Supergirl: Girl of No Tomorrow / Plain Sight by Steve Orlando, Robson Rocha, Daniel Henriques, et al.

Supergirl, Vol. 3: Girl of No Tomorrow

Collection published: 2018
Contents originally published: 2017
Read: February 2026

Writers: Steve Orlando, Jody Houser, Vita Ayala
Pencillers: Robson Rocha, Steve Pugh, Jose Luis, Carmen Carnero, Jamal Campbell, Julio Ferreira
Inkers: Daniel Henriques, Steve Pugh, Norm Rapmund, Carmen Carnero, Jamal Campbell, Julio Ferreira
Colorists: Michael Atiyeh, Jamal Campbell
Letterers: Steve Wands, Calos M. Mangual

The second half of Steve Orlando's Supergirl run moves away from the strengths that characterized the first. One senses that this isn't his fault, that editorial is revamping the premise periodically because the book isn't selling the way that they hoped. I don't have any proof of this, but it doesn't make sense to me that a writer would set up a bunch of concepts in their first eleven issues clearly designed to create a "storytelling engine" and then largely ignore or abandon them in their final nine. And it's probably indicative that after the last issue by Orlando, this volume of Supergirl took a four-month break and came back with a totally new creative team and a premise that completely moved away from what Orlando set up here. Though it continued this run's issue numbering, the volume numbering of the trade paperbacks reset, so it was clearly conceptualized as totally distinct. (It doesn't sound appealing, so I am not going to read it, but my understanding is that it moves away from this run's YA vibe and also puts Supergirl on her own in outer space. As far as I know, recurring characters like Ben Rubel have never appeared again.)

The series's third volume, Girl of No Tomorrow, begins where the cliffhanger ending of volume two left off, with Cat Grant seemingly shooting Supergirl. This is quickly shown to be the actions of not Cat Grant but a shapeshifter, and the gun doesn't kill her; it makes her powers stronger but also causes them to fluctuate. To be honest, I didn't really get or enjoy this subplot at all. I think my-powers-are-out-of-control subplots are rarely interesting because they don't really map onto anything comprehensible and the fluctuations can feel very arbitrary and thus the hand of the writer is a bit too evident. (The exception, perhaps, is X-Men stories where they can serve as an allegory for puberty; see X2.) Lots of stuff seems to happen but not mean anything: Kara gets attacked by a bunch of different villains, including the Legion's Emerald Empress, which means each one attacks her, then goes away, repeat. There's no development. Kara's powers fluctuate at school, but the reactions to this don't ring true at all—why, when a character falls down a hole that spontaneously appears in a hallway floor is every one just like, "lol kara is such a nerd"?

Well, this will certainly convince everyone you were being compassionate!
from Supergirl vol. 7 #13 (script by Steve Orlando, art by Robson Rocha & Daniel Henriques)

There's also one of my least favorite superhero tropes: the "regular people" turn on the superhero. This feels like a a bad fit for the Supergirl aesthetic in general and a big swerve from the inspirational approach of the first two volumes in specific. On top of that, when you don't have POV characters who embody this approach, it's just randos in crowd scenes going, "yes i used to look up to you but now you suck!" which just feels arbitrary and random. (Cat Grant is the one actual character we get who doesn't like Supergirl, but I didn't follow her reasoning.)

Look, I love the Emerald Empress, but I literally have no idea what she is going on about here.
from Supergirl Annual vol. 7 #1 (script by Steve Orlando, art by Steve Pugh)

The story doesn't so much end as stop (why all these bad guys were attacking Supergirl thinking she was a danger to the future is just not adequately explained), and there's a big status quo change at the end that doesn't pan out at all. Before that gets developed, though (which is more in the fourth volume), there's a one-issue story about Supergirl teaming up with the "New Super-Man" of China. This is fine but a bit short and facile.

Supergirl, Vol. 4: Plain Sight

Collection published: 2018
Contents originally published: 2018
Read: February 2026

Vol. 4, Plain Sight, unfortunately leans into the things that didn't work for me in vol. 3. At the end of Girl of No Tomorrow, Cameron Chase was fired as the DEO director in National City, and her boss, Director Bones, takes direct control of the DEO's operations there. For reasons that, again, I never really understood, Bones has some kind of vendetta against Supergirl. This means the setup of the first two volumes, where Supergirl works for the DEO is abandoned. Supergirl's adoptive parents are DEO agents; they quit. Who her parents are is scrubbed from the DEO records... somehow Bones can't figure this out, which doesn't really make any sense. What also doesn't make sense is that Kara continues to attend human high school despite the danger this puts both herself and her classmates in; for some reason, she also continues in her internship at Catco even though this means she spends much of her manufacturing anti-Supergirl content. Why does she need this internship so much?

This book does attempt to recapture the storytelling enginge set up in vol. 1 again, by including a subplot about Kara and Ben going—or not going—to nerd prom together, while a girl shows up who's a rival for Kara's affections. I felt, though, that this coordinated pretty awkwardly with the main plot of Supergirl continuing to battle bad guys sent by an increasingly and implausibly unhinged Director Bones. (Like, why would this guy be dumb enough to think, "oh someone from apokolips is definitely more trustworthy than supergirl"!?) Also it might have worked better if the rival character had ever appeared before! (Or maybe she did but was completely unmemorable? Either way, not well done.)

And this dude promptly never appeared again.
from Supergirl vol. 7 #18 (script by Jody Houser & Steve Orlando, art by Carmen Carnero)

The book does have a standout issue, though; the penultimate one is a lot like the story in vol. 2 where Supergirl redeemed a villain, in that it's character-driven and mostly focuses on seeing Supergirl through another's eyes. In this case, though, it's not a villain, but a nonbinary kid who finds acceptance with Supergirl when they can't get it at home. Great art by Jamal Campbell, and I felt that we were tapping into what make Orlando's version of the character actually work for the first time in a long while. Too bad the rest of the book couldn't do this.

To be honest, I didn't totally buy this argument. "If your parents reject you, it's because they love you!"
from Supergirl vol. 7 #19 (script by Steve Orlando & Vita Ayala, art by Jamal Campbell)

The last issue is very much an "oops we're being cancelled let's cram it all in and wrap it all up" one, unfortunately. Necessary from a storytelling perspective, I guess, but not interesting to read. Shame that this run started out strongly but fizzled out so badly.

How did Director Bones get to be so dumb?
from Supergirl vol. 7 #20 (script by Steve Orlando & Jody Houser, art by Robson Rocha & Daniel Henriques)

As I said, I'm not interesting in continuing onto the Marc Andreyko run that continues from here (even if it does feature Kevin Maguire on art!), but what I've read about the subsequent Sophie Campbell one makes it sound more my speed. Maybe someday!

Joe Casey Joe Kelly's Adventures of Superman #611: Lost Hearts

Lost Hearts: "Lost" / "Heartbroken" / "Giving In" / "Heart Song"

The Adventures of Superman vol. 1 #611 (Feb. 2003)
DC Comics Presents: Superman vol. 2 #2 (Jan. 2011), reprinting Action Comics vol. 1 #798, Superman vol. 2 #189, Superman: The Man of Steel #133 (Feb. 2003) 

Writers: Geoff Johns and Joe Kelly
Pencils: Pascual Ferry, Dwayne Turner, and Tom Derenick
Inks: Keith Champagne, Pascual Ferry, Kevin Conrad, Norm Rapmund, Walden Wong, Bob Petrecca, Sandu Florea, and Cam Smith 
Colors: Tanya and Rich Horie, Guy Major, and Moose Baumann
Letterer: Richard Starkings
Associate Editor: Tom Palmer Jr.
Editor: Eddie Berganza 

#611 is the third and final fill-in during Joe Casey's run on Adventures of Superman. Unlike #591 and 607, where my philosophy was that I would read them if I could get them at no extra cost and skip them if I could not, I intended to get #611 from the beginning. It's the second installment of the Lost Hearts crossover, but in this four-part story, Joe Kelly (regular writer of Action Comics) takes over Adventures. But I was intrigued by what I knew of its more personal focus, by its evocative covers, by the fact someone had bothered to reprint it (in DC Comics Presents: Superman vol. 2), and by the fact that it introduced Traci Thirteen, a character I came to love during the Jaime Reyes Blue Beetle run.

from Superman: The Man of Steel #133
(script by Geoff Johns, art by Tom Derenick and
Norm Rapmund, Walden Wong, Bob Petrecca, & Sandu Florea)

Lana Lang, Clark Kent's childhood sweetheart and the vice president's wife, runs away to Hell's Heart, the worst neighborhood of Washington, D.C., and Clark goes after her. There, amid the growing cold of late year, he discovers rampant drug addiction, homelessness, sexual exploitation, and (of course) strange alien parasites. Clark finds his values tested; this is a place and a situation where he can't be Superman... but is Clark strong enough?

It has its moments, but something about it didn't quite click. Maybe it's that I'm always kind of wary of Superman comics getting too close to "real social issues"; maybe it's that the emotional throughline for Clark felt a bit muddled. Maybe it's that I'm not convinced of the need for a subplot about an exploitative photo shoot of Lana. It feels like the story kind of meanders to a conclusion more than it has an actual plot.

from The Adventures of Superman vol. 1 #611
(script by Joe Kelly, art by Dwayne Turner & Kevin Conrad)

But I enjoyed a lot of it. Traci Thirteen is a fun character, you can see why she came back, even if she's not quite the same character as later. (She seems older and more detached than she was in Blue Beetle. I don't remember her having an iguana familiar in any other stories, and I don't think her dad can possibly be Doctor 13, as Architecture & Mortality would establish.) Some of the stuff about Superman coming to help Hell's Heart is, well, heart-warming, and fits in well with what Casey has been doing in Adventures.

from Action Comics vol. 1 #798
(script by Joe Kelly, art by Pascual Ferry and
Keith Champagne & Cam Smith)

It's nice to have a Superman titles crossover that's about, well, Superman-- not about big fights and Events.

ACCESS AN INDEX OF ALL POSTS IN THIS SERIES HERE

Joe Casey's Adventures of Superman Supplement: The Big Noise

Our Worlds at War Aftermath!: Casualties of War!: The Big Noise: "Rumble Face" / "Benediction Redux" / "Righteous Destroyer" / "The Final Solution"

Superman/Batman #68-71 (Mar.-June 2010)

Writer: Joe Casey
Co-Writer: Joshua Williamson
Pencils: Ardian Syaf and Jay Fabok 
Inks: Vicente Cifuentes, David Enebral, Norm Rapmund, Marlo Alquiza, Prentis Rollins, Rebecca Buchman, Derek Fridolfs, and Walden Wong
Colors: Ulises Arreola and Pete Pantazis
Letters: Rob Leigh
Assistant Editor: Rex Ogle
Editor: Eddie Berganza 

Joe Casey's return to his run on Adventures of Superman slots in, as far as I can tell, between issues #596 and 597 of his original run. The details seem to line up fine: Earth in general and Metropolis in particular are rebuilding in the wake of the Imperiex War, Luthor is president, the JLA uses a Watchtower on the moon, and so on. The discontinuity that I noted is that Superman's chest logo uses a yellow backing, rather than the black one he adopted in mourning in #596. Maybe it was felt that would be confusing to casual readers. Though if they were worried about casual readers, maybe they shouldn't have marketed it as a tie-in to an eight-year-old event. (I did like the retro trade branding on the cover, admittedly.)

Anyway, this is kind of a bog-standard Superman story with a not very important role for Batman that ultimately becomes terrible. So far in reading Casey's Adventures of Superman, I'd say we've moved between Big Events like Return to Krypton and Our Worlds at War (where Casey can't really cut loose, though he did manage a really good installment of All-Out War!) and intriguing one-issue stories like "Don't Cry for Me, Bialya" (#590) and "Shipbuilding" (#596). So I was interested to see what he might do with a four-issue story of his own devising.

from Superman/Batman #71
(script by Joe Casey, art by Jason Fabok and Prentis Rollins,
Rebecca Buchman, Derek Fridolfs, & Walden Wong)

The answer turns out to be: not much. Superman discovers the hijacker of the ruined ancient Kryptonian star destroyer is on Earth, a shapeshifting Durlan (of Invasion!, Legion, and L.E.G.I.O.N. fame) disguised as a secretive financial backer of S.T.A.R. Labs. The Daxamite, Anderson Gaines, sends a bounty hunter after Clark Kent. Superman fights the bounty hunter, Batman goes to space, Superman and Batman win. Somehow this all takes four issues. The dialogue is often terrible; the bounty hunter tells the robots guarding the Fortress of Solitude, "If you two are searching your database for any info on me, let me make it easy for you-- I'm filed under NRG-X! Next time you'll know." Later when NRG-X tells Superman he doesn't know the meaning of "surrender," Superman even calls out they've descended into cliché... but I think calling your bad superhero dialogue "cliché" is as much a cliché as writing it at this point. There are lots of big fight scenes with no creativity or interest to them.

The story sets up interesting ideas that go nowhere. Batman insists that since Gaines is battling like a traditional insurgent, they should use usual counterinsurgency tactics instead of bringing in the JLA. This is an okay idea, of Superman having to be more Batman-like in fighting a Superman threat that uses Batman-like tactics... but not much of interest is actually done with it. Gaines's "insurgency" is to send a flaming fire man after Superman; Batman's "counterinsurgency" is to lure Gaines into space. Genuine character work is pretty minimal.

from Superman/Batman #68 (script by Joe Casey,
art by Ardian Syaf and Vicente Cifuentes & David Enebral)

Plus the story has some weird dead ends. There's this whole thing in the first issue about how Clark interviews Garrison Slate, a redheaded reclusive S.T.A.R. Labs backer with bad facial hair... who is different from Anderson Gaines, the redheaded reclusive S.T.A.R. Labs backer with bad facial hair that Superman is fighting. Why? The other guy doesn't even add anything to the story, and in a later issue, it's claimed Clark interviewed Gaines, so even the writer got them confused.

There were times it clearly aspired to saying something about something, but this was tedious by its end. Mediocre decompressed hollow action comics at their worst. I don't know why this was written or what its point was imagined to be, and I look forward to getting back to the real Adventures of Superman soon.

ACCESS AN INDEX OF ALL POSTS IN THIS SERIES HERE

Faster than a DC Bullet: Project Crisis!, Part LXIV: Futures End: Five Years Later Omnibus

Comic hardcover, n.pag.
Published 2014 (contents: 2014)
Borrowed from the library
Read November 2016

The New 52: Futures End: Five Years Later Omnibus
by Daniel H. Wilson, Eddy Barrows, Eber Ferreira, Dan Jurgens, Alvaro Martinez, Raul Fernandez, Sean Chen, Mark Irwin, Robert Venditti, Van Jensen, Brett Booth, Norm Rapmund, Jeff Lemire, Andrea Sorrentino, Jed Dougherty, Paul Levitz, Yildiray Cinar, Ray Fawkes, Juan Ferreyra, Dan DiDio, Keith Giffen, Philip Tan, J. M. DeMatteis, Len Wein, Jason Paz, Andrew Guinaldo, Walden Wong, Justin Gray, Jimmy Palmiotti, Scott Hampton, Charles Soule, Jesus Saiz, Tom Derenick, Francis Portela, Phil Winslade, Martin Coccolo, Aaron Lopresti, Igor Lima, Ruy Jose, Rodney Buchemi, Geraldo Borges, Justin Jordan, Diogenes Neves, Marc Deering, J. Calafiore, Cullen Bunn, Tom King, Tim Seeley, Stephen Mooney, Sholly Fisch, Pat Olliffe, Tom Nguyen, Scott Lobdell, Scott Kolins, Christy Marx, Robson Rocha, Oclair Albert, Julio Ferreira, Gail Simone, Javier Garron, Marc Andreyko, Jason Masters, Eduardo Pansica, Amanda Conner, Chad Hardin, Derek Fridolfs, Brian Buccellato, Scott Hepburn, Cliff Richards, Fabrizio Fiorentino, Scott Snyder, ACO, Greg Pak, Jack Herbert, Vicente Cifuentes, Sean Ryan, Andre Coelho, Scott Hanna, Will Pfeifer, Andy Smith, Keith Champagne, Rags Morales, Jose Marzan Jr., Matt Banning, Bart Sears, Frank J. Barbiere, Ben Caldwell, Tony Bedard, Emanuela Lupacchino, Ray McCarthy, Pascal Alixe, Lee Weeks, Moritat, Will Conrad, Steve Lightle, Stephen Thompson & Ron Frenz

Five years before the "present," the New 52 version of the DC Universe came to life in Zero Year; now, five years after, it comes to an end. The Five Years Later Omnibus presents endpoints for the 52-ish comic books of the New 52. The future in which these stories take place is somewhat obscure: the back cover actually gives the history of a world thirty-five years later, and talks about Batman Beyond, who appears in literally zero of the issues collected here. The blurb ends by saying "Learn how all this and more could come to pass," but the book is actually very poor at filling in backstory; it took me around half the book to piece together that the Prime Earth had been overrun by refugees from Earth-2, and that Darkseid's forces had invaded at some point. I'm not sure if more things happened to create the dark timeline we see, though. Plus, some of the stories aren't consistent with one another: Justice League Dark: Futures End #1 claims that Etrigan is trapped in the House of Mystery outside time and space, but Etrigan also appears in Gotham City in Batwoman: Futures End #1, where he is killed.

Unlike the previous New 52 omnibi, this one isn't subdivided, so I'll just be reviewing the stories en masse, first with some comments on the overall set-up and then hitting up some specific stories. Of the three New 52 omnibi I've read, I found this one the most frustrating. Even though none of the stories in the first omnibus came to an end, they were all designed for new readers; most of the stories in the Villains Omnibus were easily grasped one-shots. But despite being set five years into the future, most of the stories here seemed really embedded in the continuity of the ongoings they span out of-- so too bad for me if I haven't been keeping up with Aquaman and the Others. I pick on it here because it was one of the first stories in the book, and it's filled with characters I knew nothing about, depicting alterations to a status quo I'd never seen before. Unfortunately a lot of the early stories in the book are like this: Flash, Green Arrow, Infinity Man and the Forever People, Star Spangled War Stories were also virtually impossible for me to understand.

I do feel like the artistic quality was higher across the board in this one-- take this nice linework and coloring as Billy Batson talks to Lois Lane, for example.
from Superman: Futures End #1 (script by Dan Jurgens, art by Lee Weeks)

The best stories, I found, drew on nothing more than the basic premises of their characters, meaning that I could be oriented without much effort. For example, the Phantom Stranger tale didn't really depend on me knowing anything particular to the New 52 version of the Phantom Stranger-- it worked as a standalone final Phantom Stranger story, as the Stranger (who you may know better as Judas Iscariot) is called up for judgement a second time, but the jury is made up of the worst demons Hell has to offer. I enjoyed its spooky, weird, mythical tone, even though the last Phantom Stranger stories I read were from his Action Comics Weekly feature back in the 1980s.

Faster than a DC Bullet: Project Crisis!, Part LVI: The World of Flashpoint featuring Superman

Comic trade paperback, n.pag.
Published 2012 (contents: 2011)
Borrowed from the library
Read July 2016

The World of Flashpoint featuring Superman

Writers: Scott Snyder & Lowell Francis, Rex Ogle, Dan Jurgens, Mike Carlin

Artists: Gene Ha, Eduardo Francisco, Paulo Siqueira, Roland Paris, Dan Jurgens, Rick Leonardi, Ig Guara, Norm Rapmund, Ruy José, Don Ho, Rags Morales, Rick Bryant

Colorists: Art Lyon, Stefani Renee, Nei Ruffino
Letterers: Rob Leigh, Travis Lanham, Carlos M. Mangual, Dave Sharpe

The way The World of Flashpoint slots together continues to be pretty neat. "Project Superman" starts many years back, with a soldier volunteering to undergo a process to have alien DNA grafted into his system-- we eventually find out this DNA comes from Doomsday. The process turns him into a monster called Subject Zero, but he sees everyone else as a monster, in a pretty horrifying dissonance. General Lane gives up on him when Kal-El's rocket crashlands in Metropolis, and the military begins working with "Subject One" instead, not knowing that Project Zero is covertly influencing him. Eventually things go nuts, and young Kal has no idea what to do or who to trust. The story then dovetails into where "Lois Lane and the Resistance" from the Wonder Woman volume ended, as Subject One seeks out Lois, who showed him some of the only affection he's even known. Things go downhill pretty quickly when Subject Zero shows up again, however. It's probably the best story in this volume, a nice dark horror tale, thanks especially to Gene Ha: unlike most stories in these volumes, this one has one artist all the way through, and he's a very good one to boot.

Lois Lane is a badass at any age in any timeline. Also the "Subject One" version of Kal-El is a weird mixture of creepy and cute.
from Flashpoint: Project Superman #2 (plot by Scott Snyder, co-plot & script by Lowell Francis, art by Gene Ha)

Next comes "The World of Flashpoint," which despite its broad title, is as focused as any of the other tales in this volume, with a tale of Traci Thirteen, the young Homo magi. In the usual DC reality she's a sometime Superman ally and Blue Beetle romantic interest. Here, half her family is killed thanks to the Atlantean geo-weapon from last volume, and her dad decides to nuke half the world to save the other half. Traci goes on a quest to stop him, which lets her encounter a number of random players from the world of Flashpoint like Red Tornado, Natasha Irons, Beast Boy, Jason Todd, and best of all, a Zen bartender Guy Gardner. The story itself is pretty so-so, but like many of these World of Flashpoint tales, it's pleasing for how it build the universe. I'll be curious if its events actually play into the main Flashpoint narrative or not.

Faster than a DC Bullet: Project Gotham, Part XXVII: Huntress: Year One

Comic trade paperback, 143 pages
Published 2009 (contents: 2008)
Borrowed from the library
Read December 2015

Huntress: Year One

Writer: Ivory Madison
Penciller: Cliff Richards
Inkers: Art Thibert, Norm Rapmund, Rebecca Buchman
Colorist: Jason Wright
Letterer: Sal Cipriano

Year Eleven, February
Retcons are a weird thing, but they're a constant of the superhero comic book world. Helena Bertinelli was introduced as the Huntress in the 1989-90 ongoing series The Huntress, a dark, sort of moody noir series that stood on its own, though she did meet Batman once and was also a member of the Justice League International's American branch (since she lived in New York City). She faded away, but in 1992, Chuck Dixon brought her back for a two-issue story in Detective Comics, and then a key role in Robin III: Cry of the Huntress (1992-93), and finally her own miniseries (1994). Each of these tweaked her origin a little bit: soon she was from Gotham, not New York, and the exact details of how her family had been murdered fluctuated with each new story. Her origin got a wholesale retelling in 2000 with Batman/Huntress: Cry for Blood (the only one of these I haven't actually read), and then another one in 2008 with this series, Huntress: Year One.

As you read new versions, it's sometimes hard to judge them on their own merits. The original Huntress series by Joey Cavalieri and Joe Staton isn't perfect, but it is distinctive, with dark, moody artwork and a heroine who's not always attractive, physically or elsewise. Though later takes on the Huntress would be darker and more violent, and though the plots of the ongoing sometimes got silly, there's a real sense of the series trying something not because it's tried and true, but because it's new and distinctive. The 1990s would take "dark and gritty" in bad directions sometimes, but I enjoyed what The Huntress seemed to be striving towards, even if it didn't always hit it.

I guess this explains why Batman doesn't like the Huntress.
from Huntress: Year One #5 (art by Cliff Richards and Norm Rapmund & Rebecca Buchman)

So, my problems with Huntress: Year One aren't really its own fault. Its Huntress is a different character than the one created by Cavalieri and Staton, and she has a somewhat different history. I'm not sure what I think of her being raised in Sicily, or having a lost love: I liked the damaged, lonely warrior of the original series that didn't have anyone to support her. But the story Madison Ivory and Cliff Richards tell here is not bad, just different, and on its own merits, it's pretty good-- if nothing exceptional.

Instead of the gritty urban vigilante aspects of the character, this really focuses on mafia princess components, as Helena untangles a conspiracy to deprive her of her inheritance, and much worse, that runs from Sicily to the Vatican to Gotham, and leads to her meeting Batman, Batgirl, Barbara Gordon, Bruce Wayne, and Catwoman, among others. Like a lot of conspiracy stories, some of it went over my head, and there's a lot of characters to keep track of, but Ivory keeps things pretty interesting, and I enjoyed the clean linework of Cliff Richards, Art Thibert, and Norm Rapmund, especially their regal, statuesque Helena.

Here's a weird fact: people would write into the letter column of the Cavalieri/Staton Huntress complaining Helena was too ugly. As a result, the editor asked people to write in about whether they thought that mattered! But I'm pretty sure Staton didn't intend Helena to be unattractive; that was just the way he drew everybody. Anyway, seems unlikely anyone wrote in complaining about that this time out.
from Huntress: Year One #2 (art by Cliff Richards and Art Thibert)

But I just couldn't shake the versions I'd read before from my head. Usually, I feel like I'm better at this. Oh, well.

Next Week: It's Year One again again as Nightwing makes his debut on the Gotham stage!