Jeromy Cox

When DC Comics announced its slate of DC Rebirth titles, Superwoman was one of the books that really stood out as coming from left-field. For a time, we weren't sure who Superwoman would be, and when it was confirmed to be Lois Lane donning the costume, there were still more questions surrounding how she got her powers, and even which incarnation of Lois Lane it would be. (There have been two versions in the DC Universe since the reality-mashing events of Convergence.) This week finally saw the release of Superwoman #1 by Phil Jimenez, Matt Santorelli and Jeromy Cox, which firmly establishes the new status quo for Lois Lane and Superwoman, while raising a lot more questions about the future of the comic and its lead than anyone was expecting. This article contains spoilers for the ending of Superwoman #1.

Ever since it launched, Grayson has been defined by blending the bizarre extremes of espionage action with the even more bizarre extremes of a superhero universe full of villains with guns for eyes and mind-altering hypno-contacts, and as you might expect, it's the latter that gets most of the attention. This is, after all, a spy story set in a world of masks and capes, and there are certain expectations that the genre brings with it. This week, though, Tom King, Tim Seeley, Mikel Janin and Jeromy Cox have taken things in a decidedly more spy-inspired --- or inspyred --- direction. Not only do we get a cover that evokes the beautiful opening of A View To A Kill, and a five-page sequence of Dick Grayson singing a song that sounds an awful lot like the theme from Goldfinger, but, in case you missed it, Dick Grayson just kicked a very familiar face.