Review: Action Comics #1076 Superman Story

Action Comics #1076 came out last week and Mark Waid and Clayton Henry continue to weave an interesting story, rewriting the continuity around the Phantom Zone and its Kryptonian origins.

Waid has been clicking on all cylinders with this story, giving us a new look at Mon-El, Aethyr, and Jor-El. But these new looks are more like updated takes on classic continuity. Mon-El is back to a Daxamite Clark met as a kid. But his time in the Zone has made him tougher. Jor-El discovered the Phantom Zone but didn't want it to be used as a prison recognizing how maddening it would be.

In this issue, we see Clark on Krypton trying his best to not upend the timestream by revealing to people their future. But he also needs to get his solar gauntlets charged to get back home. I like how Waid has Clark on the razor's edge of not leaking too much info.

Sadly, I was hoping that Waid my do a redemption take on Zor-El. Poor Zor was morally gray in the New 52 and then turned into the Cyborg Superman in Rebirth. In Venditti's World of Krypton, he was an obsessed neurotic, desperate to save Kara. Could Waid just bring him back to another caring father and scientific genius? We'll see.

Clayton Henry continues to bring this smooth look to the proceedings. I like the Krypton sequences. Michael Shelfer continues to bring some levity and action to the side plot.

On to the book!

My Adventures With Superman S2, Episodes 1-2

Imagine my surprise to turn on Max the other day and find three episodes of My Adventures of Superman lined up to watch. 

I didn't really cover the first season of the show, a sort of anime-fueled, update to the Superman legend. I definitely found the relationship between Lois and Clark to be the core of the show. The addition of Supergirl to this season made me particularly interested.

How would Supergirl be portrayed? What will her story be? Show runner Josie Campbell has treated Kara and Mary Marvel pretty well in both animated features and comics. So I have faith even if early images show an angry Supergirl.

Regardless, any time Kara crosses over into other media, I am thrilled. 

But there is always a little worry. 

So let's see what has happened in these first two episodes from a Supergirl-centric look.

It starts with an expansionist Krypton, an empire that stretched out over the stars until an enemy came to the planet and the Kryptonian force was defeated.

Based on what I see, I have to believe it is Brainiac.

Crisis on Infinite Earths #7 Fallout: Superman #414

Last week, I reviewed the Crisis on Infinite Earths #7 sections of the George Perez Tribute issue of Back Issue. It reminded me of just how in depth my coverage of COIE #7 has been on this site over the last 15 years. By now, I thought I might have covered almost everything. I even have a subset of posts called Crisis on Infinite Earths #7 Fallout, deeper looks at books reflecting closely on the events of that famous book.

So I was shocked, truly, to realize that over the time of this site I have never covered Superman #414, a Crisis crossover issue in the immediate aftermath of Crisis on Infinite Earths #7. This issue came out in September of 1985, 2 months after Supergirl's death in the Crisis.  In many ways, it is an epilogue to Supergirl's life although it takes a long time to get there.

Writer Elliot S! Maggin clearly had a tale to tell, of Superman mourning Kara's death and returning her body to Rokyn, New Krypton and her family. But to get there, he needs to tell a very padded tale of the Superman Revenge Squad causing some havoc. There are a lot of needless splash pages, aerial fights over Rokyn, and home scenes of Van-Zee. In fact, if you removed the Revenge Squad story you could have a tight 8 pager showing the aftermath of Kara's death with a bit more dignity. I get that you need action in comics, especially then, but I would have preferred a 22 pager showing that aftermath. While I am glad we got this epilogue, it still feels like Kara got short shrift here.

To make things maybe a touch worse, the art is a bit muddy. Curt Swan's usual magnificence is rendered crudely by co-artist (inker?) Al Williamson. Even the lettering by Ed King feels a bit wonky. I do like the cover by Eduardo Barreto. Barreto drew the back end of the 1980's Supergirl title. So seeing his take on the iconic COIE #7 cover is a nice touch here. 

On to some details.

Review: World Of Krypton #6

Work and life in general has been hectic here so I am just catching up on comic reviews. 

Today I'll look at World of Krypton #6 by Robert Venditti and Michael Avon Oeming, an issue which came out 2 weeks ago.

This is the last issue of this mini-series. And let's admit it, as readers we all knew where this was going. There ends with the destruction of Krypton. That's the origin.

And yet, the creators do something interesting, at least for me. I assumed we would be ending this mini-series with a classic shot of Jor-El and Lara looking up as a rocket streaks away from the exploding planet. After all, I just said that is where this story ends. Instead, Venditti ends this mini-series a bit more open-ended. Yes, the planet will explode. But there is still some time left, some stories unsaid. As I have enjoyed this mini-series, it left me clamoring a bit for more. Always a good sign.

I also think that Venditti has done a good job mining the past, picking up pieces of the established history that work, and then crafting this fresh take on things. The mirrors into our own current world are there, no doubt, but not presented in a preachy way. This is more a parable of frankly where we are in the world today. 

Oeming's art is an acquired taste but it has grown on me throughout the series. The use of electronic panel borders still works for me, giving this a feel for some discovered found footage file by Kal on Earth. His sassy young Kara continues to amaze me. And the action sequences, and there are many in this violent filled finale, flow well with palpable strikes.

I am sad to see this series end and wouldn't mind seeing these creators hook up again. Maybe for an old-fashioned 'Tales from Krypton' back-up in one of the Superman books?

I'd be remiss if I didn't include a shot of the variant cover by Cat Staggs showing Kara holding baby Kal. I assumed we would see this sort of thing in the series as well but we just never get there.

I will point out that the outfit Kara is wearing is Staggs' design for the Smallville book. Just a great variant.

On to the story specifics.

Supergirl Show 603: Phantom Menaces

'Phantom Menaces', the second episode in this last season of Supergirl, aired earlier this week. If the first two episodes are any indication, things are going to happen fast. Some of those things might have explanations. Some may not. But whatever you do, don't blink.  But will the pace detract?

Like last week's, this episode has basically four plots. One is the heroes dealing with the new threat of phantoms on Earth. There is a lot of quick exposition about the phantoms. What they are. How they conquer. How they replicate. And there is a lot of talk about the soul. If you thought the phantoms were curt rate Dementors last week, you'll think their actual Dementors now.

Then there is the Lena and Lex subplot which brings Brainy along for the ride. I have to say, this plot had the best acting of the three. In particular, Katie McGrath really crushes it this week. She brings it. She holds her own against Jon Cryer's Lex and that is no easy thing.

Then there is the characters continued response to Supergirl's absence. Whether they are grieving or burying their emotions or just missing her, Supergirl being gone is impacting our heroes.

But let's not forget whose show this is. The last plot is Supergirl in the Phantom Zone, finding a friend and continuing her struggle to get free.  Melissa Benoist just sparkles.

Last thoughts before digging into the show itself. One, the Phantoms in the Zone remind me a little bit too much of the phony Phantoms Zor-El claimed haunted the Els in the dreaded Joe Kelly run of the Supergirl comic. Also, given last week's 'A Few Good Women' and this week's 'Phantom Menaces', looks like our episode titles will all be riffs on movie titles.

On to the show!

Back Issue Box: Action Comics #309

I have been thinking about Action Comics #309 a lot recently and it finally occurred to me that I should formally cover it on the site.

First, I'll say that I first read this issue in the phone book style Showcase Supergirl trades from years ago. Only recently did I read it in color thanks to the DC Infinite app. I have never seen it in the wild but more on that later. 

I began thinking about covering it here when I guest starred with Mart Gray over on the Fire and Water Podcast network to discuss Gene Colan's work on the Phantom Zone mini-series. Here is a link to that discussion:http://fireandwaterpodcast.com/podcast/fw-presents-showcase-gene-colan-phantom-zone/

Kudos to Ryan for keeping me and Mart on task. One thing I didn't go into at length in that review was the character of Jer-Em. He is seen throughout the story and has a unique history with Supergirl, one here in this issue. I figured I should fill that in.

Second, the Supergirl show has brought back Zor-El, saying he has stayed alive in the Phantom Zone. That resonates with this story.

But more importantly, I was listening to Tom King talk about his upcoming Supergirl run on the most excellent Word Balloon podcast, hosted by John Siuntres. Here is that link:https://podcasts.apple.com/us/podcast/the-kings-speech-tom-king-q-and-a/id207700416?i=1000513255019

In that interview, King calls Kara a survivor. He sort of squishes the newer origins (Kara born years before Kal and grew up on Krypton and witnessed its destruction) with some Silver Age aspects of her origin (living on the floating Argo City, the ground becoming Kryptonite, the meteor shower that exposes the lead covered K-soil which ultimately kills everyone). He describes that as three distinct threat about excessive loss, basically three traumatic experiences,  that Kara has had to deal with.

Of course Tom King would focus on the trauma. Hopefully, for once, he has the character come out of it with a healthier outlook. Supergirl should be optimistic and helpful.

But it made me think of this story as a potential 4th trauma Kara lived through. And I wonder if King has read this story.

 On to the book.

Review: Supergirl #25

Supergirl #25 came out last week, a double sized anniversary issue celebrating ... I guess ... the title making it to the quarter century mark. It is amazing what passes as a high number in comics these days.

The book is made up of three stories. The first continues the current plotline with Kara investigating Rogol Zaar's part in the destruction of Krypton. Writer Marc Andreyko does a decent job here mixing in visions and reality, playing on a bit of Supergirl's history, and adding a new rogue to her villain list. The art there is done primarily by Supergirl veteran Emanuela Lupacchino and fits in well with the Maguire/Shaner look to the book.

The second story focuses on a past encounter of current shipmate Z'ndr Kol. We get a better sense of the sort of swashbuckling, Tomb Raider-like adventurer he is. But we also get some crumbs to deepen the current mysteries of this title. I don't know how much I can trust this guy. And there are so many apostrophes in his language that I can't help but think he's a Martian.

The last story feels like an inventory holdover for some never published holiday special. Dan Jurgens and Tom Derenick give us a story from Supergirl's past, clearly set in the Steve Orlando era, with a simple but beloved holiday message.

Overall I thought this was a very good issue but for one overused plot element that bores me.

On to the book!

Back Issue Review: Supergirl #5

At the end of Supergirl Season Three, Kara exposes herself to Harun-El, a proxy for black Kryptonite. The last episode closes with a clone/copy of Supergirl wandering in the icy plains of Siberia

This isn't the first time we have seen a version of Supergirl split off after Black Kryptonite exposure. It certainly isn't the first time that we have seen a 'Dark Supergirl' emerge as a personality or doppelganger. Heck, on the show itself we have seen evil Red K Supergirl as well as Earth-X Overgirl.

I know the show runners have talked about Mark Millar and Dave Johnson's Red Son as a template for next season. But I try to look back at Supergirl history as it pertains to the character's current continuity. And that means I should look back at a Black K created Supergirl identity.

Unfortunately, that means looking back at Supergirl #5 from the 2005 series. 

Now I am going to be up front. This isn't a good comic book.

It certainly isn't a good Supergirl story. And there are a lot of things about it that I loathe. In fact, it was the bananas approach to this volume that prompted me to start the blog lo so many years ago. I couldn't stand by and think that there were people who only knew *this* Kara. So buckle up for a bumpy ride.

You need to remember that in 2005, Supergirl was a hot commodity. Jeph Loeb and Michael Turner had brought her back in Superman/Batman. Turner was a red hot artist and his lengthy, all torso, waif of a Supergirl was vivid, grabbing the attention of people. This was the return of Kara Zor-El, cousin of Kal. Her book exploded onto the shelves, initially selling a ton.

The title was helmed by Loeb as writer for the first arc. Ian Churchill had a cleaner line than Turner but brought the same aesthetic to the art, a sort of prurient peep at an ultra-thin, barely dressed Supergirl, pouting and punching her way through the DCU. Loeb had her angry at the world.

Supergirl #5 ended the first arc and had two initial covers, with Turner and Churchill swapping classic and dark Supergirl figures. It sold well enough to get a second printing, all Turner. And it rather muddily ended the story in which an evil Kara emerges from Supergirl to attack anyone who crosses her path.

Are you still here?

Okay, onto the events of the book.

Review: Supergirl #13

Supergirl #13 came out this week and not only wrapped up the current Emerald Empress storyline but effectively blew up the landscape of the book, resetting it a bit for the year to come. When I finished reading the issue, I sort of shook my head to grasp everything that happened. In some ways this felt like the sort of issue that happens right before a creative team shake-up, a sort of clearing of the playing field. But we know that Steve Orlando and Robson Rocha are sticking around.

I wonder, if after a year of stories, the creative team sort of reassessed the book, looking at what was working and what wasn't, at what stories they wanted to tell and which they didn't, and decided to nudge the book in that direction.

Trust me, I'm not complaining. There was a sense of added energy for me when I was done. Things are going to be shaken up ... and in a good way. And perhaps, most important of all, the characterization of Supergirl despite all the upheaval remained sound. I was smiling. Because it would have been easy for the writers to march down the 'dark Supergirl' road, making Kara bitter. Instead, they have her shine even brighter.

I'll get into particulars in a moment. But I have to add that the addition of Robson Rocha on art has added a lot to my love of the book as well. This was a high action issue and demanded some detail and some dynamism and some 'oomph' and we got it. Add to that the Artgerm covers and suddenly Supergirl is firing on all cylinders.

On to the book!

Review: Supergirl Futures End #1

 

I  have been singing the praises of Tony Bedard's recent work on Supergirl, rehabilitating her character and making her more heroic, more inspirational. I also have been bemoaning the fact that his tenure on the book is all too brief.

I also know that I was not looking forward to reading Supergirl Futures End #1. Crossovers have not been nice to this incarnation of Supergirl. And just when the character was turning the corner, was being 'good', she is thrust into a dystopian future five years hence. The cover displays her as a bladed cyborg, working with the Cyborg Superman, her twisted father. And the solicit talks about her reconciling with her father in the most horrific way.

I thought we were moving away from this!

Amazingly, and perhaps not surprisingly given what we have read, Tony Bedard is able to make lemonade out of the lemons of Futures End, crafting a story which shows ... eventually ... Supergirl's strength both mental and physical. This isn't a perfect story ... how could it be given the overall circumstances ... but it at least ends with a heroic Kara. And I have to be happy with that.

Art is by Emanuela Lupacchino and it shines. I feel like over the last couple of months, Lupacchino has really grown comfortable with Supergirl. The book flows beautifully. And it is a style which fits the character very nicely.

 The book starts with Cyborg Superman (Herald One) and Cyborg Supergirl (Herald Two) floating above Earth. The two initially worked for the Collector but broke free of his control and started their own mission, to find a world where the inhabitants could be genetically manipulated to become neo-Kryptonians, recreating that 'perfect' world.  Earth seems to be the right place. Humanity 'looks' like Kryptonians. And there are Metans ... called neo-Sapiens ... that could be the building blocks of a new race.

Any book whose title is a quote from Voltaire at least has some potential.

Immediately there are some funny details about this opening scene. Supergirl speaks of how 4 years ago the Cyborg made her perfect, erasing her memories. She only knows she was miserable and hated Earth.  The truth is that if this was done after the first year of the title, I would believe that sentiment. But recently Kara hasn't been miserable and seemed to embrace Earth. Odd ...

What is missing is any fact of her willingly joining the Cyborg.

 Kara's presence on Earth is detected by Shay Veritas who sends someone after her.

What I like about this is that Veritas clearly cares about Kara, as does this unknown plane pilot. 

But here is what really grabbed me. Veritas says that Kara hasn't been on Earth for nearly a year.

So was she fighting with the Cyborg 4 years ago? Or was she on Earth one year ago? Something isn't right here.

I hope this isn't just an editorial flub.

 The pilot turns out the be one of the 'neo-Sapiens', Captain Comet. Comet is able to repel Cyborg Superman briefly so he can enter Supergirl's mind.

I love this semi-splash page. Kara's memories and psyche are laid out nicely here. I love how Comet's eyes are huge, peeking into Kara's mind. I love how the internal Kara is wearing a completely white costume. It makes me think that Kara thinks she is better than what her body is doing. She is pure, in white, even if her Cyborg form is blasting other planets, trying to genomorph them.

And I love that Supergirl, at some point, joins a version of the Wanderers. You can see versions of the 30th century group here - Photine instead of Quantum Queen, Quiller instead of Dartalon, some bird person like Ornitho. And this team of super-heroes are 'in awe' of her.

No I am biased but I always thought that Supergirl would be the leader of the next generation of heroes. Remember when James Peaty had her impressing Damian and M'Gann? So having her be the inspiration within her own group makes me happy. She was their role model.

But there is more to this story. The group went out to try and stop the Cyborg's reign of terror. But during one of these battles, he grabbed Supergirl and left. Was this only a year ago? Does the Cyborg know he is Zor-El??

Now there is something else a little odd here. We learn that Kara and Captain Comet are romantically involved. Maybe this was the love interest that Bedard hinted about in interviews, and not Michael from last issue.

But wasn't Comet born the night Superman's rocket landed, Kal's rocket blasting over Adam's delivery is what triggered his mutation ... that is if Grant Morrison's story is still in continuity. I don't know if I like Supergirl dating someone 15 years older than her. To be fair, I don't know if that origin is still intact for Comet. And Lupacchino draws him looking as young as Kara.

 Comet's mind-meld with Kara opens up her mind. She suddenly remembers who she is and is horrified by what she has become and what she has done.

This set of panels is depressing. She still doesn't know this is her father. But she is curious. I wonder if part of her knows. But that second panel,  where she looks at her robot hand, revolted by what she is, is sad.

 At least we learn through all of this that Kara didn't willingly join the Cyborg on his genocidal strikes. Rebelling against him, the Cyborg Superman tries to take control of her robot parts. Supergirl is literally fighting herself.

And then we get this great panel. It is a very visceral image as Kara rids herself of the evil in her body, ripping off the purely mechanical limb.

Somehow this sequence of Kara fighting herself seems to sum up a lot of her problems in the New 52. I have always sensed that this Kara is a good person, someone who cares and wants to help, but she was so overwhelmed by anger that she couldn't act.

Unfortunately the Cyborg is still pretty strong and overpowers Supergirl. Just as it looks like he might kill her (his own daughter!!), the rest of the Wanderers show up.

You want proof that Supergirl can be an inspiration, a role model, an example of self-sacrifice? Read their words. Every one of them would die for her. She must have been tremendous in this group. Too bad we'll never read those adventures (unless this is a peek at some of the student body in the upcoming Crucible Academy).

And then we get a nice ending panel. Kara strips her body of the cybernetics. But scars and all, Captain Comet loves her and is happy she is back. She might have tried to force perfection on races with the Cyborg but that way doesn't work. And something as simple as a kiss can be perfection.

So how should I regard this story?

Should I dwell on Cyborg Superman somehow defeating and brainwashing Supergirl? That she destroyed races with him? That she still seemed to harbor some anger?

Or should I look at how she was a hero with the Wanderers? That she was their leader. Should I look at how hard she fought once she was in her right mind?

In the end, I looked at both equally. And in some ways I am tired of stories where Supergirl realizes she can be happy and a hero and will put her past behind her. What I really really really want is that past behind her, a dot in the rear view mirror, and her acting like a hero. These stories of redemption for her are great. It is great that she decides to be an inspiration and a hero.

But it is time ... let's have a long long run of Supergirl being the inspiration and hero.

Still, for a Futures End crossover, this was one of the better issues. And Lupacchino's art is just fantastic.

Overall grade: B+/B

Tony Bedard Interview On WeeklyComicBookReview.com

It's been a while since the Supergirl book has gotten any publicity. Since the deluge of pieces when Red Daughter was first announced, news about the book has sort of dried up. I suppose that with the denouement of Red Daughter still unknown, DC might want to be tight lipped.

Thankfully, we got some news via Tony Bedard over on weeklycomicbookreview.com. And thanks to blog friend Thomas Hayes for pointing me to it. Here is the link: http://weeklycomicbookreview.com/2014/06/25/senyc-report-the-days-of-high-adventure-an-interview-with-tony-bedard/

As always, it is definitely worth reading the entire interview as it covers Bedard's career, his time on Beowulf, and other topics. I have culled some of the Supergirl specific questions and added my comments after. Overall Bedard continues to say the right things.

WCBR: Alright, turning to Supergirl, you’ve actually worked with Supergirl, at least a decent amount in the past. Were there any unexpected joys or challenges in coming back to a character who, perhaps more than most, was really changed by the New 52?

Bedard: Well, yeah. I think with the Super characters, there are certain things that are appropriate for them. And it’s difficult- you run the risk when you look at ‘em that way, of just writing them the way that they’ve been written and didn’t work for a long time. But I think that Supergirl needs to be a bright, happy, y’know, likable character and that she hasn’t necessarily been that since the relaunch. I understand what they’re going for with her and I’ve tried to do some of that, to make her a fish out of water that’s struggling to fit in, but she still needs to have some light moments, stuff that makes you like her and care about what happens. Otherwise she’s just kind of a whiny, dark character.
So, that’s been the biggest struggle with everything bad that happens to her, finding those little moments to try and leaven that and still keep her likable. And Spider-Man’s the best example of a character like that. That something was always wrong, y’know, Aunt May needed her medicine and he was going to lose his job and he couldn’t pay the rent. But it didn’t come across as a downer of a book. But Spider-Man’s a real different character than Supergirl is so it’s hard to pull that off with her.

Hurrah! Bedard says Supergirl needs to be bright, happy, and likable. Needs to be!

I think it great that he realizes that so far the character has been whiny and dark. I don't mind Supergirl adapting to Earth, even struggling to adapt. But she needs to be likable, heroic, and bright. 

It is fantastic that Bedard gets that simple truth.

WCBR: One thing I thought was great was that your Secret Origins story spent a good amount of time kind of looking at what the differences are between Kara and Superman. And one of the things that struck me is, of course, that Kara lived on Krypton. Superman has this weird secondhand relationship with his home. What do you think that difference- really having known Krypton, how does that change Kara from what people think of when they think of the Superman family?

Bedard: Well, I think- one of the problems with Supergirl is that she’s kind of a subset of Superman, y’know, and that kind of limits who she can be, or at least has for a long time. Her identity is always expressed in relation to another character and she kind of needed her own thing to set her apart. So, I think that the fact that she grew up on Krypton being played up, that’s why that’s there.

We’re trying to stand her up on her own and also to give her a motivation that stems from her Kryptonian background. In the case of Superman, he got his values from Ma and Pa Kent and that’s really vital as far as who he turned out to be and why he goes around doing good things. So, I think if we played up her Kryptonian-ness it’s to try and differentiate her from him and also not just make her, y’know-

WBCR: “Superman’s Cousin: Kara Kent”.
Bedard: Yeah. Exactly. She needs to have her own sort of reason for going around and doing good deeds and using her powers for good.

I think that this is a fine line that the best writers can walk upon.

I want Supergirl to be her own character, to tell her own stories, to have her own personality. But she is also part of the Super-family and Superman is should be a mentor or an older brother.

Superman shouldn't define her. But Supergirl shun him. There can be interplay.

Look at how Paul Kupperberg had them interact. Look at how Sterling Gates had them interact. It can happen. They can be family members, supportive of each other, loving to each other, and not have Superman define her.

And while I think Krypton has to be a big part of Kara's story, that also can't define her. She needs to embrace Earth as her new home.

WCBRL So, Supergirl #31, which is technically the latest issue at this time, was a really dense issue. There was a lot going on, but Red Lanterns deals with the Judge and Atrocitus and now this week’s issue sees her going up against the Diasporans and Worldkiller-1 , which is a big reveal after a long while. So, I guess the question is, once we’re done with that, will we be turning back towards Earth and Blaze, who’s been kind of sneaking around the corners?
Bedard: We’re definitely getting back to Earth. What happens with Blaze is actually- We’re not gonna plunge into that as a storyline. That’s kind of been put off because there’s some other things going on. And this is the joy of working in a big universe like this is sometimes you set up plans and think they’re gonna pay off at a certain point, and then you turn around and find out that there’s another thing, like, for example in September- Have they released much information about the September books yet?

The Supergirl book desperately needs some time to grow and progress on its own. I worry that while major crossovers might bring in some new readers, they tend to derail any momentum the book has.

Remember H'El on Earth? And Krypton Returns?

So hopefully this detour into Futures' End is brief.

WCBR: But, you know, solicitations are intentionally misleading to some degree.
Bedard: Right. Because those books are all going to play off of stuff that’s going on in “Future’s End”. And so that kind of punted my plans a little bit, but it’s okay because actually I get to do something really fun in that issue with Kara and Cyborg Superman. And also the issue when she gets back to Earth, we’re actually going do something a little romantic with her.

WCBR: Oh, cool.
Bedard: Which, she hasn’t had much romance or that kind of fun in the whole run of the series, so I’m looking forward to that. We actually slow down a little bit and do some more character-driven stuff.

I am not a fan of 'Zor-El as Cyborg Superman' so I hope that 'something fun' is a resolution of some sort. Maybe a retcon?

But the fact that Bedard is talking about slowing things down and adding romance makes me happy. I think he has the right mindset for the character and the progression of the book.

Review: Secret Origins #1

I have a love of the DC Universe and have always enjoyed the Secret Origins books when they have been part of the publisher's line. I not only like rereading the origins of my favorite characters ... amazed that creators can add a new wrinkle ... but the ones I don't know very well also. So when DC announced a new Secret Origins, I was very happy. And when Supergirl was announced as part of the first issue, I was thrilled. Sure she isn't on the cover. But she is there. And this issue was very very good.

I will briefly cover the Superman and Robin stories but this review will be mostly about the Supergirl story.

We are at the beginning of Tony Bedard's soft reboot of Supergirl. He has said he wants her to be more heroic, more likable, less angry and isolated. And while we don't see a whole heck of a lot of movement here, we definitely learn a few key things about Kara's past. And those things make her have a better foundation than the 'I don't care' Supergirl that has dominated the early years of this incarnation.

The issue starts with a flashback to Krypton where Supergirl saves the lives of a couple of other young Kryptonians who have violated some camp rules as they prepare for the trials of citizenship.

It is a brief scene but it shows that this Kara cares about people and is already heroic enough to risk herself to defend them. She bashes this wild animal despite knowing her weapon isn't powerful enough to incapacitate it.

She will defend people! She cares ... even if she doesn't know someone.

Interfering actually gets Kara in trouble. She lies to try to defend the mistake the others had wandering off and that is frowned upon. Luckily, Alura is able to give some words of wisdom. Doing the right thing can have unwanted consequences. But honor the house of El by always doing the right thing.

I love that Bedard is going to make Alura a role model and inspiration for Kara. And I like that she says Els always do what is right. That is great. It seems like a nice foundation for a fierceness in the pursuit of justice that the original Supergirl had. But it doesn't have to come with a horrible edge. She can be bright and fierce.

Of course, you might think that Kara might see Kal 'always doing the right thing' and warm up to him.

We get even more Alura information. It turns out she is a 'peace praetor' of Argo City. That is either police officer, judge, or politician. But regardless, she is in a position of power and a defender of the people. It makes her an even better role model for Supergirl.

And now onto a nice little side view of the origin. We see Zor-El in his lab. He definitively says that his World Killer experiments could not unlock any powers in Kryptonians.

There we have it.

Kara is not the first World Killer.

Hurrah! And thank you Mr. Bedard.

Back on Earth, Kara rescues North Korean astronauts who are in a falling satellite. When she brings them to North Korea, the army fires on her.

She doesn't care. Saving the astronauts is the right thing. Superman arrives unfortunately to confront her about the messiness of this save. This was an international incident. Rather than ask him how she could have done better, she gets angry. Shoving a finger in his chest, she says doing the right thing sometimes has consequences. And she will learn her own way.

It is a shame. If a wise Kryptonian like Alura can teach her, why can't Kal. Sure saving the guys was right but maybe he could tell her how to do it with less consequences.

Her being on Earth, in her costume, and willing to save people, seeing that as the right thing, seems to be a step in the right direction. But this felt like she is a .... sigh ... bull-headed loner. She will do what she wants no matter what someone else says. And she will do it her way.

 I hope Bedard can keep moving her towards likable hero and not just a hero.

Still this was a good origin. The Krypton scenes and Alura/Zor-El info add a nice foundation to the character.

The Superman origin is nicely revisited by Greg Pak and artist Lee Weeks. In it we hear voice overs from both Ma Kent and Lara as they talk about how they hope their love will make Kal/Clark become the man they want him to be.

Pak does a good job of weaving in scenes from both his Action run and Morrison's as key points were Clark is shown love and then uses that love to be Superman. Nice stuff.

And the Robin (Dick Grayson) origin is also excellent. Writer Kyle Higgins and artist Doug Mahnke retell the Grayson tragedy at the circus followed by the introduction of Robin. This was my favorite scene. Here Dick sees Robins and decides they will be the basis of his costume. It is a nice reflection of Bruce's own decision to become a bat. But instead of brooding inside when a bat flies in, Dick is outside, in the sun, hearing birds sing. Very nice. (I also liked that his flying Grayson's costume looks similar to his Nightwing one).

Anyways, great issue overall. Kara's transformation looks like a marathon, not a sprint. But still, progress is progress.

Overall grade: B+

Supergirl And The Emotional Spectrum

I have talked about my unease with Supergirl upcoming donning of a Red Lantern ring in the coming months to the point that I don't think I need to reiterate my concerns.

But I thought it would be interesting to take a look back at Supergirl's interactions with the emotional spectrum in the past. I know that this is a different Supergirl in essentially a different universe. But it isn't like that last Kara had an easy life with no concerns. She had just as many bad turns in life if not more. And yet somehow, after some rehab with Sterling Gates and Jamal Igle, and despite ongoing tragedy, she never succumbed to the dark path of rage.

The most we have seen of Supergirl and the emotional spectrum was in the Blackest Night:Superman mini-series, written by James Robinson and drawn by Eddy Barrows. I reviewed these issues when they came out but that was over 4 years ago. I hope this doesn't feel like a retread. You can look at late 2009 to see those reviews.

Given the upcoming change, I thought it would be worth revisiting.

So in 2009, the Black Lanterns were threatening the entire DCU, raising the dead to become an army for Nekron.

But there was a slight problem. You see concurrently, DC was also doing a long arc in the super-books where a New Krypton was in our solar system, on the opposite side of the sun, and filled with the citizens of Kandor.

A city filled with super-powered Kryptonians would be a bit of a wild card in the Blackest Night story arc. Wouldn't thousands of Superman-equivalents impact the threat. They needed to be dealt with and Blackest Night:Superman is where that happened.

There were 2 plot lines in the series. In one, Superman and Superboy (Conner) battle the pre-Crisis Earth-2 Kal-L and Lois (both of who died in Infinite Crisis).

In the other, Zor-El rises from the dead on New Krypton and battles Alura and Kara. Remember, these aren't loving zombies. They are vicious and this Zor-El attacks his family both physically and psychologically.

Let's see how Kara deals with facing her loving father in a cruel undead form.

First a wild conglomeration of feelings.

Fear of this creature.
Hope she can return her father to normal.
Love for her father.
Compassion for what has happened to him.

Zor-El unloads with a string of insults about how Kara has disappointed him, a pathetic creature.

And then the realization by Kara that while this might be her father's remains, it isn't her father.

I loved this panel back then and I love it now. Kara an even mix of rage for this desecration and will to battle him.

I have said before that Kara can be fierce in her desire to do what is right.

And then that continued mix of will to weather the mental and physical barrage by Zor-El and rage for this indignation.

Yes there can be rage. But always tempered by a strong will, a control.

This Supergirl had a rough early history on Earth - brainwashed by Darkseid, split into Dark Supergirl, failing in the phony Kandor when she was seduced by Pru-El. Then she dismissed a life of heroism, went rave dancing, got duped and abused by Power Boy, bled crystals, and tried to kill Superman.

Yep ... DC loves piling tragedy and angst onto Supergirl. Don't you think that this Supergirl could have given into rage and joined the Red Lanterns?

And yet with strong writers and a rehabilitation of sorts, she didn't. Instead she tried to deal with her life, to better herself, to help others. And even after that rehabilitation, when it looked like life had dealt her a bad hand again (here, the death of Alura and the destruction of New Krypton, survivor's guilt), she still strove to do what was right.

See DC! The right writers can bring her there. You don't necessarily need to go darker before turning to the light.

Now maybe Tony Bedard and Charles Soule are planning this redemption. But it is still nice to see that this Supergirl didn't succumb to mindless anger.

As for DC, the took New Krypton off the board of Blackest Night. A force field was erected around the planet, trapping the Kryptonians on New Krypton, negating Nekron's ability to raise the dead and keeping the zombies out.

Personally, I still think Kara would be an Indigo Lantern before she would be a Red.

Review: Supergirl #24

It's catch up time for me as I scramble to get up to date on all things Supergirl after being away for a week because of work. And first thing on my plate is my review of Supergirl #24, written by Michael Alan Nelson and drawn by Diogenes Neves.

Now this is an interesting issue for any number of reasons but primarily because it marks the end of the Nelson 'era'. Steeped in horror roots, Nelson said there would be darkness in his book but with an eye towards the light. And technically he achieved that goal because this issue does end with Supergirl optimistically pining for happiness. But technically achieving a goal and actually achieving the goal are separate things. After the fun opening issue, we moved on to some sad dark stuff - leaving Earth, K poisoning, fighting her own fears, and then ultimately dying. And every time I thought the best, that these darker times were meant to be the deepest before a dawn, we just got even darker. Even this issue, with a rethinking of Zor-El and ending with a positive note, shows Kara at her most unhinged and vengeful.

And I will remind people that Chase and Harras were literally giddy about announcing Nelson and the darker turn he was bringing. I guess the question is why is Nelson leaving? Did he step down? Told to step down? Maybe he knew that another H'El arc would be doom. Or did DC realize AGAIN that this character cannot sustain itself with that take.

The art by Diogenes Neves is wonderful. I find that his stuff can be too stylized at times (his eyes are spooky) but that works with a Supergirl who is forming the clay of I'Noxia into whatever shape she thinks of.

Remember that last issue ended with Supergirl dead, disintegrated, and absorbed into the consciousness of I'noxia. The Cyborg Superman had been reconstituted into Zor-El, who seemed not to realize what he had done.

Now I guess I can understand Supergirl being angry for being destroyed. And I can understand her wanting to deny this false existence of a phony Krypton. But rather than try to figure out a way to use this omnipotence of her surrounding, she decides she will use it to exact a pound of flesh.

Seems a bit Draconian don't you think? And not subtle as we hear her say 'Hard to know what I would do in her situation. But I read these books to see what heroes would do and be inspired.

Now if there is one saving grace about this issue is that Zor-El actually comes out of this looking better. Cleansed of the Cyborg Superman persona, he instantly regrets his actions and orders his I'Noxian lieutenant Delacore to reverse the process. Kara needs her body back and the only way to do that is to become the Cyborg again. It means he will once again lose his memories and personality. He will once again become a villain. But Supergirl will be safe. It is noble and sacrificial. He even tells Delacore to tell Kara to search for happiness.

It also means he will need to fight Brainiac off so that the reversal can occur. And he needs to become the Cyborg again to fight Brainiac, unknowingly to help Supergirl escape. 

Since the beginning of this new incarnation, I have said that Zor-El is desperate to save his daughter to the point of crossing some ethical lines. Here he is just as desperate, becoming a villain once more, leading a horrible life (although as the Cyborg, he won't retain the knowledge he is Zor-El), but at least his daughter is safe.

Unfortunately, Zor-El's plan is to save Supergirl is being undermined by Supergirl herself. Having taken control of I'Noxia, she begins ripping it apart from the inside out.

She will leave the place a 'ruin of cinder and ash', have 'the world burn' until the Cyborg 'lies broken at my feet'. And even if she destroys the I'Noxian collective, so be it. They begrudgingly helped the Cyborg; they are just as guilty in Kara's mind.

I do like this panel as it does conjure up images of the Earth Angel Supergirl with her flame wings.

Zor-El's plan is relatively intricate and plays off the fact that he will reclaim all the foibles of the Cyborg's personality when he is reconfigured. The Cyborg won't remember he is Zor-El. He will be told by Delacore that Brainiac stopped his transformation to human, thus making the two villains fight. Zor-El will 'shrink' the I'Noxian collective to make it safe, sparing them the fallout of the fight. And thus, Kara can be presumed dead and escape without the Cyborg or Brainiac following. And he wants Kara to find happiness.

Again, this redeems Zor-El in about as best as can be expected for him. He is flawed and the guy can't catch a break. But at least he hasn't killed Kara. Unfortunately, it means he will remain a villain and neither he nor Supergirl will know their relationship.

And her anger is so blazing that she does take utter control of I'Noxia, pulling matter which makes up the city to form a super-sized avenger. And she means business. Moon fists and sun legs and a world of misery and wrath. Not very Supergirl-like.

Again, rather than trying to figure out a way to get her body back, this Supergirl is simply driven to destruction. If Michael Caine were here, he would describe her as someone who just wants to watch the world burn. This is the dark twisted Supergirl that DC wants and it's wrong.

The art here is very nice showing Supergirl forming from the swirling matter and dripping with fury.

Zor-El's plan works perfectly. He becomes the Cyborg, forgets all about what happened when he was Zor-El, and flies off to fight Brainiac.


Supergirl is reformed and cured of her Kryptonite poisoning. And no one knows she is alive.

With all that hate and anger behind her, with the need for vengeance removed, Supergirl is suddenly calm again, riding her space-cycle a distance from the Cyborg/Brainiac brawl. And Zor-El even succeeded in saving the I'Noxian collective mind. Sure, they are in floating sphere thing but at least they are free.

And then we get the ending 'feel good' moment. In some ways it is a coda to Nelson's run. I suppose he wanted to eventually get Kara here. And knowing that Tony Bedard has said he wants a likable Kara on Earth, this sets the stage.

It is good to have Supergirl hear one more time that her parents loved her and would want her to be happy.  Maybe this whole near-death experience will be some sort of catharsis for her, making her cling to life and happiness that much more.

Alas, before we can get there we have to suffer one more H'El arc which might derail things again. Remember, Mike Johnson was turning this book around before the first H'El.

And so ends another darker chapter and darker 'era' in the New 52 Supergirl book. Could DC, as they did with the last incarnation of Supergirl, finally have come to the realization that this character deserves something better, that this book warrants a different slant?

So, all together an unhinged Supergirl, a repentant Zor-El, and a happy ending. But in a rough package.

Overall grade: B-

Review: Batman/Superman #3.1 Doomsday

Batman/Superman #3.1 Doomsday came out last week and was one of the more intriguing books during Villains' month. Written by Greg Pak and drawn by Brett Booth, the book isn't necessarily about Doomsday as much as it is about the El family and General Zod.

Sure, we see Doomsday, hear how he earned his name, even learn a bit about his origins. But he seems more like a plot device than a character, something to move the plot along ... like a bomb threat or a natural disaster.

Perhaps the most interesting thing about the book is the setting, Krypton several years before its destruction. We hear from all the Els about what Doomsday meant and how he effected their world. We see a loving Zor-El (something I didn't think existed anymore) and strong Lara. And then, in a sort of story curve ball, we hear about a prophecy for the El family, one which struck me as the most beautiful segment in the issue. It weaves some of the problems I have with the current DCU in with some nice Reign of Superman homages. 

Booth brings his usual style to the book, a kinetic feel to the action sequences, a soft touch to the personal moments. But the prophecy pages stand out, drawn as a sort of 'stained glass' giving it a mythic feel. Wonderful.

The book opens with Jor-El and Lara with Zor-El and Alura celebrating 'Remembrance Day'. But no one seems happy about it. This is a solemn day, remembering a day of disaster ... a Doomsday.

I actually like this play on words. Doomsday is a day which becomes synonymous with the creature that brought on that day.

One thing that does seem a bit out of place is the interaction between these four in comparison to the prior peeks we have seen recently. Things have seemed strained ... maybe hateful ... between the El brothers but here they are together and actually quite cordial to each other. Maybe they are on their best behavior sort of like visiting relatives you dislike on holidays?

Lara was on hand as a military person on the actual Doomsday. I still am getting used to this bad-ass version of Lara. She sees the Doomsday creature land in the city, destroying buildings, killing indiscriminately, impervious to anything Lara throws against it - hand blasters and such. She says Krypton had become complacent and it showed when Doomsday arrived.

I love this panel progression by Booth. We see the current Lara remembering, the cityscape in the background. And then suddenly we are in the past, her cowering in the same panel spot, the cityscape in flames, the panels rougher. Such a smooth transition.

Doomsday seems unstoppable until Colonel Zod shows up. Armed in ancient weaponry, he holds his own against the creature. But while he battles, the city falls down around them. Thousands were killed.

So is Zod the hero?

Or is this some sly commentary on the ending of Man of Steel?

But it is interesting that Zod somehow had access to weapons that seem to work.

Before we hear how this fight ended, the group hears a squeal from inside.

It's from Kara! She's inside.

Zor-El is sent in to comfort her and he assumes she was listening in on the scary Doomsday discussion.

This is about as friendly and paternal we have seen Zor-El act since the New 52. Sure, it is clear he had a special relationship with Kara in the early Green/Johnson issues but always around battle training.

We know that Zod is in the Phantom Zone at this point because he tells Kara that he can't get to her (sort of like a Boogey Man). Remember that Zor unknowingly helped Zod with the fake Char attack (as seen in the Zod issue). Even then he seemed moody and angry with his brother. So, while welcome, it felt a little off from the villain we saw in Cyborg Superman.

I am not against this in any way. I like this Zor-El, hugging his daughter and telling her he will keep her safe. This is better than the desperate man who experimented on his daughter or the bitter man willing to risk his family's lives to one-up his brother.

Still, Kara is bright and doesn't believe in the immutable happy endings her father tells her. And so he relays to her the prophecy of the house of El.

Booth's art changes to this more angular, darker, even more stylized motif, again giving it some sort of mythic feeling.

We hear of the Knight of El, sent from his home, always using his powers to help. Always.

That's Superman.

But the people the Knight helps fear him and shun him and hunt him. I can't help but think that this is also some commentary about the current DCU. In the current New 52 world, Superman is feared by the populace, hunted by the military.

Still, when a monster ... Doomsday ... arrives, the Knight does what he must do; he helps, he saves. But then he dies. So Pak is bringing into continuity the idea of Superman dying at the hands of Doomsday.

I like the aftermath of his death. People suddenly realize what they have lost with the death of their knight. They stood alone in a dark, cruel universe. Is this also Pak talking about the New 52. That if the true Superman, the ideal Superman 'dies' then the universe is a grim place.

But that death inspires. The 'glory of the word of El' ... they help, they die, others rise to do the same.

I love this splash page, a sort of riff on Reign of the Superman. When Superman dies, others rise. There are Supergirl, Power Girl, Superboy, Steel, even an Eradicator kind of guy.

I love this page, Supergirl smack dab in the center as the logical legacy.

Just great stuff by both Pak and Booth.

Now maybe I am transferring my own issues with the New 52 onto this myth. It could easily be interpreted as a Christ story with a death, and followers arising preaching the good word.

Still Kara can't get past the uplifting ending to this myth. She wants to hear the 'true story'.

Look at this loving Zor-El again, calming her fears, tweaking her nose, telling her he will always keep her safe.

I loved this scene.

The story does take a darker turn when we see that the reason Kara squealed is because somehow Zod is able to communicate with her from the Phantom Zone.

He created Doomsday to scare the Kryptonian populace into picking up the sword. He also created the Char threat to do the same! How many plots did he have to strike terror into the heart of Krypton. Not only did he slaughter real Char, he slaughtered his own people ... both at Doomsday's hands and his own from the aftermath of the battle.

Zod is creepy, saying he wants blood ... maybe Kara's. He says he will kill Zor-El if she talks.

I wonder how long this went on in her youth. Poor Supergirl ... psychologically terrorized by Zod's phantom on Krypton. Lied to by her father. Alone on Earth. Why must DC do the worst it can to her?

I do like that we see some of the fire in even a young Kara. She defiantly stands up to him. Great pose.

But Zod isn't thrown off. He is close to being free. Doomsday is in there with him. And that El myth ends with the death of the Knight. Things are not well.

I thought this was a very good issue. I love that it is set on Krypton with a young Kara and a loving Zor-El. This is more a Supergirl story than a Superman story. I love the 'myth' sequence, bringing into play some elements of Reign of the Superman and commenting on the current New 52. I like that the threat of Zod and Doomsday is suddenly real and palpable.

And I am a big fan of Brett Booth. I loved his Supergirl in his Justice League run. And I think this Doomsday is a monstrosity of spikes and brawn. On top of that, we I love the switch in styles to create that storybook feel to the Word of El.

It is hard for me to believe I almost didn't pick up this book. I am a believer in these creative teams.

Overall grade: B+