I threw all my plans out the window when I got a very cool package in the mail from a cool PR person! As a result, you’ll have to wait to find out more of my favorite 2020 film experiences and instead dive into my all-time favorite body swap stories from TV, animation, movies and comics!
When it comes to DC Rebirth books, the Superman group, the Superman group stands apart. I’m not saying that as a longtime and devoted Man of Steel fan (though I am), but because the headline character is actually the version from the previous universe, as explained in Superman: Lois & Clark. Some time after that book, the New 52’s version of Superman seemingly died before DC launched their Rebirth initiative. In Superman Volume One: Son Of Superman and Superman: Action Comics Volume One: Path Of Doom, the previous incarnation of Superman leaves the black-and-silver suit behind, takes up the more familiar colors and makes his presence known to a world still reeling from his predecessor’s death. Continue reading Superman Rebirth Trade Post: Action Comics & Superman
When the New 52 was announced a few years back, there was a part of me that was glad because it offered such a clear and obvious place for me to cut off my relationship with monthly comics. For years I’d worked at Wizard where it was part of my job to stay on top of what was going on which was easy because we used to get a couple copies of every book each week. I got laid off a few years before the big switch over and kept up as well as I could, but fell way behind. Once the continuities shifted, I didn’t feel like there was a limitless number of future comics that I’d have to check out just to stay up to date. Sure there would be New 52 books I’d check out and probably love, but that could all be absorbed in trade form.
In that time between Wizard and the New 52, though, there still were some really great stories that I missed, including Paul Cornell’s run on Action Comics that showcased Lex Luthor as he tried to discover the truth behind the Black Lantern rings he discovered during Blackest Night.
In this first volume Luthor finds himself dealing with a new brand of obsession thanks to his exposure to the Orange Lantern and Ring in the aforementioned crossover. That urging makes him want to find out what’s up with the Black Lantern rings even more than he would have otherwise. This quest puts him on a path that leads to opposition and interference from Mr. Mind (or a clone/copy of the one from 52), Deathstroke, Gorilla Grodd, Vandal Savage and even Death from Sandman, marking her first appearance in the DCU (or at least the first time in a long time). To help balance himself out, Lex has created a robot version of his one true love, Lois Lane, who also happens to break out the big guns whenever necessary.
I had more fun reading these six issues than I expected to and I thought I’d enjoy it. I’ve been reading Superman comics since 1992, so I’ve seen plenty of takes on Lex Luthor, some more successful than others. I thought Cornell did a fantastic job of setting this version up and carrying that out through a series of adventures that not only make sense in the general concept of the character (who always craves power in every version) while also having fun and presenting a somewhat roguish character that you kind of hate to love. Luthor’s as smarmy and conceited as you might expect, but he also earns it by being the smartest, most prepared guy in the room, even when said room includes interdimensional telepathic worms and ancient immortal barbarians. He’s basically jerky Batman with no costume and a mad-on for the world’s most beloved superhero. With Superman not actually appearing in this book — he was walking around the country in the yawn-inducing “Grounded” story over in Superman at the time — I personally found it easier to get on Luthor’s side.
And boy does Pete Woods draw the heck out of these issues. Every time I look at his pages I wonder how he can achieve such a smooth, shiny, detailed look. He’s Terry Dodson or Frank Cho-esque while keeping female proportions in a more realistic zone. And his facial expressions are up there with Kevin Maguire’s which is super important when working with a smarmy character like Luthor. This first volume really impressed me to the point where I was really glad I already had the second one on hand so I could jump right in and keep reading.
Superman: The Black Ring Volume Two
Written by Paul Cornell with Gail Simone, drawn by Pete Woods with Jesus Merino, Marco Rudy, Ed Benes, Marcos Marz, Luciana Delnegro, Dan Jurgens, Rags Morales, Ardian Syaf, Jamal Igle & Gary Frank
Collects Action Comics #896-900, Secret Six #29
I’m not usually a fan of one trade ending on a cliffhanger and leading into the next one, but since I had both volumes on hand, it didn’t bother me too much. Being the incredibly well prepared evil genius that he is, Luthor already had a plan at the ready in case Vandal Savage came at him, one that included the Secret Six, which is lead by his daughter Scandal. Secret Six is one of those books that people seem to either love or hate. I’m somewhere in the middle, loving much of it, but hating Ragdoll, so the inclusion of that issue, while appropriate for the story, did get on my nerves a little.
From there, we get a pair of flashback issues that find young Lex hanging out with Darkseid and Ra’s al Ghul before returning to the present where he gets back to his main mission which brings him into contact with Joker and Larfleze before reaching its epic conclusion which includes Luthor gaining the power of a god, but losing it because SPOILER he doesn’t like being told what to do or having rules.
One of the really interesting things about this book is that, by bringing Luthor into contact with some of the DCU’s most prominent villains, you not only get a better idea of what makes him tick, but why some of these people strive for their goals even after getting their butts handed to them time after time by the superhero community. Each of them has something that pushes them forward. And while those motivations aren’t the main focus of the book, they are there for the reader to mull over to their degree of interest.
Another great aspect of Cornell’s story as a whole is that, by defining Lex Luthor so damn well, it also helps to define Superman. We see how complex Lex Luthor is and why he hates Superman, but at the very end we see why Lex is the bad guy and Superman is the good guy which makes for an incredibly appropriate 900th issue celebration. For all his claims of wanting humanity to thrive without aliens lording power over humanity, this is just a guy who doesn’t like being told what to do sacrificing the potential to do great good for his own ego. He doesn’t care if the aliens are above humanity, he hates having an alien over HIM.
It all harkens back to a great scene in the post-One Year Later Superman story collected in Up, Up And Away. Superman lost his powers for a year which left Lex free to supposedly pursue all those altruistic motives he supposedly had for killing Superman, but instead he wasted it to which Superman responds with a line like “You could have been curing cancer while I was gone!” That all sums this character up perfectly. If you believe he wants to help humanity, you’re buying into one of his many lies, but then again, I can’t really fault you for that because he’s pretty damn good at it.
It’s probably pretty obvious by this point, but I love this run. I read these volumes thanks to copies acquired from my local library system, but I think I’ll keep an eye out to add them to my collection. It’s rare to find such a well plotted out story that moves along surprisingly well for so many issues and also does such a great job of defining a character.
I’ve said time and time again here on the blog when talking about comics, especially DC Comics, that I was a hardcore continuity guy, especially when it came to Superman. Those are the books that got me into comics and taught me the most about the Man of Steel and the greater DC Universe. So, when Infinite Crisis went down and did some vague continuity edits that didn’t seem that well conveyed and I started reading Geoff Johns’ run on Action Comics, I was confused and angrier than I should have been. I was being over-reactionary and not really fair partly because of my bias, but also because I was so dedicated to the version of that character that I was so familiar with.
Since then, I’ve done more thinking about all this than I probably should have, but I go back to what I call the Puzzle Theory Of Corporate Comic Characters. The way I see it, every single existing Superman story is a puzzle piece that a new writer can come in and use. Take Batman for example. That character can work as the ultra-dark version seen in the Christopher Nolan movies or as the fun, upbeat version seen in the Brave and the Bold cartoon. It’s the same character with different past aspects highlighted by the creators. That’s the lens through which I checked out Johns run on Action Comics when I went back and re-read it recently. He’s more a fan of the Silver Age stuff than the books I read, so that’s what he highlighted. I’m doing the first three books here and will do the final two next week, then maybe get into the New Krypton stuff which he set up and then handed off to James Robinson, Greg Rucka and Sterling Gates.
So, Infinite Crisis changed the DCU a bit by making Clark Kent Superboy when he was a kid. That was the major difference for Supes, but they also took away his powers for a year leading into One Year Later and 52. Up, Up & Away is a crossover between Action Comics and Superman with Johns and Kurt Busiek trading off issues in an effort to set up the new world without a Superman and, of course, gradually bring him back. In the year since he lost his powers helping bring down Superboy Prime, Clark has been able to enjoy the finer aspects of being a regular person: getting really good at his job, being more present with his wife and savoring his more limited senses. But of course, it’s not meant to last. While Clark had most of his bases covered with Supergirl and other heroes watching over Metropolis, he didn’t account for Lex Luthor getting out of jail and going back to his mad scientist roots, gathering villains and wielding them as weapons against Metropolis and Superman once he does return.
I can’t say for sure, but I think I really liked these books when they came out and I liked it a lot on this read through. It seemed like both writers really got a good grasp of the character and did a few things that I really enjoyed, most of which had to do with Lex Luthor. When I started reading Superman books, he was the quintessential industrial bad guy, but I’m also a big fan of mad scientist Lex. Better than that, though, the book asked a question that I had never thought of until these issues: Why didn’t Lex put his genius to use curing cancer instead of going after Superman? I tended to think of Luthor in the sense that he was portrayed in the Lex Luthor: Man of Steel series as a good man trying to defend his people from what he saw as a threat, but that ignores the irresponsible and crazy aspects of the character that are also there. Why DIDN’T he cure cancer?! Cause he’s nuts. There are also stellar moments between Lois and Clark where she explains that, while she enjoyed her time with powerless Clark Kent, she knows he needs to be Superman for the world’s sake. This is my favorite relationship in comics.
The book ends and Superman’s back in the suit with the bad guys are vanquished. He’s even helping rebuild parts of the city and handing over the signal watch to Jimmy Olsen. It’s a cool ending that doesn’t really establish the new status quo of Superman or Clark Kent, but did give a cool feel for both before moving into the separate books.
I hope there’s a point in my comic reading career when I can completely separate my reading of a trade from the knowledge I have about how that series came out in a monthly format. It’s not much of a problem anymore because I don’t read many single issues anymore so lateness has very little meaning to me. If you don’t remember or weren’t around, the books in this collection were widely spread out, had fill-ins by completely different creative teams and didn’t actually get finalized until much later when the annual came out, allowing DC’s flagship title to continue on without as much interference. It was frustrating.
There was actually a lot that frustrated me about this book the first time around. It was assumed that the lateness came from then-new DC acquisition Adam Kubert. I don’t have much tolerance artist lateness, especially if it’s an artist I’m not into. I didn’t see what all the fuss was about and therefore wasn’t very forgiving when month after month passed and the story still hadn’t wrapped up. There were also a pair of story elements that bothered me. First, the book features Superman meeting the Phantom Zone villains for presumably the first time which I thought had already happened in the previous continuity. Second, I didn’t want Superman to have a kid.
However, this time, I was able to just take it all in at once. And you know what? I liked most of the story. I did my best to ignore the lateness and my continuity bias, instead just letting myself focus on this new story and it’s pretty good, though I’m still not a great big fan of Adam Kubert’s. Aside from some poorly constructed figures when zoomed out, my main problem with the art was that it looked like the figures were being photoshopped onto painted backgrounds. When artists do that kind of thing, it looks inorganic and distracts from the implication that you’re looking at a whole broken up into many panels.
As usual, I’m getting ahead of myself. This story kicks off with a young Kryptonian landing on Earth. He’s soon followed by Zod, Ursa and Non (better known as the bad guys from Superman II) who are actually using their son as a tether allowing them to escape the Negative Zone. Now Superman has to fight for the very survival of his adoptive planet and his new foster son in the face of overwhelming odds.
I dug the ins and outs of this story from the explanation of how Lor-Zod was conceived to Mon-El’s appearance and the Bizarro fight to the people Superman turns to for help in defeating his enemies. My only real problems this time around were still related to other comics, but not the ones I read as a kid, but instead Up, Up & Away. Somehow Clark Kent went from a confident guy wearing a Smallville jacket to a suit and tie-wearing doofus who felt the need to act as such to hide his secret identity. Doesn’t that seem weird? Wouldn’t that kind of big character change cause a lot of people to wonder what’s going on? However, as its own thing and the beginning of Johns’ solo run (he recently said on Kevin Smith’s Fat Man On Batman podcast that he basically hammered out the beats with his one-time boss Richard Donner and then scripted it himself), it works a lot better than it did as a monthly comic. One of the major negatives at the time was that Lor-Zod wound up spending months and months with Clark and Lois, basically spinning his wheels until everyone got their stuff together and gave him the proper send off which wound up being really emotional and well done.
While I might want to forget some elements of the previous books, I have only good memories and experiences with Escape From Bizarro World, which is a three issue story drawn by The Goon‘s Eric Powell. While working at Wizard, I was given the assignment of interviewing Powell for a sketchbook feature. You can actually see the sketches in the intro written by Brian K. Vaughan, but the amazing Darkseid one he did wasn’t included because he has nothing to do with the story. That image of Darkseid has become second only to Jack Kirby’s in my mind for iconic interpretations of the character. Powell was also a super nice guy to interview. He had a death in the family at the time and still took the time to help me with the article, something I don’t know if I could have focused on in his shoes. Good guy that Powell.
This story completely plays to Powell’s strengths as it takes place mostly on a planet that Bizarro smashed together and happens to be under a blue sun which has given him “Bizarro Vision,” the ability to create Bizarro clones. The downside? They hate him. Bizarro needs advice so he kidnaps Jonathan Kent which eventually brings Supes to the planet. Superman actually wants to just get out of there and leave Biz to his problems, but his dad is there to play moral compass and help the two figure out a way to change the status quo. It’s a great series of moments, but doesn’t hold a candle to the few scenes of Superman’s dad getting his son’s powers and understanding for a little while what that’s like. Better yet? The gift Bizarro gave him at the end. Man, that gave me a little lump in my throat!
It’s a quick story with all kinds of goodness on both ends of the comic spectrum. Johns and Donner weaved a wonderful story that ranks up there with some of my favorites. At the same time, Powell not only gets to draw backwards zombie-ish versions of the Justice League and Superman’s supporting cast, but also does a Superman so iconic I almost can’t stand that there’s only three issues.
To beef up the trade, DC did something pretty fun by including three different Bizarro issues from years’ past. Better than just including some basic stuff, though, they actually got Johns to pick issues that inspired him when writing the character. The writer even writes mini essays about why he included each issue which is pretty great. So, instead of reprinting Bizarro’s first appearance, he went with the one where Bizarro and Bizarro Lois Lane have a kid who’s normal and therefore a weirdo on their planet. This plays up on the themes of alienation that Johns used throughout all of his Superman stories.
Alright, I want to say one more thing while on the subject of how these books are collected. I understand it makes sense to collect the books by artist, but there are a few issues here and there from Johns’ run that weren’t collected in these books. I don’t have the exact issue numbers on hand, but I know there was a Toyman issue that got passed over for collection. I’m sure I’m not the only one to suggest this, but it would be nice to have a Geoff Johns Action Comics Omnibus. They’ve done that with his Teen Titans and Flash runs, so maybe we’re not far off from that with Superman.
The above custom isn’t one that I did myself, but one that Rickey did for me as a Christmas present. It’s me as a Luthor Trooper, which is both awesome and a bit disarming (mostly thanks to the fairly good resemblance). The body is a Mattel DC Infinite Heroes Luthor Trooper and the head is an Anakin Skywalker from Hasbro’s Clone Wars series (I’m not exactly sure which one). Rickey told me he just dremeled the heads off and swapped them out, gluing Anakin’s head to the Trooper body. Well done Rickey! Hopefully he’ll post the other custom holiday gifts he made for folks as they’re all pretty great.
Being in the industry I’m in, I get sent a ton of videos from friends and co-workers, but I tend to ignore them. Hey, even I have important things to do sometimes. I’ve also got sites like Topless Robot, /Film and /Gamer in my Google Reader, so I’ve got a pretty steady stream of videos coming in, some of which I pass over, but lately I’ve been checking more out. In the most-likely recurring MyTube section I’ll post a video or two for your viewing enjoyment.
Mad Man’s Jon Hamm as Lex Luthor asking President Obama for bailout money to kill Superman. Mostly based on the Superman movies, which I’m not a fan of, but more on that later, it’s a great watch. It’s from Funny or Die, naturally.
Another video that looks to be originally from Funny or Die that I first saw on /Gamer. This one has Link, Mario and Mega Man from old school NES lip syncing a song called “Put It On a Hook” by a group called The Inhumans. I’m not too crazy about the song, but who doesn’t love a rapping Mega Man?