Ending Battle: "Morning Twilight" / "Dawn's Early Light" / "In the Dark of the Noon Day Sun" / "The Thirteenth Hour" / "After School Special" / "Rush Hour" / "Nightfall" / "The Last Supervillain"
Action Comics vol. 1 #795-96, The Adventures of Superman vol. 1 #608-09, Superman vol. 2 #186-87, Superman: The Man of Steel #130-31 (Nov.-Dec. 2002)
Writers: Geoff Johns, Joe Casey, Mark Schultz, and Joe Kelly
Pencils: Pascual Ferry, Derec Aucoin, Brandon Badeaux, and Duncan Rouleau
Inks: Cam Smith, Derec Aucoin, Mark Morales, Marlo Alquiza, and Mark Farmer
Colors: Tanya & Rich Horie, Rob Ro & Alex Bleyaert, and Moose Baumann
Letters: Richard Starkings and Ken Lopez
Associate Editor: Tom Palmer jr.
Editor: Eddie Berganza
Ending Battle is the second-last of the Joe Casey-era Super titles crossovers, and arguably one of the more successful. Unlike the two Return to Krypton stories, it bounces through each of the four Super titles twice; unlike Our Worlds at War, it doesn't sprawl too much, but stays contained. There's still a lot of action, arguably too much, but the story also has a decent focus on character, and has clearly been designed so that the overwhelming amount of action is, in many ways, the point of it all.
from The Adventures of Superman vol. 1 #608 (script by Joe Casey, art by Derec Aucoin) |
So Superman must protect Pete and Lana at the White House, then his parents (who have un-died at some point since Casualties of War!), then his high-school football coach, his dentist, his journalism professor, his local librarian, his optometrist, Jimmy Olsen, the Daily Planet office, and John Henry and Natasha Irons. Some of this works better than others. A lot of the supervillains are, quite frankly, C- and D-grade material. I guess that's kind of by design (I doubt Manchester Black could control an A-grade villain, and the A-grades he does control are saved for the climax of the conflict), but I'm not terribly into reading a whole issue where Superman fights a guy whose power is, apparently, "chains." Joe Casey handles it best in part 2 (Adventures #608), and Mark Schultz does a decent job of it in part 3 (Man of Steel #130). As one comes after another after another, we get a bunch of vignettes that amuse (the ridiculous of the villains in part 2 especially) but also raise the tension and demonstrate why Superman is Superman (he really does think everyone matters).
from Superman: The Man of Steel #130 (script by Mark Schultz, art by Brandon Badeaux & Mark Morales) |
I also enjoyed the confrontation with Lex Luthor in Joe Kelly's part 4 (Action #795). Most of the villains don't know why they're attacking these people, they just are, but Luthor does know... and so therefore refuses to make use of the knowledge: "I was given the information -- [...] Your identity was given to me. On a platter. A mysterious file. A naive employee. No witnesses -- [...] I didn't look a gift horse in the mouth... but I have not done this. I refuse to be a pawn." As has been consistent throughout this era of Superman, putting Lex into a position of power has allowed for an exploration of some of the interesting aspects of his character.
from Action Comics vol. 1 #795 (script by Joe Kelly, art by Duncan Rouleau & Marlo Alquiza) |
The whole thing comes down to a battle between Superman and Manchester Black, where Superman thinks Lois Lane is dead, and Black mentally abuses Lois, either revealing or creating-- I wasn't sure-- memories of her abuse at the hands of her father. This seemed unnecessarily dark to me, and the whole conclusion (Action #796) doesn't quite come off. What Ending Battle wanted to be was Superman pushed to his limit, and he still doesn't snap... but you never feel like Superman actually would snap. All of these terrible things have happened to him in one awful day, but he just kind of shrugs it all off and does the right thing. Which, fair do, Superman should always do the right thing... but in life doing the right thing is rarely easy. Here's it's almost flippant how Superman is like, "You murdered my wife but I will take the moral high ground."
from Action Comics vol. 1 #796 (script by Joe Kelly, art by Duncan Rouleau & Marlo Alquiza) |
All that said, the story is one of the better of the Super title crossovers, which I guess is damning with faint praise. It has length enough to fit its scope, but doesn't sprawl; the emotional throughline is more thought out and thought through than in Return to Krypton, Our Worlds at War, or Return to Krypton II. Only Lost Hearts (still to come) was better, but on the whole, I feel like it was a format the writers and editors of this era never really worked out to its best.
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