September 2015 Solicits

The September solicits for DC Comics came out and, yet again, there is a conspicuous dearth of Supergirl. We will be 4 months in to the DCYou direction although it remains DCNotMe for Supergirl fans. Here is a link to the Newsarama coverage:http://www.newsarama.com/24823-dc-comics-full-september-2015-solicitations.html

Yes, I keep hearing rumors that there will be a big splash/reintroduction to Supergirl at the time of the show's premiere. But they are simply rumors until they become more concrete.

Now the lack of Supergirl doesn't mean there isn't interesting stuff out there. In particular, there is a solicit for a Sterling Gates story involving Cisco and Caitlyn Frost in Flash Season Zero. Gates has had major history with the comic version of both those characters.

And JLU #13(cover seen above) continues to sound interesting despite Supergirl being the only hero apparently not on the team. This issue includes Robotman from by beloved Doom Patrol.

Onto the Super-solicits ...

ACTION COMICS #44
Written by GREG PAK and AARON KUDER
Art and cover by AARON KUDER

The epic “Truth” arc reaches its finale as Superman makes some brutal choices and discovers the source of the Shadow Warriors.

The Truth gets to its finale this month in all its titles. But the solicits simply don't make it sound like it is linear. This is something that has felt true in the first two released chapters. So I think that whole idea that the individual books are looking at one aspect of the story is going to hold true. But the solicits are going to be brief.

The cover is striking. The art by Aaron Kuder is great. But this is a flying Superman in his standard suit. Does this mean his powers have returned?

I am glad that writer Greg Pak is bringing back the Shadow Warriors, a big part of his earlier arcs. I like the mythos being built here.

SUPERMAN #44
Written by GENE LUEN YANG
Art and cover by JOHN ROMITA JR. and KLAUS JANSON

The epic “Truth” arc reaches its finale as the Daily Planet and its staff may be the first casualties of Clark’s identity being revealed!

Hard to know what to think here since I haven't read anything from Yang yet.

We have heard in this month's issue that the Planet staff have had death threats. So maybe that goes even further here.

This cover shows us Superman in the jeans/t-shirts. So maybe the Kuder cover, which links to this one, is more showing a timeline.

BATMAN/SUPERMAN #24
Written by GREG PAK
Art and cover by ARDIAN SYAF and VICENTE CIFUENTES

The epic “Truth” arc reaches its finale as Superman discovers the true fate of Batman and makes a fateful decision.

Do Batman fans know the true fate of Batman already?

SUPERMAN/WONDER WOMAN #21
Written by PETER J. TOMASI
Art by DOUG MAHNKE and JAIME MENDOZA
Cover by PAULO SIQUEIRA

The epic “Truth” arc hits close to the heart as dark secrets come to light, forcing Superman and Wonder Woman to question whether their relationship can work in this new world of identities revealed and questionable actions.

So what am I to do here? We now have Wonder Woman in her 'end of days' Forever Evil outfit. I keep thinking of dropping this book. I decided to hang on for The Truth, a chance for Tomasi to bring up his game and for me to stay in touch with this big arc.

But dark secrets and questionable actions? Yeesh.

DC COMICS BOMBSHELLS #2
Written by MARGUERITE BENNETT
Art by BILQUIS EVELY and STEPHEN MOONEY
Cover by ANT LUCIA

Wonder Woman defies her mother’s orders and attempts to break Captain Steve Trevor out of his prison cell on Themyscira. But to accomplish this, she’s going to summon a little help from the deep in the form of Mera, Princess of Atlanta. Meanwhile, in Russia, two new heroes are about to be created to serve the Soviet Union: Supergirl and Stargirl!

At last we have a mention of Supergirl!
It is in the Bombshells book, an out of continuity book based on a merchandise line.

So, of course, she is going to be evil, a dupe of the Soviet Union.
I hope Kara gets treated better here than she did in Ame Comi.

JUSTICE LEAGUE 3001 #4
Written by KEITH GIFFEN and J.M. DeMATTEIS
Art by SCOTT KOLINS
Cover by HOWARD PORTER

Teri’s had a rough time since she joined the League. She’s died, been reborn as the new Flash, and battled against the Five, demon armies, and a world full of Starros! She’s even dated Superman! Along the way, she’s always had help, but now she’ll have to face one of the original Flash’s greatest enemies: the Mirror Master!

Remember when we had a cover of JL3K1 that had Supergirl on it. And we were trying to decide 'is it the Silver Age Kara??' and 'Who is she?' Well, since that cover, we haven't seen her on the cover or had her mentioned in the solicits.

Is she, whoever she is, still in this book?

GRAYSON ANNUAL #2
Written by TOM KING and TIM SEELEY
Art by ALVARO MARTINEZ and RAUL FERNANDEZ
Cover by MIKEL JANIN

When Dick comes home to find that the Batman he knew is gone, he seeks out his mentor, Superman. But both friends have changed since they last met. Can they find common ground and team up to stop Blockbuster’s plans for Spyral?

This is, I believe, the 5th time Batman has died or gone away during my comic reading lifetime. It is pretty worn out. That said, I do like seeing the response of characters to the loss of Bruce. And I like that Dick might actually talk to Superman about Batman's disappearance.

It also will introduce me to Grayson, a book I haven't sampled.

And that's it...

Let's see if October's solicits have Supergirl!

 

Review: Superman/Wonder Woman #18

Superman/Wonder Woman ... we meet again ... old friend ...

Superman/Wonder Woman #18 came out this week and I felt somewhat compelled to purchase the book. As those who frequent this blog know, this book has been walking a fine line for me, always just on the edge of being dropped from my pull list. And making Diana a writer last issue as well as the Convergence break seemed like the perfect jumping off point.

And then they slapped The Truth on the cover and I felt like I needed to come back for a bit more.

I don't necessarily know if this issue has changed my mind about this book. I feel a bit confused, something which feels like part of the M.O. of The Truth. I think writer Peter Tomasi is bending over backwards to make Diana be the ultimate understanding partner, accepting everything Superman has to say. But that unfortunately makes her feel a bit empty. And Superman seems like something of an absentee significant other. He keeps revealing things to Diana that you think would have come up in conversation at some point in their relationship already.

I also have to realize that I am coming into this relationship thinking that it is all wrong. As a result, I don't know if I will ever be happy with how these two are presented. Perhaps my lens is too focused to look for things that seem awkward. All I can do is point out the things that made me react this way.

Doug Mahnke is a favorite of mine and his art does shine here. But there are several splash pages and one double splash page. While the big art is beautiful, I also felt like some of these moments didn't deserve such a massive representation. As a result, this felt like a quick read.

Now I mentioned that I was a bit confused with this issue. That mostly is due to the non-linear storytelling that we have seen in the Truth so far. It feels like each super-title is dealing with an aspect of the fallout of the reveal of the secret identity. But where does this fit in? We have seen action in Metropolis in Action. We have seen a mission in Gotham. And now we have this.

But more importantly, we open up this book with a 3 page brief review of this relationship from Diana's viewpoint. And, in what appears to be post-coital bliss, Diana calls herself Clark's sentinel, his protector given all that has happened over this short time of  depowering and unveiling.

And yet, the last time we saw these two together was in the free DCYou Superman/Wonder Woman preview in which Superman says he no longer loves Diana. Did that happen? Before this? After this?

That sort of dynamic, Diana being the more powerful of the two, is an interesting one that I hope is explored more.

But I don't think I can get behind this Lois-like image of Diana wearing his shirt. And would she wear it?

There peaceful repose is interrupted by a panicked call from Lana at 3AM. Her house has been invaded. Something has happened to Steel. Then the line goes dead.

Superman knows he needs to investigate and Diana says 'if one of us can fly, we both can fly' carrying him in a splash page.

En route, Superman talks to Diana about Smallville and Lana. He tells her that Lana knew about his powers and helped him in his youth. And Diana says Lana sounds important and she looks forward to meeting her.

It is hard to know how long these two have been together. But you would think Lana, who has been smack in the middle of many of Clark's adventures, would have been mentioned to Diana by now. Right?

Lana has been living in her parents' home. When Superman and Wonder Woman arrive, the house is in pristine condition but both Lana and John Henry Irons are gone.

Looking through the house, Diana is struck by the calmness and 'aw shucks' smalltown America feel to the place. She talks about how Clark is comfortable here. Again, you would think that she would know how much Smallville means to Clark by now, although maybe being there is a different experience.

Meanwhile, Superman is still recovering from 'failing' Lana. Her parents died in the Doomday story. His emotions are raw, smashing the wall. Maybe too raw? Would Superman really smash someone else's wall out of frustration.

There are no clues to point to where Lana was taken so Clark decides to ask some of the town busybodies what they know. He and Diana throw on farming clothes and head into town.

It turns out that many people in the town have up and disappeared. Finally, these representatives of Smallville lay it out on the line. They know Superman means well but between Doomsday and Ultra-Humanite and this, the town is sick of him and the trouble he brings.

So now even Smallville is taken from Clark.

Another thing that felt a bit wrong about this was Superman tossing aside the civilian clothes by saying he had had enough of the 'under-the-radar crap'.

It is as if this depowered Superman is becoming coarser, bashing walls, etc.

And another splash page. Warned that dirt seemed to rain on Smallville, Superman heads to the Kent farmland and sees that the buildings themselves have been removed.

Of all the splash pages, I thought this moment warranted one. The scope here, seeing the footprints of the buildings, the lack of foundations, almost surgically precise was hammered home here.

Even the other Kent farmland in Smallville, Jonathan's parents, has been stripped of their buildings.

Luckily, the Kent bomb shelter, Clark's secret hideaway, was missed. Surrounded by the toys and posters of his youth, Clark tells Diana how he came to this place for some quiet. But Lana also helped him here, allowing him to be a 'normal kid'.

Is this the first we have heard about Clark's grandparents being in Smallville?

And maybe I am being too critical or looking for a fault but Diana just seems two-dimensional here, almost too perfect of a supportive partner. Doting on Superman while he sleeps, eagerly waiting to meet Lana, talking about how she loves how he is in Smallville, holding his shoulder in this room. It all makes sense that she would do that for someone she loves. But the dialogue just seems a bit too cliche, too saccharine pitch perfect to feel real.

I wish I could articulate it better.

But things get worse for Clark.

His family's bodies have been exhumed.

It is, as if, his entire life in Smallville has been erased.

Yet another great panel from Mahnke. We need to see the number of empty graves to get a scope of the problem. 

Calling out that his enemies show themselves, Superman is surprised by the Suicide Squad showing up.

Now we get a two page spread by Mahnke of the villains.

I will say again, I love Mahnke's art. His Harley, in particular, looks insane and beautiful and scary.

Did this warrant a 2 page spread?

This much I do know, Superman is unhappy. And, accordingly, Wonder Woman is unhappy.

And these Squad members are a convenient way to have these two work out some frustration. I do like the look of determination on their faces. But do I want a Superman saying 'you guys are in the wrong place at the wrong time'? Do I want a Superman looking forward to or relishing laying a beatdown on someone.

I'll also ask again, did this warrant a splash?

So once more I am stuck questioning why I am reading this book. I don't think Diana is presented as a three-dimensional character here. In past issues, I have wondered what Superman might see in Diana. In this issue, I am wondering what she might see in him. I find it odd that she knows so little about his life and childhood considering I (still) think that is the foundation on which Superman's ethics is built on. And I don't know if this occurs before Superman tells Diana he doesn't love her or if it is afterwards.

I also find it hard to reconcile the different tones of all the Truth books. The Action Comics book was optimistic, almost joyous. Batman/Superman was grimmer. And this issue shows a Superman who seems almost darker, smashing walls and looking to thrash some villains.

While I can deal with nonlinear storytelling, there needs to be some sense of flow and some sense of continuity for me to ride the waves. How can this angry Superman be the same one who was laughing as kids dangled from his arms in Action?

I can only hope that at some point the different aspects of the story intersect in a worthwhile conclusion.

And while I love Doug Mahnke's art and thought every splash was beautiful, I wonder if I could have got more story for my dollar if there were less of them.

Overall grade: C+

Sales Review: May 2015

ICv2 have looked back and reviewed the sales from last month and have posted their commentary over on their site. Here is the link: http://icv2.com/articles/news/view/31800/top-300-comics-actual-may-2015

This was the end of Convergence and the beginning of Secret Wars across the aisle. As usual, Marvel just crushed the market. I don't know if it is even news anymore.

Last month I wondered if these mini-series might be some sort of showcase for characters and realities. And with the end of Convergence opening up the entirety of DC's universes and timeline, who knows what the company's plans are.

That said, who the heck knows how you judge these sales. Is it the event or the subject matter or both that drives sales.

Still, Supergirl was featured prominently in the mini-series and had some wonderful moments in the main series.

Convergence:Adventures of Superman was written by Marv Wolfman and starred the immediate pre-Crisis Supergirl. The plot of 'battling the Kamandi world' to survive Telos' edict took a back seat to the Supergirl character driven story.

In the story, Supergirl learns of her fate to die at the hands of the Anti-Monitor during the Crisis.

The book sold relatively well, selling just over 33K. Even though this was labeled a Superman book, it really was a Supergirl book at heart. I will say it again, I hope Marv Wolfman doesn't go back to this time period or the Supergirl character again.

The ending of Convergence is so vague, it is hard to know if this Supergirl actually now survived the Crisis.

The unbelievable (and probably my favorite Convergence mini-series) Shazam book by Parker and Shaner came in right behind, selling just below 33K.

The nutty Convergence:Supergirl Matrix book was a strange attempt at comedy by Keith Giffen and Timothy Green.

This second issue was a bit better than the first because it had Matrix grow a bit. The art, when not too cheesecake, was dynamic.

It also sold decently, breaking the 30K mark.

It is clear there is a market for Supergirl. Now if only DC would do the right thing and put out a book.

The excellent Rucka/Hamner Question mini-series also broke the 30K mark. That was another very good Convergence book.

But for me, the best Convergence mini-series was the Dan Jurgens Superman book.

Here was a classic Superman, with Lois, doing what's right. He is truly a hero. He and Lois are a couple and great together. And the art was fantastic.

This book sold just about 47K which (I believe) is better than the standard Superman titles sell now.

For me this was a wonderful trip back to a Superman I could believe in. This was the Superman I wanted to read. I can't thank Dan Jurgens enough.

So Convergence sold pretty well for DC and the mini-series actually fared well. But with these 2 months behind us, so go these sales. With a boatload of new books and new directions coming out, it will be interesting to see DC's DCYou sales next month.

Crisis On Infinite Earths Omnibus From Japan

One of my little collecting quirks is getting DC Comics in foreign languages.

I only speak English but I find thumbing through the books and trying to phonetically read the language, or holding English versions side by side to try to translate a fun little exercise.

My friends know of this little obsession and so when on vacation abroad they will look for DC Comics to grab for me. And occasionally they find one to bring home to me.

A very good friend of mine recently went to Japan and saw what seems to be an Omnibus of Crisis on Infinite Earths on the shelves and grabbed it for me. And it is quite a book.

It includes all of the Crisis mini-series on bright, high quality glossy paper.

It is fascinating for me to see the Japanese language in these word balloons I have read so much I can practically quote the text.

Look at how beautiful this scene with Batgirl from Crisis #4 looks.

And my Kara's fight with Captain Marvel from Crisis #6.

(I will post stuff Crisis #7 when I review that issue next month)

But the book also includes the History of the DC Universe two-parter as well!
And a comprehensive list of Crisis cross-overs; not only does it list those books with the actual cover dress of Crisis Cross-over, but all the issues which even tangentially touched the Crisis.

It includes a miniposter of Alex Ross's pencils for the cover of the trade.

And the poster has numbers over all the character and a guide in the back of the book.

In fact, there is a massive guide in the back of the book showcasing every character that appears in the entire book. This appendix seems to say which issue the character first appears (that 252 sitting out there). It also says what page (in the trade) and panel the character first appears in story.

Does this book exist in an English version?

Perhaps the most unusual thing about this is that my friend is not into comics at all, knew nothing about my love of Crisis or its place in comic history. So when he handed this to me, he was surprised to see my perhaps over-the-top reaction. He thought he was simply handing me a random book. I guess this is one of those cosmic karma things.

Zack Snyder On Supergirl Set

The Supergirl television show is about 4 months away from officially airing on CBS and up to know everything has been great and my responses have been wholeheartedly optimistic.

And then I saw this news over the weekend. Zack Snyder visited the set of the show. (For full story head here:http://www.supergirl.tv/zack-snyder-visits-supergirl )

Seriously, if there is anyone who should be barred from the set, it should be Zack Snyder, a man whose overwhelmingly gray, depressing tone is going to turn me off of seeing DC heroes on the big screen. I have voiced my opinions on Man of Steel (and how much I don't like it) ad nauseum here. But one thing that deserves rementioning is that Supergirl was rumored to be in the second film. After seeing the first one, I am thrilled that Snyder isn't going to be able to put his thumbprint on the character.

Imagine that ... me, as a Supergirl fan, glad that she isn't in a mega-blockbuster movie!

Now it sounds like this was just a visit and he isn't going to impact the approach of the show. I mean it Berlanti Productions, don't let the siren song of 'gritty realism' deter you from your course. You'll end up dashed on the rocks!

My guess is Zack Snyder's mental picture of Supergirl is something like this ... without all the context of course.

I DON'T WANT ZACK SNYDER ANYWHERE NEAR THIS SHOW!!!

Bullet Review: Starfire #1

Starfire #1 came out last week and was definitely a fun read, so fun I felt I needed to do a quick review here.

I was one of the many readers who was put off by the portrayal of Kory as a brainless sex kitten, there simply for my ogling, as written by Scott Lobdell in the Red Hood and the Outlaws book. So I was thrilled when I heard that Starfire was getting her own book in the DCYou, especially when I heard the creative team was Amanda Conner, Jimmy Palmiotti, Emanuela Lupacchino, Ray McCarthy, and Hi-Fi.

Conner and Palmiotti have brought a sense of lunacy and fun to Harley Quinn. That book is a guilty pleasure, a book which seems to thumb its nose at sensibility, bringing a pedal-to-the-metal pace of wackiness and bawdiness to the comic world. Harley is a sort of PG-13, 'wishes it could be R', ribald comedy. I love it.

That said, I wasn't sure that I wanted a xerox copy of that tone with Kory. Once the Amanda Conner's cover and initial solicits were put out though, I could tell that it would be a little different. Looking at the cover, you have this totally gorgeous Starfire, beautiful enough to be turning the heads of everyone she has passed by. But the wide smile and breezy feel to the picture felt like it was going to skew a bit more innocent than Harley.

It also doesn't hurt that the internal art is by Emanuela Lupacchino, recent artist of Supergirl. Her work absolutely shined there and I can tell you that it does here as well. Eye-popping wonderful art here by Lupacchino and McCarthy.

And Hi-Fi just shines on colors, giving us layers of reds and oranges in Kory's hair and bringing us a bright, vibrant Florida as a backdrop.

The story is pretty straightforward.

Kory arrives in Key West as a 'stranger in a strange land'. She heads to the police station and asks for help in setting up a life there. While we are nearly 4 years into the New 52, this Kory really has a sense of naivete and wonder to life on Earth. She doesn't seem to have a grasp about day to day life here. Luckily, Sheriff Gomez is a kind woman and decides to help Kory, sheparding Starfire.

I had to include the splash page where Sheriff Gomez comments on Starfire's strength, stamina, and flight calling her a 'big orange Supergirl'!

I guess that is the closest we'll get to more Lupacchino Supergirl.

'My' Starfire is the warrior princess from The New Teen Titans. She was fierce and fiery. She was emotional and sensual. But she fought for what was right. And she never forgot the injustices done to her and her people.

But my 'other' Starfire is the one from the Teen Titans Go! cartoons, a sort of innocent, bubbly alien still learning what everything means on Earth.

The Conner/Palmiotti Starfire seems like the perfect blend of both. One of the running gags in the book is seeing Kory's thought balloons where she translates idioms a bit too literally. So 'three large ones' doesn't mean three thousand dollars to her; it means three elephants.

She isn't played off as stupid. She's learning. And it is fun.

But there is that sort of free-spirit sexuality to this Kory as well. She has no problem showering in an outdoor stall with the doors open. And she kisses this young man deeeeeply moments after meeting him. She uses the old Wolfman 'I learn languages by kissing' excuse. But when she is called on it by Gomez (who knows that Kory already knows English), Starfire's response is perfect. She wants to learn more English. I laughed out loud at that.

As a first issue, Conner and Palmiotti move things forward pretty quickly setting the stage. Kory is settled in Key West. She has a sort of guardian and guide in Sheriff Gomez. We meet her neighbors and get a blurb of backstory. And we get a fun scene in a bar where we get a sense of Kory's love of food, fun, and fighting.

If Harley Quinn is a PG-13, wishes it was R ribald comedy, I think Starfire is going to be a randy television show, pushing the envelope of what is allowed but probably staying close enough to PG to be accessible. More to the point, while I don't know if I would let my 13 year old read Harley, I would probably let her read Starfire if the book maintains this tone and pace.

Sign me up!

Review: Batman/Superman #21

Last week, Action Comics #41, the first glimpse at The Truth storyline came out and I was very impressed. Greg Pak and Aaron Kuder brought a sense of joy and humanity to that opening arc, bringing back the feel of an early crusader Superman, a man of the people. I was impressed.

Batman/Superman #21 came out this week, the next chapter of The Truth released, even if it isn't the next chapter in the story chronologically. And it did not give me the joy of the opening chapter. And it showed me all the worries I had about this arc to begin with.

As I have said, I have reservations about The Truth. I worried that this depowered Superman, with bloody cloth wrapped around his fists, riding a motorcycle, might be much too grim or street level for my tastes. And we see a lot of that here.

And let's not forget the elephant in the room ... Lois revealing his secret identity. We still don't know when, why, or how she revealed it. But at least this issue scratches the surface of that plot point. It also gives us a phenomenal scene with Lois, perhaps the best scene with her in a long time. That scene elevates the issue.

Somewhere on the internet Greg Pak wrote that The Truth isn't going to be told linearly. In fact, I think he said that each title could be read individually as each focuses on a different aspect of the story. So Pak must think despair or darkness is the viewpoint here which might seem apt as Batman co-stars. But this felt very different from the Action book. This Superman read very different from the one in Action. It read odd and disjointed. And it doesn't help that this issue refers to an event from next month's Action just like Action referred to two issues of Superman neither of which have been released.

Adrian Syaf remains on art and brings a clean style to the proceedings. His action sequences are kinetic and powerful.

We start out with Superman brawling in a neighborhood, taking out some low level super-villains who are trying to 'kill the alien'. This isn't some elegant combat ritual; it isn't martial arts. This is a backstreet brawl. We see Superman stomping on hands, breaking fingers, and punching up. Again, we see him splattered with the blood of his enemies. Done right, with the right tone, this can be fine for Superman.

But it is the captions here that worry me. Superman calls the villains jackasses. He says that pounding on them felt good. He enjoyed cutting loose. I don't want a street level brawling Superman, gleeful in doling out damage. Superman isn't the Punisher. He isn't Rorschach. It's insane.

Last issue we had kids swinging from the arms of a smiling Superman. Here, a week later, we have him pulling a knife from his leg and reveling in his battering of foes.

The police response is interesting. They are present but stay back and watch the fight. And once over, they ask Superman to move along. They know that penny ante thugs like these nameless villains will try to make a mark for themselves by killing Superman. Because of that Superman is a threat. He needs to get out.

Superman wonders why this cop, who defended him before (the reference to next month's Action - thus unseen) is now against him. And the cop says he has his orders.

Immediately Superman thinks it must be Luthor who is giving those orders. Cue the brooding, blood spattered panel of Superman's face.

Without even cleaning up, Superman heads to confront Luthor. He semi-forces his way into Lex's office.

Now I must admit I love this exchange. Luthor simply cannot believe that someone as 'ordinary' as Kent could ever be Superman. Is this some elaborate ruse that Kent and Superman cooked up? Why would Superman be Kent?? It reminded me of John Byrne's Superman #2 where a computer figures out that Kent is Superman and Lex simply can't believe it.

Superman seems almost paranoid here. He thinks Lex is behind the reveal, behind the police orders, and behind the attacks. Lex shrugs it all of because the idea of Kent being Superman is too bizarre for him to deal with. But he does know that the energy weapons being used on Superman can be tracked to Gotham.

Lex's being perplexed by Superman's decision of having a secret identity is just fantastic and I hope is explored more.

Lex and Superman head to Gotham together to figure things out.
Batman (that is Gordon in armor) attacks Superman.
Superman grabs evidence about the energy weapons and runs away.

We read a DC universe where those top three sentences are true. Incredible? Crazy? Depressing?

At least we hear that the GCPD was being attacked by 'barbarians in space armor', wielding the energy weapons. And Superman saved the police from them. Too bad we didn't see that!

Superman decides that he needs help to figure out who is arming these villains and why they are attacking him. And who better to help him figure it out than the real Batman. Clark jumps on a bus and heads to Wayne Manor.

On the bus, he sees a child playing with Batman and Superman action figures. The kid's imagination play has them fighting each other.

Again, this shows the reality of the DCU. There isn't any reality where Superman and Batman are friends. Not even in a child's play.

This panel made me a little bit sad.

Clark heads to the Batcave only to hear from Alfred that Bruce is gone, apparently dead.

At least Alfred is able to dole out some wisdom. Batman is the shadow. Superman is the light. Superman shouldn't be Batman. Superman should be Superman. Pak must realize this is true. You can't write last month's Action and not believe that somewhere.

Maybe Pak is trying to smudge up Superman, bring him down a little bit before he re-ascends?

Finally we get to the Lois scene. Clark calls her.

He is still angry at her for revealing his identity. She again says that she had her reasons. And she told Diana.

There is some reason behind this more than a scoop. More than 'integrity'.

But since we haven't seen why yet, we can only hope that there is a decent reason behind it. I am hopeful Because this Lois is written strong and confidant. She is clearly an equal.

And it goes even farther. Superman's life has dramatically changed since the reveal for the worse.
So has the Planet's. Perry might be fired. There have been death threats. Things are rough.

But Lois lays it all out there.
She is his best friend.
She is still Lois. He is still Clark.
He needs her help!
So he should talk.

Oh man! Now that is straight up Lois. And it made me very very happy.

Maybe between Lois and Alfred, something gets through. Clark admits he belongs in the sun.

But he follows that up by spray painting a Batcycle bright red. And then he goads the Gordon-Bat out for another fight, probably to convince him to team up.

This was a much grittier Superman than last week's Action. There wasn't much joy here. It is a very different Clark. Such a contrast only 7 days apart made this feel disconnected and odd. Maybe this book is being done to show the darker side of The Truth, the more difficult areas of life with the secret being out there. I mean, life can't always be street fairs and kids playing.

And we got that Lois scene. And that Lois! How can I not be happy about that?

Overall grade: B