Legion: Secret Origin #5 review

The Legion's first attempt to recruit Superboy in the 21st century is stymied when an unknown, powerful force reaches out and tosses their new time bubble back to the future. In the 31st century that same being is possessing United Planets security wallah Mycroft and ordering him to kill Legion benefactor RJ Brande.

Having returned to their own time without Superboy, Saturn Girl, Cosmic Boy and Lightning Lad join their teammates in outer space, to take on the unidentified warships entering UP territory. It's their first time fighting outside Earth's atmosphere, but the tyro team takes out their enemy, with much of the credit going to newest member Ultra Boy.

As the book closes, with Mycroft about to spring a trap on Brande, we see that the being who's taken him over is ... the Time Trapper.

Well, probably. That's my interpretation of the shadowy figure drawn by artists Chris Batista and Marc Deering. And it makes sense, given this villain's apparent mastery over time. We'll find out for sure next month, in the conclusion to DC's latest origin of the Legion (collect 'em all!).

My favourite moment this time isn't one of the strands already mentioned, but a tiny bit of characterisation involving Phantom Girl and Triplicate Girl; it's nice to see the beginnings of the Legion's classic couples (click on image to enlarge). Well, one of' 'em, anyway - Triplicate Girl never got further than mooning over Superboy in previous continuities.

Other commendable bits of characterisation in Paul Levitz's breezy script see Invisible Kid showing Brainiac 5 that while he may be as clever as he thinks he is, others have smarts too; and Gim Allon being colossally cheesey.

The art's bright and bold, as befits a Legion origin, but Batista over-elongates his characters, at times. The black-clad Invisible Kid, in particular, looks for all the world like he should be going by Stick of Licorice Lad.

With five down and one issue to go, I can't see this mini-series coming up with an ace now to blow me away. This most detailed retelling yet of the Legion's beginnings is a pleasant read, but entirely missable. Really, it's only for longtime fans with pockets as big as Colossal Boy's.

The Shade #5 review

Anyone for a drop of La Sangre? Barcelona's vampire heroine, previously seen in Shade writer James Robinson's underrated Superman run, steals the show in this instalment of the 12-part Starman spin-off. Gentleman thief and occasional hero Richard Caldecott, the Shade, seeks out La Sangre to ask for her help with a family matter. But while she's willing to give it, a more immediate problem shows its ugly head - her arch nemesis, the Inquisitor, is back, and baying for her blood.

It may seem odd that a book with several dark moments left me with a silly grin on my face; the thing is, this comic is delightful. From Robinson's frothy script to Javier Pulido's sprightly art by way of Hilary Sycamore's colours and Todd Klein's letters, I had a ball.

First off, that script. It's blood and blood ties and blood feuds, quests and jests and tests. We learn something new about the Shade's past and nature, and how La Sangre - the happiest vampire you ever did see - came to be. Robinson is a gifted storyteller, tossing his clever little tales at one another and letting them collide and connect in a game of narrative billiards. I can't tell you whether I'm more interested in Darnell Caldecott's search for truth, La Sangre's latest tussle with the Inquisitor or Shade's flashback to an encounter with pirates - all are compelling, in their own way. And I love that in a DC Universe containing a vampire as heroically gloomy as Andrew Bennett - namechecked here - there exists a young woman who uses her dark gifts to be a superhero.

As a Spaniard, Pulido is perfectly placed to present a Barcelona-set tale - you won't be surprised to learn Robinson tailored it to his talents. So we get a pitch perfect depiction of Gaudi's La Padrera building, hero and villain fighting during the Spanish Civil War and a stroll down the more surreal streets of today's Barcelona. Best of all, there's the pixie-ish La Sangre, Little Red Riding Hood with a bit of Bad Wolf in her veins. Pulido also does a fantastic Shade, strikingly handsome in his Mandrake the Magician topper.

And while I'm not a fan of repeated images, there's one spread in here that's so creative, that works so well, that it was awhile before I noticed he'd apparently used the one central image in a dozen different ways. Deadline saver or experiment? I suspect the latter, and if so, it works.

Pulido does great action sequences too, his characters moving with a balletic grace rare on the comics page. And it's all intelligently, beautifully coloured by Sycamore - subdued here, Pop Art bright there - it's unashamed comic book colouring rather than overly modelled attempts at naturalism.

And laying down the lettering is the legendary Todd Klein, master craftsman and cracking cook (I'm not sure a vegetarian should be lettering this issue, but I'll let it go). While Klein never gets showy for the sake of it, if a character suggests a distinctive font treatment he's happy to oblige, and that's what the Inquisitor gets here.

All this, and a killer cover from Tony Harris.

The Shade #5 is another riveting chapter in the life of DC's most charming rogue. Don't miss it.

Justice League #6 review

Earth is under attack by parademons from the evil world of Apokolips but seven superheroes have assembled to form our planet's last, desperate defence. While five face down the leader of the invasion, Darkseid, two are stranded on his hellish world.

Set five years in the past of the rebooted DC Universe, this comic features heroes with considerably less experience than we're used to. Happily, Darkseid, too, seems strictly bush league. Instead of using his planet-shaking strength as a New God to inflict damage on Wonder Woman, Aquaman, Green Lantern, Cyborg and the Flash, he stands around dumbly as they pile on. The terrifying, unstoppable Omega Beams of previous issues go unused before two of the heroes put paid to that idea by getting stabby with their weapons. And as for sending Darkseid back home with his tail between his legs, wouldn't you know it? Cyborg has an app for that.

Yep, I'm underwhelmed. We've spent five issues building up Darkseid as a massive threat only for him to be defeated by his accidental creation of Cyborg mid-incursion. His own tech, seeded into the metal suit created by Victor Stone's dad, sends him packing. Which is ironic, but far too pat - Cyborg happens to have the means, something the suit handily tells him.

The one moment which sees the heroes use their brains - Aquaman and Wonder Woman disabling Darkseid's eyebeams - is undersold. With neither mention nor display of the Omega Beams this issue, newer readers might assume the heroes are simply homaging the old 'injury to the eye' motif.

We do get to see the beginning of teamwork, even if it is pretty much of the 'all pile on' variety. That's fair enough, this is the origin of the League so the members-to-be don't necessarily know one another's shticks. And Batman and Green Lantern prove useful at geeing up a doubting Cyborg, while GL helps Superman resist Darkseid's grip.

A big scene last issue saw Batman tear off his mask, cape and chest-symbol and allow himself to be taken to Apokolips, in the hope of finding Superman. As we join him, it seems the parademons didn't bother sticking him on a meathook, a la the unfortunate background players, meaning he's free to skulk around as henchman Desaad reveals what Darkseid is after (for once, not the Anti-Life Equation). Maybe Batman used his escape artist knowledge to get free, but some reference would have been nice. It's not like this 24pp story is packed with plot detail that needs the space - nine pages are given to splashes.

Batman proves basically useless on Apokolips, with Superman escaping the torments of Desaad only because Cyborg makes some Mother Boxes go 'ping'. It's very odd, after last month's big set-up - the unCaped Crusader with no plan, and no improvisation. All he does is yell at Superman to wake up and get through a Boom Tube.

Mind, none of the heroes do anything amazing with their powers or skill sets - there are no super-speed tricks, clever green creations, Amazon feats, Kryptonian power combinations, Aqua-action ... it's all bish bash bosh. Hopefully, as time goes on, writer Geoff Johns will show what the heroes can do other than luck out and maim enemies with handy magical weapons.

After the big fight, we move forward a few weeks. An Everyman who appears at the start of the issue, presumably in a belated attempt to put a human face on the cosmic threat, writes a book christening the Justice League. It's a better name than the in-joke tag Flash comes up with at a presidential ceremony honouring the supposed team. And the cover of the book, assuming it features a subsequent JL adventure, warms my heart.

As for this story overall, I'm lukewarm. Johns has provided plenty of big moments for artist Jim Lee to draw, but there's been very little emotional meat. Darkseid sent a bunch of demons to Earth, heroes got together and, mid-bickering, sent him away again. Read as a whole, I suspect this origin will entertain the eye, but leave the mind wondering why so many pages were necessary

It's taken six issues, but by the end of this book the Justice League stands together. Physically, at least. They're still not all delighted at the idea of being a team. Which is disappointing - sure, heroes can be flawed, but when they're in costume I want DC's finest to be shining lights who together form a beacon of hope. Not grumpy buggers who can barely stand to be in the same room together. With luck, as the story catches up with the present day, the Leaguers really will be 'super friends', with more banter than snarking.

Because Johns is good with the banter - there are a few nice gags here that don't disrupt the story tone. And Lee sells them well, alongside the aforementioned big moments. Some of the smaller scenes are less successful, such as this.

Anyone know what happened there? Darkseid's about to hit Diana, but there's a wodge of white. Cyborg's white noise blast? A passing box of explosive soap powder?

Overall, Lee's work - inked by Scott Williams, Sandra Hope, Batt and Mark Irwin - is fine for this kind of story, all noisy and Nineties. The cover's a tad dodgy, mind; the staging of the heroes doesn't draw me in, though fans of strong backs will likely enjoy it. Keith Giffen, back in the Eighties, took the same basic idea and went for a more straightforward composition. I think it works better.

In other news, there's actually a back-up in this $3.99 issue, rather than the customary text padding. It sees the mysterious woman who merged universes to form the New 52 Universe named as Pandora. She and the Phantom Stranger have mysterious conversations, presaging some crossover to come. She's going to do something, he's agin it, she shoots him with guns I can only describe as mysterious. He's fine cos he's already a spook. Or an angel. Or, as this story would have it, a cross between rubbish DC character Pariah and Marvel's Watcher.

Anyway, it's a decent six pages of fannish porn written by Johns and nicely drawn by Carlos D'anda, but the very idea of a huge, titles-crossing storyline so soon after the launch of the new 52 makes my head hurt.

So, that's the opening storyline of the new Justice League, if not ended (there are intriguing mysteries for the future/annoying loose ends) so much as stopped. Lots of flash, not much substance but selling by the bucketload. The big test will be how many newer readers come back after this opening arc.

Hyped as the flagship New 52 book, Justice League fails in DC's stated aim of giving us fresh storytelling approaches to bring in a new audience. The narrative isn't broken into chapters so much as random lumps. Events come and go with little explanation and the significance of occurrences is rarely clear. Familiarity with characters is taken for granted. Recaps? What are those?

The people who will get the most out of this book are those intimate with Jack Kirby's Fourth World saga, able to envision the grand designs in which Darkseid specialises; if you don't know Darkseid and his parademons, the JLA are simply fighting random monsters. Johns does Darkseid a serious disservice, giving one of comics' greatest bogeymen a charisma bypass.

There's little here to bring me back next time, nothing I can see that would make anyone a JL fan. Curiosity will have me back next month to see how the League of 'today' functions, and to check out the debut Shazam back-up. But unless this book starts delivering less drawn-out, more satisfying stories - the 34pp tales of Steve Englehart and Dick Dillin in the Seventies Giant issues would be a useful template - I'm gone.

Teen Titans #6 review

Kid Flash's run-in (sorry) with Superboy has left him out of synch and in danger of vibrating to death - can the rest of the Teen Titans find someone to save him? Who's the emotion-controlling loony at STAR Labs who uses Skitter against the other teen heroes? And why is someone from the 31st century impersonating a current day police officer?

These are the questions raised in an above average issue. Some of them are even answered. Kid Flash's problem is quickly solved because this is the DC Universe, where geniuses are ten a penny. What's gratifying, though, is that as the Titans are in New York the genius in question gets to be Virgil Hawkins, aka fellow teen hero Static. It turns out that not only is he a pal of Red Robin's, he provided him with his new wings.

Other things we learn are that Kid Flash was raised an orphan and is a wanted man in the future, Bunker* is smart enough to give Red Robin a run for his money as leader and while Wonder Girl can speak Spanish, she has a lousy gaydar.

There are other incidental pleasures, but I shan't spoil them all. Instead let's have, not a complaint, exactly, but a query. How the heck is this guy speaking? Grymm looks like Joker Jr but it's another Batman villain, the Ventriloquist, he brings to mind with his closed-mouth jabbering (click on images to enlarge).

I enjoyed that; let's have another question. Wonder Girl, is this really the best way to carry a lariat that seems to be, basically, electrified barbed wire? There's trippy, and then there's tripping oneself up.

And back on the subject of communication, if Superboy really has caused Bart to accelerate to the speed of thought, how is anyone understanding a word he says?

Oh well, the main thing is that this is an entertaining issue that lets us get to know our heroes a little better, drops a new mystery on us, introduces a villain with definite possibilities and presents a (hopefully) future team member in Static. I'll say 'job done' to writer Scott Lobdell, even if if he does insist on having the very silly Skitter around. I don't have a favourite moment this issue - I have two. One sees Red Robin explain to Virgil why he reckons he has more chance of helping Bart than the Flash. The other involves Bunker's knowledge of Supervillain 101. They're two fine character moments, the type that lift a standard teen book above the average.

Brett Booth and Norm Rapmund mesh well as penciller and inker, their layouts crackling with energy. And while, Solstice apart, I don't like the Titans costume designs, they work well together - everyone has their own look that reflects a little of who they are. And they draw a great Virgil - let's hope they're called on to depict him in costume soon. There's also smart colour work from Andrew Dalhouse and lettering from Dezi Sienty.

As I said, a good issue, helped by the fact that the NOWHERE plotline takes a backseat. Hopefully, once the upcoming Superboy/Legion Lost crossover is over it'll vanish completely and give the Titans room to relax and find new, more engaging challenges.

* Love the character, hate the name ... I can never bloomin' remember it. Just call Miguel Brickboy and have done with it!

Aquaman #6 review

Mera goes shopping for dog food, breaks the arm of a sex pest, nearly kills a murderer, is confused by humans and makes a friend. She thinks back to how she came to Earth from a watery dimension intending to kill Aquaman, but changed her mind on learning that he's a good guy.

Yes, it's a busy day for Mrs Aquaman, but luckily she has plenty of room - Arthur is absent until the final page. So the creative crew can show us how awfully 'badass' Mera is, taking no nonsense from anybody. Appropriately named shop owner Randy winds up in an ambulance, appropriately named killed Ryan Slayter winds up half dead. There's no denying Mera does good in teaching the local caveman a lesson and taking a killer off the streets, but she's more brutal than a hero should be.

I enjoy seeing characters use their powers in imaginative new ways and Mera sucking the moisture from Slayter's body, to simulate days without water, certainly qualifies as that. And it's fun to see her control the liquid from water coolers.

But she's so very angry. For 50 years' worth of comic stories, Mera was formidable with her hard water powers - think undersea Green Lantern - and knack for leadership. She didn't lose her temper easily, though tragedy caused bouts of madness. Then Johns 'revealed' that she originally came to Earth from a lost Atlantean colony to murder Aquaman. Happily, she married Aquaman rather than murdered him. But don't think love tamed her entirely ... you don't make an enemy of Mera.

I'd love DC's New 52 to have taken the opportunity to wipe away this retcon. But here it is. Mera remains a woman whose first instincts are to lash out.

Johns bids to make Mera's responses seem justified by surrounding her with provocation; it's not just sex pests and killers, it's members of the public who, rather than listen to her, laugh at 'Aquawoman'. I've written previously about how silly I find the idea that the public considers Aquaman any less a hero than the rest of the Justice League, so won't go into it again here. Let's just say I'm disappointed to see the conceit extended to Mera.

While I'm not a fan of the characterisation, Johns does a good job of writing his Mera - a haughty woman who keeps her vulnerability to her private moments. There's hope that in time she'll conquer the instincts formed by her background and be the hero Arthur is. Her making a friend can only help, though it's a shame Jennifer - previous focus of the frankly unbelievable Randy's harassing ways - is set up as the One Good Person in Town.

For now, Mera is the very model of a modern superheroine - so sexy you can't help looking, but stare for too long and she'll take your head off. I can imagine the fan clubs forming ...

The artwork is easy on the eye. As laid out by Ivan Reis, drawn by Joe Prado and coloured by Rod (gorgeous skies) Reis, Mera is bewitching and her displays of power fascinating. Her confrontation with Slayter is especially well-rendered, her power building along with her rage. The flashbacks to Mera's past are presented with due intensity, the backgrounds are numerous and convincing and 'Team Aquaman' depicts a very cute doggy. The only niggle I have is that, facially, Mera and Jennifer are a little too alike. 

I can see this being a very popular issue. It panders to many readers' preference for kickass protagonists. It reads decently and looks terrific. But while heroes who struggle against their worst instincts can be interesting, Mera never needed to join that band. Give me noble queen over reformed water witch any time.

The Flash #6 review

See that fridge in the kitchen? It's a lot smarter than its equivalent of five years ago. And so is Captain Cold. The head of the Rogues' Gallery has dumped his cold guns after internalising his power and is back to wage war on the Flash.

And this time it's personal. The electro-magnetic pulse which recently rang through Central and Keystone Cities has been blamed on Flash - and it's wrecked Cold's attempts to help sick sister Lisa. So Cold menaces a boat-turned-restaurant to bring Flash out in the open. As luck and comics would have it, Flash is there already in his other identity, Barry Allen, with girlfriend Patty Spivot and reporter pal Iris West. Having defeated Cold many a time, Flash expects, if not an easy ride, a successful one. But Cold has a few new tricks up his ...

... oh.

No sleeves. Captain Cold has a new outfit. It's a tad fey.

Never mind, the original will be back - the classic looks always reassert themselves eventually. Meanwhile, the Flash must work extra hard if he's going to save the innocents menaced by Cold - not previously a killer - and bring in his man. An extra wrinkle is provided by Flash's link to the Speed Force, which means that if he hits a certain level of energy release, the time barrier is breached, bringing Heaven knows what through.

This thoroughly entertaining issue also includes a twist on one of the Flash's old toys, romantic shenanigans with Patty and a kidnapping mystery. Writers/artists Francis Manapul and Brian Buccellato continue to shine, bringing a thoroughly fresh take on Barry Allen that retains plenty of good stuff from years past while offering up original ideas. I'm not kidding. These guys aren't 'simply' adding a sheen of modernity to proceedings, they're rethinking what it means to be a speedster. And I like the answers they come up with each month.

I also like their layouts, which somehow manage to dazzle with their ingenuity without ever bringing the story to a full stop. As usual, the splash spread is among the highlights, as Manapul incorporates the strip's title into his linework, and Buccellato adds extra vibrancy with his colours. And there's something just plain likable about their people, a quiet humour. Well, except for the understandably peeved Captain Cold, who gets a bit of a makeover out of costume too.

I don't like the costumed Cold's new look, but I do like the new-look Cold as he taps his full potential while still viewing himself as just another working stiff. And is the name of the eatery an Easter egg, a coincidence or a hint that there's a Jay Garrick, the Golden Age Flash, in the DC New 52 world?

The only thing I'd change about this issue would be the way it's plotted. The story, as I've indicated, is a winner, but the ordering? Not so much. We go from Now to Yesterday to Last Night to Now to This Morning to (an unannounced) Now to Fifteen Minutes Ago to Five Minutes Ago to Now. I get it, Manapul and Buccellato wish to open on action and sprinkle a little mystery as to how we got to this point. But the technique, pioneered on such TV shows as Alias, has become as cliched as the end montage accompanied by the dreadful Hallelujah. It's a way of ramping up the drama that feels artificial. And it's not needed in The Flash - the creative team puts enough great stuff into this book to justify every scene being Now - an ongoing Now.

And if we really must start on action - heaven knows why, I'm sure all readers will trust something to up the adrenalin will come along soon enough - comics do have a tried and tested tool. The p1 splash page previewing events later in the book. It worked in the Silver Age and it's ripe for reinvention; and it isn't as if it would be needed every issue, I'm sure some instalments would naturally begin on action.

Here endeth the backseat editing. And the review.

Superman #6 review

It's Superman vs Supergirl. Again. We first saw this match only four months back, in Supergirl #2, but here it is once more.

There are differences. That time Kara Zor-El, new to Earth, was lashing out against its greatest defender. Now she's protecting the citizens of Metropolis as Superman lashes out against the city.

And in fact, this isn't Superman at all, but a human-sized batch of alien nanites out to transform Earth into a copy of its lost homeworld. We learn this when the real Superman, who had been cast out into space, returns to Earth to help Supergirl who, despite her considerable powers, is caught offguard by the imposter's savagery.

Superman drags the fake across the world to icy wastes where he proceeds to beat him down with the scariest power of all - super-exposition.

This really is one wordy fight scene, as Superman explains to the suddenly confused imposter why it's been smashing up Metropolis, killing criminals and generally besmirching his hard-earned good name. Superman's knowledge is a result of sharing the being's memories while out in space. The scene - and an earlier solo infodump enjoyed by Superman - makes sense of the last five issue's worth of weird alien attacks but it's a tad convoluted, and doesn't make for the most elegant battle ever.

But ... last week I was having a right old moan about not understanding what was happening in Wonder Woman #6, so it would be a bit rich to out and out condemn this issue for its big dollops of explanation. Writer George Perez is determined we'll understand all, and DC generously gives his story room to breathe - this is 23pp for $2.99, not the line-wide standard of 20pp.

It turns out that the pseudo-Superman ties into the Collector of Worlds storyline currently playing out, in fits and starts, over in Action Comics. That's where, in a fortnight, we'll see what happened years ago that led to this storyline.

It's all a bit baffling - DC wants new readers for the New 52 Superman revamp, but rather than let Action Comics play out its Five (or maybe Six) Years Ago story, and do something separate here, they tie the two together. Instead of two discrete, satisfying tales we get interconnected ones that are awfully drawn-out. And when it seems this comic's strand is played out, there's an epilogue by the coming new creative team tying things to Stormwatch and the Daemonites inherited from Wildstorm Comics.

It's all a bit much. If you want to be reader friendly, DC, shorter stories are the way to go. Multi-parters linked to other multi-parters tying into continuity from the Wildstorm Universe, isn't. The New 52 should feel refreshing, not cluttered.

Judged on its own merits, Superman #6 is pretty decent. Perez's script is well-paced, if not perfect. Never mind the big talk scene, I could really have done without references to a reporter soiling his pants when dropped from a height by Fake Superman - what is this, the Poo 52?

But Perez handles Supergirl well, following the lead of her own title by making her ever more a hero of Earth. His Lois Lane is the capable, caring journalist she should be. In fact, the entire large cast is choreographed well. And I like Superman referring to heat vision and super-hearing as 'optic fire' and 'auditory power' - that's Clark Kent, noted overwriter, that is. My favourite moment this issue sees Kara applauding Kal after he defeats the pretender - it's a turning point in the relationship between two people who might be close, but are yet strangers (click on image to enlarge).

The pencils and inks of Nicola Scott and Trevor Scott (are they perhaps related? Probably not) make for a very good-looking superhero book. Nicola's well-composed pages, replete with excitement and emotion, are sleekly - but not coldly - finished off by Trevor. Brett Smith adds another layer of excellence with eye-catching colour work. The Super-Cousins look excellent, even allowing for the dodgy new outfits. And in a nod towards the fact that these books are meant to appeal to women as well as men, Nicola ensures neither Lois nor Kara are super-busty.

As for that final page, it's the work of writers Keith Giffen and Dan Jurgens. The latter provides layouts for finisher Jesus Merino, and it's very professional, but not my cup of tea. I'm already sick of Daemonites, and I don't even read Grifter or Voodoo.

Perez signs off with an impressive cover image, attractively coloured by Brian Buccellato. This is Perez's last issue and while the new Superman comic hasn't set the world on fire, within the constraints of the relaunch I suspect he's done a better job than we'll ever know. 

Legion of Super-heroes #6 review

Sun Boy, Element Lad and Chemical Kid venture to China to clean up an environmental disaster, while Dragonwing visits her sister elsewhere in  the country. At Legion HQ, Dream Girl puts the kibosh on Star Boy's hopes of a long snogging session because she has a science project. On Panoptes, Brainiac 5 and Mon-El lead the clean-up after the recent Dominator problem. And on the Dominator homeworld, a caste warrior learns what it means to fail his betters.

This issue, creators Paul Levitz and Francis Portela do what I thought impossible - they make me like Dragonwing. The surly, snotty Legion Academy graduate shows her love of her family, while also demonstrating that she's Legion through and through. It turns out that she's not the only person in her clan to have super-powers - sister Bao Pai looks to be a human spider-crab. And she's fallen in with a very bad crowd.

Luckily, Dragonwing has learned some moves from Duplicate Damsel, and has help in the shape of her sister's abandoned shar-pei, Fu. As drawn by Portela, this is one cute pup and I do hope she takes him back to Metropolis if she survives her homecoming.

Actually, everything drawn by Portela this time looks magnificent, with the colours of Javier Mena deserving massive praise too. The flaming sea we open with looks amazing. Sun Boy in human torch mode is fabulous. Dream Girl and her holographic display is utterly splendid. And Dragonwing on the streets of China, translucent cape flapping against the neon in the rain, is marvellous. Then there's Mon-El throwing a stone that reflects his frustration, the Super-Size Me Dominator chief and his adorable plush-like lackeys, the icky Bao and more. Portelo and Mina's rain art is especially dazzling - is that a great angle at the bottom or what (click on image to enlarge)?

Levitz's script is wonderfully assured too - he really knows how to make the day-to-day dynamics of a superhero team interesting. The mix of longtime and newer members is working well, while he's transforming 31st-century Earth into a place almost as magical as Silver Age Krypton. The new threat introduced this issue, a villain team out to dominate China, looks set to be interesting, I'm dying to see what Dreamy is up to, and the way humour turns to horror in the Dominators scene is masterful.

The cover by Chris Sprouse and Karl Story isn't half-bad, but it's time Portela was allowed to lead off his own stories.

One of the better LSH issues since the relaunch, this has me itching for next month's continuation.

And more plush-sized Dominators. DC Direct, are you listening?

Supergirl #6 review

And this is where it all comes together. For five issues we've seen Kara Zor-El struggling to come to terms with being a stranger on a very strange world and the idea that her planet - her family, her friends - is lost. But this issue sees Kara accept the truth of her losses and fly towards a future unlike anything she could have imagined ...

The book begins in the past, as Kara receives some tough lessons from a physical combat robot - now we know where she learned to throw that punch she's so quick with. The memory has surfaced in what may be her last moments. Defeated by the living weapon known as Reign, Kara is pinned to an Argo City wall as the last remnant of Krypton hurtles into a sun. She's not alone, though; visions of parents Zor-El and Alura help her break her bonds and fly free, but with a heavy heart. She taps into the powers she thought faded and flies into space, in time to see Argo City disappear forever. 'My home is gone. And I have only one place left to go.'

Reign, meanwhile, has reached Earth, where she challenges the authorities to battle her, presumably for the right to rule. The army fights fiercely but are no match for the Kryptonian 'Warkiller'. But Supergirl may well be. Reign, though, is pleased by the arrival of her enemy, despite an almighty slugfest - if Kara won't rule alongside her, well, she has something else up her sleeve.

This really is the best issue to date. Writers Michael Green and Mike Johnson show us Kara's indomitable spirit - it's not simply a case of the 'ghosts' of Zor-El and Alura giving Kara strength, it's her inner strength that's conjured them up in the first place. She's the last daughter of Krypton and she won't give up (click on image to enlarge).

But now she's choosing to be a daughter of Earth, too. The above contains my panel of the week - I just love that soldier, and Kara's determination to save her new world. She's not moping, she's not viewing Earth as second best - it's a different 'best'. A planet she'll protect at any cost - this is Supergirl for Earth.

Interesting moments include the addition of a silver-haired young Irish immigrant to Supergirl's pretty much non-existent supporting cast - anyone who's been following Kara for a couple of years can guess who she'll turn out to be (if they've not already been spoiled by solicits); and Reign strongly implying that Supergirl is more capable than Superman. Green and Johnson really are hitting their stride. I have just two complaints, one to do with story detail, and one with presentation.

Firstly, why does Supergirl have such a problem getting free of Argo City? So far as we can see, Reign's axe isn't actually pinning her to the wall, it's pierced her cape. Take it off, dear.

Secondly, an issue that's coming up again and again with regard to DC's new 52. Splash pages. They're everywhere. Unless circumstances are exceptional, a 20pp story shouldn't have more than a couple. Even before last September's line-wide relaunch it was common for DC comics to have three splashes - one of the opening three pages, the final page and perhaps one big moment along the way. This issue has a page three splash of a broken Kara that's powerful, but basically another view of the cover. There's one page of Reign arriving on Earth. Two pages of Kara leaving Argo City behind. One page of Reign smashing up New York. One page of Kara punching Reign's lights out. And a closing spread showing us what Reign has up her sleeve.

That's eight pages - almost half the book - taken up with extra-sized images. And I'm not saying they're not great images - Mahmud Asrar is producing outstanding pages, and Dave McCaig's colours do the work proud. And the spread of Kara weeping as she bids her past farewell is beautiful, the emotional culmination of the reader's half-year journey with Kara. I'd defend its inclusion to anyone. But the rest? Arguable. We could easily reduce the opening splash to half a page as the cover has already given us the information therein. Reign doesn't deserve two spotlights, the arrival splash could be cut. And the final, annoyingly sideways spread, could easily be a single page. So we keep the poignant space double-page, Reign wrecking NY, Kara defending it and the surprise ending. Five pages of splashes - that has to be enough for anybody? And I think three is easily enough in a non-landmark issue.

Asrar's designs for daily life on Krypton work well, blending aspects of versions seen down the years. I especially like the wacky training robot, and Supergirl's energy armour. The fight with Reign is outstanding, as Kara finally has a target worth hitting. The malice in Reign's expression is chilling. And his design for the Oirish newcomer shows Asrar can do earthly as well as unearthly.

Green, Johnson and Asrar are developing superb creative synergy on Supergirl - if only they'd be just a little less splashy about it.

DC Universe Presents #6: Challengers of the Unknown

Brought together for a reality TV show, a group of minor celebrities are on their way to the Himalayas when a weird face in the window of their jet presages a crash. They awaken in the land of Nanda Parbat, but not before Challengers producer June Robbins has a dream in which a horrific version of her boyfriend Ace, who'd been co-piloting the plane, stabs her through the heart.

In the waking world, Ace is absent. A man who introduces himself as the high priest of Rama Kushna tells June, 'He was not one of yours, therefore not here.' All the others - science writer Prof Haley, singer Red, athlete Rocky, production team member Clay, billionaire Ken, internet star Brenda and co-pilot Maverick - are fed and watered. Or rather, poisoned. Something the monks give them causes the visitors to pass out, just as they're warned of the challenge of 'what lies ahead'.

They awaken on the side of the mountain, by the wrecked plane, apparently weeks later. Their radio's wrecked but a working GPS brings hope of rescue. And a helicopter duly arrives. But so does a monster ...

As for what happens next, I say give the comic a try. Longtime DC fans, or indeed, anyone who read the last few issues of this tryout title, will have caught the Namba Parbat and Rama Kushna references. Yep, we're back in the mystical realm overseen by a distinctly dodgy goddess; Deadman's boss, Rama professes to be watching out for mankind but her haughty manner and offhand treatment of her agents make her less than trustworthy.

And now it seems the Challengers are to be her lackeys. Living on borrowed time, they're ready for some predestined mission, but will they have the courage and skills to fulfil it? Will their time run out? One of the cast is already culled by issue's end, while Ace remains missing and possibly a monster. I'm looking forward to the continuation next month.

The Challs have been around in one form or another since the dawn of the Silver Age. Originals Ace, Prof, Rocky and Red were soon joined by June and occasional substitute members. Here we have several new characters, but writer Dan DiDio gives everyone enough screen time for at least an inkling of their personalities to be gleaned.

I'm not immediately thrilled by the Nanda Parbat add-on to the team's traditional survivors-of-a-plane-crash origin, as I like series to stand on their own, but we'll see where it goes. If Deadman shows up, as he did in the team's Seventies series, I shan't complain.

I shall complain about the fact that only one member of the cast winds up stripped to their scanties. Dream June. And then she's stabbed in the chest, blood spurting towards her bra. I really can't see the need - in stories I've read, honorary Challenger June was always treated as a full partner, not the decoration to be threatened. This just feels exploitative.

On the upside, the reality show is a clever way to get the Challs together, and the expanded cast allows for a bit more diversity than just four white guys - Maverick is African-American, Ken Asian-American. I don't know if the new people will stick around awhile, but they're here for now.

Jerry Ordway is the perfect artist for this series, a proper craftsman with great storytelling instincts - I don't like June's dream, but there's no denying Ordway captures the horror of the sequence, with distorted perspective and close-ups of a manic Ace. And the opening page of this scene is one of the cleverest in the book, as script and art gel to great effect. With the aid of inking trio Ray McCarthy, Andy Lanning and Mario Alquiza, Ordway does a fine job of making the characters unlike one another, and does a nice line in Kirby-esque nasties. The colours of Tony Avina are well chosen for the various settings and moods, while the lettering of Travis Lanham works well with the art. And whoever designed that stylish logo, sitting over Ryan Sook's pulp throwback cover illustration, deserves a Hostess Twinkie.

While never massive stars, the Challs were the first DC heroes to break out of a tryout comic - they debuted in Showcase #6 back in 1957 - and given the quality here, there's a chance they could do the same thing in the New 52 era of 2012.