Secrets, Convergence, and the Sacred: Doomsday Clock #1

The following is my review of Doomsday Clock #1, which was posted on PopMatters.com.

In the colorful history of comics, there are only a handful of sacred concepts that can never be sullied. They can be refined, reimagined, or expanded, but to twist them is akin to poking the Hulk in the eye. It's just a reckless invitation for outrage and anguish. Whether it's Superman's virtue, Batman's gadgets, or Deadpool's love of tacos, these ideas have a special place in comics lore that may as well be carved in adamantium.

In the annuls of the DC mythos, few stories are as sacred or revered as Alan Moore's Watchmen. Even today, it's impossible to overstate just how groundbreaking this story was for DC and comics, as a whole. That story, in all its dark and cynical glory, shows just how far comics can take a particular concept. Watchmen really went for broke, taking on everything from the merits of heroism to the corruption that comes with god-like power. These are all concepts that play out in countless myths and Watchmen found a way to break new ground on these concepts.

It's for that reason that incorporating Watchmen into the DC universe carries a huge risk. It's one thing to expand the world of Watchmen, which was done in the Before Watchmen series. It's quite another to work it into the ongoing upheavals of the DC universe. Geoff Johns and Gary Frank set these worlds on a collision course with the events of DC Rebirth #1.

Now, with Doomsday Clock #1, the collision is imminent and the sacred status of Watchmen is at stake. Given that Johns and Grank are DC's creative equivalent of the A-Team, this historic gamble is in the best possible position to pay off. Doing so, however, means recapturing the same complexities and quirks of Watchmen. That's exactly what Doomsday Clock #1 spends most of the time doing and while Alan Moore may still resent everything DC does with his creations, it finds a way to succeed.

The world of Watchmen is still as dark as ever, but Doomsday Clock #1 effectively doubles down on it, building upon a world where heroes and men with god-like power set humanity on a dark, dangerous course. In a sense, it picks up where the last panel of Watchmen left off in a very literal sense. Rorschach's journal, which thoroughly documented the events of the original Watchmen, helps expose Ozymandias' elaborate ruse. From there, a world built on cynicism and disillusion somehow becomes even darker.

In a sense, the world of Doomsday Clock is the ultimate extreme in terms of what happens when a lie becomes too big to brush aside as an alternate fact. This concept is wholly relevant in an era where the biggest threat isn't the Soviet Union launching a nuclear attack. It's people who buy into the lies, half-truths, and agendas. A willingness to buy into those lies is exactly what characters like Ozymandias exploit, what Rorschach despises, and what the Comedian laughs at.

It's one thing to brush aside stories of presidents colluding with foreign agents. It's quite another to brush aside a massive deception that unleashes armies of monsters and kills millions in a bid to unite the world. That's a lie that nobody in the world of Doomsday Clock can accept or spin. Even the news media at their worst cannot hope to twist the facts into serving an agenda.

Johns and Frank really channel their inner Alan Moore and David Gibbons, which may be much easier today than it was in the mid-80s. They don't just guide the narrative through a darker, more cynical path. They push it to an extent where extremes like nuclear war feel expected, if not logical. They build a world full of people who find out that their heroes and their most powerful icons lied to them in a way that killed millions. It's a dark world, to say the least, and one where outrage manifests in more than hashtags.

Doomsday Clock once again puts the world of Watchmen on the brink of destruction. However, it's the ties to the world of DC Rebirth that really raises the stakes. What happens in this world can't just be brushed aside like one of the many elseworlds that build their structures around apocalyptic scenarios. Due to the events of DC Rebirth #1, these worlds are entwined now. That makes the story that unfolds in Doomsday Clock #1 feel so impactful.

That story doesn't rely heavily on DC's biggest heroes, nor does it try to incorporate the entire cast of Watchmen into the mix. It focuses on key characters like Ozymandias and Rorschach with support from secondary characters like Marionette and the Mime. They guide the bulk of the narrative, bringing Superman and the world of DC's heroes at the end. The ties between the two worlds are somewhat loose, but since they are already established thanks to DC Rebirth #1, there's still a strong sense of cohesion.

A big part of what makes Watchmen such a powerful story is how well it reflects the sentiments of a certain period in history. It's something that Before Watchmen didn't attempt, but Doomsday Clock #1 dares to follow that same approach. By nearly every measure, it works. The themes in the story are even more relevant in 2017 than they were in 1985. Adding the impact on the greater DC Universe only heightens the importance of those themes.

Every comic tries to be groundbreaking in its own right, but few have the context and the themes to achieve this. Watchmen succeeded by being ambitious at just the right time with just the right kind of story. That's a big part of why it has such a sacred status in the history of comics. Doomsday Clock can't achieve that same sacred status just yet, but it succeeds in capturing many of the elements that make Watchmen such a powerful story.

The prospect of the world of Watchmen impacting that of the larger DC universe remains intriguing. The events of Doomsday Clock #1 helps set that story up in a way that captures the same sentiments that make both worlds so compelling. Such an effort still has some lofty goals with some long odds, but so far, that gamble is paying off in a profound way.

Final Score: 9 out of 10

Twists, Turns, and Burns: Superwoman #2

The following is my review of Superwoman #2, which was posted on PopMatters.com.

We don't like to think about what happens to our beloved toys when they become outdated or obsolete. Most of the time, we're content to forget about them and enjoy our new toys. This happens a lot with characters as well, most of which are clones, time travelers, or visitors from an alternate universe. We expect their presence to become obsolete or unnecessary in most cases. Our expectations with post-Flashpoint Lois Lane are a bit harder to discern.

As with Superman, DC: Rebirth went to great lengths to put a lot of genies back in multiple bottles with Lois Lane. In addition to having another Superman replace the one that died, we also get another version of Lois Lane. She's the classic wife and baby mama of Superman and her story is now part of the overall Superman narrative. This leaves post-Flashpoint Lois Lane in a state of limbo, one she seems to fill by becoming Superwoman.

Unfortunately, her run as a superhero lasts for one issue. It ends quite abruptly. There are chess matches between the Flash and Batman that last longer. Superwoman #1 ends in a way that makes the premise of the series feel like the fine print of a bad user agreement. It gives the impression that post-Flashpoint Lois Lane is obsolete and DC Comics just threw her away the first chance they got. Superwoman #2 attempts create a story around this act, but it's a story built on a shaky, overtly fraudulent foundation.

Post-Flashpoint Lois is basically turned into a catalyst for Lana Lang to become Superwoman. It's not a classic act of "fridging" a female character. Lois Lane isn't murdered or butchered as a means to push Lana's story. She's just cut out of the dynamic, ensuring there's only one Superwoman. The fact that the Superwoman who doesn't have a counterpart from an alternate universe survives is quite telling.

By taking Lois Lane out of the narrative, the tone of Superwoman #2 takes a dramatic shift. It's either callous in that Lois' death quickly becomes a side-note or just flat in that Lana's story fails to be that compelling. To his credit, Phil Jimenez makes a concerted effort to develop that story. It certainly helps that Matt Santorelli's art creates the right tone and ambience. It just never comes off as anything more than a consolation prize.

That story still has elements of mystery and intrigue. Superwoman's first major nemesis is revealed as Lena Luthor. It's a fitting, if not overly standard dynamic. If there's going to be a female Superman operating in the DC universe, then there should be a female Lex Luthor by default. In the spirit of gender equality, it's only fair.

There's also never a sense that Lena Luthor is just a female version of Lex either. She goes out of her way to make that clear to Lex, albeit in a very uncomfortable manner. Then again, that only makes her more worthy of her role. If Superwoman #2 has a strength, it's that it doesn't try to just push female characters into male roles. It lets its female characters be female. It's one of those concepts that shouldn't feel so novel.

Even if Superwoman #2 checks all the boxes in terms of gender dynamics, it fails to check many more. The story quickly becomes choppy and bland. It's less about Superwoman and more about Lana Lang reacting to Lois' death. These reactions are lacking in emotional weight and only serve to put her in a position to fight more monsters. For a character as iconic as Lois Lane, this just comes off as crass.

Lana does get a good assist from her current lover, John "Steel" Irons. He plays the part of a supportive boyfriend, but not much else. He does little to move the story forward or add emotional depth to the situation. He may as well be Lana's personal assistant, who she just happens to be sleeping with. By and large, he just doesn't do enough to make his presence feel relevant.

In principle, there's no reason to doubt that Lana Lang can be a compelling Superwoman. She has the personal connections, the spirit, and the desire to do the job. Within the context of this story, however, her ability to be Superwoman is essentially tied to the fate of Lois Lane. She's not being Superwoman because she feels inclined to use her new powers for the greater good, as Superman would. This story gives the impression that she's embracing this role because of Lois. That excuse may work for Peter Parker, but it doesn't work for Lana Lang.

A big part of Superman's core is that he does the right thing simply because it's the right thing. He doesn't need any other reason. That is the only real reason that matters. Superwoman #1 sets up all the right dynamics to continue that legacy. Superwoman #2 just throws it away, trying to create other reasons that only undermine this ideal.

In the end, the intent of Superwoman #2 is commendable, trying to set Lana Lang up as Superwoman and establishing the necessary factors. The results, however, are shallow and stale. It also gives the impression that post-Flashpoint Lois Lane was a character that DC Comics couldn't wait to get rid of. Now that there's another Lois in place, who perfectly complies the decades-old traditions that dare not be broken, the concept of Lois Lane being Superwoman gets thrown away. It's not just a missed opportunity. It feels downright petty.

The heart and soul of what makes a Superman comic what it is just aren't there. They didn't necessarily die with post-Flashpoint Lois Lane, but there isn't much effort to salvage those elements either. Lana Lang may still develop into a viable Superwoman. She just has a lot of forces working against her and even the strength of Superman may not be enough to overcome them.

Final Score: 4 out of 10

Obscuring a Mythos: Wonder Woman #1

The following is my review of Wonder Woman #1, which was posted on PopMatters.com.

The strength of any ancient myth is measured by how well it conveys its themes. There's a reason why certain myths transcend generations, cultures, and network cancellations. They reflect ideals and insights into the human condition. The stories may include colorful plots like gods knocking up mortal women, but the strength of that story is what separates timeless myths from boring reruns.

Wonder Woman's entire persona is built around the themes of ancient myths. From her divine creation to her divine abilities to her divine insights into the affairs of man, she personifies the strength of every myth, regardless of who some playful god impregnates. She epitomizes the ideals of womanhood and the warrior spirit. The strength of her story transcends eras from the hyper-masculine bravado of the '80s to the communist paranoia of the '50s.

Now, the events of DC Rebirth are poised to confuse and confound this story, adding uncertainty to the entire foundation of Wonder Woman's mythos. Is she the daughter of Zeus? Is she molded from clay? Is she the rightful God of War? Is she destined to emasculate Steve Trevor at every turn? These are all questions that linger in the backdrop of Wonder Woman #1, but little is done to answer any of them. There aren't even any telling hints, be they ominous teasers or divine impregnations.

Instead, Greg Rucka attempts to set up a new story and a new conflict with Wonder Woman. On paper, the concept has some merit. He even succeeds in fleshing out this concept to some degree, but that success is marginal at best. That's not to say it fails though. There is some intrigue at work within this narrative. It just leaves too many unanswered questions and too few reasons to get excited. The effect is undeniable. When Wonder Woman fighting mythical monsters fails to excite, then there's definitely something missing.

The story itself basically starts in the middle of a conflict. Wonder Woman is on a journey, which is a common narrative in many classical myths. That journey puts her in an exotic locale that is much more colorful than the streets of Gotham or the skies of Metropolis. While the snarling beasts aren't quite as memorable as homicidal clowns, it does reflect Wonder Woman's mythical heritage and gives her a target for her mythical strength. Without any added context, however, it may as well be a typical Tuesday for Wonder Woman.

That's not to say there aren't other forces behind the scenes, providing context to Wonder Woman's journey. Rucka actually introduces a key figure in Wonder Woman's mythos that has been absent in recent years, namely Etta Candy. However, this version of her is very different a lot less colorful. She's basically an Amanda Waller wannabe, running some secret government operation that adds unnecessary bureaucracy to everyday heroes. It's an intriguing introduction with intriguing potential, but much of that potential goes unrealized.

Wonder Woman #1 focuses less on realizing potential and more on creating a foundation. That foundation does build somewhat on the recent events of DC Rebirth, which led Wonder Woman to question the details of her origins story. Any origin that involves gods impregnating mortal women or bringing clay figurines to life is bound to be confusing, but the foundation here does little to resolve that confusion. In some ways, it outright ignores it, which is a noticeable crack in the foundation.

Rucka tries to fill those cracks in by developing a sub-plot with Steve Trevor and Etta Candy, tying their conflicts to Wonder Woman's journey. The connection between these details is lacking, but it there is at least some sense of cohesion. It's limited, but it effectively gives roles to Wonder Woman's supporting cast. As Batman can attest, a supporting cast is vital in any iconic mythos.

Unlike Batman though, Wonder Woman's supporting doesn't directly aid her journey. They just make sure nobody distracts her so she can focus on the task at hand. However, the nature of that task doesn't become clear until later in the story. Before then, Wonder Woman spends most of her time just warning the monsters that attack her and fighting them when they ignore her warnings. It's not exactly the kind of tactic that makes a myth epic.

Even so, Rucka does make an effort to highlight the most important aspects of Wonder Woman's character. She's not just a warrior and an icon who can survive being on a team with Batman and Green Lantern. She's a woman of compassion and mercy, offering it even to monsters who stand in her way. Even though they ignore it as if it were typical trash talk, it reinforces a key component of Wonder Woman's identity.

That identity is a lot more vital in wake of DC Rebirth. With Wonder Woman being so unsure of her origins, it makes sense to remind herself and others of who she is and what she stands for. It ends up being the only real certainty conveyed in Wonder Woman #1 because many other details are left undeveloped and unaddressed.

There's nothing egregious about the way Rucka handles Wonder Woman or her supporting cast. Nobody sleeps with a god, makes a deal with Mephisto, or trusts Lex Luthor. The story surrounding these characters is simply lacking in context and detail. Without that, the story falls flat and there's a reason stories like that don't make their way into AP English classes or comic racks.

The aftermath of DC Rebirth is affecting all corners of the DC Universe. With Wonder Woman, however, these effects seem detached and distant. Wonder Woman #1 tries to build a new foundation on top of one that is still incomplete. The elements of her mythos are there. There are even a few new elements that have the potential to develop. Despite this, the details aren't there. The connections are weak, if present at all. For a mythos as iconic as Wonder Woman, the standards are high and potential alone never slayed a titan.

Final Score: 4 out of 10

Hope, Love, and Bikinis: Starfire #12

The following is my review of Starfire #12, which was posted on PopMatters.com.

There are some characters who are simply beyond redemption and not all of them are clones, robots, or Nazis. Sometimes, a character goes in a direction that takes them past the point of no return, rendering them a punchline and a cautionary tale. That's not to say Starfire got close to that point, but she came closer than most after DC's New 52 reboot.

It's hard to forget the bland yet buxom persona that Starfire wielded in the early days of Red Hood and the Outlaws. That version of the character had the presence of groupie for an '80s hair metal band and only a fraction of the personality. She carried herself in a way that makes a Kardashian seem reserved. It marked a complete departure of the lovable yet immodest character that is supposed to embody the heart and soul of Teen Titans. That makes the journey that ends in Starfire #12 all the more satisfying.

Amanda Conner and Jimmy Palmiotti take on the daunting challenge of making Starfire lovable and interesting in a way that doesn't involve presenting her as a walking Playboy centerfold. It's challenging because it's easy to make a beautiful woman appealing, even if she's an alien with orange skin and liberal attitudes towards nudity. It's like a cheat code on a difficult video game, tempting writers to enter it every time they get stuck.

Beautiful female characters will always have a certain level. The forces of evolution hardwire male brains into being drawn to them. The real challenge is building on top of that appeal so that it doesn't completely define the character. Conner and Palmiotti succeed in that challenge any number of ways throughout this series, giving Starfire new friends, new roles, and new opportunities to do more than just look good in a bikini. Starfire #12 takes those successes and celebrates them, literally at one point.

This isn't a sad, solemn goodbye. This isn't a tragic, depressing memory in the making that will require therapy at some point. Starfire is leaving the home she built in this series, but she's leaving it with a smile and a sense of hope. At a time when DC Comics can't resist the urge to kill Superman in every possible medium, it's a breath of fresh air that brings out the best of character who badly needs it.

The friends that Starfire made in this series are the main ingredient that make this series work. Stella, Sol, and Terra aren't just supporting characters who manage to move Starfire's story forward without dying. They each have their own story to tell. Those stories make up vital moments throughout this series and Starfire #12 acts as a culmination of those stories.

Stella, a wonderfully balanced female character with a crass sense of humor, acts as an anchor of sorts for Starfire. She helps reveal both the harsh and not-so-harsh truths of living in a world populated by humans who don't share Starfire's strength, powers, or attitudes towards nudity. She's crass at times, but in a loving sort of way. She's a perfect complement for Starfire, being all too human at times and having a good sense of humor about it. When there are so many jokes to be made about Starfire's sexualized persona, this kind of attitude is practically necessary.

In addition to Stella's friendship, Starfire enjoys a more intimate connection with her brother Sol, but not in the typical Baywatch tradition. There is chemistry. There is sincerity. It is not on par with Superman and Lois Lane, but it's more meaningful than 95 percent of the relationships Tony Stark has ever had.

Sol isn't some nerdy, Big Bang Theory stereotype either. He does rescue work for the Coast Guard and recently lost someone dear to him. He's as well-rounded and sympathetic a character as anyone can be without being too much like Batman. The culmination of his story actually helps bring out another important component of Starfire's character that sets her apart and makes her appealing, regardless of whether or not she's wearing a bikini.

As Starfire is making the hard decision to leave Key West, she finds out that Sol is now romantically involved with a co-worker. This isn't a love triangle though. There isn't another Wolverine/Jean Grey/Cyclops scenario where someone gets heartbroken or goes on a cosmic-powered rampage. Starfire, once again showing some very alien attitudes, is genuinely happy for Sol. She loves that someone she loves has found love. It might sound like the kind of hippie philosophy that only works on communes and dirty movies, but it actually highlights an important part of Starfire's character.

Because of how she looks, what she does, and how she does it, it's easy to forget sometimes that Starfire is an alien. She comes from a very alien culture. She's even explored that culture at various points in this series, making it clear that her people are loving and empathic. To them, the idea of being upset that someone else has found love seems irrational and cruel. It creates an important context for Starfire's character that's easy to overlook when she's wearing a bikini, but it gives her a level of depth and sincerity that makes her easy to love.

Pretty much everything Starfire does in Starfire #12 helps make her a lovable character again. She surrounds herself with her new friends, gives them a sincere goodbye, and then leaves. It might not sound exciting, but it conveys the necessary drama, making the narrative of the overall series feel complete.

For those who didn't follow the series from its inception, it might be difficult to appreciate the story as a whole. It does lack action and excitement compared to previous issues, but Starfire #12 doesn't need a final showdown or an elaborate boss battle. It just needs to complete this portion of Starfire's journey as a character and it's a journey she needed to take, even if she didn't do some parts of it fully clothed.

After Starfire #12, Conner and Palmiotti can now boldly claim that they rebuilt Starfire's character. They made her lovable beyond her innate sex appeal. It's a remarkable accomplishment in the grand scheme of superhero characters. When a female character can be both lovable and sexy, everybody wins.

Final Score: 8 out of 10

Upholding and Underscoring a Legacy: Action Comics #51

The following is my review of Action Comics #51, which was posted on PopMatters.com.

Imagine for a moment that the iPhone has been around for 75 years. How many updates, reinventions, breakthroughs, and setbacks would it have gone through? How many features would it have added, dropped, or botched entirely? It's difficult to imagine because there aren't a lot of things that last 75 years these days. There aren't a lot of things that last 25 years these days, the Simspons notwithstanding.

Despite the onslaught of time, Superman finds way to endure. He's goes through transitions, relaunches, reboots, revamps, and gimmicks that would've broken a lesser character. From Superfriends to Richard Donner to Batfleck, Superman navigates these shifting eras as few characters can. Sure, he's been cloned, killed, resurrected, de-powered, and overpowered. He still endures as the heroic ideal, one who sets the standards by which all heroes not named Deadpool are measured.

With the New 52 era coming to an end to make way for Rebirth, Action Comics #51 prepares Superman for yet another transition. It's a transition that presents a unique set of challenges and not just those that involve being upstaged by Batman every now and then. Losing his powers and having his identity exposed now forces Superman to reassess his position in the DC universe. He'll always be one of its primary pillars, but even he understands there's only so much Superman can do, even if he can do obscenely more than most.

It's for that reason that Action Comics #51 builds a story around Superman preparing the world for a time when he can no longer fulfill his position as the gold standard for heroism in the DC universe. It's not him being proactive either. Once again, Superman is dying. This should carry a lot of emotional weight, but between All-Star Superman and Batman v. Superman: Dawn of Justice, these emotions feel too familiar.

Despite this familiarity, there are important concepts at play here in terms of Superman's legacy. The issue is these concepts are underdeveloped and underplayed. Action Comics #51 puts Superman in a situation where he has to prepare Supergirl for being the last remaining non-clone, non-hybrid, non-alternate universe Kryptonian on Earth. It's a situation that has so many emotional undertones, but few of those emotions are realized.

That's not to say there aren't powerful moments at play. Peter Tomasi makes it a point to have Superman remind Supergirl why he is the pinnacle hero for every era of his 75-year history. He understands that people are afraid of exceedingly powerful aliens and they're perfectly right to be afraid. Someone who can lift mountains, fly through space, and be friends with Batman is bound to make a lot of people worry. That's why what Superman does is so important. That's why it's important that Supergirl carries on this legacy.

This moment, however, is lacking in terms of emotional impact. It's the most defining moment of the narrative in Action Comics #51, but it's a moment that feels rushed and underdeveloped. In addition, the overall setup for the story is rushed. The whole mystery of Supergirl missing is resolved in the quickest, least dramatic way possible.

The details around this mystery are explained in a throw-away flashback that barely qualify as a teaser. It's more like a skippable video ad than an actual part of the story. Nobody will miss anything by skipping it. That might be fine for video ads, but for the overall story in Action Comics #51, it's wastes ink that is better spent refining the emotional undertones of Superman's predicament. Grant Morrison already made a veritable how-to guide for these stories with All-Star Superman so any Superman story that falters with such a story has no excuse.

It's not just the overly rushed pace of the story that derails the drama. There's another side-plot involving Dr. Omen that sets up another conflict that likely can't be rushed. However, it feels entirely disjointed from the primary plot of Superman preparing Supergirl to carry on his legacy. For a story that already feels rushed, being disorganized doesn't. Anyone whose mind doesn't operate on the same wavelength of the Flash is likely to get confused.

Even if the pace is rushed and disorganized, it isn't wholly chaotic. There are still dramatic undertones at work here as Superman prepares himself for yet another death, not knowing how permanent it might be. It feels personal, him reaching out to Supergirl and preparing her for a world where she is the sole bearer of Superman's legacy. For someone whose power levels make solving daunting problems so easy most of the time, it's an important element to highlight. It just isn't highlighted enough.

In preparing for a fresh round of upheaval with the upcoming Rebirth relaunch, there are many loose ends to resolve. Leaving too many unresolved will make printing that all-important #1 on the cover feel like a hollow gimmick. As it stands, Superman has more loose ends than most. Action Comics #51 at least begins the process, but doesn't proceed very far.

Tomasi makes it a point to emphasize the importance of Superman's legacy in the incredibly broad scope that is the DC Universe and rightly so. Superman's legacy is important and passing it off to Supergirl, who has neither his level of experience nor his clout among other heroes, has numerous dramatic undertones. Absent that drama, the emphasis on that legacy feels shallow at best.

Superman dying is a big deal, even if it has been overdone and overplayed since the early 90s. Every major hero gets a death story these days and, being a 75-year-old icon, Superman gets more than most. That doesn't mean that these kinds of stories have to be overly generic. However, this latest attempt is dangerously close to that territory and not even Superman may be able to save it.

Final Score: 4 out of 10

SECRET WARS Announcement: Don't Call It A Reboot

They called it the announcement to end all announcements. I guess this means Marvel will be delivering all it's messages via smoke signals or encrypted code. Surely, they wouldn't abuse the concept of hyperbole this much when they make big announcements every other week it seems. But then again, maybe I'm being too insincere in addition to being too high. There's a reason the Don Kings of the world were successful. They abused certain words in a way that appeals to the dipshit part of our brains that we can't turn off. In that sense, I can't get too mad here because if it works, it's not a dick move. It's just good marketing.

Whatever it's called, Marvel announced it today. Secret Wars is now on track to be Marvel's biggest event since the creation of Emma Frost's boobs. It promises to bring many different worlds together into one arena. It's like every Superbowl winning team and a few playoff caliber teams being plucked from time, placed in one stadium, and turned against one another in a battle to the death. And if 616 Marvel is the 1985 Chicago Bears, then Ultimate Marvel is the 2007 Detroit Lions. Yet for some reason, Marvel has announced that both these universes are about to be turned inside out, upside down, and whatever other position that only Russian gymnasts can achieve so they can be merged into one world.

Marvel Universe and Ultimate Universe Set To Combine In Secret Wars

That's right. That's the announcement. Is it going to soak anybody's panties? No. Is it going to crush anybody's soul? Probably not, except for those who already sold it to get their own reality show. I know some might be expecting me to go on a rant how Marvel has raised the bar in terms of dick moves. I'm certainly drunk enough to go on such a rant. It's not like AXIS and Avengers vs. X-men didn't get me going. But this time, I really don't have anything to rant about. I really don't think this is a dick move. I think this is actually a good thing. Not only that, I think it's more overdue than the release of Half-Life 3.

Although THIS is a dick move in the highest degree.

I've said it more than once on this blog. Marvel's Ultimate universe has gone from being Marvel's crown jewel to being a malignant tumor at the base of its scrotum. It has become less relevant than Paulie Shore and David Hasselhoff combined. Between killing characters, fucking other characters up, and showing the kind of negligence that would make FEMA look competent, Ultimate is a steaming shit stain.

But there may still be a few gems in it that could be salvaged. That's why this merger is happening. In fact, it's a merge that should've happened back after Cataclysm. Instead, Ultimate opted to try another shitty re-launch that ended after 12 issues. It's the equivalent of a dead corpse evacuated its bowels because it really was that bad. But as recent crossovers in All-New X-men have shown, it is still possible to extract something of value from it. Nobody is turning shit into gold here. But when it comes to recycling garbage, Marvel is practically a hippie.

I'm not saying that it'll work, but I think it's better than rebooting and starting from scratch at this point. Marvel doesn't need to do that. They haven't reached the level of obscurity and stagnation that DC had when it decided to reboot. I'm willing to give them a few more years to prove they can avoid fucking it up. By combining Ultimate and 616, they can start fresh without having to throw out the shit so many of us cling to like a security blanket or the last bottle of whiskey. History doesn't have to be rewritten. It just has to be tweaked. Sure, Marvel is still using duct tape for some parts of that history. But as someone who made his first car last way longer than it should have thanks to duct tape, I'm perfectly fine with this. Nuff said!

Strangers In Paradise Chapter 3: Royal Decree is LIVE!

It took way longer than I had hoped, but I'm finally ready to update "Strangers In Paradise." I know. I took way too long. For that, I apologize. There were forces beyond my control delayed my progress. I know it's not a good thing, delaying a story where I'm trying to explore uncharted territory. But I do have a good reason this time. I recently had to undergo some overdue dental surgery. The procedure had some complications, which put me in a world of pain that I still haven't fully recovered from. It was hard enough keeping up-to-date with X-men Supreme. I couldn't find the time I hoped to complete this chapter with the level of quality I wanted. I've finally recovered enough to get the job done. Now it's here.

This is set to be a very emotional chapter. I spent the entire previous chapter just establishing the chemistry between Clark and Diana. Being stuck on an island with nothing but time and youthful hormones can be a dangerous combination. They came together in a way they never could have anticipated. Now Diana's mother and sisters have uncovered her secret. It's going to lead to a very emotional and very difficult conversation that will change the course of her life and Clark's. This is a chapter that I hope is worth the wait for Superman/Wonder Woman fans.

Strangers In Paradise

Chapter 3: Royal Decree

Barring another major surgical procedure that cripples me with pain, I hope to post the next chapter much sooner. Nuff said!

Melodrama Within the Heat of Battle: Superman/Wonder Woman Annual #1

The following is my review of Superman/Wonder Woman Annual #1, which was posted on PopMatters.com.

There's a time and a place to deal with personal issues. An all-out alien invasion, is not one of them. There's a reason why there aren't any crossovers between Twilight and War of the Worlds. One conflict just does not accommodate the other. It's like trying to throw a fancy dinner party and a paintball tournament at the same time. It just doesn't work. However, this is often what Superman and Wonder Woman have had to do over the course of their relationship.

Throughout this series, which has created a strong narrative around a blossoming relationship, Superman and Wonder Woman do set time aside to develop their relationship, as all healthy couples do. It has led to many strong, intimate moments in between battles against gods, aliens, and everything in between. Whereas most couples have a hard time planning their private time around work and football games, these two have to find that time when a new global threat seems to enter the picture at least twice a month. Because of this, they often have to multitask between being two of Earth's most powerful heroes and being in a mature relationship. In the Superman/Wonder Woman Annual #1, their capacity to multitasking is tested in a big way and they don't necessarily pass with flying colors.

For most of the Superman/Wonder Woman series, DC's de-facto power couple have been able to achieve a consistent balance between dealing with threats and growing together as a couple. In the same way that couples who play together stay, couples who take on gods and killer aliens between date nights have more going for them than a typical Friday night fling. But threats like Doomsday, Brainiac, and Cyborg Superman are not the kind of threats that can accommodate a date night. As a result, there's a noticeable lack of balance for Superman and Wonder Woman as a couple. However, the struggle for them as individuals is still plenty compelling.

When Superman became infected with Doomsday, he became one of those problems that can't be worked out by cuddling with Wonder Woman over a candle-lit dinner at an overpriced restaurant. The struggle to control the urge to bring death to anything more complex than a bed of dead algae has been the driving force behind Superman: Doomed. It's a struggle that Superman has to fight on his own because most of it takes place within his own psyche. The persona of Doomsday and the persona of Clark Kent are constantly at odds, wrestling for control. It's like an arm-wrestling match with one of the contestants being on steroids.

This is a struggle that Wonder Woman can do little to effect. She was already able to do her part by helping Superman get off the planet and away from innocent people. But when Superman is forced to return to Earth to deal with an invasion by Brainiac and Cyborg Superman, Wonder Woman has to do even more. However, her struggle isn't as personal because the Justice League and the rest of Earth's heroes get involved as well. Even a power couple needs reinforcements at time. Love alone is not a viable defense against alien drones.

The scale of this battle is well-developed and more than appropriate in the context of the story. It would have been easy to shrug it off and assume that the heroes of the DC Universe are so used to fighting off alien invasions that it's not a story worth telling. For a story built around personal struggles, it provides a greater perspective that is easily lost in big crossover stories in the same way a chirping bird is lost at a rock concert. However, this also has the effect of limiting the collective struggle between Superman and Wonder Woman that gave so much weight to the drama in this battle.

In the midst of this global battle that involves some of DC's biggest heroes, Wonder Woman has to confront Superman again. And once again, she has to fight him while he struggles to regain control of himself. But it's a struggle that becomes secondary in wake of the many other ongoing conflicts involving Brainiac and Cyborg Superman. That's not to say the priorities aren't in order. A global invasion and a psychopathic alien intelligence definitely takes priority over personal struggles. Because of that, Wonder Woman's struggle to help her lover has a limited impact in the overall struggle. It's more a salad than a main course.

That's not to say there aren't some emotional moments in this struggle. Wonder Woman's presence definitely affects Superman's inner struggle against Doomsday. And Wonder Woman is certainly affected when she comes close to slaying Doomsday. However, these emotional moments lack significant depth. There's never that heart-wrenching, Old Yeller level struggle. The way Superman is able to assert control over Doomsday just seems too easy and too smooth. It's pretty jarring from earlier struggles in this story, many of which involved a more intimate struggle with Wonder Woman. This didn't really come off as one of those struggles that they would tell and re-tell their grandkids one day. It felt like one of those more tedious steps in a much larger conflict.

That overall conflict is still unresolved. Superman is still infected by Doomsday and the invasion by Brainiac is not over. Superman/Wonder Woman Annual #1 succeeded in expanding the scope and scale of this conflict, but did little to expand upon the personal drama. It had the feel of a Superman comic more than a Superman/Wonder Woman comic. There was plenty of room for melodramatic substance, but that room was taken up by theatrical style. Overall, it helped move the Superman: Doomed narrative forward in a meaningful way, but with less emotional weight than previous entries. This is still a conflict that's going to require more than a few date nights and flower bouquets to work through, but it's not going to require extensive couple's therapy just yet.

Final Score: 7 out of 10

Strangers In Paradise Chapter 2: Secrets and Deception is LIVE!

It's not easy exploring new creative territory, especially when I have so much to explore in my current creative endeavors. But part of getting better at anything involves taking a chance and exploring uncharted territory. That's what I was doing when I began pursuing my first ever Justice League story, "Strangers In Paradise." I had never written a DC Comics story, let alone one focusing on their power couple, Superman and Wonder Woman. But after seeing how this relationship unfolded in wake of Justice League #12, it's something I wanted to explore. And so far, the response has been great.

I was genuinely surprised by the good feedback I got for the first chapter of "Strangers In Paradise." Considering how much time I've dedicated to X-men and Marvel stories, I thought it would be a difficult transition. In many ways it is, but I'm glad to see that this hasn't stopped some from enjoying the story. It has me hopeful about the prospects of this story because I don't intend it to be as short as some of my other side-projects. I'm treating this as though it were a volume of X-men Supreme. Now that means updates for this story won't be as quick or as regular as X-men Supreme. This story is a side-project. X-men Supreme remains my main focus since that is the bread and butter of my creative endeavor. But I still have every intention of seeing this story through.

It has taken me a bit longer than I thought, but I have completed and posted the second chapter of "Strangers In Paradise." In the first chapter, I set the stage for Clark and Diana to meet at a point in their lives when neither of them are superheroes. Clark Kent is just starting to be Superman and Diana has not yet become Wonder Woman. Yet their paths cross by accident and despite some difficult circumstances, they forge a connection. Now in this chapter, that connection begins to blossom in a very powerful way. It will set the stage for some very heartfelt moments that Superman/Wonder Woman fans and Justice League fans in general should really enjoy.

Strangers In Paradise 

Chapter 2: Secrets and Deception

If the response for this story continues to be strong, I will try and update more regularly. For now, I work on this story whenever I can spare some time in between writing reviews and developing X-men Supreme. There's still plenty more to tell and I hope it leads to more and better awesome for everyone. Nuff said!

Scanned Thoughts: Superman/Wonder Woman Annual #1

In an era of no-fault divorce, mail order brides, and cheap boob jobs, there’s a lot of incentive for people to give up on relationships. If given the option between actually working through a problem or just finding someone else who doesn’t have that problem, a majority of those people will just say, “Fuck it,” I’m done with this shit. And it’s not just out of sheer laziness, although trophy wives and burned out rock stars make that hard to believe. Some people just have problems that are too fucked up to fix with counseling and make-up sex. Human beings are often irrational, unreasonable creatures who tend to get even more irrational and unreasonable when someone else doesn’t solve their problems for them. That’s why the strongest relationships and the most epic love stories aren’t the bullshit premise of every Hugh Grant movie ever made. They’re the result of couples who take the time to work through their shit.

Superman and Wonder Woman are one of those couples that has to deal with more shit than most. Even a couple of recovering alcoholics don’t have to survive being in a nuclear explosion or dealing with asshole relatives who happen to be gods. Yet despite all the complications and all the bitching and moaning from fans claiming it’s just a gimmick for the 50 Shades of Grey crowd, they’ve found a way to make it work. Since hooking up in Justice League #12, Superman and Wonder Woman have actually put a conscious effort into developing their relationship and making it stronger. That means doing crazy things like supporting one another when shit gets tough and enduring when things go wrong. That doesn’t take someone with a PHD in psychology and gender relations to figure out, but dozens of shitty Disney movies have led us to believe that everything works itself out on its own. Well now that Superman is turning into fucking Doomsday, he and Wonder Woman can’t exactly get through this with self-help books and therapy. They need to find a way to get through this shit while being willing to beat up anyone or anything that gets in their way, which includes fending off an alien invasion. The Superman/Wonder Woman Annual #1 is ground zero for this struggle and I hope other couples follow along. Maybe then they’ll understand why leaving the toilet seat up isn’t grounds for divorce.

That struggle has already reached epic levels of fucked up. Superman, still infected with Doomsday, had to leave the Earth, both because he can’t fight the urge to kill everything within a 200-mile radius and because Lex Luthor poisoned the atmosphere with Kryptonite. For once, the cold emptiness of space is a lot safer than Earth and since this is the same Earth that contains spiders, jellyfish, Donald Trump, that’s saying something. But it doesn’t stay safe for long and not because of space spiders either.

Superman end up confronting Cyborg Superman, who is like an erector set powered by a billion nuclear reactors. Yet it’s still an unfair fight because a Doomsday-powered Superman still sees it the same way most people see a wounded tarantula. The only natural instinct is to crush it and burn the entrails. Cyborg Superman tries to taunt Superman, saying that he’s got a whole fleet of fancy alien robots heading to Earth and he’s too late to stop it. He might as well told a meth head his mother is fat because even with an alien fleet of killer robots, it’s still not a fair fight. This only means Superman isn’t going to stick around to rip apart Cyborg Superman in ways that would make Charles Manson nauseous. But I imagine it’s still on his to-do list.

And Superman isn’t the only one who is going to be pissed at an alien army is heading to Earth. The Justice League usually take an interest in incoming alien invasions. This is the same league that fought off an invasion from Darkseid so they’re going to take this shit pretty seriously. Steel, who has been working with Lana Lang for most of this crossover event, give them a few warnings, but they don’t end up being necessary because the fleet ends up taking out Earth’s defense grid. While defense contractors may appreciate being paid to rebuild it, this doesn’t bode well.

But that’s not to say that Lana and Steel aren’t completely useless in warning the league. This is where it shows there has been some real, honest-to-Rao effort put into this story. Lana Lang, who is two parts Elon Musk and one part Jessica Alba in the New 52, reveals the source of the mysterious plague that knocked everyone in Smallville and Metropolis into a coma. She says the plan is to do this to the entire world, that way Brainiac’s forces don’t have to deal with these annoying humans. It’s so brilliant that it makes Darkseid’s plan look like it was organized by Andy Dick. It also shows that Lois Lane isn’t the only human woman in the DC universe who can contribute with an attitude and a great rack.

Despite having plenty of warning and details of the alien battle plan, it still couldn’t hurt to have Superman on the front lines. I know it makes for a shitty situation on all sides in that people have to choose death by Doomsday or death by alien robots. But since Doomsday has made it clear that he doesn’t use anal probes and Brainiac has shown no such assurances, I think that makes the choice pretty clear.

This still requires Clark Kent to fight for control against the influence of Doomsday. It’s a struggle that has been ongoing for most of this event. At times, it has fluctuated wildly. Clark Kent’s will-power is strong, but Doomsday is basically the Hulk on cocaine binge. Yet in some strange way, Superman ends up influencing Doomsday. It actually supports the idea of returning to Earth to protect Superman’s adopted home. That may just be because it’ll surround him with more fleshy targets, but it’s the first time that Doomsday is shown to have a personality with more depth than Al Gore.

The battle against the Brainiac invasion begins and again, there’s considerable effort at making it appropriately epic. Other members of the Justice League get involved, as anyone would expect in the face of an alien invasion. The scope and scale of the attack is nicely conveyed. It might not sound like a big deal, but in an era where refinement is only reserved for energy companies and hard liquor, it feels refreshing. It’s like a bag boy at a grocery store going out of his way to help. Few expect it these days, but it’s deeply appreciated when it happens.

When Superman arrives to the battle, the Kryptonite in the atmosphere knocks out Clark Kent and lets Doomsday give a spikey middle finger to all notions of anger management. That means Brainiac’s fleet stands no chance. They might as well be shooting at a tank battalion with marshmallow guns and stuffed kittens. It’s as satisfying as it sounds without adding chocolate and graham crackers to the mix.

The scope and scale continues to grow, giving the battle an even more epic feel. It goes beyond the Justice League, touching on skirmishes all over the world. The Teen Titans, Swamp Thing, and the Red Lantern Corps all get to play a part. And Cyborg, being the Justice League equivalent of Siri, monitors the whole thing to help give a comprehensive perspective on this battle. Again, this is way more effort than I expect. If only the post service and my cell phone carrier put this much effort into their work, I wouldn’t be waiting in line at the post office or dealing with dip-shit tech support people every other Tuesday. It shouldn’t be this overwhelmingly awesome. It shouldn’t have to be. Yet here we are and I’m not complaining, not until my cell phone service starts fucking up again anyways.

As this epic battle is going on, Steel and Lana aren’t done contributing. The alien invasion by Brainiac’s fleet is in full swing, but Cyborg Superman is nowhere to be seen. And he’s not doing the cyborg equivalent of jerking off either. He doesn’t seem to think that a global alien invasion is enough. Darkseid already did that and it’s about as trendy as crocs and ug boots. So Cyborg Superman is planning something else, which involves constructing this big ass ring on the dark side of the moon. He’s assuming the rest of the world is distracted with the whole alien invasion and it’s not an unreasonable assumption. Lana and Steel know this and understand they can’t expect anyone to lend a hand when they’re fighting off alien rectal probes. So they have to be the ones to deal with this. It’s a pretty woman and a badass black guy in a steel suit. That sounds like both a fair fight and an awesome porno.

It’s just another in many other awesome fights that continue to unfold. Doomsday is certainly enjoying himself, having both killer alien robots and a planet full of fragile, squishy life to maim. But when he starts to have a little too much fun, Clark Kent tries to fight back to keep him from going on a Hulk-style rampage. Keep in mind, he’s trying to do this while the whole planet is shrouded in Kryptonite gas. He really shouldn’t have the strength to fight back against someone like Doomsday, let alone stop himself from vomiting uncontrollably like a teenage boy sitting through a Twilight marathon.

Now I know Superman is all about strength, will-power, and accomplishing the impossible, but this is starting to push it. The first time the kryptonite came into effect, he went down faster than Jenna Jameson at a dildo factory. Now he’s up and fighting again, surrounded by kryptonite and going up against someone like Doomsday? I’m all for rooting for the underdog, but not when it’s this unrealistic. It’s like rooting for the Mighty Ducks against a team of Canadian ninjas.

To be fair, it’s not a struggle that Superman is able to win. He slows Doomsday down, but he doesn’t overcome him. If he did, then that would be too unbelievable even for Superman. This is the point where he needs help from a beautiful woman like Wonder Woman. This is supposed to be their book anyways, even if it is a tie-in. This is one of those struggles that a couple needs to work out together. Granted, this isn’t one of those anger management issues that can be addressed through counseling and appearances on Dr. Phil. But they’ve been helping each other and supporting each other since their relationship began. Why should it be any different when one of them is possessed by an alien killing machine and the other happens to be the God of War? It’s certainly a more reasonable fight than who left the toilet seat up.

While I’m sure the Lois Lanes of the world want to cook up some popcorn and jerk off to a Superman/Wonder Woman fight, this struggle ends up being secondary. There’s still the matter of an alien invasion and a secret plot by Cyborg Superman. That doesn’t mean the Superman/Wonder Woman battle should be secondary. As I said, this is still their fucking book. But it’s still part of a larger crossover event so the melodrama that has soaked the panties of many Superman/Wonder Woman fans in this series has to wait.

Steel and Lana Lang are still caught up in a fight that might end up being more important than any lover’s spat or alien invasion because they’re trying to stop Cyborg Superman from dumping napalm onto the fire. Steel tries to slow him down, but even he knows it’s not a fair fight. A man in a steel suit is not going to measure up to a cyborg Superman in the same way 12-year-old with boxing gloves is not going to measure up against a hungry polar bear. Even Lana knows this and she’s able to make it a fair fight, getting in a few shots with the ship and showing that she has bigger balls than most men could ever boast to having.

As badass as Lana Lang is, she still manages to get herself shot out of the sky. Cyborg Superman doesn’t just shake off cheap shots. It forces Steel to abandon this horribly unfair fight and rescue her from the ship. It’s incredibly heroic and all, a guy rescuing a pretty girl who just saved his ass. But it still leaves Cyborg Superman intact and probably laughing his ass off. To be fair, they were overmatched and had nobody to call. Yet that didn’t stop them from being as badass as the situation allowed them to be. Most would have started playing games on their phone and waited for Batman to solve the problem. These two actually made the effort and for that, they deserve a shot of tequila and a bong hit.

The fight against Doomsday Superman and God of War Wonder Woman is a bit more balanced, but not in the same way. This is the battle that has the most drama, an out-of-control Superman against a beautiful woman who’s desperate to save him. This the battle that’s supposed to soak the most panties and trigger the biggest boners. Clark Kent is losing his struggle to regain control and Wonder Woman is running out of time because Doomsday is ready to start using innocent people as chewing gum. At this point, the only way to stop him is to treat him like a zombie in a Resident Evil game and go for a headshot. And only Wonder Woman has the hand cannon to do it.

It’s a moment that should be very emotion. However, it’s somewhat rushed. Wonder Woman does plead with Superman to regain control so she doesn’t have to give him the Marie Antoinette treatment. It just doesn’t feel as dramatic as it could have been. Compared to the effort and details put into every other part of the story, it feels sub-par. If it were a math test in high school, it would get a C-plus. It’s still a passing grade, but not as great as it could be. I don’t mean to channel like my bitchy old algebra teacher, but I hold stories of this scale to a higher standard.

In the end, Wonder Woman’s pleas aren’t the deciding factor. It’s actually Batman’s doing, of course. I know some Superman fans will bang their heads against the wall for this, but his role is important here because he finds a way to remove the kryptonite cloud from the air. That means Clark Kent is no longer weakened and incredibly pissed off because Doomsday was hurting his girlfriend. It allows him to regain control so Wonder Woman doesn’t have to resort to a head shot. Again, it could have made for a much more dramatic moment than it turned out to be. It didn’t fail, but it didn’t pass with flying colors either.

It still helps that plenty of effort is put into conveying the scope and scale of this battle. We get another big-picture look at the overall struggle. Cyborg reports that heroes on multiple fronts are beating back the alien invaders in a way that would make an awesome Independence Day sequel. And with Superman regaining control, it seems the tide for the battle has finally turned. It’s still not over. Superman and Wonder Woman aren’t quite yet ready to get to the makeup sex just yet, but they’re a bit closer now.

Unfortunately, they’re not as close as they think. The battle on Earth might be won, but Cyborg Superman didn’t seem to give three hundredths of a shit about that battle. He was busy working on that big cosmic ring behind the moon. Once Steel and Lana left the battle, he finally had a chance to reveal what it was for. Turns out, it wasn’t meant to be a cock ring for Ron Jeremy. It was meant to be a planetary sized boom tube to allow a planetary sized monster through. I’m not sure what kind of monster this is. But it’s the size of a planet and it looks like a cross between a squid, a tarantula, and the Terminator. I think I’ll just skip the part where I guess and go right to shitting myself.

There were plenty of epic struggles in this issue. We had an alien invasion from Brainiac, a plot from Cyborg Superman, and Doomsday attempting to overwhelm Superman yet again. All these struggles were presented on a global scale that was richly detailed and gushing with awesome on so many levels. However, there were a few levels of awesome missing from the mix. One of the greatest strengths of the Superman Doomed arc has been its ability to inject sincere personal drama into a plot that involves spikey gray Hulk wannabe fighting the urge to sterilize all life from everywhere within a 200 mile radius. The personal struggle with Clark Kent trying to fight the influence of Doomsday along with Wonder Woman doing everything she can to help him in that struggle has made this event both compelling and epic.

However, that greatest strength might as well have been a watered down shot of light beer in this issue because it played only a minor role in the overall global struggle that emerged. Now it helps that this global struggle was very well-developed and very epic in its own right. However, that lack of dramatic impact is very noticeable. There’s not the same sense of emotional struggle that there was before, which makes the issue feel somewhat unbalanced. It’s not unbalanced to the point where it needs a high dose of lithium and shot of Valium to settle down, but it’s still noticeable enough for a drunk. I give the Superman/Wonder Woman Annual #1 a 7 out of 10. It has a lot of great shit going for it. It’s just not the same shit that made this event so compelling to begin with. I’m all for a diversity of awesome. But when it gets to a point where it can only be consumed while sober, I think that defeats the purpose in some respects. Nuff said!

New Side-Project: Strangers In Paradise - A Superman/Wonder Woman Story

I know I just started work on X-men Supreme Volume 5: Dark Truths, but X-men Supreme is not my only project. There are very few days where I don't contemplate other stories. Most of those stories don't make it to the first chapter, let alone a complete idea. But for the first time in quite a while, I've come up with something that is sufficiently awesome to pursue.

I've already revealed in previous posts on this blog that I have a soft spot for the Superman/Wonder Woman romance. I've also revealed that I have my own unique perspective on romance in comics, namely that it shouldn't suck. There are a long list of romance stories in comics that sound good on paper, but end up sucking because there isn't an effort to actually develop the relationship in a meaningful way. It often leads to stories and relationships that end badly.

Case and point.

But I think DC Comics has done a great job of developing the Superman/Wonder Woman relationship. On paper, it sounds next to impossible because Superman has spent the last 70 years linked to Lois Lane. And I've got no problem with that relationship. It's definitely one of the most epic comic book romances of all time. But Superman/Wonder Woman bring something different to the table. They're both heroes. They're both in the same line of work. They were teammates before they became lovers. They understand their struggles in being Earth's greatest heroes while dealing with all sorts of complex personal issues. This allows them to relate to one another on a powerful level. And in the past few years that DC has actually put the energy into developing this couple, it has become one of the best in all of comics.

Also, it's pretty damn sexy.

This has helped inspire me to create my own story, which I call "Strangers In Paradise." This is a story I never could have told without the impact of the New 52 because it incorporates elements from the New 52 into the setting. I've tweaked a few things, giving the DCU my own little twist in the same way I did with X-men Supreme. But I didn't change much. I only used this setting to tell a Superman/Wonder Woman story from a very different perspective.

The base of this story comes down to this: what if Superman and Wonder Woman met when they were younger? In the New 52, their early lives before they became members of the Justice League are explored. In Wonder Woman's solo series, as well as the relaunched Action Comics series, we see that they too went through a phase that involved them being young and dumb. It's actually pretty telling when even Superman and Wonder Woman aren't immune to the irrational influences of youth. But in this story, I take it a step farther.

In this story, Superman is 21 years old and still wearing blue jeans when he's wearing the cape. Wonder Woman is only 17 and hasn't even left Themyscira yet. They're young and horribly uninformed about the world as a whole. So what happens when their paths cross by accident? What kind of relationship develops when they meet each other at this vulnerable age when they're still surrounded by all these crazy influences? And keep in mind, some of these influences have godly powers. It's a story that develops the Superman/Wonder Woman relationship in an entirely new way and I hope it will resonate with fans of Superman, Wonder Woman, romance, and awesome stories in general.

Superman and Wonder Woman: Strangers In Paradise

Also, I want to make clear that pursuing this story will in no way affect the update schedule for X-men Supreme. That will still be updated on a biweekly basis unless I announce otherwise. Updates for this story were be less frequent. I don't have an update schedule at the moment. It depends on the amount of feedback I get and the amount of time I can spare without disrupting X-men Supreme. As always, I strongly encourage everyone to provide feedback on this and every other story I write. I really hope Superman/Wonder Woman fans enjoy this and I hope it leads to more awesome stories. Nuff said!

Doomed Concept: Superman Doomed #1

The following is my review of Superman Doomed #1, which was posted on PopMatters.com.

The best tools have multiple uses for multiple tasks. That's how some people can be dropped on a remote desert island with nothing but a pocket knife and some duct tape and survive in ways that would put Gilligan's Island to shame. But some tools are defined by their utterly singular use. A sledge hammer only has so many functions. Nobody can ever say a sledge hammer helped them craft an ice sculpture of the Virgin Mary. However, these tools are often designed with this singular use in mind. It's fairly reasonable to conclude that the inventor of tequila didn't call it a success because it tasted good. Like any drink only meant for getting drunk, certain characters are brewed for one desired outcome. Doomsday is basically the sledge hammer/tequila of the DC Universe, which makes an event surrounding him conceptually questionable.

Doomsday as a character has only one use: to kill Superman. It has succeeded before to an extent. This was the creature that killed Superman in the now iconic Death of Superman arc, a story that might or might not have been nullified by the New 52 reboot. It has already shown up before in Superman/Wonder Woman, albeit briefly. Now an entire event is being built around Superman battling Doomsday. The main selling point is that unlike 99 percent of Superman's enemies, this one is as strong as him and fully capable of killing him. That means that those who complain that Superman is too powerful will have little to complain about in Superman Doomed #1, the first issue in a crossover story that will consume every Superman comic.

This story effectively builds on Doomsday's earlier appearances. Before, this mindless creature was like Stan Lee in the Marvel movies, popping up every now and then and not having much of an impact. Now the creature has stopped biding its time and begins making its presence known, which for Doomsday involves the kind of wholesale slaughter usually found only in Rambo movie. Superman, obviously not a Rambo fan, takes it upon himself to stop Doomsday. He gets help from everyone he can, including Lex Luthor. That alone demonstrates the power of this creature. It's dangerous enough for Superman to actually agree with Lex Luthor.

But this issue doesn't just involve Superman looking for ways to battle Doomsday. This battle unfolds in the midst of another conflict that involves everyone in Smallville falling into a coma. This is how Lois Lane and Lana Lang get involved, adding some personal stakes to what could have otherwise just been a glorified street brawl between overpowered characters. However, the link between this story and Doomsday is poorly defined. The lack of connections make it an aside of sorts. The same thing happens with Steel, who briefly gets to have a shot at Doomsday. But he might as well be a warm-up battle because little comes of it. So while there is an effort made to make this story about more than a mindless beast capable of killing Superman, those efforts lack refinement. It's like a computer with no WiFi in that its function is limited.

In the end, it still turns into a story that's mostly about Superman battling Doomsday and therein lies the flaw in the concept. This is pretty much the only way for the story to go. It's like a destination that has only one road leading to it. The story has to unfold this way. As a concept, it's inherently predictable. As a theme, it's exceedingly narrow. However, an effort is still made to ensure Superman Doomed #1 doesn't become just another Death of Superman knock-off. While most of the story does involve Superman fighting Doomsday, the end result opens the door to paving a different path that helps make it at least somewhat less predictable.

There's no question that when Superman is focused on a single task, he's more than powerful enough to see it through. This is someone who has moved planets, traveled through time, and managed to befriend Batman. So when he takes on Doomsday, he doesn't hold back. But in doing so, he finds out the hard way that he's fighting something he doesn't fully understand. This is yet another instance where Superman could learn a thing or two from Batman because by focusing on stopping Doomsday from hurting anyone else, Superman sets into motion the most menacing threat from the creature. He essentially sets the stage to become Doomsday himself. That's something Batman would've figured out, albeit at the last possible moment. But in the end, it's too late.

So even though the battle between Superman and Doomsday doesn't turn into a ripoff of Rocky IV, it's still somewhat predictable. Superman tries to defeat Doomsday, but by using only his fists, he incurs some unexpected damage. It might be an epic, visually stunning battle, but it's only the first round. And few fights that don't involve Mike Tyson or Muhammed Ali in their prime end in the first round. Future rounds promise to take on a very different form, which involves Superman fighting himself even harder than he fought Doomsday. And that's another concept that is inherently flawed on many respects because if the only way to stop Doomsday is to become him, then that just reinforces the character's primary purpose of challenging Superman.

Flawed concept or not, the execution of the story is still solid and the conflict it creates is set to expand into every Superman title. The connections to this story are still not in place, but the scale of the conflict has been effectively set. Superman Doomed #1 manages to set itself apart from a typical Superman-battles-a-killer-monster narrative. It creates a conflict that is both daunting and personal for Superman and one that will rely as heavily on his supporting cast as it will on his strength. While the concept may be akin to a very simple tool with a singular use, this doesn't make that tool any less effective.

Final Score: 6 out of 10