The Tipping Point - Have You Ever Abandoned Your Favorite Character?

I have been something of a downer on this blog lately, lamenting the decision by DC Comics to have Supergirl become a member of the Red Lanterns. As someone who has loved Supergirl as a character because of her heroic convictions even as she is learning the ropes, I felt that this was simply a step backwards.

We have already had 2 years of Supergirl being isolated, angry, alone. We have seen flashes of her recognizing the need to move on, to readjust. We have occasionally seen her act the hero. And we had a new creative team vowing to make her likable again. And then this ... a blood spewing Red Lantern, filled only with rage.

Now I was asked if, because of this Red Lantern business, I was going to drop the book. Was this the tipping point that would make me jump ship? Was I going to drop Supergirl ... the title starring my favorite comic book character?

I won't say it didn't cross my mind briefly. But the answer is no. I wont be dropping the book. I have some trust in Tony Bedard. I am hoping this is some redemption story with Supergirl turning to the light in the end, shedding the Red Ring and becoming a hero. And I need to at least see where the story is going.

Don't get me wrong. I would love for this to be a 6-9 issue arc, get the angst all out there, and head back to the being the fiery optimistic young hero I believe Supergirl to be. But I am not dropping the book.

In fact this is the closest I have come to dropping a Supergirl book.

The last volume's first 2 years were something of a mess with a very angry Supergirl rave dancing while people are in danger, bemoaning being on Earth, smoking and sneaking into bars and teasing older men for staring at her 'S' while she wiggled her backside leaning over a pool table. That was bad enough.

But then writer Joe Kelly made things even more insane. Zor-El was delusional, thought the phantom zone had sent ghosts which possessed people, and sent Kara to Earth to kill Kal-El. But before that, we had a flashback where Kara and her father went to her high school and slaughtered the students as they were 'possessed'.

A gun-toting Kara killing her classmates? It was too much for me to take. This was insane. It was character suicide. And in a time of kids shooting up schools, it was idiotic to have the hero of the book do the same.

I think by this time news may have leaked that Kelly was off the book so I stuck around.

But I honestly thought about dropping the title ... me dropping a Supergirl book ... because the direction was all wrong.

In fact, in some ways, that arc spurred me to start this blog, a place to celebrate the character. 

I never batted an eye about the Earth Angel series by Peter David. It was clear from the first issue that book was going to be something special, even when I learned how despicable the Linda aspect of her was.

I had little initial interest in this '5 year later' Legion, a grimmer, darker book by description. It was clear with the end of the prior volume of LSH that the stories had become tired and hackneyed and the whole mythos needed a reboot.

I thought about not getting this book, sick of constant grim books, but gave it 'one arc' to grab me. Boy, did it ever. I loved it. I don't think many Legion fans did.

And so I open it up to everyone out there.

Have you ever thought about dropping a book starring your favorite character because the creative direction went somewhere you completely disagreed with and disliked?

Has anyone actually dropped the book starring the favorite character?

I would love to hear from anyone and everyone!

Review: Adventures of Superman #8

Adventures of Superman #8 came out last week in print form and was another look at a sort of Krypton Returns tale. We have seen a lot of this over the last years as more creators try to mine some emotional response from Superman (and Supergirl) on the return of their world.

So I will admit it was hard to read this without thinking immediately of the just finished Krypton Returns, a story - like this one - where Jor-El was wrong and then incarcerated for his mistake. This felt a bit like a rerun. And with New Krypton just around 5 years in our rear view mirror, the return of Krypton feels like well worn material. I also felt just a hint of 'For the man who has Everything' here, a sort of 'be careful what you wish for' layer.

And the ultimate villain's motivations and schemes seem a tiny bit off as you will see.

All that said writer Marc Guggenheim wraps things up nicely, bringing in a satisfying ending. He does this by making this version of Superman relatively ignorant of Kryptonian culture and eager to learn a little bit more. I don't know if I would call this one of the better Adventures stories but it is fine.

Artist Joe Bennett does solid work here. I know Bennett mostly from his time on Birds of Prey. His linework here reminded me strongly of Ryan Sook's work. That is a high compliment.

The book opens with a nice sequence where Superman is dealing with Titano in downtown Metropolis. The action panels are well constructed and I can never get enough Titano.

While he is fighting, Superman is eavesdropping on the Planet where Emil Hamilton drops the bomb. While gazing into the stars, Hamilton has discovered that Krypton still exists. It never blew up.

There are some nice moments here where Guggenheim injects some classic Superman stuff - not just Titano, but Lois misspelling words, Jimmy wearing a green plaid jacket and in the middle of danger, and Perry complaining.

But the Krypton reveal is the hook for the main story.

As I said above, this Superman doesn't seem to know much about Krypton at all. He can barely work his way through the Kryptonian plaque on the rocket. His main knowledge is from the Jor-El video log which luckily is in English.

That sense that he is relatively clueless about Krypton is a new wrinkle to this sort of story. I doubt this Superman has a Fortress with crystals and Kelex and a big Jor-El and Lara statue.

And this is a fairly heavy message by Jor-El, telling Kal that Krypton will only live through him. I can imagine that that is quite a burden.

Superman decides to fly to Krypton to investigate what has happened. At some point I will need to get over the fact that Superman has retained powers under a red sun on Krypton (Lobdell does it too). It just seems a little too convenient and not exactly forward thinking by Superman. What if his powers failed en route and he died in space? How did he plan on leaving ... or did he plan on leaving? I get that he has stored yellow sun energy ... but flying in space unprotected?

Anyways, I did like this sequence where Superman without the benefit of speaking Kryptonese needs to use hand signals and his parents' names to get to where he needs to get. Had to break out my Kryptonian Alphabet.

Much like Lobdell's Krypton Returns, Jor-El is jailed for being 'wrong', basically accused of being a rabble-rouser. This also reminded me of Moore's 'For the Man who has Everything' where Jor-El is so vilified for his error that he becomes angry and forms a fascist political party.

This Jor-El is much more sympathetic. He is sad. He sent his son away. His wife died alone.

Still ... 30 years of jail?

And in almost every story, Jor-El never tells a ton of people about his concerns. When the Council rejects his findings, he goes home and works on his own solutions.

Luckily Superman is there to plead his case. Jor-El has suffered enough, has paid his due, and is released.

But again, it is that 'stranger in a strange land' feel to this book is what I found most interesting. Even though this is his 'homeland', Kal knows nothing about it.

And I like that Guggenheim makes this Krypton a 'vibrant and passionate' place. It would be harder for Superman to feel accepted here in a cold scientific world like Byrne's Krypton. But street musicians and kids flying kites? That sounds like Smallville.

Could Superman be tempted to stay?

Of course not.

After maybe too long, he realizes that this couldn't be Krypton.

How could a curious race like Krypton be so isolated and not explore space? But more importantly, how could Jor-El have gone so long without trying to see Kal, contact him, be with him?

It is such a break from what Jor-El would do that this place has to be a fake.

What do you think? Would that be enough to break the spell?

Well, he is right.

And here is where things take a bit of a left hand turn.

It turns out this whole thing has been a Brainiac plot to kill Superman. Brainiac went back in time, studied Kryptonian culture, recreated an entire planet with automatons programmed to simulate Kryptonian life so that Superman would stay, eventually lose his powers under the red sun, and be vulnerable. Then Brainiac would kill him.

Doesn't this seem a bit elaborate?

How much energy did he devote to making this? Building it? Programming a planet of citizens?

Isn't that just a tad too much work?

Brainiac even says that when he went back in time he contemplated killing Kal in the crib (which makes sense) but decided he would be happier doing it this way (which makes no sense).

It turns out Brainiac did his job too good. He even rebuilt the prototype adult sized rocket Jor-El built prior to the destruction of the real Krypton. That's right, he got it right down to that level of detail.

Kal uses the rocket to blast himself into space to soak up some more yellow sun rays. But it seems like a brief trip to recharge completely.

But think about it. If Jor-El had an adult prototype that was capable of flinging someone into space (as it did here) why didn't he convince Lara to give it a try? I don't know.

But then the irony continues. As a failsafe in case he couldn't kill a de-powered Kal, Brainiac rigged this Krypton to explode too.

Now Superman has to live through the loss of his homeworld and all its people (automatons) in front of his eyes. Great 'death throes' art by Bennett here.

So really this was more about psychological warfare than anything.

That seems a bit weird coming from Brainiac.

And I can't get past the sheer amount of work that would have to be done to create this thing. It sounds like a Dr. Evil plot. I can hear Brainiac saying it. "I have an even better idea. I'm going to place him in an easily escapable situation involving an overly elaborate and exotic death."

Still, I don't often go for a maudlin Superman mourning Krypton but at least this time it made sense. He saw met his 'father', he saw Krypton's 'people', and he watched 'them' die. He should be tearful.

This last panel is what I would have hoped to see post Krypton Returns, a natural response. But we didn't see it there.

I get the pulse behind this story is having Superman learn about his native land and realize what he has lost. It just feels like Guggenheim went a long way to get there. Maybe too far.

Overall grade: C+

Review: Superman Unchained #5

Superman Unchained #5 came out last week and continues to be a very satisfying read. It seems to exist outside of the current DCU, unfettered by current relationships and characterization, and pretty layered in its storytelling. This feels almost like an All-Star or Classified comic right now. And I am not complaining.

Writer Scott Snyder has been moving several plotlines forward without necessarily linking them. As a result, I have been wondering how all these threads with eventually weave together. In this issue, we finally start to see the linkages. And that makes me an entertained reader.

Despite that connectivity, the plot lines continue to churn forward, both coming to an apparent cliffhanger to a climax at the end of this issue. So we haven't all come together quite yet. And some of the bigger mysteries, specifically about the Wraith, remain unsolved keeping my puzzler puzzling away.

Jim Lee continues to provide the bulk of the art on the book although it seems like a stripped down version of his art, less cross-hatching and detail work. More impressive are the Dustin Nguyen pages, sepia soaked flashbacks that veer to horror at the end.

We start out with one of those flashbacks as Clark first shows the ability to overcome gravity as he saves Lana from slipping off a hay silo.

This opens up an ongoing theme in this particular issue, of Clark hiding his super-abilities while in the guise of a 'normal' human and what that means now and in the future.

As I said above, Nguyen shines in these pages, bringing a weathered old photo feel to the memories. And the linework gives it a golden age simplicity. Really nice stuff here.

While Superman brings Wraith the the Fortress, we catch up with Lois who has been kidnapped by Ascension.

At last we begin to see what is connecting the Wraith plotline and the Ascension plotline. It turns out that the leader of the group is Jonathan Rudolph, grandson of the man who created The Machine, the government black ops group that controls the Wraith.

Still wearing electronic masks (confronting Lois with her father's face is a nice touch), Rudolph tells Lois he wants her to tell their story. That is, unless she continues to be a pest ... then he'll kill her.

I love Lois in this book. Running for her life, thinking outside the box, not waiting to be rescued, and standing up to this group of madmen, she is her own hero. And even after this threat, she continues to needle this guy. This is Lois.

Rudolph's father appropriated the 'equation' from the Wraith's ship. He then fed the machine an altered equation, one denying the government its total power.

But Ascension has figured out the true equation. And using it, they are able to construct 'Earthstone', quantities of the blue crystal Lois stumbled upon last issue. And that crystal is able to interact with all technology, controlling it. That is how Ascension has been able to do all the things it has been able to do so far ... like commandeering a midflight helicopter's controls.

And they want to use the Earthstone to reset the world, razing it so something new can grow. I find it amazing how many bad guys want to do the 'Ra's Al Ghul from Batman Begins' scenario.

I can't help but wonder if there will be some connection between the Earthstone and Kryptonian Sunstone crystals. They seem to similar to not effect each other. Will that be how Superman wins?

So the Earthstone and Rudolph's origins provide a link, connecting the Superman/Wraith plotline to the Ascension one.  I was wondering how they would eventually overlap. It feels very organic too, not forced.

Meanwhile, back in the Fortress, we start to hear a little bit of Wraith's origins. His home planet is in the Triangulum galaxy. I suppose that makes my Daxam guess all wrong.

But look at that planet. There is a chunk missing out of it. We wouldn't have that detail unless it somehow matters. But how?

Could Wraith be responsible for some major destruction on his world? Is there any life left after such a planet-wide devastation? And does that make Wraith's speech here ... about wanting to bring knowledge and peace to worlds and thinking the USA was the best way to do that ... just lip service?

I have to think there is more to the Wraith than he is letting on. But he has been a 'good soldier' for 75 years. That is a long time to be biding his time if he had something  up his sleeve.

We saw the concept of 'hiding' in the Smallville flashbacks. Here Wraith brings it up, calling Superman's use of Clark as a sort of limbo, a way of trying to live a normal life when he is an outsider. Wraith hints that perhaps Superman would be better used serving his country.

It leads to an imagined sequence where we see Superman staying young while everyone he calls friends age around him. Wraith is pulling at the right strings. This is Clark and he wants to be a man first, super second. He doesn't consider himself above everyone. So being immortal-ish would definitely separate him. And that would be the right psychological tact to have Superman question his mission and life.

Well it turns out that the Wraith does have something up his sleeve. He was hoping that Superman would take him into the Fortress so he could raid its armory for General Lane.

And yet, The Wraith seems conflicted. He doesn't simply pull the trigger. He awaits the order. But he also seems to plead with Superman to give up his current life, to join the Wraith in a life of servitude to his country. I think the Wraith sees Superman as a kindred spirit and is hoping to have a boon companion.

While I think there are more layers to the Wraith than we have been shown, I simply can't wrap my head around him. Why stay on Earth and serve like this? Why was he sent? Where is he really from?

I talked about how this book feels out of synch with the current DCU. Part of that might be the rather 80's feel to Ascension's plot. It is going to fire all the world's nuclear missiles, scorching the Earth. That does feel a bit retro ... no?

And so much for Lois living to tell the tale.

But the threat is enough to pause Wraith from killing Superman and get the attention of the JLA. Now we will see how tightly this links to the New 52.

I do like that first panel, the electronic mask showing an image of the missiles firing while Lois' distorted reflection look on.

Back to a Smallville memory and Clark saving Lana from a deranged farmer who witnessed his flying trick from the first scene. Whether he likes it or not, Clark can't hide anymore, not when he shields Lana from shotgun blasts.

Now the big revelation this issue is the connection of the plots. The minor revelation is the sight of Wraith's planet. And the nuclear devastation plot is retro enough to feel semi-new. What will Superman do once he stops the missiles? Give them back to the countries they were fired from?

So hurray for all those things.

While beautiful and interesting, the flashback scenes and the 'ever-young Clark' sequence didn't seem to resonate enough with this issue to feel crucial. I don't necessarily think these were wasted pages. They just seemed to slow down the pace of the rest of the book. Maybe I needed a pause to digest what I have been shown prior.

Still, this is minor quibbles. This book remains dense and excellent and has a more classic Superman and Lois.

And what is the Wraith's deal? What I do think is that the Luthor-created Jimmy Olsen Doomsday hand is now going to be used to eliminate the Wraith somehow.

Overall grade: B+

More Soule And Venditti

We are about a month and a half away from the Red Lantern Supergirl story to begin but the publicity keeps coming. This time Charles Soule and Robert Venditti get interviewed over on Comicosity by Matt Santori Grifftith. Here is the link:
http://www.comicosity.com/interview-soule-and-venditti-double-up-for-green-lantern-red-lanterns/

My New Year's resolution was to be more optimistic so I have been trying to wrap my head around this change in Kara's story. And I have bought Red Lanterns #22 - #26 and have to say I have enjoyed the series. The Reds have, for the most part, tried to do good in Sector 2814. They aren't rabid or insane. And while they are filled with rage there is an odd nobility to most of them. This isn't a blood soaked title even if the action is at times brutal.

Okay, the interview is mostly about Green Lantern but here are the Supergirl questions.

MSG: And of course, the big news is Supergirl’s arrival to the Red Lanterns team in issue #28. What was the impetus for Kara’s inclusion in the rage-filled Corps and how are you working out her ongoing story with [Supergirl writer] Tony Bedard?

CS: This one was my idea. There are things going on in the Red storyline that allow for the team’s membership to get expanded a bit, and I also knew that DC is always open to hearing interesting new ideas about the characters, particularly ones that help to emphasize the cohesiveness of the universe.  It’s been pretty clear that Kara’s been dealing with a lot of anger – so it makes sense that a red ring might find her. But that’s not where it ends. The ring is just the beginning of Kara’s story with the Reds. We’re treating it almost as therapy, and we’ll get some cool beats out of it, both in Red Lanterns as well as the main Supergirl title Tony’s writing.

Okay ... optimism. 

I am glad to hear that this Red Lantern idea is clearly a temporary one. Both Bedard and Soule have said that eventually Supergirl will shed the Red ring and become her self again. I guess the question I have is how long this will be. I know the answer will be vague ... as long as it takes to bring the story to that point. But I don't think I will be happy if we are over a year like this. At least no one is saying this is 'permanent'. This is a 'beginning' of her story.




MSG: Fans have reacted strongly to Supergirl’s arrival as somewhat of a drastic change, something that many don’t feel is natural for her character. What do you see in Kara that makes her candidacy in the Red Lanterns a fitting story arc?

CS: I think that people who are against the idea are viewing Kara’s character as they wish her to be, not as she actually is, or has been portrayed in the New 52 to date. That Kara would absolutely be able to get a red ring to find her.  Stories (in general), should be vehicles for characters to grow and change, and that is what we’re doing with this one.

Okay ... no some pessimism. Or confusion. Or being irked.

If you read the first 16 issues of the Supergirl series, as written by Mike Johnson, it really was a book about grief. Sure, she was angry at times, lashing out at things. But it was out of the sheer sadness weighing on her. Her life is suddenly a tragedy and she wants to retreat. I don't think the predominant emotion by Johnson (and Green) was rage ... regardless of what the editors and other publicity blurbs said.

I am clearly one of the strongly reacting fans Soule is talking about in this question. And he is right ... I know what I wish Supergirl to be, the character she has been for the better part of 50 years. And yes. I know that This Kara has been written in a way that a red ring might find her. It doesn't make it right. I wish she was the Supergirl I have been a fan of.

Lastly, wanting a different take on Supergirl doesn't mean I want her set in amber, stuck in one form,. All I want from her is to grow as a character, but on the hero's journey, struggling to find herself but definitely doing what is right, definitely trying to help as many people as possible. I like that she isn't a hero yet ... but she is becoming a her.

There are plenty of stories of a heroic Supergirl growing and changing.

Read Peter David.
Read Sterling Gates.
Read James Peaty.
Read Landry Walker.

Read any of them.

She is growing there but with a core of hope and justice ... not rage. You can write an interesting story of a growing Supergirl that is consistent with her prior incarnations.

As I said, Red Lanterns is a fun book. And maybe this Red Lantern turn is going to end with Supergirl shaking off the anger and becoming (as Bedard promised) more likable and more heroic. But Supergirl is only That Supergirl because people continue to write her that way.

Optimism. And bring on the issues ... please.

Review: Superman #26

Superman #26 came out this week and was the first issue post-Krypton Returns for the character. I had lots of issues with the story-telling in that arc and was glad to see it put behind me.

Writer Scott Lobdell may have felt the same way. There is nary a mention of the crossover or the story in this issue. You would think that meeting a version of his father, battling a warped megalomaniac like H'El, and bringing about the destruction of Krypton again might have effected Superman. Instead, we simply move forward.

That said, this issue has the most Lois in it since the inception of the title. Moreover, Lobdell informs us more about the Clark/Lois relationship. You really get the sense that both them realize that something could have happened between them but nothing ever materialized. For the most part, this all felt quite natural with only one moment sticking out as feeling a tad off.

Kenneth Rocafort has the issue off. Ken Lashley provides the art in this book. His style is a bit rougher and less stylized than Rocafort's but it works here. There are some nice small art flourishes in the book that complement the words nicely. And Lashley uses Rocafort's unique panel layouts to give the book a sense of artistic continuity.

The issue opens with Clark having a quiet night at home with Wonder Woman. I suppose Lobdell is trying to show us that there really is a romance here, that these two are a true couple. But it still feels a little bit forced. Clark made her rhubarb soup, something that Diana begrudgingly tries, the implication being that if it weren't by Clark she would never try it.

And she can't stay because she has to battle a demon horde, unless Superman can tempt her otherwise.

It still doesn't feel right. They seem too different to click romantically. I mean even their wardrobe says it. He is wearing his glasses and dressed for a comfortable night at home. She is in her battle gear ... for a romantic dinner. Other than the clear physical attraction here, I just haven't found a hook as a reader that makes me think this would work.

But it is here that I wish Lobdell inserted some reference to Krypton Returns, even if it was a phrase saying they had talked about it. ("After seeing Krypton destroyed again, I needed some comfort food ... rhubarb soup.") Instead, it feels as if that didn't happen at all.

But Clark's temptations are rebuffed by the arrival of Lois' astral self. While Lois' body might be in a coma, her Brainiac-enhanced brain is still tremendously active. She still has psionic powers and therefore sends her spirit/astral form to Clark.

Clark pauses to talk to Lois and Diana excuses herself so they can have some private time. This was one of the moments that felt a little bit off, a little below Diana. There is no doubt that her expression is one of a spurned lover, jealous. And the clenched left fist does little to take away that impression. This felt icy to me.

And maybe jealousy in this scenario is a normal reaction. But I don't need Diana and Lois to be vying for Clark's attention while being catty to each other. It diminishes Diana.

But the Lois and Clark side of things seems right. These two obviously care about each other. Even if this is a Lois-ghost, they hug. She needs him to be a rock for her, to tell her that everything will be okay.

Funny how comfortable this relationship feels in comparison to the 'hot and bothered' but unseemly Clark/Diana one.

I guess even bumbling Clark could feel the tension as Diana walked out of the room. Lobdell has her in the bathroom adjusting her tiara when Clark arrives. Maybe she should have said she was going to powder her nose?

He asks if this Lois interruption is okay and she says all the right things, sealing things with a kiss.

This still feels off to me. I suppose this also is what would happen in real life in the early parts of a relationship. It would feel more normal to me if I thought they were on a solid foundation.

Superman picks up the Lois astral form (out of habit) and carries her to the hospital where she is staying. She laments being able to read everyone's minds all at once. She can see the horrific things happening but can't do anything.

She asks Clark how he can deal with it and he gives some good old fashioned Pa Kent wisdom. 'Do what you can' is different from 'Do everything'. I agree. Superman can't be everywhere or do everything. But I'd actually like to see this explored a bit more some time. How does he prioritize? Is he constantly scanning?

I thought it was a nice moment.

And then the odd moment. Outside the hospital window, Superman and Lois overhear General Lane (visiting his daughter) that he is going to take up the empty Senate seat left when Senator Hume died (of Brainiac poisoning). That is a nice future plot. Clark wonders if he can run with the story on his blog since it was obtained via super-hearing.

He then asks Lois if she will run with her story ... that Superman is Clark ... when she awakens.

Look at that middle panel. An angry face and an 'absolutely Smallville'.

Not 'I need to think about it.' Not 'my journalistic ethics say I have to' with a troubled expression.

Nope ... anger and a derisive 'absolutely Smallville.'

Even if her integrity says she should run with it, I don't think she should be angry or insulted.

As off as Diana's clenched fist was above, this was even more off.

But then Lobdell seems to right the ship.

We had an issue where Lois and Clark seem to be friends, maybe wishing there was more.

Then the odd angry moment.

Then this moment where Clark tells Jonathan that Lois loves him, not Superman. You can see the 'what might have been' look on Clark. Helping Jon was the right thing to do to help the Lois/Jonathan relationship. But it might not be easy. Maybe Clark wishes he was at that bedside.

It makes me think the Lois/Clark romance isn't quite dead yet.

In a bit of exposition, Dr. Veritas reveals that Lois isn't healing, but transforming.

I don't know why this should necessarily be a surprise to Superman. In Action Comics Annual #2, Lois told him that all the 'Twenty', the Brainiac infected citizens, were transforming into giant headed freaks. He has seen the 'true form' of the Queen Bee. I suppose hearing that it is happening to Lois at least makes it official.

One part of this issue I have been neglecting is the new Parasite being drawn to Lois' hospital.

It turns out that her power is like a beacon to the Parasite. Here he is draining her.

I suppose it will be an simple answer on how to cure her. She can be drained of all the Brainiac energy. She will probably lose her memory from that time. Everything nice and easy.

It will leave a bloated psionic Parasite for Superman to deal with.

It reminds me of this arc from the mid 1990's where Superman was overcharged and needed to be drained by the Parasite.

So after a rough 'Krypton Returns', this was actually a mostly decent issue. I thought that the Lois/Clark interaction was actually handled fairly well ... outside of that irked 'absolutely'.

But it also once again showed me just how awkward the Diana/Clark romance reads. It just never sounds natural or right. And it seems to make the characters seem lesser than what they should be. Wonder Woman is just not right here.

And even the slightest mention of Krypton Returns would have been appreciated, some reminder that this story happened, mattered, and effected Superman in some way.

Overall grade: B-

Alas Poor Lena ...

A couple of months ago I wrote about Forever Evil and how it was hinted that Lena Thorul was once again back in continuity.

Alas, while she might be back into the history books, this page from Forever Evil #4 reveals that she has died. And she died because Lex was too afraid to try to save her, too afraid to fail. This is such an interesting page.

It is a shame because Lena has played a role in Supergirl's life in prior incarnations and she could have been an interesting foil for the current Kara as well. Imagine the two of them, dealing with older family members with huge reputations (albeit on opposite sides of the ethical fence), trying to figure out who they are without being defined by their family name, trying to figure out the balance between nature and nurture.

I was hoping ...

I suppose her death could have been faked so she could live life as a Thorul, away from Lex. We'll see.

I also found this issue a bit too over-the-top in its handling of Lex. It felt like Geoff Johns was trying a little too hard to make 'evil relative' and to make Luthor relatable.

There is this moment where a tired Lex pauses to tell this story of personal defeat and tragedy, a time when he failed to act. It almost looks in that last row of panels that Lex might be close to tears! And then he 'inspires' Bizarro to try to overcome fear and there is a shocked look in Lex's eyes.

Also in the issue, there is a Luthor internal monologue where he talks about an aspect of him which is ... wait for it ... humble. HUMBLE? Luthor?

I only need to go back to his Villains' Month issues to think differently. Defiantly looking at Metropolis as something he should control. Tossing his assistant off the skyscraper roof. Sending a satellite down onto a competitor's house. Using and ultimately killing humans in his Bizarro experiments. All the while talking about how he is better than everyone.

This New 52 universe is a twisted place. We are forced to feel compassion and root for the villains. In the meantime we are dealing with heroes who seem to loathe being heroes and act awfully.

Again though, I am disappointed that Lena won't be around.

Review: The Brave And The Bold #3 & #4

Happy New Year's to everyone. I hope 2014 treats everyone well.

For me, I thought there would be no better way to start off the new year than to head to the long boxes and review a back issue. And with Supergirl and Lobo tangling in the current title, I thought  it would be fun to see how the two characters have interacted in the past. And so I present to you, from 2007, The Brave and The Bold, #3 and #4.

I definitely enjoyed this series, especially the first year, as writer Mark Waid and artist George Perez wove together one long arc which brought in a bunch of DC characters organically into a crazy reality bending story that culminated with the Challengers of the Unknown saving the universe. While the cover sports just two, the issues include all the characters as they slowly work their way to the climax. So Supergirl appears in #3 even if she isn't on the cover.

In rereading these issues for the review I am again reminded regretfully that Mark Waid doesn't write for DC anymore. It is clear he understands these characters and what makes them tick. Especially Supergirl. She isn't the easiest character to write. In the best of all worlds, she is an optimistic and sweet. She wants to help anyone she can and looks for the best in everything. And she be fierce when she needs to be, not letting anything stand in her way to do what is right and bring justice to the universe. It is a fine line. Lean one way too much and she is saccharine. Lean the other and she is overly angsty and angry. In these issues, Waid walks the tightrope. This is my Supergirl.

And it is clear that Waid is going to write the characters how he wants to write them. These books came out the same month that Joe Kelly was having Supergirl remember gunning down her high school classmates with a crystal flechette gun. None of that nonsense here.

Lastly, Perez is simply Perez, bringing his sensibilities to the issues. Detailed when he needs to be. Showing tremendous expression in his character. And setting up pages with inset panels, crunching the story when it needs it.

This isn't the 'new' Supergirl or the 'new' Lobo. Who cares!

In B&B #2, Supergirl had joined Green Lantern (Hal Jordan) to the gambling world of Ventura to try to track down thieves. It is an oddish issue with Hal clearly smitten with the irresistible Kara,  telling himself over and over to 'think good thoughts'. She is seventeen! But I think it is Waid's way of saying that Supergirl is so perfect that people find her charming.

Unfortunately, Hal takes off leaving Supergirl stranded with no way of finding Hal or heading to Rann where she needs to be.

Looking around, she asks if anyone knows a guide who can help her. I like how she politely asks if anyone can help her. There is that core of goodness which shines through even in a slimy place like this.

Don't worry we see plenty of the fierce.

The alien above leads Supergirl to the best tracker he knows, Lobo.

Standing before a firing squad, Supergirl rushes in, saving the day, dressed like a biker to hide her identity.

When Lobo asks why he should help her, Supergirl opens up her shirt and flashes Lobo. Flashes the S-shield that is.

It is an amusing opening for the characters, setting up a running gag with Lobo being a lecherous buffoon and Kara showing him his place.

Lobo agrees to take her to Rann ... for a fee.

Unfortunately, Lobo keeps sidetracking them, taking them to bars. In this scene, he arm wrestles Supergirl while the crowd gambles. Lobo wins and tells Kara he will finally take her to Rann after he buys everyone a round.

Irritated by the delays, Supergirl knocks out the nearest ordering alien and then asks if anyone else is thirsty. With the crowd silenced by that display, the two leave.

Again, it is the small things in comic art that make me smile. First off, that expression in the first panel is priceless. That is one irked Supergirl, looking out the corner of her eye to see if there are any other takers. But I also love how the panels slowly get bigger in the row, giving it a feeling of movement, progression, as we walk out the door.

In the first of many strange turns in the arc, the doors of the bar transport Lobo and Supergirl to some topiary labyrinth, tall hedges forming walls.

But these are super-powered beings. No mere hedge maze can stop them right?

Oh but this is a magic maze where Supergirl's super senses are worthless.

Still it allows Waid to inject some more bawdy behavior by Lobo with put-downs by Supergirl. The first panel has Supergirl rebuffing Lobo's jabs that she is checking out his package by saying she would need her microscopic vision for that. And then she icily tells him to stop when he says looking at the back of her head is a good view.

He is oily and creepy. And she is appropriately angry about it but holding things in check for now.

If vision powers aren't helping, Supergirl decides to reconnoiter from the air. She flies straight up (first telling Lobo she will melt his face if he peeks up her skirt) only to crash back in from the ground.

And so we finally see that fierceness of Supergirl, that impetuousness of youth. She is learning and isn't perfect. And she can lose her temper. That last panel, angrily lashing out at the maze is great!

Lobo is a tracker though and is able to get them out of the maze. And there at the end is ... Destiny, minus his famous book. That is what has been stolen. That is what Hal is trying to find.

One page after losing it about the hedges, she is again the voice of reason. When Lobo goes to attack Destiny, she stops him. It is great how she asks him just what is wrong with him.

And that sense of justice flares to the front. She promises Destiny that if she can find the book she will return it to him.

But there is more to it than that. The book must be recovered and given to those who need it. Hmmm ....

Great stuff by Perez here, the garden looking lush and beautiful.

 As I said, Supergirl can be fiery in her defense of those being mistreated. Here, the person being mistreated is herself. Barbed with one too many 'dumb blonde' jokes and creepy innuendos by Lobo, she decides it is time to end them.

She throws him to the ground and batters him until he gives up, even if it is with an awkward end.

Still, it is that will to rise up and defend, and that unpolished nature ... the young hero growing into the role ... that I love about Kara.

 But if there is any moment that sums up Supergirl's character, it is this one. After she learns that she could read open the book and read it herself, she is suddenly silent and contemplative, a stark contrast to the bubbly and energetic hero she has been so far.

And that smooths Lobo's rough persona just a touch. He tells her that she will grow up fine. And when she wonders about other Kryptonian out there, he breaks the tension with a little joke, not even off-color.

And that is the wonder of Supergirl, that that light, that optimism, that joy, and that need to help ... it is infectious. It can inspire and soften even as jaundiced a soul as Lobo.

And this series of panels, closeups, profiles, single characters and both characters, it adds to the conversation. You need the first panel to feel Kara's mind racing and to sense that Lobo notices it. You need the off-Kara in the third panel, showing something is off a bit. And you need that last panel, allowing Supergirl to get the 'spotlight' as she senses that whiff of kindness from Lobo. Wonderful.

The two finally arrive at Rann. Given the universe is in peril, Supergirl assumes Lobo will continue to work with her, helping her find the book.

But Lobo isn't that magnanimous. It leads to this great parting shot.

Supergirl takes off to the planet, reneging on her payment, and telling him she could have beaten him at the arm wrestling contest from earlier ... without breaking a sweat!

How great is that last panel, Supergirl plugging her ears and saying 'la la' while Lobo steams. It once again shows that innocence she has, that elan of youth. She is trying to save the universe but she is ribbing Lobo at the same time. And saying a slip of a thing like her could have bested him in strength easily ... it is hits him where he is most vulnerable.

That mix of right and responsibility, innocence and goodness, mixed with passion and unbridled energy, and a bit of an edge - it is that cauldron that makes Supergirl who she is at her best. She is a young Kryptonian, learning the ropes, trying to be a hero. Taken alone, the 'punch out the bar patron', 'yell at shrubbery' basher might be considered angsty or 'Hell on Wheels' ... the perfect new 52 Supergirl. But it is clear that hope and optimism is the main facets of Supergirl, and these episodes of frustration are adjuncts.

I have nothing but praise for these issues. This is a fun story with a wonderful Supergirl and great interactions with the 'Main Man' version of Lobo. These are probably easy to find and cheap. But the trades might be better to see how it all turns out! Supergirl plays a decent role throughout this story.

Overall grade: A