Supergirl #22 review

Last issue, Supergirl fled into deep space, having accepted the idea that Kryptonite poisoning was going to kill her. Enticed to the world of I'noxia, she found a place that could be reshaped by her memories. Then she met a horrific figure, someone who looked like her cousin, but with limbs replaced by sinister technology.

This issue opens with Kara wondering if this is actually Superman, after some sort of attack. Or a clone. The being says that isn't the case, causing Kara to christen him.

Not one to judge by appearances - as we saw during the H'el fiasco - Kara accepts that this is a lost soul, someone with connections to Krypton but no memory. He claims her recollections of Krypton, if given shape by the I'noxian world tech, might help him remember who he is. 'Starting small', Kara recalls her home in Argo City, in an especially well-written moment from Michael Alan Nelson.

With dialogue such as this, and the mix of hope and joy on her face courtesy of penciller Diogenes Neves, Kara has rarely seemed so human.

Cyborg Superman's crony, Delacore, persuades Kara to push the experiment further, pressing her - figuratively and literally - into a painful device that links her more deeply to the I'noxian collective. It's like a twisted reflection of the Kryptonian headband of citizenship.

And the reward for Kara's ordeal?

A version of her mother, Alura. And soon, other people she knew on Krypton. And some she didn't.

Maybe that woman at fourth left is indeed Tali or Tak-Ro, but one of the named pair is missing. Instead we see new friend Power Girl and heartbreak clone H'el, neither of whom Kara namechecks. A clue, or simply miscommunication between creators?

I like that throughout this issue Nelson never has Kara accept that this is really Krypton, and that the constructs are truly her loved ones. But that doesn't stop her enjoying the facsimile. Mind, Cyborg Superman misjudges the situation when he makes Kara an offer - become one with the planet, and give up her flesh to make him complete, perfect. At which point we see that the super-powerful Kara, so often duped, is finally developing a sense of incredulity.

Which doesn't please Cyborg Superman, who drops the facade of friendliness. As he and Kara battle one another, Delacore unleashes Kara's memories on herself, giving Neves a chance tio produce a rather sensational spread (click on image to enlarge).

Kara though, fights fire with fire, and embraces the bad times. And when Cyborg Superman turns up the heat further, Kara shows her ingenuity in turning something to hand into a weapon. By issue's end, though, she's in massive trouble once more.

Whew. This has to be the most packed issue of Supergirl to date in terms of interaction and incident. Look at how many pics I posted - I normally bother with just one or two. But fear not, I've not given everything away, because this issue is the very opposite of decompressed. Happily, both Nelson and Neves have enough skill that the pages don't seem squeezed, even when we're offered ten panels.

Just a few months into Nelson's run and he has me hooked, with a rich storyline that spotlights where Kara came from and where she's gotten to, physically and emotionally. And I can't wait to see where she goes from here. First though, she has to survive I'noxia. While the Cyborg Superman is revealed to desire flesh more than memories - secret whisperings with Delecore make it obvious he knows how he got where he is today - there's an interesting mystery centred on the identity of the unseen third entity they're working with. The nature of the conversation, and green word balloons, has me thinking Brainiac. But something Delacore says points to Kara's scientist father, Zor-El. We shall see.

Kara's determination and ingenuity is heartening. The only thing I'm not keen on is her acceptance that she's going to die ... I like my Super-people to go to the ends of time and space when they need a cure. Atlantis. The Legion. Circe. Of course, today's Supergirl hasn't got the wide range of connections enjoyed by her Silver Age counterpart. And Kara's situation has brought us an excellent arc.

Longtime Supergirl artist Mahmud Asrar this week announced that he's leaving the book, but he'll be around for a few issues as cover artist. And if upcoming covers are as successful as this month's striking image, we're in for some treats. I don't know if former Demon Knights artist Neves will get the ongoing assignment, but on the basis of this issue and last, I hope so; he has a gift for composition and character, and is equally adept at big and small moments. I could do with a bit less of Kara's bottom on display, but with a costume this bad, it's probably hard to avoid.

Neves has a battery of inkers - Marc Deering, Oclair Albert and Ruy Jose - but their work is similar enough here that the book doesn't suffer. Regular colourist Dave McCaig also gets an assist, with Daniel Brown handling a few pages, and again, you can't see the join. And Rob Leigh's attractive, appropriate lettering is as much a part of the artwork as the lines and colours. Well done to editors Rickey Purdin and Eddie Berganza for assembling and wrangling the creative team. I hope more people are noticing just how good the Supergirl series is these days.

Vibe #6 review

OK. Vibe isn't selling big numbers. That must stop, now. Because the sixth issue is once again one of the smartest, most fun superhero books available today. And it features one of the biggest scenes since DC rebooted its universe.

Said scene involves the escape of a batch of prisoners from the Circus facility run by the US government's super-secret ARGUS organisation. They're freed by the powers of Vibe, who begins this issue as a prisoner himself, having displeased resident tyrant Amanda Waller.

So who frees Vibe, otherwise known as Cisco Paco Ramon? Step up big brother Dante, who persuades Waller's number two, Dale Gunn, that he owes it to Cisco to get him out of the Circus's stasis tubes. Disguised as a new 'breacher' - an extra-dimensional threat to Earth - Dante is marched into ARGUS, and that's when the fun really begins. By issue's end I'm wondering if Vibe's new friend Gypsy is actually the daughter of a very famous denizen of the DC universe, and whether the price of helping his brother will prove a high one for Dante.

Oh, and there's a big surprise. One writer Sterling Gates, in a recent interview, challenged readers to anticipate. Nope, I never saw it coming - it's not actually something you could work out, more one for the random guessers out there - but it's going to make things even more interesting.

Also around this issue is Gunn's husband Casey, who rather disappoints with his attitude that Gunn should go along meekly with the plans of Waller, who treats the Circus like a metahuman Guantanamo Bay. We learn that he's ex-CIA, tossed out for insubordination, and has apparently left his spine behind; hopefully he'll look to Dante - previously presented as something of a slacker - and step up.

Because this really is Dante's peak. He's the motivator of the action, and the guy through whose eyes we see the inhumanity of the Circus. He inspires Gunn, and he frees Cisco.

A couple of things made me giggle. First, the continuing line in the opening legend telling us that Vibe is 'the second youngest member of the Justice League of America' - random. Then there's an evil place we hear of named Mordeth, which presumably ceded from the nation of Subtle.

It's good to smile, amid the more intense moments of drama. And this series presents plenty of those, as event piles on event, with set-ups quickly paid off. If you're at all interested in the cosmology of the current DC Universe, this is the book you should be reading. Heck, it ties into the previous DC Universes, with cameos by Lady Quark, Pariah, the Warlock of Ys and more. 'More' includes the Demons Three, recently seen in Justice League Dark, and, hmm, who is that woman at extreme left, below? She looks familiar ...

This is also the book to be reading for top-notch pop art, as penciller Pete Woods, inker Sean Parsons and colourist Brad Anderson give us big, bombastic panels, and tiny ones with telling detail. There's a lot of humanity to the characters, making it easy to empathise with them.

Mind, there's a dog soldier in here who doesn't half look like a pig. Still, perhaps that's how dogs look on Apokolips.

Whatever the case, one thing is certain - this title is a thrill ride, blending superheroics and soap superbly. It's old school in that it's a satisfyingly dense read, but up to the minute in its flashy presentation. We're on the hero's journey, but it's not just Vibe who's learning about right and wrong, and himself, it's every character. Well, apart from the witch Waller, I suspect there's no saving her.

If you've not tried Vibe yet, give it a go - I'd rather like this series to be around awhle.

Legion of Super-Heroes #22 review

Comic Book Rule 12a: the closer a series is to cancellation, the better it gets.

So it is that the penultimate Legion of Super-Heroes of this run is a better than average issue, featuring some seriously good moments in a chapter that entertains from start to finish. It's not perfect, but it feels more like a Legion book than many issues of late.

And that's despite most of the Legion being unconscious, missing or even dead, meaning the Fatal Five have only founders Saturn Girl and Lightning Lad to beat.

Yes, I said Five - finally, we meet the fifth member, and it's a surprise. And a clever one at that, as it's someone who's been before us all along in this storyline. They're brought into play during a back and forth between Lightning Lad and the Persuader, and Saturn Girl and Emerald Empress. While Garth sticks to his standard bolt blasting, wife Imra uses her mental abilities more effectively than I've seen for years. But impressive as her abilities are, even more awesome is her grit in the face of the vastly powerful Empress.

Sadly though, she's let down by her hair ...

Lightning Lass also gets some play in this fight, showing once more why she's a better Legionnaire than her brother, while a couple of members we've not seen for awhile tackle the final Fiver. Writer Paul Levitz is good enough to show the duo's hands a few pages before a full on-panel appearance, allowing longtime fans to feel clever. Can you tell who it is yet?

Yup, it's Jeckie and Val, aka classic Legionnaires Sensor Girl and Karate Kid. There's a reference to Val having come back from beyond, but no details. It could be that we're picking up from a dangling Legion plot thread of three years back, but given DC's policy of Continuity? HAHA, who knows? Anyway, here's the Legion's master of the martial arts, with his hair black rather than brown, and all inessential to the plot ... but here he is, and I'm delighted. I may laugh at how many times Karate Kid's been killed off in Legion history, but I do rather like him.

Also showing up this time, dimension-hopping members Invisible Kid and Polar Boy, one of whom has a massive part to play in the story's resolution, via a clever bit of science. What's especially nice is that the move is suggested by another member - there's nothing I like more than a bit of Legion teamwork.

Not showing up, sadly, the Legion Lost Brigade. Or Legion leader Phantom Girl - if she doesn't show up in next month's final issue with a ruddy good excuse for fleeing back to homeworld Bgztl, I'll be mighty peeved. I shall shrug, and stamp my feet.

Seriously, it was decades before longtime favourite Tinya got a shot at heading the team, and she goes to pieces at the first big crisis. It makes no sense given everything we've seen her face - including the aforementioned leader of Apokolips. Should this book end with Tinya a shamed coward, I shall, er ... cancel my subscription?

Ach, I still have faith Levitz won't let me down. Tinya will show up next time with the Losties, I just know it. And hopefully we'll then learn that the Legion's body count isn't so high as feared - though one more death is confirmed this time.

Assuming my problems are merely delightful surprises waiting to be unveiled, I'm happy with Levitz's script, which nicely balances characterisation, smarts, action and history. As for the art, Andy Smith's welcome inks sharpen the look of Jeff Johnson's work. And Johnson's layouts remain sharp, with plenty of variety in points of view, big moments that work and fine facial expressions. I hope this artistic pairing gets some play elsewhere in the DC Universe soon.

JJ Kirby's cover is an efficient representation of the contents, but something's off, mainly around Lightning Lad - he looks plasticky and pallid.

So, one more issue. One more issue to tie up some worrying details and send the Legion out with a bang. Come on Paul Levitz, you can do it ...

Adventures of Superman #12 review

In its short life the weekly digital DC release Adventures of Superman has hit several moods, most obviously high adventure and sly humour. This week the prevailing tone is poignancy, as we get a mother's perspective on Superman. But there's nothing depressing about this book, it's a life-affirming ode to moms everywhere; yes, Clark has the super-power, but Martha Kent nourished the heart that lets him wield it so well. And no matter where he may go in time and space, she's never far from that heart.

Martha Kent doesn't get enough time with her boy Clark, more than most mothers she has to share her son with the world. Here she's the narrator, wondering about his life, worrying about the 'scrapes' he gets into. Unlike Martha, we see the latest batch of scrapes - featured battles with Lex Luthor and Brainiac, and brief run-ins with some of the classic DC Universe's most colourful characters.

We're also shown a little of Clark's life as a Daily Planet newshound, dancing to the tune of editor Perry White as cub reporter Jimmy Olsen looks on, somewhere between amused and terrified. Lois Lane is in here too, doing her own bit of heroing on the city streets. And at the end of the story, writer Rob Williams and artist Chris Weston tie a sweet bow on the perfect wee gift they've given us.

Theirs is a classic Superman, mostly Bronze Age, but with a dusting of George Reeves charisma and a smattering of post-Crisis set-up in Martha's apparent widowhood. There's also a delightful dollop of Silver Age in the shape of the Fortress of Solitude's contents and Clark's dinner companion. All of which might make for a mishmash - instead, it's a wonderful blend of Old and Slightly Less Old.

This Superman is beloved by his fellow Metropolis citizens because he keeps his eye on them, ensuring they can get through breakfast without being stomped on by a giant robot. He's not the New 52 guy, mistrusted by half the world, more likely to fight the US Army than work with them. He's the undisputed good guy - and that doesn't mean boring.

How could a Superman strip be boring when it features so many superb characters and story springboards? As well as the Adam Strange panel, there are three more teased adventures, any one of which would make for a compelling tale.

Williams ensures Martha's narration is never maudlin, it's more about wistful pride and the natural inclination of any mother to wish to see her children more. And there's plenty of humour with the Planet staff (including a nod to the much-missed Superman Family Adventures all-ages comic).

I love that as well as a PC, a manual typewriter sits on Clark's desk.

There's a bit of a Curt Swan vibe to Superman here, especially in the early pages, but the overall effect is pure Weston - clean, detailed, as real as a superhero book can look. His characters have a true spark of humanity, from the main cast down to the many walk-ons. Weston gets to draw Smallville, Metropolis, space, the Arctic and every setting looks just right. It helps that as well as illustrating, Weston colours too, making for a feast for the eyes.

I'd change just one thing about this instalment - the title. To my mind 'Saviour' (OK, it's printed 'Savior', but hey, I'm a Brit like Weston and Williams) is wrong for a story that foregrounds Superman's humanity. I'm tired of the Man of Steel being likened to Jesus Christ. Yes, his mother Mary traditionally stayed on the sidelines as Jesus embarked on his public mission, and she had her sorrows to sow ... but godlike powers or not, Clark isn't a barely approachable paragon, he's a super-Everyman. Superman isn't predestined to give his life for our sins, he's here to star in fun, life-affirming adventures. 

Which is what we get in 19 beautiful, packed pages, an utter bargain at 69p UK/99c US. I've said it before and I'll likely say it again; I hope DC New York is paying attention to the creative teams DC Burbank is assembling for Adventures of Superman. Because I'd love to see an annual, or even a run, by the likes of Williams and Weston, or Joshua Hale Fialkov and Joelle Jones, or Jeff Parker and Chris Samnee ... Equally, I want the print comics people to realise that you don't have to 'modernise' Superman to produce a compelling story, you simply tune in to what makes him tick. Goodness. Heart. Humanity. The best supporting cast in comics. Fascinating villains. Wild vistas. 

In one word, imagination.

Sure, polish up his surroundings, but the core character on display here ... that's the Superman the world fell in love with. 

Let THAT guy fly.

Batgirl #22 review

Barbara Gordon comes back from a night of crimefighting to find she's forgotten that she's meant to be going on a date. At the front door, bearing a bouquet, is Ricky, whose one attempt at being a car thief cost him a leg. Now he's cleaned up his act and getting to know Babs.

If adversity helps a couple get close, the potential relationship takes a giant leap forward when the pair are attacked by gang members. The thugs claim Ricky's elder brother Rolo wants to be a big name on the streets, and plan to mutilate Babs as a warning to him. Ricky acts, preventing Babs from having to save the day herself and potentially compromising her secret.

Attackers routed, Babs and Ricky have supper with his family - including Rolo, who seems a nice guy - and go dancing. Our heroine has the most fun she's experienced in forever, but back home her mood is wrecked when dad Jim Gordon phones, asks her to meet him for 'lunch and a chat'.

Next day, in lieu of a nice meal, he takes her for shooting lessons on the police range. Having been crippled by the Joker's bullets, Babs hates guns. But having recently lost his son, psycho Jim Jr - apparently at the hands of Batgirl - Gordon wants Babs to be safe; and as a cop, he puts some trust in guns. Spurred on by a traumatic memory, Babs shows that she can hit a target, no problem. But her father's fear is obvious, it's tearing him apart, and Babs reckons the only thing she can do is ensure he never sees her alter ego again. It's going to be Batgirl No More...

Except she's wrong. Gordon does want to see Batgirl. That night, he summons Batman and demands he stay out of his way while he tracks down and arrests the vigilante.

And this is where the story gets confusing. Gordon punches Batman, then yells at him (click on image to enlarge).

Is there any way to read this other than that Gordon knows Batgirl is his daughter? Even Ricky, who's known her for ten minutes, has obviously worked it out, so there's no way a father wouldn't look at his daughter in a masked costume and think, that's my daughter in a masked costume. Never mind his being a detective, he's a guy who's seen this young woman almost every day of her life.

So if he knows Babs is Batgirl, why the heck is he wanting to track her down? They just met earlier in the day. Gail Simone is a smart writer, so I'm obviously missing something, or misreading, so please illuminate me!

Headscratching apart, I liked this Batgirl-free issue - clunkily titled 'A Day in a Life of Endless Velocity - a lot. Just seeing Babs have a good night with ordinary human beings, not obsessing on crime, makes for a refreshing change. I'd have preferred she had 24 whole hours without a violent encounter, but at least the fight moves the story forward.

An intriguing snippet here is that Babs is on the verge of a new job, as a children's crisis counsellor. Despite a relevant degree (Dead Robins 101?), I think she'll be rubbish - this isn't a woman who deals with pain and moves on, she carries it with her, embraces it, invites it for supper. Angst is oxygen to Barbara Gordon. And the only people she shares her feelings with are lunatics. Poor kids.

Something I love is that while Babs regularly faces up to hardened crims, she's terrified of the dance floor. I know just how she feels, I can't dance the Batusi either.

Something I don't love is that when Gordon tells Batman he wants Batgirl for the death of his son, Batman doesn't speak up for her. Then again, it could be that Batman believes Gordon knows Babs is Batgirl, and that she would never kill anyone, never mind family. I think that's the subtext of this panel, anyway.

In which case, why Gordon's insistence on bringing Batgirl in? Please don't let him be flipping out now.

I've no idea why inker Jonathan Glapion was taken off the Batman book, but Batman's loss is Batgirl's gain. His finishes bring a bewitching sharpness to the illustrations of penciller Fernando Pasarin. Their people are outstanding - distinctive, emotive, with a Dave Gibbons feel at times (especially Babs, who resembles a ginger Laurie Jupiter). And the artists display a real flair for conveying movement. The streets of Gotham's Cherry Hill district are as forbidding as Ricky's family is welcoming.

Commissioner Gordon's journey from forced cheerfulness to calm instructor to broken man in Simone's superbly written pistol range scene is presented with sensitivity and confidence. And the tension in his confrontation with Batman is there in every line. Outstanding work.

A niggle - we see Babs in her smalls for a couple of panels, changing for her date. Despite her constant beatings, she appears unblemished. A non-prurient impression of bruises and scar tissue would make for an interesting reminder of her usual evenings as she allows herself to be excited for this one.

Blond isn't a colourist whose name gets bandied about when the modern masters are discussed, but when it comes to choices, textures and lighting, his grasp of craft and singular style puts him up there.

Like this week's Justice League, Batgirl #22's cover suffers from a collision of logo and art. When the image has been drawn with scant regard for traditional logo placement, the masthead should be shrunk or moved, or the image contained in a box. Here, the logo bat-shape is see-through, but it's still ruddy huge and invasive, marring Alex Garner's gorgeously clever illustration. And the cover copy is trying to help, but really, it's unnecessary and tawdry, hogging space that could help the eye land on the figure.

If you've not been reading Batgirl, consider a purchase; Simone's narration by Babs always gives enough of the basics to make jumping in possible, and the art teams are always at least solid, and often excellent. Babs is one of DC's most distinctive characters, easily as interesting as she was in her Oracle days. And Simone is working hard to present fresh, creepy villains and engaging supporting characters. What's more, in these economically challenging times, it's a meaty read for $2,99. Give it a try.

Avengers Arena #12 review

So a guy can change his mind.

It's eight months since Avengers Arena launched and this being Marvel Now, that means we're at the 12th issue. Obviously. I was not a fan of the first issue. Swore off any more. Would have been good with a speedy cancellation.

And then went back for issue 2. And 3 ... I just meant to have a wee peek, see if the story by Dennis Hopeless was perhaps something other than a Marvel spin on Battle Royale. And I was grabbed. Grabbed by the respect for the existing characters, the strong portrayals of the new guys, a script with more twists and turns than Lombard Street. And relieved that the comic wasn't simply a Death of the Issue exercise.

Yes, as the latest instalment begins, five of the original 16 kidnapped teens are dead. But the prospect of a speedy, stupid death, the awfulness of never knowing who to trust, the feeling that life really is out to get you ... it's all combined to make for a compelling read.

And as a show of good faith to readers who have trusted him, here Hopeless brings back the character whose demise brought perhaps the biggest outcry so far. And not because of said outcry - it's just two issues since Nico of the Runaways looked to be finished. The story is obviously well-planned out, as Nico returns with a logic that makes absolute sense given how her spellcasting worked.

Now she's back, and badder than ever, hunting down killer Katy, aka Apex, and the hapless heroes she's controlling, Deathlocket and fellow Runaway Chase Stein, the new Darkhark. Battle royale is a fair description of the back and forth conflict as a slightly zoned-out Nico channels power with greater ease than ever. There are curses and reverses, ensuring you can't predict the winner. Along the way we see Katy try to convince herself she's not the bad guy, while Chase and Deathlocket are buffeted between the two main players. By the end of the book, one of the four gets closer to learning the true nature of their battleground, Arcade's Murderworld.

The script from Hopeless is 'just' one more in a series of tight exercises in action and emotion. With half the cast absent, he has room to contrast quiet girl Nico with the strident Katy, even allowing the latter a late bid to squeeze sympathy out of the audience.

Penciller Kev Walker brings a dreamlike quality of horrific calm to the opening scene involving Katy's self-justification/delusion, then shows how to build intensity with the gradual revival of Nico. And aided by inker Jason Gorder and colourist Jean-Francois Beaulieu, the good work continues through the book as we're treated to the most intense fight scene yet. Picky-little thing-wise, Arcade's hair looks very silly, as if he's stuck a Spontex mop on his head.

There's typically good work, too, from letterer Joe Caramagna, and Dave Johnson's cover is terribly intriguing - and on completely the wrong issue, seeming like an alternate for last month's Hazmat focus.

Still, Avengers Arena #12 is an excellent read, as has been the whole series. I've been very pleasantly surprised by how things have gone. Marvel initially marketed this series as nothing more than a slaughterfest, and so loudly that the pleadings of Hopeless that the book was more than a superhero penny dreadful were drowned out. Well, I'm listening now.

Justice League #22 review

It begins with a young woman asking tarot reader Madame Xanadu to explain a dream she's been having. It ends with a good man dead and a war between heroes.

And in between, lots of foreboding, as mysteries are dropped with the turn of a card ...

So here it is, the crossover more than a year in the making. Trinity War was previewed as part of Free Comic Book Day in May 2012, and as the first chapter arrives, it's still previewing itself. The woman's presence sparks a vision for Madame Xanadu, an image of Superman, Batman and Wonder Woman in the aftermath of a great war. One by one she sees representations of the players in her deck of cards - The Hero, The Warrior, The Detective, The Freak ... and The Sacrifice.

For a hero dies this issue. While it's a trip to the outlawed land of Khandaq by The Hero Formerly Known as Captain Marvel (THFKACM for short) that brings the Justice League and Justice League of America together, it's the termination of one hero at the hands - or rather, eyes - of another that sparks all-out conflict.

Said killing is due to the hero - let's call him Superman - coming into contact with Pandora's Box, as the immortal wanderer asks him for help in recalling the Seven Deadly Sins she let out of a skull-shaped jar 10,000 years ago. He goes bananas for a minute or two, but has regained his sanity by the time the two Leagues meet in Khandaq. Something, though, takes over Superman, and it uses his heat vision to murder the character arguing most passionately that words be exchanged rather than fists thrown.

Watching from the sidelines are the other two sides of the so-called Trinity of Sin, Pandora's fellow immortals the Phantom Stranger and the Question. And the identity of Madame Xanadu's customer will bring two more groups into the fray, as this storyline continues in Justice League Dark and Justice League of America over the next two months.

I rather liked this issue. Yes, I'm a tad tired of the 'war is coming' stuff but by the end of the book it's here, and we've seen the first meeting of the opposing Leagues. The opening approach to Madame Xanadu's Greenwich Village shop is a great callback to her shortlived Seventies book, Doorway to Nightmare, and the specificity of her tarot deck is a hoot.

There's a nice little scene demonstrating just how unsuited Wonder Woman and Superman are as romantic partners (click on image to enlarge), and a nod to one of the original JLA's earliest Silver Age stories that has to be linked to Superman's loss of control - don't be surprised should voodoo villains Houngan, Mad Hatter or the Puppet Master* be behind a curtain.

It's brilliant that the Justice League of America members argue against boss Amanda Waller's contention that the Justice League are a threat to the world, rather than buy her BS. The Question has a Rip Hunter style pinboard of - what else?- questions to be answered. Cyborg actually gets to show he can read people as well as he understands machines. And the identity of the customer is nicely hinted at by her dream - this woman's name is ... ah, but that would be telling.

As well as the above-mentioned Superman/WW No Way! moment, there's a cute exchange with Pandora.

Writer Geoff Johns juggles his scenes and characters with skill, and I think there's enough background information that a reader could jump right in even if they've not been following the other League books. Still, an old-fashioned roll call at the beginning would have been appreciated.

The editing by Kate Stewart and Brian Cunningham could be tighter, with the odd bit of clunky dialogue and at least one typo slipping through.

These are niggles. The only thing I disliked hugely was the Justice League's piling on THFKACM like a pack of school bullies ... I thought we'd gotten over this kind of fists-first behaviour after the first few issues. With super-speed, mental powers and magic among their amoury, the League could have gotten Billy Batson away from the Khandaq forces in any number of ways. As it is, it's ironic that the 'badass' League, containing at least one assassin and a super-villain, is more peaceable than the supposed shining heroes.

The 31-page story benefits hugely from the accomplished artwork of penciller Ivan Reis and inkers Joe Prado and Oclair Albert. Careful choreography ensures the large cast don't struggle for panel room, and the facial 'acting' is fine throughout. There's especially good work around THFKACM, with him snapping from angry hero to impressed kid in a beat.

The tarot deck is quite lovely. And the battles and splashes have all the sound and fury you might want (we can decide later whether or not they signify anything).

Ivan Reis balances the colours well, managing to convey a dark mood in a world of primary coloured characters. Both Reises and Prado provide the cover, which looks to be the start of a connected image. Zero points for logo placement, though.

All in all, this is an entertaining opener to a crossover that will hopefully be as punchy as it is brief. Another word that springs to mind is 'efficient' - sounds like damning with faint praise, but coordinating dozens of characters across an ambitious storyline takes skill. I hope the other five instalments prove equally good.


With thanks to Twitter chums @DegenerateBoy and @Reading_Hix for villainous aid

Action Comics #22 review

Big-brained supervillain Hector Hammond is floating in Earth's orbit on an assignment for new allies the H.I.V.E., examining a massive death ray they have aimed at the planet. A self-proclaimed space knight appears and destroys the weapon. Any enemy of Hammond's is surely a friend of Superman, but can Clark be sure, when Hammond summons him via telepathy? What if he's not against the H.I.V.E. because he's a good guy, what if he's simply a different threat to Earth and is disabling the competition?

Man of Steel and Knight of the Pax Galactica battle, and seem fairly evenly matched, until new combatants enter the picture.

As well as Superman and Hector Hammond in space, this issue sees Clark come across a mystery on a night out with Cat Grant - a film star with more than the usual cosmetic enhancements. And while I'm glad to see the pair working towards making tragically named website Clarkcatropolis.com a success, I'm not down with Clark using heat vision to melt folk's iPads - sorry, Q-Pads - in order to get Cat a chat with a starlet. That's not a fun bit of business, it's vandalism, and a crime.

Plus, Clark continues to be rather snotty about Cat's contributions to their news and entertainment blog, as if a) he has no understanding of how readers use journalism sites and b) he's not a great friend. Weirdly, Clark is far nicer to the mystery knight, approaching him with grace and politeness (click on image to enlarge).

I do like seeing Hector Hammond here, as well as in current issues of Superman, as it makes the two comics seem more part of the same world. Hammond is a hoot, deliciously arrogant. And his presence allows the knight - eventually named as Straith - to refer to Hammond as 'Cranius Maximus'.

Superman's over-shaggy hair and an under-dressed female warrior apart, Tyler Kirkham does a splendid job on the artwork, going large with his layouts for the sake of grandeur and impact. His Hammond, as also seen on the cover of last week's Superman #21, is disturbing, while new character Straith has real heft to him. What's more, Kirkham draws a mean party scene.

The rich hues of space and more mundane colours of Earth are beautifully conjured up by Arif Prianto, while Carlos M Mangual evokes the differing voices with his bag o'fun fonts. The scorching cover, which implies that the Pax Galactica are a take on old DC property the Atomic Knights, is the work of Kirkham and colourist Barbara Ciardo.

The World of Krypton back-up continues and I continue not to care, especially when we get to a Lara who blasts a spaceship full of army personnel out of the sky. Sure, they were threatening Jor-El, and yes, they're busy running a planetary coup, but Superman's mother as a woman who kills without a second thought?  No thank you. And no Jor-El worthy of being Superman's father would countenance a machine that brainwashes the population of Krypton into a state of peaceful scientific curiosity.

I don't blame writer Frank Hannah who is, I believe, working from someone else's outline - Scott Lobdell, if memory serves - and the script is more than competent. And the art by Tom Derenick is attractive and serves the story well. It's just that I grew up on World of Krypton shorts that were tales of wonder, moral fables that fired the imagination; this is just more DC New 52 'everything's a war' stuff.

All in all, a fair-to-decent issue. The Superman story is pure fill-in as Lobdell steps into the breach created by Andy Diggle's sudden departure, but taken on its own terms, it's fine - big, daft fun. I'd rather a whole issue of this than the super-serious, mildly depressing, Krypton tosh.

Avengers A.I. #1 review

Here's a spin-off from the Age of Ultron series which sees Hank Pym gather a team of heroes to take on the evil machine intelligences of the Marvel Universe. Mostly cybernetic and robotic creations, the Avengers A.I. members are well placed to prevent a war between man and machine, with their first assignment being to bring down Dimitrios, whose drones are attacking Atlanta.

This first issue sees Hank Pym under fire from SHIELD Head of A.I. Monica Chang. She blames Pym for the rise of the machines, a consequence of his writing a virus to stop his creation, Ultron, from taking over the world. And yes, he bears some responsibility, but rather than ask him to explain, and help, she goes Guantanamo on him - she has him manacled, bag on head - abusing him physically and mentally. That's Hank Pym, founder member of the Avengers, a team allied to SHIELD.

It's only the appearance, and counsel, of Captain America that sees Hank freed to put a team together. Said team includes longtime Avenger the Vision; Vision's 'brother' Victor Mancha, another creation of Ultron; and a Doombot Hank's been tinkering with. With the just-upgraded Vision as field leader, they're an effective unit, with Victor's magnetic powers, Vision's new 'nanite infestation array' and Doombot's all-round awesomeness (click on image to enlarge) to the fore. Chang and Pym are nowhere to be seen after the initial pages, but hopefully we'll see how they fit in soon, along with someone named Alexis, who appears on the cover and splash, and in the final panel, but doesn't take part in the story.

The fight sequence features highly entertaining dialogue and interaction courtesy of writer Sam Humphries, with the haughty, reluctant hero Doombot the standout. I'm less thrilled with Chang - apparently Black Widow in Marvel's Ultimate Comics - who comes across as a really rubbish human being and not one I'd let on any Avengers team. And Pym is far too cocky, even given his epiphany in last week's Age of Ultron Book 10.1 AI; I cannot believe he would use a made-for-evil Doombot in any circumstances, and initial response apart, he doesn't seem to be taking the AI threat especially seriously.

(I wonder if a Nextwave-style Machine Man was originally meant for the Doombot role - with just a few tweaks, the attitudes would match.)

The threat itself, Dimitrios, is a decent peg on which to hang the latest addition to the Avengers franchise, and I'm delighted to see the Vision given a featured role after around a decade of non-use and misuse. The upgraded powers - as well as the nanites, we have a supernova burst - are unnecessary given the Vision's existing cool abilities, but we'll see how they play out.

What I really don't like is the Vision's new look. Artist Andre Lima Araujo does a decent enough traditional Vision when he first appears (below left), but with the upgrade comes a redesign, and it's not a good one (right).

Plus, Araujo draws him as a tubby synthezoid, for some reason. Could we have the classic look back, please, Marvel?

The fight scenes look OK, they're nicely laid out and clear. What would benefit Araujo's work, though, is a finisher, a quality inker who could improve the overall appearance, show him how faces might look with extra effort. As with the aforementioned Age of Ultron Book 10.1 A.I., colourist Frank D'armata has to pick up the slack, and there's only so much he can do. It would help if Humphries gave Araujo interesting things to draw - the first three pages of the Chang/Pym conversation don't play to the artist's strengths, meaning we get lots of titchy, samey facial expressions. This is comics, there are more interesting ways of dealing with expository dialogue ... never mind post-Age of Ultron, we're meant to be post-Age of Bendis. Super-chatty table talk suits few artists, so why not toss out the info in an elegantly contrived action sequence?

There are explosions and impacts in this comic, but the sound effects are scratchy, tiny, apologetic - they look amateurish. I assume this is Araujo's doing, in which case he should relax, not be afraid to go large - or ask the excellent letterer Clayton Cowles to step into the breach.

The Vision's costume looks better on Dustin Weaver's cover, but still not wonderful. And I'm not keen on the sickly green tones chosen by Marte Gracia, what's that all about?

I liked this debut issue, in the main. Hank and Vision are longtime favourites, the Doombot an instant like and the other characters have potential - even Monica, if Humphries is taking her character on a journey and not actually positing her as admirable. The storyline is an SF staple, and could go some fascinating places when applied to the world of the Avengers. And the artwork, while not brilliant, is at least clear, and will hopefully improve. So not a classic first issue, but entertaining.

One more thing. The Assembly lettercol at the back features a letter from one Chase Bowman, who notes that the language in Marvel's titles tries too hard these days to be edgy and hardcore, making the books unsuitable for little kids. And in this very issue we have Monica Chang saying:

It's a thoughtful, fair letter, well worth a read, The reply is basically, 'we're being relevant, it's up to you to police your kids' comics'. And I agree with that latter point, and it's something Chase is obviously doing. But wouldn't it be nice if parents could assume a comic book was 'safe' for their offspring, something that could appeal to smart children and adults alike without trying embarrassingly hard to be cool? As Chase says, for decades all Marvel books were all-ages, and many are classics that stand up today. The implied F-word above is just childish, making DIVISION Chief Chang seem far from the brainiac she professes to be, far from worthy of respect. And it messes up the look of the balloons to boot. There really is no need.

Trintiy of Sin: Pandora #1 review

I don't know how many issues this new title will run, but as it's an event tie-in, I'm guessing we're in limited series territory. Going by this first issue, that's just as well, as there seems to be no point to Pandora beyond inciting said crossover, Trinity of Sin, which runs through the next two issues of the three main Justice League books.

Pandora, you may remember, helped merge three universes to form the current DC Universe in the Flashpoint event. She next appeared in the background of all the DC New 52 books' debut issues. Last year's Free Comic Book Day comic from DC revealed her as one of the Trinity of Sin, supposedly the three biggest sinners in history. Her story? She opened the box containing the Seven Deadly Sins, unleashing them on the world. Judged alongside the men who become the Phantom Stranger and the Question, she's scarred, and condemned to wander the world for ever, seeing the troubles she let loose.

This issue shows that fateful day, 10,000 years ago, when a young woman gathering herbs to help her sick child came across the container for the Seven Deadly Sins, and they escaped into the world. But it wasn't a box - or jar, as in the myth - but a metal skull. And she's not presented as a woman who couldn't contain her curiosity, just a person who picked up a fabulous curio that appeared in front of her, as anyone would do.

So her being summoned and sentenced by some cosmic court was unfair to say the least - the wizards should have been putting their energies into capturing the evils, not shooting the messenger.

After the opening, which sees Pandora's people become the first victims of the Sins, we follow her through history, as she goes from passive observer of Man's downfall to hunter of her self-proclaimed children. She uses her 'Three Million Days'- the story's title - to learn from wizards, warriors and wise men, but has no success. One day, though, she's told of a way to imprison the evils once more ...

There's a nice rhythm to Ray Fawkes' script, and I found myself sympathising with Pandora from the off - she's a tragic figure, one who finds the strength to not just accept her situation, but fight back. DC's immortal villain, Vandal Savage, encounters Pandora through the years, and he's on refreshingly friendly form. And I like that the herb for which Pandora searches is sage, likely a nod to Vic Sage, aka the Question (at least, in previous DC continuities, he may turn out to have another name these days).

What I don't like is that by the end of this book Pandora is equipped with hi-tech pistols to blast her enemies - I have a hard time with heroic figures who go out there with all guns blazing. It's not as if she isn't an all-fighting, all-spellcasting self-made woman by this time.

The art is by various hands: Xander Cannon lays out 12 pages for penciller Daniel Sampere and inker Vicente Sifuentes, while Patrick Zircher produces full art for the other eight. It's good superhero work, with several noteworthy images, not least our first look at the Sins - memorable for the designs, as well as the unnecesssary grisliness of proceedings. The most effective page is quieter in tone, showing Pandora saying goodbye to the life she's known. Both are the work of Cannon and co, but Zircher deserves extra praise for a stonkingly effective Crusades sequence, his rough lines suiting the frenetic action (click to enlarge image).

The design of the Sins are weirdly anachronistic - tops hats and bowlers, thousands of years ago? - but I like 'em anyway. And Pandora rocks comics' traditional Purple Robes of Mystery.

Hi-Fi's colours are a joy as they reflect the sweep of history, Dezi Sienty's lettering choices are well-thought-out and, odd colour-fade at the bottom apart, Ryan Sook's cover is trade paperback-ready.

So no problems with the craft of the issue, but overall the book slides into the realms of ho-hum; the end promises an interesting conflict next time, but I just can't get excited about the Seven Deadly Sins. They work fine in whimsical Captain Marvel tales of decades past, but - as last week's Justice League #21 showed - are a poor fit for the super-serious New 52 universe, which feels like a place whose inhabitants should own their faults, not be able to blame them onto cartoonish personifications.

I should pass on future issues. What will keep me reading is the question of whether Pandora's Flashpoint role will come up again. Dang curiosity!

Superman #21 review

In Metropolis, Hector Hammond, the most powerful psionic in the world, is at the centre of a tug of war. Helpess in an induced coma, S.T.A.R. Labs have him. The H.I.V.E. Queen wants him. A lab researcher who's been taken over by H.I.V.E. begins infecting others and soon they're making away with Hammond.

Over in Gotham city, news blogger Clark Kent meets a mysterious source who claims that Senator Hume, who has been campaigning against Superman, is a criminal with a hidden agenda, connected to something called The Twenty.

Chance circumstances see Hammond escape, and mind-touch everyone in Metropolis. Clark, who is is just entering the city's airspace, sees what's happening but isn't affected due to barriers applied by New God Orion. Encounters with Lois Lane, Jimmy Olsen and Perry White see them manifesting aspects of his personality.

And Hector Hammond, no longer helpless, confronts the H.I.V.E. Queen.

Writer Scott Lobdell and artist Kenneth Rocafort are really cooking on this comic, weaving a satisfying web of plots and subplots. If Hammond is the A plot, and Clark's latest story is the B, the C plots would include Jimmy's new status as a boy billionaire and Lois' relationship with live-in chap Jon Carroll. Admittedly, the latter is merely visually referenced this time - Jon appears in two panels, apparently fleeing a Saturday Night Fever convention - but it's there in the background. And Jimmy's new status comes up as part of Hammond's mental takeover.

In Jimmy's case, he's manifesting Clark's feelings of loneliness. I could live without it being posited that Clark is a lonely guy, given he was raised by probably the world's best parents, but then again, they are dead, like his genetic parents; it's not entirely unlikely he'll have some ongoing sadness there.

What I love about this issue, so far as Clark's characterisation is concerned, is this panel.

That's my Superman. Not the alien who hovers over his Justice League colleagues, strange and apart, but the man who won't let his heritage make him forget who he is.

(And I'm thrilled that Lobdell embraces the thought balloon over the fashionable narrative boxes - it's comics, let's love the grammar of the form!)

Other things I enjoyed this time include the new H.I.V.E. mission and accompanying acronym, Holistic Integration for Viral Equality; the way the Queen's communications are represented; and Clark engaging in investigative journalism and missing the Daily Planet. Oh, and there's a nice fake-out involving Lois that had me scared she'd reverted to a Golden and Silver Age schtick.

The art from Rocafort hits every beat of Lobdell's script, giving us such memorable images as the H.I.V.E. Queen's bathtime Cleopatra homage, the biggest Hector Hammond head ever and the look of our hero - there are some great facial expressions in there. Perry is possibly a bit too hot, too cut, but he is meant to be a ladies' man these days, so maybe he's hitting the gym. The storytelling is as good as the individual elements, with a clarity of vision that's great to see. The icing on the artistic cake is supplied by Blond, whose rich colours eschew modern comic fashions, and simply work for this book. And there's good work from letterer Rob Leigh too.

Tyler Kirkham and Arif Prianto's cover of Hammond a la Superman doesn't show a direct story moment but it does capture the mystery of Clark's shared emotions. And it's a creepily memorable image - I wonder if Hammond has the voice to match the formidable mien.

This comic is getting better by the month. If you like Superman, but the New 52 version hasn't been clicking for you, I suspect it will now.

The Flash #21 review

Here's an encounter I've been waiting for since DC rebooted their comics universe, the first meeting between the Flash, Barry Allen, and Kid Flash, Bart Allen. It comes about because someone is killing people connected to the Speed Force and Barry wonders if the Teen Titan knows anything. Bart though, doesn't feel like listening to the adult hero, motivating a round-the-world game of catch-me-if-you-can.

And of course, Barry can, and does, after Bart's impulsive pouring on of speed sees him lose control of his powers. Barry saves the day, but Bart shows no gratitude. He's rude, surly, uncommunicative, worse than a brat. Barry's connection to the Speed Force presents him with a momentary flashback/forward into Bart's past in the future, the 31st century, but Bart refuses to talk about it. Teen Titans readers may recall that Bart doesn't actually remember how he came to be in the 21st century, but he suspects a connection to the Flash. This makes his prickish behaviour very strange - why wouldn't he want to sit down with the man whose name and heroic image he's adopted, share information and find some answers?

Barry should rip off Bart's lightning bolt and tell him, fine, come up with your own superheroic concept, but he's the soul of politeness and understanding before Bart is collected by his Teen Titans pals.

So, we get no real insight into Bart's past here, as I'd hoped. There's simply the repeat of a scene we've seen elsewhere of Bart being sentenced for some future crime, Barry positing that Bart's powers are 'not of this world' and Bart's claim that he and Barry aren't related. I can't blame Flash writers Brian Buccellato and Francis Manapul for not spilling the beans, though, because knowing Teen Titans writer Scott Lobdell's preference for making stuff up on the fly, he's likely not firmed up Bart's current origin.

This is who DC give us in place of Wally West

It's all very depressing. When created by Mark Waid and Mike Wieringo, Bart was the most whimsical, fun kid on the block, a big-footed fella who thought in cartoons. He'd drive you mad by leaping before he looked, but the hero named Impulse would charm the pants off you with his puppyish delight in doing the right thing. A personality rewrite from Geoff Johns for his Teen Titans relaunch several years ago saw Bart become more serious - loads less fun, but still likeable.

But the Kid Flash here is a horrible little oik, unworthy of the Flash name (click on image to enlarge).

With no lead from Bart, Barry resolves to check out new super-speedster Sprint, whose connection to the Speed Force puts him in the sights of the killer we, but not Barry, know is the Reverse Flash. Rather than follow up immediately - after all, people are being offed - Barry changes back to civvies to organise a shindig for girlfriend Patty Spivot's parents. So much for priorities.

Patty herself has a scene in which she whines internally about Barry apparently standing her up, even though she knows he's the Flash and is likely off saving lives. Which he isn't, because he's party planning.

Potential love interest Iris West, meanwhile, is having dinner with her former jailbird brother Daniel, and we learn that he's estranged from their father. Soap far, so good, but I do wish Buccellato and Manapul would get on with the Daniel West storyline, it's been a subplot for months now, and not the most compelling one.

Full marks to Buccellato and Manapul, though, for bringing Barry's science training to the fore, and giving him several funny lines.

The writers are also the artists, with Manapul drawing and Buccellato colouring. As ever, they produce excellent work, with energetic layouts aplenty and standout scenes such as the spread of Flash and Kid Flash zooming around the world ... check out their differing strides. There is one fail, though - when Bart loses control, something happens, but rather than let us see it clearly Manapul draws it in longshot, and Buccellato hides what's occurring with colour flares. It's a puzzlement.

I hate their cover concept, though - I don't wish to see an adult hero throttling a kid, no matter how annoying he is. The image is well executed in terms of composition and colour, but too nasty by half. As for 'The Deadly Secret of Kid Flash', that must refer to his current personality.

All in all, a decent but pretty skippable issue. The comic that should have been a highlight of the run is simply solid, due to a lack of revelations and a hugely unsympathetic guest star.

Age of Ultron Book 10 AI review

Reeling from the events of the Age of Ultron, Hank Pym looks back on his beginnings and re-embraces life as a costumed adventurer.

And that's it, really. This is a prelude to the upcoming Avengers AI series, in which Hank Pym leads a bunch of robotic types as they ... well, I dunno. This comic gives no real clues as to the direction or approach of the coming book. What it does, courtesy of an insightful, amusing script from Mark Waid, is show us Hank's boyhood, all of which is new to me - I suspect this is freshly minted material. We meet Hank's super-average parents, Brad and Janet ... sorry, Doris, and his grandma, Angela, sole encourager of an unusually imaginative child (click on image to enlarge).

Seriously, l'il Henry is adorable, and it's sad to see everyone but Angela try to steer him into being safe, and useful. It's perhaps no wonder he's been pulled in so many directions as an adult - jobbing scientist, superhero, mad scientist, scientific adventurer, teacher.

Waid doesn't mention Hank's first wife, Maria, and second wife-cum-creepy-replacement Jan appears in but a couple of panels as the Wasp. So happily, there's no mention of a certain incident that too many Marvel writers have allowed to define Hank down the years.

Conversely, though, there's also no mention of Hank's recent stable period as Avengers Academy principal and Eternity-appointed Scientist Supreme. The inference is that Hank's been a bit of a nothing for awhile, but he's now giving himself a good talking to and getting out there to make his mark.

The biggest problem with this story is that the recap page spells out the events that follow, so that we already know what Hank sees as his biggest triumph before it shows up in the book. So if you're planning on reading the issue, ignore the opening text.

The illustrations by Andre Lima Araujo are pleasant, expecially in the flashbacks, with the Pym family delightfully amiable. When we get to Hank donning his Giant Man costume towards the end, though, the illustrations could do with being a bit showier - Waid has our hero do cool new things with his size-changing Pym Particles, but there's no change in tone, no increase in intensity.

Awesome - not

A scene of ants growing to giant-size, for example, is thrown away, with faint lines to imply movement rather than ever-bigger images to indicate growth . Yes, Hank is back superheroing, but he's just kinda there, the opposite of what the story is saying. Editors Lauren Sankovitch and Jake Thomas really should have sent these pages back and asked for an injection of oomph - had Waid been in his old editorial chair, rather than writing, I'm sure he would have.

Colourist Frank D'armata is the Goliath of the art team, doing a lot of heavy lifting, modelling with tones and lifting the staid compositions. He deserves the cover credit he gets.

The cover itself is the work of artist Sara Pichelli and colourist Marte Grace and it's excellent, a real grabber that reflects a scene inside in concept, but trumps it in execution.

If you're looking for a fantastic preview of the Avengers AI book, this isn't it; it's a well-constructed comic with a better than average script, but it won't have you salivating for what's to come. If you want a fun ten minutes with one of Marvel's founding fathers, though, you could do far worse.

Batman/Superman #1 review

It's several years ago and Metropolis-based Wayne Enterprises staff are being murdered. Hoping for a lead, young Daily Star reporter Clark Kent tracks down billionaire contemporary Bruce Wayne in Gotham. Suspicious of the stranger, Bruce refuses to discuss the matter, leaving Clark sitting in a gloomy park.

Later, in Metropolis, Batman catches Catwoman acting strangely, robbing the home of a Wayne security chief. Superman shows up and the pair battle, until a previously unseen fourth player sends the young heroes elsewhere. We don't see where Batman ends up, but Superman finds himself in a field, knee deep in mystery.

So here's the latest version of DC's World's Finest Comics, in which readers can find 'your two favourite heroes in one adventure ... together'. Given that DC have been publishing a series titled Worlds' Finest Comics (note apostrophe placement) for awhile, starring Huntress and Power Girl, this gets to be Batman/Superman, which is far better than the previous series, which rather than a title, went under an ugly combo of the two heroes' chest symbols.

Art by Jae Lee and June Chung

The first thing you notice is the art - illustrator Jae Lee and colourist June Chung's cover sets the tone, heralding page after page of ornate, gothic, silky, work. There isn't a panel from the pair that isn't suitable for framing. And while the pages invite the eye to rest, to take in the naturalism of the figurework and detail of the backgrounds, the layouts never bring the story to a full stop, always serving the narrative. The contrast between Clark, in the bright red of Smallville, against the Gotham night, implies that maybe he doesn't belong here - but to my mind, Superman belongs in Gotham as much as Batman belongs in Metropolis, they're the questing knights, ready to go wherever they're needed.

Art by Jae Lee and June Chung

Lee and Chung don't do the entire 25pp book, though, as Ben Oliver and Daniel Brown step in for the last seven pages. And while I'd rather a single art team worked on the entire issue, they do an excellent job, with a scene change helping 'explain' the different approach. The layouts simplify but the work continues to tease the eye. And occasionally dazzle ...

Art by Ben Oliver and Daniel Brown

It's not all about the artwork, though, as the story also impresses. Writer Greg Pak utilises the now traditional 'duelling narration' to compare and contrast the characters of our stars. I was wary when Clark's first words brought a Smallville anecdote but, as with Scott Snyder's Superman Unchained script a week or two back, the reminiscing brings something to the table - and it motivates Lee and Chung's exquisite title spread.

There's another echo of a recent Snyder DC book, Batman #21, as Pak presents a tender scene between the boy Bruce and father Thomas Wayne, and while Lee and Chung portray it superbly, it's the word picture Pak paints that truly adds to the Batman legend.

There are no real surprises with the way the heroes are portrayed, with Bruce cynical, seeing life as one long fight for the ordinary guy; and Clark dismayed by the gloom of Gotham, while never the naive farmboy people take him to be. That's not a negative, though, it's Pak being consistent with modern tellings of the heroes' early relationship.

The villain of the piece isn't immediately recognisable to me, but the odd BOOOM sound effect tells us there's an Apokolips connection. And the closing image puts Superman in a very interesting place, physically and mentally. I can't wait to see what Batman's equivalent encounter will be next month.

There's a headscratcher of a moment in which Superman describes a frightened child's heart as running at 'two hundred beats per second' - per minute, surely?

We get bonus material with a look at the variant covers of Guillem March and Kenneth Rocafort, making the issue even more of an artistic treat. The only small misstep is a marketing matter, with DC's super-cheery 'The New 52' slug sitting uncomfortably on Lee and Chung's moody artwork and alongside the Art Deco logo font. Oh, and it's a tad mean of DC to put Oliver's name in a slightly smaller font than those of Pak and Lee - without him, we'd not have the comic. And seriously, the colourists deserve to be featured, too.

Niggles aside, this is a confident, absorbing opener, beginning in a familiar place before giving us a new spin on the first meeting of Batman and Superman. Yes, it's yet another DC book centred on the big two, but it earns its place in the line because, well it's a great-looking, well-told tale featuring - all together now - your two favourite heroes together!

Supergirl #21 review

The image that opens this issue's story, Be Careful What You Wish For, is an arresting one - Supergirl on a space motorcycle. She's borrowed it - well, nicked it, actually - from super-scientist Dr Veritas to answer a deep space distress call. It isn't said, but presumably it allows her to save her yellow sun energies for whatever lies ahead, rather than use them for travel (click on image to enlarge).

What lies ahead is an encounter with a very strange planet, I'noxia, where nano-bottish clay brings memories to life. And if you're a regular reader, you'll know where this is going - Supergirl wondering if a simulcrum of Krypton is possible.

Well yes, says the kindly old alien who takes the form of Supergirl's childhood heroine, Val-Ro, tamer of the vicious beast Dramonicus. Mind, things aren't as straightforward as they seem - Supergirl has been lured to the planet, seduced with promises, by - we finally learn - the Cyborg Superman.

But don't expect Kara to fall under his spell the way she swooned before H'el a few months back; she's learned her lesson. She's grown in other areas too - rather than meet the massive creature apparently threatening I'noxia with violence, she responds like this.

Wow. The New 52 Supergirl is getting closer to the classic with each issue, her every instinct on this strange world is to help people and it's only when she learns the people ain't people that she considers her own desires.

Kara isn't all Silver Age optimism throughout, mind. As well as taking the space bike, coincidentally (ha!) called the KR-1, she's very glass half-empty as she tells pal Siobhan that she's leaving Earth. Writer Michael Alan Nelson gives us a terrific exchange (below). It's home truths like these, along with happy planets turning out to be deathtraps, that should see Supergirl commit to making a life on Earth, and soon. And if Nelson gives us a few more supporting characters with personalities as distinctive as Siobhan's, so much the better.

Regular artist Mahmud Asrar isn't around this month, but penciller Diogenes Neves and inker Richard Bonk aquit themselves wonderfully. First off, they make Kara's horrendous outfit look less sleazy than usual. They show a fine knack for believable expressions. They don't shy from wonderfuly wonky aliens. And their storytelling is first rate ... I'd be delighted to see this pair take over whenever Asrar moves on.

Colourist Dave McCaig makes the space background beautiful and chooses a refreshing pallette for I'noxia, while letterer Rob Leigh gets almost everything right.

The cover is a fine companion piece to last month's Superboy cover, in that it shows the star of the book as a thing of nightmare ... and doesn't reflect the interior at all. It's brilliantly executed, and a real turn-off for me. I don't know why DC editors seem to think readers are more attracted to a frightening portrayal than a virtuous one, but they need their heads examined. The new Superman film tells us the El family crest means 'hope' but going by these hysterical covers it's 'hope to get away alive'. DC Comics was built on heroism, not blood - remember that and the company might get a few more sales.

That's the one blight on my favourite issue to date. Even with her mini-moan, Kara is now someone I'd happily spend time with, a thinking, noble, fun superheroine. Long may that continue.