Superman 13

Today, Patrick and Scott are discussing Superman 13, originally released October 24th, 2012. This issue is part of the H’el on Earth crossover event. Click here for complete H’el on Earth coverage.

Patrick: Poor Superman just doesn’t belong in the 21st century. As readers and audiences grow more sophisticated, the desire to see an invulnerable man of infinite strength and unquestionable morality has waned. Hell, even the modern James Bond gets his ass kicked from time to time. So when Scott Lobdell starts his first proper issue of Superman with Clark bench pressing the Earth, you’ve got to wonder what he’s aiming for. And it’s in the wondering that Superman 13 gets interesting.

After showing off his impossible strength, Supes flies up to the surface of the sun to recharge. It turns out he’s been underground (showing off? training? testing equipment?) for a couple days. But then he has mere moments to fly back to Metropolis, get ready for work and clock in: even Clark’s working for the weekend, it seems. But once he gets to work, Clark is bombarded with requests for articles that could only dubiously be considered “news.” Whether its his Kansan integrity or his Kryptonian integrity that causes him to quit his job in an enormous indignant tantrum is unclear. What is clear, however, is that Clark doesn’t have time to mope (or even process what just happened), because there’s a gigantic dinosaur-monster-thing terrorizing the city. Supes finds the creature more than a match for his strength, but he eventfully fries the thing with an oil well / heat vision combo (IT’S SUPER EFFECTIVE!).

Just as Clark dusts his hands, Supergirl shows up and wants to know what the fuck is going on. Y’see, that monster was a Kryptonian dinosaur. The logic follows: if Clark was so damn sure that there was no more Krypton — as he evidently told Kara at some point — where did that thing come from? Then the omniscient narrator chimes in: “Neither Kal nor his cousin realizes there is another there with them. Another traveler, of sorts. Waiting. Biding his time for a proper introduction.” And this is where the dramatic irony transcends even the narrator, as we get our first vision of H’el.

Scott, I don’t know how closely you’re paying attention to general comic book news, but this Superman story has been hyped for a few months — largely because this villain is going to appear in Supergirl and Superboy. It’s a cross-over that will extend well into the new year, and that scruffy-lookin’ Superman look-a-like in the middle of the final page will be raining down terror on Earth’s adopted Kryptonian children. The event is called “H’el on Earth,” the dude’s name is H’el. So while this narrator — who comes out of nowhere, by the way — doesn’t want to spill the beans, we already kinda know who that is. There’s a fun little clue in that H’el heralds his own coming by releasing a Kryptonian dinosaur, suggesting that H’el himself is Kryptonian — possibly a time traveler?

“What’s that?” you say, “time travel?” Why, yes, I think there’s some time travel afoot. Beyond the dinosaur, we can look to some of the stranger goings-on in the zero issues of Superman and SupergirlBoth issues take place in the final days of the doomed planet Krypton, and both include appearance of modern-day characters. Superboy is present in Supergirl — he warns her mother that her husband is going to send Kara off into space. And Superman was present to watch his parent’s ward off some attackers before he was even born. Rest assured: something’s going on here.

All that comic wankery aside, I think this issue succeeded on a number of fronts. First and foremost, Kenneth Rocafort’s art is as dynamic and gripping as I’ve ever seen it. Rocafort’s signature move is this thing where the panels don’t appear to be part of the page, but floating in a space of their own. This injects a chaotic dimension to the cut-and-dried adventures of the Man of Steel. Look how beautiful this page is — Superman flies off-planet, recharges at the sun and returns to his apartment.

Rocafort also seems to really like teeny-tiny drawings of Superman: there are a ton of really wide shots that reveal the enormity of the conflict, but only allows Superman to register as a little red dot.

Both Rocafort and Lobdell are showing interesting takes on Superman’s power set. There’s a sequence where Supes combines his heat vision with his icy breath to create a strong wind to spirit some construction workers to safety. Kinda neat. And Clark’s superhearing acts as a sonar to detect the gigantic Kryptonian-monster (though, he probably could have HEARD it coming too…). Clark also uses his x-ray vision to read a text message exchange on Lois’ phone. I always love it when artists take care to graphically portray the unique ways superheroes perceive the world around them.

Superman is a fairly unique character, and this creative team seems committed to convincing me that this makes him interesting. But just in case I’m not sold on his otherness, Lobdell decides to let Clark nuke his paid position writing (about Superman, no less) for the Daily Planet. Clark admits that he’s only been a reporter for five years, but he’s got too much integrity to pen the schlock they’re asking him to write. Maybe I have a skewed view of this because I am a writer and I live in Hollywood and basically everyone I know would murder a nun to get a paid writing gig. But I suspect we’re supposed to see this principled stance against soft journalism as another example of Clark acting like an alien creature.

So, Scott, how’s this working for you? I see a bunch of interesting pieces starting to come together now, but I’m not totally convinced it will gel in any meaningful way. But with all the weird little hints about our Kryptonian characters visiting Krypton’s past, I’m start to find myself interested in the last sons (and daughter) of Krypton for like the first time ever. Hey, if nothing else, it’s good to see Jimmy Olsen is getting some action, amirite?

Scott: Yeah, nice going, Jimmy. Although I find it hard to believe that Superman’s super hearing couldn’t pick up the sound of a running shower from the other side of the bathroom door — even I can do that. No, Superman knew what he was walking in on, and he didn’t stop himself. Whether he knew Jimmy was in there with a girl is another question, and probably a topic for a different blog.

You’re right, Patrick, Lobdell certainly takes a lot of time to show us that Superman has more limitations, both physical and emotional, than we’ve come to expect. He, quite literally, breaks a sweat during the opening scene, which sets the table for some other humanizing moments later on. Exhausted for the first time ever, Clark wonders if his powers are finite (though he still has the energy to fly to the sun, so I guess “exhausted” is relative here), but it’s his emotional vulnerability that winds up hindering him the most. He has trouble gripping with the notion that Lois has moved on, taking solace only in the fact that he is morally superior to everyone else in the news media world. But is he really?

I thought Clark’s rant about journalistic integrity was totally bogus. On his way into work he makes a crack about how he wishes he could turn saving the world into a day job, but he essentially already has. As a Superman beat writer, anytime Superman does anything newsworthy, Clark profits by being the first reporter with the story. Really, the only reason he has any journalistic credibility is because he has mislead everyone into believing he has a great beat on the city’s super hero. Seems like the opposite of journalistic integrity. Those stories must be impossible to fact check, considering no one else knows who Superman is, and I’m pretty sure any editor would be out on his ass if it came out that one of his reporters was printing exclusive interviews with his own alter-ego. He claims he’s the only one who cares about real journalism, but he’s not playing by the rules. And now he’s getting into phone tapping? This guy totally deserves to get fired.

I sure was glad when that giant Kryptonian beast showed up. Enough with exhausted Superman, sulking Superman, and indignant Superman; I want to see a good-old-fashioned, trans-continental, alien-on-dinosaur-alien brawl. And this is Superman at his best, when his strength isn’t enough and he has to incorporate some super-ingenuity to get the job done. Patrick, I haven’t heard much about the “H’el on Earth” event, but it sounds like lots of Kryptonians pitted against each other, which should lead to some pretty awesome fights. And whenever time travel is involved, count me in.

Patrick, not only does Rocafort’s floating panel technique add a dimension of chaos, it also allows him to utilize the entire page to show scale. I mean, he’s dealing with some pretty massive objects in this issue, and he uses every bit of space to show Superman is dwarfed by the sheer size of something like the Kryptonian dinosaur.

The beast dominates the page, it’s intimidating figure taking up most of the space, but Rocafort tosses in just enough bits of action to clearly depict the fighting sequence.

This issue picked up steam as it went along. At this point, I’m much more interested in the upcoming Kryptonian clash than in seeing how any of the myriad problems in Clark’s social and professional lives work themselves out. I say, save the humanizing for the humans, let Superman be awesome. That’s what we’re all here to see, right?

For a complete list of what we’re reading, head on over to our Pull List page.  Whenever possible, buy your comics from your local mom and pop comic bookstore.  If you want to rock digital copies, head on over to DC’s website and download issues there.  There’s no need to pirate, right?

54 comments on “Superman 13

  1. You know that I’m not the biggest fan of Lobdell. I think his best work of the New 52 is Red Hood and the Outlaws because those characters fit really well with Lobdell’s 90’s-ish writing style. So I was surprised to find that I actually enjoyed this issue for the most part. I know this may sound silly but I LOVED the fact that Clark actually had some beard stubble and KEPT it! That, more than anything else went a long way with me in humanizing Supes, plus I think the look works for him. I’m tired of the clean cut Clark/Superman! Just because this guy is practically a god doesn’t mean he has to have the perfect life or even look clean cut. I’m interested to see where Lobdell goes from here…and that isn’t something I’m accustomed to, haha.

    Oh yeah, and the maddest of props to Lobdell for getting Jimmy some action. He deserves it!

    • I think Lobdell’s treating the character just fine – nothing to write home about. But it’s Rocafort’s treatment of the character and his world that is absolutely incredible. Scott’s right to point to the sheer scale the man manages: that just makes all the action that much more exciting.

      Plus, Rocafort’s drawings of exhausted Supes (stubble and all) go a long way to characterizing a dude that sort of resists characterization.

  2. I actually liked the Clark Kent stuff here. Sure, the “Clark Kent, Superman Journalist” stuff is a little Peter Parker-y, but I was otherwise pleased to see Lobdell reaffirming the Plutonic ideal of Clark Kent: fighting for truth, justice, and the American way, and pining for Lois. Lobdell definitely gets on his soapbox a bit, getting digs in about modern news and the abolition of “the American way” from Superman Returns. It’s the tongue-in-cheek, postmodern take on Superman I was expecting from Lobdell, and I like it quite a bit.

    • I love that multiple news corporations have latched onto the story of Clark Kent going digital, perhaps because it voices their own fears that they are becoming obsolete. What I find even more entertaining about this is that it is stated in a comic book which, one could argue, is also going extinct. Can we please have a Superman comic that’s primary focus is discussing the future of print and digital media?

  3. I usually hate the multiple-narrator, thought-balloon-heavy style that Lobdell occasionally slips into, but I really liked it here. I kind of mentioned this in the write-up for the annual, but it hearkens back to an earlier age of comics, which I guess I’m drawn to when it comes to Superman. It’s more post-modernism (but not, like, Grant Morrison-level post-modernism), but I think that’s totally warranted (and perhaps necessary) when dealing with a character with as much history and baggage as Superman.

    • I want to respond to both of your comments at the same time, so it’s just happening here:

      It does seem like there’s a healthy amount of throw-back mixed in here with some pretty compelling newness. Even that Clark-freaks-out-at-work sequence was old timey while still addressing the fact that the paper is also primarily a website – and even included Clark intercepting a text message. It feels like homage in a very Lobdell kind of way, which I think is just less reverent than Morrison.

      • VO boxes always sorta break the 4th wall for me. They’re such a common part of modern comic book story telling, but I can never shake the feeling that this is the character imparting information explicitly to the reader. Whereas the thought bubble is more of the character talking to himself. And I think that makes it ultra-charming that Superman needs to give himself little pep-talks, needs to remind himself that people don’t understand him, but he just needs to double down and try harder to be understood. It speaks to the character in this case (not just the style).

        • To me, it’s a matter of narration — VO boxes for 1st person, thought bubbles for omniscient 3rd person. There’s certainly a place for both, but we tend to see a lot more VO boxes in modern comics because it’s often the stronger choice for a story with a single lead. 3rd person narratives add a little more space between the reader and the lead, but can offer insight into the thoughts of the rest of the cast. That’s not always necessary, but it can add a dimension that dialogue and still images can’t — especially when characters are being insincere. Tone of voice or fleeting facial expressions can convey that well enough in moving images, but in comics, seeing a character think “yeah, right” might actually be MORE subtle than a panel of exaggerated eye-rolling.

    • It’s a very weird world indeed. I’d assume that Superman could just grab any random info he wanted right? Hmmm…I wonder if Lobdell is going to push this any further? Like, if Lex or the government ever caught wind of this, I’d think they would probably would have a thing or two to say to the ol Man o’ Steel.

  4. Superman has always been my favorite character and I think he’s the character that has suffered most from the reboot. Jurgens and Giffen were throwbacks to the late 80’s and early 90’s in style which pitted Supes against a revolving door of jobber baddies and came across as complete boring and inconsequential. Superman’s real post-reboot fire has been captured in Action, but the chronology of that book has made it feel somewhat separate from the DCnU despite its potential. And now, I see Clark just becoming a character that I do not recognize at all – the idea that he would be brash enough to go Jerry Maguire is just in the face of everything I know about his mild and noble personality. My Clark wouldn’t feel entitled to the job under his own terms unless he put in the work to start the business himself. If my Clark Kent had a problem fulfilling his professional duties he would politely decline them and pursue his happiness elsewhere without ranting to anyone who would listen. Perhaps I am somewhat alone, but I feel Grant Morrison gets this idea, too – I believe the concept of updating Superman’s core personality is complete folly. My entire love for the character could be summed up in something Coulson says to Cap in the Avengers film – “With everything that’s happened and everything that’s coming, maybe people could use a little ‘old fashioned'”.

    • I always felt that the “mild-mannered” part of Clarks personality was always a part of his disguise, along with the bad haircut, glasses, and poorly fitting suits. I’m okay with Clark exploding from time to time like this simply because I imagine it would be really frustrating for a guy like him who is capable of so much stand for things he sees as unjust. As Clark, he’s constantly forced to play a mostly ineffectual role so I think it’s realistic for the character to slip up from time to time.

      • I think Mogo’s got a point though. As I mentioned in the opening paragraph, neither Clark nor Superman seem to be creatures of the 21st century. His values, his occupation, his power set – none of these things are of this era. Superman is a historical fictional figure and maybe it would make more sense to treat him as such. The relaunch and the 5 year rule make that more or less impossible, and I think that’s the heart of what Mogo’s missing.

        • Yep, that more or less nails it. I just see this run and then also the Man Of Steel trailer, as well as Superman: Earth One, as sincere attempts to make Superman into something he’s not: dark, gritty, contemporary, and alien. To me Superman is more human than human – his ideals are idealistically American and his cultural heritage is having been raised to be a nice boy by nice farmers in Kansas. I think Clark/Superman is an ideal of quiet dignity, nobility, and an ultimate strength that can be employed against the darkness of the world that opposes this things. To see him, with all his power, throw a tantrum against those who are not commiting true evil or crime is something he should be above IMO

        • I can get on board with that, I think one of the most successful Superman stories in the past few years was All Star Superman which definitely had a Silver Age feel to it. I’d love to see the return of the mad scientist Superman that we saw in that era. I think it’d be fun. But is playing to the characters past the only way he can work in today’s comics or is there another solution?

        • I would say that you in fact DO want to update most characters, but I see Superman in the same league as a Captain America in that this is a character who inherently stands for old-fashioned ideals and the ONE character that you should purposely avoid trying to update. Like Patrick pointed out, I see him as a historical figure – the first super-heroe and symbol of corny but wonderful ideals that are now criminally seen as outdated. I HATE when people attack Superman for being too clean-cut

        • Believe me, I understand if you have a preference for how your favorite characters should be treated and I’m not saying you or Patrick are wrong by any means. However, I feel that Supes and Cap are two very different characters. Whereas Superman might be a CHARACTER out of time because his powers, occupation, etc. are inherently old fasioned as Patrick points out, Captain America is a MAN out of time because it’s a part of his origin. It makes sense for him to have “old fasioned” values because he was born in the 1920’s. Superman (generally) landed in contemporary America roughly 25-30 years ago. If his values are based on those of his parents and his parents values are updated to be closer to what modern day values are in rural America then wouldn’t Superman’s values be updated too?

          Cap will always be a child of the 20’s whereas Supes’ childhood era will always be subject to change.

      • I don’t think this assessment fits – I think Clark is the same nice boy that was raised by the Kents, and furthermore since his human family is now deceased in-continuity he has no reason not to just admit he’s Superman and stop living a human life. Clark likes being Clark because it’s his connection to humanity and the way that he’s able to fit in as the normal boy he was raised as by humans.

        • I see your point, but is nice the same thing as mild-mannered? I think I’m a nice guy but I wouldn’t call myself mild either. I just think there is a way for Supes to be true to his origins and mix things up a little bit too. Is he a boy scout at heart who honors his parents? Yes. Does that mean he always has to play it mellow? I’d like to think not.

        • It’s hard to tell some things with this rebooted version, but my argument is that his personality should keep true to his pre-Flashpoint or even pre-Crisis ideals – and you can glean a lot from what I consider his “true” personality from conversations with his still-living parents in older stories. These are conversations where he may have disagreed sometimes and also would not have had a reason to disguise his real personality – so the Clark that would show ultimate kindness even in disagreement with his Parents in the old continuity is my compass for his human personality

        • Clarks interaction with his parents is a good place to start, but even then he may have had reason to behave a little different knowing that he’s from another planet. I’m not saying he did or didn’t but I think there is room for speculation. This conversation brings to mind what is, to me, the most interesting question about Superman. Who is he really? Is he “Superman,” “Clark,” or “Kal-El?” Is he mostly one or the other or is there even a separation? When is this person playing a role and when is he truly being himself?

        • We can probably agree there’s not going to be a real definitive answer here since he’s been interpereted by many writers over the years and endured many retcons, but I like to think that the ill-fitting suits and glasses type illusions were mostly physical and visual – I don’t think Clark would intentionally hide his real personality from his friends and loved ones. I think if the Superman version of his personality were a little more “take charge” from time to time it was simply a matter of efficiency and utility.

        • Thanks for talking Superman with me, by the way. I can tell by your handle you must be a fan, and it’s something I could shoot the breeze about all day. Pretty passionate Supes fan, if you couldn’t tell 🙂

        • That’s an absolute distinction you’ve pinpointed, but I also feel that country values (in particular the values depicted concerning the Kents in Action 5 to 6 – hey, it’s our only insight so far) aren’te as updated as the rest of the world. Life is still slow and kindly farmers still humble and old-fashioned in large portions of the country. Surely there can be no right or wrong version of Superman, just a person’s preference on the current direction. The nature of the beast is, despite any attempts at continuity, these characters will be reinterpereted ad nauseum as long as there is interest in serializing them. I like to consider the Curt Swan version the closest thing to definitive, though – he drew the character for over 30 years and instilled that humanity into him that Donner and Reeves immortalized on film. If there is any part of Superman that should remain his essence then my preference is that this is the material you honor. It’s a situation where I don’t think you could, for instance, stray to far from Kirby’s Fantastic Four without it raising some ire from the loyal

        • I’m glad you mentioned the Superman films. To me, the scene in this issue where Clark is standing up for journalistic integrity reminds me a lot of that scene in Superman II after Clark has given up his powers, and he gets beat up by that trucker in the diner. That whole fight is over the trucker taking Clark’s seat. Clark could have just moved to a new seat, but instead, he stands up to the guy on principle. I’m willing to accept that that scene might not be a great embodiment of Clark’s personality, either (it’s so hard to pick a definitive version when, as you mentioned, so many people have interpreted the character over the years), but to me, it fits perfectly with the Clark we see in this issue.

        • While that’s true, that is also a situation where they are in a public business and Clark has the right to take any seat he gets to first. When you’re an employee somewhere you’ve accepted money as their agent and if you disagree it’s your prerogative to decline, thank them for the employment opportunity thus far, and leave amicably to seek happiness elswhere. They haven’t wronged you, you just don’t see eye-to-eye. They are just a business legally looking after their business interests. What really irks me about Clark here is that he’s inherently taking the US public to task for being more interested in entertainment than depressing reality, like he’s so above it all.

        • And I don’t mean to say here that he doesn’t have a POINT about the current culture – just that this isn’t how Superman would communicate it. He comes out things from a positive angle, I’ll do something wonderful to inspire people – here’s he’s taking the negative approach

    • I have very little experience reading Superman, so my impressions of Clark mostly come from the movies and cartoons — so take this with a grain of salt — but it makes a lot of sense to me that he would make this speech. Sure, this seems brash, but which values are more important to him: meekness or journalistic integrity? The impression I got from this issue was that he only snapped after being pushed to his limit. I saw the stand that he took here as a sign of his old-fashioned values, rather than a sign that he was a rabble-rousing whipper-snapper. He only made the statement publicly like that because he thought his peers would be with him. Not only is it a good visual gag that they’re not, but it must hurt him to have his faith in humanity go unrewarded like that. Again, I don’t know Clark that well, but none of this seems like too big of a stretch to me.

      • I don’t think his meekness is something he inherently values, I was more considering his tradition of quiet dignity when he’s had a difference of opinion with humans who aren’t evil. He’s got *so* much power that to see him act out in an undignified way incrementally puts him on the path of someone who could ultimately be irresponsible with that power. His temper should be reserved for ultimate darkness – the guy has traditionally shown cool temper and overwhelming kindness to borderline villians. To me, if he takes humans to task for being flawed and human (and NOT commit dark crimes or evil) then he becomes something I don’t recognize

      • It’s hard to tell some things with this rebooted version, but my argument is that his personality should keep true to his pre-Flashpoint or even pre-Crisis ideals – and you can glean a lot from what I consider his “true” personality from conversations with his still-living parents in older stories. These are conversations where he may have disagreed sometimes and also would not have had a reason to disguise his real personality – so the Clark that would show ultimate kindness even in disagreement with his Parents in the old continuity is my compass for his human personality

      • NO PROBLEM! I love talking about DC comics and Superman. I do it whenever I can! And yeah, we may not agree on every point but half the fun of comics is having these kinds of discussions. In fact, that’s exactly why this site exists!

        What’s your favorite Superman story?

        • Well, I have to give that honor to Whatever Happened To The Man Of Tomorrow? It’s an obvious pick, but it is what it is. I love it. I’m also a huge fan of I Flew With Superman from Superman Annual #9, Superman Annual #11 (For The Man Who Has Everything), Action #544 (The “New Luthor And Brainiac” anniversary issue where Luthor gets his army and Braniac becomes the robotic version… particularly the Luthor segment), Superman #164 (Superman fist fights Luthor under a red sun), Crisis On Infinite Earths #7, and more recently All-Star Superman, and Superman: Secret Origin, and New 52 Action #13… there’s really a bajillion, I’m just spitballing a little 🙂

        • That’s a great list! I’m sorry to say I haven’t read all of them but that’s what back issue bins are for haha. Did you ever read Superman: Secret Identity? I know it’s an elseworlds and it’s not even “our” Clark Kent, but I thought it was pretty good. Another random pick I have is Red Son. Another elseworlds…hmmm, I wonder if that says something about my Superman taste LOL

        • Wow, so no, I haven’t read either – but a quick Google search returns that Secret Identity is written by Kurt Busiek, whose Marvels mini-series I love, whose Astro City I’m only missing a handful of issues of, and of whom I’m great admirer – so, yeah, that just made my list of things I need to read immediately. 🙂 I see Red Son is by Mark Millar, too, who I often neglected and considered an institution unto himself at Marvel (and I’m basically a DC guy). I have heard that Millar’s Spider-Man is great and he’s a top talent across the street so I definitely will give that one a chance. My avoiding people like Millar, Bendis, Hickman, and Fraction is less of a bias and more of economic choice… if I start following that line even a little then my collecting nature will get the worst of me. I am definitely getting the Fraction/Allred FF title, though, so it may have started

        • Yes, you must be VERY careful when choosing to follow any one of the writers you mentioned for their words are like crack my friend! But seriously, pick up Red Son, it’s a very fun take on the Man of Steel and some other DC greats. And if you’re into Fantastic Four, Hickman’s run is truly genius!

        • Another vote for Red Son – I absolutely adore Red Son. As someone who was essentially outside the world of comics a few years ago, I didn’t understand the Lex-Supes rivalry at all. You know, it just felt cheap to me. But Red Sun made me reverse that opinion.

        • Have you read Luthor by Azzarello? That shit will spin your head right off. It’s Luthor’s Killing Joke. SO FUCKING GOOD. Sorry about all the cursing, talking about Lex just does something to me.

        • Alternate reality or not, “Secret Identity” is definitely my favorite Superman story. I’ve just read that thing to death. It’s so frigging good.

  5. Yeah, Patrick, I’m with you on the superhearing-as-radar being totally unnecessary. It’s a monster with DINOSAURS FOR HANDS lumbering through Metropolis — you should be able to hear that shit. Leave the radar sense to Daredevil, who needs it way more than a man with all kinds of suped-up visual capabilities.

    • By the same token, I can forgive him not hearing the shower through the closed bathroom door. Remember, he had six minutes to fly down FROM THE SUN, so he was clearly moving faster than the speed of sound. (Faster than the speed of light for that matter, but I guess that’s not a problem for Supes.)

  6. Did anyone else thing it was slightly creepy that Superman read Lois’ texts? I’m not used to seeing Superman abuse his powers like that and thought it was out of character. Also, Lois Lane being portrayed as some corporate lapdog seems counter-intuitive to her nature. I feel like this has been a rough year for Lois Lane in comics.

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