Bullet Review: Harley Quinn #67

I was on board for Harley Quinn since way back when Amanda Conner and Jimmy Palmiotti reinvigorated her character.

I have been doubly on board since Sam Humphries took over the title. His book has been a perfect mix of comic insanity, fourth wall foolishness, and a modicum of emotional heft.

But in the end, it really is a humor book. And monthly I laugh ... out loud. In this world of dark vicious comics, I could use a few laughs.

In Harley Quinn #67, Harley, reeling from the death of her mother, is trying to get her family together for a Thanksgiving dinner. But she can't get them together. Meanwhile, she continues to struggle with the Year of the Villain and how Luthor promised to cure her mother if Harley drifted back into evil. An offer she turned down.

Basically, with all that happening, Harley decides to fight against crossovers. She can't deal with them any more.

Throw in a Supergirl cameo and I felt I needed to talk up this issue and this book here.

So where does that take us?

Bullet Review: Batman #43

This is going to seem like a silly review. I don't normally buy the Batman solo book. But I have been impressed with Tom King's work just about everywhere else. I loved his two parter with Superman. So it has become something of an impulse buy. In the end, I wonder if it should just move to the pull list.

Add to that my reading, with great interest, the conversation about his treatment of Poison Ivy in this latest arc. I thought my passion about Supergirl was rabid but it pales in comparison to some of the  Ivy lovers out there. They are a vocal group with strong feelings about their favorite character. And they weren't happy. So that piqued my interest even more.

So what made this be pushed over into bullet review territory? Well for one, Supergirl has a role in this book, albeit a silent one. She is there in the background. And the art is by Mikel Janin. I love Janin's art and think he would be great on a Supergirl book. Who knows when (or if) he would be drawing her again! So I thought maybe I would share just for that.

But more than that, there is a moment in this book, an homage to a prior story, that is just so perfect that I needed to talk about it here. And even better, that homage tangentially involves Supergirl!

King is really firing on all cylinders these days. And the art in this book is just lush, especially the Ivy-centric pages.

Rhode Island Comic Con

This Sunday, I'll be heading to Rhode Island Comic Con, the last convention of my con 'season'. This is a huge con with celebrities and comic creators which has grown over the years to now fill the RI Convention Center and the floor of the nearby Providence Civic Center.

I have been heading to this con since the beginning and have grabbed some great commissions and signatures in the past (including Stan Lee!). This year I'll only be there for one day and so I doubt I'll luck my way into a commission. That means that the main goal is signatures. It is a shame because there are some huge favorites of mine that are going to be there, artists I haven't seen at other cons. But, c'est la vie!

Probably the biggest name for me that is going to be at the convention is Chris Bachalo, an artist whose work I have loved forever. For me, he is always going to be the main artist of the Pete Milligan Shade, The Changing Man book from the 1990's. I loved that book!

Bachalo has also done runs on other books in my collection that I love - Death, X-Men, New X-Men, etc. If I could get a Bachalo sketch I would be absolutely thrilled. But I can't imagine it happening. Instead I had to pare down a big stack of books to a manageable size for signatures.

But look who else I'm hoping to meet.

Mike Maihack Christmas Comic

There was a surprise Christmas gift under the table for everyone late last week when Mike Maihack released a Supergirl/Batgirl Christmas comic.

This year there was an added bonus ... Harley Quinn and Poison Ivy.

There is a little bit of mirroring in the two relationships. Harley is the happy-go-lucky, super-festive, silly one trying to get Ivy to sprout a smile and get into the holiday mood. And Ivy is all so serious, looking at all the dead plants around her in the form of wreaths and wrapping paper.

We have seen this silly/dour yin/yang back and forth between Kara and Babs in all of Maihack's prior strips. So seeing it played out here was fun and made me hope that we see more interaction between these four in future comics.

Finally, Harley gets Ivy into Christmas. She lets Pamela detonate a bomb in Batgirl's face in the style of a Looney Tunes cartoon. And the delivery mechanism .. a santa-hatted bat ... is brilliant.

But (and I know I am biased) my favorite bit is Kara laughing when Babs gets blasted. It is a funny moment.

So drain the last bit of egg nog and enjoy this treat. And thanks to Mike Maihack for continuing to bring joy to the world.

DC Superhero Girls: Dude, Where's My Invisible Jet

I've talked about the DC Superhero Girls in the past and I have sort of gushed a bit about them. I'm afraid I have to gush a bit more. I promise I'll try to keep my posts about this line when Supergirl is involved. But overall, this line of shorts and toys has just been so much fun.

The last episode made me laugh out loud so I felt I had to review it.

And I will admit that I haven't seen the feature 'Superhero of the Year' so I'd love to hear from people if it is worth seeking out.

The last short was titled 'Dude Where's My Invisible Jet', a nod to the slacker movie title 'Dude, where's my car.'

For me, the best of animated kid shows include some homages or jokes that are aimed for the parents or adults watching. Something as simple as this title, which kids will find amusing without knowing about the movie and parents will recognize, can rope in all generations. But on to the story.

Review: DC Bombshells #14

I was worried that DC Bombshells might be one of the casualties of #Rebirth. Luckily, the ax didn't drop and we have been able to get even more excellent stories from Marguerite Bennett, Laura Braga, and Mirka Andolfo.

Two issues ago we had the major battle at the front, the main Bombshells defending London from the Tenebrau army. Last issue (which I didn't review) was a look back at Lois Lane and the Batgirls as they thwart a rather Trump-ian Harvey Dent running for office.

DC Bombshells #14 came out and caught us up on a number of the plotlines which are happening away from the front. While I want to know how Kara is recovering from the death of her sister and what is happening with the new League, I loved this issue for showing us the other characters we have come to know and show us what has been happening with them.

In particular, Marguerite Bennett really tugged on the old heart strings with this book. There were many touching moments in this book, some which made me sad and others which were joyous. I have said it before. I didn't expect such depth of character from a title based on cheesecake statues.

And I have probably gushed enough about artists Laura Braga and Mirka Andolfo in prior reviews. Both are able to produce excellent action sequences but also ratchet it down to these quiet emotional moments which are powerful.

We even get a new Bombshell in this issue. So it had something for everyone.

On to the book!

Review: DC Comics Bombshells #6

DC Comics Bombshells #6 came out last week and was another fabulous issue in what has been a fantastic run. I have said all along that this Elseworlds look has been surprisingly engaging and interesting. In this issue, writer Marguerite Bennett continues to give us a nice mix of action, humor, historical significance, and randy fun.

But for me, the best part of this issue is that it feels like the characters are finally starting to move in a way that will bring them all together soon. While I like hopping from one character's story to another (the diverse locales and characters are a strength of the book), I am eagerly awaiting the 'Justice League' moment when they are united against a common foe.

The art in this issue really sparkles. Ming Doyle continues to give us a noirish look at Batwoman's adventures in Germany. That style complements the story very well. The rest of the issue is drawn by Maria Laura Sanopo and Sandy Jarrell. They both bring a very clean style to the page. All of the characters are just beautiful. The style is so lovely that I wouldn't mind seeing either doing all the pages of an issue!

The book opens with several gorgeous pages of Mera stopping some Nazi U-boats which are manned by the Tenebrau inky zombies we have seen cropping up in the last few issues.

Mera is one of my favorite characters in the book. She is fun and fresh and just seems to love life. While just as driven as the other Bombshells, Mera also seems to enjoy what she does. It doesn't hurt that she sings to gain access to her powers.

Here, called Aquawoman (love it!), she boards an American destroyer, bringing cheer and hope to the crew. They all love her but more importantly respect her. They don't hit on her, despite her summery outfit, instead showing her pictures of the significant others they have left behind.

Again, Jarrell really shines here. This page is just eye-melting gorgeous. There is something akin to Darwyn Cooke in that first panel.

The R&R on the cruiser is interrupted by the arrival of Stargirl and Supergirl whose path for defecting takes them right over the fleet. Mera skirmishes with the two Russians and briefly gains the upper hand. But before Mera can further pound on Kara, Stargirl steps in the middle. She won't let anyone hurt her sister.

Despite that breezy exterior, we know that Mera is hiding something from her past. In silhouette, we see someone about to get run through with a spear. My guess is that Bennett is going to bring in Siren, Mera's sister, and have her be killed. Who could be the killer? Arthur? Orm?

But adding this deeper background to the 'fun one' ramps up my interest in the character. Is she ignoring that event? Is the fun personality a facade?

Meanwhile, in Germany, Kate has decided to don the Batwoman outfit and go out adventuring. I thought this was supposed to be an undercover mission? It seems odd that she would want to do anything out in the open which might jeopardize the bigger strategy.

While in the Batwoman gear, she disables some tanks. She then runs into some resistance fighters who play in a band including the Huntress. This Helena plays the cello, shoots a crossbow, and is a German opposed to Nazi rule. Kate loves her spirit and decides to take her on as an ally/sidekick only if Huntress will be trained. I like the addition of Huntress but I would have liked it more if she was an Italian opposed to Mussolini, leaning on her traditional origin.

It might be an overread, but the panel focusing on Kate's shoes as she talks about the Holocaust was quietly powerful. The image of piles of shoes is so evocative of this tragedy that showing us Kate's shoes and knowing she is Jewish, all while she talks about the horror in Germany at the time was a gut punch.

But after that heaviness, Bennett gives us a little laugh.

Selina and Lex arrive in their motor car to whisk both Kate and Huntress away.

As a joke, Kate asks if it is a rescue or an invite for a menage a trois. The panels of Lex and Selina considering it are perfect. Kate may have been going for a laugh but they're into it! In particular, Lex's look in the second panel is perfect.

Like I said above, there is some bawdy fun in this book.

And then we get game changer. Lex has some Kryptonite. He wants this to be a human war.

I still don't know if I can count Lex amongst the good guys.

The rest of the issue is Bennett and Jarrell moving the pieces on the chess board, bringing everybody together a bit closer.

On the cruiser, Supergirl and Stargirl join the Bombshells and agree to work for Amanda Waller to defend their country. They won't don the stars and stripes though. They are loyal to Russia. They will change their colors though, aligning themselves more with the Allies.

I love that smiling Supergirl.

Meanwhile, Diana and Steve Trevor have been arrested for mutiny after they ignored General Lane's orders to kill the prisoners of war.

Deciding she can no longer follow Lane, Diana uses her powers to break out. Diana is something of a wild card now. She'll need to link up with the Bombshells soon.

And Harley and Ivy are racing through France towards Germany, killing any Nazi they have the luck of running across (or over).

Everyone seems to be on the move towards the front. It can only be a matter of time before they all get together.

The last part of the book focuses on Zatanna. I get a complete kick out of Rabbit John Constantine. (Who rolls those tiny cigarettes for him?).

John tries to inspire Zatanna to break away from the Joker's Daughter. Zatanna has been blackmailed and forced to work for the Nazis because she fears for her life and her family's. But John tells her that her magic dwarfs what the Joker's Daughter can do.

Zatanna is the only character who seems to be in the same place at the end of this issue. But that is okay. We get a lot of backstory and character moments for her here.

All these pages are by Maria Laura Sanapo and Marc Deering and everyone is just fresh, strong, and beautiful. The art sings here, working with the words.

So I continue to love this book. It is a guilty pleasure, an Elseworlds based on statues of scantily clad characters. But Bennett brings so much more to the table. This is a nice romp.

Overall grade: A

Review: DC Bombshells #5

DC Comics Bombshells #5 came out last week and continued to impress. Writer Marguerite Bennett has the difficult task of reinventing the characters we as readers no so well, putting them into the WWII world while maintaining some sense of familiarity. Perhaps what impresses me the most with Bennett's efforts, especially in this issue, is how she is now reaching beyond the main characters and introducing other characters from the DCU.

I also am impressed that we really are running really disparate plotlines right now. These are the origins of these characters. And while some are now interacting with others, we are far away from a 'team book'. Characters are in different countries, serving different regimes. You get the sense that the circle is closing. But scope of this book is pretty impressive.

The art on the book also continues to shine. Here, Ming Doyle supplies the pages for the Batwoman/Catwoman/Joker's Daughter pages. This chapter is steeped in dark magic which suits Doyle's style nicely. The Harley Quinn/Poison Ivy pages are a bit sillier and much more suited for the cheesecake, somewhat cartoony style of Mirka Andolfo. And Bilquis Evely continues to bring a sort of scratchy realism to the Supergirl/Stargirl pages. This book just looks good.

The book starts with Batwoman's secret mission, deep into Germany, where she is to meet with the Contessa diGati, better known to us as Catwoman. After seeing Kate supremely confident in the early chapters, I like that Bennett humanizes her by making her sound a bit more cautious. This isn't the mean streets of the city. She isn't wielding a baseball bat. She is trussed up in a ball gown, heading to a Nazi soiree, trying to work with Selina.

As I said earlier, Bennett is reaching out a bit into the DCU. Here we see that Kate is picked up by Lex Luthor, an American industrialist who just might be working with the Germans. Still, Luthor is an American. Selina is in Germany, throwing parties for the Reich, and known to work with the black market. Lex tells Batwoman not to trust Selina.

But can you trust Lex?

Kate is brought to a soiree thrown by Selina. It is a high brow bash with high ranking German officials. Given the relationship with Amanda Waller, the assumption is Selina is on the right side of the war here. Going this undercover must be difficult.

But Selina has always been morally ambiguous making Luthor's warning apt.

I do love that Selina warns Kat about Luthor. Lex is trying to keep America out of the war and his rivals seem prone to dying.

Who can Kate trust here?

As if that wasn't unsettling enough, Kate is then brought to a makeshift altar in the place where Joker's Daughter sings a spell, resurrecting a fallen German soldier into something demonic. It is clear that she has been tainted somehow, her arm now inky and deformed.

It is interesting how singing is such a big part of this book. Mera sings her water control. Joker's Daughter sings her possession spells.

It is clear we aren't in Gotham anymore. This is insanity.

Now the one character I am having to wrap my head around a bit is the Harley one. There is a fair amount of gravitas to this book given the backdrop of the war. There is humor here, but subtle and well timed.

Harley almost feels like the comic relief of this book. She is a sort of wild lunatic here, again singing her way through adventures.

Here, she rides a bomb like Dr. Strangelove into a greenhouse. Somehow she survives and meets the owner of the place, Poison Ivy. Harley is immediately smitten with Ivy. Ivy works for Selina as a smuggler. But she has also used her feminine wiles and some special perfumes to lure the German occupant troops and presumably castrate them.

Harley tries to convince Ivy to join her. She wants the two to head into Berlin and fight more Nazis. The decision is sort of forced when German soldiers invade Ivy's house. Harley and Ivy fight back, blow up the house and head on their way to the front.

Again, this is the cheesecake-iest of the storylines. We see a lot of Harley here. I'm not against it necessarily. The wackiness of the story works well with her appearance. It just feels a little out of place next to the other characters' arcs.

We then cut back to the Supergirl/Stargirl storyline.

These two have realized they are being used by an unscrupulous administration. They decide to turn their back on the communist government and head off to rescue their parents.

I really love the characterization here as the two, who had been good soldiers for the cause have had to deal with this revelation. I also love how Kara, who had previously sounded bold and invulnerable, realizes her actions have led to the pain of others. It is a humbling experience. And it is one she wants to rectify.

General Arkayn has invaded the village and is holding Kara's parents at gunpoint. Even Supergirl isn't fast enough to save everyone. Kara has a choice, surrender and be experimented on or be responsible for a massacre.

Just when all seems lost ...

A giant Swamp Thing comes tearing through the house, battering the soldiers and allowing Kara to grab her parents.

Now this came out of nowhere. While I knew General Arkayn was a name drop for Anton Arcane, a known Swamp Thing villain, I didn't expect we'd see the big green guy. Whenever I am surprised in a comic I am happy.

Kortni had prayed to the forest spirits her mother used to. This mix of science and superstition in this family is fascinating.

But before everyone can be whisked to safety, the girls' father is captured again. He tells Supergirl to fly on without him.  Remember, in this continuity, he invented the cosmic rod. I have to imagine we will see something more out of him before this is all over.

I really love this particular arc. Yes, I am partial to Supergirl. But there are serious character beats here as these two have to deal with loyalty, distrust, science, and mysticism.

So overall, this book continues to keep me engaged and entertained. And I can't really ask for more. It is a delight to read and the individual art styles are well-suited for the particular runs. I keep hoping we will eventually see all these heroes together in one League-like team.

Overall grade: A

Review: Superman/Wonder Woman #19

Superman/Wonder Woman #19 came out this week, a part of The Truth, and labeled with the word Justice (as all the chapters have been this month). And I have to say it, right here, I liked this issue.

People who come to this blog and have read my Superman/Wonder Woman reviews know that I have struggled with this series. Almost every review ends with my saying 'maybe this is my last issue.' I have never cared for the Clark/Diana relationship, thinking it was a forced pairing. And, in this book which focuses on their relationship, I have never felt why these two would be together. Their interactions and their dialogue in this series haven't helped matters. The dialogue has been odd or off-putting. Most interactions are cringe-worthy. I have been waiting for someone to make me understand why these two are in love and together.

And I have to say that finally ... finally ... this issue made me feel like these two actually care for each other. Their dialogue feels natural and personal. I might not want these two together but at least here writer Peter Tomasi writes them as a couple.

As I have said in prior reviews as well, the art by Doug Mahnke has been spectacular in this book and maybe has been one of the main reasons why I am still here. Mahnke gets to completely shine in this issue. The first half is an incredible battle sequence with palpable action. The back half is a quiet interaction between Clark and Diana and allows Mahnke to use more subtle body language and expressions.

The cover is a fun look at Harley Quinn skipping rope with Diana's lasso. In this Harley-obsessed world I suppose this might be a money grab. We barely see Superman (his hand) and Wonder Woman (her unconscious body) on the cover. One minor quibble is the Superman shirt Harley is wearing. It just looks like a Cobra symbol from GI Joe. She looks like Harley cosplaying The Baroness.

Last issue we learned that the bodies of the Kents in the Smallville cemetery have been removed. With Clark and Diana mulling over what to do next, the Suicide Squad arrives. And all hell breaks loose.

Now looking at this crew, Diana alone should be able to wipe them out. This could be written with the fight being over in two panels. But the depowered Superman is effected by the bullets and laser blasts here. I think one of the reasons we see this fight is to show that if Clark was alone he might have lost to this group of (predominantly) street level fighters.

But I also think that Tomasi does a good job of prolonging the fight by showing that Diana isn't purely on the attack here. She is acting as a defender of Superman, here being a literal human shield for Clark.

Even Deadshot notices that she is acting as Clark's angel. By concentrating on defending Superman rather than wiping out these guys, the fight may have dragged out a bit more.

I have to say that I don't like this new Finch-costume on Diana. And I would have loved at least a little 'bullets and bracelets' action here.

 Initially it looks like the fight is over so Superman has takes the time to try to interrogate Black Manta (the one villain still conscious).

One of the plot threads weaving its way through the otherwise divergent Superman books has this new cruder, brasher, angrier Superman. This Clark seems to revel in using his powers and seems a bit darker than usual.

Here he is threatening to crush Black Manta's head in the metal helmet unless Manta talks. Grimacing and 'very unhappy', this isn't the Superman I am used to or want to read long term. Do we want a Superman threatening to crush a guy's head to beat information out of him? Brrrrr ...

 Deadshot turns out to be faking. A mini-skirmish breaks out again.

When the fight finally really ends, Clark and Diana regroup and recover.

Before they leave the cemetery, we get this wonderful moment by Diana. She picks up the Kent's mailbox to remind Clark what he is fighting for.

Diana has mostly been a two-note song in this series. She is either blood-thirsty warrior or doe-eyed passionate Stepford wife. I don't know if I have felt her be heroic or compassionate. So this tiny moment was wonderful. This felt like Diana.

Back in Clark's safe house root cellar, Diana acts as a medic for the battered Superman. Mahnke and colorist Wil Quintana do a great job showing how depowered Clark is. His body is a bruised, burned, battered landscape. If Deadshot can do this to Superman, what would a tank do? A missile?

But I love the body language her by Diana. She looks like someone caring for someone who she loves, someone horribly injured. And I liked hearing her say how terrifying it is to see Superman like this. This felt real. This looked and sounded like what real people would in a similar situation. In other words, it felt natural.

Again, look at how awful Superman looks. Talk about trauma!

Superman tells Wonder Woman that he can't worry about her worrying about him in combat. If she is thinking about him, she might get hurt and he can't have that. He cares too much about her. This also felt very natural.

That said, Superman might say he can pull his own weight but those words ring hollow when you see how battered he is. 

And then even Diana says something I have been thinking. What if Superman gets weaker? And she says outright that she doesn't want to lose Superman. Mahnke gives us a lot to chew on even in this tiny panel. Superman isn't looking her in the eyes. I don't think Clark wants to think about this and maybe can't bear to look Diana in the face.

But now the reader complaint.

We are almost two months into this arc. We don't know why Superman's powers are off. We don't know the order of these different titles. We don't know how or why his identity was revealed. As readers we have been sort of floating along here, waiting for the foundation of this story to be revealed. I don't know need everything ... just something.

Superman decides how to deal with all this Smallville mess and the Squad attack. He hints about how this isn't above board and as a result he needs Wonder Woman not to get involved. He doesn't want her hurt in battle. He doesn't want her sullied. He wants her 'staying in the light'.

Wonder Woman doesn't want to hear it but Superman is firm. There is 'no discussion'. He loves her and is going alone.

Now I am sure that people might say this is Superman being sexist. But I have to say this whole scene read completely natural. He cares for her and doesn't want her being hurt or vilified. That is being caring.

Again, this scene was the first time in this series that I felt like these two loved each other and would be in a loving relationship.

If only the issue ended there!

During the issue, we see officials behind screens talking about how their plan for Superman is proceeding. Here Superman decides to head to the top to ask the person behind these attacks why they are happening.

That person? The President of the United States. Just what I want, a red-eyed angry Superman threatening the President.

So what can I say? I don't like Clark being with Diana. I don't think I like this angry Superman direction I am seeing in his books. I don't know enough about the foundation of  The Truth to think I am on stable ground. And I certainly don't like a comic where Superman is threatening the President.

But ...

For once, it felt like Clark and Diana cared for each other and loved each other in a real sort of way. As I was reading that scene, I could see how these two might be in a relationship. And I have never ever felt that way before.

Add the fun fight scene and the wonderful art and I have to admit I enjoyed this issue.

Overall grade: B

DC SuperHero Girls

Back in April, Warner Brothers announced the DC SuperHero Girls Initiative, a multimedia platform introducing a bunch of DC female characters to a bigger audience. I loved the idea.

As a father of three girls and a self-proclaimed Brony, who has watched MLP and 'Equestria Girls', I thought this was a perfect platform to build an audience. We saw the initial characters but I am sure the entire DC catalog is probably available. And Supergirl was wearing Chuck Taylors. So it was all win back then.

Earlier this week, the website for the initiative went live. Here is the link: http://www.dcsuperherogirls.com/

It is a pretty simple site right now. There is the group shot above. Then you can click a link to see the  individual page for each of the characters. These pages include a simple description of the character and then three adjectives that define them.

Supergirl is the 'new girl' at the school and is described as new to the planet. I like the idea that she is learning the ropes at the school. And the description that she's 'powerfully persistent' is great. It might be a way to say she is fierce in pursuing her heroic goals without getting too scary. Maybe this 'school' is the Midvale Orphanage equivalent, the place Superman takes her to become accustomed to the planet.

The adjectives are also interesting. Sweet makes sense and is in line with classic Supergirl.

Awkward seems to be something newer for the character. We have heard Melissa Benoist describe the character as 'adorkable'. And being new to the planet means the writers can play up the 'stranger in a strange land' aspect of the character, a way to make her awkward here on Earth. We'll have to see how this plays up.

Given the last adjective is fun-loving makes me think she'll be outgoing in personality. This won't be a withdrawn awkward.

I'll be watching for more stuff from this site and initiative. But so far, so good.

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+