Agent Liberty Coming To The Supergirl Show

Continuing my coverage of the upcoming Supergirl Season 4, I thought I'd do a quick review of Agent Liberty.

The announcement about Liberty's inclusion on the show was announced a week ago, naming Smallville alum Sam Witmer as playing the part. Here is a link and a blurb.

http://ew.com/tv/2018/07/17/smallville-sam-witwer-supergirl-season-4-agent-liberty/

In the show’s interpretation on the character, Agent Liberty is the ruthless and terrifying founder and figurehead of Children of Liberty, a hate group that supports a human-first world order. According to a description from the show’s producers, he’s “a brilliant orator in the guise of a family man” and the scariest thing about him is how easily he can convince people that he’s right. Given that Supergirl (Melissa Benoist) and the DEO tend to be pro-alien integration, it’s definitely fair to assume they won’t get along with Agent Liberty and his Children of Liberty.

As I said in earlier posts and reviews, political stories are often delivered in a ham-fisted way on the show. So it is a shame that Agent Liberty, a star-spangled hero, is the terrifying founder of a hate group. I'm not denying the existence of hate groups. I am not saying that some of these groups hide behind patriotic iconography. I'm just saying that I wish that shows wouldn't add to that twisting.

Supergirl and Superman fight for truth, justice, and the American Way. They defend the flag and its ideals. I don't want kids to be watching a show and learning to hate the flag and America. Hopefully, the writers and Supergirl will present a solid counterpoint. That the Children of Liberty aren't representatives of what America means. Give me one shot of Supergirl standing hands on hips with the American Flag flapping in the wind behind her ... pretty please?

Anyways, onto the DC character.

Review: Worlds' Finest #9

Worlds' Finest #9 came out this week and was another entertaining issue. In this current comics market, I guess I shouldn't take that for granted. While the long term plots of looking for a way home and dealing with Apokoliptian threats on Earth 1 have either dragged a bit or simply faded into the background, the character interaction and the artwork elevates this book. It isn't ground-breaking. It isn't high literature. But it is fun. And that goes a long way these days where I sometimes question why I am reading some of the books I collect.

We are still figuring out who these characters are and writer Paul Levitz has been doing a great job of slowly leaking out back stories and origins through flashbacks. In particular, last issue's flashbacks of Huntress' training and now this issue's flashbacks of Helena's first mission on Earth 1 have really added some depth to this version of Helena. There seems to be as much Selena as there is Bruce in this version of the Huntress and that makes her a little more intriguing, a little more flexible as a character.

And Karen? Well we only get a snippet of some back story for her but it is a somewhat perplexing statement worth my ruminating over. On top of that, we again see just how fierce Karen is when it comes to defending her friends. But she is still 'Supergirl' which means that she also is trying to support her friend emotionally as well.

Kevin Maguire is off this issue again. The George Perez pages are standard lovely if a little less fine-lined than I am used to from him. The remaining pages are split between CAFU and Yildray Cinar (with some help from Phil Jimenez giving those pages a Perez-like patina). CAFU has done a fantastic job these last 2 issues and I wouldn't mind if he gets named the official Worlds' Finest pinch hitter or even takes over should Perez or Maguire move on to other things.

The book starts with Helena still recovering from last issue, in the medical ward of the Starr Technology Island headquarters. With Power Girl off Island, the injured Huntress seemingly is the last line of defense when armed thugs break in, hoping to steal technological secrets.

One thing I like about this Huntress is just how ferocious and accomplished a hand-to-hand combatant she is. The scene in Italy where she takes out a gang without disturbing her ice cream cone. Here, while sporting a casted forearm and sling, she starts to work her way through the heavily armed invaders.

Turns out I was wrong that Helena was the last line. Karen's assistant also tries to defend the place. She actually shoots one of the invaders in the ear.

Unfortunately, her handgun is no match for the advanced weaponry they are packing. She is almost killed, saved at the last second by Helena who commandeers her pistol.

Two things about this scene.

One, I think it is interesting that Helena so easily will pick up a pistol and use it. Is this the Selena in her? Or is it more her willingness to do whatever it takes to win. But a 'Bat-family' member (even if one planet removed) wielding a gun always seems weird. Remember, Helena also killed the werewolves a couple of issues ago too.

Second, I am starting to get a whiff of obsession in this assistant, maybe something like the maid Mrs. Danvers in Hitchcock's Rebecca (I suppose I have lost everybody here). She is always toweling down Karen, holding up the robe Karen steps into, now she is willing to kill? Maybe I am over-reading this.

We then flash back 4 years when these two are still trying to get settled on this world. These are the CAFU pages and they are beautiful.

I still don't quite understand exactly why Karen doesn't want to meet Superman. Is it that she isn't ready to face him knowing she is still grieving? Is it that she isn't impressed with this Superman? We have seen what a great relationship she had with the Superman of Earth 2. So ... why?

And then there is this odd statement. Karen is afraid to be in Metropolis because she is afraid Superman will spot her because 'they are different'.

I assume that it is because internal Kryptonian anatomy is different from Terran. But is it something more than that? Do Kryptonians radiate some easily seen aura? This stood out as just a bit odd.

The trip to Metropolis was arranged so Helena could buy her Huntress outfit and equipment to start her worldly missions. While Karen is establishing Starr Tech and buying the island headquarters, Huntress is out breaking up human trafficking and prostitution rings like here in Prague.

The Huntress mini-series had her breaking up a similar ring in Italy. It is clear that this issue is very important for Helena. She has a cause. But again, there is this sort of line, almost crossing a line, where she says she will kill if she needs to. Even Karen, who shows up later, has to question if she really would kill those criminals. Helena says no, but her face and follow-up quip makes me wonder.

Is she a bit darker than we thought?

Back in present time, this doesn't help squelch that worry. She blasts away and hopes to survive. But she also gives a lot of 'grim and gritty' dialogue, almost Rorschach-ian. "You thought you had what you wanted. But all you got is me."

Maybe she should have said 'I am not locked in here with you. You are locked in here with me!'

I am not against exploring this drive in Helena. But I would prefer she wasn't a murderer. Seems off for a daughter of Batman to be shooting people to death.

Luckily Power Girl shows up before things get really messy.

Look, it is another good rendition of the Power Girl costume! I do think the gold bracelets are just unnecessary and overkill.

Jimenez' inks on Cinar just smack of Perez.

Incredibly, the invaders are packing a rifle/cannon which actually slows Power Girl down. Maybe Apokoliptian?

Most of the intruders run off, with the tech they were looking for. Only one remains on the scene unconscious.

There is this wordless panel as the two heroes look at each other. What did you read out of this panel?

At first I thought this was a panel where Power Girl silently shows how scary it was to be hurt by the gun.

Then I thought it was Karen looking a bit accusingly at Helena, since she broke in with Helena shooting guns at these guys. Maybe Power Girl has the same worries I do.

But then I thought this was a silent look by Power Girl at Huntress saying that she knows what needs to be done with this remaining criminal, that she knows the line that might need to be crossed.

In the end, because it fits my internal narrative best, I opted for the middle read. I think Peeg is worried.

That said, Power Girl still lifts the guy off the ground and threatens him. He cracks and says this invasion was done to grab technology 'stolen' from Michael Holt ... Mr. Terrific. Nice little cliffhanger. Holt is on Earth 2 (I think). He had a relationship with Karen. Who is funding this raid?

So another decent issue where the high points are the characterization and interaction between Huntress and Power Girl. Hydra or A.I.M.rejects storming this place and being driven off wasn't what grabbed me. It is Helena's personality and what she is willing to do that is the real hook.

Hopefully all these crumbs that are being spread out by Levitz (Power Girl weakened by radiation, Huntress not effected, the Apokolips angle, etc) will be brought together soon.

Overall grade: B+/B

Review: Worlds' Finest #8

Worlds' Finest #8 came out last week and was a very satisfying issue. This issue was a very solid book in building up the individual character's personalities and back stories. We learn a lot about Helena and Karen in this issue. Writer Paul Levitz's greatest strength is building these well-rounded 3-dimensional characters. And that quality shines through here. I really liked this issue.

That said, one of my concerns with this title has been the somewhat stunted progression of the book. There have been a handful of issues which have felt more like rest issues, telling side stories of the characters without moving the overall story of the stranded heroes trying to get back to Earth 2 forward. While this issue wraps up the solo Huntress story from her mini-series last year (adding a nice bit of continuity here), it stall the Apokolips storyline which had finally built some mild momentum last issue.

Another slight problem I have had here is that much of the action has the characters acting individually, splitting up to deal with problems. One of the things I want to read in this book is the characters interacting with each other, not only outside of adventures but during adventures. This issue again basically separates the two.

I'll again say, those problems are taking a step back and looking at this title from a global view. This issue it self has some great moments.

And it also has some great art provided by several artists. Regular George Perez opens up the book. But CAFU and Cliff Richards carry the bulk of the book. And they gave me one of the biggest surprises I have had in this book since its inception ... they made Power Girl's new uniform look good!

"Hunt and be hunted" starts with one of Helena's identities compromised as she gets ambushed by hitmen. It turns out that these guys have tracked her down to cash in on the billion Euro bounty put on her head by Ibn Hassan, the human slaver from the Huntress mini which re-introduced Helena Wayne to the DCU.  As I said, it adds a bit of continuity to the character and ties in nicely to that story.

I am a sucker for this panel trope, the hero in the cross-hairs of a rifle scope. I am bit surprised that this Helena was nearly taken out so easily. These weren't super-assasins just guys with guns skulking around the roof. But that high caliber wound to the shoulder incapacitates the Huntress even as she takes them out.

One thing I love about this issue are the CAFU splash pages which show Helena's inner thoughts. The panels here speak volumes.

Lying on the roof, bleeding profusely, she has a feverish vision of her father telling her to get up despite her pain. But look at this panel, Batman is looming over her, a dark eyeless giant demanding she stand that failure isn't an option. And look at this young Helena looking as frightened as any member of the criminal cowardly lot.

It must be tough to be Batman's kid.

Luckily, before Interpol can follow Helena to the hospital, Power Girl shows up and whisks her away to their compound for medical attention and rest.

Contrast that Batman image to this image of Helena and her mother.

Sure Catwoman is there, a huge figure in the room. But she is the person behind the very human mother, sitting next to her child's bed, holding her hand, and comforting her. Yes, Catwoman is a giant persona but she isn't all-powerful. She isn't the identity of Selena. I thought this was touching. And a wonderful counterpoint to the other splash.

With Helena recuperating, Karen decides to nip this thread in the bud.

She tracks down Wasim, an imprisoned member of Ibn Hassan's mob.

Look at this panel as Power Girl tears her way into his cell. That is about the best look of that costume that I have seen. Not *the* best but close.

The thing about the rest of this issue is that we see just how passionate Karen can be in protecting the people that she loves. Like the Earth 1 Supergirl, this one has seen loss. And she clearly doesn't want to see more.

Can I coin the term Karen-tharsis for this book?

The sheer ferocity and brutality of Power Girl's assault on Hassan's organization is absolutely staggering.

First off, she dangles Wasim from his foot at great heights, counting down to when she will drop him unless he spills where Hassan is holed up. A little bloodthirsty ... but in the context of Helena almost dying somewhat justified.

And then there is an outright attack on Hassan's compound. We see Power Girl smash tanks, catch RPG's, and swat missiles. It is awesome in the true meaning of the word.

As much as I like the 'hero in the crosshairs' panel, I like the classic 'ripping open the doors' panel even more.

That was a nice little exclamation point to the raid and reminded me of this image.

I said that image of Power Girl before was almost the best that I have seen her costume look.

This is the best I have seen it look as Karen rips Hassan's safe room clean from his fortress and balances it on a mountaintop. I love this panel, just a great point of view looking down on a strong and powerful Karen, a caged and terrified Hassan, and an understanding of the sheer height of this. And Karen's body language, a sort of matter-of-fact 'knock it off ... or else' sternness is just perfect.

Maybe the key to making this costume look good is extreme panel angles and perspectives?

It just struck me how much fire was in Karen when it came to protecting her friend. That sort of intensity to save her friends is such a staple of both Power Girl and Supergirl. But this was about as unhinged I have seen the character get. Nothing was safe in her path. Really a great look into her personality and what she will do.

I also think this nicely ties off the plot thread of Huntress' solo work in Italy against the Hassan family.

The final page has the Earth 1 Batman interested in Damian's recent solo activities. Looks like it won't be long before Batman ends up meeting Helena. And, at least in this last panel, we have a little progress in the ongoing stories.

So I really keep hoping that the Apokolips angle to this title will surge to the front and become the engine for this book but I guess I have to bide my time. Much like in his Legion work, Levitz is just character-building here. This issue might not have moved the backstory forward but I have a better sense of both Helena and Karen. And I have the bonus of seeing the epilogue to the Huntress mini-series.

I liked Cliff Richards on the Huntress Year One mini-series a few years back. And I have always liked CAFU's art so the art here was very solid. And Power Girl's costume looked good!

Worlds' Finest continues to be an entertaining book for me.

Overall grade: B+

Review: Action Comics #0 Back-Up Feature

I gushed about Action Comics #0's main story last week, thinking it a perfect sort of reflection on not only the origins of a young Superman but also the origin of the concept of Superman, someone here to help.

And I have applauded Sholly Fisch's back-up stories in Action Comics as well. If Morrison is laying the bricks of the foundation of this Superman, Fisch's stories are like the cement holding it together. They just add some of the finer details to key aspects to Superman's early years.

In Action Comics #0, Fisch and artist CAFU turn the concept of the 'zero issue' on its head. Instead of being an origin story for Superman, it is an origin of Eric Drekken, the evolution-powered supervillain in the little man's Anti-Superman Army. And even better, he tells it from a reverse point-of-view from Captain Comet's review from Action Comics #12. It is that sort of attention to details that makes this book so solid.

But I also worry. Way back in Action Comics #6 we saw the group shot of the Army of super-villains the gnome had gathered. Will we every learn about all of them? Sure we have touched upon Nimrod and met Suzie Hopkins. And we know a bit more about Drekken now. But the rest of them?

I have to stop worrying about what Morrison will do to end his run. Instead I need to roll with it.

The issue starts with a young Erik Drekken talking to his mentor Dr. Emery Zackro. Zackro had written a paper about evolution being spurred along by ambient radiation. In return for this paper, Zackro is ridiculed and ostracized from the scientific community.

But Drekken sees some potential in the study. He wants to talk to the subject of the paper - Adam Blake, Captain Comet.

There are a bunch of small things I liked here. First off, I did my best to try to anagram Dr. Emery Zackro into something with 'crazy' and failed. Second, it just hit me that the 'comet' that triggered Blake's transformation was probably Kal's rocket. But most of all, I liked the fact that Zackro seemed to pity Blake.

As I said, this story seems the reverse angle take on Comet's origin last issue. We saw Comet walking on this road in the rain then, but from the opposite way. I could post panels side-by side but trust me.

I also have learned not to believe in coincidences in comics. Isn't it a bit odd that Drekken happens to run into Comet just as the Oort-kind arrive?

And another thing I liked here was Drekken's personality here. He doesn't seem to be your typical bad guy. He seems more like a committed almost obsessed scientist, someone with a researcher's curiosity. Even here, he notes that the 'comet' went over thousands of people. Why is just Blake effected?

Of course, if it is Kal's rocket, it could be just Blake that was near the rocket as it crashed. (I assume his parents are too old and 'formed' for the radiation to effect them.)

And, like in last issue, we hear Blake talk about the upcoming threat to the planet. He might be isolated, alienated, studied like a science experiment here ... but it is his home. He will defend it.

Comet really is sort of Superman through a mirror darkly. This is what Superman would be if all this alienation overtones seen in the current DCnU wore him down.

And suddenly Drekken has more than just scientific curiosity to drive him. He now feels the need to help defend the world. You can imagine how someone as obsessive as Drekken seems about science suddenly has a cause. We know he is going to veer a bit to zealotry and fight Superman.

I have to say that I have enjoyed these back stories immensely. Looking back at Drekken's battle with Superman in Action Comics #6, he didn't seem like a mustache-twirling megalomaniac. Instead, he seemed pretty out of place. This origin story makes that scene more understandable.

As usual, CAFU supplies solid art here. This story is basically a conversation between 2 characters in the rain and yet I felt the art was dynamic enough to draw me into the story.

Overall grade: B+

Review: Action Comic #12

Action Comics #12 came out this week and followed the blueprint it has had for the last year. This book continues to be extremely fast-paced, filled with action, splattered with ideas and concepts, and mixing in Golden Age and Silver Age and modern sensibilities. It somehow is both a dense read and a quick read if that is possible. And as a result it is one of those rare books that lies at the top of my pile (read first because I know it will be fantastic) and then is immediately put at the bottom of the weekly pile (read last because I know it will be fantastic) to be reread sooner rather than later so I can digest it some more.

An issue like this makes me again groan about the fact that Morrison is leaving the book in a handful of months. Because who would ever want to step into these shoes, trying to match this substance and maintain this pace. This issue isn't flawless (one moment rings wrong) but it is simply fantastic, reminding me that these stories are supposed to send me somewhere extraordinary.

The art on the book is split in third with Cafu, Rags Morales, and Brad Walker all handling some of the pages. Despite that, the power of the story is enough to carry me over the different styles. It helps that all three provide great art, bringing the story to life. Despite the number of artists on the book, it was still a smooth read.

The book starts with Superman's mind being played with by Captain Comet, being shown visions of both his life and a possible future. That vision ends with a Superman/Lois wedding on the roof of the planet, a new Camelot with flying heroes dotting the sky, a dream come true.

Superman is somehow roused to reality as the image of Lois returns to her current battered form, after all she was slammed into by a speeding fire truck last issue.

But even this dying Lois says she wishes the marriage would happen.

I don't know if Morrison has ever picked a side in the Clark/Lois marriage but the fact that this is part of Superman's perfect future and that Lois wishes it would happen makes me feel that, at the very least, he isn't vehemently opposed to it.

Snapped out of his fugue, Superman fights the Captain. And during that brawl, Comet continues to try to sway Lois' niece Susie to join him. He has told her of the 'million pointed spear' and 'the cuckoo's nest' ... those sort of throwaway ideas that Morrison may never touch upon again.

And Comet also shows his origin. What struck me here is how similar it is to Superman's and yet how different the results are. Born in Kansas, Adam Blake was mutated to a neo-sapien evolved form by the passing of a comet. It is the same Captain Comet origin we have always had in the DCU.

And yet, there is no kindly couple here, no loving environment to help guide Adam into becoming a purer hero like Clark.

Instead he is alienated, hated, isolated ... to use his words 'trapped alone in a hell-world'.

So instead of helping everyday people, becoming a hero and inspiration, Comet is alone, hitchhiking in the rain, and ultimately recruited into a neo-sapien army.

This could have been Superman ... but Clark had the Kents in his life. So Comet is a foil for Superman here. He was the 'Kansas Strongman' who took a very different path. Recently Superman has been wondering just what type of hero he should be, street level or global. Here at least he sees what he could have been.

And the 'long hairs' that recruited Adam Blake are the 'Oort-kind', aliens bringing neo-sapiens into their fold to make them 'strong warriors'.

Again, as with many big ideas in this book, we simply have to accept the Oort-Kind and roll with their presence. I have never heard of them. Are they 'good guys' defending the universe? Or are they using Blake as they build their army?

But again, it is this sort of rapid-fire layering of ideas one on top of the other that is the magic of this book.

As for the other subplots brewing in the book, Johnny Clark's fireman uniform is discovered and it is assumed that he has been vaporized. Thus Clark has lost his second secret identity in a short time.

Later it is revealed that there really was a Johnny Clark who died in the line of duty, that Clark borrowed the identity.

Part of the joy of this book has been seeing a younger and more impetuous Superman, the guy who hoisted Glenmorgan over his head while standing on the penthouse patio.

So I like that here he realizes that Comet's telepathy can't work on him if he simply gives into emotion and action. If his mind is white-hot with anger, he is sure to be impervious to the subtleties of mental assaults.

Did anyone else get a whiff of Wolverine when this beserker Superman says he is going to do what he does best?

But this motif of Superman being a man of physical feats, of action here in Action, has been one of the stronger foundations of this book.

But even that might not be enough to beat Comet. Luckily Susie decides that she doesn't want to join the Oorts and instead turns her powers against Adam. As a result, Superman is able to bash him to the point that the Comet has to retreat to his spaceship a galaxy away.

Again, the contrast of Superman and Comet is a such a nice subtle part of this book. Comet sounds the hero saying that he is here to save everyone. Superman tells him that he went about it the wrong way. Maybe this interaction will make Superman realize that he can't force justice onto people. Comet can't step in and control people and whisk away Susie for her own good. Superman can't force dictators to step down, to bring water to the deserts. He was pondering these things last issue.

Now the part that I thought was a bit off, albeit extremely Silver Age.

With the battle over, Superman scoops up Lois and takes her to a local hospital where the trauma surgeons say her case is hopeless. Not willing to give up, Superman reads all of the medical literature in minutes and performs the surgery himself, using his fingernail as a scalpel, and leaving Lois alive and scarless.

While Morrison wants Superman to be near-divine, this seemed like too much. I don't want someone to blame Superman for not curing someone's cancer or doing brain surgery (the impetus for .... brrrrrr .... Grounded). I don't need him to be everything.

Still, there is a Silver Age feel to this absorption of all knowledge.

As for the identity crisis, Batman reminds Superman that he needs to resurrect Clark somehow because Clark helped out plenty of people too. Superman needs Clark. So how to bring him back? I mean there was a funeral and grieving.

Enter Mrs. Nyxly finally shows that she is from someplace 'bigger', a higher mathematical dimension (presumably the 5th dimension). She was sent to Earth 57 years ago to help Superman (I'll have to check if her Silver Age first appearance was in 1955 ... which would be fantastic).

And she can wish away Clark's death!

And we finally learn who the 'Teetotaler' is. He isn't Mxyzptlk. He hurt Mxyzptlk! And others as he escaped from Zrfff. Lord Vyndktvx (read Lord Vindictive?) is the Envious One and he hates Superman. But there is hope.

I love that last panel, a sort of multi-dimensional Picasso-esque Nyxly, showing that she simply isn't from around here.

And unfortunately she is right because the story ends with Vyndktvx in Susie's room. We know he lures her into his Anti-Superman army.

Whew!

That is a lot of comic there. And I didn't really even cover the fight pages!

There is almost too much to recap - Comet and his origin, the reflections of Comet/Superman, the Oorts, Nyxly and Vyndktvx, the magical return of Clark, surgeon Superman, and a vision of a Lois/Superman wedding. And all of it written and drawn beautifully.

This comic is simply wonderful.

Overall grade: A

Review: Action Comics #11 Back-Up Feature

Action Comics remains one of my favorite titles from The New 52 and one of the reasons has been the Sholly Fisch penned back-up stories. While Grant Morrison is moving things along quickly, keeping the main storyline churning along, Fisch has had the luxury of dwelling a bit over the smaller moments in Superman's life. Working with a cadre of great artists, Fisch has applied some of the mortar around the bricks Morrison is laying in the Superman mythos, strengthening the foundation that is being built.

This month Fisch teams up again with artist CAFU to tell the tale of Superman's t-shirts.

The story starts with 2 tourists heading into a printing shop where Superman shirts are being sold. The store owner says that his store is the one Superman bought his shirts from. He tells the tale of a young man in a hoodie asking if he can print the then unknown Superman symbol on blue t-shirts.

Of course this is an unknown symbol here so I like how the printer assumes it's for a softball team.

In a past issue, I wondered if Superman might be wearing different colored t-shirts based on his emotional state - red for rage, white for life, etc. That idea was correctly shot down as being nonsensical and awful by some folks here. I agree ... I don't need the long fingers of GL's rings creeping into Action.

Here we learn the reason. The owner didn't have enough blue shirts so he threw in some red and white. Small details like this explaining the other shirt colors are appreciated.

With the way things go in comics, a robber comes into the store while Clark is there.

As I said before, Fisch gets to show us the small moments ... like this one where Clark learns the hard way that he is bulletproof. He is surprised that the robber's bullet bounces off him. I always wondered just how Clark tested his invulnerability. Here we see it is a sort of happy accident.

Unharmed, he makes short work of incapacitating the criminal. When the

When asked how he can repay Clark, Clark says he should help someone else out.  Just when you think that he has inspired the man to do something great, the shop owner's 'pay it forward' is a mere 10% off.

Hey ... it's a start.

Superman inspiring others is always welcomed.

While this story has a ring of truth to it, it might just be a hard sell as we see every shirt shop claiming they are the 'first store'.

This reminded me of a letter I read way back in the Byrne Superman where his cape would frequently be shredded or burned or destroyed. Someone said Superman's secret identity could be figured out by seeing who bought the most bolts of red cloth in Metropolis (to replace the capes). Has Clark burned through 50 tees yet?

Anyways, nothing but compliments here. Cafu's art is solid and Fisch continues to shine in showing us the little moments that helped Clark become the Superman he is.

Overall grade: A

Review: Action Comics #10 Back-Up

Action Comics #10 also had a back-up story by writer Sholly Fisch and sporting some spiffy are by Cafu.

As I have said in the past, Fisch seems to be responsible for adding deeper characterization and some personal flourishes to the characters in Action. We have seen the Kents' struggle with infertility. We have seen Steel's first steps as a super-hero. We have seen Clark leaving Smallville. All of these smaller moments enrich this cast of characters and adds a little human interest to bigger stories like aliens shrinking cities.

And Fisch has really brought his A game to these stories. Perhaps the biggest compliment I can give him is that I look forward to the back-up material. Some back-up material doesn't live up to the quality of the main issue. Others are of characters I don't care about but am forced to buy since they are attached to characters I do care about. But these stories fold into the main story wonderfully.

Here in 'Absent Friends', we are treated to a eulogy to Clark Kent who has 'died' in the main book. And this sort of story comments not only on Clark but on the speakers as well.

First we hear from Jimmy. He reminisces about a time Clark 'accidentally' saved his life. Walking home from monster movies (nicely named Giant Turtle Man and Human Porcupine), Clark 'trips' taking Jimmy down with him. And while on the sidewalk, a van slips on the ice slamming right where they would have been.

Clark was the luckiest guy on Earth. Amazing that he would think that. I wonder if Clark knew he felt that way.

This pre-catastrophe rescue reminded me of a similar scene in All-Star Superman where Clark bumps into someone on the street so that a chunk of bridge which (eventually) falls doesn't hit the pedestrian. Is it precognition? Instinct? Both?

As touching as that was, it is Lois' story that is my favorite part not only of this story but of the whole issue.

While having lunch together, a gas main explodes. Lois runs out to get the story. Clark runs to help the wounded. Lois feels ashamed. She stops investigating and starts tending to the injured. And she gets the story. Clark inspired her, made her better. It shows the influence that 'Smallville' had on the jaded city girl. Just fantastic.

But it also was nice to see the two characters simply having lunch alone. As a fan of the Clark/Lois relationship, I would like to think this was a non-date sort of a date. I wonder if Clark was all nervous.

Even George Taylor sings Clark's praises as the man who brought down a titan, who his caring made them care.

These speeches all resonated with my take on the first story. Superman needs to learn that he doesn't need to drag the world into goodness. He can inspire ... inspire in a superhuman way ... and have us emulate.

Superman needs to know that he is Clark and needs to act like Clark. That tenacity and doing what's right can be more effective than a fist.

In a classic literary riff, 'Clark' attends his own funeral, hearing the words and mourning a bit. Look at that expression. Maybe abandoning Clark was done prematurely.

Maybe Kal needed to learn that you can be a gentler agent of change, that you can motivate and inspire, and that Superman can do that on a completely different level.

It is a very nice story ... that emotional nugget which adds to this mythos nicely.

And I have been a Cafu fan for a while. It was great to see him on a super-book once again.

Overall grade: A (with Lois part A++)