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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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Hall of Fame City Comic Con 2017

Saturday, I attended the Hall of Fame City Comic Con, held in Canton, Ohio. I’m not sure when, exactly, they got on my ‘radar,’ though I think they might have been a Facebook ad (one of the astronomically-rare few to be properly, successfully "targeted," but that’s another story).

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After being thoroughly burned on the NEO Comic Con, I wasn’t entirely sure what to "expect" from this one, and very nearly opted not to go. But since I had pre-ordered a ticket, I figured it’d be silly not to, even if I walked in, did a quick walk-around and walked back out.

Going in, two of my main "goals" were to meet/get stuff signed by Norm Rapmund and Ethan Van Sciver.

I also wanted to find a bunch of Savage Dragon comics on the cheap.

And find some good deals on collected volumes that weren’t just the same old boring/repetitive mix of $10 Marvel hardcovers and SKINNY TPBs.

Finally, there was a Green Lantern panel scheduled with both Daryl Banks and Ethan Van Sciver that seemed likely to be interesting (Banks was the artist of the fall of Hal Jordan; Van Sciver was the artist on the redemption of Hal Jordan). Plus, it was the only one that seemed to hit me as a demographic, involving any kind of super-hero comics.

So…how did this con go?

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I had three Booster Gold issues with me to get signed by Mr. Rapmund. I wound up sticking with two, though…but could easily had multiple dozens of issues, loving so much of what the man’s done!

Then for Mr. Van Sciver, I opted for my "key" issue where I first became really aware of him as an artist–Green Lantern Rebirth #1.

Unfortunately, I didn’t have anything with me to get signed by Mr. Banks…something I fully intend to correct in a few weeks if I make it to another con I’m aware of that he’s supposed to be a featured guest at!

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I happened across a booth with a bunch of paperbacks, and initially figured to be just another one selling a bunch of over-stocked skinny Marvel books. But I spotted a fat, thick volume, and realized that this booth actually had some real QUALITY stuff for its pricing. I regret a couple volumes I passed on, but still wound up with these eight (8!) volumes.

I believe the paperback Marvels all have a cover price of at least $34.99, if not $39.99 apiece. And I happened to notice a $29.99 price on the hardcover The Puma Blues (a title that caught my attention due to recently becoming re-aware of the title thanks to research I did for my Super-Blog Team Up post The Death of the Mighty Mutanimals. It’s by Stephen Murphy and Michael Zulli; long associated with their Mirage Studios work with the Ninja Turtles.

Each of these worked out to a whopping $5 apiece…so I’m kicking myself all the more for those couple of Wolverine books I passed up!

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After the Green Lantern panel, I headed back out onto the floor, and wound up stopping at a booth with a bunch of Pops because I saw a Swamp Thing, and because of the flow of foot traffic. Once I’d looked at some stuff and was ready to walk away…I spotted a familiarly-packaged Superboy, and on further investigation found Eradicator as well as the black-suited Superman. There was no way in heck I was spending to buy all three…so I selected the Eradicator, finding the design a lot more appealing to me, and this is a figure I’ve wanted for quite a long time!

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Realizing I was blowing my budget, I decided to call it a wrap, knowing anything else I was likely to find would probably put me way over-budget. But on my way out, I opted to buy a copy of this "autograph print," for the art and being a ‘souvenir’ of the con, even though I should have bought it on the way in and then made the rounds to get it signed by all six guests. But then, I’m not an autograph hound, and prefer that when I get signatures for comic stuff, it’s the actual comics and they mean something to me. Not "just" some signature on a print for the sake of filling in some blanks. And I assume the sale of these prints help out the con itself, so figured why not?

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I also stopped back in at an entrance-way table, where as I’d "suspected," there were still plenty of these Voltron posters. I dug the look of this, and didn’t want to be carrying something like it around the whole con…but grabbed it on the way out.

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On the way home, having had the Pops-spark rekindled a bit for the day, I stopped at a Toys R Us hoping to find the Rafiki figure with baby Simba, but no luck. They did have this Clayface, which I’d looked for elsewhere and not seen, and assumed to be one of the oversized figures. Finding it and not wanting to have to "hunt" for it later, went ahead and snagged it!

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Along with getting those Booster Gold issues signed, also got to get a photo with Mr. Rapmund!

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And what I’d "pictured" as just getting a quick photo of the men from the fall and redemption of Hal Jordan wound up with me being in the photo with Mr. Banks and Mr. Van Sciver!


So, all in all…for me, this was about as excellent a convention as I could have hoped for, in going to it alone and not seeing any obvious 25 or 50 cent bins, and being somewhat jaded from other experiences.

I am glad I went, and have to say I’m extremely eager to read more of the Green Lantern run Mr. Banks did the art for, and to get a couple things signed by him in November.

I definitely enjoyed the panel, generally enjoying hearing favored creators speak about their work and various other things in the "comics industry," and very much enjoyed some of the topics covered in the panel. In its way, the panel itself was practically worth the price of admission in itself!

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Zero Hour Revisited – Booster Gold #0

90srevisited_zerohour

booster_gold_0000Blue & Gold Chapter 1: The Secret Origin of Booster Gold

Written by: Geoff Johns & Jeff Katz
Pencil Art by: Dan Jurgens
Finished Art by: Norm Rapmund
Colors by: Hi-Fi
Letters by: Randy Gentile
Asst. Editor: Harvey Richards
Editor: Michael Siglain
Cover by: Jurgens & Rapmund
Published by: DC Comics
Cover Date: September 1994
Cover Price: $1.50

I probably should have actually tucked this in with the "week 3" issues, as this 1. does not end on white pages and 2. takes place prior to events seen in "week 4." C’est la vie…I put this issue almost at the end of stuff because of it being a "retroactive tie-in" published a decade and a half AFTER the actual series.

This issue sees Booster Gold and the Blue Beetles travel through time, and cross paths in the timestream with Parallax (Hal Jordan) and Extant (Hank Hall) circa Zero Hour, 1994. Parallax damages their time-bubble and they’re forced into the 25th Century (with no need to chase down the time-trouble-makers, as they’ve already been dealt with IN Zero Hour–oops, we’ll see that shortly). Turns out the exact day the group emerges in is the day that Booster "threw" a football game and was caught doing so. While striving to ensure that this timestream is not disrupted, they use resources available to continue their own mission and we learn a bit more about Booster’s background as well as the Blue Beetle (several of ’em!) before things have to be dealt with–like putting Dan and Jaime back in their own times without any memory of this issue or the previous having happened…and Ted’s poised to be another "Hero You’ve Never Heard Of" alongside Booster… it’s Blue & Gold, reunited! Though the two quickly realize there’s a bit of a Brother Eye problem that may end things before they’ve truly begun.

This issue was actually published in 2008, some 13 1/2 years after Zero Hour. We were post-Infinite Crisis, post-52, mostly through Countdown, heading toward Final Crisis. And in the early issues of the Geoff Johns run on Booster Gold, with art by Dan Jurgens–the character’s creator and Norm Rapmund‘s excellent inks. And I recall this being one of the more fun series at the time, certainly one of my favorites.

In fact, I had covered the issue at the time, for comiXtreme (and republished in this blog years later), and rated it quite highly. That particular review was based on the issue in that context rather than as a random issue added to this mix, hence any discrepancies between then and now.

Ultimately (given the 14-year-gap in publication) this issue does nothing for the understanding of Zero Hour itself, moving the 1994 series along, etc. But this makes a fun tie-in and providing a more grounded "time" to touch base with–a nod to older/longer-time readers–while serving its own story.

This issue actually kicks off the second arc in the Booster Gold title, and leaves me quite interested in re-reading it…unfortunately, I don’t believe I have any of the early collected volumes, nor ready access (consolidated) to my singles at the moment.

I don’t recommend this in context of Zero Hour itself, really, but it was a great throwback issue, touching in continuity and playing off the #0 issues concept (this was the seventh issue of the series). But as a Booster Gold story, I very definitely recommend the Blue and Gold arc that this kicks off, as well as the first one, 52 Pickup.

Futures End: Booster Gold #1 [Review]

Futures End Booster Gold #1Pressure Point

Written by: Dan Jurgens
Art by: Moritat, Dan Jurgens, Norm Rapmund, Will Conrad, Steve Lightle, Stephen Thopson, Mark Irwin, Ron Frenz, Scott Hanna, Brett Booth, Norm Rapmund
Colors by: John Kalisz
Letters by: Taylor Esposito
Cover by: Jurgens, Rapmund & Hi-FI
Editor: Joe Cavalieri
Asst. Editor: David Pina
Group Editor: Matt Idelson
Published by: DC Comics
Cover Price: $3.99

[———- Please note: I will spoil this issue’s ending below, denoted by a further note. ———-]

I wasn’t going to cover any of these Futures End one-shots as a singular/full review, but then, that was partially due to the fact that all these others have just been the month’s iteration of an ongoing monthly book. But to the best of my knowledge, Booster Gold has not had an ongoing series since that final issue that tied into Flashpoint pre-New 52; and I haven’t a clue where he wound up via Justice League International and whatnot.

But knowing his creator–Dan Jurgens–was the writer on this issue in that way alone made it a no-brainer for me to pick this up, once I’d given in on getting ANY of these one-shots. I wasn’t sure what to expect of the issue and hadn’t seen anything for it in promotional stuff outside of the title itself. So seeing the cover was a thrill–this is definitely one of my favorite covers of the month. I’ve always loved the blue-and-gold contrast…the pairing of Booster and the Ted Kord Blue Beetle as well as simply the contrast of the two colors against each other. That makes for a striking cover. It’s also great to see the same title logo used as the last ongoing series…it lends an extra bit of recent-nostalgic familiarity to this.

As this isn’t just the month’s “five years later” glimpse of an ongoing character/series, we actually get a look at a Booster bouncing through time/dimensions trying to remember a mission, as we see Booster imprisoned, being interrogated for something…and eventually see that rather than some disjointed story there’s more going on than it seemed initially…and certainly gives me a “selling point” to catch up on and keep up with Futures End.

I was initially put off looking at the issue’s credits seeing a number of artists credited with ranges of pages…couldn’t one person (say, Dan Jurgens himself) do the entire issue? But I almost immediately realized then that hey…multiple worlds/dimensions…different artists lend some variance to the worlds, and contrary to my initial snap-judgment, I quite enjoyed that element here.
Booster himself looked familiar, yet there was something a bit different to the character that I couldn’t place…I vaguely recalled that he’d had a “new” costume in the New 52, so I wasn’t sure where this fit. Thankfully, that actually worked with the story.

After all these years, I really enjoy seeing Jurgens work on the character–particularly the story, but the art as well. There’s also that Booster Gold is one where time-travel is an intrinsic part of the character himself…which adds to the logic of this issue’s existence. Even if the character does not have an ongoing and may or may not (for my ignorance) be a regular part of any ensemble cast of an ongoing book–for anything involving time travel, I’d expect him to be a part of it in some form.

[——————————— Spoilers below ———————————]

By the end of this issue it became apparent that this was not a matter of Booster being imprisoned and the bouncing-through-time-and-worlds-and-dimensions being merely a mind-thing with someone screwing with him to convince him to give up a secret. We’re actually dealing with the New 52 Booster Gold as well as another version…and it seems to me that this other version is either THE pre-52 version or darned close to it. I don’t know where DC officially stands anymore on stuff, but this “hint” that the DC Universe *I* grew up on is still out there is a welcome treat, whether isolated to this title, this issue alone, or something bigger.

[——————————— Spoilers above ———————————]

All in all, like the Swamp Thing issue and the Supergirl issue, I ultimately found this to be an issue independently interesting and engaging (particularly by the ending and the “new view” of the earlier pages it generated for me), and very well worthwhile to have bought and read.

The “hope,” the potential weightiness of this single, short issue’s story…the possibility that I’ve just read a new Dan Jurgens story involving “my” Booster Gold…the attractive cover, the sturdiness of the physical cover…this all lends to the issue justifying itself and the $3.99 cover price (at least in this modern age of lesser-quality physical products for the price). Very definitely one of THE best issues of the month, and one I’d certainly recommend–whether the 3D edition or the standard cover edition.

Superman: Doomed #2 [Review]

Superman: Doomed #2Evolutions

Story: Greg Pak & Charles Soule
Art: Ken Lashley, Szymon Kudranski, Cory Smith, Dave Bullock, Jack Herbert, Ian Churchill, Aaron Kuder, Vicente Cifuentes, Norm Rapmund
Colors: Wil Quintana
Letters: Taylor Esposito
Cover: Guillem March & Tomeu Morey
Assistant Editor: Anthony Marques
Group Editor: Eddie Berganza
Published by: DC Comics
Cover Price: $4.99

[———- Please note: I will spoil this issue’s ending below, denoted by a further note. ———-]

This issue is late. I believe it was originally solicited/scheduled for at least a month ago, sometime in August. I’m not certain of course, but I’m guessing that also accounts for so many involved on the art team for the issue. With all the one-shots I’ve been reading this month on the Futures End stuff, in some ways I’d even forgotten about this story for several weeks, only last week realizing “Hey…Doomed #2 never DID come out, did it?!?”

This issue sees the “last stand” of Earth and its heroes against Brainiac. With Superman having given himself over to Doomsday, his “essence” is basically a passenger along for the ride, or in the mind or such, where Brainiac reaches out, showing how much better things would be with Brainiac free to do his thing, why he should be allowed to, etc. Perhaps most pressing is that if Doomsday–Superman–“Superdoom”–destroys Brainiac, it’ll mean the destruction of all human life on Earth, as the stolen minds will be done for and not returned to their bodies.

While showing Superman visions of what could be, Brainiac continues taking down the last remnants of Earth’s heroes–having apparently utilized Superman somehow to “find” them and get through their defenses. He also reveals his core, true motivation to things, which on one hand could be sympathetic but for the notion of “the good of the many outweigh the good of the few” and all that. Lois plays a key part in things, and ultimately the minds–and thus lives–of all on Earth rest with Superman and a gambit to take down Brainiac before he can remake the universe itself.

Visually, this issue is a jumble. A lot of artists involved, but that can be forgiven as they seem to be utilized for the visions of what-could-be and such. I’ve never been a fan of the “Superdoom” look and have found it ridiculous–still do–so that lends a visual weirdness to stuff for me anyway on top of numerous artists. That said, having made it through all the tie-ins and such to this point–all those styles and renditions of involved characters–I can’t complain too much here. The issue is what it is, and whether utilized to show alternate realities or that’s just a fortuitous element given so many involved, I’ll take it at face value. The only point that I REALLY consciously noticed a huge difference was a sequence that reminded me of Darwyn Cooke‘s art.

Story-wise I’m left with a fair bit of frustration at the sheer length of this “event” and such. It seems that SO MUCH was made of the “Doomsday virus” and Superman fighting it/becoming a Doomsday and so on–that Brainiac’s involvement feels like a bait-and-switch. Like this whole thing could have been done in just a couple issues–perhaps Doomed #1, a single month’s slot of tie-ins, then this #2.

Then there’s the fact that this issue itself doesn’t even definitively end but rather kicks down the door onto something else.

[——————————— Spoilers below ———————————]

In “trying to find a place for” Brainiac, Superdoom–powered by all that Brainiac had sought–pushes Brainiac’s ship into a black hole of sorts, ready to sacrifice himself as well to see that Brainiac’s threat to the universe is over. But in this we see shards of something broken, and in those shards, we see what look to me like glimpses of the pre-52 DC Universe…particularly recognizeable to me are Nightwing and his classic first costume (circa 1989) and of course, Superman himself with the “trunks.”

Like this week’s Futures End: Booster Gold issue, this sees to show that in some fashion or another, the DC Universe that *I* grew up on is still out there somehow, and perhaps something involving Brainiac would be a key to–if not bringing it “back,” then at least accessing it.

[——————————— Spoilers above ———————————]

Despite the enormity of what we see on the last pae of the issue, I still don’t feel this story warranted all the chapters it carried, and that this could have been handled in just a handful of issues. Chances are, with the likes of Bleeding Cool and other online spoilers, this issue will wind up being fairly signifiant in the long run and thus in that regard probably worth seeking out, I wouldn’t particularly recommend it in and of itself unless you’ve been following the story in general.

I’m actually (overall) glad I went and hand got it–despite that hefty $5 cover price–for the feelings elicited by that last page, for capping things off, and giving me an “out” to drop back to spending far less each month.

Except that this issue–and event–leads directly to an aftermath issue in October’s Action Comics, at minimum. The story isn’t over. And rather than a definitive conclusion, an actual “bookend” to things…we’re simply propelled on to “The next thing.”

Superman: Doomed will probably make for a nice, thick hardcover collection, similarly thick paperback eventually…and really, that’s gonna be the way to go. If you haven’t followed stuff so far, just wait for the collected volume. If it’s priced around $30 for this entire thing, that will be quite a bargain compared to the price paid for the single issues involved, and will put the entire story between two covers instead of the umpteen ones across five-some months for the single issues.

Batman/Superman #3.1: Doomsday #1 [Review]

foreverevildoomsday001Tales of Doom

Written by: Greg Pak
Pencils by: Brett Booth
Inks by: Norm Rapmund
Colors by: Carlos M. Mangual
Cover by: Tony Daniel, Sandu Florea and Tomeu Morey
Assistant Editor: Anthony Marques
Editor: Mike Cotton
Group Editor: Eddie Berganza
Published by: DC Comics
Cover Price: $3.99

This issue is REALLY the entire reason I “bought into” Villains Month at all to begin with, prior to deciding to “also” check out the Cyborg Superman issue and everything snowballing from there. Doomsday is probably THE key character for me, even more than the Cyborg, when it comes to my history with Superman. Whether the actual Doomsday arc, the issue of Reign of the Supermen where the Cyborg throws his body into space, the Hunter/Prey mini-series, the Doomsday Wars mini-series, his appearance during Our Worlds At War or his “Jokerization” during Last Laugh…the creature is one that I’ve “always” taken note of. 

All that said, my initial take on this issue is extreme disappointment. Labeled Doomsday #1 for the issue, I expected actual details–of the creature, of its past, clarification of its involvement with Superman already –and perhaps something of what might yet be coming. While we do get a look at the past, with the creature inserted much more closely to Superman himself in the family history…it seems to almost “cheapen” the character, making it just another part of stuff carrying over from Krypton to plague Superman on Earth, rather than something that arrives out of nowhere or “legend” and all that.

Rather than any real background on the character or firm details of the creature’s origins, we’re given a glimpse of a past encounter with the creature involving Zod, and from Lara’s perspective.  We get some development of Zod’s history with Supergirl (Kara)…which works in context of showing the danger the creature can present, of its place in Kryptonians’ consciousness…but really does not seem to “matter” for an issue that’s supposed to “focus” on the creature. This story seems like it would be far more appropriate as an issue of Supergirl, showing her remembering what she’s learned of the creature. Though the creature’s prominence on the cover is apt, this issue doesn’t really feel like it lives up to its “title,” and certainly fails to live up to my own expectations.

Despite that, had this simply been a random issue of Supergirl and I saw the creature so prominently placed on the cover, I’d’ve likely found this a rather enjoyable “one-shot” of sorts. And with the Zod/Kara stuff, it’s seeming likely that the entirety of Villains Month MIGHT actually drive me to checking out the Supergirl title.

The story itself is solid; I do like the art in and of itself. I don’t mind the reconfiguration of the bone protrusions from Doomsday, except the cheek-horns that just look totally ridiculous to me and seem a pointless addition to the face. While I’ll read about “any” Doomsday, this is somehow probably my least-favorite of all the looks the character’s been given.

All in all…I suspect if you’re a fan of the Supergirl series, you’ll enjoy this. Ditto if you’re a fan of Pak or Booth, or just want the cover to look at. With the apparent “consolidation” of titles for this month, I don’t know where Doomsday is likely to next show up (if at all), but this issue feels like it’s pointing me to the Supergirl title. If you’re expecting to find out where Doomsday came from in-continuity of New 52 or the New 52 “past” of the creature and Superman, you’ll have to look elsewhere or stretch a between-the-lines interpretation.

As a $3.99 one-shot with the fancy 3-D cover…if you can find this at cover price (or opt for the “standard” edition or digital edition), and don’t hold high expectations (or my comments have dispelled those expectations), it’s not bad and I have to “grudgingly” admit I’d recommend it as an expectation-less standalone.

Action Comics #900 [Review]


Full review posted to cxPulp.com.

Story: 3/5
Art: 4/5
Overall: 3.5/5

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