Superman #22 is a fantastic issue full of gripping action, amusing character dynamics, and incredible art. This is an all-star creative team, and it feels like they are not holding back their talents at all with this arc. Williamsons writing, paired with stunning visuals by Mora, makes this a must-read for both longtime fans and newcomers. Read Full Review

So what isn't to love about this. The plot has its basis in Superman continuity. It embraces his history. The motivations of the characters make sense. The battle makes sense. There is a little mystery revolving around what the Aftermath wants with Doomsday. Lex seems to be remembering his past. And then the ending. Read Full Review

The ending of the issue will have some people skeptical, as it calls back to a scene from one of the most infamous Superman comics of all time, but if there's anyone who can take this concept and save it, it's Williamson, given how good this run has been so far. Read Full Review

Superman #22 brings the action, drama, and world-ending stakes for another strong issue. Joshua Williamson's script paints the Man of Steel into a no-win corner with interesting implications, and Dan Mora's art is the best around. Read Full Review

All of the moving parts work splendidly together in this stuffed issue, which makes great use of both Superwoman and Doomsday. Read Full Review

Superman #22 makes it clear that there arent just stakes for Superman, but Doomsday too in what is shaping up to be a major chapter in the one that killed Supermans story. When the trade of this story arc comes out, it should be included in any readers essential Doomsday reading list. Read Full Review

Superman #22 puts the Man of Steel at a crossroads, while Joshua Williamson and Dan Mora continue to solidify one of the most unique creative partnerships in modern comics. Work like this serves as a reminder that despite what certain corners of fandom might think, it is possible to craft a great Superman story. Read Full Review

Another strong issue. I like the beginning banter that allowed the villain to slip up. I almost thought they were going to submit to his request. The villa looks a bit too much like Dr. Manhattan, however. Poor Jimmy, always in the wrong place at the right time. I'm still not a fan of the Superwoman character and I am looking forward to everything going back to normal with Lois soorner rather than later. Which will also mean a conflict with Zod.


Jeremy Adams interview - https://youtube.com/live/GUqtOTR4GHY?feature=share

Superman has long stood as the ultimate symbol of strength, virtue, and the responsibility that comes with great power. But in Superman #22, none of that seems to matter. Instead of a compelling story that respects its characters and mythology, we are subjected to a cringeworthy exercise in ideological pandering, where the actual Superman is sidelined to make way for Lois Lane—now rewritten as an insufferable feminist propaganda tool. Worse yet, in an absurd and completely unearned twist, Lois is inexplicably given the same powers as Superman, further diminishing any remaining sense of stakes or meaning.
It is difficult to overstate just how grating and poorly written Lois Lane is in this issue. Gone is the sharp, tenacious journalist who earned her place in Superman’s world through intelligence and determination. In her place, we have a smug, self-righteous, and utterly flawless figure who exists solely to be admired, praised, and elevated above all others.

The most baffling moment in this issue is when the villain calls her a “Queen.” This is already absurd enough, but then Superman—Superman—repeats it as though it is some sort of divine truth. It is as if the comic is demanding the audience acknowledge Lois as the true central figure of this universe, no matter how undeserving she may be.

And now, as if forcing every character to grovel before her wasn’t enough, the writers have decided to give her Superman’s powers. Yes, Lois Lane, without the background, the training, or the decades of self-sacrificing heroism that define Clark Kent, is simply handed godlike abilities. This is not earned. This is not compelling. This is nothing more than ideological wish-fulfillment, designed to push an agenda rather than tell a good story.

Just when you think this issue couldn’t get any lazier, the writers drag out Doomsday—once a legendary villain, now nothing more than a cheap tool used whenever a story lacks substance. There was a time when Doomsday’s presence meant something. He was the ultimate test of Superman’s strength, a force of destruction that required the hero to make the ultimate sacrifice.

But now? He’s just there, serving no real purpose beyond adding superficial stakes to an already pointless story. His inclusion does not build tension, nor does it advance the plot in any meaningful way. It is yet another symptom of a book that has no real ideas and is simply pulling from the most predictable bag of tricks.


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