Boston Fan Expo Recap #1 - Tyler Kirkham Commission plus Lee, King, & Orlando

This last weekend was Fan Expo Boston, the beginning of my convention season. I have been anticipating this con greatly because of the depth of the comic creator guest list that was coming and I wasn't disappointed.

From a commission point of view, I knew that this was going to be a light con, maybe two commissions. And my number one target for the day was Tyler Kirkham. Thankfully, I was able to land on his list and get a sketch.

I also knew that this was going to be the con where I would go the extra mile to make sure I met Jim Lee. I had the opportunity a couple of times prior but passed when the lines became too long. This time I spent a bit more to guarantee a brief interaction.

And the list of other creators that were present is a bit too long to regurgitate. I'll touch on John Byrne and Bob McLeod in recap #2. But it was great to meet Steve Orlando, Sam Humphries, Greg Land, and others there. And I also got to run into Tom King, Clay Mann, Peter Tomasi, and Frank Quitely again.

The one thing I have to say is that almost every creator had some charge for signatures. Often it was 2-3 for free but then $5 after. Some where every sig was $5. Some were $10. It has made me change my approach to pulling books for sigs which is kind of a shame. I understand their side of the financial equation as well.

The last day was a family day where the two youngest Supergirls joined me and were able to meet the cast of Steven Universe. They had a great time shopping for themselves and friends. 

So overall, a very good experience. Up next, the Kirkham commission!

Fan Expo Boston Preparation

Okay, we are moving at light speed towards my conventions season. I am lucky enough to have a several conventions be close by over the summer months and each con has a distinctly different feel to it.

The first con is Fan Expo Boston, formerly The Boston Comic Con. Last year was the first time Fan Expo was running the show, purchased from the local organizers. As a result, last year had a very corporate feel to it. It was moved to a bigger venue, one with free parking, and had more celebrities on the guest list. But it lost a little bit of the 'true comic con' homey feel the prior incarnation did. The comic guests seemed like a tack on rather than the draw.

Now I'm not complaining. I have Terrificon coming up to give me the true comic feel. And I don't mind experiencing a more business-like con here because it is probably the closest I'll get to San Diego.

This year's comic guest list is very impressive. Perhaps last year's success was enough to lure some big names. So I definitely have people to run and see. I also have a couple of commission hopes. So with all that said, here is my Fan Expo Boston con prep post.

Action Comics #1000 Supergirl Covers

It's truly amazing how quickly the comic landscape can change.

To think, just a couple of months ago I was complaining that DC was putting out 4 Super-books in the same week.

And now, this week, there isn't one super-book on the shelves! The arrival of Brian Michael Bendis is the equivalent of a creative earthquake, shaking everything up. Add to that the delay for Action Comics #1000 and you have a week without a super-family book.

It's kind of sad. Everything really seemed to be clicking, didn't it?

Of course, Action Comics reaching 1000 issues is a truly historical event in comics. And DC is taking full advantage of it by pumping out variant covers which are available not only at comic stores but also at specific companies.

And I reluctantly admit that I ordered a couple. First from Buy Me Toys (http://buymetoys.com/catalog/) is this Artgerm variant selling for $14.99. How could I refuse such a great cover showing the super-cousins in flight together. They are super-iconic in their pose. I love that Supergirl's costume is a shade brighter blue than Superman's. I just love it.

Review: Super Sons #12

Super Sons #12 came out last week, the final part of the Super Sons of Tomorrow. To be honest, I am muddled in my thoughts about this storyline. I feel like I should like it. And maybe taking a big step back and thinking about the main themes of the story, I do. But a lot of the details that moved this story along seem off to me.

Writers Peter Tomasi and Patrick Gleason basically use this issue as an epilogue of sorts, looking at the fallout of the prior chapters, seeing how these events affected the characters involved. In that way, this issue is fascinating. It is an in-depth look at how fragile some of these heroic relationships can be. And I suppose this story gave us back Cassie, Conner, and Bart ... at least briefly.

But we also got another warped future version of a character I very much like. Tim Drake as the addled 'Savior' is not an idea I can easily get behind. Seeing him want to kill a future Superboy because Jon kills a bunch of people is not an idea I can get behind. The fact that Jon has a Solar Flare is not an idea I like at all. Seeing Tim Drake somehow absorb that energy, gaining access to Hypertime and not being incinerated is odd. So the devil sometimes is in the details. Those were the foundation blocks of the arc.

What I can get behind is Tyler Kirkham on art. Kirkham's work just crackles for me. He has been something of a pinch hitter on a number of books I read in the past and has worked on the Super-books more recently. I wish he would just get a monthly book because his stuff is gorgeous.

On to the book.

Review: Superman #32

Last month, Superman #31 shined a bright spotlight onto Lois, showing how she works as she tracked down Deathstroke and got the mercenary to open up about his life as a cold-blooded killer. It was a fantastic issue giving Lois fans a story they could sink their teeth into, something that has been pretty rare in recent years.

Superman #32, from the same creative team of writer James Bonny and artist Tyler Kirkham, continues that story but shifts the focus back onto the Man of Steel. After an issue of her essentially being a hero, Lois slips into the role of damsel in distress, used as a prop to see if the Terminator can push Superman to an extreme action.

The story is fine with a nice little twist ending. The art is great. And had the first chapter not preceded this, I might have liked this more. But after Lois starring last issue, this felt a little flat for her. And, I will admit, the characterization of Deathstroke felt a bit more like Deadshot here and so that also felt a little off.

And that is kind of a drag because I loved last issue. Everything clicked ... Lois, Deathstroke, and Superman. This issue just felt like a step back. On to the book ...

Review: Superman #31

Superman #31 came out this week and was a huge surprise. Why? It was a Deathstroke story that I liked.

A brief history. I liked Deathstroke back in the earliest days. Okay, sleeping with Terra was completely creepy. But he was a guy with a haunting past. He was clearly deeply troubled. In the end in New Teen Titans when he has a sit-down with Changeling, he feels exhausted. And that was good.

Then, the 90s happened. And everything was extreme. And suddenly Deathstroke became the ultimate badass. He killed everything. He skewered people. He assassinated Firestorm. And he was everywhere.

Everywhere.

And that character archetype, the cool as the other side of the pillow, heartless killer? It doesn't work for me. And I am sure that in the 30 years hence, there are good Deathstroke stories.

So when I saw this story solicited I kind of groaned. "Let me guess, Kryptonite shuriken?" was going through my already bored mind.

Then I read the issue. I had never read anything by writer James Bonny, someone who has a chunk of Deathstroke on his resume. Suddenly this more complicated Deathstroke was back. Here was a guy that seems to be going through the motions of life, almost bored or mentally exhausted with his life of violence. And he has a little bit of honor. And he treats Lois with respect. In fact, this is a Lois story, not a Superman story. We see her at her finest. Brilliant.

Tyler Kirkham is on art and I have waxed his car before. His art is just so beautiful. His Lois is gorgeous and strong. The action sequences feel a little static but they portray a freeze frame of the battle wonderfully.

On to the book.

Review: Superman #30

Superman #30 came out this week and finished the side story of Superman battling Sinestro and Parallax. It is something of a free-for-all with all of the combatants fighting each other. This had the feel of a rest issue or an inventory story, a nice pause from the underlying plots that have been bubbling in the super-books while showcasing who Superman really is.

Writer Keith Champagne does a very good job of having Superman rise above and inspire. And this is especially powerful given he is surrounded by those who use fear as a weapon and fighting on the dead planet of Qward. If the Man of Steel can be a symbol of hope in those surroundings, he truly is a hero.

Champagne also gives us a great moment where we get to see Superman's fears. Despite his powers, Superman still can be afraid. And that sort of insight humanizes him, makes him the relateable aspirational figure he is. And his fears are fascinating.

The art is done by a trio of pencillers - Ed Benes, Tyler Kirkham, and Philip Tan. The styles are relatively similar so the issue unfolded well. There is a lot of wild, ring-slinging action that is sharp. And the colors by Ribeiro, Morey, and Gho sparkle as they lay out a dazzling array of yellows and gold.

On to the story.

Review: Action Comics #968

Action Comics #968 came out last week and was a decent middle chapter to the Godkiller arc. While the main thrust of this issue were the tremendous action sequences which pitted Superman and Alex against the crusaders of L'Call and his partner Zade against Superman and Lex, it was the smaller moments giving us some insight into the characters that I appreciated the most.

Writer Dan Jurgens certainly can write the big super powered sequences well, having the combatants slam there way through Metropolis. These are the sort of scenes that made me fall I love with comics to begin with. And artist Tyler Kirkham continues to bring his A-game, bringing a great energy to fights while also making sure his expressive work impresses.

But for me, it is the subtle character nudges that that made me want to read the next issue already. L'Call hints at an interesting back story. Jon continues to win me over with his exuberance and desire to jump into action. Lex continues to ooze smugness, reminding me he shouldn't wear the S-shield. And the new Clark again shows that maybe he isn't a mild mannered reporter but something more nefarious. These are the moments, more than the haymakers and body slams, that grabbed me.

I'll say again that Kirkham shines here. I love his Lois and his Jon. And there are a couple of panels where his art complements the words perfectly.

On to the book.

Review: Action Comics #967

Action Comics #967 came out this week and started the 'God Killer' storyline which focuses on Lex Luthor. When the #Rebirth titles were announced, I was worred when Action was labeled the Luthor book, the superbook where Lex would be the star. That hasn't been true. This is clearly a true Superman book, even if Lex calls himself that now. But while he isn't the star, Lex is basically a cast member of the book now. Gone are the days of Luthor attacking Superman now and then. He is a part of the machinery now.

All that said, this issue clearly focuses on Luthor and the ramifications of some of his recent actions. There is some mystery here, some new plotlines which had me stroking my chin. And we are again reminded of Luthor's history, the foundation on which his ethos is built. While Lex is in the spotlight, we get a lot of Lois here as well. Some 'Other Clark'. And some great Clark and Jon moments as well. Writer Dan Jurgens really understands these characters. These quiet scenes are my favorite part of the book.

Add to that the burgeoning threat of the God Killers, and this was a winner of the book.

Tyler Kirkham is back on art and really sparkles. There are several splash pages in this book, moments that deserve big art. But Segovia does a great job of using smaller inset panels on the non-splash pages to make sure the meatiness of the story moments is kept. And the art in panels of all sizes shines wonderfully.

On the the issue.

November 2016 Solicits

DC Comics' solicits for November came out last week and continued to build on the general optimism that Rebirth has garnered. While I have some questions about where things are going, at least books seem to be going somewhere. By month three of the New 52, I was already questioning the overall grim tone. Here, things feel different.

Here is a link to Newsarama's coverage:http://www.newsarama.com/30736-dc-comics-full-november-2016-solicitations.html

I have my usual quibbles. So read on!

SUPERGIRL #3
Written by STEVE ORLANDO
Art and cover by BRIAN CHING
Variant cover by BENGAL
“REIGN OF THE CYBORG SUPERMEN” part three! At last, Supergirl returns to Argo City! But when Kara Zor-El arrives back to her childhood home, a grim discovery awaits, courtesy of the Cyborg Superman! Supergirl must battle for the fate of not one but two worlds as yet another face from her past returns to stop her!

So a couple of things here.

One, I don't know if I will every get used to the sort of warped style of Brian Ching. Limbs seem thin and stretched. Everything is angular. I don't mind stylized art. I just think I will have to become accustomed to this look.

Next, it looks like Cyborg Superman has quasi-resurrected the dead on Argo City. In Supergirl Rebirth we learned from Lar-On that the soil of Argo had turned to Red Kryptonite.

It made me go back to look at what actually happened to Argo City in the New 52. Here was my post way back when:http://comicboxcommentary.blogspot.com/2012/03/argo-city-dcnu.html

So who knows if in the spirit of Rebirth that continuity will be forgotten. Or if the city didn't disintegrate in a blue sun. Or why Kara didn't get whammied by Red K back then. I suppose it is a sort of new world. We'll have to see how it all plays out.

Review: Action Comics 960

Action Comics #960 came out this week, the next chapter in the Doomsday story arc in this new Rebirth DC Universe. Writer Dan Jurgens continues to shine in this new world, bringing a great mix of action and plot progression, and character moments. It is hard to say just how happy I am to have Superman books on the shelves that I enjoy reading! The last couple of years I have struggled to find moments I enjoyed in the super-books while feeling that the overall arc isn't working. Now I get the best of all worlds.

Tyler Kirkham is on art again this issue and brings a wild energy to the piece. His panels all seem to be hand drawn to give a frenetic feel to the action. The action is well choreographed and there is a physical feel to it. His women all are doe-eyed, like Shuster's Lois, but there isn't anything pandering. How amazing that this book has such great artists - Kirkham and Patrick Zircher.

But the big thing about this issue is that it sparked a new theory in my brain about who Mr. Oz. is. I wish I could say why the idea came into my head. But there it was. And I think I may be right.

On to the book.

Review: Action Comics #959

Action Comics #959 came out last week, continuing the Rebirth arc pitting Superman and Lex Luthor against Doomsday. This issue is mostly a large action sequence with Doomsday and the Supers throwing down in Metropolis. But writer Dan Jurgens realizes this is a sort of new start for this set of characters. There are mysteries to unravel. There are emotional points that need to be struck. It is overall gripping.

Jurgens is a veteran on the super-books and he really seems to capture the voices of almost all these characters. I like Lois' internal monologue as she watches her husband again battle the creature who killed him. I also like how she manages to push her fears down so that Jon doesn't see her worry. I like Luthor's standard pomposity although there is a moment of humanity. I like Clark Kent's insistence that he is who he says he is. In fact, of all the characters in the book, Superman is the one who comes off a bit odd and I find that surprising.

Tyler Kirkham is on board as artist (he and Patrick Zircher are splitting up the pencilling duties here). Kirkham brings a bit of style and flair to the proceedings here. His Doomsday looks particularly monstrous, enormous and laden with spikes. I love Kirkham's expressive work too.

Overall, having read many stories where Doomsday and Superman punch each other for pages, I found myself getting a little bit bored with the throwdown and much more interested with the character interaction. Still, these new Superman books have hit the ground running. I am impressed.

Review: Batman/Superman Annual #2

Batman/Superman Annual #2 came out last week, a story which is more a Superman story than a Batman story, but also a story that feels more like a Batman story than a Superman one.

I know. That probably doesn't make sense. But writer Greg Pak gives us a story concentrating on the character of Superman ... actually Clark Kent ... and  Superman's core beliefs. But he sets that character story in an action story filled with Batman villains, fought on a street level.

While I have applauded Pak's prior stories where he has put Superman into odd environments, places where he doesn't feel comfortable, this one stretches even my ability to suspend disbelief. And as a result, this issue sort of fell flat for me. In fact, the best part of this book is the ending cliffhanger which seems like it will lead directly into the post-Covergence Superman books and their new direction.

The art is a complete hodgepodge of pencillers. Ian Churchill, Tyler Kirkham, Tome Derenick, and Adrian Syaf all contribute.

The issue is a direct continuation of the 'Superman's Joker' storyline from this book. That story ended, somewhat abruptly, with Dr. Xa-Du sent back to the Phantom Zone. We never really got a complete explanation of Xa-Du's powers. We certainly didn't see him display typical Kryptonian powers when he was freed of the Zone.

So I don't know if I should be surprised to see him have some mental telepathic powers from within the Zone. He decides to create 'an impulse' to find and kill Clark Kent, a telepathic seed planted within the minds of a handful of Batman villains.

Now in the Silver Age the Phantom Zone villains could rarely do this, and usually only when a number of them concentrated together.

As for Superman, he is back in the Bahamas ... one of the first places where the Doomsday virus cloud appeared. Somehow, another fog of Doomsday spores has appeared over the islands. Both Batman and Superman head to the threat.

Luckily he has a new power that seems built for stopping a problem like this. Unleashing the super-flare, Superman is able to incinerate the spores.

This is a nice use of his new power and further cements it as part the mythos.

But the side effect of that power is that it completely depletes Superman.

Powerless on the island, Clark tries to find some shelter. It is interesting for Pak to come back to this place because we see the devastation left from the first Doomsday attack. A large part of the island is in ruins.

Clark comes across an abandoned hospital and runs into people scavenging for food and medicine. It is clear these people aren't thieves or villains. They are trying to survive. As such, Clark is sympathetic to their issues and tries to join them and hear their stories.

These are desperate people.

Batman arrives on foot. The super-flare set of an EMP which shut down the Batplane. It will take hours to reboot.

And then, finally, the Xa-Du urge kicks in.

Man-Bat, Killer Croc, Bane, and Cheshire all arrive, intent on killing Clark. Batman demands that Clark sit this one out. He isn't equipped to fight assassins of this caliber. Of course Clark isn't going to let others fight his battles. He wants to join.

In a funny turn of events, right after this panel, we see Clark tied to a pole. If he won't sit out voluntarily, Batman will force him too.

What happens next?

Well the scavengers and Clark (who is freed) end up using the scraps at their disposal (fire, anesthetics, etc) to fight off Croc, Cheshire, and Man-Bats. It is almost too unbelievable. Man-Bats are a squadron of soldiers working for Talia Al Ghul. Cheshire is considered one of the deadliest assassins on Earth. Croc is an animal. To have them taken out by starving looters without training seems almost impossible. I can believe the super-flare more than that.

One of the looters though is noted to be more self-serving. He approaches Bane, who has been mulling things outside the hospital, and makes an offer. He will help Bane in exchange for freedom.

There is no honor among thieves. For no good reason, Bane kills the man.

But see, its things like this which simply pull me out of the story.

Clark underhand throws a scalpel at Bane. And it looks like he has good form. And he actually hits Bane.

I don't know. This should have been a 10 second fight where the villains win.

Instead, they are all eventually defeated, knocked out or thrown off a mountaintop.

And so, with the threat over and the Batplane rebooted, Bruce flies off.

Clark decides he will stay on the island, to stay with his new found friends and hear their story. I am sure there will be a Planet report about the state of this island.

Oh ... but then the cliffhanger ...

Xa-Du sent the urge to one of the 'friends' Clark has been with. Xa-Du knows that Clark's 'weakness' is that he trusts humanity, he believes in the goodness in people. And because of that this woman is able to get in close and stab Clark in the gut.

And that is how the issue ends!

So that is quite a way to end this issue, especially given we have 2 months of Convergence. Maybe this wound and the recovery is what leads into 'The Truth' and Superman's new look. After a lackluster issue with improbable action, I reached this ending and suddenly wanted more. I suppose that means it is a good cliffhanger!

Still, the majority of the story just didn't resonate with me.

Overall grade: C

Review: Worlds' Finest #25

Worlds' Finest #25 came out last week and was the last issue with the 'old' theme of Huntress and Power Girl stranded on Prime Earth. We know that the weekly Worlds' End book is coming up, redefining Earth 2, is right around the corner. And I am pretty sure that I don't think I will be following along. I might wait and see.

And so in some ways, this is a sort of eulogy for this book. This might be the last time I do an in-depth review for the title. And in some ways this is a 'perfect' issue to close on as it sort of embodies much of the problems I have had with Paul Levitz' run. From the semi-caricature personalities of the characters, to the 'treading water' overall feel of lack of progression on the book, to the deus ex machina sudden leaps in progression that the book takes, this has been an uneven book. At least in this issue, the two characters are together! All to often, Levitz split them up.

The sad thing is I was so excited for this book when it was announced! Huntress and Power Girl, two of my favorites, starring in their own book! With art by George Perez and Kevin Maguire! With a E2 history as Robin and Supergirl!! It seemed perfect.

One thing I will say about this issue is that the art by Tyler Kirkham is lusciously beautiful. There is a faint whiff of fan service. But overall, this is light years better than the uneven efforts of RB Silva over the last year.

And please don't dwell on the cover as nothing even remotely close to this happens in the book.

So farwell to this book and farewell to Prime Earth ...

The issue opens up with a relatively 'slash fiction' scene. That, in and of itself, is interesting. Imagine if DC had these two become a couple! But it occasionally goes over the top in its feel. And part of that is this rather odd characterization of Power Girl has having an overwhelmingly voracious sexual appetite. I know ... there is nothing wrong with that. But remember she was going to get busy in the Hadron collider after meeting the guy a few minute prior as the heroes were investigating a way home. I don't know if her sensual needs should trump all priorities.

Knowing they are leaving Prime Earth forever, Karen has spent the night partying. She comes in so barely dressed that Helena says it is the 'flight of shame' and that Karen is dressed like 'the entertainment' (I assume she means a stripper). Power Girl dressed like a stripper and doing the flight of shame? Really?

Again, this one personality trait has overwhelmed the character at points making her feel one-dimensional.

Am I over-thinking this? Can I have her be independent and in control of her body and free-spirited without overdoing it?

Meanwhile Helena has decided that she would have extra helpings of the sweets this Earth has to offer. We see her very sensually eating a cupcake with so much tongue I thought she was going to lick her eyebrows clean.

And some of that slashiness comes in here as we see Helena watching Karen move in and out of the shower and then pins Karen's towel to the wall.

Remember way back when Helena survived radiation exposure and I wondered if Levitz was subtly showing that she had manifested powers. I am still wondering that here as she flicks the fork and embeds it in the wall, cracking it.

If Helena was having extra helpings of sweets, Karen's extra helpings were the men she was 'close to'. She wants to send them each a letter.

Look at that pile of letters!

How many is that?

I just don't know. Seems insane.

Once showered and dressed, the heroes walk around Boston, taking it in one last time before they head home. There are a couple of things that I think are worth noting here.

One, how insane is it that Earth Prime is the 'safer world' in the DCU when it feels so unrelentingly dark. That makes me depressed. Not that Earth Prime can't be safer than Earth 2 overall. But that this world, as bleak and grim as it is, is considered safer.

Second, Helena worries that she simply isn't tough enough to survive Earth 2. Is this foreshadowing for some tragic ending in the crisis of Worlds' End?

Desaad is still stuck on Prime Earth and he knows that the heroes are close to crossing over and so he decides to break into Karen's facility to try to hijack a way home too.

He seems drawn to Dr. Spears, who he ran into last month as well.

Helena and Karen's walk brings them to the lab just in time to hear the yells of Spears and the workers.

I include this page only to showcase how wonderful Kirkham's art is. That is a powerful Power Girl smashing through the wall. Just beautiful.

And then this silly moment ... almost out of a Bugs Bunny cartoon. Power Girl punches Desaad so hard that he gets stuck in the ceiling.

Too silly?

The book ends with the heroes flying through the portal, getting back to Earth 2, only to discover Boston in flames and ruin. I don't read Earth 2 so I don't know if this makes sense. Can I also say that this final trip back to Earth 2 felt a little anticlimactic? We have heard how they struggled over 5 years to try to find any tech that might help. And then suddenly, basically not from their own endeavors but by copying a villain, they suddenly put it all together in 2 issues.

Maybe I have been too hard on this book, on Levitz and his characterization, on the lack of progression on the book, on the rough art that has been on the pages for a while. Maybe it is because I love the characters so much I wanted so much more.

But I don't think I will miss this book once it isn't on my pull list.

And I never thought I would say that about a Power Girl or a Huntress book.

Overall grade: B (raised a full grade because of the wonderful art)

Review: Action Comics #24

I didn't realize just how disjointed the insertion of Villains' Month would be on my comic reading until I picked up Action Comics #24 this week. I needed to go back and review the last issue to remind myself what exactly was going on.

This chapter of the Psi-War arc concentrates on the new player on the board The Psycho Pirate. Surprisingly, for the second month in a row, Scott Lobdell isn't writing (despite being listed on the cover). Old Supergirl scribe Mike Johnson is listed as writer here, although I have to assume that Lobdell is plotting what is happening here.

Art is done by Tyler Kirkham and is nicely rendered, with mixes of psionic powers, flashbacks, and a surprising cliffhanger page. I will say, I was never one to believe in a 'house style' for comics, but Kirkham's art just feels like a DC comics, reminding me of Cinar, Daniel, and others. I'm not against a house style necessarily, but I enjoy varying styles of art, especially when the art complements the story.

I will say that one of the plot points that I find unsettling is the psionic villains showing Superman is being emotionally vulnerable or even super-sensitive. You might recall that Hector Hammond made Jimmy morose and Perry bombastic ... feeling Superman said mirrored his own! I don't think Superman is either! In this issue, the Psycho pirate attacks Superman's insecurities and almost wins. I'd like to think that Superman is pretty happy with who he is such that he doesn't harbor such feelings.

Anyways, on to the story.

Remember, the last non-Villains issue ended with the Psycho Pirate showing up at HIVE headquarters. He had psionically crushed Hector Hammond and the Queen Bee and was gloating over Superman.

I thought this was a good splash page to start the story. It isn't often that Superman is put in the defensive position on the page. Kirkham does a great job amplifying what a threat the Pirate is by having him floating over Superman, giving a sense of leverage and dominance.

And the words play into this as well. The Psycho Pirate casually talks about Clark Kent, the most important secret, the one Superman dreads being released. With that knowledge, the Pirate has an advantage and the art rams that fact at us.

And then we get a sense of just how powerful the Medusa Mask has made this Psycho Pirate. Remember, the past few months we have seen Hector Hammond and the Queen Bee taking over the city, enslaving people, possessing Superman, and battling the Man of Steel to a standstill. These two aren't slouches.

The Pirate shows how he simply eliminated them. Hammond lies broken and unconscious on the ground. And the Queen Bee? Apparently exploded into psionic honey. We have seen that the Pirate is strong. Now we hear it. We are shown evidence of it.

The mirror image composition of these panels worked well, especially the coloring showing Hammond in shadows and the Queen Bee glowing.

I am glad Hammond is back to being big-headed. I am pretty sure that Kirkham had him drained and normocephalic last issue.

One thing I like that Johnson does here is show how the Pirate might be misguided, with good intention but evil ends to those means.

It turns out that Psycho Pirate was one of the Twenty, one of the psionics mutated by Brainiac. While many went in hiding, the Queen Bee embraced her role as vanguard for Brainiac and actually wanted to set the stage for his return. She captured as many of the Twenty as she could to drain them of their power and pave the way for Brainiac. The Pirate was one of those captured but escaped The Matrix.

Okay, nice visuals of a honeycomb. And the plot of The Twenty is interesting. But, like many Lobdell stories, it all doesn't add up. We have seen in the Lois-centric annual that the Twenty mutate into Brainiac-headed monsters. We also know they eventually die. And yet, the Queen and the Pirate have normal heads as do all her prisoners. And how/why do they die? Will all that background information (remember Lois 'dying' was a major plot point of the Annual) be forgotten? Swept under the carpet.

As I said, the Pirate sounds unhinged but he has some good intentions. He wants to free the Twenty from their prison. He wants to save them and stop the Queen's plans. That is noble. But he splattered the Queen. And here he wants to drain Superman of his super-brain power (listed as psionic which seems wrong). He'll suck Superman dry of his brain energy. So the ends don't justify these means.

But I thought Orion gave Superman psionic defenses?

I hate when details are forgotten ... or not explained?

The Pirate says he needs to suck all the energy out of Superman he needs to break through Superman's defenses. And he'll do that by having him doubt key moments in time, making him relive his insecurities, and so we get some nightmarish flashbacks.

First we see a replay of the t-shirt era Superman, attacked by the police and army (as he was in the first 2 issues). This barrage makes Superman feel homesick and question his decision to move to the big city. And just like that, the first layer of defense is broken.

Now I will say again, I'd love for Superman to see these things for what they are, to have the mental toughness to realize that these memories aren't real, to know he would never question himself the way he does. But instead he simply rolls over and gives in. It makes him seem mentally soft, insecure.

Then we get a particularly rough visit to Smallville. We see a smitten Clark belittled by Lana. We see him bullied by Kenny Braverman. And then we hear the Kents say they wish he died in the rocket.

Now of all the memories, surely Clark would see through this for the farce it is. So much of who he is and who he became is because of the Kents' love. This was the seen that struck me as 'wrong' the most. That Clark was feeling significant shame in his youth seems wrong.

I understand Superman doesn't usually fight on this battlefield. But he never even questions this.

And Kenny Braverman! Is there going to be a Conduit in the New 52?

With Smallville now a horror show, the Psycho Pirate proceeds to the last line of defense, a feeling that Superman wonders if he should have died on Krypton.

Maybe I am being too hard here. But I would think that Superman is just so completely comfortable with who he is and what he does that he wouldn't harbor such negative emotions and certainly wouldn't weigh him down this much internally.

But Superman gives in ... and give up.

And just as it looks like Superman is going to be killed ...

A psionically super-charged Lois shows up. (We had seen her hospital bed empty earlier in the issue.)

She is there to defend Superman! Okay nice change of pace here - Lois saving Superman.

And crackling blue electric kind of energy? It reminds me of ...

The Strange Visitor!

So I am of two minds with this issue.

I liked the opening scene, the exposition and reveals by the Psycho Pirate and the art work in the H.I.V.E. HQ. And I liked this ending with Lois being powered, nice cliffhanger. And Tyler Kirkham's art is very nice.

And I didn't mind necessarily the attacks in the past as a concept but I very much disliked the idea that Superman has the feeling so deeply ingrained and that he would succumb to them so quickly. Heck, he kind of shrugged off the Black Mercy all those years ago. Surely he would question why Ma and Pa hate him.

Overall grade: B-

Review: Action Comics #23

Scott Lobdell's brief period on Action Comics came to an end last week with the quick ending to the Pax Galactica story. Action Comics #23 was a quick read, filled with massive panels by artist Tyler Kirkham, which read like a summer blockbuster action film. I suppose that is fitting for the title. In looking over the book there are 2 2-page splashes, 4 1-page splashes, several 1/2 page splashes, and plenty of 2-page spreads with a handful of panels. It is big and loud and brash and sometimes I want popcorn and not elegant pastries.

All that said, I am a bit split on my feelings for this issue.

The overall pluses: It read a bit like a Silver Age group where a group of intergalactic heroes show up on Earth, announce the arrival of some massive threat, and Superman and the heroes stop the villain. And then those space heroes recognize the greatness of Kal, expanding his universal presence. Even though done in 2 issues, this felt a bit one-and-done-ish. I suppose in the current market, a 2 part self-contained story is 'one and done'. How many books did I read in the 70s and early 80s where this story played out. In the story, Superman is defined as being someone above revenge or murder, something which seems silly to need to spell out but needs to be done these days. And Kirkham's art is energetic and a treat for the eyes.

The overall minuses: Despite being defined as he was, Superman still doesn't necessarily act like Superman. He seems just a bit too quick to pick up a mace or a sword and jump into combat.

As seen last issue, the Pax Galactica has arrived on the moon to form a beachhead to battle Lexus, a universal threat. Of course, they didn't tell anyone who they were or what their intentions are. That catches the attention of Superman. And, as often happens in comic, the good guys think the other is a bad guy and a skirmish erupts. Even that sounds like a Silver Age plot.

There is only a small amount of dialogue before Superman decides to lay the smack down, kicking throats, wielding maces, and trying to bludgeon Lourdes, the Queen and leader of the Pax. It seemed a bit too brutal for Superman, just a bit.

This is basically a 2 page splash, although I cut off the second page showing the size of Lexus.

I will admit I chucked at Superman tells Lourdes that next time she should open with saying that her enemy is 'The Devourer of Life Throughout the Universe'.

And just like that the heroes team up.

Perhaps no panel better encapsulates my torn feelings about this issue than this one.

Lexus fires a direct blast at the members of the Pax and Superman can tell they wouldn't survive. So he throws himself in front of the beam. That is pretty noble and what I would want Superman to do. So that is a positive.

The dialogue box is fine but nothing special. I will say hearing he fought a pan-dimensional army more than once (I assume talking about the Multiplicity seen in Morrison's run) caught my attention. A hint at a future story?

But the dialogue is rough. Would Superman ever comment on a villain's monologue by saying 'blah blah blah'? I don't know. Maybe? It felt off to me.

The blast is magic, sending Superman for something of a loop.

While he is recovering, Lourdes gives a brief origin of Lexus. He is/was her brother. Raised by their king father, Lourdes followed his path becoming a warrior in the Pax. Her brother succumbed to evil, dabbled in the dark arts, and became a scourge in the universe. Without any other choice, Lexus father killed him, throwing Lexus' heart into space.

But his evil was so great, it lived on, and formed the current behemoth of a body.

I am a sucker for that sort of origin - an evil or madness so great it had it's own consciousness.

Armed with that knowledge, Superman knows how he can defeat Lexus.

Here is that page that says Superman is above revenge and murder. Lobdell at least makes the statement that there is no life in Lexus. Without life, there can be no murder.

I don't know. This thing exists, acts, is sentient. It seems to be 'alive' in some sense of the word.

And I don't know if I necessarily like how quickly Superman (literally) picks up the sword and heads to battle. Two instances of Superman using a weapon is two too many.

I did like this panel. Nice construction by Kirkham putting us as the 'first person' in this battle.

I couldn't bring myself to scan the end of the battle where an enraged Superman skewers Lexus' heart with Lourdes' sword. It isn't the sort of image that should be associated with Superman.

But with the heart punctured, the evil held within disperses ending the threat.

Their enemy defeated, the Pax fall to their knees pledging allegiance to Superman. Thankfully, Lobdell has Superman say he is uncomfortable with that and tells them to simply go on their way battling evil as they had. Still, in the Silver Age this story would have ended with Superman shaking Lourdes' hand instead of him floating over their kneeling forms. Even if the words ring true, the image is way off.

Look, it is a silly two part story, done and I am sure quickly forgotten. I don't know if we will ever see the Pax Galactica again. And the action in the most part is over the top. Maybe I am looking for too much here. Maybe I should enjoy this for the cotton candy that it is.

But some of the images seem and dialogue seem off.

Overall grade: B-/C+

Review: Action Comics #22

Action Comics #22 came out this week, starting an 'all Scott Lobdell, all the time' couple of months in the Superman titles. While Greg Pak and Aaron Kuder are waiting in the wings, Lobdell takes over the venerable Action title with artist Tyler Kirkham.

When this was first announced, I literally cringed. We were in the midst of the incongruous and inscrutable H'El on Earth storyline and Lobdell wasn't writing a Superman consistent with my vision of the character. Now I still have some issues with Lobdell's approach to Superman but I have to admit that his last couple of Superman issues have been much better than the detestable early part of his run on the book. In particular, the Psi-War plotline is pretty engaging. And judging by this issue, it looks like Lobdell will use his writing monopoly to advance that story in both books. Maybe DC should put the little numbered S-shields on the covers during this time?

Tyler Kirkham is on art here. I have liked his work on Green Lantern Corps and Legion Lost so I was not surprised to find that I liked it here. There is a nice variation on his art here, smooth and clean in places, detailed and gritty in other spots. 

Those numbered shields might be helpful here. A week ago Superman #21 ended with a cliffhanger, Hector Hammond facing off against H.I.V.E.'s Queen Bee. Here he is working with HIVE, in space and about to board their 'world-killer' orbiting space station.

This is a pretty impressive death satellite. It is surprising that it hasn't been noticed by anyone! I will say, suddenly the H.I.V.E. goes from being a wonky old Teen Titans Hydra clone to a much bigger threat.

It is also interesting to read that Hammond has battled the Green Lantern Corps in the past, in deep space no less. It means at least some remnants of the 'old DC' are still around in the universal reboot of the New 52. But that also makes it relatively confusing. The New 52 really still has that 'immediate Post-Crisis' feel to it. What has happened? What hasn't?

While basking in the glow of this death machine, Hammond is startled by the sudden arrival of Straith, a member of the Pax Galactica. He has a sort of 'Future Imperfect Hulk feel to him with his green skin and white hair, albeit with armor and an energy war hammer. Given the atomic symbol on his gauntlet and the title of the story ' Atomic Knights', I wondered at first if we were going to get a re-imagining of that old DC dalmatian-riding group. But in the end, I think I have a different idea.

Hammond isn't impressed by Straith's showy arrival or his apparent strength, calling him a moron and threatening him.

Again, the first panel shows how the timing of this story might be just a bit off. An editorial reference points to Superman #24, a book not out for 3 months!!! Hard for me to get too excited about a Queen Bee/Hammond fight in that book if I already know they team up!

 Straith has little patience and with one blow of his giant war hammer destroys the orbiting laser cannon/satellite. Just like that I immediately had a better sense of this guy's power level.

One thing I did love about this scene is the mix of cowardice and bravado in the Hammond panel. He clearly still feels superior to everyone but he also knows when the time is right to run away.

Back on Earth, Clark and Cat attend a gala movie premiere, a film which features an aging retiring star called Harlan Quint as well as the debut of a starlet/singer Ali Allred.

I have come to like this version of Cat Grant much more than the conniving prior incarnation. This one remains focused on the entertainment side of news but seems ... I don't know ... shrewd. She tells Clark that her side of their site will pay the bills allowing him to go out an win Pulitzer prizes. I find her sort of optimism in the face of TMZ squalor charming.

She and Clark crash the backstage party and Cat is able to grab an exclusive from Allred, thanks to a little heat vision assist from Clark. He actually uses his powers to sabotage all the other reporters technology. I don't know ... it seems a little petty. Moreover, you would think that someone somewhere would have a pen and paper for the Daily Planet reporter to use.

Still, this was a nice scene with Cat.

On the other side of the room, Clark catches the scent of Infinitium, a rare and powerful substance. And his nose leads him to Quint who is wearing some sort of exoskeleton apparently powered by the stuff.

Aging superstar actor powered by something called Infinitium. I wonder if this guy is trying to have remarkable longevity? My second thought is he might be part of The Twenty organization we heard about in Superman.

I actually wouldn't have minded more of this scene as I thought the characterization for the most part was spot on and the subplots and discussions more interesting. Unfortunately, Hector Hammond shows up and ruins things, telepathically broadcasting into everyone's minds that he needs to meet Superman in orbit.

 Even Superman has to marvel at how powerful Hammond's reach is to pull off a calling card like that. Will we ever hear how Hammond has increased his telepathic abilities so much? Or do we just roll with it?

Hammond, in the end, ends up using Superman. He points out the destroyed HIVE satellite and tells Superman that Straith destroyed it. Maybe Straith is a threat just like HIVE.

I always say when art and words come together, there is no better medium than comics. This last panel is perfect. You can tell how irritated Superman is that Hammond is right. Superman has to investigate Straith even if it means being used in a way by Hammond. The expression, the crossed arms ... they tell us so much more than the dialogue can convey.

 And artist Tyler Kirkham continues to be on a roll. Superman flies up to Straith on to the moon and asks him just what he is doing there. I loved the quizzical expression on Superman in that second panel.

Unfortunately, this being comics, this benign conversation starter deteriorates into a full out brawl. Straith doesn't like the question and smacks Superman and a slugfest begins. And Straith, remarkably, doesn't just hold his own but actually appears to win the fight!

One thing that is interesting is Superman chides himself for asking questions first and punching later. I hope that it is frustration that makes him say that because I think Superman should always try a peaceful solution initially. It also seemed odd for that statement to be here in the immediate aftermath of Andy Diggle's short run where in the story and sent out on promo art there is a big push on how Superman doesn't "throw the first punch."

Straith is stopped from trying to kill Superman by his leader Lourdes of the Pax Galactica. She has led her troops here to stop a deadly threat called 'Lexus'. And she thinks Superman should help.

So lots of stuff to talk about here.

First off ... a villain named Lexus? I don't know.

But more importantly, I think the Pax Galactica isn't a riff on the Atomic Knights but rather Marvel's Guardians of the Galaxy. Pax Galactica ... Guardians of the Galaxy. When I saw this splash page, I immediately thought of Gamora of the Guardians. And there might even be some word play on her name. Gamora is like Gomorrah - the biblical city of Sin. Lourdes is a holy place, a site of miracles. Sort of opposites? I will not be surprised if the helmeted guy is a rodent/animal of some sort (like Rocket Racoon) and the shrouded guy is a plant.

This seems to fit into a trend of recent Lobdell Superman stories. There isn't anything amazing about this story. The idea of two heroes accidentally mistaking each other for threats and fighting is as old as comics. But sprinkled into a blustering main plot are some nice moments of character, things I didn't see early in Lobdell's run.

And, I kind of hope there are some jabs at Marvel in this plot. Am I over-reaching with this Guardians of the Galaxy idea?

I thought Tyler Kirkham really did great work here, particularly with Superman, Clark, and Cat. Nice details in both quiet moments and the action sequences.

Overall grade: B