|
|
60 of 61 people found the following review helpful:
4.0 out of 5 stars
Exciting but Drawn Out, September 21, 2002
In 1992, DC Comics made national headlines when it announced its intention to kill Superman. The year-long storyline spanned over three dozen comic books in more than half a dozen titles, including all four monthly Superman titles (ACTION COMICS, SUPERMAN, THE ADVENTURES OF SUPERMAN and SUPERMAN: THE MAN OF STEEL). It left the Superman mythos with two new villains (the Cyborg and Doomsday) and three new allies (Superboy, Steel and the Eradicator), all of whom had their own titles for a while. It began an era of Superman's publishing history which would last for the remainder of the decade, in which the titles were treated not as individual titles, each with its own identity, but as parts of one continuing storyline, a weekly Superman comic book with four or more creative teams rotating chapters. As a result, the 1990s Superman comics would be marked by long, convoluted storylines with protracted resolutions, a billowing supporting cast populated by two-dimensional characters who existed more as plot devices, and a sense of excess and disjointedness in almost all of the stories.The story that began it all was collected in three volumes: THE DEATH OF SUPERMAN, a slugfest heavy on dynamic visuals and weak on plot; WORLD WITHOUT A SUPERMAN, the best of the three, which explored the ramifications of the death of Earth's greatest hero (and a part of the story later sagas would sorely miss); and THE RETURN OF SUPERMAN, in which four pretenders claiming to be Superman emerged, all to take part in a great battle when the real Superman returned. In this collection's first third, the creative teams explore one Superman pretender apiece to varying results. The best is Roger Stern and Jackson Guice on the Last Son of Krypton. Stern is one of comics' grandmasters of characterization and pacing, which meshes well with Guice's realistic but cinematic style. Close on their heels are Karl Kesel and Tom Grummett (Superboy), whose loose, frenetic but clean, often melodramatic storytelling show why they would become THE teen superhero duo, both in Superboy's own title and in ROBIN. In comparison, writer-artist Dan Jurgens (Cyborg Superman), the Michael Bay of comics, finds his grandiose images at war with his writing tendency towards exposition over characterization, to the extent that two of his chapters are almost solely a series of drawings with narration captions. Worse yet is the Louise Simonson and Jon Bogdanove team (Man of Steel). Simonson tries for a social conscience but is clumsy and preachy in her delivery, and Bogdanove's unfairly maligned impressionistic, exaggerrated style clashes with the other three. (For the record, after his own short-lived, Simonson-penned series ended, Steel would become one of DC's best, most complex supporting players.) Unfortunately, these explorations can only last so long before the story must be resolved, and it is, as convoluted as possible. Too many chefs spoil the pot, as each team's need to include a major plot point revolving around their faux Superman slows the pacing to a near crawl. There are exciting set pieces, but the weaknesses of one team affect all of them. Jurgens' lack of characterization, for example, gives the reader no emotional investment in his Superman's sudden plot twist. And the sudden introduction of Green Lantern in the eleventh hour, from his own title by Gerard Jones and M.D. Bright, distracts from the central plot. Still, the collection IS exciting. For comic series completists, this is a handy gap filler, although be warned: The last few issues are not reprinted in their entirety, as subplots introducing later storylines were cut from the collection. For comic books fans just wanting to see this pivotal story, this collection is a must, although I also highly recommend Roger Stern's novel THE DEATH AND LIFE OF SUPERMAN to fill in the gaps in background and present a more even flow to the stories presented here.
|
