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: Batman/Superman #14

Batman/Superman #14 came out last week, another chapter in the 'amnesia' story, exploring what Superman and Batman might do if freed from the constraints of their histories. This sort of story has been the grist for this title's mill - wondering what the heroes would do on another world, if they could change history, and now if they didn't remember who they are or how they got there. Writer Greg Pak certainly tells these stories with aplomb. Each arc like this has had some great characterization and providing some insight into Clark and Bruce.

This story adds the additional wrinkle of teaming Batman up with Lois and Superman with Catwoman. Without there memories, will nature or nurture surge to the fore? I will admit that I liked this issue more than I thought I would. There is a sort of 'hall pass' feel to this issue. What would happen if Batman could act like millionaire playboy Bruce Wayne for real for a couple of days? What would happen if Superman realized he didn't need to be a good boy? Perhaps because I know that the classic personalities will come through lets me forgive this little dalliance with their darker sides.

Jae Lee provides the cover which is cute. But the revelation is the internal art by Diogenes Neves and Marc Deering how channel Lee's look nicely in the issue, giving the issue the 'look' of the title. Nice job.

So a Bruce Wayne, not weighed down by his parents death can use his 'wonderful toys', like bat-wings, to woo the sultry wife of the Governor.

He has the skills and tech of Batman. But he has the desires of a bon vivant. This isn't 'ginger ale instead of champagne'. This is real hedonism.

Meanwhile, Superman has saved Lois Lane from the drones of Mangubat. And Catwoman is in tow, trying to keep Superman intrigued with the dark side.

Yes, there is some Superman residuals in this blank slate, He helped Lois because he knew it was the right thing to do.

But it doesn't take Lois long to suss out that Superman doesn't have his memories. She *is* Lois after all. This should be pretty evident to her. But Superman is angry that he doesn't remember he is 'superman' and so he flies to investigate with Selena hot on his tail.

See what I mean about the 'Jae-Lee-ness' of this art, right down to the lack of background. But that is one great Lois.

The lure of giant robots is enough to get Bruce to put the Batman costume out and join the fracas with Lois. But you can see that it is all a game to this amnestic Bruce, all smiles and flirting with Lois. It is strange to see him chucking bombs without a care and flashing a thumbs up to Lois. And here ... that's a come-on line. And Lois isn't having anything to do with it.

Neves even does the Lee tendril-hair I love!

But remember, this issue is about looking at what these characters would do without the weight of their histories. For Superman there is a this weight of responsibility. He stumbles onto the Toyman's lair and sees pictures of himself saving people, hugging Baka (in monster dog form), and generally being Superman. But that responsibility must be enormously heavy.

And Catwoman equates that weight, that responsibility, that restraint with weakness. She tells Superman that he doesn't need to be that way anymore. And that smirk lets you know that maybe Superman wouldn't mind letting loose.

I think Ed Brubaker said it best in Sleeper. If you had super-powers, why wouldn't you want to live like a rock star?

We haven't seen a lot of her in Action, but here Pak shows us the handle he has on Lois. It doesn't take her long to figure out that Batman doesn't have his memories either. Interestingly enough, she calls on his relationship to Superman to spur him into more serious action.

Funny how intoxicating Lois is that Batman swoons a bit.

But before they can actually do anything, the Scarecrow shows up. This might be Batman's body and he might have the right reflexes, but there isn't much he can do when you need tactics. The Scarecrow catches him holding up a beam which might crush people, essentially immobilized. And while the real Batman would have 10 ways to respond, this one has none ... and people get hurt.

Lois calls him out. He isn't ready to be on the street. This really isn't a game ... not at all.

That first panel is about the defeated I have seen the Batman portrayed in a long long time.

Bruce heads back to Wayne Manor and tries to figure out his next steps. He read about the death of his parents but it is 'someone else's story'. Without living that tragedy, he isn't driven by it.

I love Alfred's response. We see Alfred cry here. He wonders .... or maybe wishes ... if he can't be just Bruce and not Batman. It is fascinating and rings true. Batman is a tortured soul. Alfred might not mind seeing Bruce live the easy carefree life of millionaire playboy instead. That is interesting.

And Superman? He is embracing the role of powerful tough guy. He breaks into Gotham's city hall and declares himself the law.

So Superman wants to rule. And Batman just wants to lead a fun life. Certainly not what we are used to seeing.

As I said above, looking at these sideways portrayals of the heroes was pretty fun. I do hope both heroes remember these field trips away from who they are and contemplate just how easy it was for a chaos demon to derail their lives.

So kudos to Pak for bringing me back into this story. And definite kudos to Diogenes Neves and Marc Deering. Their stuff shines here.

Overall grade: B+

Review: Worlds' Finest Annual #1

I have chided the Worlds' Finest comic almost monthly, so much in fact that I have started to wonder if I should continue reading the book. It is some sort of loyalty to the historic characters of Huntress and Power Girl, as well as the revelation of Power Girl having been the E2 Supergirl that has kept me coming back.

One part of this book that hadn't let me down were the flashbacks to Earth 2 when the characters operated as Robin and Supergirl. There was something more classic about the characterization there, especially with Kara.

I was, therefore, looking forward to Worlds' Finest Annual #1 which came out this week. It is a called a prelude to the First Contact arc where Huntress and Power Girl meet the Prime Earth doppelgangers of their E2 mentors. That meant an entire annual of the adventures of Robin and Supergirl.

Writer Paul Levitz continues his unprecedented streak of writing books which are fine. I desperately want to love this book and, like other issues, there a pieces of this Annual which I very much love. But those moments are mixed with off characterization and a feeling of inertia. In particular, there are parts of Kara's story that are cringe worthy.

Diogenes Neves handles the art and brings a nice kinetic feeling to the action scenes. I have always liked Neves work whether it is Demon Knights, or Supergirl, or here, his art has a nice feel of both precise and rough. I wish I could describe it better ... but it works.

I just thought I would post the opening splash page.

I always like this sort of set-up of a comic page. We have a crisp action shot of Huntress and Power Girl in the foreground. The art here by Neves feels like current Worlds' Finest artist RB Silva which gives the book a feeling of continuity.

But in the background, in more muted tones, we look into the past. The costumes are different. But the feel of the characters is different too. Robin is smiling. Supergirl is looking upwards, optimistic, arms open. It shows where these characters were and where they are now.

The book is split into three chapters. We have a Robin story, a Supergirl story, and then one where the two characters team-up. One of my problems with the title is that Levitz seems to have a hard time writing a story where the two main characters are working together. He often has them separate which diminishes the draw of this book.

The opening chapter has Robin and Batman heading to a high end brothel in Gotham, hoping to get some closure on Catwoman's death. We witnessed Catwoman's death way back in Worlds' Finest #0. There is some fine give and take between Helena and Bruce as he sits back a bit and watches her pound her way through the bad guys while giving her some tips.

This felt pretty natural.

The battle takes the two heroes into the catacombs of the place where Robin takes out all the men who have basically enslaved the prostitutes.

Now call me old fashioned but I don't know if I want to see Helena Wayne kill someone. Here she is, a teen, skewering a criminal with a fireplace poker. While we don't hear it implicitly, this looks like a lethal wound. Did she just kill this man?

Batman explains it away in his head as Helena being Selina's daughter, that this is her nature. But we are talking about Batman here ... someone spurred into action by the death of his parents. Someone who vows not to kill. And his adolescent daughter either killed or almost killed someone. And he doesn't say a word ...

That seems wrong.

Now I was much more willing to accept a more murderous inclination in Helena Bertinelli given her history. And even then I wasn't happy. I was glad when Batman chastised her about those actions.

But this is Helena Wayne. She carries the weight of that name. And she should be above this.

So overall ... some good and some bad in this chapter.

The Supergirl chapter is a true mishmash of just about every odd corner of the Supergirl mythos. I think Levitz really struggles with her character.

I think he wants her to have the innocence and optimism of the Silver Age Supergirl. So the Earth 2 Kara is trained by Superman and is a 'secret weapon', all of which smacks of the earliest storylines.

And this opening panel of a young Supergirl, crying, surrounded by child-like things like a teddy bear and a fuzzy pillow, really feels like early stories ... and not in a good way.

She is crying because something bad has happened and she feels responsible.

But an innocent Kara in Silver Age mode doesn't jibe with what people want out of Power Girl. Power Girl is supposed to be strong, brusque, fiery and feisty, opinionated, and proud.

I don't know if I have felt a true Power Girl vibe at any point in this title. Instead Levitz thinks the best way to show a Power Girl personality is to have her be a party girl and sexually voracious. I wouldn't mind her being independent and confident in that way if it was an aspect of her personality. But Levitz has it simply dominate.

So in the story, Levitz has Kara 'sneak out' and head to a New York bar. Again, this is a young Kara, a teenager, sneaking into a bar, drinking, and dancing the night away. I wouldn't mind this as a sign of an adolescent exploring her freedoms except this aspect of looking for the next man (in this case, the first) has become the one personality trait that Levitz keeps hammering.

Not so Sliver Age Supergirl innocent. But not 'Power Girl-ish' either.

At the bar, Kara meets a Barbie-doll like boy called (ironically) Ken.

The two become instantly smitten. Kara shares a kiss under the moonlight, feeling the exciting rush of first love. That really sounds like a seventies Supergirl story, not the kind I necessarily embrace.

Turns out that New York is hosting a World Government meeting that night and Ken is the son of the Gammoran consulate. The WorldGov center suddenly explodes, the building being torn apart from the top down.

Kara slips off and changes into her Supergirl costume, trying to save who she can by managing the falling debris. Unfortunately, Ken thinking Kara is in danger goes looking for her and dies. It is a tragedy and Kara blames herself. Had she not been there, Ken would not be looking for her, and would not have died.

Well, that really feels like a Silver Age Supergirl romance where her boyfriends were either bad guys, magic horses, or dead by the end of the issue. That said, I don't know how guilt and early tragedy is a good motivation for Power Girl.

Shades of Crisis on Infinite Earths #7 in this panel.

Kara spied a super-being in the building and calls upon Helena to help track down the villain.

Finally, we get to see the two characters together. And one thing that I like is the interplay here. We have that feel of innocence in Supergirl as she nears the blast site. And I love how Helena channels her father, bringing his wisdom into the mix.

But my favorite part of this last chapter is seeing Superman and Batman discuss how their charges are growing up, rebelling, and becoming their own person. This Batman has never felt like he has some control over his daughter. And he knows Supergirl wasn't going to stay in hiding forever.

I wonder if this is the hook for First Contact. Maybe this Batman didn't put limits on his daughter thinking it futile. Maybe the Prime Earth Batman will feel different, will demand Helena not kill, will hold her to that higher standard. That would be good storytelling fodder.

And this Superman thinking that Supergirl will just march along like a good soldier sounds like the Superman in those old Action Comics stories.

The investigation leads them into a battle with the Earth 2 Fury. Initially they brawl at the WorldGov site. Fury escapes to the mountains and Worlds' Finest duo track her down.

During the fight, we see a smidgen of the old Power Girl fighting spirit. She screams she is the strongest. She won't back down. And here in the mountains, she proudly shouts her credentials ... she is Kara from Krypton.

If only she followed it up with 'I don't scare easily' instead of 'I am royally pissed off'.

I would be just fine if the 'pissed off' phrase was never used in conjunction with Supergirl again.

Very nice art here by Neves. Fantastic action shots.

And I talk about Supergirl being a hero on a journey, sometimes doing the wrong thing when trying to do the right thing.

Here, Wonder Woman shows up to try to get her 'daughter' but Supergirl isn't going to be denied her ... I guess revenge is the best word for it. And so, in order to get to Fury she has to get through Wonder Woman. So she punches Diana.

I have seen Supergirl punch Superman, Superboy, Dr. Light, Martian Manhunter, and many others. This actually felt right. This Supergirl is just starting the life of a hero. This lapse in judgment could happen. Again the art sparkles.

So some nice moments. And some odd moments. Sounds like Worlds' Finest.

I will say the overall feeling for this issue was better than most. I especially liked hearing the thoughts of this world's Batman and Superman. It will be interesting to contrast those thoughts to the Prime Earth counterparts' thoughts. There is some good stories here to mine.

Overall grade: B-

Sales Review: October 2013

Sales figures for October have been released and, as always, I like ICv2's coverage of the market. Here is the link to the top 300 comics from last month: http://www.icv2.com/articles/news/27180.html

I have really hammered DC Comics recently on the direction of their universe, their missteps with classic characters, and their poor understanding of some of their audience. Well, DC Comics can laugh at me. Because last month, DC got, by a whisker, the biggest share of the market. In a business where dollars are everything, that trumps any whining I might do. At least in the short term, and with 'events', gimmicks, and variants puffing things up, DC's dark universe sells.

So go ahead and fire your rotten tomatoes at me DC. Maybe I don't get it.

Last month' Supergirl #24 was the last issue of the Michael Alan Nelson 'era' on the book. Zor-El recreated Supergirl, keeping her body and psyche intact, and allowed her to escape by becoming the Cyborg Superman again.

The issue ended with the I'noxian collective telling Kara to find happiness. We knew that Tony Bedard was on the book the next issue. Things seemed to be looking up.

Unfortunately sales remain in a tail spin. Just around 1500 fewer copies of this comic were sold. Maybe the Villains' Month pause, where there was no Supergirl issue, was a good jumping off point (as I feared). Of course, the comic has continued to crush Supergirl, getting darker and grimmer and sadder.

As I have said before Supergirl fans don't typically want a Dark Supergirl. And fans of Dark characters don't want to read Supergirl. The sales numbers don't lie.

Will a Red Lantern Supergirl continue to fall?

I will point out that My Little Pony outsold Supergirl. I think MLP knows its audience. The primary creators add some humor and nuance for the older readers. It is a high quality all ages book. And it sells.

And what about the other super-book reeling under some creative uncertainty?

Superboy #24 completed Kon's battle with the Psycho Pirate. It was a wild story but with a high school Superboy which was umpteenth rethinking of the character. Who is/was this Superboy?

No surprise that this book also seems to be plummeting in sales. At 18K in sales, the book seems to be on life support unless the villain-led Jon Lane Kent book catches fire. Of course, I won't be there. So sales will go down by one.

I should stop doing these sales reviews as they are depressing. It is clear that the Bat books and big name books continue to flourish while the periphery of the universe seems to struggle.

I worry that 6 months from now Supergirl will be below 20K in sales and then I'll be talking about cancellation.

Review: Supergirl #24

It's catch up time for me as I scramble to get up to date on all things Supergirl after being away for a week because of work. And first thing on my plate is my review of Supergirl #24, written by Michael Alan Nelson and drawn by Diogenes Neves.

Now this is an interesting issue for any number of reasons but primarily because it marks the end of the Nelson 'era'. Steeped in horror roots, Nelson said there would be darkness in his book but with an eye towards the light. And technically he achieved that goal because this issue does end with Supergirl optimistically pining for happiness. But technically achieving a goal and actually achieving the goal are separate things. After the fun opening issue, we moved on to some sad dark stuff - leaving Earth, K poisoning, fighting her own fears, and then ultimately dying. And every time I thought the best, that these darker times were meant to be the deepest before a dawn, we just got even darker. Even this issue, with a rethinking of Zor-El and ending with a positive note, shows Kara at her most unhinged and vengeful.

And I will remind people that Chase and Harras were literally giddy about announcing Nelson and the darker turn he was bringing. I guess the question is why is Nelson leaving? Did he step down? Told to step down? Maybe he knew that another H'El arc would be doom. Or did DC realize AGAIN that this character cannot sustain itself with that take.

The art by Diogenes Neves is wonderful. I find that his stuff can be too stylized at times (his eyes are spooky) but that works with a Supergirl who is forming the clay of I'Noxia into whatever shape she thinks of.

Remember that last issue ended with Supergirl dead, disintegrated, and absorbed into the consciousness of I'noxia. The Cyborg Superman had been reconstituted into Zor-El, who seemed not to realize what he had done.

Now I guess I can understand Supergirl being angry for being destroyed. And I can understand her wanting to deny this false existence of a phony Krypton. But rather than try to figure out a way to use this omnipotence of her surrounding, she decides she will use it to exact a pound of flesh.

Seems a bit Draconian don't you think? And not subtle as we hear her say 'Hard to know what I would do in her situation. But I read these books to see what heroes would do and be inspired.

Now if there is one saving grace about this issue is that Zor-El actually comes out of this looking better. Cleansed of the Cyborg Superman persona, he instantly regrets his actions and orders his I'Noxian lieutenant Delacore to reverse the process. Kara needs her body back and the only way to do that is to become the Cyborg again. It means he will once again lose his memories and personality. He will once again become a villain. But Supergirl will be safe. It is noble and sacrificial. He even tells Delacore to tell Kara to search for happiness.

It also means he will need to fight Brainiac off so that the reversal can occur. And he needs to become the Cyborg again to fight Brainiac, unknowingly to help Supergirl escape. 

Since the beginning of this new incarnation, I have said that Zor-El is desperate to save his daughter to the point of crossing some ethical lines. Here he is just as desperate, becoming a villain once more, leading a horrible life (although as the Cyborg, he won't retain the knowledge he is Zor-El), but at least his daughter is safe.

Unfortunately, Zor-El's plan is to save Supergirl is being undermined by Supergirl herself. Having taken control of I'Noxia, she begins ripping it apart from the inside out.

She will leave the place a 'ruin of cinder and ash', have 'the world burn' until the Cyborg 'lies broken at my feet'. And even if she destroys the I'Noxian collective, so be it. They begrudgingly helped the Cyborg; they are just as guilty in Kara's mind.

I do like this panel as it does conjure up images of the Earth Angel Supergirl with her flame wings.

Zor-El's plan is relatively intricate and plays off the fact that he will reclaim all the foibles of the Cyborg's personality when he is reconfigured. The Cyborg won't remember he is Zor-El. He will be told by Delacore that Brainiac stopped his transformation to human, thus making the two villains fight. Zor-El will 'shrink' the I'Noxian collective to make it safe, sparing them the fallout of the fight. And thus, Kara can be presumed dead and escape without the Cyborg or Brainiac following. And he wants Kara to find happiness.

Again, this redeems Zor-El in about as best as can be expected for him. He is flawed and the guy can't catch a break. But at least he hasn't killed Kara. Unfortunately, it means he will remain a villain and neither he nor Supergirl will know their relationship.

And her anger is so blazing that she does take utter control of I'Noxia, pulling matter which makes up the city to form a super-sized avenger. And she means business. Moon fists and sun legs and a world of misery and wrath. Not very Supergirl-like.

Again, rather than trying to figure out a way to get her body back, this Supergirl is simply driven to destruction. If Michael Caine were here, he would describe her as someone who just wants to watch the world burn. This is the dark twisted Supergirl that DC wants and it's wrong.

The art here is very nice showing Supergirl forming from the swirling matter and dripping with fury.

Zor-El's plan works perfectly. He becomes the Cyborg, forgets all about what happened when he was Zor-El, and flies off to fight Brainiac.


Supergirl is reformed and cured of her Kryptonite poisoning. And no one knows she is alive.

With all that hate and anger behind her, with the need for vengeance removed, Supergirl is suddenly calm again, riding her space-cycle a distance from the Cyborg/Brainiac brawl. And Zor-El even succeeded in saving the I'Noxian collective mind. Sure, they are in floating sphere thing but at least they are free.

And then we get the ending 'feel good' moment. In some ways it is a coda to Nelson's run. I suppose he wanted to eventually get Kara here. And knowing that Tony Bedard has said he wants a likable Kara on Earth, this sets the stage.

It is good to have Supergirl hear one more time that her parents loved her and would want her to be happy.  Maybe this whole near-death experience will be some sort of catharsis for her, making her cling to life and happiness that much more.

Alas, before we can get there we have to suffer one more H'El arc which might derail things again. Remember, Mike Johnson was turning this book around before the first H'El.

And so ends another darker chapter and darker 'era' in the New 52 Supergirl book. Could DC, as they did with the last incarnation of Supergirl, finally have come to the realization that this character deserves something better, that this book warrants a different slant?

So, all together an unhinged Supergirl, a repentant Zor-El, and a happy ending. But in a rough package.

Overall grade: B-

Sales Review: August 2013

The sales numbers for August 2013 came out earlier this week and, as always, I headed to ICv2 to get the nitty-gritty details. Here is the link: http://www.icv2.com/articles/news/26668.html

I will say it makes me happy to see a Superman book near the top of the chart. Superman Unchained #3 came in at #2 selling 136K. But I have to assume that part of that is false elevation from the many variant covers that the book has.

I also think that water seems to find its own level. Action Comics and Superman, now both written by Scott Lobdell, are selling 42K. Will Greg Pak/Aaron Kuder give Action Comics a bump once they come on board?

Supergirl #23 was a turning point in the Cyborg Superman storyline. It ends with Supergirl vaporized and the villain being revealed as Zor-El.

It was about as downbeat an issue for the character that I can imagine - Supergirl scared, crying, powerless, and ultimately dismantled.

The book ranked #83 in sales and dropped about 4% in sales. There has been a pretty steady decline in sales over the last several months. It is interesting to see Catwoman and Worlds' Finest right nearby in sales.

So with 2 more issues to come out in the Michael Alan Nelson era, will sales plummet? Will the Bedard/Cinar issue get publicity and a push in sales? Given the new direction and Lobo, this would have been a perfect issue to have a variant to help move the book as well.

I am not surprised to see the book slide in sales.

And my underdog book Vibe is starting to sadly look terminal. I have applauded this book for being different from the usual New 52. It is positive, with someone working hard to be a hero.

Vibe #7 sold just over 11K. Just below it are Dial H and Demon Knights, both canceled.

It will be interesting to see what happens to The Movement, the political book by Gail Simone. Will it somehow be spared the axe?