Review: Batman/Superman #27

Since its inception, I have had worries about The Truth. A depowered Superman story can be interesting. Having Clark be revealed as Superman can be interesting. But most of my concerns about the overall arch has been the coarsening of Superman's character, making him angry, a monster, a loner. It is as if the creators have forgotten that Clark is Clark, the lessons learned from his parents creating the man he is.

I have been saying that this has been going on too long.

Batman/Superman #27 came out this last week and maybe there are signs that The Truth is coming to an end. There are plot points that come to a pretty fast ending in this issue. Almost too fast. Perhaps I am the worst type of comic reader, complaining about pacing being too slow and then too quick? Also, this is clearly a Batman and Superman issue. The Bat-family, featured so prominently in the last issue, are barely seen.

But, to be honest, I was able to look past some of this sprint to the finish in this issue mostly because there is plenty of very good characterization in the issue. In most of the issue, Superman read like Superman, sounded like Superman. Pak uses a flashback told several times through the issue to have the heroes reflect back on who they are and what they represent.

I very much enjoyed the art in this issue. Cliff Richards provides the 'current' art with the heroes fighting Vandal Savage. Richards brings a very clean look to those scenes. I love his interpretation of Batgirl. The flashback scenes are done by Jack Herbert who brings a more thick-lined, rougher feel which works with this being a memory. The cover is done by Yannick Paquette and while beautiful, that scene does not appear anywhere in the book.

The issue starts with Commissioner Gordon remembering a battle that took place in Gotham where Superman and Batman fought the Supremacists. During that fight, Superman flings a doomsday device into space. Unfortunately, at the same time Jimmy Olsen falls off a roof. Superman makes the choice that the good of the many outweigh the good of his Pal. Luckily, Batman is there to save Jimmy.

Gordon can't help but notice that Batman and Superman clearly trust each other implicitly. In the flashback it shows Gordon smiling when he sees Superman in action. That is a far cry from the gruff distrusting man he is now.

The point being that things were better in the past when these heroes were at their best. It is a very nice contrast to where they are today.

Now the plot becomes a bit silly at this point. Batgirl discovers that the Nazi Warship we saw last issue has been rewired so that all power is going to the turrets. It is basically a giant cannon.

So Vandal Savage's incredible plan, requiring massive energy, is to power a 1940's super-gun. That seems almost silly.

After thinking with his fists for a while, Superman decides to plan more. The team has to dismantle the gun. They have to save the miners. They have to capture Savage. Then Batman says there is one more objective - keeping the team alive.

I love Superman's irritated look. That clearly shouldn't need to be said. Of course, Superman wants them to live. That is old school Superman.

That said, we haven't seen that guy in a while. He shouldn't be annoyed when last issue he was ready to storm the camp like an idiot. So I am glad to see this characterization again.

And Superman planning things makes sense too. But we haven't seen that in a while either. Just last issue, Batgirl was the one laying out the strategy.

And so a plan is made. Part of it is Superman and Batman bringing the fight to Savage, even briefly, in order to take out his teleportation device.

Again, Superman can sense that Batman simply doesn't trust him. I have to say, Superman hasn't been acting too trustworthy lately. So I don't see why Superman should be surprised. Superman tells Batman that the two are both human now. They need to work together.

But the words and art work nicely together. That first panel Superman saying that things are not what they used to be while he is holding a rifle. And the second panel with the small space that feels huge as they two seem to size each other up. That is just about perfect complementary comic panels.

The two retrofit the teleporter to bring them to Savage's flying base. It is a hit and run mission with Superman using the gun to disable Savage's guidance systems. Savage himself, much stronger than I remember him being, wades in and basically mops the floor with the two. Nearly defeated, the two heroes slip back through the teleporter to the mining site, destroying it as they leave. Savage can't just blip in to finish the job. He has to fly there.

It is a nice action sequence. Richards does a nice job keeping things lively, changing viewpoints and giving us palpable hits like this one.

Savage arrives and learns that the Batfamily and Superman are hiding miles out of the base. The villain decides he will use his Nazi Super-turret to wipe them off the face of the Earth. But the heroes have rewired the ship. Now all energy goes to the engines. The plan is the ship will head into orbit where Savage can simply be captured. Unwilling to be captured, Savage rips his way out of the ship, destabilizing it such that it explodes. It is assumed Savage escaped.

Okay. So all this energy Savage has been working on for the last year was to be used to power this big gun? That was a stretch. In this issue we learn the Wayne Tech portable sun needed to be fueled by the uranium the miners were harvesting. That doesn't sound like a self-sustaining energy source, like implied when we first learned of this thing. That seems silly.

And now the big gun is destroyed, thus snipping that plot string abruptly. That seems fast.

I don't know ... I should want all this to go away. But this seemed like a poor payoff for all I have had to live through.

What's nice is that the mission has helped close the chasm between Superman and this Batman. They can trust each other. Gordon actually tells Superman his secret identity, the ultimate sign of trust in these circles.

Hooray.

That is my Superman.

The initial flashback battle between the world's finest duo and the Supremacists was revisited in the middle of the issue, showing how Superman respects the original Batman for always being there.

After this new friendship, Superman remembers the fight once more, remembering that despite their differences the two heroes could always count on each other.

I thought this flashback again used art nicely. The two panels commenting on justice and vengeance are inked in a way that it reminds me of Frank Miller. Of course in Miller's view the two fight each other. And yet the next panel is them out of the shadows and back to back showing that the differences don't have to lead to conflict. It can lead to teamwork.

So I am of two minds with this issue. The whole plot is a bit inane and wrapped up too quickly, too neatly. And yet, this issue shows us a Superman who is a hero, who feels he wants to be trusted, who is a planner trying to save people. That characterization does carry the book for me.

But Savage needed a portable sun to power a Nazi gunship? Really?

Overall grade: B

Review: Batman/Superman #26

Batman/Superman #26 came out last week, another chapter in the seemingly interminable 'The Truth' story arc. I have talked about how this depowered angry Superman isn't for me. I have talked about how Superman hasn't acted the way I want Superman to act. And in this comic, last issue, we saw him eager to rush to action, even when it was ill-advised.

Now this issue, we see a calmer Superman. He realizes his limitations. And he becomes a decent teammate with the Batman Family. And so part of me was happier with this characterization. Outside of one moment, this Superman acted in a decent way. So at least this issue has that going for it.

But the overall arc of 'The Truth' has been pretty rough. And if the end cliffhanger of this issue is the big reveal of this storyline, I will be even more disappointed. But more on that when we reach those pages.

The art here is done by Adrian Syaf, Vicente Cifuentes, and Cliff Richards and it is lovely. In particular, I adore the Batgirl in this book. She is just wonderfully depicted.

But I know that I am losing patience with this arc based solely on the length of my reviews. When things get brief, when I don't have a lot to say, I think I'm fading.

Last issue, Superman and Batgirl stumbled upon some camp Vandal Savage has established in Siberia. There are humans working as labor, getting uranium from decommissioned nuclear missiles. It is clear that Clark and the Batman Family need to save these people and scuttle this operation.

The heroes approach the team and, after an initial period of distrust, decide to work together. And Superman acts as a sort of leader. This is the weakest we have seen him physically (he bleeds when stabbed by a fork). But this is the best we have seen him.

Everyone has their role.
Batgirl will try to figure out a way to get the people out or stop Vandal from getting there.
Dick will set up new identities so everyone will be safe once they escape.
And Jason will be their battle leader, figuring out what to do if Savage should come back and a scrap needs to happen.

This felt very classic to me, like when the Justice League would split up based on mission needs and team makeup.

Savage arrives at the camp via a teleporting disk. Batgirl is trying to figure out the device. Maybe she can use it send the people away. Or maybe she can use it to send Savage somewhere else should he try to come.

While I like what this Superman is doing in this issue, he does go a bit dark here, wondering if Savage can be teleported into a solid rock. I don't think he is joking here. I think he is fearful. And is contemplating it, even for a second.

But I love Batgirl's response. She is really laughing there. Because to her, Superman wishing someone to be killed is so wrong it is hysterical.

And this temptation is fostered a bit from Jason. Red Hood knows the handful of guns and few bricks of C4 explosive probably can't hurt Savage too much. The heroes have a choice. They can try to subdue Savage, which seems futile, and then watch as Savage kills all the campers. Or they can kill him, by luring him there and blowing up the nukes. Sure it'll be an ecological disaster. But Savage will be gone. And the people will be alive.

Thankfully Batgirl is again there to say just how stupid the idea is. There has to be something better than 'everyone dies' or 'nuke the world'. I love she stands up to Jason calling him stupid. Perfect.

It is this teamwork and this discussion is what I loved about this story. You can only have Superman questioning his ethics and decisions if he is depowered.

During this preparation, the Shadow Demons of Wrath show up. Everyone wades in. And when they see Superman tearing through them like paper mache, they know these things aren't sentient. Kendo blades and bullets are allowed.

But ... when did we learn that?

We have seen people in Metropolis go from human to demon. We have seen Lee infected by the shadows. When did this go from demonized humans to mindless automatons? Like many parts of this nonlinear multi-title storyline, I felt I needed more information. Maybe we learn about this later?

There are a lot of shadow demons. Luckily Superman's wild card, Batman, just happens to arrive at the time of the battle. Even Superman knew he needed more firepower. And with friends at a minimum, he had to call in this frenemy.

But even this irks me a bit. Not Diana. Not the Flash. Not a Green Lantern. The unknown armored Batman. Really?

And, of course, he didn't call Kara, his blood family. Because ....

Well we will never get an answer to this question.

Of course, it does seem odd that Vandal would have so many shadow demons nearby to defend this place. The uranium can't be worth so much to require so many shadow defenders. Why not have Savage's live  troops? Why not stay himself? What could be going on? And maybe Savage is trying to hide something in plain sight? Defend only with shadows and only when needed?

Superman realizes that all of Savage's gambits are about stealing energy, from his own, to villain's, to the portable sun. All that energy has to be being prepped for something big. The heroes use the C4 to blow up the snow to see if there is something beneath the surface.

It seems a bit idiotic to me that Savage wouldn't stash the pieces of his anti-Superman plot in a safer, more defended place. Did he think that burying his ill-gotten gains in the snow would be the right move? Of all the places Savage must have around the globe, putting these critical elements in an open space was the best idea?

Okay, he is a stupid super-villain. Maybe he thought it was wise.

But what is it he is hiding??

Oh my god.

It's a nazi gunship.

First off, he buried a portable sun under snow? A sun we know is strong enough to vaporize a city. Am I to guess that the green globe dampened the sun's power so much that it didn't melt the snow?

But next, Savage's grand plan to defeat Superman and rule the world is a giant Nazi gunship? This thing is what he needs the Quarmer's for, what he drained Superman, Atomic Skull and everyone else for? This is what he needs a small sun for? And uranium for?

A Nazi gunship?

Now I feel even more cheated. Talk about a hackneyed plot device. Talk about something that could probably be taken down by just about any super-hero group. This just felt silly. Especially when we have been told that The Truth is supposed to be some deep, mature exploration of who Superman is and what he represents.

I guess I should wait to see what this thing ends up being. But I laughed when I saw this. And not in a good way.

So overall, I like Clark in this issue, a true rarity in The Truth. But the lack of explanation about the demons lack of life, the idea that Savage would leave his major gains buried and virtually undefended, the fact that his coup de grace is a giant Nazi warship made me question the story-telling here.

As I said, the art is very easy on the eyes. The Shadow Demon melee is energetic.

Overall grade: C+

Review: Batman/Superman #25

Last week I gushed a bit about how great Superman was portrayed in Superman:Lois and Clark #1. How great was it to read about these heroes working hard to help people.

Batman/Superman #25 came out last week. And it was a slap in the face, shocking me back to the reality of the New 52. Because the Superman in this issue, as written by Greg Pak, is about as far away from the Superman in Lois and Clark as you can get. He is depowered. He is edgy. He is glad that he angers people. He wants to isolate himself from his friends. He wants to rush into danger foolishly.

Thankfully, the role of 'Batman' in this issue is played by Batgirl. And does she shine in this book. She is the exact opposite of Clark. She goes out of her way to help Superman. She uses her intellect to figure things out. She tries to calm people down. She moves cautiously.

The art on the issue is done by Cliff Richards and he brings a fine lined, precise look to the book which sparkles. What can we do to get Richards on a book full time? Part time? And the Francis Manapul cover is a fascinating sort of art piece which grabbed my eye on the rack.

We start out with 'Batman', out of the bunny armor and in costume, asking the Gotham City Police Department to hunt down and capture Superman.

Superman has meanwhile already left the city, flying away in a WayneTech flyer while wearing a WayneTech light refractor. He is happy to be back in the clouds, invisible to cameras, and on the move tracking down the Dawn Patrol terrorists who stole the artificial sun last issue. All of that would be fine.

But there is something annoying about Superman's smirk. He is smiling because he hears how angry Batman is. And he says 'who the hell needs Batman anyway?'

This just doesn't sound like Superman to me. Did he steal this tech? He's happy to be annoying? He mildly curses a fellow hero? It is this slow coarsening of Superman's character since his depowering that has been irritating to me.

And it didn't help that I had just read Jurgens' Lois and Clark, a more classic Superman, a harsh contrast to this guy.

It becomes pretty clear in this issue that Superman needs Batman ... or someone from the Bat family. In fact, it seems like one of the points of all of The Truth is that Superman needs people. But he should know that.

Because Superman is able to track down the Dawn Patrol. And while he is able to stop their troop transport easily, their boss is a different story.

It is Vandal Savage. But Savage isn't just an immortal, conniving behind the scenes. This Savage has strength. He pounds Superman easily. He is about to kill Superman when a large explosion distracts the group.

But I have to say, there was something very meta about Savage's dialogue here.

"You're not Superman any longer Kent. Superman is dead."

Yep.

I will say there is a nice humorous moment in this battle. After the explosion, Savage laments not having the incinerating weapon he wanted at the ready when Superman arrived. Incensed, he immolates the flunky who didn't have the weapon prepared.

Eager to get back into the vehicle to track Superman, Savage hears that the flunky he torched was the one who had the keys. Hysterical in a gallows humor sort of way!

Luckily Batgirl was following Superman (we had seen her tailing him as simple motorcyclist earlier).

She scooped him up from the battle and whisked him away.

She is calm and collected and confident. She knows who Superman is, what he has done, the hero he has been. And so, despite a direct order from Batman, she has decided to help Superman.

And good thing she did! He was about to lose, possibly die!

Why this completely depowered Superman hasn't realized he needs help is beyond me.

Richards Batgirl is fantastic. And that second panel, with Superman clearly looking up at Batgirl, we know who has the high ground here. Great composition.

And then we see her get to work. Putting together a bunch of clues and intuition, she is able to track where Savage is.

We hear Superman realize that he has pushed all his friends away. But here is Batgirl, who I don't think he knows very well, whistling a tune while she jumps into the fray.

Is this the moment where Superman knows he needs help? That he can't do it alone? That he should know what his strengths are and what they aren't?

Not quite yet.

But I love this splash page of Babs. She is larger than life in this book. This deserved a splash, seeing her be the super-hero and Oracle and happy and helpful.

Turns out that Savage has set up a camp of workers in Siberia. These aren't Dawn Patrol, these are just ordinary people. And he has them securing uranium from some nuclear missiles abandoned in the snow. And when Savage teleports in, Superman is ready to jump again into the fray.

This Superman is just dense. He doesn't think. He wants to use his fists.

Luckily Batgirl is there to slow him down and hold him back. This Superman doesn't learn.

Is this another effect of Wrath? I don't care.

Savage teleports away after threatening this crew that they better have results when he comes back.

So know you think that Superman would have learned? Would have asked Batgirl what she thought they should do? How they should play this?

Nope.

Instead, he jabs a finger in her face telling her that they are going to run down there and protect those people right then. At least his heart is in the right place! He wants to help those people.

Batgirl knows that they need help. She tells him they need back-up. And there are Dick Grayson and Red Hood. But Superman is still a bit of a jerk here. When Batgirl says she has a suggestion, he doesn't say 'good' or 'tell me'. He says 'What the hell' as if how dare she try to change his plans.

Suffice it to say I am quite sick of this Superman, eager to snap at friends, pushing people away, and actively irritating others. He was pretty unlikable here.

That said, if you want to read a great Batgirl story, I would read this. Babs is in charge here, brilliant on all fronts.

And Cliff  Richards art is fantastic.

Overall grade: C

Review: Batman/Superman #15

Batman Superman #15 came out this week and ended the three part 'amnesia' storyline. Greg Pak has, for the most part, made this a cerebral title for these characters, focusing on elements of their personality and ethics. Yes there is action in all these stories but most have been Batman and Superman dealing with some conundrum and wondering how far they would go, what is the limits of 'good', and in this instance, what sort of personality bubbles under the surface. Where does nature end and nurture take over? What would Batman be if he didn't remember his horrific origin and twisted adventures? What would Superman be like if he didn't remember his upbringing and ethics.

The art work is something of a group effort with art by Pascal Alixe, Diogenes Neves, Cliff Richards, and Mark Deering. After months of delays, apparently due to Jae Lee, it looks like DC is working to get this book back on track. This catches things up and clears the deck for new artist Adrian Syaf. I will state that I love Jae Lee's art. But the delays were killing the momentum of the book. The team on this issue do a nice job bringing a similar style and getting the story told.

The book opens with Kaiyo, the chaos demon, telling Lord Satanus that Bruce and Clark can get their memories back simply by wishing for them. What has stopped them from wanting to return to normal? Maybe it is how much they are enjoying the freedom of a blank slate.

Remember, last issue an untrained Batman couldn't save lives and stop the Scarecrow and as a result some innocents died. It made him question moving forward as a hero at all. But his interaction with Lois must have moved him. Inspired by her detective work and strive for justice, he looks her up, asking for help.

So, while he might like the carefree life of millionaire Bruce Wayne, he knows that he can't let innocents die. And he admits he needs help. I like that Lois recognizes that there must be some part of Batman still in there. Although I would hope that everyone would step up to help people in danger.

To entice (seduce?) Lois into action, Batman says he will bring her along. And the extra lure is that she will be part of the action. He brings her a Batgirl suit and she gladly puts it on.

They spar with each other as they leap the rooftops but it is clear there is some flirting and playful touching and romance happening here. Who is seducing who? It is strange to see Batman smiling and saying how great a catch Lois is.

That said, I don't like Lois getting into costumes and joining the fray like this. Lois strength is that she is one of us, someone without powers, who still impacts the world around her. I don't need her in a cape and slugging it out with villains to know how great she is. She is fine as an intelligent investigative supporter.

As for Superman, he is enjoying his newfound role as tough guy wrestling the world into line. He catches up with Mangubat accosts him. And then he lets a suddenly ruthless Metropolis PD have their way with him, pummeling Mangubat with their nightsticks.

It is just as odd to see Superman watch this 'punching down', this overt and unnecessary violence happening in front of him without stopping.

And even more, he looks downright scary with this odd smirk as he says the world doesn't need anyone's help other than from him. Superman grabs Batman and puts him into a cage, a cage made from support beams Superman has molded into a cell.

This seems to be nature and not nurture. This isn't Pa Kent's son. All bare-chested bravado, acting as judge and jury ... that isn't Superman.

Of course, that is the Superman in Earth 2, Injustice, etc. Kind of sad.

Thankfully, Pak actually shows that Lois' place isn't in combat. When Mangubat and his drones press their attack, Lois get injured in the leg.

Bruce blames himself ... as he should. I would say he should know better but he does have no memories.

Again, I don't need my Lois to be swinging haymakers to recognize her strength.

For whatever reason, seeing Lois injured angers this already slightly unhinged Superman even more.

He cauterizes her wound with heat vision. He then pounds Mangubat and flies him into the sky. This is going to be a very public execution.

Maybe I can say that the anger at Lois' injury shows that somewhere deep in him, his memories are crawling around.

But this is the scary part of an out of control Superman. Now he isn't just judge and jury but also executioner. This is the Superman from the other books, the Dark Superman we see all too often. But as I said, seeing this here and knowing this is the 'wrong' Superman is interesting. I think Pak is trying to show who Superman is by really showing what he isn't here.

Lois knows that Superman would never forgive himself for killing someone. She knows someone needs to stop him. And she knows the only one who could get through is Batman.

She asks Bruce to remember.

There is a pause. He might not want to return to that brooding guy. And he actually loves Lois and knows there is no place in the 'other' Batman's life for her. Ultimately he knows what's right. He kisses Lois and remembers, complete with a slick splash page with highlights of his career.

I do think there is a little too much 'love at first sight' here. Both of them acknowledge a burgeoning love here ... but doesn't it feel soon? Or am I an old jaded reader?

And Batman knows the strings to pull.

He calls Superman Clark and tells him he has to know who he really is. And the word Clark opens the flood gates. Also in a splash page we see Superman remember everything.

He floats down with Mangubat, tells the cops not to beat him, and thanks Batman.

Just like that, the adventure is over. Batman walks away from Lois. Catwoman walks away from Clark.

Nurture is back.

But there is this wonderful ending where Superman and Batman deal with what they have done.

Lois tells Superman that the person he was without memories is not who he is.

But Superman knows it was. He realizes that somewhere in him is that angry control freak. That sort of super-dictator, that bully, is just under the surface. I wonder how often it is a struggle to not let *that guy* just come out. That is the never-ending battle.

That's just great.

And Batman. Well, he tells Alfred to not call him Bruce. Because Bruce is the mask. He is Batman. Somehow the small family picture in the background of the first panel adds to the funeral feeling here.

All those things that Bruce was just enjoying ... flirting, parties, toys, etc ... it is gone. He can't be that man. He has to be this crusader. And we see Alfred silently mourn.

So I will admit that when I read the first part I sort of bemoaned another look at 'just how far will Batman and Superman go' theme feeling we had read a number of those stories already. But I really liked this story. It was interesting to see just how much the overlay of tragedy has formed who these two are.

That said, I'd love an old-fashioned punch-em-up. Maybe throw in a couple of super-villains.

Overall grade: B+/B

Review: Superman/Wonder Woman #12

Superman/Wonder Woman #12 came out this week, another Doomed Aftermath and the last issue for writer Charles Soule. With both of those endings, the book reads like a 'last issue', a way to once again showcase the Clark/Diana romance and prove that it is valid.

For me, the relationship has been the weakest part of this book. I have enjoyed Soule immensely on She-Hulk and Red Lanterns. But here, it feels like he is trying just a little too hard to make me tolerate this loving relationship. I am sure that much of it is my baggage. I am a Lois/Clark guy. It would take something significant to make me think these two characters should be together. Unfortunately, the romantic interludes in this book have been relatively cringe-worthy. And I have yet to understand why these two are together when they are so wholly different.

Still, Soule gives it a good go here in this issue. The two certainly seem to enjoy each others affections.

Jack Herbert and Cliff Richards split the art on this issue and it is very nicely rendered. There were months were the art of Tony Daniel was the only thing keeping this book on my pull list. But these two do a fine job. And Daniel gives us an excellent cover to wrap up his time on the book. I actually didn't see this was a scrying pool with Strife until I got the book home.

And with the trusted creators Peter Tomasi and Doug Mahnke coming on, looks like this book will remain on my pull list for now.

The book starts with Wonder Woman fighting Giganta on a soccer field filled with fans. How the heck did that happen? I have to say that it felt a little off for me. It just seemed to further advance the "Diana as Gladiator" persona, as if she had people buy tickets to watch her fight a villain. Remember when Diana was an ambassador of peace?

I suppose it did allow Soule the opportunity to have this kiss put on the jumbotron. This is supposed to show us that Superman is now comfortable enough to have their romance plastered in front of the masses. And Wonder Woman raises one of her feet in the air like a swooning princess.

It still doesn't feel right.

I will admit that I liked the next several pages. Soule recaps the whole series in pictures showing us how much time has elapsed. It starts with the scene from Superman/Wonder Woman #1 where Superman gives Diana an alien flower that likes cooking oil.

But then life happened. So while the couple fights Apollo, Zod and each other that flower mutates into something toothy on Diana's kitchen counter.

If this did anything, it reminded me that there really has been no 'down time' for the power couple. Plus it was interesting to see these scenes replayed with the new artists.

Maybe because there has been no 'down time', plus the fact that Superman has been in deep space for months, the two are very amorous with each other ... hugging, touching, squeezing each other!

In fact, there is a sly rapport here as Superman tells Diana that 'he isn't dead' just as she inserts a key into its hole.

I suppose if you like these two together than it makes sense that they would fall into each others' arms with some passion.

The plant likes oil. And as it has been starving it seeks out crude oil, drinking a gas station and then entering an oil pipeline, drinking straight from the tap.

Who is to blame? Superman for giving a dangerous gift? Wonder Woman for neglecting it?

The two begin to squabble, trying to blame the other.

Luckily, Diana realizes that it doesn't feel right. She knows this isn't them.

Should this make me think their feelings are legitimate?

Diana realizes that this is the work of Strife. Of course Eris wants to stir things up. And Diana isn't going to have it.

I do like that Diana almost immediately figures out what is happening and how to stop it. This is better than seeing the Clark and Diana come to blows again.

While Diana takes care of family business, Superman tries to stop this plant, now big enough to be draped over an oil platform in the ocean.

I haven't read Swamp Thing for any prolonged period of time since Alan Moore. This interaction does make me want to seek out Swamp Thing #20. Superman tells Swampy that they can be human ... as much as they want to be.

As someone who thinks Superman considers himself a man before a Superman, as someone who loves Earth more than Krypton, he would make a good sounding board for the 'not human ... was human ... more than human' Swamp Thing.

Anyone out there read Soule's Swamp Thing? How is it?

Initially Swamp Thing wonders if maybe he shouldn't stop this thing. If it drinks up all the oil, the world might heal a bit. But Diana, as the god of war, let's Swampy know that first there would be war ... and suffering.

Seeing her wisdom, Swamp Thing calms this thing - "Enough my friend." And he uses his abilities to shrink it back into it's simple flower form.

This is an interesting creative choice for Soule. This is his last issue to write these two. He could have had them go out with a bang. But instead he has a guest star solve the problem.

And suddenly the two do have a moment to catch their breath and enjoy a sunset. Superman tells Diana that no matter what their relationship faces, they are ready.

It is a little cliche to have the two looking out at the sun, a feeling of a journey ahead of them, dripping with love. It can't be coincidence that Swamp Thing guest starred here. Because this ending reminded me of this ...

The cover of Alan Moore's last issue of Swamp Thing oh so many years ago. (Man I am old!) In that issue Swamp Thing  also returns after being away for months (like Superman) ... in space (like Superman) ... with Abby thinking he has died (like Diana). And they rekindle their love.

I have to say that this is as close as Soule has come to me feeling like their might be some real love between these two. They have said it an awful lot in this comic but I haven't *felt* it. At least here he comes close.

But he still didn't get there.

Still, for an epilogue, for a parting issue to show how legitimate this romance is, this was a decent try. But if you want to read what real romance feels like in a last issue, you should seek out Swamp Thing #64. That is a very good read.

Overall grade: B

Review: Batman/Superman Futures End #1

September has been the Futures' End crossover month for DC Comics and so far it has been something of a mixed bag. Action Comics and Green Arrow were great. Supergirl was very good, if a little flawed.

For me it seems like when the stories are simply looking at a possible future, they tend to be character driven and strong. When they lean too much on the happenings of the Futures' End mini-series, they don't shine quite as much. Of course, I am not getting Futures' End and that may be while they feel flat. Maybe without knowing the main story, these issues don't resonate.

Batman/Superman Futures End #1 falls into this latter group. This is a future that seems tightly tied to the Futures End main book. There has been a falling out between Batman and Superman already. Superman has 'left humanity' to farm in the desert. And Batman is left licking his wounds and wondering what the world would be like if Superman was still around.

This is basically a Batman book. Superman appears in one panel. And writer Greg Pak does a good job of showing us Bruce's inner thoughts about Clark. There is anger about Superman's leaving. But also disappointment. Pak does such a good job writing Superman and making him a beacon of inspiration for others. Here we see that his goodness may have rubbed off a little on Bruce, if only that Bruce recognizes he isn't that symbol of hope.

The are is done by Jack Herbert and Cliff Richards. There thin lined, shaded look is crisp and works well here.

Now it is my own fault, but I really don't know what has happened prior to this story that leads to the dystopia of the world 5 years hence. It sounds like there was an interplanetary war (maybe Earth 2?) and somehow this main DC Earth was victorious. But part of that victory led to Superman isolating himself. It also led to Bruce being significantly injured and unable to act as the Batman.

Here we see Bruce seething as Clark's name is read as one of the dead. He knows Superman isn't dead. That instead he has abandoned mankind. He knows Superman could help here ... but won't.

The world is celebrating this victory, united and pulling together. But Bruce knows it will all fall apart soon. The world needs Superman.

We learn that the act which drove Superman into hiding was done by Bruce himself. Batman did something to end the war which Clark found so objectionable that it broke up the friendship. Here was see Batman remembering that time period. He did 'what Superman couldn't'; he had different boundaries than Superman and did what 'had to be done'. The result is Superman attacking Batman and then retreating.

What could incense Superman so greatly? Did it kill a huge amount of people?

I know I don't want a killer Batman. I know I don't want a sulking Superman.

And so Batman begins cleaning up his world. Using a robot suit, he picks up the rubble of the Batcave. Bruce talks how Superman could clean it all up in seconds. But I think he is talking about more than the cave. Superman could clean up the world ... if he was only around. If Batman hadn't driven him away.

And so I think there is this self-loathing here by Batman. The world needs Superman and the hope and goodness he brings. But he isn't around because of Bruce.

But we also know Batman is stubborn. He won't apologize for what he did. He won't apologize to Clark.

So the world keeps careening on.

But then a bigger threat happens. Metallo, who had been imprisoned on Venus (!!) has broken free. More than ever, acutely, the world need Superman.

Batman swallows his pride and heads to the Fortress to try to convince Superman to come back. But Kal isn't there. Instead Stee let's Batman know that Bruce isn't welcome.

Now, more than just the act Batman did, the word trust is thrown in. Whatever Batman did, it was ugly on multiple levels.

This is Batman though. He gets into a new robot suit, designed by Hiro the Toyman. And he somehow uses massive amounts of Kryptonite energy to short out Metallo, defeating him.

Of course Batman wins. He has been unstoppable for the last 15 years or so in comics.

But it isn't a clean victory. Batman was pummeled. Those injuries we saw in the beginning of the issue are worsened. He is paralyzed.

And then the rather poignant ending. Alfred talks to Bruce about a letter he found, a letter Bruce wrote to Clark but never gave him. It must have been an apology.

Paralyzed, stuck in his hospital, realizing even more that the world needs Superman, Bruce calls for Clark.

But we see he never comes.

Whatever Bruce did, that rift is a chasm, that wound is deep. Superman isn't coming back. And Bruce is alone.

The issue ends with a great line. This world got the hero it deserves ... Batman, paranoid, willing to cross some lines, and hurting.

It seems that the current comic world has put Batman up on a pedestal. It has made him all-powerful and uber-cool. It has made him him look brilliant while making Superman look naive and moronic. This is the first comic I have seen in a while to show that a world where Batman is the inspiration is going to be a a dark place.

For that reason only, I have to applaud this book. Too bad the undercurrent of why this happens is that Superman has gone into hiding, something I don't think Superman would do.

Overall grade: B