Supergirl #20 review

If there's one fact that's been rammed home again and again recently, it's that Kryptonians don't like clones. So Supergirl and Power Girl have a fight on their hands when the Kryptonian artificial intelligence that controls Kara's undersea Sanctuary decides one of them is a clone and has to die. It's tough to argue with a machine whose logic circuit has gotten tangled, and one whose extraterrestrial  origins make it decidedly difficult to destroy.

That's the basic plot of this issue, which follows last month's saving by Power Girl of Supergirl from Lex Luthor's pet thug while Kara was hit by Kryptonite poisoning. With Kara in no fit state for conversation then, it's great that this second issue gives the Girl of Tomorrow and the Woman of Steel a chance to get to know one another. And while I'd have been fine with a visit to the coffee shop, I'm a superhero fan, so won't complain that the backdrop to the chat is an unusually entertaining extended fight scene.

What's unusual is that it's so funny while building a sense of threat. New Supergirl writer Michael Allan Nelson takes the previously super-dull Sanctuary computer and gives it a dry sense of humour, like a robotic Alfred Pennyworth. Add a dash of Deathstroke and you have a decidedly scary creation. Sanctuary wants to permanently remove whichever Kara isn't the 'real' one, with first one, then the other, being the target of choice. The fact the women aren't the same age, and have different physiques, doesn't deter the AI - who cares if one is a dimensional duplicate, that's still offensive and she has to go.

What starts out as an annoyance soon becomes a matter of life and death, giving our heroines a chance to unveil layers of personality to one another. I especially like that we see Kara has gained a bit of self-knowledge around her short-tempered ways, and that Karen doesn't lke people constantly focussing on her allure. Most of all, I like this moment (click on image to enlarge): 

I can imagine the odd complaint around the computer suddenly having a personality, but to my mind that's a clue, a sign it's evolving beyond its origins as a cosmic domestic, leading to a cliffhanger that will have older Superman Family fans slapping their heads in recognition...

Nelson makes a rather spiffy first impression - his Kara and Karen are consistent with those that came before, but they reveal new wrinkles. I particularly like that even though Kara knows she's too quick to jump in fists first, she can't help ragging on Karen, suspecting the Sanctuary situation is due to something Karen did while she was unconscious. And I love that Karen, a bit of a hothead herself, indulges her younger 'sister' so that it doesn't get to the stage of cliched fight - there's only one enemy in this book and that's where the focus remains.

While Kara's tendency towards anger is foregrounded, so are the circumstances that help explain this fact, in a montage showing that the poor girl really hasn't had a moment's peace since arriving on Earth.

And in another excellent move, Nelson acknowledges previous writers Mike Johnson and Michael Green's brainbox Kara - education is the key to ending the crisis, not super-powers alone. The powers that are used include Kara's sunburst ability, which she's becoming rather proficient at manifesting.

Mahmud Asrar's art is as attractive as ever, open and dynamic. When Sanctuary takes a mobile form, it's a cute, yet scary, mixture of Kryptonian crystal tech and insect - original. A nice touch is that he has Power Girl and Supergirl hovering in conversation; it's not like Superman in the Justice League, floating apart from his supposed peers - these women really are equals. I'm not always a fan of splashes taking up space, but those we get here really count, and the other pages are so packed that we're not losing any story.

Colour artist Dave McCaig and letterer Rob Leigh are on hand as ever, making the pages look good all round. The alien lighting in the Fortress - sorry, Sanctuary - gives McCaig an excuse to use more garish tones than usual, and they make for an eye-tickling change of pace.

Emanuela Lupacchino's cover illo, coloured by Nei Ruffino, is just exquisite, probably the best this series has had. Good on her for ignoring Kara's regular hairdo in favour of a longer look - Kara and Karen's bob is a little too alike inside. I hope there are many more Lupacchino covers to come.

I've no idea if Nelson plans to make every issue as witty as this one, but my gut says no. Some humour, though, would definitely be appreciated - entertaining and impressive as it's been, this series hasn't exactly been an amusing companion.  I'm ready for that to change, and optimistic about what's to come.

Legion of Super-Heroes #20 review

The new Fatal Five's attack on the United Planets continues, with members vying to see who can kill the most Legionnaires. On the world where Sun Boy died, FF leader Tharok, controlling a Promethean Giant, bids to stomp out his Legion opposite Phantom Girl's life, prompting her to fade away ... Meanwhile, two Legionnaires are revealed to have likewise faded away rather than been killed by the giant, as Polar Boy and Invisible Kid emerge in an afterlife dimension. It seems the latter's old teleportation powers kicked in, bringing them to an eerie realm.

There's more teleporting as Glorith takes Ultra Boy and Lightning Lad to the Sorcerers' World, home to her old teacher Mysa, the Black Witch, and her consort Blok. But the place is no safe haven, as Fatal Fiver Validus appears, determined to snatch a gem that lies deep within the planet. And if he can murder a Legionnaire along the way, so much the better.

At the site of the destroyed Weber's World, a small band of Legionnaires lick their wounds after facing the Emerald Empress, with the maimed Mon-El confined to a medical stasis tube. And having worked out that Validus, Tharok and the axe-wielding Persuader are also in play, Brainiac 5 wonders who the final member will prove to be.

The story closes with two Legionnaires transported back to Legion HQ on Earth, where they find one of the Five standing over a friend - is she dead?

Yes, writer Paul Levitz plays the 'has a Legionnaire been killed?' card yet again, but this issue confirms that where he's presenting an apparent death, 'apparent' is very much the operative word. I wondered if Jacques' old shifting power would return, and it did. And Phantom Girl has obviously phased back to her homeworld of Bgztl.

Finally, four issues into the Fatal Five storyline, the Legion fights back. The Validus smackdown is excellent, showcasing Blok for the first time in years, and Mysa gets to strut her stuff too, combining her elemental powers with Glorith's time magic to do something really rather amazing.

And while I'd rather see new Legion leader Tinya beat the Promethean Giant than flee, what's she supposed to do? Her powers are more subtle than offensive, and with Polar Boy and Invisible Kid missing and Sun Boy (apparently!) dead, she doesn't actually have anyone to lead. Last month she was so full of uncharacteristic despair that she was ready to die - I'll take an evasive Tinya over a suicidal one any day. At least if she gets away she can find some Legionnaires to rally.

Black Witch and Blok are seriously impressive; they're no longer active members but they retain the Legion spirit in spades, never hesitating in their efforts to save lives and fight back. Plus, Mysa's scrying game provides the first overview of the situation any Legionnaires have had since the universe-wide crisis began with the failure of 31st-century technology.

We learn more of the nature of Tharok's new powers, as he wrangles the basically brainless Validus to search the Sorcerers' World for the gem that will spell 'the doom of the most powerful Legionnaire'. He could mean the Black Witch, but a narration box is ambiguous - my money is on Glorith, paving the way for her to go bad and become the fifth Fatal Five member. And I wouldn't be surprised if the Legion's old foe Mordru, here referred to as Mysa's 'captive demon', comes into play too - he loses his power when buried alive, and there's an awful lot of dirt thrown up this issue.

One of my favourite things this time is the Black Witch's dialogue, which simply drips doom, even as she leads her fellows to a victory. This is Levitz at his very best, bringing the various elements of the story together while showing off the Legion's ability to work as a team, channel their individual power to a greater purpose. I really didn't want this chapter to end, we're at a dramatic crescendo and I'm excited by the prospect of a shocking climax. And with the current run of this book just announced as ending at #23, I don't doubt we'll get one - but I trust Levitz not to murder most of the team to make way for some JLA knock-off.

Anyway, that's a worry for another day. For now, just look at Francis Portela's work - does DC have an artist better at mixing sheer beauty with the ability to tell a story? There's not a panel that doesn't bear staring at, but the storytelling ensures you'll do that after getting to the end, rather than stopping mid-tale. Every beat of Levitz's script is beautifully hit - it's such a shame Portela hasn't been around to draw all of this storyline - it'd make for a stunning-looking trade.

Regular colourist Javier Mena lights up the pages in ways 21st-century-set books don't allow, making Portela's illustrations look even more gorgeous without falling into the land of Pretty Pretty. And Dezi Sienty's letters are exemplary, with the choice of font for Mysa particularly good from a visual and 'sound' perspective.

Mena is credited as colouring the cover, with Francis Portela drawing. Actually, it's George Perez pencilling and inking, but you'd barely know it, with Perez's trademark delicacy mown down by unsympathetic colouring by Persons Unknown. Validus is one of the Legion's best-known foes, but you'd be hard-pressed to recognise him from this image. The brute manages to dominate the composition, while simultaneously being lost. Someone's placement of cover copy doesn't help.

I don't know what happened, because an earlier, differently toned version of the illo, gets it just right - Validus' colours are on display, and his trademark mental lightning is blasting outwards. Whoever changed the colours deserves a date with the Emerald Empress.

But that's the one blight on an excellent issue - more instalments like this, and the Legion might not be damned. As it is, it looks as if the latest run by Levitz and Portela is going out on a high.

Avengers Assemble #15AU review

Ultron's drones have taken over London, leaving a ragtag band of heroes as the UK's only hope. Residents Captain Britain, Excalibur and the Black Knight, holidaying Avenger Captain Marvel, forgotten hero Computer Graham and schoolgirl Magic Boots Mel huddle in the British Museum, protected by magical artefacts, trying to come up with a plan.

Having given up the Age of Ultron series after the first couple of issues, I've not been bothering with the tie-ins. But the buzz around this book over the last few days sent me back to the comic shop, and I'm so glad it did. 

The art, by veterans Butch Guice, Tom Palmer and Rick Magyar is stellar, with imaginative yet clear compositions, well-individuated characters and sharp finishes. The emotions on the faces of the good guys really sell the idea that it's the darkest of days, while Ultron's robots mimic a pleasing madness. The colours of Frank D'armata notch up the drama, and Clayton Cowles' letters are clear and complementary. The entire art team works well together, making a great case for a regular gig. There's a splendid cover, too, courtesy of Nic Klein - action-packed, but not cluttered, and just screaming 'Britain'. 

It's the script, though, that makes this issue really special. Al Ewing, who also handled the Avengers Assemble Black Widow spotlight, makes 20 pages feel twice that size, filling panel after panel with meaty drama and believable humour. Captain Marvel is Ewing's point of view character, and I bet regular Carol Danvers writer Kelly Sue DeConnick is cheering his efforts - he captures Carol's grit, wit and intelligence, both strategic and emotional. Her opening encounter with new character Computer Graham  ('I'd just like to say, I didn't call myself that') is a mini-masterclass in combining character with exposition. 

Graham himself is a quiet chap with the power to communicate with, and even enter, machines, influencing them. He's not the showiest of heroes in battle, but is potentially very useful when you're facing an evil AI. 

The other new character, Magic Boots Mel, is a pupil at Braddock Academy, the school Captain Britain runs, according to the new Avengers Arena book (the series is obliquely referenced, without it getting in the way of this story). The mystic football boots - the story goes with soccer, pah! - she wears means she never misses a shot ('any kick, any distance - back of the net every time'). It's a weird power, but older British readers (ahem!) will be thinking Billy's Boots, a vintage comic strip. And she's not the only homage character, with Computer Graham influenced by one Computer Warrior. Finish this review, then pop over to Freaky Trigger for the scoop. 

One homage that immediately leapt out was the image of Ultron's minions marching down the steps of St Paul's Cathedral, a compositional salute to this famous Dr Who moment - imprinted on my childhood mind by the UK's Super-DC reprint monthly - and one the show itself recreated in recent years. 

Former MI-13 teammates Captain Britain, the Black Knight and Excalibur all receive care and attention from Ewing, making me hope Marvel gives him a shot at a UK-set superhero book. Ewing's skill with authentic dialogue isn't wildly surprising, him being a Brit and all, but I've rarely seen one of my countrymen so immediately at home in the Marvel Universe. He understands the milieu, the characters, the conflicts and finds new things to say about them. 

One thing I really like is that the heroes here aren't battle-scarred, and world-weary, unlike the Avengers in the main Age of Ultron series. No, they're exactly the same as when we saw them last, right down to Carol's current medical problems. This makes it easier to accept the story as occurring in the 'real' MU, not some alternate, easily erased corner. 

Ewing also writes a fine fight, with Carol's opening sortie with the drones moving from Tottenham Court Road to the British Museum a few streets away in thoroughly entertaining manner, thanks in equal part to Guice's intelligent, fluid layouts. 

Then there are the little touches that just make me smile, such as the bombastic introductions as each character has a defining moment ('Faiza Hussain IS Excalibur'), and the shout-out to our excellent, under-threat National Health Service. 

I've said a lot about this issue, but not really. There's so much to enjoy - the little moments, the big beats and how they meld to produce a fantastic story that can be enjoyed without having to follow the event title. I'll read this one again and again, as a discrete gem of a superhero comic. The heroes haven't yet overcome Ultron, but the readers have already won.

Batman and Red Hood #20 review

In which Batman enlists the aid of Red Hood, Jason Todd, on a trip to Ethiopia to take revenge on some of the would-be assassins who went after the bounty on Damian Wayne's head. That none of them succeeded, that the latest Robin was murdered by another, doesn't matter - they tried to kill a ten year-old-boy and Batman isn't going to let that happen again. Grabbing each member of the assassins' nest, Batman uses a hi-tech glove to kill the nerves in their hands ... no more pulling triggers for them.

While Jason helped on the mission, deferring to Batman's wishes to use non-lethal force, he realises he wasn't really needed. Batman had to have another motive.

And he did - Ethiopia was the place Jason died, battered by the Joker. Batman hopes being back at the precise spot will jog Jason's memory as to how he was resurrected, information that might help Batman bring Damian back too. In fact, and entirely understandably, it freaks Jason out, causing him to turn on the man he felt betrayed him by never making the Joker pay for his death, the man he's only recently begun to trust once more. It's the Red Hood vs Batman ...

... whew! Talk about insensitive, selfish and deluded. Batman, who not only didn't kill the Joker in return for his killing Jason when he was Robin, he didn't try to resurrect Jason, springs a bout of mental torture on his former ward. Jason is beset by memories all right, but not of his resurrection in Talia al-Ghul's Lazarus pit - he's confronted by the feeling of being battered to a pulp by the Joker. It's no wonder Jason turns on Batman.

Bruce Wayne really is in a bad place, as Peter Tomasi's five-part storyline takes Batman through Elisabeth Kubler Ross' five stages of grief. Last month, in 'Denial', he set out to resurrect Damian as a Frankenstein creature. This time, in 'Rage', he takes his anger out on others, not just the assassins but Jason too, as if he's furious that he got to return from the dead while Damian lies a-mouldering in his grave. And he certainly makes Jason see red. I'm very curious as to how Batgirl fits into the 'Bargaining' part of the equation next time.

This issue wasn't all intense action; the book opens with a visit by the just-introduced Carrie Kelly, whom Bruce Wayne learnt last issue had access to a part of Damian's life he never shared - his desire to act. The drama student turns up at Wayne Manor to return cash Bruce gave her for acting lessons she was due to give the boy, pointing out that she won't take money for work she's not done. Her second, but not secondary, motive is to find out why Damian has disappeared from her life - Bruce claims 'he's studying abroad for the next several years - seeing the world'. And while she seems to believe this guff, she's not impressed, reckoning Bruce has sent Damian away so he doesn't get in the way of his playboy lifestyle.

More happily, Carrie bonds with Alfred over a shared love of Shakespeare, is immediately adored by family hound Titus, and is given a job exercising the latter by the former (hmm, wonder if Titus will lead her to a certain grave on the Wayne estate). So we'll be seeing more of the young woman who, in an alternate reality, fights at Batman's side as Robin.

If there's a DC comic with a more consistent level of quality than this series, I'd like to see it. Issue after issue, Tomasi and penciller Patrick Gleason present Batman stories that perfectly combine action, plot and characterisation. While I'm not a fan of Batman being quite as loopy as he's been the past couple of issues, it arguably works given everything he's been through - and the crass insensitivity is, sadly, an established part of the modern Batman. What's more, Tomasi using the stages of grief as a structure strongly implies that Batman is going to come through this, find some level of peace. Right now though, the darkest days are proving darned entertaining - and as a bonus we get the subplot with Carrie Kelly (one of those names that never feels right unless written in full) and I've no idea where that's going.

Bruce's monstrously huge barrel chest apart, the art of Gleason and inker Mick Gray is seriously attractive, framing the emotions as much as the scene. Little touches such as Bruce fading into the darkness (above, click on image to enlarge), say so much. They don't draw all of this issue, as Cliff Richards and Mark Irwin step in for the Ethiopia scenes, but the different teams blend together well, with the thoughtfully applied colours of John Kalisz helping unify the pages.

The cover, by Gleason, Gray and Kalisz, conveys the rage of our two heroes rather cleverly - appropriate for one of the smartest superhero comics around.

Superboy #20 review

Like this week's Suicide Squad, the 20th issue of Superboy features a new writer. Justin Jordan jumps on board to continue the Dr Psycho story from two issues back that was so rudely interrupted by ... no, I don't want to talk about it.

The best thing that happens this time is that Superboy heads to a police station to confess to taking thousands from a bank a few issues back. He's already returned almost all the money, but realises he was wrong and should pay the price. I like this scene because it shows Superboy is growing; his sense of right and wrong is developing as he comes to understand the world into which he's emerged as a teenager.

He never gets inside police HQ, mind, as he's confronted by Dr Psycho, who needs his help to get some bad guys off his trail. And Psycho, in turn, doesn't get to make his request because said bad guys - the massive Dreadnought and titchy Psiphon - show up and engage our heroes. Yes, traditional Wonder Woman villain Dr Psycho is here defaulted into a good(-ish) guy by dint of being less bad than the badder guys. An escapee from the H.I.V.E., an eeeevil group which turns psychics into drones, he just wants to get on with his life; it's the same position Superboy is in with regard to N.O.W.H.E.R.E. - remember, in the DC Universe, acronymic organisations are not your friend. And while it's true that Psycho's preferred path involves petty crime, H.I.V.E. is the bigger threat to be taken down.

The banter between Psycho and Superboy is excellent, with the former's sarcastic sense of humour bringing some much-needed levity to this book ... no one could honestly say New 52 Superboy is a barrel of laughs (click on image to enlarge). Dreadnought is the most boring of bruisers, Psiphon your average mentalist gnome, but they motivate an entertaining, if overlong, fight scene.

It looks as if the H.I.V.E. business will run through the next few issues; after that, I want to see Jordan really concentrate on Superboy's non-super life. He began settling in on Earth months ago, but his new supporting cast have all-but vanished amid the never-ending, not-that-interesting, nonsense surrounding Superboy's origins.

This isn't the most interesting of issues in terms of moving Superboy's story forward rather than constantly looking back to the stupid new origin, but for what it is - a big daft action special - it's pretty decent. I'd rather Jordan's wit served a more original story, but I'm not blaming him, being pretty sure this isn't the story he set out to write - but more on that below. The last page cliffhanger, featuring dull future cop Jocelyn Lure, is baffling, but hopefully it will make sense next time. The one real misstep is a super-dramatic opening which frames the main action, but isn't something we ever return to, so we've at least a month to wait to learn what Krypto has to do with anything.

Regular artists RB Silva (pencils) and Rob Lean (inks) are backed up by guests Kenneth Rocafort and ChrisCross, making for an issue with inconsistent style, but consistent quality. There's a dynamism that speeds the fight along, and a lot of humour in the reaction shots. And I love that the first sequence - Silva and Lean, methinks - features non-plot motivated fallen leaves. It's just a little detail to round out the world, something we need more of in comics. Can you remember the last time it just happened to be raining in a comic book, as opposed to someone struggling through the storm of the century, or a villain's typhoon? Were I editor Rickey Purdin, though, I'd have asked Rocafort to drop his distinctive jagged panels and back-of-panel colour blocks, as they really stand out when the rest of the book hews a more conventional furrow.

Richard and Tanya Horie add continuity with their colours, while Travis Lanham's letters play their part, er, to the letter.

The cover is the work of illustrator Ken Lashley and colourist Matt Yackey. It's great stuff, if you like your Superboy growling an gritty; it's got bugger all to do with the story, mind. 'Blood and Steel'? It does have something to do with this solicitation, which came out awhile back and still sits on DC's website, even as I type:

“BLOOD AND STEEL” begins as The Teen of Steel decides it’s time to become more proactive in his battle against evil. But how far will he go before he crossed the line? Written by Justin Jordan, art by RB Silva, Rob Lean.

I dunno, I can see DC changing their mind about an issue's contents, it's pretty much the law these days - but they could at least slap on a new cover. Or at least, at least, take off a specific story title that has nothing to do with the price of peas. A homage to Detective Comics #38, with Superboy as Batman, and Dr Psycho as Robin, maybe - well, the wee man is the sensational character find of 2013. Anything, really.

And it seems we may get almost the same cover next issue ...it's all very confusing. I'm holding out for the same image yet again, but with added Super-Turtle, for #22.

So, an entertaining Superboy #20, but I can't help wondering if the Superboy #20 we never saw would have been heartbreakingly good.

Detective Comics #38 borrowed from the Grand Comics Database. Do visit.

Suicide Squad #20 review

One of the books I was most excited about with the dawn of DC's New 52 promotion was Suicide Squad. I was a big fan of John Ostrander and Kim Yale's original series, and hoped some of that flavour would be captured. As it happens, I was quite put off by the revamped book, and haven't been back since that first issue.

But a new creative team comes on board this month, and while I don't know writer Ales Kot, I've long been a fan of artist Patrick Zircher. And I so want to like a Suicide Squad series - I'm sentimental that way.

This second debut gets off to a good start, as a new point-of-view character is used to bring us up to speed with life at Belle Reve prison. And there's a mystery, with their identity kept a secret, until the reveal at issue's end. And it's certainly an attention grabber.

But my, said reveal doesn't half make me doubt the sanity of Squad chief Amanda Waller. I also doubt she has a soul, after scenes in which she casually oversees brutality and murder, her way of assessing the mental states of Squad members Deadshot, Harley Quinn, King Shark, Voltaic, Cheetah and David Graves. There's also the Unknown Soldier, of whose motivation she seems sure - insanity, but she's fine with that.

In concept, this is the kind of issue I love - a day in the life story, in which character is revealed and future plots are laid down. In execution ... well, 'execution' is the operative word, as Waller acts as dictator of Belle Reve prison, holding power of life and death over her serfs. Yes, she's dealing with super-criminals, but so far as a carrot and stick approach goes, it's all baseball bat and no vegetable.

This instalment sees emotionally stunted virgin King Shark prickteased by one of Waller's operatives; Deadshot told that his death wish counts for nothing, Waller's going to keep bringing him back with a magic formula; a lookalike sent in to mess with Harley Quinn's Joker fixation; and more. It's all very nasty, perhaps meant to emphasise that Waller is hard-ass enough to deal with the scum of the DC Universe. What it actually does is make her seem worse than any of them - King Shark, Harley and co are following their individual natures or psychoses; Waller, she's tailoring a hell for each of them in the name of the American public.

I'm OK with the Squad members being bad, what with them being villains and all, but there has to be someone in a book for me to root for. The Eighties Squad had a Waller who wasn't nice, but you could understand her, and treasure the rare moments of humanity. It had a few heroes mixed in with the baddies to wrangle them on missions. It had a support crew of civilians, all pretty decent despite their flaws. But this book? So far as I've seen, nada.

Perhaps Kot has plans to shake things up, bring in the odd sympathetic soul. But if his first addition to the cast - the biggest murdering loon to debut in DC over the past few years - is a sign of things to come, I doubt it - it looks like nasty will remain the order of the day.

None of which means this is a terrible comic. It just isn't for me. I can certainly appreciate the craft with which Kot's script has been assembled - look at the emotions it's evoking in me. The set-up works, the tension builds, the reveal is good, with the new character guessable by the end of the issue if you've been reading certain DC titles. The dialogue is believable, there are surprises, big beats ... just not the sort I enjoy when ladelled out in a relentless diet.

And the art, well, Zircher - currently drawing Shadowman for Valiant - never disappoints with his smart compositions and strong line (click on image to enlarge). There's excellent character work, with every drop of drama squeezed onto the page without the visuals ever going over the top. His Unknown Soldier and Voltaic are especially fine, and moving away from the earlier sleaziness, he puts Harley in a cute animal onesie (and when in her new corset costume, she's less 'cheesecakey' than previously). And the horror in Deadshot's eyes ... intense. Jason's Keith's colours add to the mood, reflecting location and situation. And Jared K Fletcher's lettering is top notch as ever.

Nope, there's nothing wrong with the craft of this book. Even the cover, by Jason Pearson, is a striking take on an old theme.

It's just that this issue isn't for me. But maybe it will be ... I'm going to give it a couple of months, to see if Kot, Zircher and co start tweaking the tone. But if not, like a suicide, I'm off.

Adventures of Superman #1 review

The Man of Steel goes digital as DC begins a new 99 cents, online-first series, Adventures of Superman. Behind Bryan Hitch's wonderful cover image lies the first chapter of a serial by Jeff Parker and Chris Samnee. Violent Minds sees Superman strive to contain a crazed telekinetic without harming him, before he winds up killing someone. By the end of this action-packed 20pp instalment the reader learns who's behind the substance that gives small-time hood Leon Torsik powers that send him mad; Superman isn't so privileged.

Parker's Superman is the classic hero - immensely powerful, yet his first instinct is to appease his opponent, close a situation without violence. Leon is a dupe, but mind over matter makes him a credible threat, as seen in my favourite sequence (click on image to enlarge).

It's safe to say Samnee nails Superman in page after page of joyous, animation-ready cartooning. It's rare that we see Superman working at street level, even rarer at night, and Samnee has me wishing for more such scenes. He really brings the city alive, in terms of its architecture as much as its citizens. Said citizens' reactions to a frankly terrifying situation range from the understandably panicked to the endearingly casual.

Matthew Wilson's vibrant colours make excellent illustrations even better, while Wes Abbott's letters add another layer. Kudos too, to cover colourist David Baron for his sunshine hues. Said cover is topped by a favourite logo variation - I love how the original Siegel and Shuster masthead 'S' sneaks in at the end of 'Adventures' - the only thing that could improve it would be to bring that little lost 'of' into the fold - doesn't it deserve display lettering too?

An added visual treat is that Adventures of Superman gets to feature Superman in his traditional outfit - look ma, red underpants! And an unashamed spit curl! If Parker and Samnee handle Clark Kent and the Daily Planet as well as they do Superman and regular folks, then I'm declaring it - New 52 be darned, the real Superman is back!

Worlds' Finest: Huntress and Power Girl #12 review

I've kissed some frogs in my time, but I've never kissed one of Darkseid's lackeys. Power Girl can't say the same, as this issue opens with her locking lips with Desaad, Earth-stranded Apokoliptian. She's at a party in her other identity of Karen Starr, he's impersonating Michael Holt, aka ex-boyfriend Mr Terrific. Unsurprisingly, a fight ensues and it's anything but a lovers' tiff.

Helena Wayne is around, and while she hasn't got her Huntress gear to hand, she improvises, showing Desaad that super-powers aren't necessary to make a hero. As well as Desaad, the Worlds' Finest heroines have to fend off Holt's bodyguards, who see their boss, not Desaad, being assaulted. Power Girl carries Helena away, to fight another day.

Flashback a few months to Tokyo and we see Huntress stymied as she tries to solve the riddle of Hakkou - the Apokolips-connected thug from #1 - and Power Girl frustrated that she's missing a party to give Helena a lift home to Gotham.

Back in the present, at the Starr offices, Karen is annoyed that her top boffins are being poached and her stock is falling. Helena reckons Desaad-as-Holt is behind it. There's no time to worry or fume, though, as Karen's secretary, Somya, has news that sends them scurrying away at super-speed - one of her research labs has exploded.

As it turns out, the blast is a diversion ...

And I'll say no more, but I believe the euphemistic colloquialism is 'things get real'. This issue's climactic events look to be the impetus for Karen and Helena to finally get their (euphemism time continues) act together and shut down Darkseid's disciples. I'm certainly ready for this year-long storyline to wrap, allowing for a greater variety of storylines. Not that I've been bored, mind - every issue has heaps of incidental pleasures; I just want the main event to be as engaging as the banter and bits of business. And I'm ready for the flashbacks to vanish, leaving the splendid characterisation for an all-present day-set book.

This time, the main event was more fun than usual, as writer Paul Levitz gives Desaad a creepy charisma - he's corny as heck, but lots of fun, in a leering, spiky-toothed way. As for the incidental pleasures, there's Huntress' way with a curtain rod, some speculation about Desaad's historical links and a suspected crush confirmed. Best of all, there's this moment, which will surely make lovers of the Silver Age Supergirl smile (click on image to enlarge).

And lovers of Bronze Age Power Girl will likely be equally chuffed to see a version of Kara's classic costume back, as of the most recent Supergirl - just look at that gorgeous Ryan Sook cover.

To be honest, I could read an entire issue of Helena and Karen simply chatting away, as Levitz writes one of the best friendships in comics. Certainly, these two are more convincing as bezzie mates than Superman and Batman were in 40 years of the original, yet differently punctuated, World's Finest series.

The first few pages are drawn by Kevin Maguire and feature his usual blend of the dramatic and comedic - no one draws a peed-off superheroine like him. The flashback sequence features some tremendous Yakuza arse-kicking courtesy of penciller Geraldo Borges and inker JP Mayer. And the closing pages by Robson Rocha and Wayne Faucher - despite a disgracefully cheesecake magazine cover of Karen and an unnecessary glamming up of Somya - are my favourite, for vibrant scenes such as this.

I understand Maguire is, like original co-artist George Perez, leaving this book. If it's true, either of the other art teams showcased here would be very much appreciated. Or both, if we continue with the flashbacks, though I understand they were only ever instituted to accommodate our two veteran artists. One art team per issue would be just dandy. *

But that's housekeeping. Whatever happens, I'm sure World's Finest will continue to be one of the best mainstream superhero comics around.


* If any of this issue's artists are reading, and I've miscredited sequences, please let me know. And thanks to Robin Piercy for remembering the name of Peege's PA!

The Movement #1 review

In Coral City, police officers Whitt and Pena threaten to arrest a young couple on trumped-up charges, but say they'll let them go if the girl 'gives us a little peek'. They're stopped in their tracks on being surrounded by a crowd wearing identical masks, filming them on camphones.

Their captain is angry when local news shows the footage delivered by hacker group 'Channel M', but union rules won't let him suspend the officers. And when a mutilated body is found that may be the latest victim of  Coral's 'Cornea Killer', he has little choice but to take the bad cops along. At the scene, a call comes in that there's a slasher at a church a couple of blocks away, very likely the killer.

At the church, a young man is floating in the air, spouting demonic talk, terrifying a priest and his congregation. Before police can intervene, Mouse, a particularly pale pied piper, appears and sets rats on the cops. A young woman named Tremor arrives outside, and when police point guns, she shakes them up with quake-causing powers. A winged newcomer teaches officer Whitt that some women are in a better position to fight back than others. And the captain is confronted by a young woman going by Virtue, who announces that 'I can ride emotions'. She touches him and astral projects herself back to his home, then announces that his wife is having an affair with one of his men. She orders the captain to hand over his phone and gun, and says The Movement is taking the apparently possessed lad, Burden, away to look after him. He's just a 'poor tortured kid' with power enough to manifest as the possessed soul he thinks he is. Further, she warns the captain to stay away from ten city blocks they're planning to 'protect' and says her people will find the killer.

When DC announced The Movement a few months back, in the wake of the Occupy protests, writer Gail Simone pitched it to readers as being '...about the injustices that can affect real people's lives, just tarted up in costumes and superpowers'.

I wasn't sure what to make of that, but as it turns out, new-to-the-DCU Coral City is familiar territory - a dark place where dark heroes take down dark cops. There's a mutilating serial killer and a head-revolving kid with evil eyes who spouts bile. So far, I see no links to the world outside my window - these heroes - or rather, anti-heroes as they're willing to terrorise the good cops as well as the bad ones - aren't taking on villainous versions of bankers, or fatcat corporate executives, they're just doing the old heroes and villains thing with a few modern memes. As targets go, corrupt cops is fish in a barrel territory, while the idea of a masked citizens' army evokes V for Vendetta.

Of course, it's a cliche but pretty much true, that there's nothing new under the sun. Creators come up with similar ideas, or they borrow as a way to speedy resonance. The disappointment is that The Movement doesn't feel especially fresh. Simone lays down her plot with skill, and sketches in a whole bunch of characters with dialogue and action - I don't doubt some impressive colours will be laid down later. But so far it reads as a skilfully executed but unsurprising 'grimdark' comic, full of mostly unpleasant people negotiating the gloom. Of course, this is just the first issue; hopefully, the gloom will lift ... that's probably the story.

Sweet misunderstood kid about to be oppressed

As it stands, though, I'd be happy were Superman to fly in and arrest The Movement. Attacking cops who are trying to protect the public without even bidding to explain that Burden might not be such a threat? Invading the life of a decent police officer and then threatening him? Declaring that they rule a section of the city like some druggie street gang? So far, these aren't kids I want to spend time with; a little background on why they're acting in such a heavy-handed manner would be useful - all we get is a throwaway reference to a city council that impedes the police captain's ability to discipline his men.

It's not clear why Virtue blows his wife's secret to the captain, perhaps to establish her bona fides ... nevertheless, she doesn't give any indication she could physically overpower him, so why the captain hands over gun and phone, I don't know.

(You may have noticed that I've not named the police chief - neither does the comic, unless he's called Captain Captain. Oh, hang on - in the Comments below, Gary reveals all - cheers Gary!)

While Virtue, Mouse and Burden are new, Tremor and Katharsis originated in previous Simone books - the former appeared in the much-missed Secret Six series, the latter recently fought Batgirl. Tremor seems more serene than her colleagues, while Katharsis (because Ks are Kool) gets a new look but remains a vigilante ready to use excessive force.

Freddie Williams II does a fine job with the artwork, and hankie-headed goth cliche Mouse apart, his main character designs are solid and should work well together (click on image to enlarge). I expecially like Kath's new outfit, with her previous birdie wings replaced by a more cobbled-together model. The compositions are dramatic, and Coral City looks great, as grim and gritty cities go. Williams deserves extra credit for his excellently realised police department, and its varied inhabitants. Mind, there's one panel in which a horrible noise is referenced, but we get no sound effect, something that may be worth tweaking for any trade collection.

While I wasn't bowled over by this debut, I've enjoyed enough work by Simone and Williams that I'll probably give The Movement a couple of issues to grab me. I realise that we're not necessarily meant to like these kids, and they have a lot to learn, and I am most exceeding old - but it'd be nice to like them just a little. With luck, we may soon see the characters display self-awareness around their heavy-handedness.

And I'm definitely intrigued - I want to know why they're concerned with just ten blocks. Who's the moth-themed blonde on Amanda Conner's attractive cover and might she be the one to bring some actual humour to the book? Will Virtue find the Cornea Killer in ten seconds flat, something she could surely do given what we see of her powers here. I want to know who's financing the face masks they'd handing out willy nilly, and designing their campaign against Coral City (knowing how these things tend to go, they're probably being duped, but will beat up their benefactor and go it alone ... or not - Simone is generally better than that).

So, while I won't exactly be Occupying my comic shop waiting for the second issue, should I see a policeman with a copy, you can bet I'll snatch it from his likely corrupt, no doubt cucklolded hands ...

Young Avengers #4 review

My, this is a bright and breezy read. Yes, Young Avengers #4 revolves around evil parents trying to slay their children, but creators Kieron Gillen and Jamie McKelvie unfold events so lightly that reading this is like swimming in a sumptuous superhero souffle.

Interdimensional parasite Mother, accidentally summoned to Earth by inexperienced/bungling warlock Wiccan, wants to suck up the teenage heroes' souls. This issue she enlists hundreds of New York parents in her campaign.

The kids are fighting back, though. Marvel Boy, who prefers to be called Noh-Varr, and Hawkeye Kate Bishop arrive on Earth after their spacey playdate, and give the besieged Wiccan, Hulkling, Kid Loki and Miss America a hand. Kate grabs a Kree energy bow while Noh-Varr uses the power of Awesome and Seventies Disco.

Loki, bereft of his Norse spells, turns to his other specialist area - manipulation, and sows seeds of doubt in Hulking's mind (click on image to enlarge). And he tries something new - flirting. I can't see Hulking and Wiccan asking him along on one of their dates, though.

The chemistry between the characters in Young Avengers powers us from page 1 to page 20 at breakneck pace, with Gillen's dialogue and McKelvie's designs providing more pleasure per panel than probably any other superhero book out there. The heroes' distinct personalities shine through as Gillen finds the perfect balance between drama and laughs. As for Mother, she's not the most charismatic villain, but she works well as a maguffin to bring the heroes together, being a credible threat whose MO casts a light on the Young Avengers' backgrounds.

And not that a Brit would ever show off, but McKelvie really demonstrates his talent for staging a fight scene as he executes a spread in which Noh-Varr takes out the forces of Mother at Mary Jane Watson's nightclub. It's probably a good thing my scanner can't cope with double-pagers, because work this good is best enjoyed in context - and I want folk to support this series.

Credit where credit's due - background artist Mike Norton most likely should share the plaudits for the double-page delight ... and if he wasn't involved, he still merits loads of love for providing the convincing cityscapes and interiors. Completing the core creatives are colourist Matthew Wilson, who gives the nighttime-set scenes a splendidly moody glow; and letterer Clayton Cowles, whose clean fonts tickle the eye.

Kate gets a new costume, similar to the old one but without the flappy, floaty bits that would seriously impede an archer's ability - goodness, she might as well have wore a peripheral vision-knackering hood ... not that any battling bowman would be quite that dim. Kate also gets a mystery, expressing relief that (a facsimile of) her own mother hasn't been conjured up by the parasite - that, to me, says that if Kate thinks her Mom is dead, she's wrong. Time for a talk with Daddy Derek?

Oh, and there's another standout page but, well, even describing it would spoil the casual amusement it presents. Don't hate me, trust me.

Seriously, if you've not tried this $2.99 series and can spare the cash, buy the back issues or just dive right in; it's so intelligently serialised, with each satisfying chapter topped by a stylish recap page, that there's really no fear of being lost. Otherwise, drop hints that you want the trade collection that comes out in time for your birthday in September. Your birthday's not in September? So fib. It's what Kid Loki would want.