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: Action Comics Futures' End #1

I am not buying Futures End. I don't know what is happening in that maxi-series.

And so it would have been very easy for me to take this month off from DC Comics. The crossovers are a look 5 years from now and probably won't impact the current runs when this whole thing is over. I am picking and choosing which of these crossovers I am buying; I am not getting all my monthly books this month. Where the 'zero issue' origin month 2 years ago and the villains' crossovers last September had me sample new books, the Futures End month is doing the exact opposite.

All that said, there were a couple of things about the Futures End Action Comics #1 crossover which made me actually look forward to the issue.

For one, it was written by Sholly Fisch, whose work I have always loved. I thought his back-up stories in the Morrison Action Comics run were fantastic. And even his all ages work, Batman Brave and the Bold and even Scooby Doo truly appeal to all ages. Fisch on Superman is always a win.

But the cover also suggested that this issue was going to be a riff on the classic 'Sand Superman' story by Denny O'Neil in the seventies. And you should all know how much I love that story. The Sand Superman is my avatar!

And, not surprisingly, I  loved this issue. It is a story of hope and would have been at home in Adventures of Superman. And Pascal Alixe's art is wonderful here, sketchy and rough, perfect for a story starring someone made of sand. There is a whiff of Eddy Barrows here.

In fact, the only downside to the story is Superman himself ... but that is a product of Futures End, not Fisch.

 Five years from now, Clark Kent is bearded and working in Ethiopia, trying to plant crops in the sand.

It seems a fool's errand but Clark falls back on some Pa Kent wisdom, that you have to have hope and you need to keep moving forward helping people.

And yet .....

How can you hold on to hope and say you need to move forward if you have turned your back on humanity and are basically hiding in the desert. Do I want a Superman who isn't using his power to help? Who is basically retired from being a super-hero?

Meanwhile back in Metropolis, three troubled people are impacted by someone helping.

A depressed young woman tries to kill herself by jumping off a building only to discover she can suddenly fly.

A young man who owes the mob money suddenly finds he has super-strength, enough to overpower the goons who were going the thrash him.

 And a young boy stands up to his drunk father who was beating his wife. The boy finds he is suddenly invulnerable

Each of these people were granted one of Superman's powers when they needed it the most.

 And then each are visited by a creature of sand in the form of Superman. He used his sand to give them a smidgen of power which he then reclaims. But like the best Superman moments, there are lessons to be learned.

The woman needs to see the beauty of the world, the joy of life when her feet are on the ground.

I couldn't help but be reminded a bit of the famous scene in All-Star Superman #10 where he tells a similarly depressed young woman that she is stronger than she thinks she is.

 The young man learns that strength does not equal invulnerability. His hand mangled when he tries to punch a brick wall, the man learns his lesson the hard way.

And maybe he needs to know that he can't outpunch his problems.

And the boy's courage is a lesson for the mother. She cannot pretend to be invulnerable, to not feel, to not respond to the horrors her husband is inflicting. Will she stand up and protect her son as he stood up for her.

Wonderful.

Ironically, all three end up in the same Emergency Room. The women are seeking help for their situations. The man is given the bad news his hand might never work the same again.

I like this little nod to everyday heroes like psychiatric social workers.

We don't necessarily learn the origin of this Sand Superman. It isn't from the explosion of a new power plant like from Superman #233.

A residue from a battle with Mr. Mxyzptlk?

Filling a role that is missing when Superman 'turned his back on the world'??

So Sand Superman? Hurray!
Superman turning his back on the world? Booo.

But the idea that the world needs Superman so much that it created a creature to fill that role is brilliant.

And the Sand Superman continues to dole out wisdom. This time it is to Superman himself.

He tells Superman something we know, something he shouldn't forget. His greatest power was to inspire people to reach their full potential. Inspiration!

And then the Sand Superman says something even more provocative. For every person he helped, he himself became stronger. Helping people improved him ... empowered him! We should all be helping each other.

In a final act, the Sand Superman scatters himself into the desert, making it fertile soil now. But will this sacrifice and will his speech move Superman to act, to become Superman again? I guess I won't know.

But this is a fantastic issue. It looks back at the history of the DCU, acknowledges a classic story, and updates it. And it treats Superman with the respect he deserves, reminding us all we should be more like Superman, fighting for what's right.

If only this sentiment was the norm, and not an imaginary story in the middle of a harshly dystopian universe.

Thanks again Sholly Fisch!

Overall grade: A

Review: Action Comics Annual #3

Yesterday I reviewed Superman/Wonder Woman Annual #1, the third chapter of the Superdoom mini-arc of Superman:Doomed.

Today I am reviewing Action Comics Annual #3, the last chapter of the Superdoom section. Written by Greg Pak with art by a cadre of artists including Ken Lashley, Aaron Kuder, Jack Herbert, Will Conrad, Pascal Alixe, Cliff Richards, and Julius Gopez.

I thought the plotting of the SM/WW Annual was a bit choppy, sort of hard to follow, with subplots added and removed as feints, and with the Doomsday virus being so haphazard in its potency that I don't quite understand if I should be worried.

Action Comics Annual #3 re-adds another wrinkle into the many moving parts of this mega-arc - the Brainiac-possessed Lois. Now there are a couple of nice moments in this issue and one very good Lois moment, but overall I felt more befuddled about the overall plot after reading this issue. Now I suppose that it will all come together in the end. But the biggest thought I had after reading this was that I couldn't wait for Superman:Doomed to be over.

With the wide palate of the artists on board, the book has a sort of rushed hodge-podge feel to it. The individual pages are quite nice but together, bouncing from one style to another, didn't help my feelings of mild confusion.

And after reading Superman/Wonder Woman Annual #1 and this, I still had another Superman:Doomed issue on my pile.

The book opens nicely with some Aaron Kuder art pages showing just how trapped in her own body Lois is. I have been waiting to see Kuder's version for Lois and I am very happy.

I love Lois' tenacity as she tries to break out of this psionic cage Brainiac has placed her. We see how trapped she feels. We see her fighting, trying to bend the mental bars. And we hear just how angry she is for having to live all of this, experience it all, and be part of it despite not consciously doing it.

I keep going back to the original story where this possession of Lois happened ... the investigation of The Twenty, which started 5 years ago when The Collector initially came to Earth and infected 20 people with psionics. Is this mega-plot the culmination of 5 years of manipulation by Brainiac? Will we ever learn?

In the background, Batman has organized a group of people involved in recent Brainiac and Superman stories in hopes of stopping the Coluan. It has become clear that Brainiac is the major threat here. And without Superman, Earth is in trouble.

So Superman villain Harrow (from the Tower) released Superman villain Doomsday from the Phantom Zone by Superman villain and Phantom Zone inhabitant Dr. Xa-Du. But it turns out that Brainiac was already in The Tower's IT and was manipulating these events so that Doomsday would infect Superman and make him fly off the planet. Because Brainiac wants Earth intact but wants Superman off it.

Whew ... that is one crazy plot for a 12th level intellect. How many things needed to go right for it to even happen?

And then things could have gone wrong. What if Superman lost to Doomsday? Or died of the infection? What if Superman lost control and destroyed the Earth? What if (like Ghost Soldier says) Superman won't leave Earth?

Oh yeah ... Dr. Xa-Du is part of this story.

He hasn't been seen in this arc since Batman/Superman #11, released in the last week in May! Back then, he was dragged out of the Zone to help the heroes. He told the heroes that Doomsday broke out of the Zone on his own and Xa-Du wants to help re-cage him/kill the infected Superman.

But here ... after wondering what he has been doing this whole time ... he is trapped in some energy cage. And now he isn't talking about helping the heroes at all. He is doing villain talk here. He can't wait for Superman to kill everyone so he can escape and be a bad guy.

He seems like such an after-thought now. I was hoping for something more here.

This issue's main plot on Earth is Superman and heroes fighting the coma-probes or some sort of advance fleet from Brainiac.

Superman is completely Superdoom initially. But then he runs into the Martian Manhunter. And somehow J'Onn is able to use his mental powers to put a psionic wall in Superman's mind. And this telepathic block somehow puts the Doomsday virus into remission. Superman is normal again.

So is this an actual disease attacking the body? Is it a mental problem?

But this flip-flopping of Doom to Normal to Somewhere in the middle is confusing.

But the virus is too harsh for telepathic blocks. So how about tugging on the heart strings?

The Ghost Soldier brings Baka to the surface. Despite Superman being infected by the Doomsday virus, he looks normal here, and Baka can touch him directly without dying from a killing field.

Glad to see Baka again. Glad that Superman's mind and feelings can overpower the Doomsday persona. But things were so out of control that Superman left the Earth. Superman's friends - Lana and Batman, etc - couldn't get him to become normal. His significant other - Diana - couldn't get him into remission.

But Baka can?

Can you see why I don't quite grasp the magnitude of the Doomsday virus or the threat it represents?

Unfortunately, the next page Superman is back to Superdoom ...

Hey ... remember Dr. Xa-Du is here.

Well somehow Batman has a great plan. They will use Dr. Xa-Du's technology to turn the Kryptonite in the air intangible, whisking it away, so that Superman can defeat the virus.

And to use his tech ... for some reason ... Harrow has to physically beat him up.

Huh??

It somehow works. The Kryptonite leaves Earth (explaining how it happened last issue mid-fight with Diana).

At last ... the good moment.

Superdoom confronts Brainiac-Lois.

And somehow, Clark and Lois connect and talk on a mental level, a sort of meeting in the minds. It just happens. In one tiny thought bubble we hear that Lois finally smashes out of her cage and is able to talk to Clark with her telepathy. (Man ... I would have loved to see a panel of her smashing the cage. That is a big moment.)

There is this nice moment, showing maybe some smoldering CLois love? Clark takes her hands, amazed at how much she fought Brainiac. Heck, she defeated him by breaking free.

It is a very nice moment. It made me miss the Lois/Clark relationship.

But we follow that scene up with another moment which was hard for me to truly understand.

Despite being Superdoom, Superman so loves Lois that he sends the Doomsday killing virus to decay the Brainiac infection in her body. That is some tight control of something that before this was uncontrollable. I suppose it shows how much he cares for Lois. But it also makes me wonder about this condition all over again.

And ... let's not bury the lead ... she knows Clark is Superman. While still telepathic, she is free, and she knows.

I want a human Lois. So please remove the powers.

But will they leave her with the knowledge?

And then ... yet again ... another turn on the Doomsday virus. Batman's plan does work. The Kryptonite leaves the Earth. And somehow ... somehow ... the removal of that let's Clark completely suppress the Doomsday virus. He is back 100% and with Krypto ends up smashing the landed Brainiac army to bits. Look, the people love him! They are happy he is back.

My response?

Arrrrgggghhh!!!!

Just last month, pre-K-bomb, the virus was so out of control, he was planning to leave Earth anyways! He was near gone then! So why should the removal of the Kryptonite alone do this??

I just don't understand the clinical condition of Superman. Page to page, panel to panel, he is either a 12 foot tall spiked demon or a normal guy or a mix. What is happening???

Maybe this is my problem? But if the core plot, this infection, is treated haphazardly, I can't get into the conflict.

At least ... at least ... I got some fine Lois moments.

Overall grade: C

Review: Superman/Wonder Woman Annual #1

Superman/Wonder Woman Annual #1 came out yesterday, chapter 3 of the Superdoom portion of Superman:Doomed. It was also one of three parts of the Superman:Doomed storyline that was released yesterday, a glut of this story. And, unfortunately, I think it was too much all at once.

I have been sort of teetering about this whole story arc recently. While there have been some interesting scenes and small moments of characterization that have shined, over all it just hasn't grabbed me. Now it is true that I don't particularly like the idea of Superman as Doomsday, as a feared being, as a monster. I don't know if he has been established enough in the New 52 as a pure hero where such a devolution would have a strong impact. But more importantly, I think the story has become too big, with a lot of moving parts, all that need to be accounted for. As a result, sometimes I have to make a leap of faith in understanding what is happening. I just don't know if I 100% understand exactly what is happening right now. And that is never good.

Now this book and Action Comics Annual #3, in theory take place simultaneously, which is an interesting way to try to market the books. It also means something big happens at the end of this book that doesn't make sense until I read the Action book.

Lastly, I actually like most of the artists listed on this book. And there are a lot of them - Tony Daniel, Ed Benes, Cliff Richards, Pascal Alixe, and Jack Herbert. But there are so many that I think it sort of was distracting. It is a stunning cover by Tony Daniel. I think it is a shame he is heading to Deathstroke.

The book opens up with a recap page of the electronic version of the Daily Planet. I do like that there are more '404' errors on the page, maybe showing that Brainiac is coming nearer?

But this paragraph puzzled me. I wondered why Smallville has become comatose, why it was targeted. Now this paragraph says Superman has 'centered his activities' there.

Has he? When in the New 52 did Superman establish himself in Smallville?

Last issue ended with the Cyborg Superman leading a fleet of Brainiac ships to Earth. I thought this might be an introduction of the Cyborg as a Superman rogue. But turns out, this was something of a feint.

Superman rips off the Cyborg Superman's arm while the fleet flies by. The Cyborg says he was there to simply delay Superdoom from trashing the fleet before it made it to Earth. Superman leaves him and tails the ships.

We see the Cyborg Superman again ...

I wonder just what is going to become of this Zor-El Cyborg. He is a slave of Brainiac. He is Supergirl's dad. Can he ever become someone I am interested in?

Part of the moving parts is Steel and Lana, in deep space, tracking the Smallville brain signal but now turned around and streaking back to Earth.

I don't mind Lana being feisty and strong and part of Superman's life. But I don't necessarily need her to be pumped up too much. Here she notices that Brainiac's ships are landing in a specific pattern, most likely to boost the coma-signal to encompass the whole planet. Steel patches her through to the gathered resistance (Wonder Woman, Batman, Cyborg, Harrow, Ghost Soldier, Shay Veritas, and Luthor).

So one of the most talented electrical engineers can recognize and intergalactic despots fleet placement? Maybe too much?

Regardless, 36% of the pods need to be destroyed to snuff out the plot.

Throughout Doomed we have had these internal monologues between Clark and Doomsday. Here is one moment of good characterization. Clark knows that he can destroy the Brainiac probes but to do so means entering the K-cloud surrounding Earth and therefore losing control. The Doomsday virus would take over.

The Doomsday persona actually wants to go to Earth knowing that he will win. I don't know if it is flattery or a sarcastic jibe, but I like how he tells Clark that Pa Kent would be proud of him.

The fact that the internal monologue is Clark and not Superman, the fact that Jonathan Kent is an important part of him ... these are important parts of a Superman I want to read.

Clark wins out and Superdoom flies to Earth.

Meanwhile, Earth's heroes are swarming to destroy the probes as well. Humanity's fighting nature is enough to impress the Cyborg.

While not strictly cheesecake, Diana is nearly falling out of her top this whole issue.

But the coma-pods also seem to be a Brainiac feint. Or maybe he has a plan B?

Because while the probes are being knocked out, the Cyborg is constructing some kind of Star-gate near Earth.

Steel feels he has no choice but to try to stop the Cyborg even though he is hopelessly overpowered.

I am beginning to think that John Henry Irons is starting to get some feelings for Lana. While I doubt he is about to say 'I love you' (he just met her), he might be saying that he cares or would like to know her better if they survive. We'll see if I'm right.

Superdoom and the heroes on Earth start to make some headway against the probes, but Superdoom does indeed gain the upper psychological hand. He is about to wade into a small town in Romania, killing the inhabitants with his killing field.

There isn't anyone who can stand up to him except Wonder Woman in her God-mode.

Didn't we already see a scene like this in this arc. When I feel like we are retreading things within an arc, it might mean it is too long.

Wonder Woman fighting Superman. The internal monologues where Clark says he will prevail. Superdoom reverting from full Doomsday to completely normal to just a couple of horns. It seems like we are walking in place sometimes.

Steel does indeed get thrashed by Cyborg Superman such that Lana has to fly into the fray, firing phasers at Cyborg.

The Cyborg is pretty much unscathed by simple lasers. He rips the ship apart. Luckily Steel can fly to the rescue and spread his skin over Lana to rescue her. I do sense some romance here.

But the coma-nodes begin to self-destruct? It is odd. And it also seems like a forced plot point that in the end doesn't matter. Sort of a maguffin.

That's because the Brainiac mother ship, which is bigger than Earth (!!!), arrives through the stargate.

The end of the book has the Kryptonite in the air suddenly disappear (we need to read the Action Annual to see why). As a result Clark can overcome the Doomsday persona. But on one page an artist has him being mini-horned. And this artist has him being completely normal and not shedding the Doomsday death field at all.

I just can't wrap my head around Doomsday virus and what it is doing. The complete mutation and significant death field to completely normal switcheroo seems to be almost variable. If, this many chapters in, I don't have any idea about the threat of this infection or cannot anticipate how it can effect Superman, I feel frustrated.

Add to that the feints of what is a threat and what isn't and I am starting to feel a little bored, despite all the action. It makes me wish that this story was ending sooner than it is.

And there were 2 more chapters released yesterday.

Overall grade: C

Review: Superman/Wonder Woman #10

I have waxed and waned on my enjoyment with the Superman:Doomed storyline.

From a story point of view, the good has included Clark struggling internally with the Doomsday persona crawling around inside him as well as the inspiration of Superman making heroes rally to help by asking 'what would Superman do'. From an art point of view, I have continued to be blown away by the work of Aaron Kuder and Tony Daniel.

The bad has included completely inconsistent characterization of Supergirl, some dangling plot lines which have gone weeks without being addressed (Dr. Xa-Du hasn't been seen in 4 issues), and while not started in this arc, the shabby treatment of Lois Lane.

Unfortunately, Superman/Wonder Woman #10 seems to fall more into the latter than the former. Writer Charles Soule, who has shined in Red Lanterns and She-Hulk, continues to miss on this book with me. Part of that may be that I still don't have a great grasp or understanding of this relationship. It still doesn't seem right to me and the stories of this romance haven't persuaded me otherwise.

And while I like the art of both Paolo Siquiera and Pascal Alixe, I missed Tony Daniel on this book. We have heard that Daniel is moving on to a new Deathstroke book. I will miss him on this book.

Last issue ended with a great cliffhanger, the Cyborg Superman leading Brainiac squidies to Earth. Between the two is Lana and Steel in their spaceship. Meanwhile, Superman gave in to the Doomsday darkness as he battled Halak.

With their ship in danger, with the squidies battering them, Lana calls out to Superman. And luckily, Superdoom hears them and arrives. He saves the ship by ripping apart the Brainiac swarm.

Now this should be a great moment, Superman saving his friends from a cold death in space. But then Steel says that Superdoom may be just what they need, God help them.

I think it is a sad comic world where Superman's friends think they need him to be a monster to stop a threat like Brainiac. They don't trust Superman to succeed as a person? As a hero? As someone with ethics?

Yes, Brainiac and the Cyborg are huge threats. Isn't that what Superman is used to fighting?

For some reason, that one line, Steel glad that Superman is a monster, really did not sit well with me.

Meanwhile, poor poor Lois.

With Metropolis in quarantine, its citizens comatose, she wanders into the town and embraces her Brainiac possession.

Okay, it is a nice near splash page.

But do I really need Lois as a villain. Let alone as a simmering villain for a year?

Will we ever get an explanation why she seems to thrive with this possession while 'The Twenty' all mutated into monsters and died?

Will we ever get an explanation why Parasite drained her memory of Superman's secret identity but not much else?

It leads to a conversation and confrontation with Wonder Woman who apparently promised to watch Metropolis in Superman's place. Diana recognizes Lois and so approaches initially as a friend.

Okay, at the very least, Soule is planting the seeds that Lois is not herself. She may or may not be aware of all the things she is doing. She later says she is like a reporter in her own body, observing what she is doing without actually doing it. I assume that when she eventually gets cured of this affliction that she will conveniently forget everything she's done.

Lois/Brainiac seems pretty immature in talking about relationships, reducing men and women to caricatures. The man makes a mess, the woman cleans up.

Last issue, I had a bit of a complaint in wondering why Steel would bring a civilian like Lana Lang along on a dangerous space mission. At least we get an explanation here. It was Lana who discovered the brain signal from Smallville into space. She has the most expertise in defining the problem right now.

Steel, while keeping his distance from Superman's death field, Steel tells about the threat to Earth. Hearing his home is in danger, Superman flies off before Steel can dissuade him.

Hmmm ... will we ever get an explanation why Smallville was chosen? Does Brainiac know Superman's secret identity? I suppose if Lois/Brainiac knew that at some point, he probable does.

With the niceties over, Lois decides it is time for battle and psionically attacks Wonder Woman by showing her the painful parts of Diana's recent past. Most of these are scenes from the main Wonder Woman book.

Very nice art here worth showcasing.

But then things get a little silly.

Lois uses her powers to somehow resurrect John Corben as Metallo. She creates a body and psionically puts his persona into it. He then attacks Diana.

But the words Lois says here is crazy. She calls John Corben her man? Her soldier boy? She talks about how Brainiac took him from her?

Umm ... I am pretty sure she rebuked him in the past. She wouldn't describe him in such loving terms.

It is, again, some wonky characterization.

If there is a glimmer of Lois, she wouldn't talk about Corben or Superman or relationships this way.
If she is completely possessed by Brainiac, would Brainiac resort to this sort of 'my boyfriend is better than your boyfriend' sort of yapping?

Of course, she is controlled by Brainiac so I suppose all of this can be rationalized away as madness. But it there on the page. And it is disheartening for both characters.

At least we get some progression of the main Doomed storyline. With the Cyborg speeding to Earth we get an important little nugget of information.

The Doomsday Gambit was a engineered by Brainiac and Dr. Xa-Du. So maybe Xa-Du isn't going to help things. Of course, we haven't seen him in several issues so I don't even know where he is.

But it hasn't worked completely well. Superman is still a bit in control and flying to intercept this Brainiac fleet.

I don't know if Brainiac, who wants to collect information and life and store it would think putting out a death-generating monster on a planet he hopes to gather from would be the best idea.

While Diana defeats Lois/Brainiac from creating a device to ramp up the coma-field/Brainiac signal, Lois continues to talk about her love of Corben. Yeesh.

In orbit, Superman meets the Cyborg Superman for the first time.

I like how the Cyborg rightfully says that Superman is more polluted and less worthy of the S-shield than he is.

It is clear, to defeat this threat Superman will have to completely let go and let Doomsday take over.

But is that true? Is that best? If he lets Doomsday take over, won't he be a death-generating uncontrollable monster plodding around Earth? Wouldn't that save Earth only to then have him kill it? Can't he remain partially in control and mobilize the super-human community to help him ... sorta like what we saw way back in Panic in the Sky?

I don't know. The opening chapters of this Superman:Doomed story seemed like it had more potential than this. There is so many plot and character cracks that are making this less enjoyable for me. And the treatment of Lois still irks me.

How many more months do we have of this?

Overall grade: C