Review: Action Comics #1055

Action Comics #1055 came out this week and was another crackling issue. 

Since Action Comics became an anthology, the issues have run the same pattern. The main story featuring the Superman Family is just dynamite. The Superman/Lois/Young Jon story is solid. The last feature is okay. And that pattern happens again here. All the stories are solid but the main story is just comic gold.

The main feature is written by Phillip Kennedy Johnson with art by Rafa Sandoval. It continues the Metallo story but with the added bonus of the big bad being Hank Henshaw the Cyborg Superman. Kennedy does the usual bit of magic, weaving in story beats for all the family members. Superman remains a role model for the twins while trying to rehabilitate Metallo. Kara is the smartest person in the room. And best of all, we get the return of the Eradicator. That means all 4 members of the Reign of Superman are in this story! There's action! There's plot! There's character moments! 

The young Jon story is proceeding just about the way I thought it would. Lee Weeks is back on art. It is good to see young Jon learning the ropes and some valuable lessons. But I think Dan Jurgens telegraphed the plot twist a little.

Lastly, the Steel story by Dorado Quick and Yasmin Montanez has branched out to include some of the extended super-family. But I don't know exactly where it is going. 

All in all, a very good issue with a sparkling lead.

On to the details.

A Little Bit Of Kandor: Superman #107

I continue my brief look at Kandor stories with a look back to Superman #107 from 1995, a middle chapter in the overly long and mediocre Trial Of Superman arc.

Remember, when John Byrne took over Superman, he made him once again the Last Son of Krypton, the only survivor of the exploding planet. So Supergirl, the Phantom Zone villains, and the bottled city of Kandor all went away.

But that IP is too good to waste and so we got new, different versions of these characters. Remember, this is the time of  the Matrix Supergirl!

On to the book!

The appropriately named 'Bottled Up' was written by Dan Jurgens, with art by Ron Frenz and Joe Rubinstein.

Briefly, in the Trial of Superman, Superman is being tried by the intergalactic Tribunal for the crime of being responsible for the destruction of Krypton. Apparently, one of Kal's ancestors was somehow responsible for the people of Krypton being unable to leave the planet. So Kal, through the generations, is going to be the stand-in for his familial crime.

Team Superman, including Alpha Cneturion, bands together to head into space and rescue the Man of Steel.

So this issue starts out with a nice shot of the Super-family cruising on an asteroid, following a trail to where Superman went.

I like this group shot as the body positions tell us a bit of the characters' personalities. Love the upright Eradicator and somewhat youngish, demure Supergirl.

I like the concept of Team Superman.

Review: Action Comics #994

Action Comics #994 came out last week, the second part of 'Booster Shot' by writer/artist Dan Jurgens. And it is another chapter of timeline hijinks as Superman tries to figure out how Jor-El became Mr. Oz. As I said when reviewing last issue, the concept of Superman going back to Krypton before its destruction isn't a favorite trope of mine. And Booster Gold isn't a favorite of mine. So as a result, I am trying to see the positive in this arc despite my disinterest in the foundation of the plot.

There is a lot of timey-wimey stuff here. I actually muttered 'pocket universe??' under my breath at one point. And that always makes me cringe a bit. In particular, this issue has Superman actually wonder 'what if' things were radically changed in the timeline, a question I think maybe he would have moved beyond by now. Still, that quick peek into a possible past was intriguing.

One underlying theme here is dealing with fathers. The Lois subplot with her father does have an interesting wrinkle.

And the art here is pure Jurgens with inks by Art Thibert. It has a classic feel to it, very reminiscent of the 90s.

On to the book.

Review: Action Comics #981

Action Comics #981 is the third chapter of the Revenge storyline, an arc uniting some of Superman's deadliest foes into a lethal squad.

I often find the middle chapter of an arc to slow things down a bit and this issue holds form. There is a great cliffhanger. There is a nice building momentum in some side scenes. And there is a lot of fighting. But this issue didn't feel like it had the substance of the prior chapters.

It's not like this is a miss of an issue. It's not like I disliked the issue. But as I have said elsewhere, I am expecting a lot of the Superman books these days. And this one didn't seem to hold up. I wonder if my overall apathy about General Zod is coloring my view. Because I do think Dan Jurgens up to this point has elevated this book substantially.

Jack Herbert brings a fine lined elegance to the art here. I don't know if this style is best suited for the brawl which dominates this issue as well.

Honestly, I think maybe I sound a bit too harsh here. But this was mostly big splashes of haymaker punches. I think enjoyed the smaller moments more than the melee.

Review: Action Comics #980

Action Comics #980 came out last week and was another chapter in Cyborg Superman's creation of a new Superman Revenge Squad. Written by Dan Jurgens with art by Patrick Zircher, the book is set-up chapter. Jurgens is taking his time putting this team together, perhaps in a way to build up suspense while filling in some of the gaps in these characters' back stories. There is definitely a need, in the post-Reborn super-world, to smooth out the rough edges of continuity here. So Jurgens uses this issue to make sure everyone is on the same page historically.

But there are all the other recent changes to main characters' lives that we need to be kept abreast of as well. So the move to Metropolis and the creation of Batman's Justice League of America are all covered here as well.

I have been very impressed with Jurgens' run on the title so far. And I am always impressed with Zircher's art. But this issue felt like something of a pause. We seemed to downshift a bit. And maybe that is a necessary evil in a middle chapter of a story. We need to set up the rest of the plot. But I feel like the story covered in this issue could have been covered in a fraction of the pages.

I will freely admit that I am a Harley Quinn fan. So I had to get this Gary Frank cover with Quinn is just impotently hammering away on the Cyborg's head. Frank draws everybody great but this Harley is just about perfect!

On to the issue.

Review: Superman #6

Superman #6 came out this last week, ending the first arc of this book, setting the stage of the pre-Flashpoint Superman taking up the mantle of the New 52 Man of Steel while introducing us to the super-family of Lois and Jon.

I have had a few quibbles with parts of this book, especially the flash fry of the family pet Goldie, but here is one thing I know. Creators Peter Tomasi and Patrick Gleason completely stick the landing. If you were hoping that the Superman books post-Rebirth would return the Man of Tomorrow to his optimistic and idealistic roots, you are in for a treat. Because the second half of this book really immerses the reader in some of the classic imagery and dialogue of the character. Was it laid on a little thick? Maybe. But after years of wondering where 'my' Superman was on the shelves, I didn't mind wallowing in this classic pastiche.

Now there is a plot to wrap up. We have the ending fight with the Eradicator. But that whole thing seemed to be an easy plot to set up all the wonderful things said about Superman, who he is and what he represents. I don't think we've seen the last of the Eradicator. But I still don't quite get what it is either.

Lois and Jon continue to be important and integral to the book. They are co-stars not supporting cast. And they get, perhaps, the best moment in the book.

As for the art, I am slowly getting used to Gleason's look here. Some panels truly shine. And the action sequences are laid out on the page in dynamic fashion. This was a very slick issue to look at.

On to the book.

Review: Superman #5

Superman #5 came out last week, the latest chapter in the Eradicator storyline which straddles science fiction and metaphysical plot elements. The new Eradicator is a warehouse not only for Kryptonian culture but also Kryptonian life forces (or souls). And that element is troubling me as a reader.

I can't think of many super-hero stories which are able to easily meld religion and science fiction. (Alan Moore's Swamp Thing and Peter David's Supergirl come to mind as good examples.) A story has to be pretty stellar for it to work for me and so I am mulling over this new Eradicator in my mind. Does his new function work for me?

If I am able to move past that plot point, story tellers Peter Tomasi and Patrick Gleason continue to give us a wonderful Superman family. Clark is trying his best to protect the world and his wife and son. Jon is being asked to grow up pretty quickly in terms of using his powers and being a hero. And Lois continues to show why she is one of the strongest characters in the DCU. My one quibble is that, like Action Comics, this issue is almost completely a brawl with just a smidge of plot progression. I don't mind action ... but I want more.

The art on the issue is done by Doug Mahnke. I love Mahnke's style and he brings a sort of otherworldly feel to the Eradicator and the souls within. There does seem to be some softening of his work in places which jibes better with the Gleason style in earlier issues.

On to the book!

Review: Superman #4

Superman #4 came out this week and continued to be a fast paced, wild ride of an issue. There is barely a change to catch your breath as story-tellers Peter Tomasi and Patrick Gleason give us a horror-tinged tale of death, souls, and ghosts.

I will admit that I am not entirely on board with the idea that the Eradicator sucked the 'life force' out of Kryptonians. It seems a bit too nebulous to me. If this was Hellblazer or Madame Xanadu, I might be on board. But I am still mulling over if I like it here. How many souls does the Eradicator hold? All of them? Is the 'soul' of Jor-El and Lara in him?

That said, the book has a great feel of terror in it. There are scenes that are evocative of Raiders of the Lost Ark. Some of the pages seem surreal like Dr. Strange. The colors by John Kalisz really dazzle, a wild display of yellows and purples. It feels a little out of place in a Superman book and that is a good thing. It is engaging.

Lastly, there are some great personal moments here as well. Jon takes a big step towards being a hero. We meet Superman's pal Bibbo and hear how inspired he is by the big red S.

On to the book!

Back Issue Review: Action Comics #651

With a new Maxima gracing the pages of Supergirl, I have been going back through my long boxes and rereading some of Maxima's appearances in the pre-New 52 universe. She is a relatively complicated character, starting out with the basest of motivations and slowly becoming a hero and planetary protector (albeit with a couple of lapses back to super-villainy). And so I thought I should review the first appearance of the real Maxima in the post-Crisis world.

Action Comics #651 brought Maxima to Earth and showcased her tremendous psionic powers and her somewhat petulant personality. With a creative team of Roger Stern, George Perez, Kerry Gammill, and Brett Breeding, the book is beautiful. And this issue not only introduces us to Maxima but also continued 'The Day of the Krypton Man' arc in which the Eradicator continues his mental manipulation of Clark.

Maxima was something of a mainstay to the Superman universe and always interesting. I am very glad that K. Perkins and Mike Johnson are bringing her back.

"Not of this Earth" starts with Clark beginning his life as editor of Newstime magazine. In the span of 3 panels we see him go from a back-slapping team player to something of a dictator, brusque with some co-workers and firing others. One of the Newstime employees thinks what we are thinking ... "hard to believe this is the same Clark Kent who wrote for the Daily Planet."

And then Clark thinks something very un-Clark. "If fear yields the results I desire ... so be it."

Is this the result of harsh big business? Or is it something more?

To be honest, I had completely forgotten this blip in Clark's career. He just sort of needs to be at the Daily Planet.

One of the things on Clark's mind is Earth's reaction to aliens, especially given the Invasion megaevent that had just happened.

In thinking of the aliens he has come across, he recalls Sazu and Maxima (from Action Comics #645). So technically this isn't the first time we have seen Maxima. But as we learn in this flashback, that Maxima was a simulacrum, destroyed by Sazu (who was acting more like a handmaiden).

As for the real Maxima, she is streaking her way to Earth. She feels betrayed by Sazu and she does want to meet Superman. And that means sending her true self to our 'backwater world'.

I sort of love the design of Maxima here. The boots being different lengths but diagnonally forming one line, the gold neck piece which extends to the torso, the pleated gauzy cape, even the little seen battle mask. It all works for  me, visually engaging.

First stop on Earth? To punish Sazu (who has been captured and psionically weakened by S.T.A.R. labs).

The Maxima drone was supposed to create a mental link between Superman and the real Maxima. When the simulacrum was destroyed, the link was as well.

Sazu has her reasons for doing so. She found Superman lacking. But Maxima isn't listening. She sends Sazu back to her home planet for further discipline.

But right off the bat, we see that Maxima is something of a hot head, and certainly powerful.

The arrival of Maxima and Sazu's deportment is noted by Superman across town who goes to investigate.

Despite wanting to meet Maxima, she isn't going to take his orders. She is in charge. She then literally flies circles around him, leading him on a merry chase that has just a hint of foreplay to it. "Can you catch me Superman ... do try ... I have waited so long for this ... don't disappoint me!"

Everything about Maxima is bold and unrestrained. And powerful. She is able to stand up to Superman physically.

But then the chase is over. She creates a bubble of air underwater to discuss her plans with Superman.

It is an interesting panel. She is definitely vamping here. Her hair tousled and in her face, innocently running a finger across her chest, the see-through cape seeming more like lingerie, the comment about only being adversaries for 'mutual amusement' (a little rough and tumble I suppose) ... it is all very seductive.

And yet, here she is in the muck of the Metropolis river, surrounded by trash.

Odd. Not exactly a sensual environment.

And so we finally hear a bit of Maxima's origins.

She is of an imperial bloodline from the planet Almerac, a 'hearty star-spanning people'.

Her bloodline has been carefully controlled, her ancestors picking the people of the strongest genetic stock, the greatest warriors, to hone the power of Maxima's lineage.

And now is the time for Maxima to continue the power of her people.

While lounging on her planet in some unmentionables, she spies Superman when he was fighting in Mongul's arena. And Maxima was impressed by Superman's ... ahem .... prowess.

You get the sense that everything about Maxima is based on emotion. And also that she lives her life on the extremes.

And then it becomes clear.

Maxima wants to get busy!

She wants to mate with Superman so that the power of their bloodlines will merge. She has actually already done a genetic scan to show they are compatible. Their children would be unstoppable.

Remember how odd Clark sounded in the beginning of the book. We hear that again when he says 'continuing the Kryptonian line is intriguing'.

But then the real Clark shines through. He will not father despots.

Maxima does not like to be spurned ... not at all. What was a seduction scene becomes a battleground. Superman and Maxima end up fighting until it seems that Maxima has been killed.

It turns out she psionically shut herself down to lure Superman in. And when close enough to be in her clutches, she invades his mind.

Initially it looks like Maxima's world. She is dressed in strips of cloth and Superman has very little on himself. It is clear that Maxima would be in charge, Superman would be her consort. And life would be ... physical.

Finally we see why Superman has been acting so cold. He rejects Maxima's advances ... he rejects all emotion and physical attraction. He is acting completely emotionless ... completely rational. The Eradicator is a stronger power in Kal's mind, making him the cold Kryptonian of Jor-El's time.

And this 'true son of Krypton' is not only able to resist Maxima's love; he quickly dispatches her.

Before anyone else can see this transformation, this Kryptonian housecoat becomes his classic S-shield suit again.

Maxima might be misguided. But this Superman might become a threat.

As for Maxima, she is imprisoned right where Suza was. With her psionic powers dampened, she is caged.

And I don't think someone like Maxima would tolerate this ... at all.

As I said, Maxima ends up working for Brainiac, joins the Justice League, tries to woo Superman again, becomes part of the Superman Revenge Squad, leads her planet away from Imperiax, etc. etc. She proves to be a strong female in the Superman mythos both as an ally and enemy. She is complex and I like complex comic characters. I wouldn't mind doing more Maxima coverage ... thoughts?

The current Maxima in the Supergirl book is being driven by the same familial push to mate with someone. But I wonder about that Maxima ...

Overall grade: A

Review: Supergirl #25

Supergirl #25 came out this week, the third part in Krypton Returns, moving the story forward to next month's conclusion. And, believe it or not, I thought this was a decent issue!

I have routinely hammered Scott Lobdell and anything H'El related and there are some things about this issue that still feel off. As with many of Lobdell's plots, there are pieces that don't add up, the things he says that as readers we should simply roll with. I am not asking for exhaustive explanations about things. But I want some internal consistency in my stories. I have to make a leap in a story on my own, I want that leap to make sense.

But this issue is a strong issue for Supergirl and I have to applaud the writing crew for that. The super-team writers of Lobdell, Superboy scribe Justin Jordan, and Supergirl writer Michael Alan Nelson are all listed as doing the dialogue over Lobdell's plot. And that might explain why the voices sound true here.

Since Kara is involved in 2 of the 3 Oracle side missions, we see her throughout the book. The interesting thing for me as a reader is contrasting the two Kara's separated by a a couple of years but so different in outlook. The Kara on Krypton seems sweeter and more innocent. And that is contrasted to Supergirl, the Kara that has survived her world's destruction and has struggled with her life on Earth. This Kara is angrier, more apt to pick up a spear, readier to fight.

I suppose my Supergirl lies somewhere in the middle. But this is a solid issue for our title hero. So all I have to do now is roll with the plot lapses and time travel confusion.

The art on the issue is done by Paulo Siqueira who really brings a kinetic beauty to the story and that goes a long way too. He is a cheesecake artist at times but those moments aren't numerous and don't overly distract.

We start with a little rehash of the story. The Oracle continues to float in space, watching the universe unravel, and hoping that the super-family can undo what H'El has done.

Since the Oracle can't talk and seems objective, we get to hear a little bit more of the plot from a newly introduced herald. Unnamed, this herald talks about how luckily the time tsunami hasn't killed anybody yet, chewing through unformed solar systems.

And this Herald lets us know that "someone" will need to make a sacrifice. Of course we know that it's Superboy.

The art is beautiful here. The Herald has a nice design, echoing some of the visual elements of the Oracle. But in the end it is three pages out of 20 on rehash. Beautiful rehash but rehash.

Also, if the Oracle has Heralds like this, why not have sent one to communicate with the Supers the first time they met? Why not have this guy, who looks pretty tough, fight H'El? Can he make people Heralds? If so, why leave Faora limping around alone on the new Krypton? He 'trained' her for months. Maybe a Herald could have talked to the family instead of the Oracle possessing and almost killing Superboy.

 I suppose this is one of those elements I shouldn't think about too much.

Now there are parts of me that still is struggling with the multiple timelines we are dealing with in this story. This part of the story seems to be the easiest. In the distant past, Supergirl is trying to stop the clones from inflicting some wound to Krypton which hastens the cataclysm.

Last issue we saw Kara defeat a bunch of clones. Before she can catch her breath, H'El arrives, wielding a chunk of Kryptonite and threatening to kill his beloved. She also is struggling with her mission which is to aid the destruction of her home.

This isn't the best opening panel for Supergirl, on her knees, in a submissive position, begging H'El that he doesn't need to kill her. But things get better. Still ...

Anyways, my main issue here is that chunk of Kryptonite he is wielding near her face. If you go back to H'El on Earth, Lobdell makes it absolutely clear that Kryptonite is pretty lethal. Kara has limited exposure and is fatally poisoned. Just holding it back then made her turn green and cracked. So shouldn't this chunk be weakening her already?

Luckily this scared Supergirl fades or was simply a ruse. She bashes him in the face and dashes off to arm herself.

Somehow, and this is where we need to take some leaps, Supergirl thinks that beating up 6 clones has accomplished her goal of starting their rebellion. Six clones. I don't know why she would think that. At least she wants to return to the present.

And thankfully, this is the last loving shot of Kara's bottom by Siqueira. I was worried it would be a theme throughout the issue.

Next leap.

We see Superman hanging from a flagpole as he did on the last page of Superman #0. He seems happy to have met his mother even if he knows he has to help bring about Krypton's destruction.

Except .... we ended last issue with him in Jor-El's lab, strapped to a table, and weakened from radiation poisoning. Lara was trying to figure out who he was and how he got into the El house. So how did we get here?

Anyways, for some reason his black Krypton suit changes into the red and blue Earth uniform. It has to mean that the end of this story, his return to Earth, is nearing.

Who is he speaking to here? Any guesses?

Surprisingly, my favorite part of the book is the Superboy/young Kara section. There is a lot happening here which is tight storytelling. Superboy actually sounds like a nice kid here, wondering how this Kara can become the angry, prejudiced Supergirl he knows. And Superboy and Kara note some of the 'Brainiac-based' tech that is in Argo City, Zor-El's attempt to save the place. It is good continuity and brings some elements of things I would want to see if there is a story on Krypton.

But which timeline is this?

Is this the original one? Before H'El has tampered things?

Remember, H'El is sent back in time months before the destruction of Krypton. He befriends Jor-El. He kills Jor-El. He befriend Jor-El again. Until finally a Jor-El is able to save Krypton ... the very impetus for this story! So is H'El on this Krypton right now? Has he gone back in time yet? (This is one week before the destruction so if H'El is helping Jor-El save the world you would think he would be here by now.)

Anyways ... I guess I have to assume that this is the original, unspoiled timeline.

This is confusing ... right?

And then an interesting wrinkle. The Eradicator, now the embodiment of Krypton's entropy, can't be killed by being perforated with shrapnel as Superboy did last issue.

The Eradicator again returns to kill Kara. And Superboy doesn't have many options to defeat such a being and save Supergirl in this time. He resorts to doing 'something stupid' and kicking the Eradicator through Kon's boom tube home, sending the Eradicator to Earth and stranding Superboy on Krypton.

This is the Superboy I want to read. He is a stand up hero, defending Kara, and then being unpredictable for the win. He is likable here! I'll even forgive him for TK'ing a shard of metal into the Eradicator's throat (a killing move). You can't kill entropy.

I wonder why the Eradicator is concentrating so much on killing Kara when we know another child escapes the death of Krypton as well. I guess it is another thing I just have to accept.

Anyways, if Superboy is stranded on Krypton, his boom tube gone, maybe he is doomed to die on Krypton.

And then the really odd part of the story and perhaps the biggest thing I need to just roll with.

After the Eradicator leaves, H'El shows up to kill Kara and Superboy in this timeline as well.

So one week before Krypton's destruction, H'El is fighting Kon.
And hundreds of years before the destruction, H'El is fighting Kara.

That resonance somehow merges the damage done to H'El. So when Kara slashes him with a spear in the distant path, he bleeds in Argo City. This convergence weakens H'El. I know ... another leap.

And then another interesting wrinkle. It turns out that one of the clones Kara defeated was their leader Kon. (Huh, maybe she did suppress the rebellion.) And since she was the victor, the clones now fight for her.

In fact, the entire clone army starts to mobilize to fight. And then Kara picks up a spear and leads them. How ironic, that this group of people who she vilified, who she hates, she now leads!

Overall, I will say, that there are a lot of things I just need to roll with here. The blip in Superman's storyline and the timeline convergence on H'El are the ones that bothered me the most.

But the thing was, overall, this was something of an entertaining issue. We get to see a strong and sort belligerent Supergirl standing up to H'El and fighting for something. We get a likable Superboy doing what's right. And best of all, we get a glimpse into the pre-destruction Kara, a smart young woman who notices the Brainiac tech and wonders how it got there. A grateful Kara who hugs Kon after he saves her from the Eradicator. You know what all that is? Characterization!

I think Siqueira's art shines here because it is both beautiful, but with a layer of grime which works in these battle scenes.

The biggest question now? Can this storyline be wrapped up in a satisfying manner in just 20 pages of Superman to go.

Overall grade: B

I know .... a B!!

Review: Superboy #25

Superboy #25 was released this week, the second part of Krypton Returns, the sequel to H'El on Earth. It is a sort of strange crossover mostly because we know much of the ending. Krypton has to explode. And Superboy, our titular character, is going to die.

The book is plotted by Scott Lobdell but scripted by regular Superboy writer Justin Jordan, ex-Supergirl scribe Michael Alan Nelson, and Lobdell. I can't help to believe that the mix of talent here has smoothed out some of my expected dialogue woes.

And I found the format a little interesting as well. I assumed that with each Super having their own 'mission' in the past, that each issue would be dedicated to the title character. But instead of this whole issue being Superboy's mission, we look in on all the characters, keeping the entire story moving forward. I suppose this makes a little more sense, keeping readers engaged in the entire story. It also means that Superboy is only in a small portion of his own book.

Ed Benes is on art and I will admit I haven't seen his art in a while. His style seems just a bit rougher than I am remember. He inks his own pencils here which might explain things. The books I bought with him on art (Supergirl, Birds of Prey) had Alex Lei on inks.

I have lots of worries about this overall story. I will admit this issue was better than I expected although there were a couple of things that struck me as wrong.

As in H'El on Earth, Superboy actually gets some of the better bits of the story, acting like a hero. His mission is to go back in time so Kara gets sent to Earth so that the timeline where she stabs H'El with Kryptonite plays out.

He thinks what I am thinking.

I am not really clear on exactly what the point of this is.

What timeline is Superboy in? Is it the timeline where H'El saves Krypton? Because if H'El has saved Krypton, Zor-El wouldn't be making a rocket to begin with. We are told this scene takes place a week before Krypton explodes ... so we know it isn't the re-written H'El timeline.So already I am a little confused.

The only explanation is that the H'El/Jor-El save is a last second thing. Thus, everything would be proceeding as before ... including the Zor-El rocket. But if Jor-El saved the planet before 'a week before' than we are on the other timeline.

I don't even know if I understand what I am writing.

So I am hoping for some more explanation here.

And then there is this new wrinkle. This is one of those things that on first blush seems a little off.

The new Eradicator in the New 52 is a living embodiment of Entropy. But he was born in the heart of Krypton and is hell-bent on making sure that Krypton explodes. And for some reason, he decides to attack Kara. Luckily, Kon is there to protect her.

All right, now I have a lot of questions.

Is this some Kryptonian that has been transformed and is insane? Or is there really a physical embodiment of Krypton's destruction?

Is he the embodiment of Entropy (like the Time Trapper)? Or just Krypton's entropy?

Is he made of Kryptonite?

And why attack Kara? Unless he wants to kill Kara to stop her from going back in time to stop her from stabbing H'El so that he can't go back in time and save the planet? Whew. Why not attack H'El instead?

I hope Lobdell explains this (although he often doesn't do that, asking the readers to simply 'go with the flow). Because whenever I have this many questions, the story won't work unless I get some answers. At least I know why Kon was sent back a week before the planetary destruction (assuming we are on the non-H'El-saving timeline); the Eradicator was going to kill her.

I actually liked the old idea of the Eradicator.

I also wanted to point out that there is a lot of indicia these days, tagging all the supers as created or based on Siegel and Shuster. I wonder if Siegel would want to be associated with this Superboy.

Lobdell has always treated Supergirl poorly in his stories and this doesn't change here. I am trying read the Supergirl parts with a less jaundiced eye but it is hard. I am expecting the worst so even small slights seem to stand out.

Kara is sent back to the Clone Rebellion to try to stop some portion of a battle called Sky Core which would make Krypton explode earlier than anticipated. The Oracle plops her into the middle of a group of clones. We have read how Kara (and I assume most Kryptonians) considers the clones as abominations. Here they are shown to be crude, almost sub-human beings. Laden down with weapons, speaking in broken phrases, they immediately try to kill her.

Supergirl has always wanted to 'go home' so here, trying to assure Krypton eventually blows up, she considers herself a destroyer. More Supergirl angst.

I do think the way the clones are shown is a decent wrinkle. Maybe they are unstable, violent creatures. I assumed the point of this mission was to show Kara her prejudice. Instead, it might verify her feelings.

Maybe I am old-fashioned. I like to think of my Krypton as a bit more Utopian, a nice place to live.

As Kara engages the pack of clones, she thinks back to battle training she got from her Aunt Lara. Here Lara intends to strand Kara in the middle of nowhere with a broken vehicle unless Kara can get the spare power cables in Lara's backpack. It is obviously an exercise. But do I really need Lara to hand Kara a knife and say 'get them from me'. Do I need Lara to say 'Kryptonians are always at war'?

It really is just another example of the dark nature of the DCU. Here, an aunt gives her niece a weapon and asks tells the niece to attack her. And that is because the world they live on is such a dangerous place.

No wonder this Supergirl is so angry and isolated.

And then we get to the Superman mission. Now he has been sent back in time to months before Krypton's destruction. Remember his mission is to stop H'El at H'El's 'moment of success'. So I guess if Kal is successful then Kon is in the normal timeline where the planet dies. Wha ..?

Kal ends up in his father's lab and gets smacked around by his mother. Luckily his armor morphs to reveal the El crest halting the brawl.

In another decent wrinkle, Superman is weakened by radiation poisoning. Maybe his cells are being effected by the Kryptonite simmering in the planet core as it nears destruction?

We head back to Kon's mission. Of all the supers, he is the least effected by the change in environment. His telekinesis isn't effected by a red sun. He uses his powers to perforate the Eradicator. I have to assume the 'spirit of Entropy' isn't bound to one body. But for the time being this form is down for the count.

The one moment that I really liked was this one. As Kara notes the quakes are worsening, Kon knowingly just says 'yeah.' He knows what those quakes mean.

The panel works well. It is dark evoking the funereal mood. Kon is looking down sadly. But best of all, the bottom of the panel seems to just fade away, adding a sense of loss or that things are ending. I know it is smoke from the Eradicator ... but it works. Art and words complementing each other.

Meanwhile, back in Kara's mission, she wakes up to find that she, even without powers, was able to battle all the clones and defeat them. She is a bit battered but she is victorious.

Did she kill them? I hope not.

But she doesn't get far before you-know-who shows up.

That's right, we finally see H'El.

Remember, he has time travel abilities. So going back in time centuries before Krypton's explosion is child's play. So how will a powerless Supergirl fight him?

Time travel stories are always dizzying. And moving the three characters into three different times makes it more confusing. And wondering which timeline is the 'true' timeline versus any of the myriad of ones altered by H'El makes it even more befuddling.

And I still don't quite know why the Oracle didn't just send the Supers back together to fight H'El when he arrives on Krypton, before Jor-El can even save him. Isn't there an easier solution?

Despite all the questions, I suppose this was an okay issue, moving this story forward on all threads, and with only a couple of odd moments. The Benes art is pretty slick. I don't know if this story will end well ... or will even be comprehensible. But if I can look past the 'why' questions and the 'when' questions, I can appreciate this as a middle chapter. It does what it is supposed to do.

Overall grade: B-

Review: World of Krypton Back-Up Feature In Superman Annual #2

After being in the back pages of Action Comics for a few months, The World of Krypton back-up feature suddenly appeared in the back of Superman Annual #2. I wasn't expecting to see it here. It isn't even mentioned on the cover. I hope that people following this story know enough to look here if they want. This didn't seem to make sense to me, unless DC wants this story to be done prior to Greg Pak taking over Action. Maybe they needed to sneak in a chapter somewhere.

The sad thing here is that I had high hopes for this story when it first started. The wide eyed young Jor-El and the stern military cadet Lara was a sort of new take on the characters and seemed to capture some of the re-invigoration that the New 52 was supposed to do. In those early chapters, writer Frank Hannah seemed to capture the exuberance that these two young people brought to their very different lives.

Unfortunately, the story has taken something of a left hand turn and veered more towards the 'over the top' theatrics I have come to expect in the New 52. Instead of letting the characters carry the story, this has become a story driven by action. Worse, the young Jor-El has become a scientist engaging in mind control. And the young Lara has become an angry woman with a cavalier attitude towards killing. Suddenly we went to far afield with these character. Re-imagination is one thing. Re-writing characters completely is something else.

It also doesn't help that Philip Tan's slick art isn't on this story either.

Having escaped the Eradicator's troops, Lara and Jor-El head back to the science council to see if they can help.

I find it interesting that the head of the council says the Eradicator doesn't have many followers. This guy took over the capitol building. He has held it without much interference. He sent a troop ship to find Jor-El. This sounds like someone with a lot of followers.

I can feel that Hannah wants to bring some sort of 'opposites attract' feeling to Jor-El and Lara. But it doesn't work when I have to hear Jor-El defending the machine he built to 'persuade' people to thing creatively. I don't care what he thinks. That's mind control.

Now the Colonel wants to up the ante from persuasion to total control. Only Jor-El knows the machine that well.

Hmmm ... maybe coming here wasn't a bright idea.

I will say, the most sympathetic character here is Jax-Ur. He seems like a follower who got caught up with the wrong people. I don't get the sense he necessarily has bought into the Eradicator's ideas as much as got carried along with what he thought would be the winning side.

But he definitely has feelings for Lara and is willing to lie to save her. I do like that Lara won't give up her principles even if it means her death.

Captured, Jor-El is strapped to the 'harmonic resonator' and told to activate the Colonel's protocols.

I would like to think that Jor-El would rather die than enslave the planet. I suppose he could always use the machine to control the minds of the Colonel's men.

Anyways. It just feels like this story started out rather wondrous but the bloom is off the rose. Let's hope Hannah is able to pull off a miracle and have the ending recapture some of that earlier spirit.

Overall grade: C

Review: Superman #4

2011 ended with the release of Superman #4, the start of the second half of George Perez' opening (and only) arc on the title.

This arc has been intriguing to me for several reasons and this issue continues those trends. First off, I find it interesting that the first arc for Superman in the new DC Universe should focus on the people of Metropolis being distrustful or frightened of the Man of Steel. This should have been something of a coming out party for Superman, solidifying who he is moving forward in the DCnU. Instead, we are dealing with tropes seen in Grounded and even New Krypton. Not exactly a glittering debut for the primary hero of the DCU.

And while there is this ongoing plot of aliens/elementals attacking the city and Clark, the more compelling plot threads have been the reintroduction of Superman's supporting cast. Seeing the new Lois and Perry and Jimmy working hard and trying to figure out what is going on with Clark has been a nice sidebar to the action heavy fights we have seen.

Lastly, unlike some of the more decompressed books, Perez has really stuffed each issue with a lot of story ... a lot of dialogue, a lot of exposition. I love this aspect of the book as I feel I am getting my money's worth of story.

Jesus Merino continues to do solid work here on the book. In particular, I love his versions of Lois and Jimmy so far.

In the aftermath of the attack by the ice creature/Heather Kelley, the Metropolis police tries to sort through the details by interrogating the people at the epicenter. That means grilling Jimmy and Miko to see if they will shed some light on the event. It also means asking Superman some tough questions about his actions.

These aren't chats over coffee. They sound like pointed and biting questions, an inquisition of sorts. And the undercurrent seems to be trying to get Superman or is friends to implicate him in murder or assault.

Again, this feeling of treating Superman like a threat, like a liability rather than an asset, has worn thin for me. The last time that Superman has been treated like a true hero in his own book was way back in the Johns/Frank Brainiac arc at the end of 2008! Since then we have had Superman leave Earth, be branded an alien and targeted by the military, fight his own people while they tear through Earth, and then walk across the company disillusioned and sad.

The interview ends with the Police Commissioner springing Superman. At least the mayor seems to have Superman's back.

And luckily, Heather Kelley has reappeared clearing Superman of murder.

 

Things get murkier when Superman slips into Clark mode. Everyone seems to be wondering why he wasn't at the Kelley story site. Lois knows he was in Smallville when he told her he was on his way to where Heather was reporting. (Jimmy had GPS'd Clark's cell phone). Why would he lie to her? More importantly, I don't know how I feel about Clark's friends trying to dig into his business so much. A little weird ... although maybe out of concern.

To make matters worse, Clark barely has any memory of the Smallville visit anyways. Everyone has been saying how scattered Clark has been recently. This is the first time we are aware that he is confused himself.

And lastly, I suppose this once again shows how tough it would be to maintain a secret identity.

Things go from bad to worse. Jimmy, Miko, and Heather have all been invited onto a tell-all news show to answer questions about the ice attack. Lois doesn't want Clark's absence brought up.

Perhaps this was the most compelling panel sequence of the issue. Lois knows 'Clark' was in Smallville at his parents grave. She also seems to have images of Superman flying out of the Smallville cemetery. Does Lois know Clark's secret? Is she covering for him?

The interview takes a left hand turn when the host seems to focus on Clark's absence rather than the near destruction of the city, the next ice age, the presence of a giant winter woman. I don't know if that really would be such a crucial angle to be explored on a tabloid style sensationalist news show.

Regardless, Heather covers for Clark, outright lying. Nice poker faces by Jimmy and Miko. Off the air, the host decides to pester both Heather and Clark (who is standing off camera in the wings). I doubt this guy McCoy is going to just drop this story. Is this an opening volley for this character to start shadowing Clark?

Heather also confronts Clark and the two leave the studio. Suddenly Clark finds himself in his Superman togs, in his old apartment, surrounded by the monsters he has been dealing with. And he doesn't recall getting there.

Moreover, the creatures say he went there on his own, per the plan.

At last we finally get some insight into the purpose of these things, even if it is extremely cryptic.

They are here to recalibrate, reformulate, and adapt the environment. That which can't be adapted must be eradicated.

Okay, I don't know what that means. But the word eradicate sticks out like a sore thumb. Is this the DCnU Eradicator? Is this environmental purging similar to that Eradicator's mission to recreate Krypton? Now I am intrigued.

Superman battles they creatures in his old building but they adapt to his attack, changing form into a swarm of insects to 'inoculate' him. And then, the big reveal. These beings were created ... by Superman. Very nice cliffhanger.

So this really is just what an issue leading to a penultimate chapter should be. The reveal that Superman created these things here means that Perez has all of next issue to explain just what all of this means. It also means that the entire last issue can be spent wrapping everything up. I hate when the explanation and the wrap-up are both stuffed into the last issue; one of those elements always suffers.

But just why would Superman create these things? And why doesn't he remember doing it? And why such violent and malevolent entities? Unless they have outgrown what his original programming was and have become self-aware. While the fights scenes with these things have been well done, this origin piece is the most interesting things about these characters.

Overall, this arc for me has been more up than down. The supporting cast stuff, the action scenes, even this reveal of the 'Eradicators' have all been solid. The story has been dense in a good way. And Jesus Merino brings a sort of scratchy sensibility to Perez' layouts. The only downside has been this theme of people not trusting Superman or wanting him around. It's time to put that plotline back into the store room and move on.

Overall grade: B+