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Air #4 [Review]

Masks and Other Memories

Writer: G. Willow Wilson
Artist & Cover: M. K. Perker
Colorist: Chris Chuckry
Letterer: Jared K. Fletcher
Associate Editor: Pornsak Pichetshote
Editor: Karen Berger
AIR created by: Wilson & Perker
Publisher: Vertigo/DC Comics

This has been an interesting series so far. I’m not terribly familiar with the characters–they are new, after all…and haven’t yet been fleshed out all that much. The idea of a disappearing/forgotten country is intriguing, and seems to fit the somewhat surreal aspect of this series.

This issue sees Blythe and her companions returning from their trip to this forgotten country as she searches for Zayn, the man she seems to love. As explanations for a days-long disappearance are explained, Blythe finds herself in another unfamiliar situation as she goes to a special meeting with her boss.

The art seems the most notable thing to me with this issue–especially the bird-snake appearing from behind the panels to interact with Blythe. Blythe herself is given a distinct look, often shown with a detail that lends an extra bit of realism on the page. The characters are all distinct and nicely drawn, which is a definite plus-point for any book; There’s a certain lightness in these pages that captures the (forgive any pun) “open-air” of the environments, even when enclosed inside a plane.

The story is at once familiar and unique. There’s been an element of surrealness in the first few issues…the ending of this issue continues to throw things on their head a bit, as we realize this is more than what it appears.

I’m suitably interested…I’ve made a point of reading the first issue of most new Vertigo books, and something about this series has had me picking up these later issues, and while I’m a bit bored with the Blythe-is-trying-to-find-Zayne-who-isn’t-who-she-thought-he-was, the final page of this issue grabbed me, and I want to know more.

As with most Vertigo series, this will probably read better in the collected volumes…I’m certain there are details I’ve missed or forgotten that would be much more noticeable reading the chapters in close succession without months between.

Assuming the usual Vertigo style of 5-issue premiere arcs, the next issue should conclude the immediate arc, and presumably set us up for where the series looks to go. If you’re into the singles, this is worthwhile; if you prefer the collected volumes, I’d suggest holding off–this lacks a spectacular nature with an urgency to the singles.

Story: 7/10
Art: 8/10
Whole: 7.5/10

X-Men: Legacy #218 [Review]

Original Sin part four

Writer: Mike Carey
Penciller: Scott Eaton
Inker: Andrew Hennessy
Colorists: Jason Keith with Brian Reber
Letterer: VC’s Cory Petit
Production: Joe Sabino
Assistant Editor: Daniel Ketchum
Editor: Nick Lowe
Cover: Mike Deodato
Publisher: Marvel Comics

Wolverine and Professor Xavier infiltrate the place Daken is being held, and a battle erupts between them and Sebastian Shaw with Miss Sinister…Daken caught in the middle.

The story is at once simple and somewhat boring. I don’t care about Daken, I knew nothing of the character prior to this Original Sin story. I do not like the way Marvel (in general) seems to be shoehorning so much crap into the past of their characters, casting a 180 on how they were viewed for the last three to four decades.

It’s fairly interesting seeing Wolverine and Xavier interact–I have long enjoyed their dynamic, as Wolverine struggles to be his own person, and almost grudgingly respects the professor–the man who helped him reclaim his humanity. This story suggests that a certain amount of Wolverine’s memory loss was actually caused by Xavier himself all those years ago–that Wolverine joined the X-Men intent upon killing Xavier, and I just don’t buy that. I have never found the Hellfire Club interesting, nor do I care one bit about their internal political maneuvering…I just don’t find it engaging at all.

The art of the issue is the best part–it’s pretty good, and I actually like the way Xavier and Wolverine are depicted. No real complaint visually…or at least, any visual complaint would have to do (Daken) with a story element I disagree with.

You could probably do much worse than this issue…but if you’re not interested in Daken-Son-of-Wolverine, and you’re not already following this Original Sin story, you’re just as well skipping this issue and coming back when X-Men Legacy is its own story again.

Story: 6/10
Art: 8/10
Whole: 7/10

Ender’s Game: Battle School #2 [Review]

Creative Director & Executive Director: Orson Scott Card
Script: Christopher Yost
Art: Pasqual Ferry
Color Art: Frank D’Armata
Lettering: VC’s Cory Petit
Story Consultant: Jake Black
Cover: Pasqual Ferry & Frank D’Armata
Publisher: Marvel Comics

Picking up where the previous issue left off, we see Ender’s trip to and arrival at Battle School. His teacher lays it on a bit hard, intentionally (and effectively) isolating Ender from his fellow students from the get-go…the hope being this will prevent Ender from getting comfortable, and force him to think outside the standard “system.” We see Ender’s craftiness as he quickly engages older students, proving himself worthy of their level…we also see Ender’s skill in the Battle Room, easily adapting to a zero-gravity situation other students have a harder time with.

The story seems quite true to the book as I recall reading. Whether this holds up under close/immediate comparison I’m not sure. I find it to be quite satisfactory, though. The concepts Card presents work well in present-day American culture where we’ve got a war going on a couple of fronts and non-traditional enemies abound…and military advances seem to be pushing the bounds of traditional practices. While obviously set in the future, the story has that charming relevance in present-day.

After the first issue, the visual style’s growing on me a bit–it’s still not what I initially imagined when I’d read Ender’s Game years ago…but it fits, and it’s not hard to let this visual take influence my memories. There’s a certain vibe to the art that I can’t quite put my finger on…sort of a manga influence while seeming like it’s trying to fit a live model for certain characters.

On the whole, not a bad issue. As an adaptation this holds my interest–a sort of re-reading of the familiar story, but with pictures replacing thousands of words.

I’m not entirely sure why I bought this issue…this is a 5-issue limited series, and I would be absolutely shocked if the collected-volume (aka “graphic novel”) isn’t available within a month or two of the final issue’s shipping. You’re probably better off waiting for that version, unless you’re absolutely chomping at the bit for a visual production of Ender’s Game.

Story: 7/10
Art: 7/10
Whole: 7/10

Superman (vol. 2) #75 [Back-Issue Review]

Doomsday!

Words & Pictures: Dan Jurgens
Finished Art: Brett Breeding
Colors: Glenn Whitmore
Letters: John Costanza
Assistant Editor: Jennifer Frank
Editor: Mike Carlin
Cover: Jurgens & Breeding
Triangle #: 1993/2

This is it: this is THE comic that most affected me in my youth as a young, new comic reader. The issue that promised “The Death of Superman.”

Opening with Superman locked in a savage combative embrace with Doomsday, the issue moves us quickly through the final blows of the fight, while allowing Superman a last moment with Lois as he explains that he must match Doomsday down to seeking the death of his opponent–something Superman once swore never to do. We move into a “silent” scene as narration takes an outside-of-things tone, describing the nature of the final blows of the battle, of the feelings experienced by those near and far, related and unrelated, all watching as Superman and Doomsday both fall.

The art throughout this entire issue is superb–it is eye-catching, character-defining, and allows us a much more personal view to the desperate nature of the battle. Images from this issue have often been used either directly or as inspiration for moments seen for years in flashbacks to Superman’s battle with Doomsday; other images from the issue have been reprinted on trading cards, used in ads by various comic retailers and mail-order companies of the time; and on the whole, these images have all been extremely memorable to me, personally, having been an impressional eleven-year-old at the time these saw print.

The story is at once minimal yet phenomenal. It’s easy to lay the kind words for the issue at writer/artist Jurgens’ feet, but the praise is due the entire team, as well as those of the other Superman books that brought the story to this issue. The ending of the issue–the “voiceover narration”–is particularly touching and powerful…and memorable. The issue closes with a final moment between Superman and Lois…and then Superman is dead.

It’s hard to find words to do this issue justice, particularly on the “meta-textual” level. This single issue–and the entire story arc–can be pointed to as sparking a number of things known in comics through the 1990s through the present. It’s also the single issue I have read more than any other comic I own, in all its formats. For whatever its objective weaknesses/problems, I cannot fully separate myself from this comic.

From cover to cover, every part pertaining to the story itself proves memorable and meaningful, as this issue has gone down as one of my absolute favorite single comic books of my lifetime…and provided one has dared to actually read it, this might be one of the most widely-read single comics out there, carrying much impact regardless of continuity and context from previous chapters.

My favorite cover, my favorite moments, and my favorite issue of the story…the issue is greater than the sum of its parts in the eyes of this now-a-late-20-something adult.

Story: 7/10
Art: 8.5/10
Whole: 9.5/10

Superman: The Man of Steel #19 [Back-Issue Review]

DOOMSDAY is Here!

Story: Louise Simonson
Penciller: Jon Bogdanove
Inker: Dennis Janke
Colorist: Glenn Whitmore
Letterer: Bill Oakley
Assistant: Jennifer Frank
Editor: Mike Carlin
Cover: Bogdanove & Janke
Triangle #: 1993/1

After fighting to keep the moster away from his city, Superman is unable to prevent Doomsday from taking lives almost the moment he arrives in Metropolis. While trying to keep clear of news helicopters (one of which carries his friend as well as his fiance), Superman tries flying Doomsdy toward space, then when that doesn’t work pursues him into the “underworld” (not before some underworlders perish at Doomsday’s touch). After a building-leveling explosion, Superman is badly injured when Doomsday pierces his side; Supergirl enters the battle to gruesome results, and even Professor Hamilton and Bibbo join in, firing an energy cannon at the beast. The Metropolis Special Crimes Unit is unable to affect the monster, and newly-arrived Cadmus soldiers have as much impact as the SCU…Superman fights on, alone.

The art here holds up well with the rest of the story–no real issue, no problem with it–though there are places it looks slightly “off” a bit. We witness some fairly bloody fighting, and big explosions.

The story stays consistent with what’s been going on, and giving us a taste of some of the extended cast of the Superman titles of the time, with Bibbo and the Professor’s presence a definite treat (coming years before ill treatment in the late 1990s).

The cover to this issue is one of the more iconic in the series, with a closeup on the faces of the two combatants as they’re locked in combat with an explosion in the background. This image–due to the “triangle number” on the cover–was long the first image I’d associate with “1993,” and remains one of my favorite covers from the run.

We’re down to two panels per page with this issue, heading toward the single-panel splash pages to come in the final chapter of the story.

Story: 8.5/10
Art: 7.5/10
Whole: 8/10

Action Comics #684 [Back-Issue Review]

…Domsday is Near!

Writer: Roger Stern
Artists: Jackson Guice & Denis Rodier
Colorist: Glenn Whitmore
Letterer: Bill Oakley
Assistant Editor: Jennifer Frank
Editor: Mike Carlin
Cover: Art Thibert and Denis Rodier
Triangle #: 1992/48

Picking up from the last chapter, Superman and the Guardian (and a fallen Maxima) are in the ruins of the town that’s just been the latest casualty of Doomsday’s rampage. While news reports flood the airwaves, Supergirl itches to go into battle to help Superman, but is talked down by Lex, urging her to stay in Metropolis in case she’s needed–after all, Superman can’t be in any real danger, right? With Lois and Jimmy in one ‘copter and Cat Grant of WGBS in another following the story, Superman hurls Doomsday away from his Metropolis-bound path and into “the Habitat,” an organic city created by the Cadmus project, bringing Cadmus into the fray…though even that doesn’t seem enough to help.

The art style here is a bit different than previous chapters of this story, in a way that is both noticeable and yet hard to describe. No complaints with it, though…it fits the story, conveys the action, and we can see that Superman is getting worn down.

The story isn’t all that deep–we get a few moments of character interactions to show what’s going on WHILE Superman is battling Doomsday (and to explain, for example, why Supergirl holds back). Overall, this continues the long fight scene that makes up much of the story. This does not seem out of place in tone from other chapters, and other than the variation in visuals keeps a great consistenc with earlier chapters.

Something that jumped out at me on this read-through is Lex-Mart, the store destroyed in this issue. I immediately thought of Wal-Mart, but the in-store dialogue reminded me this was probably based on K-Mart…illustrating what a difference 16 yers can make in the real world.

Somehow, this issue often feels like the low part of a totem pole, lost in comparison to the other issues, as this neither begins nor ends the story and even lacks the distinction of a penultimate chapter. Remains a strong chapter none the less, holding well its place within the story, and holding up well through the years.

Story: 8/10
Art: 7.5/10
Whole: 8/10

The Adventures of Superman #497 [Back-Issue Review]

Under Fire

Writer: Jerry Ordway
Penciller: Tom Grummett
Inker: Doug Hazlewood
Colorist: Glenn Whitmore
Letterer: Albert De Guzman
Assistant Editor: Jennifer Frank
Editor: Mike Carlin
Cover: Tom Grummett, Doug Hazlewood, & Denis Rodier
Triangle #: 1992/47

Superman is chasing Doomsday, determined to foil the beast’s escape. To stay on his tail, though, means leaving the broken and battered Justice League–as well as an innocent family–behind. Superman makes the only choice he can, praying that Doomsday won’t cause too much destruction while the family is rescued. When the battle is rejoined, a small town pays the price. We get a moment of downtime as Lois storms GBS in search of Jimmy, who is needed for an assignment–covering this battle that Superman’s caught in. Maxima returns from rescuing Blue Beetle, and with little regard for innocents caught in the crossfire, eagerly wades into combat with Doomsday. A familiar figure–arriving too late for this battle–confronts Superman over the town’s destruction.

This middle-chapter isn’t much of a stand-out. In fact, the way it stands out is by doing what I have done–reading one issue at a time, in single-issue format, rather than the collected volume. Otherwise, this blends in with the overall story–which on the whole is good, but of little distinction as a single-issue.

The story’s consistent–I don’t ever feel like I’m reading a different writer’s take on Supermn than the previous chapter…this simply reads AS “Superman,” despite the creative team shift.

The art is high-quality, and where I don’t recall noticing it all those years ago when I first read this, for this go-’round I’m looking for it, and do notice that it is different. It’s got a certain clear linework to it that makes the characters stand out, and packs emotion into character faces.

Maybe not the best issue of the story, but just as strong as the previous chapter, doing everything a middle chapter of a serialized story is supposed to. This issue begins the final “countdown,” as we move from variable panels-per-page to a structure of 4 panels, and successive issues will have fewer panels until the finale with each page being a single-panel splash-page.

Story: 7/10
Art: 8/10
Whole: 7.5/10

Superman (vol. 2) #74 [Back-Issue Review]

Countdown to Doomsday!

Story & Art: Dan Jurgens
Finished Art: Brett Breeding
Colors: Glenn Whitmore
Letters: John Costanza
Assistant Editor: Jennifer Frank
Editor: Mike Carlin
Cover: Dan Jurgens & Brett Breeding
Triangle #: 1992/46

We open with Ice and Maxima determining the fate of the Blue Beetle–one argues medical need, the other a warrior’s death. While Ice prepares to face the beast that’s taken the Justice League apart, we cut to a boy arriving home from school–he is not a fan of Superman, nor of living with his mother. As they argue, Ice is thrown through their window as Doomsday approaches. When Superman and Booster Gold arrive, the creature officially gets his name. As the battle is joined, the combined might of Superman, Booster Gold, Bloodwynd, Guy Gardner, and Fire is unleashed upon the creature. When it’s over, not only is the creature still standing–it is no longer restricted, the League’s attack having destroyed its bindings. Seeing the destruction caused, Superman refuses to allow the creature escape–though this might come at high cost to the Man of Steel.

Aside from the debte between Ice and Maxima, and a couple pages of setup/establishing-the-scene with Mitch and his mother, this issue is all fight-scene. Not much on story, though there are some almost cheesey lines from Mitch to provide context–divorced parents, angry at passive mother, prefers dad, thinks Superman’s a wimp and Guy Gardner’s cool, etc. Not too much on the writing front–I have no complaint, really, as–three issues in–Superman and Doomsday finally come face-to-face, exchanging their first punches in this classic battle.

Jurgens’ art is top-notch; the images in these pages have–through consistent re-reading as well as nostalgia–become some of the best-known to me, and are what I often hold as a standard for other comic book art. Probably the only weakness I see visually is the cover, which has never much appealed to me.

Taken as a whole, this was a solid issue, keeping the story moving and upping the ante as Superman realizes the Justice League can’t help him finish this.

Story: 7/10
Art: 8/10
Whole: 7.5/10

Justice Society of America – Kingdom Come Special: Superman [Review]

Written and Illustrated by: Alex Ross
Colors: Alex Sinclair
Letters: Rob Leigh
Asst. Editor: Harvey Richards
Editor: Michael Siglain
Cover: Alex Ross (variant by Dale Eaglesham & Brian Miller)
Publisher: DC Comics

My first thought of this book: With an interior by Alex Ross, featuring this particular character…why would I have any interest in a cover by another artist when Ross provides the main cover to go with the interior?!?

We open with Superman vs. Superman, then cut to “the Kingdom Come Superman” talking with Cyclone, who encourages him to talk about his past, the world he lost. Following their conversation, Superman looks up Norman McCay, the pastor he’d briefly met shortly before his world died, and determines to meet the man. Noticing a green cloud at the Daily Planet, he rushes there first, fearing a repeat of his history…things aren’t what they appear, and he briefly encounters our Superman. Following a quiet visit with a now-retired Norman McCay, Supes meets our Lois, and she learns details to how her counterpart perished.

I recall the debut of Marvels, and later, Kingdom Come–I’ve been amazed at actually reading the first couple individual issues of Kingdom Come given what it’s become in the 13 or so years since as a graphic novel. I remember the first time I read the entire story–in the collected format, as one of my earliest graphic novels purchased. I’ve always enjoyed Ross’ art, and generally credit him as the first comics artist whose work I could recognize specifically by sight. Additionally, Kingdom Come has long been one of my favorite stories–I can even credit it with some of my earliest interest in studying the bible, for context of the passages quoted.

Given all that, this issue honestly impressed me. I didn’t think anything would measure up to the original Kingdom Come, but while placed squarely in current JSA continuity, this also fleshes out Kingdom Come itself, providing a follow-up without being an exact sequel–leaving the original intact, but adding details that serve to enhance that story should one recall it.

The story here is quite good and totally believable to me of this Superman. We get to explore with him what it is to meet “alternate-world-counterparts” who look exactly like those we know, and yet are not the people we know…the heart of the individual that is noticeable regardless of the infinite variables of their lives. Offhand, this issue’s story is exactly the sort of thing I’ve wanted to see since this mega-arc began late last year.

This is Alex Ross’s art–I’d recognize it regardless of hype, promotion, or issue credits. The quality is there, the consistency is there, the tone is there…the detailed familiarity visually…is there. Visually, this is one of the best-looking comics I’ve seen…if you’re a fan of Ross’ work you shouldn’t be disappointed; if you’re not a fan…well, this probably is not for you.

There’s also some back-matter: sketches, commentary, layouts–all that give insight into what went into the creation of this issue; it’s all pretty interesting even though I’m not usually a fan of this sorta stuff…it certainly helps round the issue out, giving me little room to really complain about the cover price.

My sheer enjoyment of this issue comes from the story, and the art, AND the nostalgia. Offhand, this is definitely one of my favorite issues of the year, and very much worth having picked up.

Story: 9/10
Art: 9.5/10
Whole: 9.5/10

Action Comics #871 [Review]

New Krypton: Beyond Doomsday

Writer: Geoff Johns
Artist: Pete Woods
Colorist: Brad Anderson
Letterer: Rob Leigh
Editor: Matt Idelson
Cover: Alex Ross (variant by Stephane Roux)
Publisher: DC Comics

In the most recent issue of Superman (New Krypton “triangle number” 2), we ended with Doomsday arriving to spoil introductions between Kryptonians and the American president. Then we had a one-shot to explore further what Jimmy Olsen discovered on his recent adventure (and presumably set some stuff up for later in this mega-arc). Now we’re back to Doomsday. Except the issue begins with General Sam Lane dealing with Luthor, explaining his place in all this. Finally picking up on that cliffhanger, Superman takes charge, having had the most up-close-and-personal experience with the creature, and directs others to get the people clear, while he races into battle. Though the first time the two fought (sixteen years ago!) Superman’s allies easily fell, leaving him alone to stop the creature, this time his allies have all of his powers, and we have a half-issue Kryptonians-dogpile-Doomsday slugfest. Meanwhile, in Superman’s fortress, some Zod loyalists seek to free their General from the Phantom Zone, discovering something interesting in the process.

The story continues to build on what’s come before, picking up where we’d left off, responding to and progressing from that cliffhanger. We get some small nods to flesh out certain characters and see what the Kryptonians’ view of humans contains. It seems Doomsday’s reputation indeed is widely-known as are his origins. Johns keeps Superman in-character–as we saw years back, Supes faced his fears of Doomsday, overcoming them–he doesn’t freeze or wring his hands or cry or anything when Doomsday shows. He springs into action, confidently taking charge. On the whole, I have no real issue with the story here that isn’t self-defeating.

The art isn’t bad, either. It’s a definite departure from Frank, but in and of itself is not bad. It might just be the angles, but it appears that some bits of continuity are nicely maintained–Doomsday never has regrown the bony protrusion Superman snapped off his knee in their first encounter. The battle with Doomsday has a few panels where it’s not 100% clear what’s what…but I suppose that helps convey the nature of the battle with so many involved, and not much space between combatants. No huge complaint from me on the art.

As a whole, this is another solid issue, that admittedly leaves me waiting for the next chapter to find out more about who was found in the Fortress, what happens given the Doomsday battle, what General Lane has planned, and so on. This is hardly the best point to jump on-board, but it’s still early enough one could go snag the earlier chapters and get in from there.

I’m not blown away, but nor am I disappointed. As much as any comic is worth $3 these days, this one’s not a waste of money.

Story: 8/10
Art: 7/10
Whole: 7.5/10