Superman & Lois - Series Premiere Review

Creators: Todd Helbing 

and Greg Berlanti

Stars: Tyler Hoechlin, Elizabeth Tulloch,

Alex Garfin and Jordan Elsass

Rating: 6 of 8

Superman & Lois

Series Premiere 

Since 1939, he's been leaping tall buildings in a single bound - and now it's time for him to finally make the leap from special guest to series lead. Since 2016, he's been a special guest in shows like Supergirl, Arrow and The Flash, but now it's time for him to again headline his own show, something he hasn't done since Lois & Clark ended in 1997. It's surprising that it's been that long since Superman had his own show and I'm not really sure why it's taken this long.

Regardless, it's nice to see the Man of Steel hit the small screen again, played once more by Teen Wolf's Tyler Hoechlin, reprising the role from various DC shows. He's joined by Elizabeth Tulloch (Grimm) as Lois Lane, who previously played the character in numerous DC shows. Though you definitely get the fast paced action you'd expect from a Superman show, there's plenty of other kinds of drama too, as the couple have to deal with raising two teenage boys, named Jordan and Jonathan.

Though Jonathan's their only son in the comics, here he has a brother named Jordan, who's strikingly different to his brother. While Jonathan's more outgoing and more popular, his brother's a lot less so, largely due to a mix of social anxiety and the large shadow cast by his brother. Though later on, he discovers something that could go some way to changing at least some of that.

Surprisingly, neither of them know their father's secret, something I find hard to believe given just how many unexplained absences he's bound that have had throughout their life. He prefers not to tell them, feeling it could place an enormous weight upon them and worries how it'd affect one if the other had powers and he didn't. It's an understandable concern, especially with how downcast Jordan already feels.

Intriguingly, the series seems to be using Morgan Edge as it's insidious business magnate. It's not a choice I would've expected, given that Lex Luthor usually fills that role and, when he doesn't, (as in Supergirl's 1st Season) it's been Maxwell Lord. Throughout the episode, his presence looms large, despite never appearing. Later on, the episode introduces a new, fiercely powerful antagonist, one that makes his presence known in a very painful way. 

It's also interesting that, despite their usually antagonistic relationship, General Lane and Superman seem to get on pretty well, with the General even calling him in when he's needed. He does so in such a way that Clark already seems familiar with, which to me indicates a pre-established trust, one the pair don't usually share. It's an interesting change and I'm not sure how I feel about it yet.

Some things they didn't change are Lois' inquisitive, yet compassionate, nature, characteristics that emerge when it comes to Morgan Edge and her family. Though I still prefer Erica Durance's (Smallville) Lois' vim and vigour, there's still time for Tulloch's to win me over. Clark's humility, kindness and very human self-doubt also remain, things that have remained a part of the character throughout most of his history. If the series manages to maintain these elements, it could have a long, bright future.

One of the few problems I have with the episode's definitely the lull in the middle. Until some climatic action, the premiere starts to lull, despite some sharp character moments and intense emotion. Otherwise, it's a surprisingly good premiere, one that managed to pleasantly surprise me, despite my uncertainty about it's leads.   

Snow Angels #1 Review

Writer: Jeff Lemire

Artist: Jock

Rating: 6 of 8

Snow Angels #1

Fear of the unknown is one of the strongest - and most common - fears there is. It's something that affects so many of us throughout our lives. We often try to avoid what we don't know, instead sticking with something familiar. We'll often avoid the road less travelled and instead play it safe; but is that really for the best?

The Trench people certainly think so and it's a mantra Milliken and her family live by. And as Millie says ''The Trench provides''. She says it gives you everything you'd need ''in its walls, swimming under the ice'', or in the gifts the Colden Ones left them. We never find out exactly what the Colden Ones were, mainly because none of the characters know, probably because they've long since died - or vanished.

Though if they're anything like the Snowman, it's probably best they never meet them. It's not entirely clear who, or what, the Snowman is, but it's definitely something the Trench people know to be wary of. Given what we see later on, this fear is definitely rooted in a rather chilling reality. Though these mysteries aren't the only ones whirling through the book, as the whole family have secrets of their own.

Their father's hints at a past neither Millie or her sister seem to know anything about, while Millie's is less a secret to her family and more of one to the readers, which is only interrupted by a decidedly chilling surprise... Meanwhile, her sister Mae Mae's could do a lot to explain just why they later find themselves facing a danger they never thought they'd have to.

One of the best parts of the issue is definitely the art. Jock does a marvelous job delivering some truly awe inspiring vistas, like the titular Trench, a thing that's just shockingly grand. With one image, he gives you a great sense of scale as, with the image of the family walking, set against the Trench, it makes clear just how grand it really is. Ultimately, it might've been a better way of explaining it's scale, without Mille telling the reader as well. If there was one thing I'd criticize, it's that I think she looks too much like a boy and, if Lemire hadn't explained it, I wouldn't have known she was meant to be a girl. It's odd, as it's very clear her sister's a girl.

Overall, it's a mixed debut as, despite some incredible art, the issue's let down by a few flaws. For example, I think it would've been better if we found out about Millie's birthday, the Snowman and some other things through dialogue and art, instead of her inner monologue. I also think the way that's written could've been a bit more consistent, instead of the mix between a casual and sometimes more formal style. It's surprising, as Lemire's done on a lot better on titles like Black Hammer and The Terrifics, so maybe it's just this title, or because it's the 1st issue. I guess we'll have to wait and find out.

 

Brian Bendis' Superman - An Overview

Writer: Brian Michael Bendis

Artists: Patrick Gleason, John Romita JR, 

Ivan Reis and many more

Rating: 6 of 8

Brian Bendis' Superman

An Overview

Brian Michael Bendis. Those are three of the most divisive words in comics and for very good reason. While some might deride him for Iceman's sexuality retcon, or for what he did with Superboy's age, others might praise him for some stellar runs at Marvel (Daredevil, Alias, Ultimate Spider-Man) and for creating characters like Miles Morales and Jessica Jones. Whatever you say about him, one thing's for sure - he certainly knows how to make an impression.

Intriguingly, despite his penchant for street level heroes, when he moved to DC, instead of taking on someone like Batman or Green Arrow, he went for a more surprising - and perhaps more challenging - superhero: Superman. Taking on the Man of Steel provides a series of challenges, like how do you write a compelling story when the lead's got so many powers, or when he's just so kind?

Even though you want the story to be thrilling, you don't want it to come at the expense of the character, or their cast. It's a tricky balancing act and, for the most part, Bendis pulls it off pretty well. He does a superb job with The Daily Planet throughout both Superman and Action Comics, even including their competitor, The Daily Star, in later issues of Superman. No matter which one it is, he just knows how to write a newspaper office, which makes sense, considering his time writing The Daily Bugle in Ultimate Spider-Man. He even introduces some new characters - Trish Q and Robinson Goode - there and, though neither are quite as compelling as the usual cast, they mostly work well. 

Early into the run, Superman has to confront the literally toxic super villain, Red Cloud, someone who can suffocate even Kryptonian superheroes like him. Though the character could've been a lot more compelling with a few changes, she nevertheless has a lot of appeal. As a more gaseous villain, she can suffocate you with her own body and, in this form, she's a lot harder to defeat. How can even Superman defeat smoke? 

One of the more controversial changes Bendis made was definitely aging up Lois and Clark's son, Jon (Superboy). For many, this change just didn't work, as they preferred Jon at his younger, more exuberant age, especially with the chalk and cheese dynamic he had with Batman's son, Damian (Robin). I'm not sure if it added much to his character, though he might not have been able to join the 31st Century's Legion of Super-Heroes if not for it. Given the nature of comics, it's unlikely to stay this way, though he won't be changed back anytime soon.

One of the challenges with the age change, though, is making sure that, in a scene with his Dad, you can easily differentiate the two. I definitely think Romita JR struggled with this in the team's final Action arc, so I hope upcoming artists do a better job with it. It didn't take Bendis long to make big changes to the character's mythos as, even way back in Action #1000, he revealed a darker twist to Krypton's destruction. Though it still suffers the same fate, it does change it's context, for better or worse. It does, sadly, mar a classic character we long thought to be doing their best for their planet, so that's definitely one problem I have with it.

There's a number of good things to say about his run, but one is definitely his unique handling of just how the underworld manages to keep operating, despite being in the same city as one of the greatest superheroes. The Invisible Mafia are definitely one of the writer's better creations and a seamless addition to the larger Superman mythos. 

It's thanks to both them and the Red Cloud that the end of his run on Action feels more conclusive.  Throughout it and other titles, the group's a constant thorn in the Man of Steel's side, so when we finally reach the end of his run, it feels like it had been building towards something and now, we get to see the endgame. Unfortunately, Superman doesn't have that and ends with a 'threat' introduced in the final arc, so because of this - and just how it ended - it doesn't really feel like a satisfying conclusion. 

Finally, it'd be remiss of me to end this without mentioning one of the biggest parts of his time on the character: Superman revealing his identity to the world. It's one of the most drastic things you could do with a superhero, especially given just how important keeping their identity secret tends to be. But, in doing so, he managed to really subvert my expectations. Though I expected life to get a lot more dangerous for the hero, he turned this on it's head by having life largely go on as it did, though not without new challenges.

Is this a big misstep on Bendis' part, or is he, like Superman, showing faith in the best parts of humanity? This, ultimately, could mean he was a perfect choice for the character. Although he didn't always put out the best stories, - Chaos, the overly long Unity Saga, Metropolis Doom - one thing he nearly always got right was character. He understood Superman and who he was as a person and because of it, his run was all the better for it.  

 

Zener: Master of the Mind #0 Review

Writer: Web Bleynat

Artist: Juan Paolo Mananita

Rating: 6 of 8

Zener

Master of the Mind #0

When it comes to comics, it takes a lot of parts to make the whole. Sometimes these parts come together to form a bigger and better whole - and others, one of them just isn't as good and lets the rest down. Unfortunately, that's initially what happens here as, while the writing is good throughout, the art - at least in places - isn't really as consistent.

Early on, character's faces just aren't drawn as well as they should be. In the opening panel, Night Soverign's face isn't as threatening as it should be. When we see Diego watching it, his expression's a bit glazed over, though this might make sense, given his later complaints about the film. 

Later on, when we see the monster leaping from point to point, I think it would've been better to have given it more of a faded effect for the first few times, to better show it's speedy movement. The art does improve as the issue goes on, with the characters looking a lot more expressive and better defined with heavier inks. The action's pretty dynamic, too.

Like The Boys, it's a world where, though superheroes are real, they're still part of people's entertainment. Though unlike The Boys, the ones on the cinema screen are fictional, while those beyond it are anything but. So far, it's a lot less harsh than that series, though with the ending, might be a lot more subversive than your average superhero tale. 

Through most of the issue, the dialogue's decent, but not that great. This definitely changes towards the end, where what characters say is both ominous and intriguing, certainly piquing my interest about the growing mystery at the heart of all this. Early on, the film Diego and Sasha see is packed with ultra-corny dialogue, reminding me of Adam West's Batman in a very good way. It's an interesting contrast to the rest of the issue, where none of the characters talk like that.

Overall, it's a bit of a mixed issue, though if the art's more consistent from here on out, the series could have a promising future.

 

Future State: Batman/Superman #1 Review

Writer: Gene Luen Yang

Artist: Ben Oliver

Rating: 5 of 8

Future State

Batman/Superman #1

 'To thine own self be true'. Many years ago, that's what the Bard wrote in Hamlet - and though both the line and play themselves are a lot older now than they once were, it's meaning is still as relevant today as it's ever been. You've got to be true to who you are, even if everyone doesn't really like who that is.

It's a lesson the Caped Crusader definitely takes to heart, even if that has some decidedly deadly consequences for the people he loves most. Though the question is, is that the case because of who he is - or because those who hurt them have learned that lesson too? 

Sadly, who he is could be the very thing that gets him killed, as he faces off against the Magistrate - and more - in the early days of their totalitarian regime. Fittingly, he and Superman encounter a group of people trying to hide their identities in order to fight this regime and, for one, save someone they love. It brings up an interesting counterpoint to what Clark said earlier, as he feels immense relief after revealing who he really is to the world.

But, as Batman posits, 'Not everyone can be like you, Clark. Some of us need masks'. It's something another character puts into practice as, he, too, uses his anonymity to fight against the oppressive force that surrounds them. If there's anything Oliver does well, it's in the dynamism he brings to the art. Throughout, he brings us some pretty dynamic art, like a brief fight between the Man of Steel and Magistrate robots, the above scene and the ending itself. It definitely helps to add some punch to the issue, which is definitely fitting for a comic like this.

Overall, it's a pretty good issue, though not as good some other Batman/Superman tales, or ones from their respective titles. If there's just two things I'd criticize, it's just how unwise Superman acts at times, which would make sense if it was a younger Superman like Conner or Jon, but it's not, so it doesn't really fit. Oliver also makes the hero look a little younger than he should, given just how old the character is now. Otherwise, Yang does pretty well in capturing the hero's voices, especially Batman's stoicism and Superman's endless compassion.

I Breathed A Body #1 Review

Writer: Zac Thompson

Artist: Andy MacDonald

Rating: 5 of 8

I Breathed A Body #1

Power. For many, it's one of the most important things around. Those without it hunger for it, while those with even a small amount will do their best to hold onto what little they have. But with it, however big or small, must always come a great deal of responsibility. The words of such an old comic-book hero might seem hackneyed or cliché, but to this day, they remain some of the most important words ever put to comics.

They're words many would do well to heed, especially those with a lot of influence. Years ago, those people would've been the Presidents, Prime Ministers and the people around them. Today, they're joined by a very different kind of influencer: that of social media. These could be footballers like Ronaldo, singers like Beyoncé, or gamers like PewDiePie; but there's at least one thing they all share: influence.

It's something Anne Stewart and her team have a lot of. The question is whether they use any of it responsibly. Most of their focus is on young Mylo Caliban, an online prankster with a lot of influence, energy - and something else, bubbling beneath the surface. Whether they manage to catch any of it and turn it into something positive is yet to be seen. But given their track record, where even his incredible recklessness can work out for them, they might just have a chance.

Intriguingly, the post-script has an article all about Mylo, detailing his success, his personal philosophy and a whole lot more. But it's the part about him being ''fluent in the language of manic apathy'' that intrigues me. Given some of the things he does near the issue's end, I find it hard to believe he doesn't care, even if he doesn't express it in the best of ways. 

I'm not sure whether I should criticize, or praise, the article. While it's brilliantly written and nicely expands on the issue's world, some of what it explains might've been better shown within the story itself. If there's one other thing I'd criticize, it's that one of the later pages is oddly out of focus, though both the previous and next pages are very clear.

Overall, the issue, though flawed, is pretty good. It flows well, rarely drags and has some good commentary on the power of influence in the social media age. 

 

The Devil's Red Bride #4 Review

Writer: Sebastian Girner

Artist: John Bivens

Rating: 8 of 8

The Devil's Red Bride #4

They say to follow your heart, but sometimes, even with the best intentions, it can lead you to some very dark places. You just have to decide if the cost is one worth paying. This particular dilemma is one Ketsuko must face, even as she nears the end of her quest for vengeance. 

Years ago, a shinobi (ninja) snuck into her family's castle, in an attempt on her father's life. Even though he survived, her mother... did not. While her father moved on, she could not and carried the pain with her to this day. Even though, to her, the revenge is justified, the truth could be a lot more complicated - and painful.

 Though there's a lot of frenetic, bloody action to keep you happy, there's also an altogether different kind at play. That's one of an altogether more political nature, designed to move certain pieces where certain people want them - even if everyone isn't happy to be one of the pieces.

This balance between action heavy scenes and political ones is very reminiscent of Game of Thrones and is expertly executed by Girner + Bivens. One of the best aspects of the issue is most definitely the art. Whether it's Ketsuko's ever clear emotion, even through her devil mask, or the way her hair flows, almost water-like, Bivens never fails to give the art a real flourish.

This is particularly evident in a later scene, it's horrific nature eerily reminiscent of such monstrous transformations in series like Bleach and Naruto, which is rather fitting, given the prominence of ninja and similar warriors in those series.

Overall, this is just a fantastic issue, laced with thrilling action and political intrigue. Though I've never read the previous issues, I was able to easily understand what was going on regardless. It's an unique attribute, especially for a penultimate issue and I applaud Girner for accomplishing it. Expertly drawn and beautifully written, I definitely recommend both this and the series.