Future State Superman Wonder Woman #1 adds great depth to Yara and Jonathan's characters and helps to further expand the worlds of Future State. Definitely give this book a read if you've become a fan of either character! Read Full Review

Future State: Superman/Wonder Woman #1 may not be as enticing as the event's other titles. However it has an element of fun that the other titles seem to be missing. Many of the titles show a rather dystopian future. However, this title shows a future I might actually enjoy living in. Plus, I can't deny that I love seeing Jon Kent having fully grown into the role of Superman. Read Full Review

While a bit uneven, Future State: Superman/Wonder Woman #1 is a fun read. Yara steals the show again here, so fans of the new character will definitely want to pick this issue up. Read Full Review

This isn't a perfect comic. The characterization being so different between this and Superman of Metropolis is a flaw, even if I like this characterization more, and the art gets strange at times. But still, broadly, this might be the best part of Future State by far. Read Full Review

When two suns appear over Metropolis, Superman investigates. An investigation that set him team-up with Brazil's Wonder Woman in a world's finest adventure from Dan Watters, Leila Del Lucia and DC Comics Read Full Review

Superman and Wonder Woman do their best to bring order to the world. But things do get a bit out of hand. The last page in particular exemplifies that best and makes for an intriguing hook for the next issue. I was interested to find out how this story is going to resolve itself.I said before that this comic is very basic and you definitely feel it reading this. It is not a bad thing, but I do wish that the creators had more space to give it more depth. There was a lot more to be explored with this and I feel like we may only be scratching the surface. Read Full Review

It's not one of the best Future State tie-ins of the week, but it has its high points especially in the stunning art from Wonder Woman: Tempest Tossed artist Leila Del Duca. Read Full Review

Leila Del Duca delivers some impressive art in this first issue. The contrast between the characters and their environments is impressive and the characters look good. Read Full Review

Classic comic storytelling and artwork make this series shine, but scripting missteps take it two steps back. Read Full Review

I honestly can't recommend this comic. This might be the time to try something you've never read! Read Full Review

The real issue with the book however is more how 'Future State' as a whole is functioning as it is unclear when this is happening in relation to its co-leads' other appearances, namely how this fits with what Jon did to Metropolis in his book last week. These series already have to move quickly to get their stories underway considering they're just a couple of issues long, but it'd be nice if they were able to take a minute in order to make the timeline clear and provide a better sense of its heroes' overall journeys. Read Full Review

Look, this could have been a fun melding of two worlds, the gods of Brazil and the technovillains of the DCU inadvertently threatening the Earth and forcing our heroes to work together. And it times it felt like that. But I can't get behind this Wonder Woman here. Which is a shame, because I liked her so much in the Joelle Jones book. Read Full Review

There are some fun ideas here and simmering tension between Superman and Wonder Woman. Still, it is disappointingly conservative for part of an event meant to be looking forward. Read Full Review

Superman Wonder Woman fails to make a strong impression with a plot point that feels a bit too similar to Grant Morrisons All-Star Superman and a confusing continuity twist. Read Full Review

Future State: Superman / Wonder Woman #1 is a mess. Confusing story. Meta mythology may have some cultural accuracy but doesn't make a lick of sense in this specific context. And rough, inconsistent art makes for a tough book to get through. If you're keen on getting to know Yara Flor / Wonder Woman, Future State: Wonder Woman #1 is a much better book. Read Full Review

Surprisingly, I really liked this one!

Del Duca and Filardi's art is gorgeous, and Watters' writing makes both Jon and Yara even more interesting than I already found them. Solaris, Jon's sassy cybernetic sun nemesis, is also an awesome villain.

If there's one thing to be nitpicky about, it's just that as a Brazilian there are some language issues in Yara's storyline. One character is named Soasa - a last name that does not exist, but was probably meant to be Sousa - and São Paulo is mistakenly referred to as São Paolo once or twice. Yara also exclaims a sentence in Portuguese at one point that isn't something I've ever heard someone say, but I'll blame Google translate for that.

Anyway, other than that this is another Future State winner.

Fun and great looking book, with a story that could have come from the best of the Silver Age. There's still never been a bad comic with Solaris the Tyrant Sun in it!

While lacking that punch to make you care more about the story, it's still a good read, especially compared to some other Future State books. Yara Flor seems to be the best character to come out of this lineup, so far every book she has been it was really good mainly due to her.

Premise was an interesting mix of cosmic and mythical.

Expected more team up between Supes and WW. It brought up a difference in how these two heroes approach crime-fighting, and I wish it explored that more. But all-in-all, a breezy story.

Wonder Woman, without a doubt, is Future's State biggest success so far. I haven't seen a single person hating on her, and there's plenty of reasons why she immediately impressed us, the readers. She's genuinely funny, different from Diana in so many ways, and her hot head leads her to some silly, awkward situations we love to see her try to resolve. She can do what Diana can't, and thus her debut comic was so refreshing to read.
Jon didn't have the same luck, first being destroyed as a character by Brian Michael Bendis, and then Brandon Easton wasted his potential in his Superman of Metropolis. With that in mind, I think teaming these two together was a good idea, at least on paper. People want more Yara, and she could be used to introduce them to other characters, or at least encourage them to give them a second chance.

So conceptually this comic has everything it takes to succeed. Yara is being Yara, not being afraid of challenging the corrupt system and forcing those in charge to be Bart Simpsons for once, Superman is Superman, doing exactly what you'd expect Superman to do (except stealing the show), and there's a big threat forcing them to team up. Good? Good.
What doesn't click in the comic, however, is its focus on Yara's mythological friends. It's not like I don't like them, or don't welcome them, but neither of them is properly introduced. They just appear like series regulars and we're expected to know who they are and what powers they have, actually. Oh, and of course what's their place in South American myths, that's also a pretty important thing to cover.

Overall the comic is not bad, but hardly anything I'd consider purchasing in the future to add to my physical collection of books. It's a one-off story in the most direct way - one that you read once and then never revisit. more

I wanted to like this more, but I don't.

I expected better from Watters, he's a good writer, this isn't the best he's capable of.

Pretty terrible. Yara Flor has a new personality that is completely different from her solo book. This Yara Flor uses the threat of violence against the government to effect political change. I believe there is a word for that. Also, this book isn't really about Superman and Wonder Woman. It's about two sun based characters. Skip it.

I'm not from Brazil but speaking to other readers theres a lot of language and lore errors in this issue which is not a good look. If you're gonna write Yara and use Brazilian mythology/lore then at least do your research or get a translator. This getting past editorial and coming from DC is embarrassing

Yara and Jon have zero chemistry, like not even as friends.

Jon's a benevolent, overworked god who helps people as Superman... So basically like his father.

Why even replace Clark with Jon at all? F.S. was a testing ground revitailizing classic DC heroes for a modern era, the new characters introduced: Yara Andy and Flash (to a much lesser extent) hv a distinct personality from the predecessors except him.

I'm going off on a rant a bit because Jon has always been Clark 2.0. If I'm being honest, he only works in Supersons as a character Damian can play off with. Was hoping Future State would change my mind except it's cemented he has no personality and would have preferred Kon-el taking his place. more

Mula sem cabeça… com cabeça. Ok, I've seen everything. Go home, Future State: Superman/Wonder Woman, you're drunk.

That was brutal. As I got toward the end I kept checking how many pages were left and how much longer I'd have to endure it, since I'm giving each of the FS titles a full issue's chance. This was the worst of them so far. I can't remember the last time I gave so low a score.

I don't give low scores because I don't like how my favorite characters are being treated, or because they're "written out of character," or because a writer is making different decisions than I would if I were writing the comic book, or I'm judging the artwork against artists I already love. I want writers and artists to be intrepid and I don't hold anything sacred except for how the storytelling is executed and how it makes me feel, if it makes me feel anything. I don't want to be reassured in the feeling that I was right to like what I've liked in the past; I want to be surprised and challenged.

By that metric, this is a bad comic book. It was the opposite of surprising and the only challenge was bulling through the boredom it evinced in me. I think this comic book should be sent to its room without dinner, and not come back out until it understands what it did wrong and apologizes.

Since I mentioned not minding when a character is written "out of character," I'll go ahead and scribble out a treatise on that topic. Because, in serial storytelling, I don't think "out of character" is actually even a thing.

I think that a lot of the time what people consider "out of character" is instead a matter of evolution of character. A character has to evolve to survive just as a fish has to keep swimming to do the same. Growth, change, and evolution of characters is why comic books are the longest running story or soap opera in the history of America and the world. (Maybe I'm wrong. I can't think of another 80-year long story but, if there is one, you can bet the characters have evolved.)

How many years would Batman have lasted in his original incarnation, if writers were reverent about writing him as he'd always been written? Soon after he was created, the fact of Robin changed the character extraordinarily much from the "in character" 1939 version, who killed people by the way. So, whenever it was that Batman decided never to kill people, he was being written "out of character."

Fast forward 50 years and Morrison made him Batgod and that changed everything too. And there were even bigger changes, much bigger, in the intervening years. I'm not even bringing up 50s Batman or 60s Batman or 70s Batman, though they are all vastly different versions of the same character.

But people don't actually care that characters are written in character. They care about the versions of the characters they fell in love with and they don't want a thing they fell in love with to change. That's understandable, but it makes for unavoidably flat storytelling.

So now, if you fell in love with Batgod (an "out of character" invention from Morrison's 1996 JLA) and then he isn't Batgod, he's being written "out of character." Do you see where I'm going here?

You can like or loathe Tom King's Batman but not because he was written "out of character," because he wasn't. He wasn't Batgod anymore, that's all. It was an evolution, not a betrayal of something core to Batman, to allow him to be vulnerable for the first time since his parents were killed, in the hope of finding happiness. So naturally people say 'that's not Batman.' But what they're really saying is 'that's not Batman as I've always known him before.' And yeah, that's true. Because in each case of Batman's evolution, that's always true.

If an artist's ambition is to create something that people have already previously liked or loved, that artist is devoid of ambition and I'm not even sure they're an artist. Craftsperson seems a better descriptor.

Waiting for Godot was panned, BADLY, in its French and American premieres. Critics and audiences didn't have a frame of reference for something they'd never experienced before so they labeled it BAD. Because they'd never seen a play like it, they declared with all authority that it wasn't even a play and, consequently, it was a bad play. 50 years later it was voted by theatre critics worldwide to have been the most influential play of the 20th century.

So, was it bad or was it just different? Every new movement in any sort of art is met with resistance. In the history of art, this has been true without exception. In every case it's "that's terrible," when what people really mean is "that was terrible at being what I already liked." The pull to make something that's like another something that's had success in the past is so great, it's a miracle that any artist takes a chance at all, so it's a miracle that art even continues to exist. Because without experimental art, without taking that chance at failure, failure is guaranteed.

But that's not why I came here today. I came here today to say that this comic book was very, very bad. Not because it was new, but because it so badly wasn't. It was stale and moldy because it was a matter of a writer repeating what he thought people already liked. (I guess it is what I came here to say actually.)

And that's the only thing in comics (or any art form) I truly dislike. I guess you could say I dislike them because they're "in character." They're retreads. They're the same cup of coffee I had yesterday and the day before that, decades after my first cup. I still love coffee, in part because it's reliable that way. Having loved it the first time, now it's just a fact of life. And art should be grander than life. It should be more. It should be braver and it should be bolder.

If you managed to read this far, I'd see a doctor because you're even crazier than I am. But, in the incredibly unlikely possibility that you read this far trying to figure out whether or not to buy this comic book, I'd skip it. You've already read it a thousand times before. more

Just terrible.

-Spoiler Warning-

Wow, I just finished reading this book and I must say it was pretty bad. The art is something that I think I could draw if I closed my eyes. Superman looks laughably bad on page 4. Here is a little tip for Del Duca, less detail doesn't mean that your drawing is good. It's not an art style, it's either laziness or a lack of actual talent. As for the story, I'm glad that they have turned Wonder Women into a criminal thug who assaults a Councilman because she is displeased with the job that he is doing. Not only that she then bullies the pilot/Bodyguard who was actually just doing his job warns her that he will shot if she doesn't stop committing the crime of aggravated assault (Given she has powers I would say it qualifies for aggravation). They are then forced to write lines on the helicopter for some reason, I guess this is humour even though there is no proof that the Councilman embezzled money indicated in the book. Oh and apparently Wonder Women drinks now, great example to set for all the kids out there...Anyway there is a fight between Solaris and Krut which the reader should care about for some reason and Wonder Woman lectures Jon about how bad Capitalism is for the environment, blah blah blah.

So yeah, garbage book. Save your money. more