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Action Comics #1000 [Review]

action_comics_1000From the City That Has Everything

Writer/Artist: Dan Jurgens
Inker: Norm Rapmund
Color: Hi-Fi
Letters: Rob Leigh

This is the “primary” story of the issue–a sort of stand-alone “finale” to Jurgens-and-Co.’s run the last couple of years and 45-some issue run. We open on a narration/captions of Jon Kent and Lois talking, against imagery of Superman battling a Khund warship. Jon’s worried his Dad won’t get here in time, as Lois reassures him he’ll be here. As Clark arrives, Lois reminds him that people just want to thank him. We see that they’re at a Thank You, Superman presentation in the park–Metropolis has gathered to try to offer thanks to Superman, though knowing they can’t begin to cover it. Amidst various testimonials of how Superman has impacted and saved folks, Clark keeps thinking he sees further traces of a Khund invasion…perhaps just looking for an excuse to get away from this presentation. Eventually, the crowd gets to see Superman fly into action, as Clark can’t ignore his senses. He finds Wonder Woman, who reveals that there was indeed a major Khund incursion…but it’s been handled. By everyone. Even his fellow heroes are fans, and thank Superman for his role in everything. Without him, none of them would likely be there.

On its surface, this is a rather cheesy story of little substance. There’s some presentation to honor Superman, and he’s avoiding it. Then, alllll the other heroes are there as well, because they wish to honor him, too.

Neat and simple, right? Evocative of classic Silver Age stories (to me), and not terribly deep.

But back to “on its surface.”

See, this is the 1,000th issue of Action Comics. 80 years of Superman. This is a major event, a one-issue spectacular. An anthology of sorts with numerous shorter stories making up the whole. It’s a standalone issue, something that draws from and can influence other stuff, but it’s not truly coming off any To Be Continued… message. It’s (as an issue) not leading directly into anything. It’s expected that this will be read where the previous few issues, or dozens of issues, or even hundreds of issues, have not been read.

There’s loads of “meta” to this–as a story, and as part of the issue.

This Superman–Dan Jurgens‘ Superman–comes from a take on the character where Clark Kent is the man, and Superman is a “mask.” This Superman is Clark Kent…who does what’s right because it is right–not to show off, not for accolades and recognition–and is actually rather uncomfortable being the center of attention. And we get to see that…as we get to see a bit of Lois’ personality. She teases him for trying to get out of the ceremony, but we come to see that she’s the one that spearheaded the gathering of the heroes, and helped coordinate with Batman and the others to “cover for” Superman, so that he could have this day, this event. We also see Jon, the son, both AS the Son of Superman and as a kid. Not fully understanding everything going on, loving his dad but not sure if he’ll make it, and an eagerness to stand in for him, recognizing the importance of the situation and wanting to live up to the family tradition.

I knew going in that Norm Rapmund was involved with the art…and I was loving the art all through the story. There was something extra familiar about it, though, that had a slight smile trying to escape me as I read it, but I couldn’t quite place it. Until I looked consciously at the credits for the story and realized why the art seemed that much more familiar and was evoking such a reaction in me: Jurgens on the pencils. Of course! Regardless of conscious realization in words, on sight I had recognized the (somehow UNexpected) presence of work by probably my favorite Superman artist!

Superman reluctantly accepts the recognition…somewhat awkwardly. The final spread with all the heroes and fans and such…metatextually, real-world…without Superman, there probably would NOT have been any of these other heroes. Certainly nowhere near as many, and probably not even a comics industry.

This story is a send-off of sorts from Jurgens–capping off his run, as well as recognizing and thanking Superman.

And for one such as me–a 30-year-fan of Superman, introduced to him when I was but 7 years old–this is a powerful piece, meaningful and deep, and moving…and if one has to put a one-off story as a capstone to a run, that stands alone and evokes the past, has elements from the run, but isn’t beholden to it and all that…this does it well, and is a worthy opening to Action Comics #1000!

action_comics_1000_variants_30sNever-Ending Battle

Story and Words: Peter J. Tomasi
Artist: Patrick Gleason
Colorist: Alejandro Sanchez
Letterer: Tom Napolitano

This story opens with a rather hellish, red-tinged image of Vandal Savage having Superman engulfed in some sort of red energy and alien machinery. The narration is Superman, speaking to Lois, apologizing for being sidetracked on the way home–he’s late. Basically, Savage tried to blend Superman with the past, trapping him and leaving the future open for him (Savage) to rule without Superman’s interference. So we get a bunch of pages evoking some key eras in Superman’s history, as we know it in the real-world; but in-continuity the character himself acknowledges that despite the familiarity, he knew it was impossible to have been there in the 1930s, for example. These are all full-page images with the “voiceover” going along with them…not necessarily tied exactly to the image whose page the words are on, but particularly for those familiar with the history of the character and the stories/eras being referenced, the words take on additional (and deeper) meaning than they might otherwise. And the story ends with a shot of Superman standing at a table with a lotta candles (one can assume there are probably around 1,000 of ’em!), Lois and Jon on either side, a “Happy Birthday” sign strung up behind, and even Krypto in the foreground, as we celebrate Superman’s 80th birthday, and the 1,000th issue of Action Comics.

Normally I would not care for this sort of story. Had this been a 15-page sequence in an otherwise-20-paged issue of something (especially if at a $3.99 price point) I would be disappointed and annoyed. Even as one of the longest stories within this issue, it’s still a “mere” 15 pages, and as such, even this sequence is a relatively small portion of the entire issue. As a “short story” in this “anthology” issue of numerous creators…it works quite well. We have a basic story–Superman faces a villain, is flung throughout time, makes it home safe. This reminds me of other stories I’ve read, and feels rather familiar, like it’s a sort of “trope” at this point–where you can have a numerous-issue “event” of a character being thrown through time, or it can be just a casual backdrop “referenced” but not really the point of a story.

Here, this does both: it’s a sort of casual-ish “reference” thing…but the pages as we go through show Superman through the decades–Gleason‘s imagery evoking the general “style” and depiction of Superman through the decades. One page reminds me loosely of the Superman vs. Superboy issue from early in the Byrne era; the next is a familiar image from Miller‘s Dark Knight Returns (and signed by the artist after Frank Miller). There’s a page with the black-costumed, long-haired Superman fighting Mongul, with Steel and Superboy in the background, in reference to the Death and Return of Superman…Reign of the Supermen. There’s a page with a version of Zod, the pointy-crystal Fortress of Solitude in the background, and a Superman trapped in the pane of glass version of the Phantom Zone. There’s even a page showing the Kingdom Come Superman facing Magog, a mushroom cloud in the background with several of the other heroes. And there’s a page showing the New 52 Superman breaking through a wall, shifting to the black-costume, bearded Superman of JurgensLois and Clark, shifting into the Rebirth costume, into the Reborn costume, punching Savage out.

This is an appropriate celebration of Superman, of how (ultimately) he easily overcomes situations, fights through whatever is thrown at him, and that Tomasi puts as Superman’s words: “Each and every time stream, in the end, led home…to my family.”

Tomasi and Gleason being the primary creatives the last couple years on the named Superman title that has run alongside JurgensAction Comics, this is a highly-appropriate story to cap off that run, to share in this issue, and to celebrate and acknowledge the rich history of the character. I often find I’m not overly thrilled with Gleason‘s art–just a personal issue due to comparing it so often to art I prefer–but here, particularly for the time-tossed pages, it shines excellently.

An Enemy Within

Script: Marv Wolfman
Art: Curt Swan
Inks: Butch Guice, Kurt Schaffenberger
Color & Production Assist: Hi-Fi
Letters: Rob Leigh

I appreciate the history of Wolfman with the Superman character, as well as the very fabric of the history of DC Comics in-continuity and out; ditto the importance of Curt Swan as one of THE Superman artists. That said…I did not really care much for this story.

Basically, we have narration from Superman as he’s halfway across the world dealing with a Brainiac threat, while we’re shown a hostage situation involving a principal and one of his students. From the narration, we get that the principal is being mind-controlled by Brainiac, and that Superman is facing the villain…but that action all happens off-panel, concluding with a single image of Superman, that may be recycled from a previous publication. The story is simple, has potential, but for me, personally–especially stacked against the Jurgens and Tomasi stories in this issue, and against numerous episodes of Law and Order: SVU I’ve been watching the last few weeks, it just doesn’t really hold up in a way I particularly care for.

It’s not a horrible story, and the art is solid in and of itself…I respect the inclusion here, but other than the “inclusion” aspect, I just don’t really care for this one.

action_comics_1000_variants_blankThe Game

Storytellers: Paul Levitz & Neal Adams
Colors: Hi-Fi
Letters: Dave Sharpe

This is an interesting, short piece, where Superman shows up to the roof of Lexcorp Tower, and he and Lex talk over a game of Chess…and I’m reminded strongly of the Xavier/Magneto imagery from the Fox X-Men films. Luthor springs a trap of animated Kryptonite chains that wrap around Superman…before the hero straightens, flexes, and bursts the chains with an orange background obviously reminiscent of the Kryptonite Nevermore! from the original Superman #233. Superman reveals that he’s got a Mother Box with him that temporarily prevented the Kryptonite radiation

This is another short piece that I don’t particularly care for. I like the concept well enough, and it reminds me (as said) of the Xavier/Magneto stuff…and the more I think on it, I realize there’s also a bit of that Batman/Joker meeting from The Killing Joke in here, too.

Adams is another whose work I appreciate, whose place in comics history I appreciate…but I just can’t get into his Superman art. I didn’t stick with The Coming of the Supermen, I didn’t care for an Action Comics variant I had from some “Neal Adams Month,” and his Superman in general looks rather “off” to me here.

As this is “only” a 5-page story, though, it’s not horrible; but I might have liked a prose version a bit better, as I dig the story much, much more than I do the art.

action_comics_1000_variants_40sThe Car

Story: Geoff Johns & Richard Donner
Artist: Olivier Coipel
Colors: Alejandro Sanchez
Special thanks to: Matt Wilson
Letters: Nick Napolitano

This is an interesting story that seems to be set in the ’30s; the color palette and general art style certainly gives it a rustic, “period piece” look that fits very well with the story being told. A busted-up car is brought into a shop, and when the mechanic tries to get its story from the owner, the tale is a little bit “out there”–all this damage caused by one man? One man lifted it and smashed it against some rocks, apparently. We then move to the owner–Butch–noticing a colorful figure…that of the “man” who smashed his car. Superman chats with him, showing compassion and having come to “understand” more of Butch’s “side” of things, and leaving him with the notion that even having made mistakes, one can choose to make their life count for something, choose to make something of themselves, better the lives of others rather than doing harm.

I’m sure I would have realized pretty quickly that this is a sort of “sequel” to a big part of Action Comics #1; but this benefited SO beautifully from my having just re-read the Superman story from that first issue, and being probably THE freshest-in-mind Superman story for me prior to this 1000th issue.

This Superman feels very much like the “modern” Superman, though; less of the rough ‘n tough version from that first appearance. But it works, and makes for an interesting piece overall. Especially when one considers just how heinous Butch’s crime was–kidnapping a woman for rejecting him…and one could likely predict at least a couple likely outcomes of such action.

I haven’t cared a lot about the Johns/Donner stuff–particularly the Last Son of Krypton, and Escape from Bizarro World stories, even as those are (now) a good dozen years in the past. I didn’t care for them at the time as part of a seemingly-overly-overt rewriting of Superman away from the version I’d grown up on and back to more of a Silver/Bronze Age version. But this single story, I liked; the modern art showing the classic original Superman, with the feel of the contemporary Superman…and this being both a continuation/sequel and yet even if one doesn’t know or connect that context, it works very well as a singular, one-off bit…

And of the “shorts” in this issue, I think this is one of my favorites.

action_comics_1000_variants_50sThe Fifth Season

Script: Scott Snyder
Art: Rafael Albuquerque
Color: Dave McCaig
Letters: Tom Napolitano

I’m not quite sure what to make of this piece. In a way, I think something to it is “over my head,” perhaps..in a way that I definitely do NOT care for in my comics.

Superman arrives at the Smallville planetarium to find Lex Luthor, who has found the “Eye of Xotar” and Chronos’ “Time Scissors”–that together can be used to literally erase any genealogical line from history. Given this is Luthor…obviously, that’d be Superman’s line, the House of El. As the two muse over their shared past, and the present situation, we see a flashback to Luthor’s early days in Smallville, where we also see that a potentially fatal accident that could have killed Luthor was prevented by a young Clark Kent–Superman as a boy. We also get a bit about a “fifth season,” between Winter and Spring, when the weather can be wildly unpredictable…which seems to be a statement of the story itself. Luthor intended to wipe Superman from history, but maybe discovered that it was Superman that had saved him, and so opted not to.

This isn’t a horrible story, but as said, something about it just feels like it might be over my head, needing extra consideration, disproportionate to its size in relation to the rest of this issue. The art also isn’t horrible, but not really to my liking. On the last page particularly, I don’t care for the depiction of the “S” shield…its top and bottom seem way too thin compared to the middle, especially compared to the “standard” licensed version I’m used to, that I tend to hold mentally as the “standard” to which the various takes on the “S” are compared.

This also plays on Luthor and Superman having known each other as kids–something that was NOT part of the story I grew up on, and so I’m a bit biased against it. Still, knowing that and seeing what’s being gone for here in a way, I’m ok with the story, but won’t single it out as a favorite or such.

Then there’s the narration in the background speaking to the idea of Sol, our sun, eventually expanding: “…and eventually, the sun will eat our Mercury…and then Venus…and then Earth. And then, our time…ends.”

Which seems almost intentionally to lead into the next piece:

action_comics_1000_variants_60sOf Tomorrow

Writer: Tom King
Artist: Clay Mann
Color Artist: Jordie Bellaire
Letterer: John Workman

Superman kneels, scooping up some coal from the ground and squeezing it into diamond. He stands and we see blazing fire all around, amidst his speaking. It’s been BILLIONS of years, and Earth is finally about to be swallowed up by the red giant Sol has become; no matter that Superman had apparently pushed the entire planet of Earth out of its orbit, it still finds itself being consumed. And Superman speaks to his long-dead parents–Jonathan and Martha Kent–as he says goodbye for the final time. He’s got to let go–of them, and of Earth itself. After five BILLION years. Somehow, Superman, and Lois, and Jon, have been essentially immortal, thanks to (apparently) an “Eternity Formula.” He speaks of them, as he forms the diamond into a specific shape. He tells his parents “I miss you. I love you. Every day. It doesn’t matter how long it’s been. It’s still every day.” And as the planet burns up and wee see the grave plate reading:

KENT
JONATHAN & MARTHA
BELOVED PARENTS & GRANDPARENTS
YOU GAVE US HOPE

Superman leaves with the words “We’re all stardust fallen. And so we look to the sky. And we wait to be reclaimed. Good-bye, Ma. Good-bye, Pa. And thank you. For everything.”

This is an odd sort of story. While we can consider that the ongoing story of Superman is not one that’s gonna end anytime soon; while we’ve had stories of Superman surviving into the far future–thousands, even millions of years…to consider that he’d live another five BILLION years seems a bit out there for me. It changes the character. It’s best not to dwell on.

The point is: to the end of the Earth–literally–Superman has been shaped by his parents. He’s continued to live. He’s lived his life. He’s gone on–but that doesn’t mean that he’s forgotten. The love of his parents–his adoptive parents, the REAL parents he actually knew–they molded him into who he became, and that’s NOT something that changed with time. Their brief moment with him lasted through time, a huge legacy, outlasting the planet itself.

But on a smaller level, this speaks in an abstract sort of way to anyone who has ever lost loved ones. Wondering at the futility of visiting a grave, of speaking to those gone before, and I’d say to how even a year can feel like a lifetime, several years like countless lifetimes, when separated from the loved ones.

And on a “meta” level, Superman has outlived this planet, outlived all those lives…as he outlived his creators, and has and likely will outlive so many others.

On the literal level, this reminds me of an old story of an ancient Supreme or Mr. Majestic (I believe written by Alan Moore) (edit: yeah, I’m pretty sure that was Wildstorm Spotlight: Mr. Majestic #1: a story called The Big Chill.) recalling a world he once spent time on…he thinks its name had begun with ‘E’.

On the general level, that abstract level…this just speaks to the heart and I got choked up contemplating loss to come and what that’ll mean to me personally; and teared up considering losses I’ve already experienced. In a way, this had no reason to hit me like it did; yet, this is its own deeply personal, powerful piece…certainly worthy of being a Superman story, and well worth its inclusion in this issue!

action_comics_1000_variants_70sFive Minutes

Writer: Louise Simonson
Artist: Jerry Ordway
Colors: Dave McCaig
Letters: Carlos M. Mangual

This is another 5-page “short.” Clark is trying to finish a story, with Perry and Jimmy standing by, noting they’re 5 minutes to deadline, with Printing already giving hell for holding the presses. Even as Clark points out he’s nearly done, he’s hearing cries of distress, and jumps from his seat to go into action, while Perry tells him he has five minutes. Superman stops a runaway train; saves Bibbo; stops space debris from crashing to Earth, and still makes it back to the Planet to finish his story. But turns out in being so focused on that, he didn’t even consider the impact he just had, saving numerous people, maybe much of Earth…that the story he WAS working on is nothing compared to the story of Superman’s recent super-feats.

This is a neat piece, and as with others in this issue of Action, not one I’d care much for as an entire issue, but as a “backup,” as a piece included in this issue, I really like it. And with Louise Simonson writing and Ordway on art, it’s one that’s hard to beat, having such positive memories of both creators’ work in the ’90s on my early Superman comics.

And the idea of Clark Kent, Reporter, working, having to deal with stuff as Superman and still make his deadline is not new, but it works well here…and the fantastic art just makes it a beauty to behold.

I enjoyed this for that, and its relative timelessness.

action_comics_1000_variants_80sActionland!

Script: Paul Dini
Pencils: Jose Luis Garcia-Lopez
Inks: Kevin Nowlan
Colors: Trish Mulvihill
Letters: Josh Reed

What would a big, giant Superman comic be without Mr. Mxyzptlk? This is a short story showing an amusement park take on Superman and his history, where visitors get to “ride” in a replica of the ship that bore baby Kal-El away from Krypton; lift a tractor like little Clark in Kansas, witness Superman performing super-feats, view other heroes that served with Superman, as well as villains that were fought, and then the way things ended, with Superman… sacrificing himself…giving his life…the ending? The scene we’ve been seeing is a reality of sorts from Mxy, who just can’t quite figure out how he’d like to see the story of Superman end, even though he himself has the power to blink him out of existence with hardly a thought.

I think my initial thought–that it’s “fitting” to have Mxy get a story in something like this–comes from the Newstime special after the death of Superman, where there was some throw-away piece referencing the character, sort of explaining his showing up during all that, and yet not having an actual issue til well after the return.

Story-wise, I’m not overly enamored. It’s a solid enough piece with an interesting premise. Structurally, not a bad story. I think I’ve just kinda felt put-off to Mxy stuff after Superman: Reborn and being reminded of stuff from Whatever Happened to the Man of Tomorrow? recently. It has its merits–a glimpse at parts of Superman’s origins; shows us Mxy himself and reminds us he’s around and his powers, and that he can be “just” an imp messing with Superman without wanting to truly destroy him. I just didn’t singularly like this story that much.

Art-wise, this is solid, and though Dini has plenty of pedigree himself, having a new Jose Luis Garcia-Lopez story is quite appealing on principle. I can’t say I’d recognize the art on sight, but knowing Garcia-Lopez has significant association with Superman, this certainly deserves its place in the issue!

action_comics_1000_variants_90sFaster Than a Speeding Bullet

Writer: Brad Meltzer
Artist: John Casaday
Colors: Laura Martin
Letters: Chris Eliopoulos

This was an interesting story, touching on elements that I don’t often think of with Superman stories. A gunman with a hostage prepares to pull the trigger…while from a significant distance, Superman’s flying as fast as he can to the scene. We get Superman’s inner thoughts as he zips toward the gunman, even as he pulls the trigger and the bullet begins to move, as Superman does the math and everything remaining as-is, knows he will not make it in time. Yet, it turns out while he was focused on the gunman, the hostage was shifting, which bought the extra fraction of a second Superman needed to get there, and he saves her. He compliments her on her bravery, that she could be Police, and flies off.

The story here does a good job with building tension as Superman tries to get to the scene. All too often we have the imagery and stories of Superman getting somewhere JUST in the nick of time to bounce bullets off his chest, or pluck them from mid-air, mid-movement before they strike their intended target…but we rarely get something from his point of view, where even he might realize he will be a fraction of a second too late. We get a positive ending here, though, as the woman–Lila–shifts to resist her attacker and Superman is able to save her.

I was not expecting a Meltzer piece, but he’s another name that I feel certainly deserves his place and involvement with the issue…if not for prior Superman work, then for his real-world involvement with stuff–helping bring attention to the Siegel house, helping bring about the Superman display at the Cleveland airport, and other involvement with folks preserving the history of Siegel and Shuster and all that.

The art isn’t bad…and actually, is quite good–overall. There’s just something to the way Casaday does Superman’s face that seems really “off” to me. It looks like someone else’s face, a stranger’s face, is pasted onto a body with “a” Superman costume. Where some artists’ Superman is recognizable just by the face, I wouldn’t be able to look at the faces in this story and just form those know this was Superman.

For another “short,” I can’t really complain beyond that about this one!

action_comics_1000_variants_2000s“The Truth”

Writer: Brian Michael Bendis
Pencils: Jim Lee
Inks: Scott Williams
Colors: Alex Sinclair
Letters: Cory Petit

Outside of the number, I’m sure this story is one reason for a lot of people to pick up this issue: it offers a prologue to a prologue to a mini-series that itself will lead into the ongoing story in the continuation of this title and rebooted-numbering fifth-volume of Superman. This piece kicks off Bendis‘ work on Superman…and does so with a beaten, bloodied Superman crashing through what looks like a cave wall, and on zooming out, we see a couple more hits as he smashes through the ceiling and out the side of the L-shaped Lexcorp tower, and then hits a road so hard he bounces a few times, destroying pavement, vehicles, and storefronts. Bystanders of course whip out cellphones to take photos/video of the fallen hero, while they try to drag Superman behind a counter. They comment on him wearing “the red shorts” again (rather than the cosmetic change being just there). Some giant creature with a huge battle axe is after him, and after taking a huge punch and repeated jabs from the just-arrived Supergirl, hits her once, taking her outta the fight (sending her flying toward the huge globe of the Daily Planet). Maggie Sawyer and the SCU shows up, though their weapons do nothing to the creature. There’s more discussion from further bystanders of him having “the shorts” again, and the creature continues to get the best of Superman, continuing to physically beat the crap out of him (so to speak), and a simple energy-blast wave-of-the-hand takes a just-returning Supergirl back out of the fight. Transforming the handle of the axe into a sword, he seems to plunge it with a splash into Superman’s chest, as he claims to be wiping out remaining Kryptonians, finishing the job he started when he destroyed Krypton.

Once upon a time, Jim Lee was just about my favorite Superman artist–perhaps behind or tied with Jurgens and Ed Benes. But here, I just don’t care for the art. I’m sure part of it is the coloring…this seems “dark” and “grim and gritty” especially compared to the rest of the issue, and feels out of place visually with the rest of the issue.

Ditto on the story side–this beating, this violence and Superman just being pummeled and beaten and such, and Supergirl coming off as completely ineffective as well–is sickening after so many happier, brighter, celebratory bits.

Sure, this is a new villain, but we don’t even get the name here. We just get nothing but fight. Superman himself points out he hasn’t gotten a name, and the villain accuses him of stalling, rather than giving his name. And sure, on one hand, it would be old-style, stereotypical monologuing or such to just give a name at that point…typically, the villain would be depicted in a large panel with a logo-style word balloon declaring his “cool”-sounding name and such, so instead he calls Superman out for stalling, and on a technical level, I guess this is good to get away from the typical.

I don’t like that we’re thrown into the middle of a fight like this, that we end on a cliffhanger, when the entire rest of this issue has been self-contained one-off stories and whatnot.

Surely we could have started on a brighter note, seen a bit of a different status quo or perspective maybe hinting at this villain’s coming or some such. I don’t know–but based solely on this 12-page piece, I’m not looking forward to the upcoming Man of Steel mini, and I’m suddenly quite concerned about what to expect from Bendis‘ run, where until now I’ve been content to “wait and see” and been fairly optimistic. I suppose I’ll now have to “wait and see” what we get in the DC Nation #0 issue and go from there.

I guess it’s appropriate enough in its way to launch Bendis‘ run with this issue…and yet despite assurances to the contrary, the part of me that suspects his “coming” heralded the end of Jurgens‘ and Tomasi‘s runs feels like they should have had more pages to play with in this issue, and Bendis could launch with DC Nation or The Man of Steel (after all, the last time, one creator (Alan Moore) ended the previous Superman, and it was the interstitial mini-series Man of Steel where Byrne‘s stuff started.

This is 12 pages of what’s likely a multi-year, dozens-of-issues run by one writer, so ultimately may not be indicative of what to expect on the whole and long-term…but for just these pages, and to come after such positive stories for the other 60+ pages…this just seems out of place and inappropriate for something as celebratory as a 1,000th issue…especially seeing nothing but Superman take a beatdown outta nowhere.

Overall Thoughts on the Issue As a Whole

I’ve looked forward to this issue for a long time. In some ways, I’ve probably looked forward to it for nearly 30 years, ever since the first issue I ever owned of the title (#651). At the least, I’m sure I wondered at a comic making it to #1,000 during the Doomsday! and Funeral for a Friend stuff, and the years following, as Adventures of Superman hit #500, Action hit #700, Superman (vol. 2) hit #100, and so on. I certainly wondered about it seven years ago when DC announced what came to be The New 52, that every single title including Action Comics and Detective Comics would be restarted with a #1. Though I still feel that Action making it to #1,000 technically needs an asterisk denoting the 1-52 sequence (there are no issues numbered 905-956) from the New 52 run. But I give DC a “pass” on that, as it was only one “hiccup” in the numbering. Given cover dress, paper condition, and literally the pricing should anyone actually find a copy of the original issues 1-52, one just needs to add 904 to the issue number to know what the issue is in that sense. There have not been numerous iterations where multiple hundreds of issues here, a hundred issues there, another several dozen issues, a mini-series, and a couple of less-than-20-issues runs suddenly add up to a big number. Number-wise, there’s virtually no reasonable confusion.

When Rebirth was announced, when it was announced that Action Comics and Detective Comics would get their original numbering back, and that Action Comics (especially) would indeed get to make it to #1,000, I jumped back in. And all these issues and almost two years later, here we are. I feel like this issue is a sort of reward, an attained destination, a prize that’s been driven toward since Action Comics #957 back in 2016.

A few months ago, there was some definite ambiguity as to formatting and such for the issue and what to expect for the issue. Part of me thinks this should have been even bigger, included even more–both in the way of original stories as well as reprints. But the companion hardback collection Action Comics: 80 Years of Superman handles a lot of that–with essays and reprints of stories both for characters and creators tied to Superman, and Action Comics itself. I was also a bit curious about what the issue’s story would be, or if it would be an anthology/”jam” issue.

Back in the 1990s there were periodic special issues such as The Wedding Album that were key, integral chapters in the ongoing Superman story unfolding in the actual, ongoing titles; though this would be an actual numbered issue, I’d wondered if this would have any singular through-story that just happened to have a bunch of different artists and maybe some narrative structure allowing for different writers to leave a mark on the story.

Obviously what we got was 15-page chunks of the two main creative teams of the ongoing titles, and then 8 more stories/contributions, and a 12-page launch sequence from the new writer coming onto stuff.

As with my excitement for Rebirth and Action Comics #957, I bought this digitally, and I bought this in-print, and I’ll gladly buy the hardcover edition that I believe will be out this Fall. I also ordered the “Decades Variants” through DCBS, and will be getting the 1,000 covers poster, which will be an excellent, appropriate addition to my comics space.

This is an issue that rightly deserves the “celebration” that variants offer. There are artists who may not otherwise have had involvement with the issue, who get to be associated with Action Comics #1000 if only with a variant. And as the first American comic book to make it to #1000…it’s more than worthy. 80 years of continuous publication of a comic titled Action Comics is nothing to sneeze at. I’m among the first to complain and gripe and grouse about variants, and will continue to, where they merely cheapen stuff and are “abused” (really, does a #17 or a #81 or a #962 truly deserve a variant? What makes such numbers special if they’re just another issue?) But this 1,000th issue deserves the added recognition, the “fun” of certain variants…especially what I’ve seen of the “Decades” variants, that bring back the logo style and even the DC logo of each decade…the DC Bullet I grew up on is back with several of the issues, and even the “swoosh” logo gets some love with the 2000s variant.

$7.99 for a single issue is a bit much in most cases. This is squarebound and has 81 story pages with no ads between stories nor interrupting any stories, and the cover is a stronger cardstock…so this is absolutely worth its price for the physical product as well as the content it contains.

None of the stories seem to specifically continue from anything; nothing I’m aware of comes off of a To Be Continued; and other than the Bendis segment leading into stuff out of/after this issue, that’s still 69 or so pages that stand alone quite well, neither requiring previous reading nor requiring subsequent reading. This is well worth getting just for itself; a 1,000th issue; a standalone, celebratory Superman issue. Perhaps it’s an endpoint; maybe it can be a starting point; it’s definitely an excellent one-off, special thing.

I highly recommend this to any Superman fan or anyone interested in checking out some Superman content, period, and especially if you don’t want to commit to anything ongoing or long-form.

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The ’90s Revisited: Adventures of Superman #497

90s_revisited

adventures_of_superman_0497Under 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
Published by: DC Comics
Cover Date: December 1992
Cover Price: $1.25
Triangle #: 1992/47

Like many issues from this time period, this one’s cover stands out quite a bit to me. I don’t know that I’d call it a favorite–there are definitely plenty of covers I like more–but I do really like this and it’s instantly recognizable to me.

This issue picks up where Superman #74 left off, with Superman chasing after Doomsday, blocking out Mitch’s cries for help. The transition, though, isn’t quite as smooth as the one from Justice League America #69 into Superman #74, though it isn’t jarring. Mitch narrates–describing the situation and letting us know that the rest of the League has fallen, Superman’s a distance off but still visible (and his punches against Doomsday audible), and his mother and baby sister (as well as the rest of the League) are still in danger from the collapsing house that’s burning. Superman finally returns after shoving Doomsday into the soft earth at the bottom of a lake, and Bloodwynd makes a timely return to assist as well before teleporting away to avoid medical attention from EMTs. As a military helicopter targets (and is targeted by Doomsday), Superman’s back in the fray, continuing to save those he can while beating on the creature. Taking a moment away from all this, we get a scene of Lois in the GBS building, meeting up with Cat while she tries to find Jimmy. Olsen’s moonlighting as Turtle Boy for a kids’ show, but taping’s run hours late…and Jimmy is needed on assignment (covering the Doomsday situation). The battle rages into a small town where Maxima catches up to Superman and Doomsday, and her contribution leads to a huge explosion. The Guardian arrives to find her and Superman knocked out from the blast, and Doomsday nowhere in sight. Brushing off Guardian’s lecture on violence, Superman realizes this is his fight, and his alone.

I’d forgotten about Grummett‘s time on this title, given the changeover around #500…I really like his art, and it looks especially good–and familiar–here! The art team is fantastic, and though it’s been quite awhile since I’d’ve thought about it, I think I’d have to say that offhand, this is my favorite Superman art next to Dan Jurgens‘ work! This issue begins the subtle "countdown" I had never noticed until about 10 years ago: the issue is done as 4-panel pages (with the next chapters having three-panel pages, then two-panels, before the conclusion in all full-page splashes).

Story-wise, nothing really jumps out at me as any sort of "Ordway signature" or such, except that as with the other creative teams’ work, this plays very tightly with its sister titles. While not quite as "involved" at this point due to their encounters with Doomsday, it’s cool to see stuff play out with the League still being present in the title, if not much else. Guy Gardner grabbing Superman and essentially giving his ‘blessing’ (or command) to put the creature "in a pine box" strikes me as rather poignant…Guy admitting that Superman’s "tougher" and capable and such to do what he–Guy–was not able to. And a sort of quasi-reconciliation between the characters before what’s about to go down goes down.

Maxima’s bit in this issue has also stuck with me over the years–her focus on being a warrior and casual acceptance of casualties, as well as Superman giving her pause, as well as her tolerating his calling her ‘Princess.’

This is yet another issue that’s very much a piece of the larger story…even if ultimately, the story’s a huge "fight scene" of sorts, when looked at most broadly. This chapter isn’t really "essential" to the whole, offhand (maybe the first chapter to feel that way)…but there’d sure be a clear gap in stuff if we didn’t have this chapter. Outside of the pretty cover, I wouldn’t really recommend this as a "single" issue, but it’s well worthwhile as part of the whole, and definitely not a chapter to arbitrarily skip in a collected volume.

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The ’90s Revisited: Superman #50

90s_revisited

superman(1987)0050Krisis of the Krimson Kryptonite Part Four: The Human Factor

Story by: Jerry Ordway
Art by: Dan Jurgens, Brett Breeding, Kerry Gammill, Dennis Janke, Curt Swan, John Byrne, and Jerry Ordway
Colors by: Glenn Whitmore
Letters by: John Costanza
Editing by: Mike Carlin
Cover by: Jerry Ordway
Published by: DC Comics
Cover Date: December 1990
Cover Price: $1.50

This is an extra-sized issue, for a whopping DOUBLE-usual-cover-price…at a whole $1.50. That’s still HALF what contemporary DC Rebirth comics cost, and less than half of what a current Marvel comic costs. Granted, we’re talking a little over 26 years’ difference, but still…

Speaking of covers and cover prices…this may not be THE best or THE most iconic cover ever for a Superman comic (at least, not to me, and not one of my personal top ten) but its "spirit" is pretty iconic–Superman bursting through a wall. In this case, fairly appropriate, after several issues of his being powerless…basically a normal human. Having the strength to simply, cheerfully burst through a solid brick wall is a small indicator of his power level being much increased. Superman #50 is one of the first comics I ever got as a "back issue," and before I really knew the concept of "multiple printings" or "variant covers" or the like. The copy of the issue that I first owned, the first time that I read this, gave away a fairly major spoiler for the issue (at the time).

superman50spoilercover

Historic Engagement Issue. Ok, so the engagement was looming, and it happened here. I had no idea at the time that it was a second print, hence spoiling the ending by calling out what happens in the issue and how it’d go down in history (beyond concluding a several-part story and seeing Superman get his powers back).

This issue gives us a glimpse of Clark in action, going about life powerless–but getting beyond the simplistic "mild-mannered reporter" and letting us see that it really is he himself–Clark–that makes the man, not the Super. Even without powers, he’s not gonna stand by or put his own safety first…he helps people, and tries to step in as able. He checks in on things with Lois, who has just gotten her father’s approval in dating Clark. Jimmy’s mother is doing better…even as we see that Perry and Alice are having their own issues, still reeling from the death of Jerry. And of course, Luthor being Luthor. When Lex contacts Lois, Clark steps in, demanding an interview…which he’s granted. Luthor’s convinced to tell how he’s deprived Superman of his powers…and since he’s telling some reporter, he’s not breaking Mxyzptlk’s One Rule to Not Tell Superman. Of course, Luthor has long since discarded the notion of Clark and Superman being one and the same…but that doesn’t change that Clark is Superman, and Mxy’s powers are magic based and thus bind the rule even without Mxy’s conscious direction, so Luthor telling Clark means he’s broken the rule…and Superman is re-powered. The imp shows up, gives Superman a freebie of sorts (providing a Rule to the game and how Superman can send him away, and then getting Superman to fulfill it) and actually leaving. Luthor’s great victory is wiped away, and the man is dying. Meanwhile, Lois has thought about Clark’s earlier proposal…and says yes. She WILL marry him.

While I did not read this in my initial time into comics, it was still one I read relatively early-on, prior to The Death of Superman. It was cool to see the actual engagement, as well as to have another chapter of the story with the red-border covers, which helped "place" this time-wise/continuity-wise for me at the time. Now, re-reading this, it’s actually sort of hard to believe, and seems such a long time ago, in Clark and Lois ONLY here just getting ENGAGED. Though the engagement aspect went on for a number of years–over 60 issues–they’ve been married so long that I find it natural and preferable, and this was the kick-off, if you will, of that long-lasting aspect of the characters.

Story-wise, this is definitely "classic" Superman for me, for my favorite version of the character, during my favorite period of the continuity. This came at the beginning, served as part of my "foundation" in Superman stuff, as a Superman fan, witnessing the actual development and forward-movement of the character and supporting cast. I think part of that also came from (and I’m using modern thoughts to "project" on my past self) feeling like there was room for surprise and growth beyond done-in-one issues and self-contained every-story-must-stand-alone-and-be-a-graphic-novel-in-serialized-form comics. Clark is the character, Superman is what he does, how he presents to the world when he’s in action. We see his relationship here with Lois–not one of hero worship on her part, or some single-minded buffoon or mere story-trope–but as real humans. She is interested in Clark–the person–and not chasing after some guy in a cape. She wants to marry Clark, and has no idea that he IS Superman. He’s just a man she’s friends with, has come to know and love, and it’s genuine.

This being an expanded, extra-sized issue is definitely a good thing, allowing nearly double the usual length, and thus a lot more story in a single issue…and though the engagement happens here, it’s organic, a rather small part of the overall issue, and is far from actually being the FOCUS of the issue, story-wise. It’s just a darned good Superman comic, at least to me and in recognizing the nostalgia for me.

Visually, it’s an interesting issue, with numerous artist contributing. On one hand, I’d figure that’s partly to allow an extra-sized issue to be produced in the same amount of time as a regular-sized issue while holding to schedules and avoiding fill-ins. It also allows more artists to be part of a key issue in Superman’s history. That said, while I vaguely noticed some unevenness in the art, I was much more engaged (no pun intended) with the story itself, and it wasn’t until sitting down to type up this post that I consciously noted (re-realized) that there were so many artists involved. The art all worked together and was not jarring to me in style or otherwise (perhaps thanks to the single colorist). For an anniversary issue without drastically different variant covers or such, I absolutely welcome the "jam" nature, with a lot of artists "being part of it," and will gladly overlook the uneven nature of that. All the better when the art works with the story and doesn’t distract me.

All in all, this is definitely one of the more "iconic" ISSUES for me, and a key issue in the history of the character. Despite that, I’ve found it in a number of bargain bins over the years; the copy I actually read for this revisiting is from a 25-cent bin…in which there were multiple copies, both of this first print and the later print, and I even convinced a friend to get one to read. Definitely an issue worth reading and having, even out of context and without the entire Krisis of the Krimson Kryptonite story. As a conclusion, it’s fitting, and makes for a good end to that while moving the overall Superman mythos forward and opening stuff to coming stories.

Highly recommended!

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The ’90s Revisited: Superman #49

90s_revisited

superman(1987)0049Krisis of the Krimson Kryptonite Part One

Art & Script: Jerry Ordway
Inking: Dennis Janke
Coloring: Glenn Whitmore
Lettering: John Costanza
Associating: Jon Peterson
Editing: Mike Carlin
Cover: Jerry Ordway, Dennis Janke, Glenn Whitmore
Published by: DC Comics
Cover Date: November 1990
Cover Price: $0.75

This issue grabbed me rather recently, going through bargain bins. The cover got me, with its distinctive red border/trade dress for this story. It both sets this issue apart from earlier issues, but the trade dress unites the entire Krisis of the Krimson Kryptonite story as a whole in a way that still calls it out for me nearly three decades later, one of its chapters being amongst my earliest-ever comics in my collection.

The issue opens on Perry and Alice white at the grave of their son Jerry, who has recently died. We also get a bit of context, that Lex Luthor is the biological father. Luthor, too, laments the loss…and while he stands over the grave, he’s assaulted by an odd red rock…seems Mr. Mxyzptlk is due again, but is having too much fun where he is. As such, and not wanting to let down his good buddy Superman, he figures he’ll kill two birds with one stone, letting his quarterly mischief manifest via the red rock–Red Kryptonite–to mess with Superman. Meanwhile, Lois and Clark are out and about when they bump into an old friend of Clark’s–Pete Ross from Smallville. The two friends catch up briefly, and Pete obtains Clark’s "blessing" to pursue Lana. Not long after, Luthor figures out how to get things moving with Mxy’s magic rock, as Superman saves the day from a villain named Barrage. As the magic goes into effect, instead of granting Luthor power to be equal to Superman…Superman’s powers are taken away…making Luthor equal to him. Magically summoned to Luthor’s presence, and still in shock at the loss of his powers, Luthor gives Superman quite a beating before having him thrown out. Back at home, despite not being up to the visit, Clark finds himself in position to be a rock himself, as Lois is going through a rough time.

Though it was a number of years after I’d first read any part of this story that I got to read the rest of it (including this opening chapter), this brings back a lot of memory, of this era of the Super-titles. This issue has the very familiar visuals of Jerry Ordway that I’ll likely always associate with my earliest days reading Superman comics. The characters are all familiar and distinct and look quite good.

The story itself is strong, as well–painting a picture of what’s going on in general at this point in the Super-titles without being overly-obvious about doing so. (I’m reading this story "out of context" but there’s enough to remind me of where things were continuity-wise at the point this story takes place). We’re introduced to the setting and characters, given some clues as to recent events even while we see current stuff unfold, and the driving conflict of the story–Superman losing his powers to a chunk of red rock–is set in motion. Rather than leave us on some cliffhanger proclaiming that his powers would be gone or such, we actually get that in this very issue, as well as immediate after-effects. In that regard, this issue probably has two or three issues’ content by modern standards, neglecting to be highly-decompressed or drag stuff out.

The issue’s by no means some absolute stand-alone thing, but there’s enough, I think, that one could enjoy it on its own without having read much of this era previously, and the reader can figure out in general the current situation. That said…this works pretty well for me "jumping in" and not having to page through a bunch of issues to re-familiarize myself with the story. This was quite enjoyable in and of itself, even as I look forward to issues to come–including the sole chapter I read during my initial period being into comics.

I’m definitely enjoying diving back into this era, however briefly…and while this issue by itself isn’t necessarily anything all that special, the story as a whole is, and if you can score it for around $1 an issue or less, I definitely recommend it, as of re-reading this issue alone.

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General Mills Presents: Justice League (2017) #1 [Review]

general_mills_2017_justice_league_0001Power Play

Writer: Tony Bedard
Penciller: Jerry Ordway
Inker: Juan Castro
Colorist: Guy Major
Letterer: Comicraft
Cover Artist: Ale Garza
Cover Colorist: Luis Guerrero
Assistant Editor: Brittany Holzherr
Editor: Steve Buccellato
Group Editor: Marie Javins
Design Director: Larry Berry

Once again, DC Comics and General Mills have teamed up to put comics in boxes of cereal. And, once again, I’m buying cereal specifically to get a copy of all four issues available as part of the promotion. This is the fourth such promotion I can recall in "modern" comics’ times–two prior Justice League runs, last year’s Batman v Superman, and now this. As with the previous ones, these LOOK like they fit in with contemporary issues, just that these are missing UPC boxes, and are atrociously TINY. But hey…they’re "free" with the purchase of a specially-marked box of cereal, and no hassling with coupons, mail-aways, shipping/handling, etc.

As with previous promotions, though these issues are numbered, I’m almost certain there’s no sequential "continuity" to them–this first issue is self-contained with no cliffhanger or anything "driving" one to the next issue. I’m pretty sure the PRIMARY purpose of the issue number is to help "legitimize" the thing as a miniature comic book (and not just some mini-magazine/"insert" or such) and to–as successfully accomplished with me–trigger the OCD to track them all down, because darnit, there are FOUR numbered issues, so I want all 4 issues, and won’t want to have a #4 withOUT 1-3 and so on.

Getting to the issue itself, as an issue…I’m quite impressed with the main creative team. Tony Bedard‘s name is definitely recognizable to me, and even topping that is artist Jerry Ordway, who is an old favorite from my earliest days in comics.

The story is rather prescient given its timing–at least for me as I read this. We open on the Justice League (current Rebirth incarnation, with everyone looking on-model for Rebirth year one) in Metropolis, being celebrated for all their work and constant saving of Earth. A large group statue is unveiled, and almost immediately comes to life, forcing the Leaguers to face off against their giant bronze counterparts. The mischievous antagonist is quickly revealed: Mr. Mxyzptlk! Muddying matters, the League must summon Bat-Mite–another 5th-Dimensional imp–to counter Mxy’s fun. Tricking Mxy yet again into saying his own name backwards, Bat-Mite extracts a promise from the League and then disappears himself…a small bronze addition left with the once-more-inanimate statue, celebrating Bat-Mite side-by-side with the rest of the League.

This story comes outta nowhere: no prologue, nothing setting it up. Just the "typical" generic "our heroes gather to be celebrated by the common people they’ve saved, however reluctant they may be with such adulation and then must save them yet again." Of course, this is NOT some issue partaking in any crossover or event, nor is it "merely" some reprint of just any random issue from within a run…and it’s not anything someone reading the regularly-published comics needs to track down to get a full story, so it’s rather necessary, then, for this to be its own thing in a relative "vacuum." Additionally, there is no cliffhanger, nothing left hanging to "force" or "coerce" someone (while many adults may track these down, I’d assume a large majority of readers are children whose parents had to provide the cereal for them to have the comic) to "have to" get the other issues.

Yet, while the story is pretty simplistic, and doesn’t necessarily play up individual character elements that’d be present in solo books, the characters are recognizable as who they are, and the lineup seems to fit in such that someone reading this and then walking into a comic shop would easily find current DC issues featuring these very characters. Bedard doesn’t really get room to shine as a writer, but he doesn’t play the characters as fools or overly talk down to the audience (though there’s a little bit of that "special lesson" to be imparted to kids: "don’t run from your problems, own up to them…and sometimes you will have to ask for help from others, and that’s ok."

The cover’s art is a bit "off" and generic to me….Superman’s costume (at least on my copy of this issue) seems a bit weirdly-colored and the whole image is basically generic poses of the characters on a yellowy-orange burst-effect…no background setting or situation (though also nothing to give away the antagonist from within). Ordway‘s art on the interior is a huge treat for me, and I really like the depiction of the characters. I don’t much care for Simon’s version of the Green Lantern costume–never have–but it looks as good as is possible here. And somehow most notable to me, Mxyzptlk looks really good in this issue–much like in my first conscious exposure to the character back in 1989 or so.

I imagine I’d have quite loved this as a kid. As an adult, it’s simplistic but pretty…and as something "free" in a box of cereal, it’s much better than it has any "right" to be. Even if you’re not a fan of the cereals, I’d recommend this as a quick-read novelty item…especially as I doubt this or any of the previous ones will ever warrant a full-size collection of their own, so this is likely the only way to read ’em!

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The ’80s Revisited: Crisis on Infinite Earths #12

crisis_on_infinite_earths_0012Final Crisis

Writer/Editor: Marv Wolfman
Co-Plotter/Penciller: George Perez
Embellisher: Jerry Ordway
Letterer: John Costanza
Colorist: Tom Ziuko
Published by: DC Comics
Cover Date: March, 1986
Cover Price: $1.25

This is a large, convoluted issue with way too much going on to really summarize and address in any great detail in the general length I allow myself, and to do so without having to go into a lot of detail. Essentially, an infinite multiverse has been condensed down to one universe, though a bunch of heroes from parallel universes remain, having been outside time when that consolidation occurred. They’re split up to address issues on multiple fronts…namely the Anti-Monitor. Said villain just refuses to go down and STAY DOWN, rising multiple times from seeming defeat. In the course of this, a number of elements get loosely addressed, we have some characters killed off, others get a sendoff, and others simply get brief appearances with loose/quick details "setting stuff up" for moving forward (such as Wally learning of Barry’s death and becoming Flash instead of Kid Flash).

While I tend to like and appreciate Wolfman‘s art, and certainly enjoy Perez and Ordway both, reading this issue was a chore. I first read it about a decade ago–sometime around Infinite Crisis, if I recall correctly–having "finally" sought out the collected volume to actually read the "original Crisis" for myself given its 20-year anniversary had cropped up with a "sequel" of sorts (yet, amazing to consider yet another 10 years have passed and we’ve had a 30-year anniversary edition!).

Given what it is, and dealing with an entire universe and wrapping up stuff from a year’s worth of issues and all that, I have no real problem with the story…it’s just dense and seems like it has a huge amount of ground to cover in its limited pages despite being an extra-sized issue.

The art, of course, is fantastic–Perez and Ordway teamed up? Doesn’t get much better than that!

The creative team as a whole packs a heckuva lot into this, which I do like; but I can only imagine what I’d feel about it if it were a brand-new issue in 2016.

While we do have the "ultimate defeat" of the Anti-Monitor in this issue and a bit of an epilogue explaining a few things, overall this issue itself caps off the series, and I feel like I missed a lot by not reading the previous couple issues, and lost the scope or "epic-ness" of the story jumping in on this alone. As the story has been a "complete, full story" for three decades, I don’t think I’d recommend this as something to just sit down and read as an isolated issue. It’s sort of neat to flip through and see just the isolated chapter rather than the final segment of pages in a collected volume…but I think Crisis works much better read as a whole than just grabbing an issue.

For a 25-cent issue, it’s not a horrible read…but there’s certainly a lot of nuance that I am not picking up on given the decade’s space between this and when I last read the earlier issues.

Zero Hour Revisited – Zero Hour #0

90srevisited_zerohour

zero_hour_0000Zero Hour

Story and Layout Art: Dan Jurgens
Ink Art: Jerry Ordway
Letters: Gaspar
Colors: Gregory Wright
Asst. Editor: Mike McAvennie
Editor: KC Carlson
Published by: DC Comics
Cover Date: September 1994
Cover Price: $1.50

Here we are, at last–the final issue of Zero Hour itself. We’ve seen time anomalies pop up, and worsen. We’ve seen heroes discover time is being destroyed in the past and the future, working toward the present. We’ve seen the emergence of Extant, and the fall of the Justice Society. We’ve had dozens of tie-in issues where few have directly been part of this core event, though a fair number have danced on the edges. We’ve seen Hall Jordan–former Green Lantern, now Parallax–revealed as the sentient, actual manipulator of things as he seeks to wipe the slate clean after his own trajedies. The heroes have failed, all time and space has been destroyed, and a handful of heroes pulled outside it all, while another small handful remains with Parallax.

Hal prepares energies for the re-creation of the universe, of all existence. His way will see many worlds, and all wrongs will be set right. There will be the Earth everyone knew, minus stuff like the Coast City disaster. There will be a world that Batgirl remembers, in which she was never assaulted by the Joker. Even Extant will have his own world to rule over. Everyone will be happy. This is opposed–how can Hal be God? Waverider and his group of heroes attacks, disrupting Hal, and ultimately–after quite a scuffle–the universe IS reborn…but it unfolds "naturally" withOUT any one entity controlling it, tweaking it. As such, events unfold mostly as remembered, but here there are no alternate timelines, so everyone, everything is folded into one single chronology. The potential time-loop is closed, and all it costs is Hal Jordan and the young Kyle Rayner…while Green Arrow is wracked by the guilt of losing (having had to try to kill) his best friend.

For some reason, the phrasing "the universe is born old" sticks out to me, reading the issue. That may be random or personal and get into stuff I’m not really going to get into in a comics blog, but it’s a key phrasing to my reading.

A lot happens in this issue–look a couple paragraphs above, and that feels like scratching the surface. And yet, it’s a simplistic issue. Time is restarted; Hal wants to tweak it his way, but he’s stopped and so it restarts and unfolds naturally, so it’s similar to before, with small adjustments that functionally "explain away" continuity glitches and timing and such; shuffling a few events here and there to mash into one specific timeline.

We’re left with the notion that anyone that died via entropy or the time fissures has been restored…while anyone who died "outside of Time" (such as the Justice Society) remains dead. Victory, but at a cost.

The art and visuals remain excellent here with clean, crisp pages and dynamic layouts and (to me) iconic scenes playing out.

I don’t know if I’d recommend this as a stand-alone issue out of context of its other issues, but in a way it does work as a singular thing. You open on nothingness, and from that, Hal and his group; the opposing group, we see the FINAL final battle, the villain defeated and the universe restored…and a hint of what’s to come, as well as a fold-out timeline laying everything out for now and moving forward into the rest of 1994 and beyond. So it works as an artifact of sorts, as seeing the end of the story. And if you’re actually going to read it–whether re-read or you’ve never before read it–it’s definitely worth getting if you come across it. But it’s even better if you can snag all five issues–4/3/2/1/0–and read this core story even without any of the other tie-ins!


Going beyond the issue itself and expanding on stuff…

This is a really effective issue and makes me think. There’s a part where Hal smiles, explaining he just wants to make everything right, he wants everyone to live, where I wonder if the intent was to go for a "creepy" smile, or a "mad" smile, as if Hal’s insane. Personally, I have always–and again this time through–found myself wondering ok, why SHOULDN’T he be able to fix things? He’s not talking about recreating a universe that he RULES, or subjugating entire populations, or ending his actions with half the living entities dead, or stuff like that. He’s not targeting any particular people to wipe them out–he’s not even talking about killing Mongul. He just wants a universe where wrongs are set right, and Coast City never blows up.

Yet the argument opposing him makes sense–who is HE to singularly dictate events? Things happened for a reason, and need to remain that way, or Time WILL be altered. So really, my heart hurts for the guy, on the surface, and without considering that he was willing to wipe out the entire universe (he was gonna put it back…). And in the end, all the ramifications and little detailed points are far too numerous to address in a blog post.

I buy into this. I didn’t get into comics until about 2 1/2 years after the original Crisis. While I’d read a couple issues of Armageddon 2001, and a number of Eclipso: The Darkness Within and eve more of the Bloodlines stuff…and of course Doomsday/Funeral for a Friend/Reign of the Supermen, as well as Knightfall, KnightQuest, and KnightsEnd…this was my first DC Universe-wide event of this scale. This story ironed out details I didn’t even know at the time were issues. But it did solidify for me the notion of everything being in one single timeline…and the issue even provides a timeline, concretely laying out where/when major things happened (at least as relevant to the publishing schedule of DC in 1994!).

This was epic, and really set the standard for me of what great events could be. Of course, I’d mainly read only the core series, the Superman chapters, and several others, so it wasn’t until my current reading project of going through the entirety of the event–every single tie-in I’m aware of–that I saw the major cracks in that, and how so many issues were only loosely connected.

Looking back on this current reading experience vs. 22 years ago, I don’t feel like I actually DID "miss out on" anything back then. I did not find anything in these various issues that expanded my understanding of the story or filled in any gaps that I’d truly wondered about or that truly impacted the story…and I was disappointed at some that I’d expected would be expanded on/filled in that really were not. It seems like the issues I’d read back in the day–the Superman titles, Batman, Green Lantern, the core mini–were very much a complete enough experience.

That said, this has provided me a "survey" of a month’s worth of DC titles from July 1994, basically sampling over 30 different titles (though several "families" of related titles are in that).

There’s a lot more that can be discussed on Zero Hour itself–as a story, as an event, on ramifications and implications in-story and on a meta level. Structurally, I found this to be a solid event, and going back the 22 years, it really "set the standard" for me, and I truly MISS when even a universe-wide MAJOR event would "only" take up one publication month–with a WEEKLY core series and just one issue of tie-in per TITLE (though related titles could expand to have larger arcs tying in).

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