Superman for All Seasons takes us back to a different age, the Smallville world of Midwest values and sensibilities.  The book is filled with a sense of nostalgia that's both tender and poignant, carrying a real emotional punch.   

This is the hallmark of Loeb and Sale, evoking the humanity of their characters in books like Daredevil: Yellow, Spider-Man: Blue, and Hulk: Gray.

Each character in their own way has to reflect the idea of what it must be like for Superman to come to terms with who he is and why he does what he does.  Inadvertently, they speak as much about their own woundedness and expectations-how they see him, see themselves, measure themselves against him-as they do about him.

And, "super" or not, Superman/Clark Kent struggles with the very essence of his humanity:

• he looks for a place to belong, to call home
• he struggles with loneliness
• he bears the unspoken weight of never being able to do enough and of being an example for everyone

To draw Biblical allusions, I'm reminded of the concept known as "the Messianic Consciousness"...

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The introduction of Cyberforce is a good mix of Top Cow's "spiritual" universe and "tech" universe. And with this, Cyberforce fails to know who the enemy really is.

As a genre, horror attempts to make sense of evil. Evil is irrational and uncontrollable; true acts of evil are so irrational that conspiracy theories make sense.

Rather than erase events so that they never happened, it seems more "human" to learn from them, repair where we can, and continue to join in God's mission to bring restoration and reconciliation.

The central theme of the issue is the idea of resurrection to new life. For the longest time, the Martian Manhunter lived with the memory of having buried his race and being the last of his people

The thing about both Batman and Batwoman is that they are fully human. That is, not being super-powered, it seems almost believable that any of us could be them with enough training and dedication.

The constant thread of their "antisocial tendencies" is at the heart of what makes the Avengers so compelling.  They've always had a bit of a soap opera nature to them as we watch the interplay of the characters.

Darkness may win some battles, but light wins the war. Justice is real, if sometimes slow in coming.

Bucky doesn't just want the mantle and title, he wants to be worthy of the responsibility of leadership and the burden of being a symbol.

Shadowland explores a kind of moral ambiguity, as Daredevil begins down a well-intentioned slippery slope. His goal is to leap into the heart of an evil organization and use it as a force for good.

In a lot of ways, Batman/Bruce Wayne has shifted into visionary mode, a person with so many ideas that it is difficult to keep up with them. This, in and of itself, is a shift from the ultra-focused Batman we've come to know.

Mark Millar's Ultimate Avengers still carry the spirit of The Authority, moving at a cinematic scope yet filled with plenty of Millar being Millar.

I couldn't help but think that in the age of super heroes and immortals, it must be hard to believe in God or gods, even when confronted with them.