Tag Archives: Doug Mahnke

Weekly Comic 100s: Iron Man 2020, Go Go Power Rangers, and More!

By Rob Siebert
Fanboy Wonder

Oye. Not a good comic book week for yours truly. Not only am I still reeling from the demise of my local shop, but my pull list was uncharacteristically small this week. So what’s a frustrated fanboy to do?

With only three issues in my stack this week, I’ve added a mini-review of Detective Comics #1000, as we learned this week that it was the highest selling comic book of 2019.

Shout out to Jay’s Comics in Gurnee, IL. I’m pretty sure they’re my new shop.

TITLE: Iron Man 2020 #1 (of 6)
AUTHOR:
Dan Slott, Christos Gage
ARTISTS:
Pete Woods, Joe Caramagna (Letterer).
RELEASED:
January 15, 2020

Thanks to a lot of backstory, (which the issue is nice enough to provide us post-script), Tony Stark’s adoptive brother Arno Stark is now Iron Man. Straight out of the gate, he’s got a rebellious robot uprising to contend with.

As someone who hasn’t kept up with Iron Man lately, there’s not much here to excite me. It’s inferred that Arno has sinister intentions. But when friggin’ Doctor Doom has played the role before, everyone else pales from a “villain as the hero” perspective. Ironic, as Dan Slott’s work on The Superior Spider-Man drew me to this book.

TITLE: Go Go Power Rangers #27
AUTHORS: Ryan Parrott, Sina Grace
ARTISTS: Francesco Mortarino, Raul Angulo (Colorist), Ed Dukeshire (Letterer). Cover by Eleonora Carlini.
RELEASED: January 15, 2020

Excellent issue, which includes a fight between Tommy and Lord Zedd over the White Ranger powers.

So between what’s happening in this book, and in the main MMPR title, you’re telling me the all-wise Zordon has no idea what’s happening with Jason, Zack, and Trini? The kids he himself chose to be Power Rangers? Like, not even a little? That’s the one aspect of “Necessary Evil” I’m having trouble buying. Other than that, I’m really enjoying what we’re getting from the PR titles right now. The main book was shaky for awhile, but things are definitely back on track.

TITLE: The Low Low Woods #2
AUTHOR: Carmen Maria Machado
ARTISTS: Dani, Tamra Bonvillain (Colorist), Steve Wands (Letterer). Cover by J.A.W. Cooper.
RELEASED:
January 15, 2020

Something felt off here. I’m not sure if the issue was paced to fast, or I was having trouble recalling things from the first issue, or the bizarre-but-not-in-a-scary-way thing we see on page three. But I wasn’t into this issue as much as the first.

I do, however, appreciate the way they’ve developed the town of Shudder-to-Think, Pennsylvania as almost a character unto itself. The town apparently has “an extremely unhealthy relationship with its dead.” As I said last time, it’s very reminiscent of a Stephen King story.

TITLE: Detective Comics #1000
AUTHORS: Scott Snyder, Kevin Smith, Paul Dini, Warren Ellis, Denny O’Neil, Christopher Priest, Brian Michael Bendis, Geoff Johns, James Tynion IV, Tom King, Peter Tomasi
ARTISTS: Greg Capullo, Jim Lee, Dustin Nguyen, Becky Cloonan, Steve Epting, Neal Adams, Alex Maleev, Kelley Jones, Alvaro Martinez-Bueno, Tony Daniel, Joelle Jones, Doug Mahnke. Cover by Lee.
INKERS:
Jonathan Glapion, Scott Williams, Derek Fridolfs, Raul Fernanxes
COLORISTS:
FCO Plascencia, Alex Sinclair, John Kalisz, Jordie Bellaire, Elizabeth Breitweiser, Dave Stewart, Michelle Madsen, Tomeu Morey
LETTERS:
Tom Napolitano, Todd Klein, Steve Wands, Simon Bowland, Andworld Design, Willie Schubert, Josh Reed, Rob Leigh, Clayton Cowles
RELEASED:
March 27, 2019

Yeesh. No wonder this issue sold so well. The sheer amount of talent on this thing, many of whom shaped the mythology of Batman, is outrageous.

I was pleasantly surprised to find something I liked in each tale from this 96-page multi-story anthology. But ultimately, it’s Brian Michael Bendis and Alex Maleev that steal the show with “I Know.” An elderly Oswald Cobblepot confronts an equally elderly, wheelchair-bound Bruce Wayne to tell him he’s known his secret for a long time. It’s a quieter story compared to the rest. But it’s no less impactful for it.

Follow Primary Ignition on Twitter, or email Rob at primaryignition@yahoo.com.

 

Weekly Comic 100s: Shazam!, Killadelphia, MMPR

***”Weekly Comic 100s” keeps it nice and simple. Comic book reviews in 100 words or less. Nothing too in-depth here. Just straight, concise, and to the point.***

***Author’s Note: If I display a variant cover, it’s because I purchased the issue in question with that cover.***

By Rob Siebert
Fanboy Wonder

TITLE: Shazam! #8
AUTHOR: Geoff Johns
ARTISTS: Scott Kolins, Michael Atiyeh (Colorist), Rob Leigh (Letterer). Variant cover by Michael Cho.
RELEASED: November 27, 2019

I’ve always admired the firm grasp Geoff Johns has on the less renowned DC characters like Green Lantern, the Teen Titans, and now Shazam. He can do anything…except get these books to come out on time.

This issue misses Dale Eaglesham, whose pencils have provided the sense of fun, adventure, and fantasy elements that define this book’s identity. Still, Scott Kolins is more than serviceable, especially during the scenes in the undead “Darklands” realm. Michael Atiyeh makes them very interesting from a color contrast standpoint. It’s like this bright red superhero has stepped into an old Universal monster movie.

TITLE: Killadelphia #1
AUTHOR: Rodney Barnes
ARTISTS:
Jason Shawn Alexander, LuisNCT (Colorist), Marshall Dillon (Letterer)
RELEASED:
November 27, 2019

I mean, c’mon. The title alone makes this worth a look.

If you’re into the stuff Ed Brubaker and Sean Phillips do, you’ll like Killadelphia. Or at least this first issue. It’s got a great pulp-noir-meets-horror feel. A second generation cop investigates the most bizarre case his famous father ever worked. What he uncovers is, as the book itself puts it, “There are vampires in Philadelphia.”

Best page in the book? When our main character opens a door, sees a bunch of vampires hanging from the ceiling, and runs away in terror when they give chase…

TITLE: Mighty Morphin Power Rangers #45
AUTHOR: Ryan Parrott
ARTISTS: Daniele Di Nicuolo, Walter Baiamonte (Colorist), Katia Ranalli & Igor Monti (Color Assistants), Ed Dukeshire (Letterer). Cover by Jamal Campbell.
RELEASED: November 27, 2019

“Necessary Evil” progresses nicely with a great “heel turn” this month. Parrott and Di Nicuolo are usually my guys as far as PR comics go. But one particular moment felt wrong…

There’s a scene where Zordon, talking to the Red Omega Ranger (Does he know it’s Jason?), says that Lord Zedd is formidable, yet “an adversary I was confident that they could handle.” While I’m sure this isn’t how Parrott meant this, that makes it sound like Zordon considers Zedd more of a nuisance than a threat. Didn’t he originally describe Zedd’s arrival as “the thing I have feared most”?

TITLE: Action Comics #1017
AUTHOR:
Brian Michael Bendis
ARTISTS:
John Romita Jr., Klaus Janson (Inker), Brad Anderson (Colorist), Dave Sharpe (Letterer)
RELEASED:
November 27, 2019

On page one, panel one, we get a big dumb Batman robot suit. For me, that’s about the worst way to start an issue of anything.

This issue does a nice job forwarding the “Invisible Mafia” story as it crosses over with the “Year of the Villain” stuff. It looks like we’ve got a big Justice League vs. Legion of Doom fight coming at us next time.

Justice League hasn’t been on my pull list since “YOTV” started. *sigh* I suppose I should probably catch up if I’m going to fully grasp what’s happening with Lex  and the gang.

TITLE: Detective Comics #1016
AUTHOR: Peter Tomasi
ARTISTS:
Doug Mahnke, Tyler Kirkham (Co-Penciller and Co-Inker), Christian Alamy (Co-Inker), Keith Champagne (Co-Inker), Mark Irwin (Co-Inker), David Baron, (Colorist), Rob Leigh (Letterer)
RELEASED: November 27, 2019

Ugh. There’s another stupid modified Batsuit in this issue. What happened to the Hellbat armor Tomasi used in Batman & Robin and Superman? Wouldn’t a modified version have worked here?

Bad costume notwithstanding, I love the way this Victor/Nora story ends. “A vicious circle,” as Batman calls it. Tomasi also works in an amazing callback to a New 52 event. Continuity, ladies and gentlemen. Use it well, and it’ll do wonders for you.

This story leaves Mr. Freeze’s status quo dramatically altered. Now it’s just a question of how long DC keeps it that way.

Follow Primary Ignition on Twitter, or email Rob at primaryignition@yahoo.com.

A Superman, Vol. 1: Son of Superman Review – A Family Affair

TITLE: Superman, Vol. 1: Son of Superman
AUTHORS: Peter Tomasi, Patrick Gleason
PENCILLERS: Gleason, Jorge Jimenez, Doug Mahnke
COLLECTS: Superman: Rebirth #1, Superman #16
FORMAT: Softcover
PUBLISHER: DC Comics
PRICE: $16.99
RELEASED: January 4, 2017

By Rob Siebert
Editor, Fanboy Wonder

This is the first ongoing Superman book in a long time that actually feels happy to be a Superman book.

This topic has been beaten to death, but let’s touch on it quickly: It’s time to stop trying to modernize, freshen up, or worst of all, “darken” Superman. It’s been done time and time again, and it never clicks. They’ve changed his costume. They’ve made him moody and broody. One time they even de-powered him and put him on a damn motorcycle. No more. It’s time to stop being ashamed of Superman. Let the character be who and what he’s always been at his core: A champion of values. Truth, justice, hope. and yes, the American way. Let the guy smile. Embrace the character’s legacy instead of hiding from it. Let him be the hero we need in these trying times.

Son of Superman does all of that, while still carving out a new direction for the Man of Steel. Simply put, it’s the best Superman book in years. Almost a decade, perhaps.

The DC Rebirth incarnation of Superman puts the post-Crisis on Infinite Earths version of the character back in the cape and boots. He’d been brought back for Convergence, and eventually became an ongoing character again in the pages of a new book, Lois and Clark. With him was his timeline’s incarnation of Lois Lane, and their young son Jonathan. As Clark Kent finds a balance between protecting the Earth and raising his son, Jonathan must learn to manage his emerging superpowers. With those powers come responsibility, risk, and a legacy…

Instead of focusing on Superman facing a threat, we spend most of this book learning about Jonathan. We see his response to living with a secret identity, how he reacts to challenges, and how Clark and Lois are raising him. They’ve accepted that he’ll one day inherit the Superman legacy, and are gently preparing him for the role. In theory, Superman works on two levels. Youngsters can identify with Jonathan, while older parent-aged readers connect with Clark and Lois. It’s by no means a sexy approach. But artistically, it’s true to the soul of the Superman character. His adopted parents instilled him with a set of principles. Now he has to pass those principles on to his son. But the dynamic is tweaked, because he’s able to relate to what Jonathan is going through. It’s a premise that lends itself to heart-felt storytelling, not unlike what we saw from Peter Tomasi and Patrick Gleason’s work in Batman & Robin.

We kick things off with Superman: Rebirth #1, which establishes our “new” hero, with some nice fan service thrown in. The New 52 Superman was killed off, and as the post-Crisis Superman is the one who famously died and returned, he sets about bringing his counterpart back in a similar fashion. Te issue is highlighted by artists Doug Mahnke, Jaime Mendoza, and Will Quintana giving us their take on the iconic Superman/Doomsday battle. It was out of continuity for so long, and it’s brought back in what I’ll call a “wide screen” sequence that plays out over about seven pages. Mendoza’s inks compliment Mahnke’s richly detailed pencils, and Quintana’s color make it every bit the glorious and epic scene it needs to be. The same applies to when they return for issue #5. We’ve got Superman talking to ghosts, we’ve got the Eradicator trying to eradicate things, we’ve got a big Batman robot straight out of a Snyder/Capullo comic…

Actually, I don’t mind the “Hellbat” returning from the Tomasi/Gleason Batman & Robin book. Maybe it’s because Lois Lane is the one using it, as opposed to Batman. It makes for a fun holdover.

But artistically, this book belongs to Patrick Gleason, inker Mick Gray, and colorist John Kalisz. Obviously, as a co-writer Gleason has the advantage of molding the story to fit his strengths. But just from a basic figure rendering perspective, it’s so amazing to see Superman look like Superman again. Even the classic spit curl, which I’ve never been a huge fan of, is a breath of fresh air. These pages are bright, flamboyant, and unabashedly sentimental. Gleason’s slightly exaggerated, animated style is a perfect fit for a story about a pre-teen learning to be a superhero. There’s a lot of fun on these pages.

Gleason also has an amazing knack for classic Superman iconography. The page at left comes to mind, with our hero in the classic pose as an American flag waves in the background. For obvious reasons, he lays it on a little stronger in issue #1. We’ve got a two-page spread that simply shows him opening his shirt to reveal the “S” insignia. That’s followed up immediately with another two-page spread giving us snapshots from Superman’s history. This is who Superman is, and who he’s always been. To see it all reemphasized is borderline beautiful.

The biggest obstacle this book faces is establishing that this is a “new” Superman from another timeline. They obviously devote a good amount of time to it. But it’s still a lot to wrap your head around, and has the potential to be really confusing for someone jumping on. This book is about a family trying to figure out how they fit into a new world. But that runs counterintuitive to how the average reader sees Superman, as he’s so ingrained in the fabric of the DC Universe. By the time we close the book, most of that awkwardness has subsided. But to say the least, this hasn’t been the smoothest Superman relaunch we’ve ever seen.

But it’s worth it in about every possible way. It’s been far too long since a Superman book has been this good. While this is obviously a new direction for the Man of Steel, in many ways it feels like he’s finally gotten back to his roots. That’s the Superman we need right now. That’s the Superman we’ve always needed.

Welcome back, Big Blue. We’ve missed you.

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A Superman #6 Review – Like Father, Like Son

Superman #6, 2016, Patrick GleasonTITLE: Superman #6
AUTHOR: Peter Tomasi
PENCILLER: Patrick Gleason. Cover by Doug Mahnke.
PUBLISHER: DC Comics
PRICE: $2.99
RELEASED: September 7, 2016

By Rob Siebert
Editor, Fanboy Wonder

There’s a page in Superman #6 that I absolutely adore (shown below). It’s a callback to the cover of the original Superman #6 from 1939, with our hero striking the classic hands-on-hips pose. We’ve even got the American flag in the background for good measure. I will neither confirm nor deny swooning upon seeing that page for the first time.

For yours truly, the best Superman writers and artists don’t shy away from the character’s status as a symbol for hope and idealism. They don’t try to modernize him, or God forbid darken him. They embrace who and what he is, which naturally leads to good storytelling. That’s mostly what we’ve gotten from Peter Tomasi, Patrick Gleason, and team on Superman these last few months. No more stupid armor, no more bare-knuckle fighting. Just Superman doing what Superman does. We didn’t need to give him a son to create good stories. It just so happens that parenting brings out the best in Big Blue.

Superman continues to battle the Eradicator in a bunker on the moon, as Lois and Jon look on. The Eradicator, who holds the life force of so many deceased Kryptonians within him, is determined to kill the half-human Jon and “purify” the House of El. But as the Man of Steel tirelessly fights to save his family, Earth may come to a shocking realization: One way or another, Superman is back.

Superman #6, callback, Patrick GleasonThe Superman books are in a complex spot right now. We’ve got the pre-New 52 Superman, Lois Lane, and their son Jon as our lead characters in Superman. Then we’ve got a Clark Kent doppleganger in Action Comics, and the New 52 Lois over in Superwoman. But as complex as things have become, most of the books have surged upward in terms of quality. Look no further than this book as an example. This is the best Superman has been in at least five years.

One of the keys to that is this book’s heart. It’s not afraid to be a little sappy as it shows us the love shared by the Kent family. It’s also not afraid of embracing some of the corny, but feel-good and classic elements of the Superman legend. Not just the pose and the American flag, but the glasses, the superpowered dog, the adoration of Metropolis. The issue also bucks the isolated, lonely, brooding Superman trope we’re often subjected to. In one glorious, yet understated panel, Superman looks up at the reader and says: “I’ve never felt alone.”

Can I get an amen?

We’ve heard a lot of talk lately about DC restoring hope and positivity to its books and movies. The DC Universe’s first stop for both those things should be Superman. For some, that’s a turn off, which is fair enough. But if you’re looking for the brooding, isolated superhero, they’ve got a guy for that. Actually, they’ve got a few guys for that. So lets stop trying to make this character something he’s not. These attempts to darken Superman always end up fizzling out anyway.

Superman #6, 2016I understand the notion of comics not being for kids anymore. But I’d be curious to see what would happen if I gave these Superman issues to a young reader. If they kept coming back, would it be for Superman? Would it be for Jon? Perhaps both? Either way, Jon isn’t going anywhere anytime soon. As indicated by the end of this issue, he’ll have an even bigger role going forward. And for the time being at least, that’s a good thing.

We bordered on the edge of Over-Baturation in this story with the climactic battle taking place in Batman’s moon bunker (Yeah, he has one. Don’t you?), and the inclusion of the Hellbat, a carry over from Tomasi and Gleason’s run on Batman & Robin. But I’m giving this book a pass, as we see very little of Batman himself. It’s even established that Superman followed the Dark Knight without him knowing, which was a nice touch. Also, Lois using the Hellcat to protect Jon managed to be pretty cool.

This is an exciting time to be a Superman fan. Given the relaunch, Superman has more readers now than in quite awhile, and DC is making the most of those new eyes. Quite honestly, there’s no one I’d rather see on this title right now than Tomasi, Gleason, and their crew. I’m hopeful they’re only beginning to take flight.

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A Superman: Rebirth #1 Review – Death and Rebirth

Superman: Rebirth #1, 2016TITLE: Superman: Rebirth #1
AUTHOR: Peter Tomasi
PENCILLER: Doug Mahnke
PUBLISHER: DC Comics
PRICE: $2.99
RELEASED: June 1, 2016

By Rob Siebert
Editor, Fanboy Wonder

The post-Crisis on Infinite Earths Superman was created to thin out the number of “super” characters in the DCU. The idea was to restore his status as the Last Son of Krypton. Now, more than 30 years later, DC is using this same version of Superman to do the exact opposite. With this character comes a new Superboy, and a new Superwoman. Now that’s what you call, ironic.

The Superman we met when the New 52 launched is dead, having succumbed to Kryptonite poisoning. As the world mourns the loss of the Man of Steel, one man is certain he will return: Clark Kent. That is, the Clark Kent of another Earth, who has hid out on this world along with his wife and son. But Lana Lang isn’t convinced. She also has no idea there’s another Superman on her world. Thus when the two meet, emotions run high.

I’d love to hear someone try to explain the new Superman status quo to a newbie. It’s putting up X-Men numbers in terms of how convoluted it is. That being said, I’m very pleased to see the old Superman back. Why he’s not allowed to have red boots in this new “Rebirth” era is beyond me. But having him back has shaken things up nicely.

doug mahnke, death of supermanIn this issue, Peter Tomasi and Doug Mahnke acknowledge the elephant in the room in the aftermath of the New 52 Superman’s death. They take us back to The Death of Superman, and we get Mahnke’s take on some of those iconic moments from the fight with Doomsday. Considering how many big event comics Mahnke’s fingerprints have been on in the last decade, there’s something fitting about him getting a crack at this one. Later, we see Clark’s resurrection, and he and Lana even search for a New 52verse version of the regeneration matrix. As a longtime fan, it’s gratifying to see them go back and look at this stuff from a new perspective. I never understood why DC omitted this story from the New 52 continuity. It crossed over into pop culture, and kids who grew up in the early ’90s typically remember it. So why eliminate it?

Clark has an odd line during this issue, when he tells Lana: “…two Clark Kents on two different worlds were very lucky to have Lana Langs in our lives.” They need to be careful with this kind of thing, especially now that we have an infinite multiverse again. The idea that you’ve got an infinite number of Clark Kents on different worlds, some of which might be interchangeable, seems like the kind of thing that could lead to apathy from the audience. What do we care if our main character dies, if we can simply replace him with one from another world?

Clark Kent, Lana Lang, Superman Rebirth #1, 2016Mahnke’s versatility is on display here. On one hand, the flashbacks to the fight with Doomsday are very intense and high-octane. In contrast, we have a scene with Clark at the memorial that’s very somber. We also have scenes with Clark and Lana that, while they have a certain tension, are fairly quiet. But Mahnke manages to stay consistently strong throughout.

With this relaunch, DC has managed to make the Superman books more interesting than they’ve been in years. At face value, at least. How ironic that death winds up being the element that freshens the Man of Steel up a little bit. But who knows? Maybe a little family time is exactly what Superman needs.

Image 1 from comicvine.com. Image 2 from bleedingcool.com.  

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A Batman/Superman #31 Review – The Search For Supergirl

Batman/Superman #31, cover, Yanick PaquetteTITLE: Batman/Superman #31
AUTHOR: Peter Tomasi
PENCILLER: Doug Mahnke. Cover by Yanick Paquette.
PUBLISHER: DC Comics
PRICE: $3.99
RELEASED: April 13, 2016

By Rob Siebert
Editor, Fanboy Wonder

Damn. Just when you thought Big Blue was gettin’ things back in order…BAM. He gets a death sentence. And you thought Batman had bad luck.

Due to the after-effects of multiple intense battles, Superman is apparently dying. With the end in sight, the Man of Steel has begun getting his affairs in order. With help from Batman, he starts searching for Supergirl so that she might continue his work. But Kara isn’t easy to find, and Superman is running out of time…

Readers should be grateful Peter Tomasi has the pen on all the Superman titles for this big “Final Days of Superman” crossover. Not only does that bode well in terms of consistency between issues, but Tomasi is so good at injecting heart into his stories. That’s one of the main reasons his run on Batman & Robin was so good. In the recently rebooted DC Universe, Tomasi made sure the characters still felt familiar. Deep down, this was still the Batman we knew. He’s the perfect pick for a story like this. Though one can argue a story about Superman’s dying days has been done to perfection in All Star Superman.

Batman/Superman #51, Tusk, Doug MahnkeTomasi was a little vague in Superman #51 on what exactly is killing our hero. We knew it was a result of his exposure to the fire pits of Apokalips in Darkseid War, his fight with Rao in Justice League of America, and the A.R.G.U.S. Kryptonite chamber in Truth. In this issue he says something about “Kryptonite malignancy eating away at me.” Anything with the word malignancy in it must be pretty bad. But I’d still like a little more info on what exactly is killing the most powerful man on Earth.

Tomasi understands these characters better than most of the current crop of writers at DC. As such, the dialogue scenes in this issue feel the way they’re supposed to: Like a meeting between two old friends. They sound very much in character. There’s a panel where Batman asks Superman: “Do you know your irises are green?” Coming from another character, this would have sounded asinine. But from Batman it works. We also get the unlikely meeting of Superman and Bat-Cow, which plays to Clark Kent’s upbringing on the farm.

We also get an appearance from Tusk (shown above), who we met when these two worked together in Batman & Robin Annual #1. So we’ve got some fun continuity between that book and this one.

National City, the home of Supergirl on the CBS show of the same name, is mentioned late in the issue. I imagine this is an clue as to what we’ll be getting when Supergirl once again gets her own series this fall. Not a moment too soon, by the way…

Batman/Superman #31 (2016), flying, Doug Mahnke

We’ve also got a character in this book who has mysteriously gained Superman-like powers and is glowing orange. I imagine that’s our villain. Though what exactly is going on with him remains to be seen

Doug Mahnke has drawn so many big DC stories that his art inevitably brings a certain weight, or an “epic” feel, to whatever he’s drawing. This is true with both the action and dialogue sequences. Considering what’s happened over the last year with Superman losing his powers, and Jim Gordon tagging in as Batman, this issue feels like a homecoming.

I trust Peter Tomasi with Superman. Considering how protective I’ve become of the character in recent years, and what’s been done to him recently, that’s saying something. For the time being, Superman and “The Final Days of Superman” are in good hands.

Image 1 from adventuresinpoortaste.com. Image 2 from weird sciencedccomics.blogspot.com. 

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A Superman/Wonder Woman #19 Review – Bullets That Don’t Bounce

Superman/Wonder Woman #19TITLE: Superman/Wonder Woman #19
AUTHOR: Peter Tomasi
PENCILLER: Doug Mahnke
PUBLISHER: DC Comics
PRICE: $3.99
RELEASED: July 15, 2015

By Rob Siebert
Editor, Fanboy Wonder

More than any visual we’ve seen since the Truth storyline began in the Superman books, this issue shows us a powerful, haunting image that may stay with readers for awhile.

The Suicide Squad (Harley Quinn, Deadshot, among others) are the latest to take a shot at the bullseye on Superman’s back now that he’s powered down and his identity his public. Thankfully, he’s got some powerful back up in Wonder Woman. This brawl, which takes place in a cemetery of all places, will have dramatic repercussions. And it will force Clark to take dramatic action.

Sadly, fight itself isn’t much to get excited about. It feels largely disjointed, and it’s filled with hokey dialogue. Peter Tomasi is one of my favorites, but the early part of this issue is a miss. Things get interesting, however, when Deadshot sees an opening and takes it. He riddles Superman with what are apparently specially crafted bullets. Clark’s skin is still super-strong, but it’s not what it was. Thus, for the first time, we see the Man of Steel severely wounded by Earth-made artillery…

Superman/Wonder Woman #19, bullet woundsThe image of a shirtless Superman with all these wounds and markings and scars on his skin is haunting. The image of bullets harmlessly bouncing off the Man of Steel’s chest is so iconic, that to see him sustain this kind of damage from them hits home. And that’s before we see Diana literally pulling them from his flesh. This also gives us an interesting indication of just how de-powered Superman is. We are, after all, still missing certain answers regarding his exact state of being.

This is the first opportunity I’ve had to talk about Wonder Woman’s new costume, so I’m going to take it, despite Tomasi and Mahnke not being the ones who created it. This suit is a David Finch creation. And like most things David Finch draws, this costume is way too dark. Why so much black? I understand the temptation to cover Diana up a bit more, but putting her in so much black is overkill. It reeks of a creative team trying too hard to reinvent the wheel.

Considering Wonder Woman’s role as an ambassador for the Amazons, the end of this issue could have interesting implications for her going forward, as well as her relationship with Clark. Things have certainly changed for our heroes as of late. And while not every creative team has handled that change well, to their credit, Tomasi and Mahnke have.

Image 1 from gamenewshq.com.

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