Supergirl Show: Masked Supergirl Theories

One of the biggest mysteries from the Supergirl Season 4 trailer was the appearance of an armored woman in S-shield armor.

Is it Supergirl?
Why is she wearing armor?
Is this protecting her from something?
If it isn't Supergirl, who is this woman?
Is she a hero? Or a villain?
Is someone co-opting the S-shield for their own purposes? Is this Angel Parker-Jones' character Colonel Haley working for Agent Liberty?

There is nothing quite like a mystery to stoke the fires of anticipation!

Now on line we have seen the outfit in the day. It's brighter than I thought!

So who is this? Or why is Supergirl wearing this?

Here are my early thoughts!

Sales Review: September 2014

ICv2's coverage of last month's sales somehow slipped past me so I am sorry this post is coming in later than usual.

September is DC's gimmick month (although with all the 50/50 variants lately there have been a fair number of months which could fit the bill). Last month was the Futures End month, a look into the future of the title characters in issues complete with lenticular covers. As I said during the month, unlike" Zero month" with its origin stories or "Villains month" with its look at arch enemies, "Futures End" month didn't entice me to sample new titles. Why read a new title if it is a future story which may never come to pass? In fact, I skipped some of my monthly titles! I guess I am not a complete completist.

The sales for the month are reviewed here: http://www.icv2.com/articles/news/29843.html
As always, I thank ICv2 for their great coverage and recommend you visit the site.

Supergirl's Futures End issue was a mixed bag. Again we have a story where she was (presumably) defeated by the Cyborg Superman and brainwashed.

While she does end up throwing off the brainwashing, ripping off her robotic bits and defeating the Cyborg, she only does it with the help of her boyfriend Captain Comet.

The art was lovely.

I guess my lack of excitement over the month didn't mean sales weren't brisk. (As always, when I say sales, I mean volume purchased by comic stores for sales.)

Amazingly, all DC titles sales were up. And it has to be because of the fancy covers and the Futures End crossover.

Futures End Supergirl sold 48,597 units. Incredible. That is the most the title has sold since the second issue of the New 52! Even her zero issue only sold 34K. I hope that some of those new readers, buying the cover, will stick around. Of course, there is a new direction coming up.

I suppose this means that DC will continue doing such things as fancy covers and big crossovers as they seem good for business in the short term. Let's hope Supergirl continues to get some boost from these things.

Review: Superman Futures End #1

Superman Futures End #1 came out last week and was a very good story. It isn't exactly a Superman story with Kal only appearing in a flashback sequence. But there is enough of Superman in this book to make me happy, showcasing how he inspires others to do what's right.

It isn't a big surprise given the reveal in the main Futures End book as well as the lightning motif on the cover that the helmeted Superman is, in fact, Captain Marvel. It seems that in the main book, Lois has told the world that this Superman isn't the Superman. And as a result, there is some fallout with people mistrusting Captain Marvel and a rogue of the Big Red Cheese coming calling.

As most know, I am not collecting the main FE book figuring I have read enough possible bleak DC futures to fill a lifetime already. But this one seems to focus more on the light and less on the grim.

The book is written by Superman great Dan Jurgens. Jurgens has a great sense for Superman and that shows here. He also writes a near perfect Lois  making me happy to see that version of Lane as opposed to the one that has been in the current super-books.

Lee Weeks does the art and really just sparkles. This was the most beautifully rendered book of the week. And Weeks' Lois is also perfect. Maybe we need to start up the cry for a Lois solo book again.

This is a dystopian world. Remember, even in the present, DC has set up Superman to be distrusted by the masses and feared by the military. And he's the real Superman.

So despite this new Superman having done good, having been a hero ... there are those who qurestion his motives. After saving a family from a fire, someone in the crowd yells 'what are you trying to pull'!

Yep. Sounds like the New 52. No one likes heroes in this world.

It turns out that Lois has seen the Superman's secret identity ,.. Captain Marvel ... and revealed that on the news. And apparently, he was eaten alive by the press for hiding something. That also sounds like the New 52. Established hero dons new costume = distrust.

But Lois is more than just a reporter of sensational news. She wants to know why. She tracks down Billy Batson and asks him why. Why he became the helmeted Superman.

Weeks is at his best in the Lois scenes in this book. There is something classic about his interpretation of her.

Billy retells the scene that inspired him to pick up the mantle of the S-shield.

During the future war with Apokolips, truces were made. Captain Marvel was fighting side by side with Black Adam. That is ... until Adam tried to betray Billy, to kill him and steal Billy's powers.

Luckily Superman was nearby to save Marvel. And in times of war, Superman seems to be acting like judge and jury. He sends Black Adam to the Phantom Zone.

Again, beautiful art by Weeks. Superman looks beefy and the world seems war-torn.

Now none of the prior Futures End crossovers tempted me to buy the main book. In fact, a couple made me want to buy it even less.

But I have to admit ... this piqued my interest.

Superman leaves for a solo mission, a secret mission given to him by an unknown person, a mission he never returns from (even though we know he survives).

What was the mission? Who sent him??

Kudos to Dan Jurgens for making me interested in Futures End, even for a moment.

I like this Billy a lot more than the self-absorbed punk that I read in Justice League. Here he seems mature, discussing how the world needs a Superman.

But Lois also has a good point. Billy needs to be himself as well. Is this life as Superman rewarding for him?

Now I don't mind the idea of Superman being so influential that someone picks up his mantle. Steel? He's a great character. Remember the Supermen of America. Or the concept of Team Superman? It works. But those characters were honoring Superman without sublimating their own personality to be him. It is fine distinction.

Then Jurgens does something pretty nifty. With the reveal that Superman is Shazam, one of his Rogue's decides to make a splash. IBAC starts to terrorize the city. Ibac!! Ivan the Terrible, Cesare Borgia, Attila the Hun, and Caligula all rolled into one.

This is really a Shazam comic so I am glad that one of his baddies is the villain of the peace.

We get a couple of pages of standard super-powered mayhem, all drawn solidly by Weeks. Really wonderful art in this book.

But finally Billy is victorious. And with that he realizes he needs to be himself. He shouts Shazam and the helmeted Superman suit becomes the more classic lightning bolt costume of Captain Marvel.

Nice lightning effect here on the broken glass helmet. Works given the discussion of identity and Billy accepting himself as Cap.

So a decent little story. I like Marvel's understanding of the power of the S-shield and his desire to uphold that symbol. (I would love for him to keep an S-shield armband on.) I also like that this means that Marvel has grown into more of a hero than I have seen prior. And having him trounce IBAC is a nice touch.

I also love Lois in here as an investigative reporter looking deep into the story and telling the 'whys' not just the 'whats'.

So kudos again to Jurgens. And loved Lee Weeks here.

Overall grade: B+

Review: Superman/Wonder Woman Futures End #1

Superman/Wonder Woman Futures End #1 came out last week. It is written by Charles Soule. It has strong art by veteran artist Bart Sears. It looks five years into the future at a desperate Wonder Woman trying to save the world.

I can't remember ever being this torn about how I feel about a comic.

You see, I have read the Brian Azzarello/Cliff Chiang Wonder Woman since the New 52 started. And while there are aspects of that Diana and her story that I don't particularly like (daughter of Zeus not animated clay, Amazons killing men and male offspring, Diana as War), I have liked the book. It has internal consistency. It is written well with a flair for mythological politics. That Diana has passion and integrity and love for her family and other. But ... and it is a big but ... she is also not animate clay, the product of a murdering society, and War.

In the end, I have decided to read Wonder Woman as if it were on ongoing Elseworlds book. The problem is that Diana also exists in mainstream books like ...well like Superman/Wonder Woman. And as it is, even in the mainstream books, Wonder Woman has been much too bloodthirsty, much too sword happy, much less interested in being an ambassador of peace lately. I want to go back to a more classic interpretation of Diana.

But I also like the Azzarello book ... even if its days are numbered.

With that conflict of Wonder Woman characterization in mind, lets look at this book.

This issue is the second part of a story that started in Wonder Woman Futures End #1.

In that book, the Greek deity Nemesis has raised an army to try to take over the world. Wonder Woman, as War, has raised an army of dead warriors (with the help of Hades) to try to keep Nemesis at bay. But she is losing ground.

Suddenly Superman appears to help.

At first Wonder Woman thinks he has joined Nemesis' army. But Superman sets her straight. If anyone is fallen it's Diana.

And if you take a step back and think about Diana's character and its history, he is right. Do we want a Diana wearing a horned helmet, so quick to slit a throat, so eager to slaughter her enemies?

Do we?

The speech by Superman snaps Diana back to reality. It turns out the entire first part of this story was an illusion Nemesis put into Wonder Woman's mind. While she thought she was fighting Nemesis' armies, she was really fighting demons in Tartarus. Superman went into Tartarus to get her out.

I have never been a big fan of the Diana/Clark romance. But this panel worked. The exhausted Diana ruing what she has done and Clark supporting her saying they can repair things. Even the way they are holding each other. That is support and feels like love more than the raised eyebrows and make out sessions we have seen in this book in the past.

And then this scene. Diana wonders why Superman would risk everything by entering a labyrinth like Tartarus to save her.

"Isn't it obvious?" Because he loves her.

Even that feels more real than the 'romance' we have seen in this book before this. (Indeed, the romance part of this title has always been the weakest part.)

But wait ... isn't Superman brooding in the desert in Futures' End? How can he be here?

It turns out he is a Superman from one year in the future (not five) pulled forward in time by Amazons so he can help Diana.

I love that this Superman hasn't lost hope yet and wants to talk to this Superman in hiding.

Superman shouldn't hide from humanity.

While Diana was lost in Tartarus, Nemesis' army has taken over the world. Only Themyscira stands free. (Is this the threat Batman fought in the future in Batman/Superman? Or are there multiple world threats five years from now?)

Soule does a good job at explaining Diana's life as God of War here. She tried to reward the noble warriors. She didn't help those on the wrong side of a conflict.

But it turns out she couldn't change war even as its avatar. If anything war changed her.

Nice panel here, defeated appearing Diana without background, making her seem as isolated and alone and defeated as she sounds.

Superman and Wonder Woman leave for Olympus, asking the Amazons to buy them some time why Diana tries one last stratagem.

It turns out Nemesis killed the Eirene Goddess of Peace early on in the conflict. By making Earth only a planet of war, without an avatar of peace, Nemesis could succeed more easily.

I thought this was a nice little plot wrinkle.

And then we get into my problem.

Diana enters Eirene's tomb. While Superman tries to hold off Nemesis' army, we hear Diana's voice.

We hear her say words that ring true to her character historically.

War is terrible. You can be a warrior but not embrace war. War is death. Diana loves life.

As Superman says, it is wonderful to hear her say that.

Because historically, Diana was an ambassador of peace, sent to our world to teach us the error of violence and oppression.

And just like that, in the future, Diana is the new Goddess of Peace.

So ...

I like Diana turning away from war, realizing she has fallen away from her ideals, and embracing ... becoming (!!) peace.

But it also seems like a bit of a slap in the face to Azzarello and Chiang's work. And, as I have said, while I don't agree with all of it, it has been a tight and entertaining story of a possible Wonder Woman.

But Azzarello's Diana isn't what I think Diana should be in continuity.

But Azzarello's book was quality for the story it was telling.

I guess since this is as much an Elseworlds as anything I can enjoy it for what it is. And that is a story that finally shows me who Wonder Woman should be. Not the sword wielding, stab first, 'kill your enemies' person. But a hero who is looking to move away from war and death.

Overall grade: B/B+

Review: Batman/Superman Futures End #1

September has been the Futures' End crossover month for DC Comics and so far it has been something of a mixed bag. Action Comics and Green Arrow were great. Supergirl was very good, if a little flawed.

For me it seems like when the stories are simply looking at a possible future, they tend to be character driven and strong. When they lean too much on the happenings of the Futures' End mini-series, they don't shine quite as much. Of course, I am not getting Futures' End and that may be while they feel flat. Maybe without knowing the main story, these issues don't resonate.

Batman/Superman Futures End #1 falls into this latter group. This is a future that seems tightly tied to the Futures End main book. There has been a falling out between Batman and Superman already. Superman has 'left humanity' to farm in the desert. And Batman is left licking his wounds and wondering what the world would be like if Superman was still around.

This is basically a Batman book. Superman appears in one panel. And writer Greg Pak does a good job of showing us Bruce's inner thoughts about Clark. There is anger about Superman's leaving. But also disappointment. Pak does such a good job writing Superman and making him a beacon of inspiration for others. Here we see that his goodness may have rubbed off a little on Bruce, if only that Bruce recognizes he isn't that symbol of hope.

The are is done by Jack Herbert and Cliff Richards. There thin lined, shaded look is crisp and works well here.

Now it is my own fault, but I really don't know what has happened prior to this story that leads to the dystopia of the world 5 years hence. It sounds like there was an interplanetary war (maybe Earth 2?) and somehow this main DC Earth was victorious. But part of that victory led to Superman isolating himself. It also led to Bruce being significantly injured and unable to act as the Batman.

Here we see Bruce seething as Clark's name is read as one of the dead. He knows Superman isn't dead. That instead he has abandoned mankind. He knows Superman could help here ... but won't.

The world is celebrating this victory, united and pulling together. But Bruce knows it will all fall apart soon. The world needs Superman.

We learn that the act which drove Superman into hiding was done by Bruce himself. Batman did something to end the war which Clark found so objectionable that it broke up the friendship. Here was see Batman remembering that time period. He did 'what Superman couldn't'; he had different boundaries than Superman and did what 'had to be done'. The result is Superman attacking Batman and then retreating.

What could incense Superman so greatly? Did it kill a huge amount of people?

I know I don't want a killer Batman. I know I don't want a sulking Superman.

And so Batman begins cleaning up his world. Using a robot suit, he picks up the rubble of the Batcave. Bruce talks how Superman could clean it all up in seconds. But I think he is talking about more than the cave. Superman could clean up the world ... if he was only around. If Batman hadn't driven him away.

And so I think there is this self-loathing here by Batman. The world needs Superman and the hope and goodness he brings. But he isn't around because of Bruce.

But we also know Batman is stubborn. He won't apologize for what he did. He won't apologize to Clark.

So the world keeps careening on.

But then a bigger threat happens. Metallo, who had been imprisoned on Venus (!!) has broken free. More than ever, acutely, the world need Superman.

Batman swallows his pride and heads to the Fortress to try to convince Superman to come back. But Kal isn't there. Instead Stee let's Batman know that Bruce isn't welcome.

Now, more than just the act Batman did, the word trust is thrown in. Whatever Batman did, it was ugly on multiple levels.

This is Batman though. He gets into a new robot suit, designed by Hiro the Toyman. And he somehow uses massive amounts of Kryptonite energy to short out Metallo, defeating him.

Of course Batman wins. He has been unstoppable for the last 15 years or so in comics.

But it isn't a clean victory. Batman was pummeled. Those injuries we saw in the beginning of the issue are worsened. He is paralyzed.

And then the rather poignant ending. Alfred talks to Bruce about a letter he found, a letter Bruce wrote to Clark but never gave him. It must have been an apology.

Paralyzed, stuck in his hospital, realizing even more that the world needs Superman, Bruce calls for Clark.

But we see he never comes.

Whatever Bruce did, that rift is a chasm, that wound is deep. Superman isn't coming back. And Bruce is alone.

The issue ends with a great line. This world got the hero it deserves ... Batman, paranoid, willing to cross some lines, and hurting.

It seems that the current comic world has put Batman up on a pedestal. It has made him all-powerful and uber-cool. It has made him him look brilliant while making Superman look naive and moronic. This is the first comic I have seen in a while to show that a world where Batman is the inspiration is going to be a a dark place.

For that reason only, I have to applaud this book. Too bad the undercurrent of why this happens is that Superman has gone into hiding, something I don't think Superman would do.

Overall grade: B

Review: Supergirl Futures End #1

 

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

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

I thought we were moving away from this!

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

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

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

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

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

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

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

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

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

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

I hope this isn't just an editorial flub.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

So how should I regard this story?

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

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

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

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

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

Overall grade: B+/B

Review: Action Comics Futures' End #1

I am not buying Futures End. I don't know what is happening in that maxi-series.

And so it would have been very easy for me to take this month off from DC Comics. The crossovers are a look 5 years from now and probably won't impact the current runs when this whole thing is over. I am picking and choosing which of these crossovers I am buying; I am not getting all my monthly books this month. Where the 'zero issue' origin month 2 years ago and the villains' crossovers last September had me sample new books, the Futures End month is doing the exact opposite.

All that said, there were a couple of things about the Futures End Action Comics #1 crossover which made me actually look forward to the issue.

For one, it was written by Sholly Fisch, whose work I have always loved. I thought his back-up stories in the Morrison Action Comics run were fantastic. And even his all ages work, Batman Brave and the Bold and even Scooby Doo truly appeal to all ages. Fisch on Superman is always a win.

But the cover also suggested that this issue was going to be a riff on the classic 'Sand Superman' story by Denny O'Neil in the seventies. And you should all know how much I love that story. The Sand Superman is my avatar!

And, not surprisingly, I  loved this issue. It is a story of hope and would have been at home in Adventures of Superman. And Pascal Alixe's art is wonderful here, sketchy and rough, perfect for a story starring someone made of sand. There is a whiff of Eddy Barrows here.

In fact, the only downside to the story is Superman himself ... but that is a product of Futures End, not Fisch.

 Five years from now, Clark Kent is bearded and working in Ethiopia, trying to plant crops in the sand.

It seems a fool's errand but Clark falls back on some Pa Kent wisdom, that you have to have hope and you need to keep moving forward helping people.

And yet .....

How can you hold on to hope and say you need to move forward if you have turned your back on humanity and are basically hiding in the desert. Do I want a Superman who isn't using his power to help? Who is basically retired from being a super-hero?

Meanwhile back in Metropolis, three troubled people are impacted by someone helping.

A depressed young woman tries to kill herself by jumping off a building only to discover she can suddenly fly.

A young man who owes the mob money suddenly finds he has super-strength, enough to overpower the goons who were going the thrash him.

 And a young boy stands up to his drunk father who was beating his wife. The boy finds he is suddenly invulnerable

Each of these people were granted one of Superman's powers when they needed it the most.

 And then each are visited by a creature of sand in the form of Superman. He used his sand to give them a smidgen of power which he then reclaims. But like the best Superman moments, there are lessons to be learned.

The woman needs to see the beauty of the world, the joy of life when her feet are on the ground.

I couldn't help but be reminded a bit of the famous scene in All-Star Superman #10 where he tells a similarly depressed young woman that she is stronger than she thinks she is.

 The young man learns that strength does not equal invulnerability. His hand mangled when he tries to punch a brick wall, the man learns his lesson the hard way.

And maybe he needs to know that he can't outpunch his problems.

And the boy's courage is a lesson for the mother. She cannot pretend to be invulnerable, to not feel, to not respond to the horrors her husband is inflicting. Will she stand up and protect her son as he stood up for her.

Wonderful.

Ironically, all three end up in the same Emergency Room. The women are seeking help for their situations. The man is given the bad news his hand might never work the same again.

I like this little nod to everyday heroes like psychiatric social workers.

We don't necessarily learn the origin of this Sand Superman. It isn't from the explosion of a new power plant like from Superman #233.

A residue from a battle with Mr. Mxyzptlk?

Filling a role that is missing when Superman 'turned his back on the world'??

So Sand Superman? Hurray!
Superman turning his back on the world? Booo.

But the idea that the world needs Superman so much that it created a creature to fill that role is brilliant.

And the Sand Superman continues to dole out wisdom. This time it is to Superman himself.

He tells Superman something we know, something he shouldn't forget. His greatest power was to inspire people to reach their full potential. Inspiration!

And then the Sand Superman says something even more provocative. For every person he helped, he himself became stronger. Helping people improved him ... empowered him! We should all be helping each other.

In a final act, the Sand Superman scatters himself into the desert, making it fertile soil now. But will this sacrifice and will his speech move Superman to act, to become Superman again? I guess I won't know.

But this is a fantastic issue. It looks back at the history of the DCU, acknowledges a classic story, and updates it. And it treats Superman with the respect he deserves, reminding us all we should be more like Superman, fighting for what's right.

If only this sentiment was the norm, and not an imaginary story in the middle of a harshly dystopian universe.

Thanks again Sholly Fisch!

Overall grade: A