Review: Superman/Wonder Woman #20

Superman/Wonder Woman #20 came out this week, another chapter in The Truth, another book labeled with the cover dress 'Alienation', another book with a couple of decent moments. But it also is another issue of this new direction of Superman that overall just doesn't make much sense to me.

I have had a hard time with the overall direction of The Truth, the depowered Superman revealed to the world. I have tried to reconcile the divergent paths that each super-book has been taking. And I have continued to wrestle with the lack of Lois, the lack of a supportive supporting cast, and the romantic relationship with Diana.

Last issue of this book was an improvement overall. Writer Peter Tomasi actually had me feeling like Clark and Diana had feelings for each other. They felt like a couple. And the story was decent with excellent art.

This issue seemed to undo all that momentum. The issue is basically two stories. One is Clark talking to Steve Trevor and the President, discussing his life decisions, to be Clark and Superman. The other is Diana, rescuing Clark's friends from being held by the government. But then Diana does something I simply can't explain or get behind. The dialogue is also a bit on the nose, with the word truth in a bunch of lines, to remind us of this arc's theme.

The art remains top notch. There is a lot of tension in the air of these conversations and Mahnke brings that aura to the scenes. There is also a sort of unneeded fight with the Parasite in the middle of the book but Mahnke's art shines there.

As I said, the issue flip-flops between the two settings. One is the White House. The other is a prison setting outside DC in Virginia.

That wasn't the President that Superman confronted at the end of last issue. It was an ARGUS officer. And after dispatching that agent, Trevor shows up to tell Superman that this revelation that he is Clark has shaken things up. The government isn't sure what to do.

Meanwhile, we see 9 of Superman's closest friends captured and placed in a prison that looks like the old setting of Hollywood Squares. ("I'll take Lois Lane in the corner for the block." - I know, I just dated myself).

What gets me are the reactions of these citizens who have been arrested. Lois fumes. Perry sleeps. Lana does push-ups.

When did Lana go from fun-loving action scientist in Pak's Action to a parody of Sarah Conner in Terminator 2?

The initial conversation between Superman and Trevor is decent. Superman simply lays the simple truths of his life.

He has dedicated his life to saving people. He has helped people. This revelation shouldn't overshadow a life of service.

I am trying to decide if this panel showing the FDR quote is just a little too heavy? Or just right.

Trevor doesn't buy that simple explanation. Having a secret identity must mean that Superman/Clark is hiding something. That not wearing a mask as a hero but as a citizen is more disingenuous that folks like Batman who wear a mask. Where is THE TRUTH?

The sad thing here is that Trevor's argument doesn't hold water. He was open as Superman and as Clark. The government can backtrack Clark's movements more easily than the unknown half of Batman. They know the truth.

And Trevor also says he would have no qualms in doing something bad if it meant protecting a greater good. I wonder if the bolded  no qualms is a nudge at Quarmm, the dimension the power-sucking sand superman came from in a similar arc in the 70s. (Maybe I am looking for something not there.)

Again, Clark tries to lay out the simplicity of the situation.

He grew up in Kansas. He led a simple life. He waited for the right time to use his powers. Then he used them.

Why does that story make people nervous?

As for 'needing' the secret identity, Clark reminds Steve that even Trevor has some downtime. He takes off his uniform and leads a 'normal life' at some point.

Sadly, Superman doesn't even have that luxury because he always hears the disasters around him.

This explanation seems to be a pretty straightforward look at Clark's life, one that has been an open book on both sides.

So why would the government take the Kent house, exhume the bodies, kidnap Clark's friends? And why is anti-government paranoia so rampant in comic these days?

Maybe this plain speak by Clark does mean something because finally the President walks into the room. It is time for a Rose Garden summit. The President admits to grabbing Superman's friends but just to question them. He promises they won't be hurt. And he wants Superman to understand the predicament the government is in.

Sorry ... I don't understand it.

Clark again lays some simple truth down. After all these years and battles, didn't he deserve the benefit of the doubt.

I will say, this scene was pretty good. But in some ways it pointed out why I think parts of this overall arc, and the plot of this book in particular, is kind of ludicrous.

Meanwhile, Diana has smacked around some army soldiers and has freed Clark's friends.

But then she says she is there to help Clark. But she distorts that into interrogating Clark's friends to get to THE TRUTH. She is going to hear what they have to say to then help alleviate fears.

Huh??

Diana ... is going to interrogate Clark's friends ... using the magic lasso ... to help him.

I simply can't follow that reasoning.

I also don't like a lot of the things his friends say.

Perry again remains bitter, feeling betrayed. and staring angry. Seems off. Don't you think he has used unnamed sources, received anonymous tips, understands the occasional need for secrecy. Doesn't he trust what he knows about Clark and Superman apart to reconcile them together?

I loved Lana when we first met her at the beginning of the Pak/Kuder run on Action Comics. But that character is long gone.

She helped Clark when he was a boy. But she is still angry that he didn't save her parents.

I miss the other Lana.

The other interviews are interesting and sometimes fun. We hear that Jimmy beat Clark in video games. We learn that John Henry now understands the need for a secret identity. Cat thought Clark was hotter than Superman.

The President seems content with this conversation. He tells Superman where is friends are being held.

Still, The President has to ask Superman if he will still fight on the side of angels. Still.

By the way, I totally skipped the fight with the Parasite, a villain released under the Task Force X initiative to 'protect' the President. Beautifully rendered but essentially unnecessary for what this issue was trying to do.

And then the ending note.

Diana has one more detainee to question. Lois.
 
I just don't understand it. I don't want my Wonder Woman to be doing this. This just feels wrong. And as a result, this was a bad way to end the issue.


Again, I am trying to wrap my head around this whole arc and this title. I liked the Clark conversation at the beginning. But the fact he needed to have this conversation with Steve Trevor shows the underlying problem with this arc.

And the Diana part ... yeesh.

And while the art continues to be a draw, the dialogue seemed a little ponderous here.

Overall grade: C

Crisis On Infinite Earths #7 Fallout - Who's Who '87 Update

I thought I was done with my review of Crisis on Infinite Earths #7 when the 30th anniversary of that issue occurred last month.

But I thought I would look at a couple of things which occurred as a sort of aftermath of Supergirl's death.

Supergirl had been shown in the original Who's Who series from 1985. But the Crisis had erased her from all continuity. There was no Supergirl in the couple of years post-Crisis. And the timelines of the DCU was shifting with Power Girl replacing in Supergirl in some stories.

In 1987, DC put out a Who's Who update. And in the last issue of this supplement, there was an appendix, a way to do brief updates or changes to some characters that didn't need a completely new entry.

And Supergirl got an entry.

"In the recreated DC Universe, Supergirl never came to be."

Yep. That about says it all.

After a year of recovering from the death of Supergirl, this entry still felt like someone ripping the scab off a healing wound.

But DC also threw out something of false hope to Supergirl fans. Could Supergirl have existed in the dreaded 'pocket universe' of the Time Trapper in Legion? Could there be a Supergirl hiding out there?

The answer ends up being 'yes, sort of'. There is a Supergirl there, but it is Matrix.

November 2015 Solicits

The DC Comics solicits for November have been released and I am sure the company is giddy because there are some big name books on the docket, neither of which I will buy or read. Here is a link to the complete solicits on Newsarama: http://www.newsarama.com/25573-dc-comics-full-november-2015-solicitations.html

Now the first big news (for DC) is that Dark Knight:The Master Race is being released. But I have been fooled once before with Dark Knight Strikes Again. So I won't be buying or reading this book.

The second big news (for DC) is that Superman:American Alien is coming out, Max Landis' look at Superman's adolescence including getting drunk and defying Ma and Pa. So I won't go into my feelings about Landis again but suffice it to say, I won't be buying this book ... ever ...

But for me, the biggest news was one of omission. For another month there is no news about a Supergirl book. No new title. No digital first book linked to the show. No one shot special. Nothing. We have already seen some of the early fruits of the DCYou withering on the vine. Prez is now a 6 issue mini-series (not 12). As I noted in the sales post, new titles are already below the 20K line. And yet, despite this, despite Supergirl being on billboards and buses, despite Supergirl commercials being all over CBS and even as a trailer in theaters, DC isn't producing a Supergirl book. That just seems idiotic from a business viewpoint.

On to the actual solicits.

JUSTICE LEAGUE 3001 #6
Written by KEITH GIFFEN and J.M. DeMATTEIS
Art and cover by HOWARD PORTER

Evil Zeus of Injustice League 3000 has returned, and he’s created a new race of the most bizarre New Gods in DCU history! And a new threat enters U.P. space and they’re systematically eliminating any and all obstacles to their master’s conquest. Plus, the most unexpected super death in super history. No. Really. You’ll never guess.

This is one of two titles that supposedly has a version of Supergirl in the cast. But this is the second month in a row where Supergirl isn't mentioned in the solicit. And she isn't on the cover either. Add to that a 'most unexpected super death in super history' comment with the snark after, here on the 30th anniversary of Crisis, I thought this was a no-brainer. Kara is dying.

So I reached out to J.M. DeMatteis on Twitter.

He says she is in for the long haul. So at least I have that. Maybe it is 'Superman' who dies.

ACTION COMICS #46

Written by GREG PAK and AARON KUDER
Art and cover by AARON KUDER
 

Once upon a time, the idea that Clark Kent could be corrupted would have been unthinkable, but now one villain is about to take advantage of his troubles! As more and more people turn on the Man of Steel, how long before Superman turns to the dark side? What evil force is orchestrating all this?

 

All along DC said that The Truth was going to be the new landscape, the new baseline. But frankly, I am getting a bit fatigued of this depowered Superman being dragged further and further into the dark. Even this cover with Superman cloaked in darkness, with the solicit talking about him turning to the dark, is exhausting. 

 

I trust Pak and Kuder ... so I'll try to remain hopeful. I am going to go out on a limb and say the villain is The Prankster, setting things up so Superman looks bad.

SUPERMAN #46

Written by GENE LUEN YANG
Art by HOWARD PORTER
Cover by JOHN ROMITA JR. and KLAUS JANSON

Robbed of his identity, his loved ones and his home, a broken Superman is forced to join a super-fight club. The stakes? His life!

The last solicit was exhaustive. This one is ludicrous. This is the solicit where I shake my head and laugh in derisive manner. This is my 'what is DC Comics thinking??' moment in the solicits.

Superman. In a fight club? And the stakes .... his life!!! Talk about over dramatic.

At least I'll get to see Howard Porter draw Superman.

But this is silly.

SUPERMAN/WONDER WOMAN #23

Written by PETER J. TOMASI
Art by DOUG MAHNKE and JAIME MENDOZA
Cover by EMANUELA LUPACCHINO

Clark Kent must go to extreme measures to try to restore his power, while Diana, Lois and Lana team up to learn exactly who is behind a new threat to Superman!

So we have exhausted and ludicrous covered in the prior 2 solicits.

Here is the solicit that has me intrigued.

Diana, Lois, and Lana teaming up? I love all these characters even if they have been placed in odd stories this last year. But I am interested in seeing how they interact.

But why drive a car if you have an invisible jet (does she still have an invisible jet?). Although there is a 'Thelma and Louise' vibe here. Beautiful cover by Emanuela Lupacchino.

BATMAN/SUPERMAN #26

Written by GREG PAK
Art by ALEX SHIBAO
Cover by CARY NORD

Batgirl enters the scene as the half-powered Superman goes to war against Vandal Savage!

Nothing like a one line solicit. Beautiful cover by Cary Nord.

Vandal Savage is a good villain for this Superman. And I like Batgirl here not the armored Batman.

Can I again ask that DC make a Worlds' Finest book where it is an anthology book with short stories starring one member of the super-family and one member of the bat-family?

SUPERMAN: LOIS AND CLARK #2

Written by DAN JURGENS
Art and cover by LEE WEEKS

While we learn what exactly this strange new Superman has been up to during his time on this Earth, Lois is targeted by a deadly organization that calls itself…Intergang! Plus: Jon, the son of Lois and Clark, is starting to wonder about his parents’ true origins.

While I love the idea of this comic, I can't believe that this Superman and Lois are seemingly placed on the main DCU Earth and not a parallel universe. Why would this noble Superman sit around when the 'real' Superman is depowered and such a disaster.

Again, I trust Jurgens. And I love Weeks art. And Intergang is going to feel warm and fuzzy. I am hopeful this book is a success.

DC COMICS BOMBSHELLS #4

Written by MARGUERITE BENNETT
Art by BILQUIS EVELY, MIRKO ANDOLFO and MARGUERITE SAUVAGE
Cover by ANT LUCIA
 

In a London hospital, a strange patient has a message for Dr. Harleen Quinzel…one that leads the doctor to hijack a plane out of the city! And, Supergirl and Stargirl lead a bombing raid, only to discover a terrible secret that leaves them questioning their loyalties. Plus, Batwoman arrives in Italy where she encounters Contessa Selina Digatti—a.k.a. the Catwoman!

 

Here is the other book featuring Supergirl. 

 

I bet that the 'terrible secret' is that Supergirl and Stargirl are actually American and have been raised in Russia. The first issue of this book was terrific fun. So count me in.

DC COMICS BOMBSHELLS #5

Written by MARGUERITE BENNETT
Art by BILQUIS EVELY, LAURA BRAGA and MIRKA ANDOLFO
Cover by ANT LUCIA
 

While Wonder Woman leads an American infantry division in an attack on an Axis battalion, Harley makes a none-too-graceful landing in France, where she encounters a woman with a strange affinity for plants. Plus, Supergirl and Stargirl fly home to protect their parents, only to be attacked by a fearsome forest spirit known as the Swamp Thing.

 

Swamp Thing in the Bombshell universe? Hmmm ...

 

But we are going to meet Poison Ivy! And hurray, Supergirl is mentioned in the solicit again!

DC COMICS PRESENTS: SUPERMAN – LOIS AND CLARK 100-PAGE SUPER SPECTACULAR #1

Written by DAN JURGENS, KARL KESEL, DAVID MICHELINIE, LOUISE SIMONSON, ROGER STERN and others
Art by DAN JURGENS, JERRY ORDWAY, RON FRENZ, TOM GRUMMETT, JON BOGDANOVE, STUART IMMONEN and others

It’s the 1990s epic in which Clark Kent and Lois Lane tied the knot, featuring stories and art by some of greatest Superman storytellers of all time! Guest-starring Batman, Mr. Mxyzptlk and more!

I won't be getting this book because I probably own the issues. But I am glad we are getting some classic Superman/Lois stuff reprinted.

I won't be reviewing the Superman appearance in Doomed in November. I won't be buying the Superman vs. Batman trade.

I want good comics. This month looks like a mixed bag.

Boston Comic Con 2015: Yanick Paquette Commission

Today I continue my review of commissions obtained at the Boston Comic Con.

One of the artists who was invited who I targeted early was Yanick Paquette. I have loved Paquette's work on Batman Inc., The Bulleteer, and Swamp Thing. And I am definitely looking forward to Wonder Woman Earth One. So when I saw he was coming to town, I was hopeful that I could get on his commission list.

This is one of those commission stories where a little leg work paid off. I contacted Paquette before the show via social media, found out his prices, talked about my sketch book, and settled on a price for a full figure color commission. Paquette put my name down on his commission list before the show which meant that pre-show this commission was secured.

Securing this commission meant that I could head to other tables to get on commission lists first, knowing that Paquette would be the third table I would visit that Friday morning.

This is a great piece that I love. There are a number of things that stand out to me. This is sort of a serene, angelic Supergirl, from pose to expression. The color really adds to the piece, especially the sort of goldish appearance in her hair, and the way the reds add a three dimensional feel to the folds of her cape. And the black background is such a stark contrast to the feel of the figure that it makes it visually engaging. Almost thought-provoking. And that means this is great art.

I also had a great time talking to Paquette about the stuff he has done with Grant Morrison, talking about Bulleteer and Batman Inc. We talked about Morrison's scripts and how the story for the Bulleteer veered away from the original plot ideas. In particular, Paquette mused about how the Bulleteer really has very little to do in the actual book, reacting more to what is happening around her than acting.

We also talked about Wonder Woman Earth One, a book I have been waiting for ... and waiting for .. and waiting for. Apparently the book is done but DC is waiting for the right time to release, perhaps closer to the release of the Dawn of Justice movie.

It was great to meet him and talk with him about some of the behind the scenes stuff. And that commission is just fantastic.

So I have to say that my con would have been a success if this was my last commission because it meant I had got my top three commissions: Jose Luis Garcia-Lopez, Yanick Paquette, and Joelle Jones.

But I grabbed a couple more.

Review: Batman/Superman #23

Batman/Superman #23 came out last week, the second title Greg Pak is writing that is involved with The Truth. Unfortunately, this book came out the same week as Action Comics, the other Pak book covering The Truth. I say unfortunately because this book couldn't help but suffer in comparison to Action.

Of course, The Truth is taking a roundabout look at Superman's story, telling 4 separate stories. While Action is looking at what is happening in Metropolis, and Superman/Wonder Woman is looking at what is happening in Smallville, Batman/Superman is looking at what is happening in Gotham and Subterranea. With disparate plots, it is easier to compare and contrast the approach.

In this book, Superman is acting more and more like Batman, like a street level vigilante, riding a tech-loaded motorcycle and relishing the fisticuffs. With the focus of the story moving to Subterranea, Superman needs to wrestle with this identity crisis and decide who he wants to be.

And above ground, Jim Gordon begins to investigate Superman, wondering if the Man of Steel is trustworthy. What a terrible DCU we have when Commissioner Gordon doesn't trust Superman. And to rub salt in the wounds, we see that distrust spread into Superman's supporting cast.

The cover dress is 'Alienation'. I suppose it works to remind us that Superman is alone now. Some close friends have turned on him. And he is down in the depths of an alien nation. 

Adrian Syaf, Vicente Cifuentes, and Beth Sotelo do a good job on art mixing the fantasy landscape of Subterranea with the above ground, more normal scenes.

Pak does do a good job of making the antagonists of the piece sympathetic. Ukur is now leading Subterranea. And all he is looking for is light and an energy source so his people can live. It is enough to make Clark question his next move. We went from the bullish guy who was craving a fight last issue to someone wondering if he should be helping.

I definitely like this panel as we see the magnificence of Subterranea, as seen in those earlier Action issues, reduced to a camp of tents, lit by fires. And while I am sure that Clark doesn't regret stopping these folks from using living creatures as an energy source, there is no doubt that he is somewhat responsible for their current state.

The WayneTech experimental sun is the easy answer to Subterranea's problems. But Batman doesn't care. He moves the sun to a safe place.

But this is where that ugly New 52 feeling rears its head. Gordon wonders out loud to Lucius Fox if Superman can be trusted! What a terrible question, reflecting how insane this DCU Is. At least Fox knows that the police of Gotham haven't exactly been trustworthy with Clark either.

One of my main complaints about last issue was this feeling that Superman was devolving into a street level crude brawler. I wonder if Pak was baiting a trap, knowing he was going to change directions an issue later here.

This Superman knows his powers are severely diminished. He knows he can't win a huge brawl. He wonders if he should call in his powerful hero friends. But then he knows that he has to win this as Superman. I suppose that means trying to be an inspirational figure, trying to talk through the problem and get to a peaceful end.

It leads to a fun little riff where Superman says he has to act like Batman, donning a 'costume' to hide his face (Subterranea armor found on a fallen soldier) and going undercover. Superman even calls himself lucky for surviving, a word Batman used to describe himself in Miller's Year One and DKR.

That theme of Clark feeling more human, more like 'the little guy', is accentuated when Supes learns that part of this Subterranea refugee camp are humans, escaped prisoners from Gotham prison.  Of course, the prisoners are sympathetic figures, not hard criminals.

And then, the worst moment of the book ... so bad it overwhelmed almost everything else.

Gordon decides to actually investigate Clark and if he can be trusted. Sigh.

But then, in a sequence I simply can't believe, Perry White throws Clark under the bus. He doesn't trust Clark. He doesn't want to work with Clark. He doesn't want to see Clark.

This is ridiculous. 

A Superman people don't trust. A Perry that hates Clark. What an awful place this is.

It is followed by the best moment of the book. Lois follows and then confronts Gordon.

And she defends him! "Clark will always do the right thing."

Gordon worries this makes Clark a dictator, not thinking of the 'little people'. But I think this simply means that Clark is a better, more human person than most. He thinks of what is truly right. He puts others' needs above his own.

It is great to see Lois defending Superman and Clark. But we still need to learn why she did what she did.

But this mohawked, brash, angry Gordon is a far cry from the archetypal Gordon in my mind.

Meanwhile, back in Subterranea, Superman is truly exposed to the plight of these people.

Ukur is something of a charismatic leader, giving a rousing speech that galvanizes his people. In a slick style, Ukur disparages his prior accomplishments only to then promise light and heat in Subterranea once more. He promises to bring the WayneTech sun to their land.

Even Superman is effected by the speech. Look at him, raising his arm in unison with the crowd, almost blank-eyed. Does Superman empathize so much with the plight of these people as to get caught up in the fervor? Or does Ukur have some mild mind control powers?

I wonder if, now grounded and near powerless, suddenly Superman understands the plight of 'normal people' a little better. His Smallville days are a while ago. Maybe he needs a reminder of what it means to be human.

I am trying to look for the best in this arc. But part of me wants a Superman who doesn't need to be reminded.

And then, a decent cliffhanger.

Ukur has an ally, someone who can help claim the sun ... Aquaman.

Now I don't read the Aquaman title. I don't know what is going on in that book. Would Aquaman join Ukur? Is he anti-surface? Or is this another sign that Ukur has some mind powers?

So, I think this is an up and down sort of issue. The 'Superman as Batman' riff is sort of interesting. Clark's thoughts that he has to be the person to help end this, not someone with a clenched fist, is also nice. And lastly, the Lois scene is very good.

But the Perry scene is a disaster. The all too easy ' Gotham prisoners are victims of  circumstance, not evil criminals' feels a bit too simple a turn. And lastly, the foundation of The Truth, the depowered Superman, on the run, not trusted, and shunned by friends ... I still can't get behind this.

I suppose that means I should give Greg Pak some kudos for engaging me as a reader, even for a little bit in this issue.

Overall grade: C

Bullet Review: DC Bombshells #1

DC Comics Bombshells #1, a digital first comic based on the popular merchandise line, came out in print this week and that meant that I finally got a chance to read this book that has been lauded on-line.

I was not disappointed! What a fun book!

The book is placed in the forties, during WW2, and looks at the adventures of the female super-heroes of the time. While the merchandise line seems to lean on a sort of Vargas pinup girl or air force bomber iconography, this is not a cheesecake book. The entire book revolves around these women as heroes, not eye candy. And with this period piece feel, and on the heels of the show Agent Carter, this was entertaining and engaging.

Writer Marguerite Bennett introduces us to Batwoman, Wonder Woman, Supergirl, and Stargirl in this issue. And we see the struggles these characters are having in their personal and private lives, all while the omen of war looms over the world.

And artist Marguerite Sauvage really dives into the material. I felt like I was watching something on Turner Classic Movies. That is about the highest compliment I can give.

Kate Kane is Batwoman in this book, living with Maggie Sawyer, and somewhat unhappy in her life. We learn that Kate has always been a freedom fighter, acting as a soldier in the Spanish Revolution.

Now she is the vigilante Batwoman who also is a pro baseball player in the Woman's pro league (like in League of Their Own). But stopping petty crime and hitting home runs isn't enough. And that saddens Maggie who was hoping their love would be enough meaning.

Maybe things will be shaken up because Amanda Waller arrives to recruit Kate into the war.

This was my favorite chapter for a number of reasons. The first time we see Kate, she is apparently saving the Waynes from being murdered. Then we learn all the women ball players wear masks during games to keep their identity hidden from those who hate a women's league (thus explaining the look of the statue). And lastly, set in Gotham, this chapter gives Sauvage some latitude to show the style of the time.

The middle chapter retells the Wonder Woman origin. We see Steve Trevor crash onto Paradise Island. Injured and confused, Steve talks about the ongoing war, the battle against fascism, and what he is fighting for. This felt very familiar, really echoing the original origin.

While we don't get to see the 'We can do it' Bombshell Wonder Woman here, we do get Sauvage's take on the Amazons which was beautiful.

While I loved the Batwoman chapter most, the Supergirl/Stargirl chapter is the one which fascinated me the most. Here we see Kara and Kortni living in a dorm, training to be 'Night Witches', the famous women flyers in the Soviet Air Force.

I have to say that I was hoping for a more classic riff on Superman/Supergirl in this book. Wouldn't it have been novel to have Kara simply step into the classic Siegel/Shuster Superman origin. I can picture the famous panels of standing by gravestones and telling a doc to try to vaccinate her again but with Kara in there instead.

So this Soviet take sort of took me by surprise. I wasn't happy ... initially.

They are step-sisters trying to join the war not because they necessarily buy into the Communist Party but more to fight the Nazis.

And you immediately get a sense of the characters. The golden haired Kortni is a rule follower. She is always on time. And she follows the rules, says the right thing. And she wags her finger at Kara when her sister steps out of line.

Meanwhile Kara, the dirtier blonde, flouts the rules a bit. She wakes late. She talks against the party. And when a Russian soldier tries to get handsy with the sister, she throws him into a wall with a flick of the finger.

It is clear the two love each other as family. And we learn that Papa was a scientist (maybe that will explain how Kortni gets a star rod?) while Mama taught them to be good.

But Papa also told them to be careful ... which means Kara hasn't shown her powers.

That changes when Kortni and Kara take planes up on practice runs, trying to prove they should be part of the Night Witches. Unfortunately, Kortni's engine explodes. With no other choice, Kara has to reveal herself. She abandons her plane, flying and saving her sister. And then Kara grabs the two planes and lowes herself to the ground.

Kara is the hero we want her to be.

Now you would think that the Soviets would be thrilled to have such a powerful woman on their side. But instead, the nearby troops call Kara a traitor and open fire on her.

I do have to say, my one quibble about this chapter is that at times I had to look closely at the panel to figure out who was talking. There is a subtle hair color difference, a hair style difference. We see that Kortni has star earrings. But I found myself looking at the panel first to simply identify who was who first, then reading the dialogue. That took me out of the story just a bit.

But otherwise, I thought this was also a fun chapter bringing in the history of the Night Witches and showcasing the military uniforms of the time.

Sadly, I think the Supergirl bombshell design is one of my least favorite of the run. That said, this rule-breaking Kara probably would wear a bustier.

Anyways, this book was a ton of fun. Count me on board!

Overall grade: A

Review: Action Comics #43

Ever since the team of Greg Pak and Aaron Kuder took over Action Comics, I have felt that it has been the most consistently well done of the super-books. You could tell from their earliest issues that these two clicked as creators complementing each other. So it comes as no surprise to me that they have been producing the best part of The Truth, a story that overall hasn't grabbed me.

Action Comics #43 really recaptured the optimism I had in this book from a couple of issues ago, a populist hero, protecting the people, and inspiring. We got a whiff of a possible romance. We saw a very human hero. And we got a Superman who was fighting with ... not against ... the police.

Aaron Kuder has become one of my favorite artists for his impressively detailed and expressive work. But in this issue his breakdowns are what shine. We have 4 single page splashes and one double page. But on other pages he uses small inset panels so well that I did not feel cheated on story. And his work on monsters and demons is truly terrifying.

The cover dress is Alienation, an interesting follow up to Truth and Justice. Not the American Way. It works. Superman feels alone. Clark has been outed as an alien. And alienation could be read as Alien Nation, a riff on a phrase about the American Nation.

Last issue ended with Superman slugging bad cop Binghampton. Last month I cringed.

Luckily, thankfully, Binghampton turns out to be a shadow demon. Superman is off the hook for punching out a police officer. 

One thing I like about this sequence is Kuder's use of smaller panels and nearly covered faces. It adds a sense of chaos and speed to the scene. I felt like I was there, as a spectator, looking all around in the brawl and catching only bits of things.

And lastly, Binghampton and his segmental face is horrific.

The melee continues with Binghampton absorbing energy from the outed weapons the police have and attacking the citizens as well as Clark. 

With Superman depowered, this fight with Binghampton seems to be an even battle. We see Superman being battered and questioning whether he can win. What is great is that we see the others step up to also help with the fight.

Here Lee Lambert grabs a bat and joins the fight. A fire fighter. A woman and person of color. Brave and compassionate.

With the unwritten 'no relationship with Lois' editorial edict still in place and with Lana now out of the picture and with Steel, Lee might just be the biggest woman in Superman's life moving forward.

And it isn't just Lee and the citizens of 'Super-Town' that help Superman.

The police officers also join in, just as shocked to realize that Binghampton is a demon.

I don't know if I am used to seeing this but here a police officer rescues Superman! It is a somewhat reversal of the norm. But it also shows that there are heroes all around us. With Superman out of the way. the police open fire on the demon and drive it away.

It is a weird battle with Superman minimally effective. It shows just how much things have changed. And I liked that the 'normal' people are just as involved in the fight.

Again you get a sense of the dynamic page layouts for art here.

Throughout the fight, we see Jimmy in the background snapping pictures. And here the mayor of Metropolis, another woman of color (hurray), is looking at Jimmy's social media and seeing all the images of this confrontation. From the police in riot gear wielding huge rifles, to Superman punching Binghampton, to the horror that erupts after, this tells a story of people rising up together.

This is a publicity nightmare for the establishment and the mayor knows it.

Again, I love this page. This is sort of a splash page. Jimmy on the top with his camera really sets the tone for the page. The scattered overlayed varied panel size of Jimmy's pics sort of felt like the mayor was swiping through photos on her tablet. Bigger ones maybe she paused on longer. And the word balloons going vertically back and forth carry the eye down the page with the photos.

Lee seems to be veering towards love interest in a way. She embodies a lot of the gumption and strength of Lois. Which again makes me wonder why people aren't just using Lois.

Here she calls Superman 'Clark', a sort of soft opening, a way to show that she understands who he is. He even says that Clark is his 'real name'. I have always said that it is the Clark part of this character that defines him for me. The Super part just means he can help in a different way.

With his life in turmoil, this small moment of Lee calling him Clark is probably emotionally powerful for him. In a moment that speaks volumes, he gives her one of the scraps of his cape (which we know he cherishes) to use as a bandage.

I have always said that big moments need big art.

Clark returns to his apartment to find it completely trashed. And this fear of aliens is hit home by the graffiti. Even a picture of him as a boy with the Kents is marred, the tiny Clark scratched out.

The shot of the entire apartment, the word dominating the shot, Superman a small piece of it, works to drive home the sentiment. After the 'Clark' moment with Lee, playing up the humanity, we are slapped in the face with this xenophobia.

And it you want another powerful big moment, you get another a couple of pages later. This book was a sort of visual feast with great story. But this moment was my favorite.

Clark calls 'super-town' together and begins a speech. He talks about how his presence might bring threats to the area. He talks about how people could be hurt. He talks about how he isn't powerful enough to protect everyone ...

I thought for sure he was going to say that he was leaving. I thought for sure that was going to happen. And I was going to be disappointed.

I turned the page.

And boom ...

We get a two page spread where instead of leaving, Clark galvanizes the crowd. They are all Superman. They all have to protect each other. They have to stick together. It has an almost religious, 'sermon on the mount' feel to it.

And again, big moments need big art. This is an inspirational Superman. This is Pak giving me what I need in this story. And this is Kuder making it feel real.

Now obviously not everyone is pro-Superman. Officer Petrozulli, one of the officers involved in the street protest fight, one who doesn't seem to like Superman, is brought before the Mayor. It turns out that the Mayor is calling this officer in not to chastise her but to try to bring her into the shadowy force fighting Superman.

This is another image that speaks volumes. The Mayor's aide looks like he is being consumed by shadows. That light in the center is the door closing. But it looks as if the Mayor is closing off the light, squeezing it, crushing it between her fingers.

So the reveal that the Mayor is evil would have been enough of a ka-pow moment. But this creepy image just makes it that much more terrifying.

She might not like Superman. But Petrozulli doesn't like demons either.

She runs from the office only to see Superman, flanked by other police officers, ready to attack the demons.

So nice cliffhanger moment with an action pose of Superman readying to fight. And Superman's sentiment, that they all are in this fight together, works well given the gun-wielding cops behind him.

Whew.

Let's start out by saying once again that I don't know if I am behind The Truth as a whole. But this take on a populist hero, an almost folk hero rather than a god-like being, who is fighting prejudice and tyranny and the dark ... literally ... is engaging.

And as a comic, as a mix of pictures and words working together, this is superb. There is some sort of creative resonance happening here between Pak and Kuder as this thing just crackles.

If you are going to get any of The Truth, it should be this title.

Overall grade: A