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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: Superman: The Man of Steel #19

90s_revisited

superman_the_man_of_steel_0019DOOMSDAY 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
Published by: DC Comics
Cover Date: January 1993
Cover Price: $1.25
Triangle #: 1993/1

This issue has one of the most iconic covers of my life. It may not be a favorite, exactly–it’s not one that’d really work (for me) as a poster image or such–but for a lotta years, just because of the cover date–January, 1993–and being the first Triangle # of 1993, this was an image I pictured when I’d think of "1993."

The image is "just" an extreme close-up of Doomsday and Superman literally getting in each other’s face, the creature being larger/taller and bearing down on the (black)-bloodied Superman (though no real/obvious facial wounds for the blood, but hey, it adds effect, right? And had to get by the Comics Code Authority and all that.

Despite reading this entire Doomsday! story fresh, I’ve realized that part of my confusion on the gradual tearing-away of Doomsday’s suit and the reveal of the hulking grey-and-white creature is the inconsistency from book to to book of its depiction! While there was some severe tearing and a big chunk missing, where we left off in Action Comics #684, the creature very shortly later now has far more of it gone. I expect that’s the peril of having to get multiple issues drawn by differing art teams in a short time, and the thing was probably set on the notion that "most of the green suit is now gone," but no ultra-hardline visual "bible" to lead it. Of course, this is–to me–mere "observation," something I don’t recall consciously noticing quite in this way before, and I have no problem with it!

This issue has us down to only two panels per page in the several-issue declining-panel-count countdown to the main issue of the story, and as such is increasingly fast-paced with less dialogue and less room for pauses…just faster visual beats on the march from cover to cover. Perhaps it’s the increased action, the ferocity of the battle, but I dug the visuals on this issue a lot more than I did the previous issue, with several iconic moments (to me) in this issue: from Doomsday’s first kills in Metropolis, Superman trying to take the creature into outer space, Doomsday’s elbow-stab of Superman, and the Underworld explosion, Doomsday one-punch taking out Supergirl, hitting her so hard she reverts to her protoplasmic state, the look on Bibbo’s face as he, Hamilton, and Mildred realize they’ve not only angered the creature, but it’s gonna land right on them if they don’t jump…and the shock-cannon blasts from the Cadmus troopers as Superman and Doomsday pound on each other, with Superman thinking "Even if it kills me–Metropolis is where I hold the line!"

And in a way, that sums up the issue. Going from scene to scene, as Doomsday hits Metropolis like a wrecking ball, killing immediately and continuously, punctuated only by attempts to damage him, whether by Superman or Professor Hamilton with a sci-fi cannon of his own, and so on. There’s not much story, exactly, but this issue’s not intended to be all that deep in that regard, and receives no penalty from me for it.

It’s also a credit to the Dirk Maggs dramatization of the story that I "hear" echoes/flashes of that as I read this, as it definitely gets across the frenetic ferocity of the situation, and certainly moments out of this issue.

Yet again, there’s not exactly a whole lot to be gotten from this just as some standalone single issue at this point, picking it up some twenty-five years after publication. It’s a key chapter in the overall story, and maybe sees Superman take some of the worst physical damage ever to this point…certainly more than I remember offhand seeing him take on-panel in Superman #75. While I mentioned early in this post that I don’t see this issue’s cover making a great poster, I could probably be persuaded pretty easily, as I do think on a small scale this would work as wall art at its actual-comic-cover size (perhaps amidst the other issues of the story).

This is definitely well worth snagging from a quarter bin or otherwise bargain bin if you can get all the issues of the story (or all the issues you are interested in at the time), but I’d continue to recommend a collected volume of this story over the single issue for "best results" and maximum impact.

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The ’90s Revisited: Superman: The Man of Steel #18

90s_revisited

superman_the_man_of_steel_0018Doomsday! part one

Story: Louise Simonson
Penciller: Jon Bogdanove
Inker: Dennis Janke
Colorist: Glenn Whitmore
Letterer: Bill Oakley
Assistant: Jennifer Frank
Editor: Mike Carlin
Cover: Bogdanove & Janke
Published by: DC Comics
Cover Date: December 1992
Cover Price: $1.25
Triangle #: 1992/45

It’s hard to believe it’s been twenty five years since this issue was new! This cover remains one of the most iconic I can think of, certainly extremely recognizable at a glance for me. It’s the cover that started things off for The Death of Superman saga, and has remained locked in memory for me ever since.

Unfortunately, though we get some scenes of Doomsday tearing up the landscape–first as he digs/punches his way up/out of the prison he was contained in and then starting to make his way wherever it is he’s going (including squishing a random bird that landed upon his outstretched hand)–we have zero interaction between the creature and Superman himself…until the very end of the issue, no one even seems to know there’s anything important starting at all. As such, it hardly seems like this ought to be the opening chapter…this could have been a prologue issue instead of the first chapter, even part of a multi-issue prologue/prelude thing (along with the Justice League America issue), leaving Superman #74 as the actual opening chapter. But then, that’s the way I’ve been "conditioned" on modern comics to think, where "everything" is an event or an event prologue or there’s an event leading into another event that’s the prologue to the Really Big Event.

Instead, this issue is basically "just" another issue of Superman: The Man of Steel. The issue opens with Doomsday emerging from his confinement, then switches to the current moment in the ongoing continuity of the Superman titles. Interspersed with the creature’s emergence, we have an orphan boy–Keith–trying to find his mom, as Lois Lane investigates a tip about a danger threatening Metropolis. Underworlders (rogue clones/creatures/monsters) allied with Warworld refugees (from the then-recent Panic in the Sky story) are preparing to invade Metropolis and take over. First they "steal" the city’s electricity, then use a giant borer to tunnel to the surface with plans to have their war machines emerge from there. Keith sees Lois get captured and overhears her captors’ reference to holding no prisoners, and realizes he won’t find his mom this way. He manages to get Superman’s attention by spraypainting a huge "S" in a parking lot and leads Superman to the captured lady reporter. A scuffle ensues between Superman and the Underworlders with predictable results (Superman wins). Doomsday having moved from squishing birds and breaking trees moves to traffic interference, which finally gets him noticed by someone (Oberon, a Justice League ally), which leaves us to continue into Justice League America #69.

While I just lamented the lack of Superman/Doomsday interaction, part of that is that I never liked the Underworlders stuff, so that makes for a rather boring and "out there" story for me. On a technical level, though, this works quite well in that everything about Doomsday comes outta nowhere, as he should be just some other creature (perhaps akin to an Underworlder) and this is supposed to be just another day for Superman/Clark, Lois, and everyone else. Nothing as significant as Superman’s death is remotely a part of anyone’s plans.

Though the Superman books all continued a story essentially as a single weekly comic (with four creative teams each handling a week a month), I’ve come to see a bit more distinction in stuff with the different titles…and one of those is the Underworlders being a "thing" for this title, Superman: The Man of Steel.

I don’t care nearly as much for them, as said, which makes this (offhand) my least-favorite of the issues involved in this story. That’s not to say it’s a bad issue, but it doesn’t interest me beyond the snippets of Doomsday.

The art also isn’t my favorite, but it definitely hits some positive nostalgia for me as far as the appearance of all the characters. There’s a visual style that’s quite distinct to this title and this period, making it highly recognizable to me, and I wouldn’t trade it out, given said nostalgia.

As an issue from this time and part of this story, of course the issue is a keeper…and it’s totally etched into my personal history with comics and Superman, creating a bias that keeps me from being entirely impartial in terms of any review.

That said, in looking back across 25 years…I definitely would not recommend this issue as a stand-alone read. Taken only by itself in a vacuum, this is a boring issue, with the most interesting thing being the emergence of Doomsday itself. Of course, this is well worth getting if you want the entire "branded" story/set of Doomsday/The Death of Superman, and of course ought to be read if you’re reading the story in collected edition format.

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The ’90s Revisited: Superman the Man of Steel #44

superman_the_man_of_steel_0044To Know… Know… Know Him!

Story: Louise Simonson
Layout Art: Jon Bogdanove
Ink Art: Dennis Janke
Letterer: Ken Lopez
Colorist: Glenn Whitmore
Asst. Editor: Chris Duffy
Editor: Mike Carlin
Cover: Jon Bogdanove, Dennis Janke
Published by: DC Comics
Cover Date: May 1995
Cover Price: $1.50

This is one of the more "iconic" Superman covers for me from the ’90s: it was the issue immediately preceding the 100th issue of Superman and the start of the whole Death of Clark Kent storyline. I distinctly remember this cover from first getting it–we were visiting my grandparents, and my aunt took me to a comic shop in the area, where I got this. It also helps the cover to be memorable given that it’s essentially (but not quite! It’s still its own thing!) a reproduction of a panel within the issue.

Clark’s on the phone with his book editor when he hears a ticking in the background from the other end; so he rushes in as Superman, managing to save the man from being blown to bits. Meanwhile, Keith (a young boy being adopted by Perry White and his wife) is hanging out with some older kids after school. When the store manager accuses them of shoplifting, the other boys race off, leaving Keith to take the fall. After being extricated from the situation by Perry (who assures Keith that he and his wife are still adopting him), Clark once again learns of a bomb by hearing it over a phone, and saves Perry and Keith (and everyone on the bridge they’re stuck on) but Perry’s car is destroyed. Later, Keith takes courage from the incident and stands up to his so-called friends, and winds up making some new ones…while Jimmy decides to stick with Clark like glue until they figure out who’s been threatening him and trying to bomb his editors. Clark distracts him briefly as they get off an elevator, only to find a Superman dummy pinned to his apartment door by a giant knife…and he realizes then who’s behind stuff.

This is an issue from back in the heart of the "Triangle Numbering" era of the Superman titles…though each creative team had their own through-threads they focused on, their own stories to tell, ultimately the titles were one ongoing weekly series, with each week’s issue moving the overall Superman story forward. As such, with weekly doses of THE Superman story, there was plenty of room for the cultivation and development of a large supporting cast and plenty of "subplots" to be dug into and unfold over the course of things, such that a single issue could often seem all over the place, when taken out of context. This one manages to avoid the worst of that, though a single paragraph summary doesn’t do the thing justice. There’s the overall story, but the details of the various characters’ interactions makes it more complex…much like an episode of a large ensemble cast tv show where certain characters really get around, while others are checked in on but don’t necessarily have much screen time.

This issue ought to–by 2017 standards–be billed as a "prologue" to the upcoming major story; or heck, in contemporary terms there’d be a whole pre-Event event (particularly if this was Marvel). Here, it’s just the next chapter of the continuing saga, that just happens to be right before the larger titled story kicks off.

I definitely dig the story, though I find reading this over 20 years after the fact, I’m less enamored with Keith’s story, being so much further away in age now than I was then (as well as feeling like there’s a bit of "preachiness" going on here that would have much different connotation were it published in 2017).

Visually, it’s not hard to follow what’s going on, to recognize Superman or Clark, Lois, Keith, Perry, or others. However, it’s hardly my favorite art, ESPECIALLY stacked up against the likes of Dan Jurgens, who IS one of my absolute favorite artists (particularly when it comes to Superman!). Bogdanove‘s style grew on me, and holds a definite place in my memory and liking of the Superman books…but might not be the most appealing to someone unfamiliar with it or this era of Superman.

As a whole, though–story and art–this is certainly a strong issue, giving the reader action, plot development, and moving everyone around the final bit to head into The Death of Clark Kent. I appreciated it as an isolated one-off that I picked up specifically for remembering the cover so clearly.

That said…you’d likely be better served tracking down the collected edition of The Death of Clark Kent if possible, or picking this up as part of a larger group of the issues than to get this one issue by itself.

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Zero Hour Revisited – Steel #8

90srevisited_zerohour

steel_0008The Challenge!

Writer: Louise Simonson
Penciller: Chris Batista
Inkers: Rich Faber, Andrew Pepoy
Letterer: Pat Brosseau
Colorist: Gina Going
Editor: Frank Pittarese
Published by: DC Comics
Cover Date: September 1994
Cover Price: $1.50

This is the only issue of this crossover that lacks the Zero Hour logo on it. I didn’t know–and wouldn’t know–of its connection without whatever checklist I used a couple years ago to finally track down the entirety of this event. While I don’t have or remember context of issues of this series surrounding this particular issue…reading it shows clearly that it fits, and does so better than at least a couple other issues that DID carry the Zero Hour banner.

We open on a scene of Steel in Metropolis interacting with Superman…the latter essentially offering John Henry a “job” in Metropolis, asking if he’d want to stick around. Getting back to Washington (as in “, DC; not the State), Steel slips back into personal mode and interacts with family, which apparently includes at least one foster kid in the extended group, who has recently been the victim of gun violence. We also see a couple of villains interacting, pulling some strings and basically serving as villains themselves while also manipulating/using others. While Steel has to fight, his family is “at the park” where they encounter someone separated from his class group on their Senior Trip. When he gets caught up in the fight–“saving” Steel “right on schedule,” we learn that this was a time-displaced John Henry himself. The “main villains” also prepare to step up plans, and that doesn’t bode well for Steel for coming issues.

Two things particularly stood out to me for this issue…firstly, it felt like Steel and Superman had never interacted before…something about their exchange seemed like typical superhero-chatter between characters making nice/playing nice that hadn’t met before or fought side-by-side before. Given Steel’s very origin, and the events of Reign of the Supermen, I’d’ve expected the dialogue to have a slightly different feel to it. But then, I’m much more sensitive to nitpickiness on the Superman side of things, especially like this, than I am many other things. The second thing that stood out was a bit more “fun”–I noticed John’s wearing a shirt in part of the issue that says “Body by Bog.” It’s “just” a shirt, nothing special…except I recognize it as a reference to Steel’s co-creator Jon Bogdanove (Simonson, writing this issue, being the other co-creator).

Story-wise I liked this issue. I know little bits here and there of Steel’s time “away” from the Super-books (particularly while he had his own series here, before he got folded back into the supporting cast OF the Super-books after his series ended) but overall it’s new territory for me, particularly in the actual details. I could follow along pretty well overall with context and picked up where the title’s apparently just coming off the Worlds Collide thing (a DC/Milestone crossover back when there was no other shared continuity with the Milestone characters). I like the family elements with Steel, seeing that he has a family, and cares about them…they’re not throw-away characters. However, I did get a slight sense of ’80s “After School Special” with this…I can’t entirely put my finger on it.

Visually, I wasn’t blown away…but I really enjoyed that this FELT LIKE a comic book. It looks and comes off as a ’90s superhero comic with the ultra-strong but extremely maneuverable armor, huge cape, etc. and worked well for the story. I doubt I could look at random art and say “that’s Chris Batista‘s art!” without the credit, but that’s as much good as it is neutral: the art does not stand out in a negative sense, so just fits the title and story, gets everything across, and I’m happy with it.

Perhaps the only thing that might disqualify this, really, from being a Zero Hour tie-in is that Steel thinks “right on schedule” at one point as the “young John Henry” gets involved…suggesting that John REMEMBERS this from his own youth…so this is truly his younger self from the current timeline or such, and not some random anomaly from an alternate timeline. I do not know if this is picked up in later issues or plays out with anything, or what, but I’m glad to count this as part of this reading project!

Obviously in lacking the banner, there’s nothing by the cover to suggest it’s worth picking up as a Zero Hour reader…but it’s not a bad issue. As it is not officially part of the crossover, and thus LOOKS just like it’s “just another issue,” it’s nothing essential…but I enjoyed it.

If you like the character, it’s certainly an issue to get along with the rest of the run; but outside of Zero Hour or that, it’s essentially mid-story stuff, and there doesnt’ seem to me to be anything to make this stand out–in and of itself–as any “key issue” to specifically seek out.

Zero Hour Revisited – Superman: The Man of Steel #37

90srevisited_zerohour

superman_the_man_of_steel_0037Countdown to Zero

Story: Louise Simonson
Penciller: Jon Bogdanove
Inker: Dennis Janke
Letterer: Ken Lopez
Colorist: Glenn Whitmore
Asst. Editor: Chris Duffy
Assoc. Editor: Frank Pittarese
Editor: Mike Carlin
Published by: DC Comics
Cover Date: September 1994
Cover Price: $1.50

This is probably one of THE most iconic Superman covers to me, definitely one of my favorites, period. I even pointed that out some 3 years ago!

As the issue opens, Clark and Lois are talking to Jeb Friedman–who is coordinating a concert to be held as a benefit to the citizens of Metropolis (which just recently was destroyed). When reflected light grabs their attention, Superman investigates…finding Batman trying to contact him. This Batman is not the one just recovered from a broken back, and references Time anomalies. Another Batman soon arrives…as does a third. Meanwhile, the heroes learn of plans to ruin the concert, taking advantage of the vulnerability of the city at the moment, and it’s up to them to once more save the day. Superman enlists the scientific aid of Emil Hamilton as they confirm the Time anomalies…even as the Batmen shift, split, and disappear. Finally, Superman prepares to seek out "his" Batman, showing the way "great minds think alike"–Batman had just arrived to contact HIM! While the two begin to "catch up," Metron arrives, warning of a Crisis.

This is another issue that nicely (and actually!) clearly ties into the events of Zero Hour…it’s also another issue that I read that summer when it was released. Though I feel like some of the "music" stuff is a bit dated and cliché, on the whole, the issue holds up. Having read all the Superman books solidly for so many years, it doesn’t take long to shift my mind back to what was going on in the books at the time–such as Alice and Perry White taking care of Keith, and Keith constantly getting into trouble "seeing" his mom everywhere and running after her.

I’ve had mixed feelings over the years on Bogdanove‘s art–there’s something to it that’s a bit off-putting to me, especially when held up against Jurgens‘ work. Absolutely, completely isolated, it’s not a style I’d necessarily choose high on a priority list…but the art more than gets across what it needs to, and beyond that usual feeling, REALLY shines here, conveying numerous visual styles of Batman that clearly evoke prior incarnations in a way that shows me the general look of Superman is a choice in style and not a reflection of ability! It’s also a visual style firmly entrenched in my memory OF the various Super-titles from the ’90s, and is not something I’d wish to lose…too much nostalgia for this title!

I really like the story itself in this issue…we move elements of the core Superman story forward–touching on subplots like Jeb Friedman, the Whites and Keith, Jimmy & Ron, as well as getting Clark and Lois along with getting Superman in action…we even have Emil Hamilton accounted for. That we also have Batman, and as a Time anomaly at that makes this both a great singular issue that can be read AS a single one-shot issue, but also plays well within the ongoing Superman titles while being a very clear and useful participant in the larger Zero Hour story. We also get setup for the next of the four Superman books…all within just this one issue, at standard size and price.

While I’ve got to admit to a bit of bias, both on this being a Superman title at all, and having read it originally such that this is more nostalgia than reading something new from the time, this is a great issue that I’d recommend as plain, simple FUN even if you’ve never immersed yourself in the ’90s Super-books…you don’t even truly need Zero Hour to enjoy it…the Event is just a convenient "excuse" to allow for–without lengthy explanation/setup–the presence of multiple iterations of Batman. So far, I’d put this at the top of the list with Batman #511 as the best of the initial wave of Zero Hour Tie-ins, with Superboy #8 as a runner-up.

The ’90s Revisited: Superman: The Man of Steel #50

supermanmanofsteel050The Trial of Superman! / Part 1: Split Personality

Story: Louise Simonson
Penciller: Jon Bogdanove
Inker: Dennis Janke
Letterer: Ken Lopez
Colorist: Glenn Whitmore
Assistant Editor: Duffy & McAvennie
Editors: Carlin & Carlson
Published by: DC Comics
Cover Price: 2.95
Cover Date: November, 1995

This was another issue I pulled from the quarter-bins not too long ago: it caught my attention because of having revisited the issue’s cover when complaining about the newest DC Superman title, Superman Unchained and lack of explanation to the “unchained” part. But seeing the issue handy for only 25-cents, I re-bought it in order to easily re-read it…far easier to pay 25-cents than have to shift a number of heavy longboxes around and root through at least 2 boxes to find my original copy.

This issue begins the Trial of Superman arc…one of the larger arcs of this era of the titles, crossing through about 3 months’ worth of all the Superman titles at the time. Yet, as typical of the era, the story as a whole is an ongoing narrative, so this picks up with an ongoing plot, and sort of merges into what becomes the main plot for The Trial of Superman.

We pick up with a grossly weakened/decayed Superman, virtually powerless, barely skin-and-bones from an ongoing fight with a new incarnation of the Parasite. While some of the details played out on-panel in a previous issue, here we get context and figure out along with the characters what the present status quo is of the Parasite, which makes him all the more dangerous. Things don’t end with putting down the threat posed by the Parasite, as Superman is captured and faces an alien tribunal seeking to hold him accountable for the destruction of the planet Krypton…and things are not pretty.

While I like the cover quite a bit, I’m not all that thrilled with the interior art. I don’t remember having much of an issue with it “at the time,” but taking this alone and pretty much out of context–and being much more used to the last several years’ worth of interpretations of Superman–it’s not to my liking. And while explained in-story by the Parasite draining him, Superman just appears rather “off,” and impossibly skin-and-bones to even have survived any of what he’s put through in the issue.

Story-wise, I’ve never–that I can recall–been any fan of the Parasite character. I’ll be one of the first to want to see villains who are a physical danger to Superman (as opposed to businessman Lex Luthor, or the likes of the Toyman or Prankster) but I’ve just never been interested by Parasite, and have a particular dislike for the round-mouthed “parasitic-worm” look the character was given in the mid-’90s.

This issue boasts plenty of cliche in the villains…but works decently enough overall. I got a definite sense of how overwhelmed Superman was here–dealing with the Parasite and mid-battle being kidnapped into space, and the shock of this alien tribunal wanting to make him accountable for the destruction of a planet gone before he was technically even born.

I enjoyed re-reading this…and it certainly has me contemplating re-reading the entire arc…which I believe I have a collected volume, which would make said undertaking far simpler than trying to dig single issues out or tracking down new copies.

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