This week, Superman takes center stage! A run ends, and a run begins. Unfortunately, though, we must also say goodbye to both a ninja...and a Power Ranger?!
Action Comics #1000
Writers: / Artists: / Inks: / Colors: / Letters:
Today is a significant day for the Western comic book industry. It's the first major mainstream comic to hit its 1,000th issue benchmark, and, of course, it's the first major superhero. It's a book that's been much hyped, much anticipated, and DC certainly pulled out all the stops to make it happen. From Richard Donner to Brian Michael Bendis, as you can see in the credits, several voices got their shot at the Man of Steel.
Thankfully, there wasn't a bad one to be found. While some were much better than others, as is the way with anthology-style books, I can't recall a story I read that had me bored. Each story brought its own unique spin to Superman or the Superman mythos; thankfully, too, we had several writers that have been writing for Superman for several years. The one that stands out the most pronounced to me, maybe the best one, is the first story of the comic, the one written and drawn by Dan Jurgens. Jurgens may just be the most well-known Superman writer of all time to a modern audience, given his responsibility in killing and resurrecting the Last Son of Krypton in the 90s and then being one of the defining voices in his widely-acclaimed "Rebirth" era.
This comic is also accessible for all readers. Haven't read a comic in a while? Give this one a shot. Not too big a fan of Superman? Give it a shot. Sure it's got a hefty price tag on it, but the price is appropriate to the page count, and there are a BUNCH of creators that got involved with the creation of this book. I think that most people who read comics should definitely pick it up just on the basis that this is a seminal issue in the history of comic books. While we're coming up on several milestones (Amazing Spider-Man to hit #800 and Detective Comics to hit its own #1,000 early next year), this one should stand out the most because it's a great reflection of the thing that started it all.
There are also several stories that pay homage either directly to Action Comics #1 or to that early 30s/40s era of Superman. I even picked up the 40s-style variant for the comic. Those stories are the ones that gave me the biggest smile, because it showed either how far Superman had come, or how far the comic book medium had come since those days. Plus, they had good tongue-and-cheek moments. You thought Superman's always been able to fly? And, hey, who was the guy that was driving that car Superman is famously destroying?
The art throughout the book is also remarkable. As I mentioned, Jurgens does excellent work with Superman as he's done throughout his storied career, and if this is indeed his final issue with Superman, he did a damn fine job here, with an excellently drawn story. Patrick Gleason, the artist who got me to start reading Superman, also does great in his story. And hey, they even pull from some older issues in Superman's past to do some fill-in artwork.
The best part about each story's art is that it managed to perfectly capture the tone or feeling that the piece was going for, especially the final story, which is the introduction proper for Brian Michael Bendis into the DCU. Jim Lee's art, regardless of your opinion, was good table-setting for the upcoming Man of Steel miniseries.
I wouldn't miss this issue. Even if you don't like Superman, or you've fallen out of comics a bit, just give it a shot. I guarantee a few stories will remind you why you love superheroes.
Thankfully, there wasn't a bad one to be found. While some were much better than others, as is the way with anthology-style books, I can't recall a story I read that had me bored. Each story brought its own unique spin to Superman or the Superman mythos; thankfully, too, we had several writers that have been writing for Superman for several years. The one that stands out the most pronounced to me, maybe the best one, is the first story of the comic, the one written and drawn by Dan Jurgens. Jurgens may just be the most well-known Superman writer of all time to a modern audience, given his responsibility in killing and resurrecting the Last Son of Krypton in the 90s and then being one of the defining voices in his widely-acclaimed "Rebirth" era.
This comic is also accessible for all readers. Haven't read a comic in a while? Give this one a shot. Not too big a fan of Superman? Give it a shot. Sure it's got a hefty price tag on it, but the price is appropriate to the page count, and there are a BUNCH of creators that got involved with the creation of this book. I think that most people who read comics should definitely pick it up just on the basis that this is a seminal issue in the history of comic books. While we're coming up on several milestones (Amazing Spider-Man to hit #800 and Detective Comics to hit its own #1,000 early next year), this one should stand out the most because it's a great reflection of the thing that started it all.
There are also several stories that pay homage either directly to Action Comics #1 or to that early 30s/40s era of Superman. I even picked up the 40s-style variant for the comic. Those stories are the ones that gave me the biggest smile, because it showed either how far Superman had come, or how far the comic book medium had come since those days. Plus, they had good tongue-and-cheek moments. You thought Superman's always been able to fly? And, hey, who was the guy that was driving that car Superman is famously destroying?
The art throughout the book is also remarkable. As I mentioned, Jurgens does excellent work with Superman as he's done throughout his storied career, and if this is indeed his final issue with Superman, he did a damn fine job here, with an excellently drawn story. Patrick Gleason, the artist who got me to start reading Superman, also does great in his story. And hey, they even pull from some older issues in Superman's past to do some fill-in artwork.
The best part about each story's art is that it managed to perfectly capture the tone or feeling that the piece was going for, especially the final story, which is the introduction proper for Brian Michael Bendis into the DCU. Jim Lee's art, regardless of your opinion, was good table-setting for the upcoming Man of Steel miniseries.
I wouldn't miss this issue. Even if you don't like Superman, or you've fallen out of comics a bit, just give it a shot. I guarantee a few stories will remind you why you love superheroes.
Infinity Countdown #2
Writer: Gerry Duggan / Pencils: Aaron Kuder & Mike Hawthorne / Inks: Aaron Kuder & Terry Pallot / Colors: Jordie Bellaire / Letters: VC's Cory Petit
While part of me majorly feels like I'm missing out on something because I didn't read Guardians of the Galaxy going into this event, I also don't care because it's just one big, exciting action scene with the aforementioned Guardians and I like that. While I was hooked by the mystery and intrigue of Infinity Countdown: Prime #1, I'm also fine with getting great banter and action on a cosmic scale. Not to mention that the stuff with Adam Warlock has me super intrigued for what can come next.
The more I think about it, the more okay I am with this being a series of just five issues. So far, Duggan is doing a solid job of pacing things out, so we know where all the characters are and where the stones they're trying to find or protect are. Again, there are some characters and threads I'm not too keen on, but they don't seem to be all that pressing at the moment, so I won't really concern myself with it.
The art is also solid. While it is an incredibly jarring shift from Kuder's style to Hawthorne's, I do think both styles suit the story well for what's going on. Kuder draws action and scope very well, so when he's having to put on a great battle, he does so masterfully. In a similar vein, Hawthorne's simpler style lends its way to a definitive science-fiction feel.
I really liked that, and it's probably part of the reason why I enjoyed the last part of this issue the most. It felt like a genuine pulp adventure: you've got the over-powered main character having to head to an alien world besieged by an implacable evil that he must get to the bottom of. Hawthorne's style fit that perfectly, and even kind of looks like something you may have seen in an old pulp comic.
Jordie Bellaire's colors remain consistent and great across the board, because she's Jordie-freaking-Bellaire and she's the best in the biz. Get over it.
The more I think about it, the more okay I am with this being a series of just five issues. So far, Duggan is doing a solid job of pacing things out, so we know where all the characters are and where the stones they're trying to find or protect are. Again, there are some characters and threads I'm not too keen on, but they don't seem to be all that pressing at the moment, so I won't really concern myself with it.
The art is also solid. While it is an incredibly jarring shift from Kuder's style to Hawthorne's, I do think both styles suit the story well for what's going on. Kuder draws action and scope very well, so when he's having to put on a great battle, he does so masterfully. In a similar vein, Hawthorne's simpler style lends its way to a definitive science-fiction feel.
I really liked that, and it's probably part of the reason why I enjoyed the last part of this issue the most. It felt like a genuine pulp adventure: you've got the over-powered main character having to head to an alien world besieged by an implacable evil that he must get to the bottom of. Hawthorne's style fit that perfectly, and even kind of looks like something you may have seen in an old pulp comic.
Jordie Bellaire's colors remain consistent and great across the board, because she's Jordie-freaking-Bellaire and she's the best in the biz. Get over it.
Mighty Morphin' Power Rangers #26
Writer: Kyle Higgins / Artist: Daniele di Nicuolo / Inks: Simona di Gianfelce / Colors: Walter Baiamonte / Letters: Ed Dukeshire
If anyone was disappointed by the events of the last issue, then this one will certainly satiate them. We get more action, and more importantly, more Power Rangers! Maybe the featured team will make people angry, but I think that it makes sense from a meta perspective. I really have to give Kyle Higgins credit for not just including the teams the method in which he does, but that he nails the voice of each character. The main character from the cameo team of Rangers in particular feels like she came straight out of the TV show.
Artist Daniele di Nicuolo also NAILS the looks of each of the new Rangers, especially out of their suits. I never had a problem knowing who was who, even if I haven't seen this team of Rangers in a good while. She also does fantastic in displaying the heavy emotions going on in this issue, given the fallout of the last issue.
This issue covers a lot of ground, probably to cover for what was promised by the premise of the story arc. Thankfully, none of it ever feels quite so rushed. It runs at a solid pace and each story beat is given its time to shine, and for the chief characters of the scene to thrive and breathe. Our main MMPR team gets a lot of development this issue, though Billy, Jason, and Kimberly take the bulk of the development. Jen the Pink Time Force Ranger also gets a fair share of development as she comes to grips with the situation at hand.
Last time I was a bit critical that the art wasn't matching the scope and scale of the event, but I'm definitely feeling it more this time. I'd rather take a simpler and more emotional approach than one that has a lot of bombasts but not a lot of heart. And, still, di Nicuolo does great action. The action scenes here are thrilling and feel right at home with any bit of Power Rangers.
Walter Baiamonte's colors also shine as we get to see a flourish of different Rangers, and each pops off the page quite well. di Nicuolo and Baiamonte make a dynamic, exciting team for this event to show off various Ranger teams that readers either may not be aware of or may not be all that fond of. Again, the team highlighted this issue may not be a fan-favorite, but I think they were used exceptionally well to show off the power and menace of Lord Drakkon as he begins his assault in earnest.
Mister Miracle #8
Writer: Tom King / Artist: Mitch Gerads / Letters: Clayton Cowles
I'm not sure what to make of this issue of Mister Miracle. It's great, as always, but it feels a bit more like a one-shot than other issues. Obviously it's going to serve a greater purpose as we see the little baby (whose name I've forgotten already...is it Jacob?) growing up over the course of the war, and we get great juxtaposition throughout the issue of Scott having to go work and having to deal with the weariness of raising a child.
We do get a colorful cast of characters to join him, like Lightray and Funky Flashman. While we've seen a good bit of Lightray before, it was refreshing to have Funky around throughout the parts where Scott was back home dealing with the baby. I also really enjoyed Big Barda's interjections throughout the issue, as the two keep each other up-to-date on the growth of the baby.
It's just jarring to be suddenly back in the war after the previous issue. Before, we had a good mix of Earth-life and the war on Apokolips that showed a steady decline of one or the other. This one was a lot of back and forth between the two with the only connection being a complete, as I stated, juxtaposition in tone and action going on.
Even if the story faltered a bit, though, Gerads art remains amazing. He does amazing showing the brutality of the battlefield as well as the thrill of raising a child. Scott remains stoic as ever back home, but Gerads does a great job of displaying the harm Scott is taking as well as the desperate emotion that comes with leading the army. There are several amazing instances of quiet moments throughout the issue that have been a constant in this book.
We do get a colorful cast of characters to join him, like Lightray and Funky Flashman. While we've seen a good bit of Lightray before, it was refreshing to have Funky around throughout the parts where Scott was back home dealing with the baby. I also really enjoyed Big Barda's interjections throughout the issue, as the two keep each other up-to-date on the growth of the baby.
It's just jarring to be suddenly back in the war after the previous issue. Before, we had a good mix of Earth-life and the war on Apokolips that showed a steady decline of one or the other. This one was a lot of back and forth between the two with the only connection being a complete, as I stated, juxtaposition in tone and action going on.
Even if the story faltered a bit, though, Gerads art remains amazing. He does amazing showing the brutality of the battlefield as well as the thrill of raising a child. Scott remains stoic as ever back home, but Gerads does a great job of displaying the harm Scott is taking as well as the desperate emotion that comes with leading the army. There are several amazing instances of quiet moments throughout the issue that have been a constant in this book.
Ninjak vs. The Valiant Universe #4
Writer: Eliot Rahal / Pencils: Joe Bennett / Inks: Belardino Brabo / Colors: Ulises Arreola / Letters: Dave Sharpe
I am very perplexed by the state of this miniseries. Is this supposed to be what the web-series is going to be, but in the form of a comic book? We end on a cliffhanger, one that's very well set-up and is actually quite exciting, but yeah. This story has a definitive beginning-middle-end, with little room for anything else to be explored in the web-series. Although, if this is what the web-series is, then I'm looking forward to it. As it is, this was an exciting miniseries.
It never dragged, never got too boring, and was just a good action romp. I hope the live-action stuff can live up to this hype. While we didn't get that much of Ninjak actually going head-to-head with the members of Unity, it still does a good job of showing his place and the danger he poses to the Valiant Universe should he go rogue. This issue also does a good, final job of establishing his relationships with the rest of Unity, in particular his relationships with Neville, Livewire, and X-O Manowar. Bloodshot also gets a good moment, too.
The art and colors remain just as consistent as ever. It never worsened as the series progressed, but it never really got that great. Facial expressions and character designs remained strong as ever, and the big reveal at the end was done with just enough fanfare and drama to get me hyped to see that character either in comic book form or in live action, should this ever get a sequel or follow-up in some way.
I can't be mad about what we got here. It was a genuine surprise that this series was as good as it was and was just a fun ride from start to finish. It's a good look into the Valiant Universe for anyone interested in it, or, if not, it's just a good action series.
It never dragged, never got too boring, and was just a good action romp. I hope the live-action stuff can live up to this hype. While we didn't get that much of Ninjak actually going head-to-head with the members of Unity, it still does a good job of showing his place and the danger he poses to the Valiant Universe should he go rogue. This issue also does a good, final job of establishing his relationships with the rest of Unity, in particular his relationships with Neville, Livewire, and X-O Manowar. Bloodshot also gets a good moment, too.
The art and colors remain just as consistent as ever. It never worsened as the series progressed, but it never really got that great. Facial expressions and character designs remained strong as ever, and the big reveal at the end was done with just enough fanfare and drama to get me hyped to see that character either in comic book form or in live action, should this ever get a sequel or follow-up in some way.
I can't be mad about what we got here. It was a genuine surprise that this series was as good as it was and was just a fun ride from start to finish. It's a good look into the Valiant Universe for anyone interested in it, or, if not, it's just a good action series.
Superman #45
Writers: Peter J. Tomasi & Patrick Gleason / Artist: Patrick Gleason / Colors: Stephen Downer / Letters: Tom Napolitano
A perfect ending to a very good run of Superman. There's really no other way to describe this issue. Everything that's charming and good about Tomasi and Gleason's run is here on full-blast. It's a heartwarming story about a family going through change, and having them deal with it; the best part of this issue is that the Kent family is just so human and true in this issue.
We get a lot of great character development and memorable moments scattered throughout the issue, and it comes from several different combinations, be it Clark and Jon or Lois and Clark. Gleason's art, as usual, matches these scenes perfectly. I've always loved the way he draws Clark, Lois, and Jon, and he does so well with background or superfluous characters.
There really isn't much else to say about this comic. The plot is simple, but it's emotionally driven. Characters are fantastic, and this comic is just charming. When I look back on Gleason and Tomasi's run, it'll be of fond memories, and I'll remember the stories like this, the ones that show how human and fantastic Superman, at his core, is.
We get a lot of great character development and memorable moments scattered throughout the issue, and it comes from several different combinations, be it Clark and Jon or Lois and Clark. Gleason's art, as usual, matches these scenes perfectly. I've always loved the way he draws Clark, Lois, and Jon, and he does so well with background or superfluous characters.
There really isn't much else to say about this comic. The plot is simple, but it's emotionally driven. Characters are fantastic, and this comic is just charming. When I look back on Gleason and Tomasi's run, it'll be of fond memories, and I'll remember the stories like this, the ones that show how human and fantastic Superman, at his core, is.
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