Absolute Superman #2 Review

• Written by: Jason Aaron

• Art by: Rafa Sandoval

• Colors by: Ulises Arreola

• Letters by: Becca Carey

• Cover art by: Rafa Sandoval, Ulises Arreola (cover A)

• Cover price: $4.99

• Release date: December 4, 2024

Absolute Superman #2, by DC Comics on 12/4/24, gives Lois Lane a firsthand look at the extent of Kal-El's powers when an arrest turns into a chase, opening her eyes to what a real hero looks like.

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Is Absolute Superman #2 Good?

First Impressions

Given DC's emphasis on making the Absolute titles as big a hit as possible, writer Jason Aaron isn't making it easy to like Absolute Superman #2. In general, the issue is a more engaging read than issue #1 because you spend much less time on Krypton, and you get more time to see what this version of Kal-El and his super suit can do. However, the wonky messaging against the use of Generative AI for writing and weirdly worded narration from Lois Lane throws the issue off balance in big chunks. Ahh, well. C'est la vie.

Recap

When last we left the last son of Krypton in Absolute Superman #1, we witnessed the last days of Krypton when a brilliant scientist named Jor-El was banished to the working class after railing against the elite scientist class for ignoring the ecological dangers to their home planet. In the present, Kal-El secretly travels from one location to the next, protecting labor workers from exploitation by the Lazarus Corporation. The issue ended with a Lazarus strike team surrounding Kal-El, led by Officer Lois Lane.

Plot Synopsis

In Absolute Superman #2, we begin with a brief prologue on Krypton. A teacher makes the rounds with students during a virtual classroom session, giving praise to each student for their reports. The teacher is shocked to find that Kal-El wrote his own report instead of using the approved generative AI linked to the Science League's storehouse of knowledge.

Now, we pick up with Lois Lane still handcuffed to Kal-El. She orders Kal to get on his knees for detainment as Peacemakers and Lazarus Corp soldiers surround them at gunpoint. Sol, Kal's suit, emits a fiery plasma tentacle to undo the cuffs, but the undoing will take time. The surrounding soldiers are authorized to open fire, sacrificing Lois Lane as collateral damage. In response, Sol emits a cape-like structure made of Kryptonian dust to shield them from the assault.

Kal super-jumps into the air, pulling Lois behind him from the attached cuffs and buoyed by his "cape." A few miles later, they're shot down by a pursuing heli-tank, sending them crashing into a small village's church. Sol wraps the dust cape around nearby villagers and applies dust to their wounds for healing.

As the rescue continues, Lois begins to narrate her after-action report to the Brainaic A.I., describing everything about Kal, including his demeanor, his appearance, and the way he smells, using the most unexpectedly flowery language you've ever heard from any version of Lois Lane.

The issue concludes with Kal leaping away as soon as Sol unlocks the specialized cuff, Lois becoming frustrated with the Brainiac AI's interpretation of her report, igniting in her a passion for writing, a peek at Kal's parents inventing the suit he now wears, and the Peacemakers taking out their frustration on the local villagers.

What’s great about Absolute Superman #2?

Some of the aspects we expected to see in issue #1 but didn't get, show themselves in issue #2, which is a positive.

For example, we get to see the "dust cape" in action. The extended, first interaction between Kal and Lois has its charming moments. And the rescue scene in the Brazilian village is the kind of Superman-esque action you'd expect to see from the Man of Steel, regardless of which universe he hails from.

As a plus, the elements of the story that take place on Krypton are much less prominent compared to issue #1.

What’s not great about Absolute Superman #2?

First, Jason Aaron's thorough world-building in issue #1 was overshadowed by the heavy-handed messaging about classism in worker exploitation, taking time away from Kal-El's introduction. In issue #2, you get heavy-handed messaging about the reliance on generative AI for the simple act of writing. How about we stop with the heavy-handed messaging on any topic and focus on telling an exciting adventure?

Second, Los Lane's flowery, almost Shakespearean after-action report doesn't sound like anything that would come from Lois Lane or a Lazarus Corporation field agent who explicitly states she hates writing. Is Jason Aaron trying to say Kal-El got her to swoon so hard that she turned into an English Literature major? The narration comes off as silly.

Last but possibly least, it seems odd to have a story about an alternate version of Superman where the suit does most of the work, which is what happens in this issue. Yes, Kal has his powers, but the super-versatile dust cape, plasma tentacles, and tactical information are all Sol. You almost get the impression Kal is a sidekick for his suit.

How’s the Art?

There's no need to mince words. The art looks great. Rafa Sandoval has the unenviable task of envisioning dust capes, plasma tentacles, and all kinds of action to give readers as much bang for their buck as possible. Plus, Ulises Arreola's coloring makes great use of lighting, shine, reflections, and glow to give this issue an extra bit of vibrancy and pop.

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About The Reviewer: Gabriel Hernandez is the Publisher & EIC of ComicalOpinions.com, a comics review site dedicated to indie, small, and mid-sized publishers.

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Final Thoughts

Absolute Superman #2 is an improvement over the first issue. Jason Aaron's script spends much less time on Krypton and more time showing what this alternate version of the Man of Steel can do. Plus, the art team creatively brings Kal-El's range of unique gadgets to life. That said, the script suffers from odd narration, heavy-handed messaging about the use of A.I., and weird action where the suit does most of the work.

8/10

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Absolute Superman #2 Review | Absolute DC Comics Show LIVE on Youtube 12/6/24 @ 7:15 PM EST

JSA #2 Review

• Written by: Jeff Lemire

• Art by: Diego Olortegui

• Colors by: Luis Guerrero

• Letters by: Steve Wands

• Cover art by: Cully Hamner

• Cover price: $3.99

• Release date: December 4, 2024

JSA #2, by DC Comics on 12/4/24, recounts how Kobra and the Injustice Society unleashed a series of attacks on the JSA, leading to the displacement of the Tower of Fate.

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Is JSA #2 Good?

First Impressions

File this one under "the flashback issue that explains the first issue." Writer Jeff Lemire uses the sophomore issue in the series to show that the Tower of Fate's displacement in a demon dimension had nothing to do with Absolute Power or anything else readers would have guessed. Still, readers get plenty of JSA action, surprise twists, and a skull-crunching cliffhanger, even if there doesn't appear to be a reason for telling the story out of order.

Recap

When last we left the world's first and greatest super team in JSA #1, practically every member of the team was at each other's throats over the lack of coordination and direction for the team's mission statement. Part of the angst stems from the frustration that part of the team disappeared recently without a clue to their whereabouts. We learn that the missing team members have taken refuge in the Tower of Fate, which is trapped in a demon dimension. The issue ended with the reveal that Obsidian is really Johnny Sorrow in disguise.

Plot Synopsis

In JSA #2, the story begins with a flashback to one week before issue #1. Jade, Dr. Mid-Nite, and Sand arrive at a benefit dinner where all the attendees are trapped in a suspended state, hovering above the ballroom floor. The attendees suddenly get unstuck and fall to the ground, rescued by the heroes present from smashing to the floor.

Elsewhere, the other JSA members signal Jade to inform her that Kobra broke into Ted Knight's (the original Starman) old observatory, where he kept mementos and gadgets. It's unclear what, if anything, was taken, but this latest attack is another in a string of attacks meant to taunt the JSA.

Obsidian, who we know is Johnny Sorrow in disguise, pretends to be outraged at the attacks and demands to form a strike team to go after Kobra. Obsidian's over-the-top outrage creates friction with Wild Cat.

Suddenly, the Injustice Society breaks through the Brownstone wall and all JSA defenses to attack. Elsewhere in the brownstone, Kalid and Jakeem are hanging out when Gentleman Ghost, Johnny Sorrow, and Wotan ambush them. The villains successfully keep Jakeem from summoning Thunderbolt, but Khalid manages to get free long enough to reach the Helmet of Fate and transport everyone to the Tower of Fate out of instinct. Somehow, Jakeem and Obsidian were left behind.

The issue concludes with a replay of the demon fights from the last issue, Jay Garrick finding the one door in the Tower that leads back to the brownstone, an unwelcome group of guests waiting on the other side of the door, and Carter Hall encountering the pointy end of a demon's sword.

What’s great about JSA #2?

If you're a JSA fan (guilty as charged), you get all the characters in their glory fighting side by side against attacks on multiple fronts. Not every character gets a satisfying moment to shine, but a moment or two is better than nothing.

As a bonus, the Injustice Society hits fast and hard to remind you of just how dangerous they can be.

What’s not great about JSA #2?

Jeff Lemire's creative choice to tell the first and second issues out of order seems ill-advised. If he had started with the attack and then transitioned the team into escalating bouts of bickering and frustration, readers would have felt a natural rise in tension. Instead, the narrative flow feels clunky and disjointed.

Further, it's not clear from the flashback how and why the Tower of Fate wound up in a demon dimension. If the Tower's location was some side effect of Absolute Power, that outcome must have been a blink-and-you-miss-it development. 

In short, Lemire is creating avoidable problems.

How’s the Art?

I liked Diego Olortegui's art in last year's Jay Garrick miniseries, but it doesn't look as good here. It's unclear if the difference has to do with Olortegui's inks or the bolder coloring application from Luis Guerrero, who also worked on the Jay Garrick miniseries.  It's okay art, but some of the visual charm is missing.

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About The Reviewer: Gabriel Hernandez is the Publisher & EIC of ComicalOpinions.com, a comics review site dedicated to indie, small, and mid-sized publishers.

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Final Thoughts

JSA #2 puts the question after the answer with a flashback-heavy issue that sets up most of the fallout from issue #1. It's unclear why Jeff Lemire chose to put the cart before the horse in terms of plot, but the issue compensates with big action and plenty of twists to hold your attention. Plus, the art team's output is decent enough, but the same team produced better visuals in last year's Jay Garrick miniseries.

6.5/10

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Batgirl #2 Review

• Written by: Tate Brombal

• Art by: Takeshi Miyazawa

• Colors by: Mike Spicer

• Letters by: Tom Napolitano

• Cover art by: David Talaski

• Cover price: $3.99

• Release date: December 4, 2024

Batgirl #2, by DC Comics on 12/4/24, sends Cassandra Cain and Lady Shiva into a refuge under the caring watch of Bā Bao. The respite gives Lady Shiva a chance to give Cass a history lesson.

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Is Batgirl #2 Good?

First Impressions

Writer Tate Brombal continues Cassandra Cain's solo adventure with a sophomore issue that builds out the background of the conflict, strong character moments, and a fair bit of action. Readers who were positive about the first issue will get the same and more in Batgirl #2.

Recap

When last we left Cassandra Cain in Batgirl #1, Lady Shiva arrived in town to warn her daughter that an ancient sect of ninjas called the Unburied had emerged from hiding, and they were determined to kill Lady Shiva. What followed was a series of cat-and-mouse battles that ended with mother and daughter sighting side-by-side.

Plot Synopsis

In Batgirl #2, the push and pull between mother and daughter continues as the pair of fighters desperately try to stay alive. The two fight their way through a group of low-level ninjas and escape into the alleys and side streets of Gotham City. Cass decides to contact Batman and the family for help, but Lady Shiva convinces her to hold off for one night because anyone else involved is in mortal danger.

Cass leads her mother to the kitchen of Bā Bao for rest and medical attention away from prying eyes. Cass uses the respite to train Bā Bao's children in martial arts while Bā Bao stitches up Lady Shiva's wound. During the stitching, Bā Bao gives Lady Shiva motherly advice on how to get through to Cass with honey instead of vinegar.

Lady Shiva takes Bā Bao's advice and sits with Cass to explain the history of the Unseen, an ancient sect of ninjas who gained enhanced strength, speed, and sight by ingesting a special blue flower only they possess. The ninjas they defeated earlier are nothing compared to what's coming.

Suddenly, a new batch of ninjas explode into the kitchen, led by their blind leader, Kalden the Unseen. The attack is swift and brutal. Cass finds her ability to read body language and subtle gestures useless against Kalden's enhanced body. The issue ends with Cass and Lady Shiva forced to flee, leaving Bā Bao and her family behind.

What’s great about Batgirl #2?

Tate Brombal takes everything that worked about the first issue (a good sense of Cass's personality, copious action, and a straightforward plot) and gives you more of the same with extra icing on top.

Cass's interaction with Bā Bao is endearing. The mother-to-mother chat between Bā Bao and Lady Shiva is unexpectedly mature. And the history lesson about the Unseen paints a formidable picture of the antagonist.

What’s not great about Batgirl #2?

The outstanding question remains unanswered, which is a sore point of frustration. Why, exactly, are the Unseen after Lady Shiva? The longer Brombal refuses to answer that question, the more the "mystery" becomes a distraction that undoes the journey and stakes. The goal of "staying alive" works in Slasher movies, but not here.

How’s the Art?

Takeshi Miyazawa's artwork is an excellent choice for the mix of fighting and family taking place in Brombal's script. Miyazawa's inks are sharp and precise when they need to be in the subtle glances but rough and hectic during the kinetic action scenes. Overall, the art looks great.

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About The Reviewer: Gabriel Hernandez is the Publisher & EIC of ComicalOpinions.com, a comics review site dedicated to indie, small, and mid-sized publishers.

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Final Thoughts

Batgirl #2 is a super-solid entry in the miniseries that takes everything that worked about the first issue and builds on it. Tate Brombal's script is a pleasant mix of fighting and heart, and Takeshi Miyazawa's art style suits the story beautifully. That said, Brombal's lack of clarity about the nature of the conflict is a sore spot.

8/10

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Batman #155 Review

• Written by: Chip Zdarsky

• Art by: Jorge Fornés

• Colors by: Tomeu Morey

• Letters by: Clayton Cowles

• Cover art by: Jorge Jimenez, Tomeu Morey

• Cover price: $4.99

• Release date: December 4, 2024

Batman #155, by DC Comics on 12/4/24, sends Batman on a mission to prove Jim Gordon's innocence in the murder of Mayor Nakano.

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Is Batman #155 Good?

First Impressions

What an ugly, ugly story. As writer Chip Zdarsky's tenure dwindles on an abysmal run, he seems intent on tearing down characters and going out on a depressing note. Even with a predictable bait-and-switch, nobody comes out of this arc looking good.

Recap

When last we left the Caped Crusader in Batman #154, we learned the mysterious "brother" trying to take over Wayne Enterprises is the secret love child of Thomas Wayne and a nurse. Meanwhile, the investigation into Mayor Nakano's murder uncovered a secret affair between Mrs. Nakano and Jim Gordon.

Plot Synopsis

In Batman #155, we witness the downfall of Jim Gordon, beginning with a series of flashbacks that started thirteen weeks ago. Jim Gordon and Harvey Bullock tackle seedy cases in their small-time detective agency. One day, Gordon is asked for by name by an anonymous client who believes her husband is cheating on her. That client was Koyuki Nakano.

Three weeks later, Gordon delivers the news that he can find no evidence that Mayor Nakano is cheating on his wife. The news hits Mrs. Nakano harder than if her suspicions were true because the lack of an affair means her husband's coldness toward her is a sign of falling out of love. Gordon begins to comfort her.

Two weeks later, Gordon and Mrs. Nakano are accosted by kidnappers as they walk together in the park. Gordon thwarts the attempt and saves Koyuki's life. Let the smooching begin.

On the night of the murder, Gordon arrived at the Nakano residence to take Koyuki with him to Metropolis to start over in a new life. Mayor Nakano is waiting for him. The Mayor knew about the affair, and he told Gordon it was over. After an argument that gets physical, Gordon pulls his gun.

Now, Bullock tells Batman he has enough evidence for an arrest, but Batman can't accept that Gordon is a killer. 

Meanwhile, Bruce Wayne attempts to meet his half-brother, but he's stonewalled by Leonid Kull (current head of the Court of Owls). Kull's security gets rough with Bruce, but when he's on the ground taking his punishment, Bruce awkwardly places a tracker on Kull's shoe. 

Elsewhere, Edward Nygma informs Wayne Industries' chief counsel, Rowan Birkemoe, that he intends to buy out Wayne Enterprises and take NygmaTech global.

The issue ends with Batman discovering that Jim Gordon is a killer thanks to a cleverly placed application of Mad Hatter tech through NygmaTech resources.

What’s great about Batman #155 ?

Chip Zdarsky gives Jim Gordon an out for the murder of Mayor Nakano, which is better than nothing. Batman makes the final discovery while trapped in a GCPD interrogation room, which puts the Caped Crusader in an inescapable spot to up the ante and dramatic tension in his investigation.

What’s not great about Batman #155 ?

The fundamental premise is just plain ugly. Jim Gordon has been around the block enough times to know that having an affair with a woman married to a powerful man never ends well. Gordon has years of experience witnessing how seedy decisions made with other organs besides the brain always lead to trouble. You could argue Gordon entered into the affair via mind control, but the timing isn't clear. The best you could offer is that Gordon killed Nakano under mind control duress, but everything that led to the murder is due to a series of really bad choices by somebody who should know better.

Further, the subplots are just as ugly, narratively speaking. 

Gotham's latest vigilante, Commander Star, pops in and out for no reason.

Readers are once again reminded about Thomas Wayne's secret love child by a disturbing dream that besmirches the father's character.

Bruce's ploy to attach a tracker on Kull's shoe looks so ridiculous that you'll wonder how Kull didn't see what was happening.

How’s the Art?

Jorge Fornés's art style is just okay, presenting a visual aesthetic that reminds one of David Mazzucchelli's work on Batman: Year One. That said, the devil's in the details. The scene where Bruce puts a tracker on Kull is just plain silly. The kidnapping scene is awkwardly choreographed, as is the fight between Mayor Nakano and Gordon. Fornés has a strong eye for layouts, but the character movement leaves a lot to be desired.

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About The Reviewer: Gabriel Hernandez is the Publisher & EIC of ComicalOpinions.com, a comics review site dedicated to indie, small, and mid-sized publishers.

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Final Thoughts

Batman #155 delivers an ugly next chapter in Chip Zdarsky's last run. Zdarsky's quest to tear down all the family figures in Batman's life is depressing, and Jim Gordon's character makes a series of foolishly bad choices. Further, the art is a step down from the previous issue.

4.5/10

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Detective Comics #1091 Review

• Written by: Tom Taylor

• Art by: Mikel Janín

• Colors by: Mikel Janín

• Letters by: Wes Abbott

• Cover art by: Mikel Janín (cover A)

• Cover price: $4.99

• Release date: November 27, 2024

Detective Comics #1091, by DC Comics on 11/27/24, finds Batman keeping tabs on the serial killer's likely next victim while he contemplates undergoing Scarlett's youth-giving procedure.

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Is Detective Comics #1091 Good?

It shouldn't be any surprise that Tim Taylor's take on the Dark Knight would put the brakes on the plot in favor of the heavy-handed social commentary that spoiled his run on Nightwing and Jon Kent. Still, when the brakes are stepped on for most of the issue, you get a comic that's long on bland talking and short on everything else. Detective Comics #1091 is a step down from the previous issue because Tom Taylor just can't help himself.

When last we left the Caped Crusader in Detective Comics #1090, Batman found himself hot on the trail of another vigilante without qualms about killing criminals. Meanwhile, Bruce Wayne met with an old friend whose medical research may be just the elixir Batman needs to overcome the unrelenting ravages of battle damage and age. In the past, we learned Dr. Thomas Wayne saved the life of an abusive man. That man's name was Joe Chill.

In Detective Comics #1091, we begin with Bruce Wayne waking up from a nasty dream. He makes the most of his waking hours by connecting the dots between the recent murder victims as late teens and low-level criminals who were recently released from juvenile detention. Batman meets Bullock at the morgue to check on the results from the latest victim, and there, Batman expresses regret over hitting the armed boy. Batman believes he should have done more to disarm the armed robber without resorting to violence(???), but Bullock reassures him that his actions were humane and justified.

Oh, boy. Tom Taylor just can't help himself. Batman's entire mythology revolves around socking a criminal in the mouth to stop a crime. Late teen or not, the kid was armed and dangerous, so for Batman to suddenly become rueful about using force is out of character and silly.

Suddenly, Oracle alerts Batman that one of the teens under monitoring was kidnapped by a group of thugs and whisked away in a truck. Robin is already en route, so Batman races to the Batmobile to catch up. The Batmobile catches up to the truck with Robin latched on the roof. Batman shoots grappling hooks at the rear of the truck to rip the doors open, giving Robin the opening he needs to swing in and fight the kidnappers. Batman puts the Batmobile on auto-plot and joins the fight.

During the battle, Batman takes a crowbar to his knee from one of the kidnappers, but the fight ends in victory soon after. We learn the thugs kidnapped the teenager for stealing something from their boss - The Penguin. Batmobile orders Robin to take the teenager to a hotel room for safekeeping.

Later, Batman asks for a meeting with Superman for a quick diagnosis of his knee and to talk over the guilt he feels for considering Scarlett's youth-giving elixir. How can a man born into wealth and privilege overcome the guilt of taking a life-giving drug that so few can afford or access? Superman assures Batman that the world is better off the longer he stays in it.

The "chat" between Superman and Batman drones on for three pages, but you get the idea. No reasonable person would deny that Batman has saved the world countless times and that Batman's continued presence serves the greater good magnitudes more than the average person. Why does Batman all of a sudden feel guilt over using his money and privilege to extend his life and, by extension, his mission? The very same money and privilege that made Batman possible in the first place with his resources and gadgets? There's that nonsensical, heavy-handed messaging again.

Later, Bruce meets with Scarlett at her experimental clinic for his first treatment. Despite a side-effect of excess sleepiness, the treatment works as expected. Batman's knee doesn't hurt as much. He moves better, and he reacts quicker. Batman heads to the Iceberg Lunge to give his body a test drive, and the results are promising. After taking down the Penguin's security goons, Batman lets Penguin know he has the money the teenager stole, so his beef with the boy is over.

The issue ends with the boy receiving an unexpected visitor in his hotel room.

What's great about Detective Comics #1091?

The highlight of the issue is Batman's arrival at the Iceberg Lounge and his interaction with Penguin. They're (mostly) on opposite sides of the law, but they know how to maintain almost respectful boundaries with each other, especially when it comes to the stolen money in question. Their "dance" is the kind of classic Batman interaction we don't get much of from DC these days.

What's not great about Detective Comics #1091?

The worst aspects of this issue are the things you won't find in this issue.

The twist involving Thomas Wayne's incidental interaction with Joe Chill isn't brought up, referenced, or relevant to anything happening in this issue (of course, that may change in the future).

The mysterious serial killer doesn't play a factor in anything happening in this issue until the very last page, and even then, it's only a brief cameo.

Most of all, you won't find high energy or upbeat pacing outside of two very brief fight scenes.

 

In exchange, you get a sedate pace, a lot of mopey introspection from Batman, more than one heavy-handed, socially-minded conversation, and a bland ending.

How's the Art?

Mikel Janín is one of the better artists in DC, so there was never any doubt that the visual presentation would be top-notch. Thankfully, Janín's style shines brightest during the two brief action sequences, so Janín makes the most of what little superhero material he's given.

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About The Reviewer: Gabriel Hernandez is the Publisher & EIC of ComicalOpinions.com, a comics review site dedicated to indie, small, and mid-sized publishers.

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Final Thoughts

Detective Comics #1091 slows down the pace and the plot while Batman grapples with his inadequacies and privilege in a sedate step down from the previous issue. Tom Taylor slathers on the heavy-handed pontification while progress on finding the serial killer and the twist involving Thomas Wayne go completely on the back burner. The first issue showed promise. The second does not.

5.5/10

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