put his commission slots up for bid on EBay and make a ton of money (which I don't begrudge him at all). The guaranteed commission for this con that he put on EBay beforehand went for over $3K (I stopped checking after that). This commission being flipped had already hit near $2K. There is no way I will ever ever be able to be afford one now. Good for Hughes that he is able to make that much money on his work. It just means he won't be able to interact with all fans at the level of sharing his art. That price will limit the fans he can reach even more than the $400 price tag did.

To be clear, Hughes isn't the only artist who takes a long list and then cherry-picks the commissions he wants to do. JG Jones does it. In the past Tony Harris did it. And that is completely their prerogative and it doesn't upset me. They have the right to do the work they want. It just means that as much as I would like to get pieces from them, I probably never will. I never put my name on those kinds of  lists. I don't want to take the chance I'll come up empty when I can put the money into the pocket of another artist. And that's a shame, because I would love a piece from any of these artists, especially Jones.

Anyways, I hope the guy who derailed all future Hughes commissions is happy. Because a lot of people are wishing him ill will.

Cover Girls Of The DC Universe Supergirl Statue

I was finally able to add the  Cover Girls of the DC Universe Supergirl statue to my collection this week. After a nearly 2 month delay from initial release date, the statue finally arrived at my local comic book store.

It was worth the wait.

Based on a design by Adam Hughes, the statue is really a lovely piece. There is a very dynamic feel to the statue as Supergirl seems to be erupting from the statue's base, chunks of rock flying all around her.

While Hughes is best known for 'good girl' or cheesecake art, this is much more of a heroic and dynamic piece. And best of all, it has Supergirl in my favorite version of her costume

A view from above better illustrates the beauty of the statue as Supergirl is looking up to the heavens as she emerges from the ground. The face her is very natural and has an almost determined expression. The hair has nice detailing.

Really, this pose is something I would expect to see more in a Superman statue ... a fist thrust skyward, the other fist cocked and ready to fly ... a sort of 'up,up, and away' pose. So I am glad that the same action pose was used with Supergirl. It really is slick.

I thought I would include a couple of shots from the side so everyone can get a sense of the whole statue. One thing I liked was the inclusion of the rock shards affixed to Supergirl's boots, again adding to the feeling of a kinetic burst of rubble as she escapes.

And the reverse angle, here you better see a chunk of stone by her knee. You also can better appreciate that her left foot is still basically in the ground, as if she has just just torn through the base.

This statue works on so many levels that I think it will probably become one of my favorite pieces in my collection. From the pose, to the costume, to the beauty and majesty of Supergirl, this one clicks on all cylinders.

If you are a Supergirl fan and are thinking of buying a statue and $99 isn't too pricey, this is the one I would get.

It will be a while before something new comes out to add to the collection, so I will probably post an updated look at my Supergirl stuff next week.

Adam Hughes Variant Cover For Action Comics #900

Action Comics #899 comes out today which means we are one month away from Superman returning to Action! And DC is doing its part to celebrate the historic Action Comics #900 and the Man of Steel's return. It is going to be an over-sized issues with stories by Paul Cornell, David Goyer, Damon Lindelof, and Richard Donner. And there are going to be variant covers by Alex Ross as well as Adam Hughes.

The Hughes cover was just unveiled over on the DC Source blog here:
http://dcu.blog.dccomics.com/2011/03/28/superman-man-of-steel-finds-its-lois-lane-adam-hughes-covers-action-comics-900-and-more-superman-news/

What a great cover ... majestic, iconic. And I love how the chain links form the number 900.

The cover is clearly a riff on one of the more iconic Superman covers, Superman #233.

I have said before that the Kryptonite Nevermore' storyline is one of my favorite Superman arcs and Superman #233 is one of my all-time favorite Superman issues. I have been lucky enough to run into Denny O'Neil, Neal Adams, and Murphy Anderson at a variety of conventions to sign my issue.

The Hughes cover seems even more evocative of Action Comics #485, another Neal Adams chain-bursting cover. Action #485 reprinted the opening chapter of 'Kryptonite Nevermore'.

So Adams was doing an homage cover to Adams!

I know I always say I am 'against' variant covers in theory. But I think I'll be at least trying to get this Hughes cover.

Baltimore Comic-Con: Adam Hughes Commission And Other Tid-Bits

Well, I went to the Baltimore Comic-Con with a list of commissions I wanted to get, comics I wanted to get autographed, and questions for some creators I was hoping to get answered. I think I did quite well with all of those hopes. But one thing I never expected to get was an Adam Hughes' commission even if it was a quick head sketch. It is unreal how much grace he can convey here.

Hughes runs a tight ship with certain times blocked out for issue signings and head sketches. I was first in line for his last session of the con, and got in line at 3PM for the start time of 4PM. While in line I watched him finish a Jean Grey Phoenix commission that was fantastic. Earlier in the day, while walking by his booth, I watched him finishing a Supergirl commission that was eye-popping. In fact, Hughes' booth always has a crowd around it, people just soaking in his ability as he works his way through his commission list.

This quick sketch cost me a $20 donation to an English Sheepdog rescue charity (there is a minimum $5 donation but I threw in the extra because I was pretty pumped). I thought that was a nice thingfor Hughes to do. I still might try one day to get a 'real' commission from him.

Supergirl and the LSH #23 autographed by Mark Waid, Barry Kitson, and Adam Hughes

I was also happy to get this issue signed by Hughes as well as Mark Waid and Barry Kitson. That Supergirl cover is just iconic.

As for some other tidbits ...

It was sort of crest-fallen to find out that Amanda Conner was not doing any commissions in Baltimore. I was so hoping to get something from her. She shared a booth with her husband Jimmy Palmiotti and that booth had to be one of the busiest ones at the con. There was always ... I mean ALWAYS ... a line to get up to them for some face time. As a result, there was also a little bit of pressure to 'keep the line moving' so I didn't have much time to chat with either of them. One thing I did find out is that Conner is using the cover of Supergirl's first appearance in Action Comics #252 as the template for the DC 75th Variant cover of Supergirl # 58. It is a safe choice for the variant and I am interested to see her take on it.

I also was able to ask J.G. Jones what emotion he was trying to invoke with this cover of Final Crisis #3 which you may recall was vilified by some as showing an overly sexualized or stupid Supergirl. You may I also recall that I loved the cover thinking it showed some fear on Supergirl's face, the finger to the mouth an homage to Jim Mooney.

Jones was surprised by the reaction to the cover. He tried to paint what he thought Supergirl would look like if she saw Darkseid 'falling through the universe' on the horizon ... a mix of shock and fear.

Supergirl Movie Adaptation autographed by cover artist Jose Luis Garcia Lopez

I made my pitch to Frank Cho for a 'quick sketch' ... a $50 dollar donation to the HERO initiative for a five minute commission. Alas, and not surprisingly, he said no. I will keep asking every time I see him though.

Lastly, I was able to ask Marv Wolfman if he was surprised that the cover of Crisis on Infinite Earths #7 has become the image of Crisis. He admitted 'yes' but quickly added that it is a great cover, a great image.

But the best part of this convention was being able to meet and talk all things Supergirl with Sterling Gates and Jamal Igle.

So overall, it was a tremendous experience at the Baltimore Comic-Con, one I hope to enjoy again some day.

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)

Cover Run: The DC Comics Art Of Adam Hughes

I am an Adam Hughes' fan.

There I said it.

I know that there are folks out there who find his stuff too cheesecake. But his stuff just pops off the page. I almost always love the composition of his art, the playfulness of his subjects, and ... yes ... the beauty of his work. In particular, I really loved his run of Wonder Woman covers. His Diana was always beautiful, happy, and strong.

So I was pretty excited to hear about 'Cover Run: The DC Art of Adam Hughes; a beautiful hard cover book showcasing his work in the DCU and including preliminary sketches and commentary from Hughes himself.


Of course Hughes did the phenomenal variant cover for Supergirl and the Legion of Super-Heroes #23, one of the best variants I know of and a truly iconic cover for this incarnation of Supergirl.

Like many of his more famous covers, this one gets its own entry with more detailed information.


First off, here is the sketch of the cover.

Sorry for the crummy scan. That is the best I could flatten the page on the scanner.

And here is the commentary by Hughes. It sounds like Hughes likes drawing Supergirl!

I also like the direction that DC gave him. "Make sure she is pretty and you can see her Legion flight ring." ... not much there for guidance. So kudos to Hughes for coming up with this design from thin air.


I figured I would include the Valor cover Hughes is talking about as an inspirational cue.


And I figured I would also include my favorite Hughes Wonder Woman cover. This perfectly captured Hughes. She is beautiful, strong, and sexy.

There was often a playful happy feel to his Diana as well; she isn't always the grim faced warrior. I like seeing that aspect of her as well and Hughes was able to capture it.

The book is $40 and a relative steal if you are a fan of Hughes' work. The book also includes sections on his Catwoman run, his Power Girl issues, and his work designing busts and statues for DC Direct. If you like Hughes, I highly recommend it.

Iconic Supergirl Covers

Over on Comic Book Resources 'Comics Should Be Good', there have been several columns looking at the most iconic covers of a variety of characters. Last week, they listed their top 5 iconic Supergirl covers. Surprisingly, I agreed with the top 2! Here is the link: http://goodcomics.comicbookresources.com/2009/09/03/top-five-most-iconic-supergirl-covers/ But I did think they missed out on a couple and so I thought I would do my own ranking.

It was hard to pare it down to only 5 so I have 2 honorable mentions. I also think it is important to remember this is 'iconic' covers not best covers, so I took into account how the covers played out on the whole comic landscape.

So here we go:

Close but so far from the official list: Supergirl #50 (1996, PAD version); Adventure Comics #381, Final Crisis #3

Honorable Mention #2: Supergirl and the Legion of Super-Heroes #23 (Adam Hughes variant cover)

There is something majestic about this cover by Adam Hughes who downplays his cheesecake factor here. Smiling, happy, basking in the sun while riding a meteor ... this image invokes all the right feelings about Supergirl.

I know Supergirl's role in that Legion (heck that iteration of the Legion itself) was brief and may be forgotten over time, but this cover simply works.

It ended up on a t-shirt and made into a poster.

Honorable mention #1: Action Comics #252

I don't know how her first appearance didn't break the top 5. The comic itself is a hard to find collector's item and an obviously important piece of Superman's lore.The image of Supergirl flying from the rocket as she lands on Earth has been replayed on other comics, Supergirl #75 (1996 series), Many Happy Returns TPB cover, and Supergirl #1 (3rd printing, 2005 series).

This image has also been immortalized as a DC Direct statue and even a Supergirl bobble-head doll.

Number 5: Superman Adventures #21

There was a time when the DCU was being actively promoted by and influenced by the DCAU and Bruce Timm was the architect of those changes.

When he introduced Kara In-Ze to the DCAU, it introduced Supergirl to a sector of fans who may never have known that Supergirl existed. Garbed in a white half shirt and red combat boots, this version of Supergirl became a big part of both the Superman animated series and the JLU series as well.

Her costume became so synonymous with the character that Peter David had his Linda Danvers don the white shirt to streamline the look of the character. Gone was my beloved Matrix version of the uniform.

This cover, done by Timm, was the first appearance of that Supergirl in comics. It has since become a t-shirt and poster. The animated Supergirl has also been seen in numerous toys and statues.

Number 4: Supergirl #1 (2005)

I had to include on Michael Turner image since his is the current look for Supergirl. Plus, it had been 20 years since the original Supergirl left the DCU in Crisis on Infinite Earths and so for many fans this is *THE* Supergirl.

This version of Supergirl #1 is such a striking cover that this is the image that pops into my head when someone says 'Michael Turner Supergirl'. The shading and blurring out out of the colors at the extreme margins of the picture gives it an ethereal feel.

This image also made it onto a t-shirt.

Number 3: Action Comics #285

I had to pick a Silver Age image to represent and Action Comics #285, the issue where Supergirl is revealed to the world, is one of the more famous covers. Personally, it is my favorite.
Supergirl had matured over the 2 plus years after she was introduced and basically solo'd in this comic.

This issue also has cameos from John and Jackie Kennedy as well as Nikita Kruschev.

This cover made it as the cover image for Supergirl Archives Volume 2, Showcase Presents: Supergirl Volume 2, and onto a t-shirt.

Number 2: The Daring New Adventures of Supergirl #1

This happy cover by Rich Buckler is another one of the key images in my mind of the character.

When people say 'pre-Crisis' Supergirl, this is the image that comes to mind. The 'hot pants' costume is the Bronze Age costume in my mind, not the headband look.

When you reread Daring New Adventures, Supergirl is very confident and strong and acts as the sole major superhero in the Chicago area. Those are good memories for me.

This cover was immortalized as a U.S. postage stamp, perhaps the most widely visible representation of Supergirl in the mainstream public.

I really love that cover and was glad to get a Rich Buckler commission for my collection.

Number 1: Crisis on Infinite Earths #7

While I know this cover represents the death of the Earth-1 Supergirl, there is no denying that this is the most famous Supergirl cover, instantly recognized by the most casual fan as Crisis #7. Everyone knows it.

At the time, Supergirl's death represented the shocking new reality that no one was safe in COIE. Sure all of Earth-3 died, as did some Western stars, and some other B-listers. But this was the big time, a huge character in the DCU falling. Worlds will live ... worlds will die, indeed.

This cover was made into a DC Direct statue.

But more importantly, it has been emulated many times on comic covers, a mark of how striking it is. We have seen versions of this in many places Supergirl #79 (1996 series), Superman: The Man of Steel #10, Firestorm #21 (2004 series), Valor #18, Fallen Angel #16(volume 2) and even Major Bummer#12. With all those homages, it clearly is the most iconic Supergirl cover.

So what does everyone else think. Any other cover that should cracked the top 5?