After his Alaskan sojourn in Action Comics #31, and his changing metabolism having barred him from the Fortress of Solitude, Superman has retreated to his Metropolis apartment. There he sits in the dark, brooding. A concerned Wonder Woman tracks him down and is perturbed - but not frightened - by the changes the Doomsday virus is putting him through.
Clark is becoming a leering brute, but he still has enough sense of self to ask Diana to use her magic lasso to finish him off before it's too late, before he goes 'full Doomsday' and threatens everyone on Earth.
As the encounter plays out throughout the issue, we see moments from earlier in Diana's day as Wonder Woman plays detective. She visits the office of Clarkcatropolis.com and meets Cat Grant for the first time. She helps Lois Lane out of a sticky situation as the girl reporter tries to gain access to a military base. And she checks in with Batman, who shares the results of tests he's carried out on a sample of Superman's blood.
The book climaxes with a knockout bout between Diana and Clark, with Wonder Woman desperate to help her boyfriend regain control of his soul.
Writer Charles Soule shows once more why he's in huge demand at Marvel and DC Comics. He plays nicely with the crossover which began this week in Superman Doomed #1 and continued in Action Comics #31, while progressing this series' main selling point, the romance of Diana and Clark. Little by little, he's convincing me that this pair just might have enough in common, something beyond sexual attraction, to make a go of it as a couple. There are callbacks to incidents earlier in the series, as the more primal Superman challenges Diana to show she's committed to their relationship.
Diana is tremendously likeable, the dogged heroine out to save her man, a woman with faith that Superman will help himself. And should she be wrong, she knows she has enough power to take him on.
Heck, Diana has more power than ever as the new Olympian god of war, as we see here when she uses an ability to commune with any warrior. This helps her in assisting Lois ... though why Lois doesn't employ the Brainiac-given mind mojo she currently wields, I've no idea.
Also impressive is Cat Grant, whom we see finally call out so-called business partner Clark on his rarely being around. It turns out she picked the worst possible day, but good on her. And good on Diana for the classy way she treats Cat, despite her having revealed the Super-Wonder Love Thang to the world.
There's also a great moment between Diana and Batman concerning a common trait. Seriously, Soule is so talented when it comes to getting to the core of characters, and finding rich superhero dynamics, that it would be criminal were he not to get a shot at a Justice League book.
The reveal of Superman's transformation is put off until halfway through the book and is well worth the wait. He is seriously creepy and scary here; Diana may not be afraid, but I'd be wetting myself. Especially as drawn by penciller Tony S Daniel and inkers Matt ('Batt') Banning and Sandu Florea. Their hulking, Doomsday-ed Superman is massively imposing, brimming with barely restrained power and menace.
As for Diana, she looks good in her battle armour, but ruddy amazing in street wear. I don't know if Daniel is perusing fashion mags, but the coat he gives Diana here is a winner - the boutique-owning Groovy Di Prince of the late Sixties and early Seventies would be proud. And the tiara-as-Alice-band works splendidly.
Every page looks great, thanks in part to colourist Tomeu Morey, who sets the tone for each scene with intelligence and skill. The precision of letterer Carlos M Mangual is appreciated too. Morey also colours Daniel's cover, which isn't as strong as the interior art, with Diana looking akin to an inflatable.
Still, that's a minor quibble. So far as this week's Superman Doomed entries go, Superman/Wonder Woman #8 makes it three for three. Surely group editor Eddie Berganza's creative crew can't keep it up?