Review: Absolute Superman #19

Absolute Superman #19 came out this week, continuing a new arc introducing 'King Shazam' and Absolute Steel into the universe. It is a high octane brawl of an issue showcasing our title character's emerging heroism and some new mysteries to contemplate. Add in the 'origin' of Steel and you have a solid issue.

Jason Aaron is continuing to grow this universe now that we are in the sort of second act of the book. With Ra's Al Ghul's plot to turn Superman done, it is time to broaden the view to the world. In fact, the Ra's story is truly ended here with an exclamation point. The biggest hook for me here is the mystery of King Shazam. Last issue we saw he was a slave in ancient Egypt given power by Brainiacs with a Father Box. Why were Brainiacs on Earth then? With a Father Box no less? Now we see how Shazam's powers seem to mimic Superman's down to the crystal cape? How are those echoes possible? Didn't Lara create Sol with sun crystals? Alas, these are just mysteries to contemplate now.

Rafa Sandavol continues to shine on art. There are action panels where you don't truly see the blows, hidden in energy and swirling sands. But the character moments are well rendered. And his take on the Steel origin is brutal and gorgeous. 

This book continues to intrigue as we peel back the layers. On to the book.

Review: Steelworks #2

Steelworks #2 came out last week and was another interesting issue for this new series. I feel there is a lot of potential in this book with multiple plots and character points all sort of being unveiled as the book progresses.

Writer Michael Dorn has sort of jumped into the deep end of the DCU, diving into continuity, bringing in the super family, and concentrating on technology as the sort of spine of the book. Steelworks against versus Amertek is a solid plot, like Stark against Hammer. Amertek giving powers to disgruntled workers who feel wronged by Irons is great. And this all is built on this idea Irons has to keep Metropolis safe solely through technology. This issue brings us a new villain amping up the threat.

But on top of that plot undercurrent are great character threads. Steel wanting to shut out the super-family from protecting Metropolis is very interesting. His wanting to have tech completely protect humans could spin down a 'is this villainous' take. But what I like most about this is how Natasha is not on board. Some friction between those two is very interesting. Add this simmering Lana romance and you have some fodder for a solid book. 

Both Sami Basri and Max Raynor are listed as artists on the book. The book flows well. There is no specific breakdown on who is doing so hard for me to know exactly. Good action, some fun page layouts, and an appearance from the Super-family makes this is a visually strong issue as well.

I am pretty excited about this book so far! On to some specifics.

Review: Steelworks #1

Steelworks #1 came out last week and was a wonderful first issue. I have to admit that I was a bit worried when actor Michael Dorn was revealed as the writer for this book because it seemed like a stunt. After all, I know him as 'actor' Michael Dorn, not writer Michael Dorn. But Dorn crafts a great tale here, doing all the things a first issue should do to grab a reader and have them want to read more. Add some lovely Sami Basri art and I am already looking forward to issue two.

We'll start with the character of John Henry Irons, Steel. We recently saw in the lead-in back-ups of Action Comics that Irons is trying to turn Metropolis into some high-tech paradise. Dorn builds on those in a way that feels more like a natural progression of Irons' character. He is an inventor. He became Steel to honor Superman and protect people. So his wanting to use his skills to invent to save Metropolis on a city-level, it reads like a progression. 

What is the interesting hook is that he wants to protect Metropolis so that the Superman family doesn't have to be active, doesn't have to save people. Now I suppose what Henry means his that he's got Metropolis so the Supers can be elsewhere. But in some places it sounds Luthor-ian, that the people need to save themselves and not rely on Superman. It makes Henry suddenly 'gray' and makes me want to see where it will all go. Still charming, still humble ... but with the potential go dark if he thinks his way is the way.

So we have an interesting direction there. But even better, Dorn wants to embrace Steel's history and DC continuity. From rapid fire recaps of his early career to his relationship with Lana to Lena Luthor, Dprn dives in deep. 

Lastly, if technology is going to be the hero, then it looks like technology will be the villain. An enemy company is the first villain. But I get the sense that the upcoming villains are also tied into the technological world. 

I have been a fan of Sami Basri since his work on the Power Girl series way back in the day. The art here is great. Basri knows how to draw super-heroes and the Super-family. I love his Supergirl, seen briefly here. But everything is polished and sharp. Basri is a great fit here.

On to the book.

Review: Action Comics #1054

Action Comics #1054 came out this week, continuing the anthology format of the Superman Family. Please remember when you get to the end that the overall grade takes all the stories into account. We get three stories here. One shines.

Phillip Kennedy Johnson continues to bring us a solid main story. This story brings a sort of resolution to the Metallo plot. We see a new super-power from Superman. There is an event with Otho that I hope isn't lost in the shuffle. I like how Jon reacts in this issue. The actual big bad is revealed. And there is a tremendous moment by Superman showing compassion to Metallo. I loved this story.

Max Raynor is on art duties here, giving Rafa Sandavol the month off. This issue is a little rougher in style than I anticipated. In my mind, Raynor is usually very polished. There is a lot of grime and violence in this issue and Raynor's are here mirrors that well. In particular, the pages with the Metallo fight really stunned. 

The middle story is the Lois, Clark, and young Jon story. This time Jurgens is on script and art. It has a 'twist' which I think was telegraphed in the first chapter. It's decent. I love seeing Jurgens on art. He is weaving two plots in this story so there is still some mystery in it.

And then we get a Steel story by Dorado Quick and Yasmin Montanaez. The story is a sort of primer on John Henry Irons with an ending that seems to hint at the upcoming story. The art is cartoonish in a way, definitely different than the other stories. I like Steel. This story occurs before Action #1050 so you need to snuggle it in your continuity. I'm glad to see Steel get some spotlight.

On to the book details.

Review: Batman/Superman #14

I'm a little late in my Batman/Superman #14 review as this came out a couple of weeks ago. 

I have been pretty pleased with this title overall. Each arc has had a unique feel. And we have moved far beyond the Batman Who Laughs nonsense. We actually have what feels like a World's Finest book, adventures of two heroes who are friends. 

This arc has been a treat with Batwoman and Steel being the back-up World's Finest as our main team try to outwit their own AI. 

While this arc has an understated ending, it does have a nice peek into our two heroes' thoughts. Each tries to talk down the villain in their own way. 

But, to be honest, the big win here is the art by Max Raynor. Nicely stylized. Dynamic. And the pages within the electronic universe are pretty dang cool. As I said last month, I wouldn't mind seeing Raynor on a Batwoman monthly.

On to the book.

Review: Batman/Superman #12

Batman/Superman #12 came out last week and was an interesting issue for a few reasons. 

For one, it is as much a Batwoman/Steel issue as it is Batman/Superman. I always like these semi-World's Finest team-ups when they happen. And seeing these two working together as more grounded members of their specific teams made for some interesting interaction.

The actual plot involving Batman and Superman is also entertaining. It took me a bit to wrap my head around exactly what was happening. But in the end, seeing our heroes being put through what seems like an endless wringer should make for some wild super-heroics in the upcoming chapters.

And lastly, there is one very brief Supergirl moment which can be read two very different ways and I am interested in hearing what you all think. Should I be an optimist or a pessimist?

Writer Joshua Williamson continues to write snappy dialogue and quick moving plots, something I appreciate in this world of endless 12 parters. And the art by Max Raynor is really gorgeous. I wouldn't mind seeing him on either a Steel book or a Batwoman book in the future.

On to the details.

Review: Superwoman #15

Superwoman #15 came out last week and was another very interesting issue in this run by writer K. Perkins. I am an unabashed Lana fan and I have been very intrigued in seeing her as a super-hero. I sort of suffered through the slapdash, ill-focused early run of the book. And Perkins has done her best to try to shore this book up. Lana is much more likeable under her pen than she was before.

This book has always been about Lana discovering herself and dealing with her personal issues. And it was feeling like Perkins was bringing Lana to a place of stability. She was dealing with her anxiety. She was reconciling with Steel. She found out her powers were from Red K exposure. Turns out that stability was a fake-out. Lana is back on unsteady ground again. And while I understand all too well that life's ups and downs can bring peaks and valleys in your personal life and sanity, I keep hoping this book gives Lana a chance to breathe a bit and just do some heroing.

The art on this issue is by Sami Basri, someone I know mostly from the tail end of the last Power Girl book. It has a slightly cartoony, slightly anime feel to it but it works.

And heck, I haven't even talked about the new villain or the guest stars in the book. Let's get there!

Review: Action Comics #983

I have never been shy about my age. I am on the back half of my 40's and have been reading comics for over 30 years. I have read so many comics ... some might say too many. But I can remember as a kid, sometimes comics would just transfix me. I'd be gripping the pages, so engrossed, pulled into the story. One of the most common types of books to grab me like that would be an outright brawl between heroes and villains under the most dire circumstances. Add a little plot and I would be transported into the universe.

I long for those moments now. When a comic can make me be young Anj again, heart-pounding, watching titans battle, the fate of the world at stake, I am ecstatic. But with so many comics under the bridge (so to speak), it is hard to do that. How many world-saving fights can I read?

All of this preamble is to set the stage for Action Comics #983, a comic by writer Dan Jurgens and artist Viktor Bogdanovic. It is the Superman Family versus the Superman Revenge Squad with planet Earth at risk. There are battles and tragedy and a great wrinkle. There is General Zod that I actually like reading, loving to hate him. And there is so much Supergirl, appropriate for a Superman Family fight but something missing for too long in the super-books.

I read the issue and reread it and reread it again. I was young Anj, reading a comic he had folded and put in his back pocket, under a tree at the summer hour again.

God I loved this issue. This is why I still read comics.

Review: Superwoman #11

Superwoman #11 came out over a week ago. This review has been pushed back because DC continues to put out 4 Superman titles in the same week. As a result, this book has been pushed back a bit. Thanks for waiting!

We are now 3 issues in the K. Perkins era on the title and I feel like we are finally starting to get some glimpses of what she hopes to accomplish in this run. The first issue was setting up the post-Reborn Lana. Now we are into the first arc, finding Zeke, Steel's missing nephew. This leads to a melee with Skyhook.

Overall, this complicated Lana, dealing with anxiety, phobias, needing to be loved but wanting to be a hero, is a great character. I think there is a lot to be mined here. And I am hoping that the book survives long enough for Perkins to find solid footing and really explore Lana and her world. In particular, we get a hint as to how Lana's powers work in this issue which seems pretty fascinating.

That doesn't mean I think we can just move forward. The post-Reborn world is confusing. I still don't know the exact nature of Lana's powers. Are they still some remnant of Superman's? And I think I need a better sense of her personal timeline to fully understand things. So I am hoping we get backstory too!

The art on the issue is done by Jose Luis (no Garcia-Lopez) and is very good, reminding me of Brad Walker in some places. That's high praise. And I preferred this Renato Guedes variant cover for my collection. There is something classic about the monster looming over the hero who is tracking them. And Superwoman looks great.

On to the book.

Review: Superwoman #10

Superwoman #10 came out last week and was another step towards the new reality of this book since Superman Reborn rewrote continuity and made Superwoman's history impossible. How can Lana have powers given to her by a dying New 52 Superman when that Superman never existed?

Writer K. Perkins has been given the monumental task of trying to sort this out. And I am rooting for her. I like Perkins as a writer. I loved what she did on Supergirl. And I like Lana and I find the concept of Superwoman fresh. But I wonder if this might be too much even for her. Because everything which led up to Lana being Superwoman is gone. So how do you continue?

That isn't to say that this issue is a failure. One of the things about Superwoman which has felt innovative is that Lana struggles with anxiety and PTSD. She is trying to be a hero while dealing with her own issues. And we see how these continue to be a big part of her character. Lana strives to move past these problems, or compartmentalize them, so she can continue to be better and help people. But the scenes of her flashing back to painful memories still show scenes that I don't think have happened now.

I am also rooting for this book because I think the art team of Stephen Segovia and Art Thibert is a dynamite pairing. The art here really sparkles. Plus, I love this Renato Guedes cover riffing on the classic Superman #1 cover, right down to 'wear and tear' and a price tag.

I just don't know if my rooting will be enough ...

Review: Superwoman #7

Superwoman #7 came out last week so I am a bit late in covering this issue. But in some ways, the time was needed. This issue is a super-dense and somewhat confusing closure to the first arc. I wonder if the story got away from writer Phil Jimenez. I have praised Jimenez in the past for packing a lot into his books, making them feel like two issues in one. But here I felt like there were so many threads being covered that I was feeling frayed as a reader.

As all the characters and plots are being wrapped up, I found myself asking 'why'? Why did Lena need the temporal cubes? Why is she invading the Phantom Zone? Why is the suit called 'Insect Queen'? Why does the Atomic Skull demand an apology from Lex? Why doesn't Lex know how to reboot his armor? Why does Lana sound like she has been mistreated by all the men in her life? Why does the Gestalt ship need to change configuration? Why? When I ask that many whys, the story is lost on me.

I also can understand that this book might be the title for Jimenez to look at feminism and that is fine. But I think that the downgrading of Lex and some of the speeches by Lana feel a little forced. I'd love a Lana story about feminism. I don't know if I need a feminism story with Lana as speechmaker. Maybe I am saying this too clunky. Maybe it is better for me to say that I would rather be shown the feminist slant than be told it.

The art on the book is done by Jimenez and Jack Herbert. The two styles seem to jibe well with each other. And as usual, it is a packed issue with inset panels and great page layouts.

On to the book.

Review: Action Comics #973

Action Comics #973 came out last week and was a great little rest issue after the God-Killer arc that preceded it. Superman took a bit of a back seat in this issue, allowing Lois the chance to truly shine. And this also gave us a much closer look at the mysterious Clark Kent. For someone who has found the Kent mystery fascinating, I liked it. For someone who has been craving a strong Lois presence in the DCU, I loved it.

But as a long time reader, I couldn't help but feel that there was a wonderful Bronze Age patina to the whole issue. Maybe DC shouldn't be aiming their books at people of my age, a nearly elderly age bracket. There is no denying that there is something classic about this. And that is what #Rebirth was supposed to be about, getting back to the classic feel of these characters that have made them lasting.

Writer Dan Jurgens has a great handle on Lois, showing her in all her glory. She's a fierce investigative journalist. She's brave. She's willing to dust her knuckles if she needs to. And it is all in the name of truth, justice, and the American way.

The art is split between Patch Zircher on the Lois/Clark pages and Stephen Segovia on the Superman pages. Both artists put nuances into the pages to really make then visually engaging and complementary to the story. Great stuff!

And while I am a fan of Crisis #7 homages, I think this cover by Gary Frank  is the third in three months! From Doom Patrol to Superman to Action Comics, these are getting to be like ants. 

On to the issue!

Review: Super-Woman #2

Superwoman #2 came out last week and was another dense, meaty read by writer/artist Phil Jimenez. If there is one thing you can count on from a Phil Jimenez, it is that you will get your money's worth. Between running subplots, inset panels, amusing side scenes, and incredible characterization, Jimenez seems to squeeze two comics worth of story into one. And in this day and age of decompressed storylines, it might even be three.

This isn't an easy task. Superwoman is a new character. Sure, it is Lana Lang. But this is a conflicted Lana, struggling with anxiety, depression, and a new power set which seems to be killing her. Jimenez needs to build up the supporting cast surrounding her. She has to be plugged into the greater Superman universe of books. And there has to be a story, with villains and conflict. This is no simple task.

And oh yeah, let's not forget that this book was marketed as a Lois book only to have Jimenez pull the rug out from under us at the end of last issue. While I actually liked the ending - I was utterly surprised, and that isn't easy to do - I can imagine that has turned off some readers.

But for me, this book continues to impress. In Superwoman #2, we get a harsh fight with a Bizarro clone, the addition of several well-known Superman characters to the supporting cast, some staggeringly powerful character moments, a couple of chuckles, and a great villain reveal at the end. And this is with my not really liking the whole 'my powers are slowly killing me' plotline, one of my least favorite themes in comics.

And while all of this has been about the story, I'll add that Jimenez continues to shine with art as well. Just brilliant.

On to the story.

Review: Convergence Man Of Steel #2

Anticipation and preconceived notions are double edged swords. For comics (and really any medium), they can fan the flames of ardor, making passionate fans that much more eager to read a book. But when expectations are high, they are often not met. And fans who have been chomping at the bit might feel crestfallen or underwhelmed.

I had high expectations for Convergence Superman:The Man of Steel. I have fond memories of the Reign of Superman era, a time when Superman mattered and creativity was high. There was a 'bring the band back together' feeling of writer Louise Simonson and the Steel character. And we had covers from Walt Simonson and internal art by legend June Brigman. I was ready for something special and spectacular. Even with Gen13 around, a group I don't care too much for, I was ready.

Unfortunately, this book was sort of pedestrian, a simple slugfest with a couple of nice moments. And so, I will share the nice moments and a couple of key plot points.

Last issue ended with Steel being paralyzed from a battle which included the repowered Parasite and the Gen13 who were heeding Telos' command to fight. Steel's niece and nephew, Natasha and Jem, decided to join the fight, donning armor they had put together on their own.

John Henry had significant guilt for trapping his family with him in this city. And that guilt has plagued him. He has tried his best to keep them and the whole city safe.

Like many times in comics, from tragedy heroes can be born. This spurs the brother and sister to once again put on the armor fight Gen13 and the Parasite. They have to take on the mantle of protector.

 And, no big surprise, John Henry wakes and demands that the experimental nanobots get injected into his body. We saw the family cat become a Warlock style feline last issue.

There isn't time for anything else. These are desperate times. Dr. Hamilton does what he is told and pumps Irons with the nanites.

We all knew this was going to happen right?

 We get several pages of Gen13 skirmishing with the Parasite. Finally (and maybe implausibly),they combine their powers to defeat him.

One thing I liked was the acknowledgment that a year off from using their powers has made them rusty. I took some time to feel the beats again, to learn to fight like a team.

 But there is no time to rest. The Steel twins decide to attack while the Gen13 team is winded from the Parasite fight. In reality, Gen13 has serious powers and the twins a sort of bargain basement Iron Men.

In fact Gen13 is about to deal some possibly lethal damage to the two heroes when Steel, now sort of organic metal man, arrives.

Just like the Gen13 needed time to get into team mode, it takes some time for their leader, the genius Kaitlyn Fairchild, to start thinking like a leader. She wonders if they are doing the right thing by simply following Telos' orders as opposed to thinking things through.

I love Brigman's work on faces and expressions. That lower panel is gorgeous.

After a couple of pages of a melee best described as a stalemate, Steel decides it is time to step up as a leader and hero.

He asks everyone to stop fighting. Maybe his nanotech control, based on the dome technology, gives him an advantage against Telos. Maybe everyone can team up and win instead of fighting to the death.

As the elder hero, the role model, it was a nice moment for Steel. He was, after all, the 'heart of Superman' when he first arrived. He should be the one trying to calm things down.

Now one of my problems overall with Convergence has been the lack of stability and continuity even among the mini-series. What are the rules of this tournament? How does one win? Is Telos even watching? In some mini's, one champion has been chosen to fight another outside city limits. In others, it is a free-for-all.

Here, despite no battle happening, the Gen13 crew is whisked away by ... something. And Steel just stands there wondering what it all means.

I am wondering what it all means.

This wasn't a particularly great look back at Steel. It wasn't a particularly good story. It doesn't seem to impact Convergence at all. It simply is.

And when you are an average comic that I had super-high expectations for, you feel below average.

Overall grade: C-

Review: Convergence Superman:Man Of Steel #1

When Convergence was first announced, I thought it was a silly idea to bridge the temporal gap while DC Comics moved offices.

When the titles were first announced, I was thrilled. These two issue mini-series would be a chance for me to revisit some of my favorite characters in their prime.

After reading a couple of weeks of series, I think I am going to end up falling somewhere between silly and thrilled.

And Convergence:Steel is probably the poster boy of that sort of regression to the mean. This is John Henry Irons, inspired by Superman to become Steel, and training his niece and nephew Natasha and Jemahl. This book is written by Steel legend Louise Simonson. And it is drawn by another comic legend, June Brigman. It has everything going for it!

And yet, this story is sort of a middle-of-the-road, sort of pedestrian issue. Yes, I get Irons in the suit, fighting villains, and trying to protect his city. But I also felt like Simonson might have been trying to stuff as much Steel mythos as she could into the issue and that may have diluted things. So we see Natasha, Jemahl, Professor Hamilton, and Bibbo. But that's a lot for 20 pages while having to move the Convergence story as well.

It starts out great!

I mean this is a classic opening splash page with Steel flying into his lab, hammer in hand. Just fantastic.

And, most interesting for me, Steel has his 'powers' under the dome because he is tech based. Only biological powers are muted by Telos. So Steel can operate, defending the town.

And there are Steel's supporting cast: Natasha, Jemahl, and Professor Hamilton.

It was like the late 1990's all over again!

Unfortunately, other tech-powered individuals have their powers as well. That includes Team Luthor scrubs acting as rogues around the city.

Now there is a bit of comic luck to move the plot along. Two rival Team Luthor rogues who are battling each other just happen to crash into the IronWorks lab. Steel follows them out to try to stop them from wreaking too much havoc.

Of all the places to crash through! Maybe a bit too much comic book 'luck'?

I do like that we have seen in a number of books that the inhabitants have been experimenting on the dome in hopes of breaking through. In Steel, Hamilton has somehow extracted some of the techno-organic nanobots which power the dome.

Now I don't know what he is hoping to do, but he injects the nanobots into the pet cat. They bond to the kitty who becomes something of a cat version of the X-Man character Warlock.

Trust me, this is going to follow Chekov's gun rule. If you see techno-organic robots in act one, they'll be bonded to someone important in act three.

Behind Steel's back, Jemahl and and Natasha have made their own armor and fight crime as well. After all, Steel can't be everywhere.

But doesn't this seem like a stretch even for comics? John Henry wouldn't have noticed this? Either the creation of the suits in his factory or them sneaking away? The Metropolis news wouldn't cover these guys? 

Now I know Natasha has donned armor in the past. But has Jemahl?

They head to Bibbo's to break up a minor skirmish. And just at that moment, the dome drops.

It turns out that one of the barroom brawlers was a depowered Parasite! And he suddenly has his powers back!

Now I liked this turn a lot. If all of these superheroes could be captured under the dome, why not villains?

And then even more stuff gets added to the mix. It turns out that Telos has sent Gen13 to fight Steel for survival. And then Natasha and Parasite show up to make this a big old mess.

One of the things that bugs me is that DC has yet to really explain the 'rules' of this tournament. Is it all the heroes in a city (like here and Superboy)? Is it a 'champion' like in Batgirl? Do the readers vote? Because all of Gen13 fighting Steel seems like a mismatch. Heck, Fairchild alone might give him a good fight.

With the Parasite draining people and Gen13 out for blood, a true melee breaks out. And Natasha almost gets killed until John jumps in the way of a Gen13 double blast. The armor gets gets shattered and his spine gets pulped. While John survives, he is paralyzed ...

Oh wait ... we saw techno-organic nanobots merge with an organism in act one!!

So overall this was a fine if maybe overly stuffed issue. Between all the characters and all the plots, this felt a bit too busy. Maybe I wanted to get more John Henry and less of these others. And frankly, I have little use for Gen13.

Still, this wasn't a bad issue. I was entertained. It was good to see these characters again. Simonson captures everyone's voices nicely. Brigman's art is solid and classic. But I wonder if this story would be better served with three issues instead of two.

Overall grade: B

Review: Action Comics #38

Action Comics #38 came out this week and is brilliant. I suppose I could end the review there.

But it is worth a closer look for many reasons, so settle in for my usual style.

I have complimented the creative team of writer Greg Pak and artist Aaron Kuder since they came on board this book. Sure, Doomed was something of a speed bump. But when left to their own devices, the two have shined, with art/story complementing each other perfectly, all while bringing a more classic feel to Superman.

As I said in my review for last issue, one thing which has made this run spectacular is the strange locales and themes of the stories. From subterranean kingdoms to ghost armies to this pure horror set up, Pak is putting Superman in weird situations. While it means we are away from the Planet and Metropolis, the stories feel fresh. Superman isn't used to this sort of stuff. And I'm not used to Superman dealing with this stuff. It has kept me riveted.

These arcs have allowed Kuder to stretch his legs a bit, with wildly imaginative character design. Add to that creative panel designs and artistically this is a complete win!

Specifically, this issue ramped up the horror significantly. This issue creeped me out. From the visuals to the words, this is Lovecraft meets Cronenberg meets Dali. Throw in the revenant Kents and the destruction of the Kent homestead and you have physical and psychological terror!

To quickly recap, Smallville is bathed in a fog which is keeping everyone in the town while not letting anyone enter. Superman, inside, is struck by a mix of oddly peaceful townsfolk and slime monsters and zombies.

The book takes a bit of a leap from last issue where Superman was in costume and facing off against a monster possessing Hiro. This issue starts with Clark waking up in a corn field. It is a jarring leap from a cliffhanger to non-resolution. But this Smallville is such an nightmarish place who knows what is real or not.

And Kuder does such a wonderful job relaying that to us as readers. Awake, Clark hears Lana screaming for help and races to save her from the Kent farm, which is ablaze. I rarely post a whole page but this one works perfectly.

The first panel is Lana up close, stretching for Clark, her hands warped and fingers stretched, impossible anatomy emphasizing how hard she is reaching. Then we have three panels of Clark being unable to get there because the hall keeps elongating. Clark shrinks in size and importance in the panels. We have all had those nightmares.

And then we get the last panel with Lana small and engulfed, as if she is rapidly pulled away from us. Those bookend panels of Lana with the Clark sequence in the middle is perfect.

And it followed up by this fantastic splash of Superman screaming Lana so loudly that the word overlays the face. This isn't a word bubble. This is primal.

Look at the prior page though. The entire sequence is of people getting progressively smaller. So as a reader we are sort of set up to be even more thrown by this extreme closeup. This is the sort of true art that makes this title a must read, top of the pile book.

Inside the Kent house, Clark hears voices which turn out to be the Kents, raised from the dead and attacking Clark's resolve.

Yeesh, these things are frightening. Decaying, sunken eyes floating in sockets, in their burial clothes ... brrrr.

Their words are terrifying as well. These aren't the Kents. Attacking Clark, saying they were frightened of him, secretive around him ... this is a psychological attack on Superman while he is surrounded by the nightmarish landscape.

One thing Pak as done is brought back this classic sense of Superman as a good person, raised right and taught to help people. So I love how he simply dismisses these words as attacks. But the beauty is the subtle change in those lies text boxes. The first one, small font and Superman symbol. The next, no Superman symbol, bigger font - this is Clark responding, not the superhero. And then the last one, bigger font again, as if Clark's resolve is growing.

Superb.

Still the Kents are saying things only the 'real' Kents would know.

Before he can truly wrap his head around this, Lana reappears, the Cthulhu-like monster from last issue draped on her.

This is beautiful in its ghoulishness.

Attacking the monster seems to hurt Lana who again fades away. And with Lana gone, the puppet strings are cut, the Kents drop to the ground.

Brrrr....

Things get even wonkier.

Speeding around to investigate, Superman runs into Steel, Hiro, and the Smallville elders.

First off, most people - including Superman - seem to have one of these monsters attached to their backs, like some sort of psychic leech. (You can't tell me that this thing isn't based on Lovecraft.) And these things feed on fear. I suppose making Smallville into a disturbing place makes it a buffet.

And the Smallville folks who are calm? Well, last issue I thought they were part of the problem. Turns out they might be part of the solution. These good townfolk have been blessed with psionic powers by Brainiac. Realizing that a rift is open from the Phantom Zone, that these beasties have crawled through, they used their new powers to isolate Smallville.

I suppose I am the trusting sort. I think they are telling me the truth.

These fear demons are seductive creatures though. They make their victims, those they possess, feel pleasure when they are terrified. The victims want to feel more fear, feeding these nightmares.

Look at this page!

I love the rendition of Lana here. She looks elated, sitting on a throne while wallowing in pleasure. But she also looks unnatural, her head lolled back as if spineless, a blank stare on her face. And she is surrounded by the most bizarre squid-like things I have seen. That's just unsettling.

Okay, I think you can tell I liked this issue.

Horror needs to be ... well ... horrific if it is going to work. And this book, from the monsters to the acceptance by the victims, is horrifying. And throwing Superman into this mix, a place he is going to be as unsure of himself as normal people gives this a fresh feeling. If this was DC Comics Presents, the Spectre would guest star. Instead, Superman is all on his own.

Pak and Kuder continue to bring it. Wonderful issue.

Overall grade: A

More Convergence Titles ... Including Matrix

We just learned about the February solicits for DC but the real news came about Convergence, the two-month rest period of the DCU while the company moves from the East Coast to the West.

These books aren't in current continuity and merge prior continuities into wild team-up stories. Like most, I thought this was something of an odd idea for DC. They can't keep the regular titles on track?

But I will admit, some of the titles have been interesting. And it has been wild to see Supergirl turn up in so many. Here is a link to the latest convergence books to be announced: http://www.newsarama.com/22755-dcs-convergence-week-two-kingdom-come-clashes-w-90s-superboy-supergirl-connor-hawke-more.html

And here are the ones that caught my eye.

SUPERGIRL: MATRIX
Writer: Keith Giffen
Artist: Ramon Bachs, with color by Hi-Fi
What do Supergirl, Lady Quark, and Ambush Bug have in common? Well... nothing really. But that didn't stop us from sticking them in a story together. You are SO welcome.

So many people know that I like the Matrix Supergirl, especially in the post 'Death of Superman' years. In that story, she kind of found herself and became a hero. And then Peter David's wild run happened and things were great.

I wonder just where in her personal timeline writer Keith Giffen is going to place this crazy story. I will admit to being a little worried. The simple fact that Ambush Bug is in the book means this is going to be a humor book or a parody. And I don't know Giffen's thoughts on any Supergirl ... but my gut tells me he doesn't like her. I hope the tone of this book isn't one bent on ridiculing her. 

I do like Ramon Bachs art!

SUPERBOY
Writer: Fabian Nicieza
Artist: Karl Moline and Jose Marzan Jr, with color by Hi-Fi
Has Kon-El earned the right to be the man of steel? Kon will have to prove his mettle in battle against the Superman of Kingdom Come! But what if the only way to save Metropolis is to lose the fight?

It will be nice to see the old Superboy again. Like the old Supergirl, his character also grew a lot over the years.

But fighting the Kingdom Come Superman? Where the heck did that come from?

SUPERMAN: MAN OF STEEL
(Writer: Louise Simonson; Artist: June Brigman and Roy Richardson, with color by John Rauch)
Metropolis was taken when Superman was missing, so it’s up to Steel to guard the city from the heroes of GEN13 in his absence. 

And then, the solicit that most excited me.

I guess you can go home again. It is good to see Louise Simonson writing Steel one more time. Add to that June Brigman art and this looks like the book that I am banking on being excellent.

Still ... did this whole thing need to happen?

Review: Action Comics #35

 

Superman Doomed is over! Or is it ...

Action Comics #35 came out this week, labeled as a Superman Doomed Aftermath and is such and up and down issue that I feel completely torn about the story it tells. Settle in. This is a long review.

Greg Pak has been a welcome change to the Superman creative teams and his earliest issues with artist Aaron Kuder simply crackled. Back then it felt like Pak walked on to Action, removed all the gunk and tarnish that had been heaped on Superman since the inception of the New 52, and put this glowing polished character back on a pedestal. He got Superman. Here was a Superman, remembering lessons from Pa, battling to save all life, and enjoying his pursuit of truth, justice, and the American Way.

And Pak also got points from me for bringing back Lana Lang as a strong, independent, highly intelligent character. Lana was inspired by Clark to go out, explore the world, and do good as best she could ... an everyday hero electrical engineer.

Then Doomed happened and suddenly the Super-books entered the maelstrom of Doomed. Suddenly the unique feeling of the title sort of slipped away. With the crossover finished, I thought we would get back to Action. And in some ways we did.

We get a great Supergirl. We get a fantastic Lois. We even get some good Superman. On top of that, Pak begins excising some of the metastases of Lobdell's run. Hurrah.

We also get a bitter, disillusioned Lana. And a snarky Batman. And some bad Superman too. All of these feel like steps backwards. 

The art is split by Scot Kolins and Vicente Cifuentes. Kolins art here looks much more fine and sleek than I am used to seeing from him recently. And Cifuentes has an Eddy Barrows feel to him. So the book looks beautiful.

The book starts with a bearded Clark, sitting in his apartment in the dark, typing away at a piece called 'Who needs Superman, anyway?'

You can tell the tone of the issue just from this. Clark, bearded as if in mourning, wallowing in the darkness, steeped in self-pity and hatred.

So Pak throws us a curveball. After months of Superman fighting endlessly, tirelessly we see him suddenly beaten down. And this after saving the universe!

We skip back in the recent past. Superman, battered, bearded, returns from deep space where he (as Super-Brainiac-Doom) threw Brainiac into a black hole. It has taken some time to fly back to an Earth that he is unsure even survived. 

As he enters the atmosphere, a WayneTech satellite blasts him with Kryptonite energy. 

Finally, falling to the planet, he is met by our first bright spot of the book. Supergirl!

She streaks up to him, carries him to the ground and comforts him. And she sounds downright heroic. Yes, 13 thousand died. But billions ... heck the universe ... was saved. She flies him around the planet, showing that everything is basically intact.

But there is bad news, some of which was welcomed by me as it cleans things up a bit.

The phantom zone projector, an overused device in recent storylines, imploded during the action. It took a chunk of the Fortress with it including the intergalactic zoo, Non, Mongul, and Xa-Du. It also got Kandor. And it got Shay Veritas.

So let's go down the list.

Kandor going missing seems premature as we hadn't really seen much of it outside of Morrison's run. That said, Lobdell had the Kandorians awaken from their suspended animation. (Remember that plot point ... never addressed in Doomed??) Maybe Pak just wanted to remove that remnant of Lobdell completely.

Xa-Du had escaped in Doomed (remember that dropped plot point?). So don't know why he went back to the Zone (although Supergirl says he is 'missing'). Mongul and Non getting trapped isn't a big deal.

But ... wasn't Wonder Woman IN the zone? Weren't Batman, Steel, and Lana IN the Fortress? How did they escape.

And ... this is my big gripe ... isn't Shay Veritas stuck in The Block, in the center of the Earth? Her presence in the Fortress was just a hologram ... right? So how did she get grabbed.

I liked Veritas and thought she was growing a bit as a character. Sad to see her go and hope it isn't for too long.

Less than 100% in power given how much it took to get home, Clark decides to investigate the aftermath of the Doomsday/Brainiac attack. He reboots the Fortress AI, knowing that will 'heal' the place and decides to see if any danger still lingers. He tells Kara to meet him back at the Fortress in 40 days (a very biblical number).

And he decides Smallville, the first city to go comatose, is a good place to start his investigation.

One thing I have enjoyed about Pak's run is his revisiting a key moment in Clark's childhood. When Clark's heat vision first fired, Pa actually ran to him, hug him, love him. He didn't run in fear. We have seen Pak revisit this moment a few times, again here.

The bottom line is Pa thought Clark's presence was a gift. Not a curse.

It is a lesson I thought Clark had learned.

Just when sweet nostalgia is about to overwhelm Clark, he runs into Lana. Initially it seems like a nice reunion. But then Lana drops this bomb.

She is upset at Clark for not being able to save her parents, one of the 13 thousand who perished. He shouldn't have missed them in his efforts.

Lana seems downright bitter about the whole thing. How could Superman not save her family?

It seems so odd given everything we have learned about this Lana. She is the one who has traveled the world, into the stars, trying to save people. She has used Clark as a role model to reach out herself. It just seems beneath her to blame him. Maybe it is transference since she herself wasn't home to save them?

And it comes on the heels of her telling Clark to kill Brainiac last issue.

Where did the Lana from the early Pak issues go?

Picking up on the vibes from the Doomed issues, we learn that Lana and John Henry Irons are now romantically involved. And they are in Smallville helping the community pick up the pieces.

Suddenly, Clark doesn't feel needed in Smallville. Other heroes are here. So he leaves.

Then he goes visit Batman.

And Bruce is completely a jerk. He K-scanned Superman before entering the world to make sure there was no Doomsday spores. And Bruce feels that the world (and it is implied by the stern look in the second panel that he also) blames Superman for the badness that happened in the world.

Why?

Why does Bruce and the world feel that way?

Superman was almost a non-factor in Doomed, controlling the infection, leaving the planet, attacking Brainiac's ship when out of control. And ... let's not forget ... SUPERMAN SAVED THE DAY!

Bruce was right there! In Doomed he talked about being inspired by Superman! He was the one who knew Superman was the only one who could save the day! Why the reversal?

Ugh!

At last ... AT LAST ... there is a voice of reason.

Clark actually posts his 'Who needs Superman' article on his blog and Lois comes to confront him.

And this is pure Lois. I love that she is the only one who has the nerve to tell Clark that his beard is ridiculous (everyone else compliments it).

And she tells Clark flat out he is wrong about Superman. That Clark doesn't understand Superman. And that if Clark is going to 'click-bait' then Lois is going to battle him. She calls it a war.

"I feel like I've lost and found my best friend in the same instant." Great line.

Of course, the memory of Clark's secret identity is gone, another erasure from Doomed. 

And then we read Lois' response. Yes, she could easily point out that other super-heroes ... inspired by Superman ... have picked up the slack while he was gone. (She includes Supergirl! With a nice shot of Kara saving a child!)

But really she wants Superman to come back and see how humanity has pulled together.

This reminds me ... and should remind Clark ... that his feelings, his ethics, his need to help people were lessons learned from his Earth father, from his human roots. Superman inspires humanity. But it is humanity (like Pa) that inspired him to be a hero.

I am thrilled to see Lois back in a Superman comics acting like Lois, without psionics, kicking butt. And it is a great response. Hey Superman, how about shaking off the ennui, self-pity, and emotional doldrums and be a hero?

We don't see Clark's response to Lois' words because instead we see Lana's response.

And frankly, her response sounds completely out of character from everything we have seen from Lana since her return to the book.

"And if you keep saving us, we're going to get weak."

Does that sound like the woman in the sinking oil tanker who ran into the flooded engine room? Does it sound like the woman who cobbled together an electricity gun to fight subterranean monsters? Does it sound like someone who took off into the stars? Has she acted like someone who passively waits to be saved? Who would tell Clark to stop being heroic?

I can only hope that this is a play off of her first lines here. Maybe this is self-loathing transferred to Superman. We'll see. Because this doesn't sound at all like the Lana I have loved this last year.

We end with a zombie-like cliffhanger. 

This was really an up and down issue.

We have a number of Doomed elements cleared from the decks, some in odd ways.

I love Kara, Lois, and Superman.

And I don't love Lana and Superman.

Overall grade: B-

Review: Action Comics #33

Action Comics #33 came out this week, the next chapter in the Superman Doomed storyline and first part of the Superdoom section of the arc. And after reading this issue, I was torn as a reviewer.

Because there were parts of this issue that I liked very much. I am enjoying the growth of Lana as a tour de force in this title. I like the ongoing 'what would Superman do' that characters keep falling back on as a moral compass. I was impressed with Pak's writing of Superman's internal monologue, holding back the demon inside him. And I was glad that we finally some progress in the Lois/Smallville plot (including a great cliffhanger).

Most of all, I loved Aaron Kuder's art ... a whole issue's worth ... with great character moments, high action sequences, and the most monstrous of Superman/Doomsday I have seen yet.

But ...

I can't get around the odd characterization of Supergirl in this issue, markedly different that what we have seen Charles Soule write in Red Lanterns, which was different than her recent appearance in Superman/Wonder Woman (surprisingly written by Soule as well), which has been different than the way Tony Bedard has written her in the last issue of her own title. It just seems that maybe no one is reading the other's Kara. Here, she is portrayed in a way I worried she would be portrayed when she was given the red ring. It just stuck out.

And there are some other minor leaps I have to make to hold this issue's plot together.

Still overall, I think the good outweighed the bad.

The townspeople of Smallville have fallen into comas. But their brainwaves are being transmitted into space. With this information added to the mix, Steel brings his spaceship to the town and, with Lana, blasts into deep space to track the signal.

I love that Lana is portrayed as caring and strong and pro-active. She climbs on board, eager to help, and armed. And she knows that Superman would crush the drones trying to stop them from leaving because this is a just mission.

And I love the last panel, so much said by Kuder with that smirk.

But ...

Why is Steel so interested in the Smallville dilemma. Superman's connection isn't known. Why does he allow a civilian like Lana join the mission? She is an electrical enginner, not a super-hero. And her connection to Superman isn't known by him either. It isn't like he knows who Lana is to Clark ... at least I don't think he knows. Maybe Diana told him about Lana's secret phone?

And lastly ... why is America's government trying to shoot down Steel? Why must the military be portrayed as a villainous group?

And then we get an absolutely bizarre scene with Supergirl. Remember, just last month (LAST MONTH!) in Superman/Wonder Woman #9, Supergirl flew to Earth to try to stop Superman, worried about the monster he was becoming. She attacked him!!!

Here Pak has her impish, devilish, and reveling in her rage. As Superman streaks out of the solar system, Kara catches up at him. She tells him he needs to learn from her and get in touch with his rage. He says he never should have left Earth. She says he is magnificent. And then she cuffs him one.

That outlook on Clark is the exact opposite of what she was saying and doing JUST LAST MONTH!

Her smiling and exhilirated by her red ring and rage is extremely different than the weight she has felt by the ring in Red Lanterns and her own book.

Now Kuder draws her wonderfully. She is alive and vibrant, with a creepy smile, all consistent with a vomiting, happily angry Red Lantern. But that hasn't been Kara either.

She flies ahead, leading Superman to a place where he can put his rage to some good use. A moon colony is about to be destroyed, killing the populace. Maybe he can do something to help the people evacuate, or maybe even save the place.

But before she can say more, she flies away ... back to Earth.

Where I assume she will revert to the young hero hoping to rid herself of the ring and become a hero.

This characterization is just jarring, in stark contrast to the last few months of development in Kara.

Still, look at that Kuder art. You can barely recognize Superman. And Supergirl is insane looking, laughing at the impending destruction, bathed in an eerie light.

It turns out that there is a sort of Galactus Jr. character in the DCU called Harak. His hunger ... his curse ... is to consume planets.

I do like that he seems to have some nobility about him. He warned this place a year earlier that he was eating their world. He doesn't simply arrive, killing everyone.

Holding back the Doomsday rage for a bit, Superman is able to physically assist the escape ships into space. And with the innocents safe, there is nothing to keep the growing Doomsday anger in check.

He demonically smiles and attacks Harak.

In a very nice 2 page splash, we see the enormous, spiked, Superdoom attack. I mean, his fist is basically the size of this normal humanoid. You can barely see any Clark-ness in him. And this punch is so strong it shatters the moon he was trying to save. (At least I think it shatters the moon.)

Big moments deserve big art. And this seems to be where the fulcrum tips, where Doomsday begins winning over Superman's mind.

The moon shattering leads to debris flying into space, endangering the escape arks.

In one of my favorite moments in the book, Clark has an internal conversation with Doomsday himself. No whether this is a monologue where Clark is debating the two halves of himself or if it is literally a possession by Doomsday I am not sure. And neither is he. It is fascinating.

Could this mean that Superman can somehow exorcise Doomsday out? Split himself into the normal and abnormal parts? Is that the answer? And not a Krypto inoculation as I thought? It actually makes more sense than canine super-sera.

I also love Doomsday's taunts. A 'Kent-sized ball of tears and fluff'? Fantastic.

Indeed, Superman takes the advice, accepts who he has become, and uses the Doomsday death/entropy field to shatter the debris and save the ships.

But he has now crossed over.

Flying in deep space, following those brain waves, Steel's ship picks up the Doomsday energy signature. And suddenly, the duo has a philosophical conundrum. Do you continue the mission and save Smallville? Or do you turn and save Superman.

I love that Lana asks herself what would Superman do. And maybe I read into these things too much but the panel works so well. She is split ... torn ... about what to do. And Kuder showing me half or her emphasizes it!

The brain waves going out are now receiving a signal going back to Earth. Somehow Lana deduces this is some coma-signal ... and it is aimed right at Metropolis.

When Lana tries to communicate with Metropolis to warn them, Lois picks up. A very Brainiac'd Lois.

It is suddenly clear to Lana that Lois is part of the problem. How can she be awake if everyone else is in a coma? Is that why Lois scared the public about Superman ... to drive him away.

Now will we ever get an explanation about why Smallville was the start? Or how she got her powers back? Or why she doesn't seem to know Clark is Superman despite these amazing powers?

Still, Metropolis being threatened is a big deal and probably will bring Superman/doom back home.

At then Lana and Steel see what is riding the coma wave back to Earth.

Cyborg Superman! And squidy-looking Brainiac probes like something out of The Matrix.

Now I suppose any good Doomsday story has to have a Cyborg Superman in it. But I am still pretty depressed that this Cyborg is Zor-El. This is an excellent cliffhanger though. And beautifully rendered and colored splash page, also worthy of big art.

Unfortunately, it also means that for another issue we have no update on what Xa-Du is doing. Where is he? Is he cooperating? Who is watching him?

So overall an up and down issue. Most of my criticism is leveled at the portrayal of Supergirl, incongruous with the last three months of her story.

But the Doomed plot progresses. We have a great cliffhanger. And Aaron Kuder's art is stunning.

Overall grade: B