Month: January 2021

Written by Dan Jurgens

Art by Ron Frenz; Joe Rubinstein; John Costanza; Glenn Whitmore; & Digital Chameleon

Cover Art by Ron Frenz; Joe Rubinstein; & Patrick Martin

SUMMARY:

Published for October 1996 by DC Comics, “Sacrifice for a Superman” concludes the three-part Bottled City.  As ordered by his boss, whiny (and pony-tailed) Clark Kent faces far more responsibility and scrutiny at The Daily Planet, with Perry White on medical leave.  Filling in as Perry’s substitute is one thing, but Clark immediately opts to chase after the dangerous imp known as Tolos. 

To combat Tolos (who also shares Brainiac’s hobby of collecting alien specimens and trapping them in the bottled city of Kandor), the Man of Steel relies upon Professor Hamilton’s gadgetry in a clash vs. a mentally-possessed  Daxamite prisoner of this imp.  Tolos is determined to add a captive Superman  — body, mind, and, most likely, his soul.  

Note: This issue is # 37 in in terms of ongoing continuity with four other Super-monthlies of the time – specifically: Action Comics, Adventures of Superman, Superman: Man of Tomorrow, and Superman: The Man of Steel.

REVIEW:

This issue’s artwork is appreciably above-average, but the same compliment doesn’t cross over to an utterly ho-hum plot.  DC Comics was clearly opting for quantity-over-quality by cranking out such forgettable efforts, just to keep up with five Superman titles a month.  While scripter Dan Jurgens’ run-of-the-mill tale is kid-friendly, its total lack of impact makes Superman # 116 instantly eligible for the one-and-done stack.       

ADDITIONAL CONTENT:

There’s a single-page “Metropolis Mailbag” letters-and-answers column.  Serving as # 22, the single-page “Watch This Space” column honors late Superman artist Curt Swan.  The classy last page is a further tribute to Swan’s legacy.  

BRIAN’S ODD MOON RATING:                 5 Stars

Written by Dan Jurgens

Art by Jose Luis Garcia-Lopez; Joe Rubenstein; John Costanza; & Glenn Whitmore

Cover Art by Dan Jurgens; Joe Rubenstein; Glenn Whitmore; & Android Images

SUMMARY:

Entitled “Misperceptions,” it was published by DC Comics for October 1995.  In a guest spot, rookie Green Lantern Kyle Rayner is mysteriously abducted by aliens.  In Metropolis, as Lois Lane looks on, Jimmy Olsen hosts live television coverage of a new cruise ship, the S.S. Lara, named in honor of Superman’s late Kryptonian mother.  The event’s guest-of-honor, Superman, is distracted by a metallic giant seeking to pound him. 

After rescuing an unconscious Green Lantern, the Man of Steel’s powers inexplicably vanish.  While Green Lantern and a vulnerable Superman clash with the metallic menace, Jimmy’s crew tries to re-establish their video link with Cat Grant’s studio team.  Realizing who the two alien dimwits are, Superman improvises a new game plan with Green Lantern.       

REVIEW:

Minus the first page naughtily teasing Kyle’s nude model, this one-shot is the mid-90’s equivalent of DC Comic Presents (a 1980’s monthly Superman team-up series).  Inexplicably, Lois is reduced to a walk-on role, as her screen time goes to Jimmy and Cat Grant.  Kyle Rayner also gets solid attention from writer Dan Jurgens, as he easily blends in with Superman’s cast. 

Jurgens does some okay work with a temporarily powerless Superman, but story is strictly routine.  Supported by good artwork, Superman # 105 is a decent tag-team effort for  Kyle Rayner and Superman.   

ADDITIONAL CONTENT:

There’s a two-page “Metropolis Mailbag” letters-and-answers column.  

BRIAN’S ODD MOON RATING:                      5 Stars

Written by Dan Jurgens

Art by Dan Jurgens; Mike Manley; John Costanza; & Glenn Whitmore

Cover Art by Dan Jurgens & Brett Breeding

SUMMARY:

Entitled “The Zero Effect,” it was published by DC Comics for December 1994.  With help from Professor Hamilton, Superman gets his acquired Mother Box working again to transport himself to New Genesis.  Unbeknownst to the Man of Steel, the Atom stowaways.  At New Genesis, Superman discusses with Orion, Lightray, and Highfather the possibility that a comatose (and still-captive) Brainiac has somehow manufactured the mysterious Superman corpse currently on Earth. 

Desperate to reverse the de-aging effects from the recent Zero Hour that has left him an increasingly amnesiac teenager, Ray Palmer hijacks Metron’s chair.  His rash decision inadvertently lands Superman, Metron, Lightray, and the Atom in a hyperspace predicament.  The Man of Steel’s next stop in his ongoing investigation is revealed.  

Note: Despite his spread-eagled prominence on the cover, Brainiac has only a cameo role.  In terms of ongoing continuity, this issue is # 46 among DC’s monthly glut of interconnecting Super-titles.

REVIEW:

Impressively, the art squad’s above-average visuals hold up well – even the inking still looks fresh.  As for Dan Jurgens’ storytelling, it’s good enough, particularly as a team-up with the Atom. 

The only eye-rolling moment is how Professor Hamilton, without prior knowledge of Apokolips and its technology, can somehow get a deactivated Mother Box working again … seemingly within seconds.  Generally speaking, this unremarkable issue isn’t worth tracking down from afar.  However, if one comes across it by chance, Superman # 95 offers a decent (and kid-friendly) read.  

ADDITIONAL CONTENT:

The well-written “DC Universe # 23” is a single-page Daily Planet headline story revealing that Deathstroke’s corpse has vanished from a New York City morgue.  There’s also a two-page “Metropolis Mailbag” letters-and-answers column.  

BRIAN’S ODD MOON RATING:                    6 Stars

Written by Dan Jurgens

Art by Brett Breeding; John Costanza; & Glenn Whitmore

Cover Art by Dan Jurgens & Brett Breeding

SUMMARY:

Entitled simply “Doomsday!” it was published by DC Comics for January 1993. In a devastated Metropolis, as the world watches on television, the Man of Steel’s brutal showdown vs. Doomsday concludes.  Superman poignantly kisses his fiancée, Lois Lane, before resuming the battle.  As Lois & Jimmy Olsen helplessly witness, the Man of Steel barely holds his own until he engages in a direct slugfest with Doomsday.  A catastrophic exchange leaves everyone (including Jonathan & Martha Kent at home) in shock to the battle’s heart-breaking outcome.  Lois cradles a dying Superman. 

REVIEW:

Though this issue reeks of an obvious publicity stunt, writer Dan Jurgens and the art team handle one aspect relatively well.  Specifically, the poignant reactions of onlookers share a premonition of the end result, is well-played.  Beyond a glimpse of Lois & Clark’s romance, the entire issue, however, reads ,pre like Superman’s ham-fisted answer to 1985’s Rocky IV, with a Doomsday as an alien-like Incredible Hulk.  It’s no surprise that Jurgens’ narrative even compares this super-showdown to a boxing match.  The art squad’s visuals conveys exactly what they are supposed to, including Jurgens’ boxing analogy. 

Considering how Superman doesn’t isolate Doomsday vs. risking mass public casualties (including Lois & Jimmy), Jurgens telegraphs DC’s ‘shock value’ ending too soon.  In fairness, Jurgens’ dubious concept of Superman being beaten to death at least outclasses writer Geoff Johns’ similar plot twist in 2005’s ultra-violent Infinite Crisis mini-series. 

What stands out more is the back cover’s lengthy list of upcoming tie-in issues.  DC’s true motivation is thus confirmed: crassly milking Superman’s ‘death’ as a cash cow.  Superman # 75 is a questionable keepsake, as it’s a reminder of the untold number of fans worldwide that DC Comics brazenly conned. 

Note: DC’s strategy evidently worked, as a similar publicity stunt targeted Batman re: the 2008-09 Final Crisis mini-series. 

ADDITIONAL CONTENT:

Its back inside cover fold-out detailing Superman’s last words with Lois connects with a three-page spread revealing his demise to Metropolis onlookers.  

BRIAN’S ODD MOON RATING:                             4 Stars

Written by Jerry Ordway

Art by Jerry Ordway; Dennis Janke; Glenn Whitmore; & John Costanza

Cover Art by Jerry Ordway

SUMMARY:

Published by DC Comics for March 1991, it’s entitled “Truth, Justice, and the American Way.”  Lois reels from Superman’s revelation that he is her fiancé, Clark Kent, leaving their future together in doubt.  Superman reluctantly agrees to guard an U.S. Government air transport of a notorious war criminal: President Marlo of Qurac. 

Attacked multiple times during their path across the Middle East from the Red Sea to the North Atlantic Ocean, Superman realizes that a mole is scheming to eliminate Marlo before reaching U.S. territory.  Elsewhere, Lex Luthor’s will reveals an unexpected heir.  Jose Delgado continues his romance with Cat Grant and bonds with her young son.        

REVIEW:

Boosted by good artwork, most of this issue holds up relatively well.  The sole detriment, unfortunately, is Lois’ underwhelming reaction scene.  Considering how many decades that die-hard fans had been waiting for this pivotal sequence, let’s just say that writer Jerry Ordway sorely disappoints fans.  Though Lois’ dialogue is plausibly written, her dazed take on Superman’s revelation doesn’t wash.  Still, Ordway’s storyline recuperates with Superman’s believable outrage over being set up as a pawn by two opposing factions within the U.S. military.  That portion of Superman # 53 at least makes for a solid read. 

ADDITIONAL CONTENT:

There’s a two-page “Metropolis Mailbag” letters-and-answers column.  

BRIAN’S ODD MOON RATING:                    6 Stars

Written by John Byrne

Art by John Byrne; Karl Kesel; Tom Ziuko; & John Costanza

Cover Art by John Byrne

SUMMARY:

Published by DC Comics for November 1987, it’s entitled “The Name Game.”  At The Daily Planet, a smitten Lois accepts new suitor Ben DeRoy’s invitation to lunch.  Blowing off a suspicious Clark’s reminder about their own lunch date, Lois leaves with DeRoy.  Trading a bewildered Lois for a mannequin he magically grants life to, DeRoy’s chaotic mischief continues. 

Superman confronts DeRoy, who reveals himself as Mr. Mxyzptlk.  It becomes a battle of wits between the Man of Steel and the magical imp.  Lois’ discreet effort to make amends with Clark goes awry, courtesy of rival Cat Grant.     

Note: Byrne makes a continuity goof on page 21 when Lois refers to having known Clark “after all these years.”  Byrne’s recent reboot, otherwise, implies that Lois & Clark have only known each other for weeks, maybe a few months.

REVIEW:

Suspiciously resembling Marvel Comics’ omniscient Beyonder from the Secret Wars II mini-series, the ‘Ben DeRoy’ ploy is a savvy in-joke for writer John Byrne re-integrating Mxyzptlk into the post-Crisis DC Universe. 

Better yet, Byrne’s distinctive visuals (as seen in the spot-on cover image) captures bringing his Silver Age homage to the 80’s. The plot’s adept blend of the imp’s quirky magic and character-driven poignancy (i.e. Lois’ hospital scene with Clark) makes for an appealing read.  Perhaps this issue’s best element is a hint of the Lois-Clark-Cat Grant love triangle. Simply put, Superman # 11 is a minor gem in Byrne’s mid-eighties reboot.

ADDITIONAL CONTENT:

There is a two-page letters-and-answers column.    

BRIAN’S ODD MOON RATING:                   8 Stars

Written by George Pérez

Art by Trevor Scott; Nicola Scott; Brian Buccellato; Brett Smith; Blond; Carlos M. Mangual; & George Pérez

Cover Art by Wil Moss

SUMMARY:

Entitled “A Cold Day in Hell,” DC Comics published it under the New 52 banner for January 2012.  While Clark Kent solemnly pays his respects at his adoptive parents’ gravesite, Lois Lane and Perry White are unenthused at The Daily Planet re: a controversial Superman documentary.  A mega-blizzard inexplicably hits Metropolis, which transforms defenseless humans into pure ice (including Lois and Jimmy Olsen). 

Sensing an alien presence speaking in Kryptonese, Superman finds that journalist Heather Kelley is somehow a pawn.  Forced to use his heat vision, Superman seemingly rescues Metropolis.  Yet, more pawns of the alien presence emerge.

REVIEW:

Primarily, this issue’s visuals are stellar.  Unfortunately, writer George Pérez’s storyline suffers from significant plot holes that make Superman # 3 a less-than-satisfying read.  Point 1: It isn’t addressed how/why Heather Kelley is selected as the alien’s new pawn.  Point 2: Instead of showing Superman’s initial reaction, the Man of Steel is depicted caught in the storm mid-flight.  It’s frankly a weak transition to the monster blizzard sequence. 

Points 3 & 4: It isn’t conveyed how/why Superman’s heat vision amazingly thaws out Metropolis in one icy explosion.  More importantly, Pérez conveniently ignores how ordinary humans turned into pure ice can somehow be restored to their pristine living selves.  As there likely isn’t a rational answer, this ‘super-miracle’ must be attributed to ludicrous comic book science, even in loose terms.  Despite the art team’s terrific contributions, Superman # 3 sabotages a reasonably good tale with far too little storytelling logic.    

ADDITIONAL CONTENT:

Including a full-page cover, there is a six-page preview of The Ray re-boot four-part mini-series by Jimmy Palmiotti; Justin Grey; and Jamal Igle.  The New 52 column briefly interviews writer Palmiotti & artist Moritat re: their new All-Star Western series.  Also interviewed is writer Mike Costa about his new Blackhawks series.  DC Editor-in-Chief Bob Harras pens a single-page “All Access” column to promote current talent, i.e. Scott Snyder; Jeff Lemire; Scott Lobdell and Fabian Nieza.    

BRIAN’S ODD MOON RATING:                   5½ Stars

Written by Gail Simone

Art by Diego Olmos; Nei Ruffino; & Carlos M. Mangual

Cover Art by Jesus Saiz

SUMMARY:

Entitled “Hostile Takeover, Part Two of Two,” it was released by DC Comics for August 2011.  With Renee “The Question” Montoya backing her up, the Huntress races to save her fellow Birds from a Gotham high-rise deathtrap.  Needing additional intel, Barbara “Oracle” Gordon calls upon a Secret Six member. 

While Hawk and Lady Blackhawk contend with separate threats, Black Canary and a critically-wounded Dove face the nightmarish enigma known as Junior in the skyscraper’s pitch black basement.  Regrouping the squad, Barbara makes a command decision re: the Birds’ field leader.          

REVIEW:

Although the visual quality falters a bit in a few panels, this issue’s artwork is generally excellent.  It’s an ideal partnership with writer Gail Simone’s tightly-played script.  Lifting the eeriness of the slasher film genre, Simone deftly blends action-adventure, suspense, and some genuine terror into this issue’s mix. 

Plausibly threatening even a JLA veteran Dinah’s nerves with the ghoulish Junior is a brilliant touch by Simone.  Perhaps best of all is that the inconclusive ending suggests that the Birds aren’t out of jeopardy yet vs. Junior, Mr. Tripe, & Co.  The only significant plot element missing is how Hawk fares or escapes his predicament, let alone his reaction to Dove’s possibly grim fate.  Also, the Question’s gunshot wound from Issue # 12 is conveniently ignored, as if she instantly recovers from it — or is her ensemble somehow bulletproof?  It’s an implausibility left unaddressed in the script.      

Aside from these few faults, “Hostile Takeover” (both this issue and Issue # 12) is well worth exploring for adult fans.     

ADDITIONAL CONTENT:

The two-page letters-and-answers column reveals Phantom Lady’s guest presence on the cover of Birds of Prey # 14.  Ian Sattler’s DC Nation column plugs Green Lantern movie tie-in video games.  With its own Alex Ross front cover and a back covers, an eight-page comic book promo for J.J. Abrams’ Super 8 film is inserted      

BRIAN’S ODD MOON RATING:                   8 Stars

Written by Gail Simone

Art by Jesus Saiz; Nei Ruffino; & Carlos M. Mangual

Cover Art by Jesus Saiz

SUMMARY:

Entitled “Hostile Takeover, Part One of Two,” it was published by DC Comics for July 2011.  A brief prologue reveals that the sinister Mr. Tripe has recently hired twin sisters Trissa & Somnia Lachess as aides for his ominous boss: ‘Mr. J.’  Coordinated by Barbara “Oracle” Gordon, the undercover Birds (Black Canary, Lady Blackhawk, Hawk, & Dove) infiltrate Tripe’s tech-proof Gotham City skyscraper. 

Splitting up, the Birds encounter face-to-face threats.  Interrupting an illicit weapons buy in the Gotham sewers, the Huntress horrifically realizes what shadowy menace is stalking the Birds.  Renee “The Question” Montoya guest-stars.        

REVIEW:

Perfectly capped by its cliffhanger ending, writer Gail Simone’s script is well-played, specifically: the Birds pitted against an enigmatic foe capable of overwhelming them.  Implying just enough creepiness works for Simone’s script, as it’s an effective tool making her plot twists much less predictable. 

However, one sequence that perhaps needed slightly more elaboration is the Huntress’ intuitive hunch re: the mystery villain – why would she know who this villain is?  Otherwise, Simone is very much on her game, including the Question’s entertaining presence.  Led by Jesus Saiz, the visuals (including a fine cover image) are of excellent caliber.  Birds of Prey # 12, as a result, makes a dynamite read for fans.    

ADDITIONAL CONTENT:

There’s a two-page letters-and-answers column, with a reverse-image cover reveal for Birds of Prey # 13.  Ian Sattler’s DC Nation column plugs the Batman: Arkham City video game.  

BRIAN’S ODD MOON RATING:               8½ Stars

Written by Gail Simone

Art by Ed Benes; Adriana Melo; Mariah Benes; Nei Ruffino; & Swands

Cover Art by Ed Benes & Nei Ruffino

SUMMARY:

Published by DC Comics as a Brightest Day tie-in for August 2010, this second installment of the four-part “End Run” storyline is entitled “The Rage of the White Canary.”  In a darkened Gotham City alley, Black Canary’s narrative explains why she and a wounded Huntress are outmatched vs. the White Canary.  The Birds get back-up in Zinda and Hawk & Dove.  Barbara deduces that Dinah Lance/Black Canary is being set up for a high-profile murder.  The White Canary predicts the Birds will all die within a matter of hours, either by her hand or by suicide. 

Dragging a wounded Penguin with them, the five Birds forcibly retreat from a battle with Gotham cops.  A dispirited Barbara learns of Savant & Creote’s grim fates.  As the team flees to Penguin’s Iceberg Lounge, a mortified Dinah finds her turbulent private life (including her secret identity) exposed by the news media.  A defiant Barbara realizes that the Birds’ own vast technological resources are being used against them.        

REVIEW:

Capably supported by Ed Benes’ dynamite artwork (including a stellar cover image), classy writer Gail Simone ignites an impressive phase for the Birds franchise.  Putting the team (even with Hawk & Dove’s added firepower) on the defensive, this issue has a fresh, unpredictable energy.  The edgy storyline re: the news media instantly becoming the team’s worst nightmare and converging Gotham cops makes for a compelling read. 

The unstoppable White Canary also proves a worthy adversary for the Birds (especially Dinah).  Dinah’s narrative adds credibility to her confusion as to the White Canary’s vengeance, let alone how this villainess quickly topples the Birds in a series of deadly personal strikes.  Simply put, the combination of Simone’s spot-on scripting (though it’s more violent than her usual fare) and Benes’ artistic magic makes this issue certainly worth finding.        

ADDITIONAL CONTENT:

Including a cover image, a six-page preview explores the Jonah Hex: No Way Back graphic novel.  DC’s Batman Group Editor, Mike Marts, hypes the Joker’s Asylum mini-series and a new Harley Quinn series in the single-page “DC Nation” column.  

BRIAN’S ODD MOON RATING:                  8½ Stars