What can I say? I'm a sucker for these "big number" milestone issues, and Action Comics has the highest number in comics, now at #900. Picked this one up at Newbury Comics today, day of release.
Title: Action Comics
Issue: #900
Date: June 2011
Publisher:
DC ComicsWriter: Paul Cornell, Damon Lindelof, Paul Dini, Geoff Johns, David S. Goyer, Richard Donner, Derek Hoffman
Art: Pete Woods, Jesus Merino, Dan Jurgens, Norm Rapmund, Rags Morales, Adrian Syaf, Jamal Igle, Jon Sibal, Gary Frank, Ryan Sook, RB Silva, Rob Lean, Miguel Sepulveda, Brian Stelfreeze, Matt Camp
Colorist: Brad Anderson, Blond, Java Tartaglia, Paul Mounts
Letterer: Rob Leigh, John J. Hill
Cover: David Finch
Editor: Wil Moss, Matt Idelson
Issue #900! Wow! That is a lot of comics.
As is typical for these milestone issues, this one is extra-long and loaded with backup features.
The main story serves two purposes. First it wraps up the ongoing Lex Luthor plotline about Lex seeking out the ultimate power needed to destroy Superman. Meanwhile, it's also setting up a new plot that's a fun little variant on the famous Reign of the Supermen storyline that followed up the death of Superman at the hands of Doomsday.
Unfortunately, the problem with giving a villain godlike omnipotence is that the universe still needs to be intact when it's all said and done. We know going in that no matter what Luthor does with his newly acquired cosmic powers (acquired through a rather convoluted pathway that involved black power rings, the Phantom Zone, and something called the Zone Child), we're going to be hitting the reset button by the end of it. It's just a matter of how interesting the ride is going to be. In this case, it's inconsistent. Luthor tortures Superman in an effort to "break" him, by having him re-experience his greatest losses. This seems a rather futile strategy, since Superman has already proven his resilience in the face of those very events. It does set up one really clever scene in which Luthor searches for the worst moment of Superman's life, expecting to find some sort of planetary-scale tragedy, and instead finds some true insight into what Superman is really all about.
Of course moments later it's time to cue up the convenient amnesia. We do get a nice little cameo by Death, but little else of consequence happens either in the main plot or in the Doomsday subplot, which simply engages in a stalling action to set the scene for the next issue.
Next come the backup stories. The first of these "Life Support" by Damon Lidelof and Ryan Sook, is far and away the best thing in this issue. It focuses in on a very small, but very important moment in Superman's history and does so with a strong plot, a good sense of mystery, and some powerful emotional content. The art is understated, but still among the best in this issue, which is saying a lot because this issue is loaded with strong visuals.
"Autobiography" is a conversation between Superman and an ancient alien being about the choices made when interacting with other species. It's a good bit of science fiction, especially for those fond of pondering "prime directive" type dilemmas.
Next up is the (seemingly) obligatory comedy piece, "Friday Night in the 21st Century", which serves as an excuse to 1) mock Lois Lane a bit (apparently she has a messy desk and is a bad cook) and 2) have a gratuitous appearance by the Legion of Super Heroes. Harmless fluff.
"The Incident" is an attempt at a political story, and it almost works really well. The President's national security advisor has a clandestine meeting with Superman to discuss an incident that too place in Iran. Apparently, Superman decided to sit in on a protest in Tehran. This doesn't sit well with the US government who feel like diplomacy should be handled the old-fashioned way (you know, by sending in Hillary Clinton). The actual Iran stuff was great. Absolutely brilliant discussion about the true limitations of Superman's effectiveness in solving the world's problems. But then the story takes things a step too far with Superman deciding that he is going to renounce his US citizenship. Look, I'm no ultra-patriotic conservative, but I respect tradition. "Truth, Justice, and the American Way" may be something that was made up for the TV version of Superman, but it's become ingrained as part of the Superman tradition and mythology, and I have a hard time with Superman going against those ideals, even if it might make logical sense for him to consider himself more of a "world citizen". It's too bad, because this detail seems hastily thrown in and unnecessary to the story being told here.
Last story is an odd screenplay/storyboard sequence featuring a rival of Clark Kent's who is using a STAR Labs suit to gain superpowers and challenges Superman to a "friendly" competition. This had a bit of a Silver Age flavor to it, and featured some good interaction between Superman and Lois.
Finally, a Brian Stelfreeze two-page pinup showing different character designs for Superman ends the issue. Interestingly the "current" Superman is shown holding an American flag. Mixed messages?
This issue is artistically excellent from David Finch's cover to the cosmic Lex Luthor sequences to the Doomsday fight to some great illustration in different styles for the backup stories. It's the kind of visual feast you expect from a milestone issue. The stories themselves were generally good for what they were. I had a few gripes, but for the most part this was an enjoyable read.
Rating: 7/10
Another issue of Plastic Farm, part of the haul from the SPACE convention.
