Review: Vibe #9

Vibe #9 came out last week, the last comic from the big pile in line for review. It also marks the penultimate issue of the comic and that continues to bother me. Because Vibe has been a bright spot of heroism in the New 52 DCU.

Writer Sterling Gates has shifted the location of the book to Gypsy's dimension as Cisco tries to be a multi-dimensional hero. I actually think this is a great idea and a great story. I could imagine how this would open up some potential for the title if it was continuing. I could see plots based on Earth and then every so often shifting to another dimension for a story. But we won't see that.

Moreover, there is a lot of stuff going down on Earth in this title. While I am happy we will see the end of the Gypsy (and I assume Rupture) storylines, I hope next issue affords enough Earth-time for things to be wrapped up there as well.

Art is done by Derlis Santacruz and he does a fine job here.

It is hard to know just how long Vibe has been stuck in Gypsy's home dimension of Piradell but it long enough to be going out on missions for Breacher's underground.

There are few 'free minds' left on the world as Mordeth, Gypsy's wicked dictator of a mother, has been ruling with an iron fist and transforming free people into 'raptors', obedient cyborg beings.

Hope is so slim that some missions are being done children! Okay, big-brained telepathic kids who happen to look like Kid Psycho from the Legion but kids nonetheless.

Anyways, what I like about this is how much we have seen Vibe grow in confidence. When he saves these children from raptors, he declares that he is part of the Justice League. This is different than the young hero blown away by his circumstance early in the book. It also shows that he remains a 'good guy', joining the fight for justice even here.

The kids were out to get a 'multiversal refraction sphere', a concentrated dose of dimensional energies.

The sphere will somehow control Vibe's leaking dimensional energy. So his Tony Stark-chest plate is opened and the sphere is put in.

Now stable and stronger, the underground is ready to take the fight to Mordeth.

This kid has to be a Gates' homage to Kid Psycho, even the costume is similar.

While the bulk of the story is in Piradell, we do head back to Earth for a bit.

As I have said before, I really like what Gates has done with Dale Gunn on the book. Gunn is a conflicted guy trying to get back to his ethics and ideals.

Here he checks in on Dante, Cisco's younger brother. Remember, he was wounded when Gunn snuck him in to try and free Vibe from the Circus. The resulting jailbreak was complete chaos of breachers running free.

But this response was perfect and sensible. When Dante chastises Gunn for not doing more to find Vibe, Gunn lashes back. He has done a lot for this family. He deserves more than being yelled at by a kid.

It shows how hard it can be to live up to high standards.

One thing I love is when art and words complement each other. Here Rupture struggles mentally. He seems to be close to remembering that Cisco is his brother, that he isn't simply a genocidal thug for Mordeth.

These panels looking at the mask at arm's length from him, physically distancing the Rupture identity from the Armando one, is a nice little art trick to convey the feelings. Good stuff here. This was my favorite part of this issue.

Unfortunately, Mordeth is able to use her powers to re-train Rupture and bring him back into the fold. And boy, does she have some plans.

She will use Rupture to crush Breacher's rebellion.

And then she will use the energy drained from Gypsy to break the wall to Earth and invade. Even if one 'raptor' makes it, she will soon have an army of Cyborg's to help her.

Mordeth is pretty crazy. Of course, if your name is 'more death', you might have issues. But this is downright evil. She gave birth to Gypsy to drain her of her vibrational energies. Chilling. Indeed, we see Gypsy stuffed in a device that would make Granny Goodness proud.

Vibe continues to show that he wants to be a hero. While the rebellion is talking about crushing Mordeth, Vibe has his eyes on the heroic prize - saving Gypsy and his brother. He wants to rescue not battle.

And he again shows his growth as he stands up to the powers that be.

I will miss this character and this book!

But maybe that optimism, that hope that people's basic nature is good, might be his undoing.

Mordeth has a mole in the rebellion which leads Rupture into the camp. Armando begins smashing his way through Breacher's forces.

And the Breacher turns on Vibe. The 'multidimension refraction sphere' makes Vibe into a dimensional bomb. With Mordeth trying to break through to Earth, Breacher pulls the grenade pin and literally throws Vibe at Mordeth's stronghold.

Hmmm ... neither side of this conflict are really good guys. Will this cynical dimension and our cynical world tarnish Cisco? Or will he rise above?

Or will he even survive!!

The book also has Amanda Waller confronting Dante. Maybe Cisco is going to die and Dante will become the 'even newer' Vibe?

I hope not. Cisco has been a breath of fresh air in the dank New 52 DCU. It is a shame this book is ending. But I will support it and enjoy it till the end.

Overall grade: B+/B

Review: Superman/Wonder Woman #2

As I said a couple of days ago, it is ironic that DC released Superman/WonderWoman #2 in the same week that Smallville #19 was released. Both books have Superman and Wonder Woman, both have them fighting major threats. But they are so different in tone and characterization. And these differences were all the more jarring when these issues were read back to back.

Most know that I am more of a Clark/Lois fan and don't necessarily agree with this romance. It doesn't make much sense to me and my ingrained (and possibly antiquated) understanding of these characters. And seeing a more classic camaraderie in Smallville, complete with intact Superman ethics and Wonder Woman ideals made this a tougher read.

So I am trying to be open-minded as I read this book. I don't agree with the direction of the romance. But if the story is good, if the romance seems real in the book, maybe I can move past it. But so far, there are things that stick out in this book that continue to make me cringe a little, that make me remain steadfast that these two shouldn't be together.

Now there are some good things about this book. For one, Tony Daniel's art on the book is really spectacular. I have really enjoyed his stuff and story-telling here. If only Diana wasn't wearing high heel boots!

And I think Soule's characterization of the Greek Gods was very good, showcasing how they feel above everybody.

But Superman and Wonder Woman's interactions seem off, as they did a bit last issue, and that makes this a tough read.

Last issue ended with Doomsday appearing in the middle of an off-shore storm. With Superman out for the count, Diana faced off against him.

The opening page of this issue is horizontally oriented and just shows Wonder Woman being thrashed. I thought this was a very good opening page, bringing us immediately back into the action and showing us the power of Doomsday. Daniel gives us the 'feel' of this shot, Diana's head bent back, her body appearing limp.

I usually like this sort of action panel oriented differently, with the 'attacker' in the panel, and maybe the victim more at an angle. But I thought this really worked here. Maybe the giant 'Kathooom' added to the feel.

Just as Diana, arms broken, is about to accept the killing blow from Doomsday, Superman returns lifting the ship out of the water.

Unfortunately the next panel is this. We learn a couple of panels later that Doomsday disappeared. But in reading the book, I wondered what happened to Doomsday. I thought I must have missed a page, going back trying to separate a single sheet to see what happened.

And there is no closure of the 'military attacking' portion of last issue's plot. Did they just fly off? Or did they explain what was happening to the Navy? One little panel showing the two sides come together would have been nice. But that is coming from someone sick of seeing nations' armies attacking super-heroes in books.

Diana's description let's Clark know that this was Doomsday she was fighting. They head to the Fortress so they can confirm it by looking into the Phantom Zone.

Superman is rightly afraid of Doomsday who he says is simply 'death'. But Wonder Woman doesn't know Doomsday.

Does this mean 'The Death of Superman' didn't happen in the New 52? Does Morrison's 'Super-doom' from Action take the actual Doomsday's place in history? Did Superman die? Or is that coming up ... as part of this new weekly? I thought there were references to it already in the New 52 (although with no Eradicator, clone SB, and Henshaw Cyborg, the official story is impossible now).

Anyways, as much as I sort of like the dialogue here, Diana telling Clark he doesn't fight alone, the panels here don't work for me. I'd rather see the characters faces to add some emotional context.

To help, Diana takes Superman to Hephaestus to see if the Smith can make Clark something to help him in battle. Initially, Diana asks him for a 'weapon' which seems odd for Clark. But later they say it would be armor.

Here, Hephaestus attack Superman, I guess to prove that Superman is worthy of being there. And Clark easily parries it. Clark is even nice, calling Hephaestus 'sir' and saying 'Thank You'. But it is a little off that Superman can so easily face off against a god. And it gets worse.

Here is the part of Superman's characterization I really didn't like.

So Apollo and Strife show up, after all a mortal has come to Olympus. And Apollo, very appropriately, acts like a condescending jerk, even questioning Diana's choice in love.

This is the first time that Superman has met Diana's family (I think). So his first words to Apollo is how he is going to hit Apollo as hard as he can.

Doesn't sound like the Kansas farm-boy who knew manners. Even if Apollo is being a smug irritating ass, I want Superman to rise above. This hyper-masculine posturing seems beneath the inspiration I want Superman to be. You think he would ignore or be polite. No need to puff up and get into an alpha male moment.

And what an odd relationship. Last issue, Diana brandished a sword on Clark. Here, on first meeting, Clark threatens to throttle Diana's older brother. Does that sound healthy? Or right?

Apollo backhands Superman into Hephaestus' forge.

I like Strife's response. Yes, it is a riff on the famous 'one punch' Guy Gardner moment. So that is amusing. But Strife is out and out giddy during this scene. She should be. She loves discord and that is flowing. As I said, the characterization of the Greek pantheon is spot on.

Diana threatens Apollo but Superman arises from the fires to fight.

It is a moment that is similar to that opening panel. But the art execution is wonderful and different. We get too above shots, the second from Apollo's viewpoint, as Superman throws him through the mountain. And then we get a wide angle shot of the mountain itself, Apollo's tiny form flying into the sky.

So it is a very dramatic moment and is the sort of stuff that with other characters I might applaud. The art is fantastic, nicely capturing the action as the reader wheels through this. It is fun in form.

But really ... Superman, threatening a first punch, then dispatching the current ruler of the Greek Gods in the New 52 this easily.

And then this panel.

I don't know if I want Diana preening about this display like this. And, even if she has issues with her family, is this going to help matters? To have her significant other attack her brother?

I don't know. Am I being too stodgy?

I did however love Strife practically squeeing over Superman taking out Apollo like yesterday's trash. Her schoolgirl OMG is a perfect response. (Although the god word carrying over to the next panel and sitting near (defining?) Superman was worrisome. I want Superman to be a but more humble and in control than this.

At least he again thanks Hephaestus.

Of all the scenes in the book, I would love to hear people's reactions to this one. Because I worry I am out of touch.

Superman's concerns are that the dimensional barriers between the Phantom Zone and the universe are weakening since Doomsday temporarily escaped. And that worry seems valid as the issue ends with Zod appearing in the desert, bringing with him shards of the Zone. Of course, this being the dark violent DCU, he happens to manifest at a point of the desert where a caravan just happens to be, the crystals perforating the locals and their camels, killing them.

I don't know if I needed these deaths. Zod's entrance alone is dramatic enough.

So there was a lot that to me seemed wrong in this book and most of it focused on the characterization of our titular heroes. The art and the supporting players of the Gods (and Cat Grant who gets a page) all were very good. And I suppose that those things as well as wanting to be on the ground for the re-introduction of Zod and the Zone villains, makes me think I will be in for the first arc.

The question is what I do after. And does this make me more worried about how Kara will be treated by Soule.

Overall grade: C

Review: Worlds' Finest #17

I have been a lifelong Huntress fan and I would say an above average Power Girl fan during my comic lifetime. These are characters who I have followed around the DCU, often collecting books they have starred in from Birds of Prey to Justice League Europe. I really like these characters and so I was thrilled to see they would be starring in their own book. While it meant they expunging of Helena Bertinelli, it meant the return of Helena Wayne and a Power Girl who was the Supergirl of Earth 2. It seemed like the perfect mix. Even the initial creative team - writer Paul Levitz who has a known love of Supergirl and artists extraordinaire George Perez and Kevin Maguire - made this seem like a perfect storm of comic goodness.

So why hasn't this book really grabbed me?

Worlds' Finest #17 came out this week and was another fine issue I suppose. The ongoing plots of Power Girl's glitchy abilities and Huntress' tracking down of a super-powered arsonist are moved forward. And there is some interesting banter between the characters. But, in this issue in particular, everything seems just a bit off. Some of the things the characters do and say seem the tiniest bit off the mark. It is a decent a quick read, but nothing earth shattering, nothing that leaves me clamoring for more.

The new artist on the book is RB Silva whose style has morphed to something much more angular and rough when compared to his early work on Superboy. In my head, this book should have a very smooth polished look - like Francis Portela or cover artist Emanuela Lupacchino. So I don't know if this is the right fit either. (I do think this current Silva style would work well on a solo Huntress street level book.)

As a result, this book remains one that I read and kind of shrug and say 'ok' and file away. And I want it to be so much more than that.

The book opens up with Karen trying to take advantage of her inconsistent powers by getting a tattoo. Alas, her powers flip on just in time, breaking the ink needle before the artist can begin.

There is another reason for this visit as Helena is trying to see if she can identify the tattoo artist who inked the pyromaniac magical villain from last issue.

The scene ends with Karen letting Helena know that she is aware of Helena's ink (this after Helena teased her about trying to get a tattoo to begin with).

I keep trying to wrap my mind around this ending. One, while not a tattoo guy (I am glad Karen remains inkless), I like Helena's homage to her Bat and Cat heritage. Two, I don't know why she would hide it from Karen. I understand it might be personal but these two are supposed to be like sisters. Three, I don't think the implication here is that Karen is x-ray peeking at Helena. While in a semi-private area, the top would certainly peek over shorts, low cut pants, etc. Helena must know it would be partially visible at times so why the shock. Lastly, we know it was done on Earth 2 (the inker Adrienne is 'gone'). So it wasn't in memoriam .

That scene definitely reminded me of the classic Siegel/Shuster Superman origin where the doctor is befuddled that he can't vaccinate Clark. Another broken needle?

Thanks to blog pal ealperin for tracking down the Siegel/Shuster panel for me!

As happens a lot in the book, the two decide to separate to pursue different goals.

Karen decides that the best way to get an unadulterated yellow sun ray bath outside of Earth's atmosphere.

So she drops millions to take a 'celebrity shuttle ride', to get her up and into space. And, of course, Levitz can't have a Karen scene without a little titillation. Here she says that having sex with the pilot in the shuttle would be fun but she has some goals. I don't mind the carefree Karen as long as it is an aspect of her character and doesn't overshadow her intelligence and fierce pursuit of justice. This seemed a little silly. Especially because she basically revealed her 'secret identity' to this guy and is hoping a 'non-disclosure' line in the contract will keep him from blabbing. That seems irresponsible.

And I think the 'Starr Industries has been bought out' storyline was resolved too quick. One panel explanation in a back issue and suddenly everything is perfect and she's flush with cash again?

Also, I always worry about these on/off power stories because they need too much suspension of disbelief. Would Karen really go into a vacuum if her powers could cut out at any second, killing her?

As for Helena, she is still trying to track down the young girl with the magic 'shadow' tattoos and apparent flame powers. Last issue she torched fashion shows. This time it is trendy nightclubs.

I like Helena's spirit in this book as she often enters the fray with little regard for her own safety, fighting super-powered beings just like dear old dad. But calling this villain a 'little bitch'? It felt a bit off.

I'm no prude. I read Brubaker and Chaykin, books littered with curses. This just seemed beneath Huntress a little.

As I said above, Silva's art just works better in scenes like this. This is good stuff.

But then I thought this was almost comical. I suppose not every super-villain has a getaway car or plane. And this young woman seems more misguided then funded. But to see her riding away from the fire on a bike seemed almost silly.

I suppose this is a comment on the villain. If she is riding away on a Schwinn, there must be some more to her story. My guess she really is going to be a very young girl, angry at the world.

But wouldn't a well tossed Huntress-rang/crossbow bolt in the spokes put an end to this.

Okay, the eventual fight between the two is well done.

Meanwhile, Power Girl learns that maybe there is more to her screwy powers than just them fading in and out. While 'tingly', the sunbath seems to overload her. Glowing like a comet and out of control with energy, she plummets to Earth. She is still in control enough to guide her falling body towards Helena.

I wonder of the Earth 1 sun is just a little different than the Earth 2. Maybe the solar processing of her cells are a little off here. In some ways, this looks like the 'corona wave' fireball Supergirl has shown in her book.

I'm not sure how Helena is able to piece together that the giant fireball from space is Power Girl but she does. She breaks off her pursuit to dive in the water and swim to Power Girl.

We do learn more about our villain's motives. She uses her 'shadows' to fight the cops and escape.

This is clearly personal to her. I wonder if this whole obsession with beauty is based on some poor self-image, some bullying. This is a little different than the 'pursuit of power and control' motive so prevalent these days. Interesting.

And there is Karen, glowing, steaming, and clearly worried.

Maybe the Parasite needs to drain her too?

So another issue, another issue with some good moments, another issue with some odd ones.

I always finish and seem more on the positive side than the negative. I guess I just like these characters and their interaction with each other. But I am never floored (although WF#0 came close but was a flashback to E2) and I wish I was. This book is below Supergirl in sales. I hope the Batman/Superman crossover gives it a boost.

Overall grade: B-

Review: Smallville Season Eleven #19

As with last month, two comics starring Superman and Wonder Woman were released last week. And as with last month, they are radically different from each other and how they approach these heroes and their relationships. I decided to review the better one first.

Smallville Season Eleven #19, the ending of Olympus, was my favorite comic that I read last week and I bought ten books. Superman and Wonder Woman team up to fight Hades and try to save Washington D.C. from an army of the undead and giant monsters made from our nation's capital's landmarks. No one likes a good 'punch em up' like me. But despite the great action, it is the characterization of the heroes that made this my favorite book.

Writer Bryan Q. Miller has always written a great Clark/Superman in this book, showing a humble man trying to do what's right because it is simply the right thing to do. His Lois has been brave and strong. And now, in Olympus, he shows us that he has a complete grasp of Diana. In this issue, garbed in a more classic Wonder Woman outfit, his Diana says all the right things and does all the right things. It is refreshing.

Add to that Jorge Jimenez' continued great art and you have a great issue. I have been completely impressed with Jimenez' work on this arc. It has been dynamic, stylized, and had the perfect feel for this story.

I am sad to see this story end ... that is the mark of a great story. I hope that when Smallville eventually gets to its Crisis that Diana is one of the gathered heroes.

And there are the small bits that Miller throws in just for fun.

With Washington D.C. under attack, the President takes to the air in Air Force One. Of course, there is a harpy on the wing. And 'Billy' sees it.

This is clearly an homage to the Twilight Zone episode 'Nightmare at 20,000 Feet' which starred an addled William Shatner seeing a gremlin on the wing of his airplane.

Unlike Shatner's plane, Superman is around to save this plane.

Now trust me when I say that there is great action in this issue as the Superman/Wonder Woman duo battle Hades. It is standard comic book action, wonderfully drawn and choreographed.

So while I might not highlight the best action shots, I have to include the best lines, best characterization, that comes from the battle.

First, as Superman confronts Hades he says 'I'm not a god. I'm just a man doing what's right'. Perfect. Especially when punctuated by a nice right hook.

And when Superman gets sidetracked with a stone giant made from an animated Washington Monument, Diana engages. Now this page commences with a nice orange background silhouetted figures of Wonder Woman slicing her way through the undead. It is a great picture which invoked some of the stronger images of the '300' movie. But I liked this panel even better.

Hades decides to try to make it personal by scooping up Steve Trevor and threatening to kill him if Diana continues.

Diane retorts 'I don't fight for this man. I fight for ALL mankind!!!' Perfect. Especially when punctuated by some zombie thrashing.

And then the moment of the book for me. The writers of the Man of Steel movie should take note.

Hades is endangering countless lives with his attack. He will bring his chaos to all corners. The easiest way to remove Hades from Earth is to kill the human he is tethered to ... Felix Faust.

So why not kill Faust and end the threat?

Because Superman doesn't kill.

'There's always another way!'

That's how Superman thinks. That's what Superman does.

Superman grabs Hades and flies him up to space.

And he makes Hades an offer he can't refuse. He can spend eternity locked in Tartarus again, biding his time. Or Superman can throw him into space to float forever through the void.

Faced with that choice, Hades allows himself to again get tossed into his underworld prison. And Faust gets tossed in too for good measure.

There is always another way!

Always.

And then there isn't an embrace and kiss between Superman and Wonder Woman. There isn't the two of them melting into each others' arms, entangled in a mile long magic lasso.

Instead there is a high-five, a nice hand shake between colleagues who just vanquished the god of the dead. I love this image.

And I love that they are celebrating that Superman ultimately defeated Hades with his brain, his words.

I like this relationship between the two heroes.

As I said, the characterization here is wonderful. This is a Superman who is meant to inspire, to lead by example, but is still this humble kid from Smallville.

Even Diana can sense it. Superman serves Justice and Light.

But a farm boy doesn't want to be a god.

And Jimenez continues to shine throughout.

This panel struck me as one of those examples of art and words complementing each other wonderfully.

Diana says that she will not return to Themyscira. She will stay and prove to the world that someone in the pursuit of truth and justice can make a difference.  Great words, great sentiment, great character growth.

But this also means she is putting her old life behind her. So looking at the distant sun, putting her in silhouette, adds a layer of emotion or tone that the words can't do by themselves. By having her face away from us we know she is looking ahead, that her job isn't finished. This is the beginning of her journey and she has a long way to go.

If this was a close up of Diana's face, or her looking at us in bright light, we would miss this. And the silhouette is part of that power.

But the fallout from the attack has enraged the populace. Even though the President praises the superheroes for stopping things, the public reacts with fear. They decide to protest anything 'other'.

The world is a cynical place. We need a Superman to shine despite the cynicism, to show people what they should do, to eventually work past the fear to inspire.

What Miller does, that I like, is show that Clark is still a bit squeamish about the pressure of great responsibility and great power. But he knows what he needs to do. He needs to step into the spotlight and try to be that role model. It might be tough or rough. But it's right. So he enjoys one last quiet night with Lois.

And then admits to the President that he is an alien.

Nice cliffhanger.

Unfortunately it also means Olympus is over.

Between the Diana origin story flashbacks, the DEO subplot, the 'white suited' Diana Prince, the eventual donning of the Wonder Woman outfit, Superman's power and ethics, this has been one heck of an arc. Everything about this story clicked ... the plot threads, the pacing, the outcome.

And Jimenez hit a grand slam here. From the beginning, his stuff has crackled. I truly hope we see him back here (or on any DC book) in the near future.

Hooray for this Superman/Wonder Woman book.

Overall grade: A

Tonner Doll New 52 Supergirl

I have written about Tonner Dolls in the past. These are high-end, expensive true dolls that are made for display and not play. These aren't Barbie. They certainly aren't action figures. And they run just about $200.

That is out of my pay scale for dolls, even if they recently solicited this New 52 Supergirl doll as part of their collection. Look here for details: http://www.tonnerdoll.com/dc-stars/supergirl-52

I have to say, either this is a nice representation of the costume or I am becoming more accustomed to it. But it certainly looks nice here. I know it is a small thing, but the simply straight seam of the lower portion as opposed to the angular inclusion of the red shield just makes this a smoother design.

As much as I love adding to the shrine, this is a bit out of my league both in terms of price and format.

If anyone else does pull the trigger, let me know if it looks this nice in person!

Review: Superboy #25

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

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

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

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

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

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

He thinks what I am thinking.

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

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

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

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

So I am hoping for some more explanation here.

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

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

All right, now I have a lot of questions.

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

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

Is he made of Kryptonite?

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

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

I actually liked the old idea of the Eradicator.

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

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

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

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

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

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

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

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

No wonder this Supergirl is so angry and isolated.

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

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

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

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

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

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

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

Did she kill them? I hope not.

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

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

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

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

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

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

Overall grade: B-

Sales Review: October 2013

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

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

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

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

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

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

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

Will a Red Lantern Supergirl continue to fall?

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

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

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

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

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

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