Saturday, July 23, 2016

Justice League Special Comic-Con Footage

It's Comic Con, bitches! That means someone, be it DC or Hasbaro, is going to try and win by blowing the most minds and inducing the most boners. Well, I think after today, the winner is clear. DC, you've won. My mind is blown and my dick is hard enough to split the moon. Between this and the Wonder Woman trailer, 2017 is going to kick an insane amount of ass. Nuff said!

Friday, July 22, 2016

A Personal Apocalypse: Uncanny X-men #10

The following is my review of Uncanny X-men #10, which was posted on

For a species that is constantly on the brink of extinction, apocalyptic themes can be downright inane at times. These days, apocalyptic scenarios are a twisted kind of normal for the X-men. If they're not confronting the extinction of the mutant race, they're recovering from it or preparing for the next extinction. Apocalyptic themes are so interwoven with the narrative of the X-men that any story that doesn't involve an extinction-level threat is an aberration.

By these dire standards, Apocalypse Wars is certainly not an aberration. That's not to say it follows the same apocalyptic formula though. The narrative Cullen Bunn crafts in Uncanny X-men focuses less on extinction, sterilization, or marginalization and more on a personal apocalypse. Granted, the world faces a serious threat in Genocide, one of Apocalypse's overly dedicated minions. However, the threat isn't as important as the turmoil it creates within the characters. It is basically the antithesis of a typical battle against Onslaught or Thanos.

This gives Apocalypse Wars a unique impact, one that is rarely explored in apocalyptic stories that don't involve time travel or evil clones. That impact unfolds gradually over the course of this series and in Uncanny X-men #10, the scope and scale of that impact finally sets in. It doesn't hit with the same weight as a traditional apocalyptic plot, but given the glut of such plots with the X-men, that may be a good thing.

There's no deception, mystery, or twist at this point in the story. Bunn opts for a more simplistic approach in wrapping up Apocalypse Wars and this ends up being the most prudent. Genocide does more than enough to garner no sympathy whatsoever. He tries to honor Apocalypse's legacy a little too closely, manipulating Angel and subduing Magneto in ways that only make the X-men angrier. Unlike the Hulk, however, the X-men are more focused with their anger.

Genocide's plan to manipulate Angel comes off as one of those plans that was never going to work out and not just because one of Angel's former lovers is a psychic ninja. He's not Apocalypse, nor does he ever make the case that he can be Apocalypse. He is essentially a decaffeinated version of Apocalypse who is capable of manipulation, but horribly lacking in cunning and strength. While he does have a menacing presence, he lacks the charisma that Oscar Isaac so masterfully captured in X-men: Apocalypse.

That lack of charisma, combined with the shallowest of motivations, may offer limited depth, but it makes the X-men's defeat of Genocide that much more satisfying. It also gives Greg Land abundant opportunities to craft stunning, apocalyptic visuals. It meshes well with the themes and tone of the narrative. With characters like Genocide, it's easy to get too cartoonish with the style. While Genocide has the personality of a Saturday morning cartoon character, Land and Bunn make sure it feels more refined.

While Genocide's personality is a poor selling point in Uncanny X-men #10, it's the personal impact of the story that makes it work. Most of that impact comes from Psylocke, who spends a good chunk of this story trying to get through to her former lover. The emotions don't run high or become melodramatic, but they are there. Bunn makes it a point to highlight's Psylocke's determination to save her former lover. This creates the kind of personal stake that gives greater weight to what would otherwise be a generic apocalyptic scenario.

However, this isn't the only personal impact guiding the narrative. Alongside this apocalyptic clash with Genocide, Bunn caps off another sub-plot involving Monet, Sabretooth, and Monet's demonic brother, Emplate. The personal impact here is different in that it involves two siblings trying to help each other. The problem is that one sibling's concept of help involving feeding on mutants, a species that just got sterilized for the second time. It makes for another conflicted clash where Land's art shines once more.

There's nothing wrong with this sub-plot. Bunn develops it nicely. The personal impact with Monet is not unlike the impact with Psylocke. What undermines this plot and the one involving Genocide is how disconnected they are. One does not affect the other in any way. They might as well be plots from two different comics. It's possible to cut, paste, and reorganize in a way where it's impossible to tell that they're from the same comic. This lack of cohesion undermines and disrupts the overall narrative.

The presence of two, well-developed sub-plots doesn't negate the impact of either plot. However, they do cut into one another like ill-timed commercial breaks. It gives the impression that both plots have to be rushed to tie up the necessary loose ends. To Bunn's credit, he's able to do this with both plots, but there's only so much polish he can manage with two utterly disconnected stories.

Even without the polish, Uncanny X-men #10 does manage to capture the same underlying theme in Apocalypse Wars that also plays out in All-New X-men and Extraordinary X-men. Each plot and sub-plot, regardless of how disconnected they are, tie into concepts of destiny and inner nature. Genocide doesn't even try to avoid either whereas Angel tries desperately to do the opposite. One succeeds through the aid and support of his telepathic girlfriend. The other ends up on the wrong end of Magneto and Mystique's wrath. There's no ambiguity in terms of which effort is more worthwhile.

In many respects, the theme of Apocalypse Wars is a fitting metaphor of sorts for the X-men and mutants in general, ongoing sterilization plots notwithstanding. It's easy to accept apocalyptic doom and gloom when that sort of thing seems to happen every other week, but it is possible to reconnect with a less dire outlook. It won't make a second round of sterility feel less apocalyptic, but it will rally the likes of Magneto, Mystique, and Sabretooth on a cohesive team. In facing any apocalypse, it's hard to imagine a team more equipped.

Final Score: 6 out of 10

Thursday, July 21, 2016

Uncanny X-men #10: Nuff Said!

What makes an Apocalypse story apocalyptic, but in a good way? It's not enough to just pay Oscar Isaac to make an appearance. Fox only recently learned that lesson. It's a matter of taking Apocalyptic themes, injecting apocalyptic threats, and creating an apocalyptic mood that gives every character an apocalyptic kick in the balls. By that standard, Cullen Bunn is succeeding where Fox failed and he does it without Oscar Isaac's sex appeal. Hell, he does it without Apocalypse actually showing up in Uncanny X-men, whereas he has a strong presence in Extraordinary and All-New. That's like preparing a steak dinner with a butter knife. It's a testament to his craft.

Now, Uncanny X-men #10 is here. With the way this story has been going, it can act either as a cherry on top or a fresh ball of shit on top of a chocolate pie. Apocalypse's asshole son, Genocide, is set to succeed where he failed. However, he has to succeed over a pissed off Magneto and a Psylocke who just fought a bitter ex-lover. It's like he uses the exact opposite of cheat codes, but maybe that's just his way of waving his dick in the face of Apocalypse. I've got a cold beer and a joint that says he's going to fuck up in some ways and I'm here to take it all in for your reading pleasure.

I imagine the fine folks in Green Ridge, Colorado are going to need more than a beer and a joint after this. After Genocide got a little too rough with Angel's lover, who happens to also be a sexy psychic ninja, he invites yet another method for which to screw himself. I guess pissing off Mystique and Magneto just wasn't enough. He has to make sure he's completely fucked himself beyond repair. There are overly depressed emos in high school that would say he's overdoing it at this point.

The fight is no longer fair because now there are an army of Archangels reining unholy hell on Genocide's quint little hideout. Psylocke finally decided it was time to ensue Genocide gets the ass-kicking he seems to so desperately want at this point. She has shown in this series that she has an uncanny ability to channel Arcangel's apocalyptic rage boners for good and she doesn't even have to flash her tits. That's power even Genocide has to respect.

That's not to say that this tactic is completely without risk. There's always a risk associated with unleashing a pissed off horseman of Apocalypse. Psylocke is the only one able to temper that risk. She's psychic. She's a ninja. She and Angel used to bang. She has every possible mechanism to reach him and ensure that he doesn't fall back into his Apocalyptic habits. I imagine the thoughts and memories of a naked Psylocke are far more powerful than any influence Apocalypse can conjure.

Psylocke puts that influence to use by going into Angel's mind. She even takes on her classic Psylocke costume, something that Greg Land does an excellent job of recapturing for this moment. The psychic setting of a church with dead bodies is creepy as shit, but still very appropriate. It sets the stage for Psylocke reconnecting with Angel again, something that nicely reflects their history together. At a time when Marvel seems too eager to ditch established romances so Spider-Man can hook up with Mockingbird, it's a refreshing moment.

It's almost as refreshing as seeing Magneto and Mystique kick Genocides ass. Almost. He pissed them off. He attempts to finish what Apocalypse started, minus Oscar Isaac's charisma and sex appeal, and fails miserably. No plan can succeed when it involves pissing off Mystique and Magneto.

It's a concise, brutal, understandably lopsided battle. This time, Magneto and Mystique have the edge and not just because they're pissed off. They have an army of Archangels as backup and Genocide has a town of brainwashed civilians too terrified to throw a punch. It's like a sick kitten fighting John Cena. It's not a fair fight. He does throw around some classic Apocalypse rhetoric, but without Oscar Isaac's influence, it's only too satisfying when Magneto and Mystique shut his ass up.

Genocide isn't the only one someone needs to shut up. As the plot with Genocide has been developing, another entirely different plot has been unfolding in the Morlock sewers. This one involves Sabretooth, Monet, and Monet's much less sexy twin brother, Emplate. Emplate, for reasons that only make sense after a joint or two, needs to psychically feed on mutants to remain anchored to this world. Monet and Sabretooth had to fight through a lot of mutant zombie types to get to him. However, Monet isn't as inclined to be as ruthless or efficient as Mystique and Magneto.

That sucks for her because the only way to save her hideous, mutant-murdering brother is to let him feed on her. It's not nearly as incestish as it sounds and Monet is hardly thrilled with the idea. Not wanting to set feminism back another couple decades, she doesn't completely stick to her promise to help her brother stop feeding. She channels her inner Hillary Clinton and flexes a little dishonesty, albeit in a way even Trump supporters might approve of.

She kicks Emplate's ass. She also makes clear that, siblings aside, she thinks he's a real piece of shit for tormenting mutants and using her to keep himself tied to this world. It's basically all the shit women want to say to internet trolls and ex-boyfriends. Yes, it is satisfying on some levels. Yes, it does end with Monet subduing Emplate and neutralizing him in a way that allows her to not completely break her promise, which is more than Hillary Clinton can claim. It's just not as dramatic or as emotional as it needs to be.

Why is this? Well, one might think this plot with Emplate has something to do with Genocide and Apocalypse Wars. One would be dead wrong, despite being perfectly logical. Outside arguments against creationists, that sort of thing shouldn't be par for the course. Cullen Bunn is usually so adept at tying in parallel plots into the same story. This time, they might as well be two separate comics in two separate arcs. Granted, both are pretty damn awesome by most measures, but their inability to gel makes it feel like a poorly constructed sandwich. It's still palatable, just not nearly as satisfying.

There's still plenty to digest with the battle against Genocide. In this battle, Psylocke holds her own and looks dead sexy while doing it. That's basically Tuesday for her. At some point, Fantomex has a chance to be an even bigger douche, but for once, he doesn't take advantage of it. After his douche-baggery in previous issues, that's a good thing. There's only so much douche-baggery a character can take on before they enter Hope fucking Summers territory. Even Fantomex doesn't dare take it that far.

Between Genocide's attack and Arcangel's minions, it's a hell of a spectacle and one Greg Land renders beautifully. People can say he uses too many Playboy centerfolds as tracing material. My eyes and my penis don't care. He helps bring scale and spectacle to this battle. Once Psylocke meets up with Magneto and Mystique, the results are a sight to behold.

However, the fight does not end when Magneto and his team run out of asses to kick. It only ends once Angel is subdued and Genocide's influence is purged from his mind. With Psylocke's help, she's able to figure out how Genocide fucked Angel up so thoroughly. It turns out that the wannabe cult leader version of Angel is actually a part of Arcangel that Genocide separated. That's why Arcangel is basically a blunt instrument now who has the personality of Kristen Stewart on valium. The only way they can balance out the bluntness and make Arcangel less likely to be Apocalypse's personal meat puppet is to re-merge.

It's not as sexy as it sounds, but it offers a certain level of drama. Angel makes it clear he doesn't want to be one bad hangover away from French kissing Apocalypse again. However, he's willing to re-merge with his Apocalyptic self if it will undo Genocide's shit storm. He does it because that's what a hero is supposed to do, especially in the presence of a woman who he used to sleep with. It makes Arcangel, by far, more likable than Fantomex will ever be.

Genocide is defeated. The innocent people of Green Ridge, Colorado will have to find another deranged cult leader now. Maybe they can call in Tom Cruise or something. On the plus side, the X-men have a fully coherent Arcangel back. So overall, it's a solid win on their part. There's still some awkwardness between Magneto and Psylocke. She isn't exactly thrilled with the revelation that he's been working with Mystique and her ex, but let's face it. That's not the worst secret Magneto could've kept from her. It's not like he had Gambit record her taking a shower or something.

This newfound mistrust comes at a time when Monet is now harboring her vampire-loving twin brother. Sure, he's not feeding on innocent mutants in the Morlock tunnels anymore, but now he's stuck inside her. She avoided becoming her brother's pet, but he's still pissing her off. So I guess that's another complication that's bound to screw the X-men over at some point, as if they can ever have too many.

Complications aside, Cullen Bunn does try to cap off his share of Apocalypse Wars on a high note. We get to see Psylocke and Angel share a moment again in Angel's mind. It's a moment that contains a wonderfully fitting message for any X-men story. Arcangel may be one of Apocalypse's many bitches, but now Angel is determined to forge a different path that doesn't involve being someone's bitch. He's not a blunt instrument anymore. He doesn't know what he is, but he's not going to let anyone who isn't a sexy psychic ninja influence that. It's the kind of empowered, understanding sentiment you just can't get out of an Inhuman comic. it awesome?

There's some wonderfully poetic undertones to the conclusion of this arc. It lines up nicely with classic themes of X-men, none of which involve sterility or Inhuman fart clouds. It has plenty of bloody, brutal moments that are to be expected in any clash involving Magneto, Mystique, and Fantomex.

That said, Uncanny X-men #10 just doesn't hit with the full impact that Cullen Bunn so masterfully set up in previous issues. The ending hit on the right themes, but feels rushed. That's not to say it's flawed. It's like a brownie without frosting. It's still good, just not as delicious as it could've been. Given the bar set by All-New X-men with its Apocalypse Wars tie-in, Uncanny X-men just doesn't measure up. It does set up some juicy plots moving forward, but the promise of a good brownie is never as satisfying as actually eating a brownie.

Final Score: 6 out of 10

Wednesday, July 20, 2016

All-New Wolverine #10: Nuff Said!

Being Wolverine requires many specific, albeit fucked up, skill sets. It's not enough to survive being a meat puppet, stabbing anything that tries to turn you into a meat puppet, and thinking you're tough enough to fight the Hulk. Anyone with a sufficient amount of hard liquor and crystal meth in their system can be savage. You also need to endure tough, awkward situations and not just those that involve wanting to bone married women.

X-23 is learning this the hard way, which also happens to be the awesome way. Tom Taylor doesn't just have X-23 developing those skills in All-New Wolverine. He shows her thriving, as only someone worthy of the Wolverine title can. He didn't go easy on her either. This series began with her confronting a team of evil clones. Well, in All-New Wolverine #10 he has her confronting an AU version of Wolverine. It's basically the Wolverine equivalent of a mid-term and unlike those of us who flunked calculus, I'd say X-23 is more than prepared for this latest test.

There's just one minor complication that might affect her grade and no, it's not because some asshole from English class slipped laxatives into her coffee. This fateful meeting between X-23 and Old Man Logan happens to be taking place during Civil War II, an event where everyone is learning the hard way that the future will fuck you over in way too many ways, not all of which involve Thanos.

Ulysses, the Inhuman at the center of it all, loves to have visions of terrifying futures that involve a naked Hulk. Other than revealing disturbing shit about his porno stash, one of those visions involves an enraged Old Man Logan and a terrified X-23. If Ulysses' past visions are any indication, it has nothing to do with Old Man Logan having to buy tampons for X-23. This is a guy who lives under constant fear of slaughtering his loved ones like he did in his dystopian future. Now, he's meeting with someone who tends to attract slaughter the same way NBA players attract Kardashians. It may be an overdue encounter, but it's like putting matches and gasoline in the same room.

At the very least, Old Man Logan's first encounter with X-23 doesn't start with any bloodshed or violence. Instead, it starts with an adorable girl and her pet wolverine. No, that's not dirty joke about female anatomy. She's a kid, remember? She also happens to have a pet wolverine named Jonathan. It's even more adorable than it sounds.

It feels like a moment right out of a Disney movie, a grumpy old man waking up to an adorable girl and her adorable pet. It's like Up if it were directed by Quintin Tarantino. The script must have been written by EL James because Old Man Logan is tied up when he awakens. Granted, this is usually not a good idea for any version of Wolverine, but he did just spend some time in the stomach of Fing Fang Foom so he's bound to be a little grumpy. When there's a cute kid and a cute animal in the house, I honestly can't blame X-23 for restraining him. Pretty sure my old college roommates would do the same to me if we ever ran out of coffee and whiskey on a Monday morning.

Once Old Man Logan accepts that someone didn't inject a bucket of LSD into his veins while he was out, X-23 finally enters. It's a meeting we've all been waiting for. Sure, they crossed paths in the last issue, but that was in the stomach of a dragon and that shit only ended with X-23 flying around naked in a jet pack. Not exactly a good way to build a connection between someone and their dystopian AU counterpart.

It's not all that dramatic at first and honestly, it's hard to make it dramatic. When your first meeting happened in the stomach of a fucking dragon, that kind of kills the drama. It's hard to be in a very loving, understanding mood after that shit. At the very least, X-23 explains to Old Man Logan why they have a pet wolverine, an adorable girl, and a tied up old man. Not saying it's a good explanation. Just saying it's not devoid of logic.

It's awkward. It's tense. It's a fucked up situation and there's no whiskey available to make it easier. So what can break the ice? What can make this meeting between X-23 and a dystopian AU version of the man she saw as her father less awkward?

Tom Taylor has a plan. Granted, it's kind of a fucked up plan, but in a hilariously logical sort of way. Just as X-23 unties Old Man Logan, a couple of burglars drop in. That's right. A couple of burglars break into X-23's apartment, in broad fucking daylight, at a time when there's a little girl, a pet wolverine, and a pissed off Logan from a shitty future at home. Either these burglars are the dumbest burglars outside a Home Alone movie or the unluckiest.

Needless to say, X-23 and Old Man Logan find this fucking hilarious. They actually start laughing. Yes, Old Man Logan actually laughs and it's not nearly as creepy as it sounds. Even coming from a fucked up dystopian world doesn't make this any less hilarious. It's a great way to break the ice, lighten the mood, and vent frustrations after having spent an afternoon in Fing Fang Foom's intestinal track. Yeah, it sucks for the burglars, but never in history has a crime been so therapeutic.

It only stops being funny when the burglars, still not knowing just how fucked they are, decide to fuck themselves even more. One of them, who would probably wave his dick in Mephisto's face on a five dollar bet, decides to shoot Jonathan the wolverine. I'm not an animal lover and I think PETA folks are fucking crazy, but even I found this horrifying. These motherfuckers just shot Jonathan, an adorably deranged animal, in a comic book from a subsidiary of Disney. That alone makes them deserving of no less than 50 stab wounds.

Naturally, X-23 and Old Man Logan are pissed. They can handle being in the stomach of a dragon, but shoot an innocent animal who happens to be the pet of an adorable girl and the gloves are off, motherfucker. It's not a fair fight to say the least. Hell, one of the burglars gets his face fucked up by Gabby, the adorable little girl who just saw her adorable pet get shot. Anytime an adorable little girl kicks a certain level of ass, it's a beautiful thing. Fox and Disney lawyers alike would even agree with that. It ensures that this is a quick, fairly smooth fight, but it still feels pretty damn epic in light of what happens to Jonathan the wolverine.

Not gonna lie, my heart skipped a beat at the thought of this being Jonathan's demise. At least he gets a more heroic death than Cyclops ever got.

Much to my relief, and that of everyone traumatized by Bambi as a kid, Jonathan is fine. The burglars still get their asses kicked in the most satisfying way possible that doesn't involve a fishing hook. It marks the first true team-up between X-23 and Old Man Logan that didn't involve them both getting stuck in a dragon's stomach. Given the stakes and the adorable animal involved, I'd say it's a success.

The fact that Jonathan the wolverine survives makes it a complete success. It leads to a truly heartwarming moment between Gabby and her adorable pet wolverine. Sure, she's a clone of a clone of a living weapon, but there's no denying the cuteness of this moment. Disney may have an agenda against the X-men these days, but that doesn't mean they can't appreciate this style of cuteness.

While Gabby tends to her pet wolverine, as only an adorable clone of a killer clone can, X-23 and Old Man Logan finally sit down to have a conversation. They just fucked up some dumb-ass burglars and spent time in a dragon's stomach. They have no excuses for shit being awkward at this point.

The conversation is somewhat inane at first, mainly because of X-23's lack of hard liquor in her apartment. She's still a fucking teenager last I checked and she does make it a point to let him know. However, Old Man Logan does manage to have a meaningful exchange without the aid of hard liquor. Yeah, I'm just as impressed.

In that exchange, he reveals that he knew X-23 was living here. She was even part of his life in his fucked up dystopian universe. However, that's exactly the reason why he avoided her. By his logic, he's throwing a flaming bag of dog shit at karma by getting involved with her. He claims she's one of the few things he got right in his world. Given that he comes from a world where he kills everyone else while the villains take a shit on their graves, that's quite a statement that has quite a few implications.

Some of those implications involve Gabby. This is where shit gets tense again because X-23 makes clear that she's not getting Gabby caught up in any more shit storms. She already has a pet wolverine and grew up in a mini-Weapon X lab. She's been through enough and deserves a chance at a normal life, albeit as normal as any life can be with a pet wolverine. It's the first real moment of tension that doesn't involve an innocent animal getting shot.

That moment once again gets interrupted, this time by something a lot less hilarious than a couple of dipshit burglars who think robbing X-23's apartment is a good idea. This time, it's SHIELD, who are slightly more capable than a couple of burglars. Given that they're partially responsible for them ending up in Fing Fang Foom's stomach, I imagine neither of them is eager to cross paths with Maria Hill, SHIELD, or anyone claiming to work for the government for the next several decades. I imagine Maria Hill isn't too fond of the idea either. She has to know on some levels that sending government agents armed with guns to subdue any version of Wolverine, clone or otherwise, is not going to end well.

In Maria Hill's defense, something that's hard to say these days, she has a damn good reason for attacking Old Man Logan again. Remember that vision Ulysses had earlier? Well, according to the fine print, Old Man Logan is going to kill Gabby. Given that these same visions have been uncomfortably accurate at predicting other shit storms, it puts X-23 in a very difficult position. It also puts Old Man Logan in the exact position he's been trying to avoid since Secret Wars. It's the worst kind of drama for them, but combining this with a cute girl and a pet wolverine, and the end result is wonderfully satisfying. it awesome?

Other than the trauma of Jonathan the Wolverine getting shot, I say there's a fuckton of awesome that is wholly consistent with the quality that Tom Taylor has established with All-New Wolverine. This is an encounter we all knew was coming, X-23 meeting up with Old Man Logan. It had to be dramatic. It had to carry some emotion. Taylor understood that and he delivers in All-New Wolverine #10, complete with an adorable girl and her pet Wolverine. He once again proves that Disney is right. Adding adorable animals to anything makes it more endearing. Not saying Jonathan the Wolverine will be the star of a Pixar movie anytime soon. I'm just saying that when any animal becomes lovable and endearing, Disney takes notice and so do I.

Final Score: 9 out of 10

Tuesday, July 19, 2016

Broken Legacy Chapter 6: Divine Conventions is LIVE!

There’s a time to shake things up and there’s a time slow things down, but there’s never a time for outright regression. No matter how it’s packaged and no matter how it’s presented, regression is toxic to characters, relationships, story, and everything in between. This is what has me so dismayed about the current state of Superman and Wonder Woman with DC Comics right now. While some characters, like Aquaman and Batman, are allowed to progress, Superman and Wonder Woman are basically being forced back into the box they were in before Flashpoint. It’s tragic because it basically abandons all the progress that they made as characters and as lovers.

Tragedy or not, it does help give what I’m going in Broken Legacy more meaning. I’m developing this story with the idea that Superman and Wonder Woman, who they are and what they stand for, can be deconstructed without regression. I like to think I’ve taken some chances and pushed these characters into unknown domains. It has been dramatic, strenuous, and challenging. However, the payoff is just around the corner.

The stage is set. The final showdown is here. Superman is laying everything on the line to stop Tyr-El. He can’t win this fight as Superman. He can’t even win this fight as Clark Kent. He has to be Kal-El. He has to be the last surviving son of the House of El. That’s the only way he’s going to preserve what’s left of his legacy. Moreover, he needs to trust that Wonder Woman can preserve hers. Now that the Amazons are involved, she has just as much to lose and just as much to gain. It’s a battle of high emotions and high drama, one which will change both characters in a major way, but it sure as hell won’t regress them. And it all unfolds in this latest chapter.

As I’ve said before, I don’t have any plans for other Superman or Wonder Woman stories after this. Plans do change though. While this story hasn’t garnered the same support as Strangers In Paradise, not that I expected it to, I am continually amazed at the passion and support by fans.

The Superman/Wonder Woman crowd are proud, passionate bunch. The support they give writers like me can’t be overstated. I know these are dark times for them and they’re bound to get darker with DC’s current policy of constant regression. I hope that changes, but for now I hope to do my part with stories like Broken Legacy. There are only a couple chapters left, but I intend to make them count. For beleaguered Superman/Wonder Woman fans out there, I hope to make it worth the wait. Nuff said!