Showing posts with label creator: karl story. Show all posts
Showing posts with label creator: karl story. Show all posts

29 September 2025

Black Panther: Two Thousand Seasons by Ta-Nehisi Coates, Daniel Acuña, et al.

The previous installment of The Intergalactic Empire of Wakanda ended with T'Challa finally getting his memory back; the third and penultimate sees him reestablishing (first) contact with and (then) transportation to "Wakanda Prime" (e.g., the original Wakanda on Earth). We get to see T'Challa interact with his supporting cast again; we discover more about the origins of "Intergalactic Wakanda" and about how T'Challa ended up there; and the emperor of the empire is seemingly defeated... but secretly continues to lurk in the background.

Who among us hasn't forgotten we're a supergenius?
from Black Panther vol. 7 #15
I was hoping that this installment would see the story kick into gear, but overall, it's pretty slow; reflecting back over it, I realized that very little had actually happened across the first five issues. (The sixth is a flashback establishing how T'Challa first came to the Intergalactic Empire and ended up a mind-wiped slave.) It's nice to get some answers, but mostly it seems to be moving pieces into position rather than telling its own story. I suspect that, once again, Ta-Nehisi Coates has bitten off more than he can chew, and whatever remains of this story will not be able to satisfactorily tie up all the interesting themes and ideas he has introduced.

In particular, T'Challa is wrestling with his sense of responsibility toward the Intergalactic Empire. It is going around committing crimes in the name of his country. Does he need to stop it? The story indicates this is complicated by the fact that, since he left, Wakanda has entered its first period of prosperity and peace in a long time. Dare he disrupt this? That's an interesting idea, but it's one I found hard to buy into, because we haven't actually seen this new, supposedly peaceful Wakanda. The main Black Panther series hasn't shown us Wakanda Prime for a dozen issues; our visits to Wakanda in the parallel Shuri miniseries didn't indicate that things were going that well. If this dilemma is going to drive the rest of this series, we need more reason to believe in it.

from Black Panther vol. 7 #18
There are nice touches, though. I thought the character stuff between T'Challa and Storm was probably handled better than at any previous time in Coates's run, particularly in the last issue here, where they discuss the invisibility of oppression to those who benefit from it. The reunion between T'Challa and his mother and sister was also well done. I think Daniel Acuña's art continues to improve; there are some real killer action sequences here. On the other hand, I am pretty unexcited to see that the villains of A Nation under Our Feet are making a reappearance.

So overall, this continues to be the best storyline of Coates's run on Black Panther, but it also doesn't read like the best comic someone could have written about these concepts and ideas. 

The Intergalactic Empire of Wakanda, Book 3: Two Thousand Seasons originally appeared in issues #13-18 of Black Panther vol. 7 (Aug. 2019–Jan. 2020). The story was written by Ta-Nehisi Coates, illustrated by Daniel Acuña (#13-17) and Chris Sprouse (#18), inked by Karl Story (#18), colored by Marcio Menyz (#18), lettered by Joe Sabino, and edited by Wil Moss.

ACCESS AN INDEX OF ALL POSTS IN THIS SERIES HERE

16 April 2025

Black Panther: Avengers of the New World, Part One by Ta-Nehisi Coates, Wilfredo Torres, Chris Sprouse, Karl Story, et al.

After my side-steps into World of Wakanda and Black Panther & the Crew, I'm back to Ta-Nehisi Coates's main Black Panther series with the first half of its second storyline, Avengers of the New World. His first storyline, A Nation under Our Feet, had felt somewhat overextended at twelve issues... this one is thirteen!

from Black Panther vol. 6 #13
Despite the title, this has nothing to do with the "Avengers"; following Wakanda's transition into a constitutional monarchy, the traditional gods of Wakanda, including the panther god Bast, have vanished—and entities are flooding into Wakanda through mysterious portals, as new religions begin to spring up.

Mysticism in comics is always a hard sell for me, I'm afraid, and Coates doesn't sell it. The idea of the gods vanishing all seems very abstract as a central conflict goes. Why should I care about this? The gods don't really have much of a day-to-day impact on the storytelling of Black Panther to begin with. It seems to me that having set up a major status quo change at the end of the last story arc, this one should explore the implications of it, but Wakanda's democratization gets a few token references; key character Changamire puts in just one small appearance. You could have told this story during any other Panther run, and that's a pity.

There's a subplot I don't totally get the relevance of, with Queen Divine Justice (an American member of the Dora Milaje from Priest's run) getting kidnapped; she is written so utterly different from her original appearances that I would not have even realized who she was if her original name hadn't been mentioned in the letter columns. (And the beginning-of-issue recaps say she knows T'Challa from his days in New York, which I am pretty sure is just factually inaccurate.) I'm glad to see Coates pulling from previous runs in theory,* but I'm not sure why he is bothering.

from Black Panther vol. 6 #17
Like the first story arc, it just feels like somehow so many issues go by with little happening; by the end of part 6, all we really know is that something mysterious is afoot and longtime Black Panther foe Klaw is involved. Surely we could have done this in two parts!

As for the art... well, you know things are rough when the "next issue" box proudly announces the return of the guy (Chris Sprouse) who on the last story arc was the fill-in artist! I think Wilfredo Torres is supposed to be the arc's main artist, but he draws only one complete issue, needing assists on three more. I didn't care for his somewhat heavy style. Chris Sprouse is typically solid, but I found his work less good than normal; I presume he was rushed. The six issues here have four pencilers and seven inkers! It is always a shame when a run by a "star" writer has such little focus on matching them with a quality artist.

I guess we'll see where things go, but based on the arc so far and on the last one, I don't have high hopes for the last seven(!) parts. 

from Black Panther Prelude #2
I also read the two-issue Black Panther Prelude at this point; this was a Marvel Cinematic Universe tie-in that came out shortly before the 2018 film. It actually takes place ten years prior to the film, after the events of Iron Man, and as a result, it seemed to me that it didn't really set up anything interesting to do with the film. T'Challa has recently become Black Panther; his father T'Chaka sends him on a covert mission to rescue a couple Wakandan hostages, along with Okoye of the Dora Milaje; they do it. It's a pretty straightforward, pretty generic action-focused story that didn't really give any insight into the characters or world of the film it was setting up.

Parts 1-6 of Avengers of the New World originally appeared in issues #13-18 of Black Panther vol. 6 (June-Nov. 2017). The story was written by Ta-Nehisi Coates; penciled by Wilfredo Torres (#13-15, 18), Jacen Burrows (#14), Adam Gorham (#15), and Chris Sprouse (#16-18); inked by Wilfredo Torres (#13, 18), Terry Pallot (#14-15), Jacen Burrows (#14), Adam Gorham (#15), Karl Story (#16-18), Walden Wong (#16), and Dexter Vines (#16-17); colored by Laura Martin (#13-18) & Andrew Crossley (#13, 16-17); lettered by Joe Sabino; and edited by Wil Moss.

The Panther and the People originally appeared in issues #1-2 of Black Panther Prelude (Dec. 2017–Jan. 2018). The story was written by Will Corona Pilgrim, illustrated by Annapaola Martello, colored by Jordan Boyd, lettered by Travis Lanham, and edited by Mark Basso.

ACCESS AN INDEX OF ALL POSTS IN THIS SERIES HERE

* The Marvel Chronology Project informs me that issue #14 of Black Panther volume 6 in July 2017 was her first appearance in any comic at all since issue #63 of volume 3 in September 2003... almost fourteen years!

12 March 2025

Black Panther: A Nation under Our Feet by Ta-Nehisi Coates, Chris Sprouse, Karl Story, et al.

In my ongoing Black Panther readthrough (see link below), there have been a few gaps where there were no Black Panther comics being published: 1980-87 and 1992-97 are probably the two longest ones. There was another one from 2013 to 2015, the gap between The Most Dangerous Man Alive! and Black Panther volume 6. It's comparatively short, but on the other hand, it's the first time that a number of significant events have apparently transpired between Black Panther runs... they just happened to Black Panther in other comic books. Since we last saw T'Challa, he's become king of Wakanda again, his sister (queen of Wakanda on her last appearance) is dead, he and Storm have gotten divorced, and Wakanda has been invaded by both Namor and Thanos. It's quite a lot!

from Black Panther vol. 6 #5
The first twelve issues of volume 6 make up a single story arc, A Nation under Our Feet, which chronicles a populist uprising in Wakanda that causes T'Challa to grapple with the meaning of kingship as he also sets out on a quest to resurrect Shuri... who despite being dead is on her own quest. I'd actually read some of this before; the collection of the first four issues were a finalist for the Hugo Award for Best Graphic Story in 2017. I ranked it sixth, finding it incomplete and impenetrable. Having now read the whole arc with the context of earlier Black Panther comics, I'm pretty baffled that issues #1-4 were collected on their own; the story hasn't even come to a stopping point, it just stops. At the time, I assumed what confused me was from earlier Black Panther comics, but that wasn't the case—annoyingly, it mostly happened in Avengers, I think. Writer Ta-Nehisi Coates fills you in a little, but often not enough; in issue #12, for example, T'Challa apologizes to the way he deserted Shuri before she died, but because I didn't know he did that until the apology, the moment falls flat.

from Black Panther vol. 6 #1
Overall, I felt like this arc had some interesting ideas but Coates didn't know how to pace a comics story; at twelve issues, it feels like the whole thing goes in circles a bit too much. Again and again, T'Challa agonizes over what to do about this revolution; again and again, the two different rebel factions bicker; again and again, Shuri talks to someone in the afterlife. It rarely felt like anything was moving forward, like the state of play was changing. In a twelve-issue arc, I think you need to have clear moments of energy and upset, but this story didn't have that.

I did, however, very much enjoy issue #10, which is where I felt Coates finally nailed what he was going for—and the majority of the issue is a conversation between T'Challa and a political science professor! But in this conversation, I felt there was a lot more dynamism than in the story's endless series of action sequences that didn't actually move the story forward. The idea of T'Challa grappling with kingship finally pays off here, and though the idea of a T'Challa who'd rather be a hero than a king doesn't accord with how I see the character (I prefer Priest's take), it works well enough on its own terms.

from Black Panther vol. 6 #12
Unfortunately, the climax in #11 is a bit disappointing. After all the stuff about returning power to the people, moving away from a system of "one man" having a "nation under his feet"... the way T'Challa defeats the rebel army is by summoning spirits of all the previous Black Panthers? Why? I didn't see how it paid off anything from the previous issue or story as a whole. And I'm curious how the new government promised in #12 is different from the old one, but I guess that's an issue for stories going forward. I am also curious to see more of some of the supporting cast, such as the politics professor and the two rogue lesbian Dora Milajae.

Brian Stelfreeze is pretty good on art, but like a lot of superstar artists on high-profile runs, he draws fewer issues than the fill-in artists do!

A Nation under Our Feet originally appeared in issues #1-12 of Black Panther vol. 6 (June 2016–May 2017). The story was written by Ta-Nehisi Coates; illustrated by Brian Stelfreeze (#1-4, 9, 12) and Chris Sprouse & Karl Story (#5-8, 10-12), with finishes by Goran Sudžuka (#11), Walden Wong (#8, 11), Roberto Poggi (#11), and Scott Hanna (#12); colored by Laura Martin (#1-12), with Matt Milla (#4, 11-12), Larry Molinar (#11), Rachelle Rosenberg (#11), and Paul Mounts (#11); lettered by Joe Sabino (#1-7, 9-12) and Clayton Cowles (#8); and edited by Wil Moss.

ACCESS AN INDEX OF ALL POSTS IN THIS SERIES HERE

24 June 2024

Legion of Super-Heroes: Five Years Later Omnibus, Volume 2 by Tom & Mary Bierbaum, Tom McCraw, Stuart Immonen, Chris Sprouse, et al.

Legion of Super-Heroes: Five Years Later Omnibus, Volume 2
 
Collection published: 2022
Contents originally published: 1992-94
Acquired: June 2022
Read: May 2024

This volume collects the second half of the so-called "Five Year Later" Legion—which is also the last two years of the original thirty-six-year Legion continuity. It not only collects the main Legion title and the Legionnaires spin-off, but also some issues of L.E.G.I.O.N. and Valor that tied into it. It's a pretty nicely put together collection, and it means that DC has collected all the Legion material from 1958 to 1984 and from 1989 to 1994 in hardcover. All they have to do is the five years of Legion of Super-Heroes vol. 3 (and some ancillary material from that time) and they'll be done. C'mon DC, you can do it! But as for this volume itself, I'll take it in chunks because it's so big:

Legion of Super-Heroes vol. 4 #40-48

Writers: Tom & Mary Bierbaum with Tom McCraw
Pencillers: Stuart Immonen, Chris Sprouse
Inkers: Ron Boyd, Karl Story, John Dell III
Letters: John Workman, Bob Pinaha
Colorist: Tom McCraw

These issues set up the new status quo for the Legion; you may remember that in the previous volume, a group of younger (cloned?) Legionnaire surfaced, the so-called "Batch SW6." The opening story sees the two Legions divvy up responsibilities; the older (original?) will take responsibility for the wider United Planets, while SW6 Legion will stay on "New Earth," the collection of linked domed cities that's all that's left following the destruction of the Earth.

Most of these nine issues are given over to a tedious storyline about the return of Mordru, using an army of the dead to try to take over the galaxy. I found the beats of this storyline very repetitive, and it dragged on and on. Writers Tom & Mary Bierbaum, on their own after co-plotting with Keith Giffen in the previous volume, are good at character moments and comedy, but I think not great at telling big stories; there are lots of nice moments and good ideas, but the overall story just isn't big enough to justify the space given to it. The art is excellent, though; well done Stuart Immonen especially.

Legionnaires #1-8

Writers: Tom & Mary Bierbaum
Pencillers: Chris Sprouse, Adam Hughes, Colleen Doran
Inkers: Karl Story, Mark Farmer, John Nyberg
Letterer: Pat Brousseau
Colorist: Tom McCraw

Legionnaires also starts with a multi-part story, this one about a new Fatal Five assembling to take down the new Legion. Again, it's okay but too drawn out, and again it has great art, here from Chris Sprouse.

What did really work for me in this set of eight issues were the last two, a pair of standalone stories. The first features some exquisite Adam Hughes art in an adventure where the Legion visits the Atlantis dome; the character driven stuff really suits the Bierbaums' strengths in a way that wasn't true of the earlier stories, and Hughes is all-time great when it comes to "acting"; his Legionnaires are expressive and lively. I would have loved to have seen a longer run from him on the Legion. There's also a Brainiac 5–focused story that I found so-so, but really shines thanks to some Colleen Doran art. Again, she's an all-time great, and Legionnaires was lucky to get her early in her career.

The fun thing about seeing the young Legion in a 1990s comic is that they come across as genuine teenagers in a way that wasn't really true of the 1960s squares of the era from which they were supposedly plucked.

Legion of Super-Heroes vol. 4 #49-52 & Annual #4

Writers: Tom & Mary Bierbaum, Tom McCraw
Pencillers: Stuart Immonen, Darryl Banks, Joe Phillips, Christopher Taylor, Nick Napolitano
Inkers: Terry Austin, Ron Boyd, Wade Von Grawbadger, Dan Davis, Pam Eklund, Rich Faber
Letters: Bob Pinaha
Colors: Tom McCraw

This section opens with a "Bloodlines: Earthplague" annual; it is of course terrible, but all of 1993's Bloodlines annuals were, so I don't know how much we can blame the Bierbaums for this. (It is, however, kind of misplaced; it takes place during the Mordru storyline from earlier in the book.) A skateboarder dude with attitude gets powers and travels to the thirtieth century and lives it up... and it's just awful all around, not helped by some really bad art. (There are five credited pencillers and four credited inkers.)

The last four issues here are transitional standalones: a comedy Tenzil "Matter-Eater Lad" Kem story, a big celebration for the fiftieth, a story about Kent Shakespeare and some Legion-adjacent children, and a Timber Wolf story. Most are not great. The Tenzil one was nowhere near as funny as previous Tenzil adventures; I am not sure what happened there. The one about the kids was confusing; maybe I would have liked it more if I could remember who these characters were, but I mostly did not. (It's been over two years since I last saw most of them in the previous Five Years Later omnibus.) The Timber Wolf one mixes great Stuart Immonen art with terrible Christopher Taylor art, and seems like a bit of a regression for a character I don't particularly like to begin with.

That said, I did really like #50, which was also the swansong of the Bierbaums on the main book. One thing I've really liked about their run is the sense of the Legionnaires as real people that have grown and aged and come to terms with themselves, and that's really present in this issue; there's a great conversation between Light Lass and Timber Wolf, for example. There's a strong Element Lad focus here, which really works; I think they nicely picked up the baton of treating these characters as people in a way that Paul Levitz had begun and no one before him had. It's a shame all this work got wiped out by later writers, even when DC did return to the "original" Legion.

Legionnaires #9-15

Writers: Tom & Mary Bierbaum
Pencillers/Breakdowns: Chris Sprouse, Adam Hughes, Brian Stelfreeze, Joe Phillips, Chris Gardner, Frank Fosco, Jeff Moy
Inkers/Finisher: Karl Story, Stuart Immonen, Mark Farmer, Wade Von Grawbadger, Jason Martin, Dennis Cramer, Ron Boyd
Letterer: Pat Brousseau
Colorist: Tom McCraw

I wouldn't call this great, but it's a reasonably strong run from the Bierbaums; instead of doing one big story, it's more in the classic 1980s style of the Legion, where there's a bunch of different stories on the boil all at once, rotating in prominence, with the character work being the main throughline. I think this plays to their strengths more than other work in the volume, and I think had they been allowed to stay on the title, they could have eventually made it great. Unfortunately, what should have been the best subplot (Kono and a disguised-as-a-woman Tenzil infiltrating space pirates) turns out to be the worst. I don't know how they screwed that one up but it just doesn't make sense at all.

Legion of Super-Heroes vol. 4 #53-59

Co-Plotters: Tom McCraw, Stuart Immonen, & Ron Boyd
Words: Tom McCraw
, Mark Waid
Colors: Tom McCraw
Art: Stuart Immonen & Ron Boyd, Chrstopher Taylor & Dave Cooper
Letters: Bob Pinaha

Tom McCraw's brief run on the Legion is freaking awful. They're once again on the run and against the government, which feels like a regression; they adopt stupid new codenames; they suddenly start acting and posing in a very 1990s "attitudinal" way. I don't really know what anyone was going for here but it was pretty badly done.

L.E.G.I.O.N. '94 #69-70 / Legionnaires #16-18 & Annual #1 / Legion of Super-Heroes vol. 4 #60-61 & Annual #5 / Valor #20-23

Writers: Tennessee Peyer, Mark Waid with Ty Templeton, Tom McCraw, Kurt Busiek
Pencillers: Arnie Jorgensen, Derec Aucoin, Paul Pelletier, Jeff Moy, Stuart Immonen, Curt Swan, Ron Boyd, Wade Von Grawbadger, Craig Hamilton, Ted McKeever, Colleen Doran, Chris Gardner
Inkers: James Pascoe, Mark Farmer, John Lowe, Wade Von Grawbadger, Ron Boyd, Jose Marzan, Jr., Dave Cooper, John Lowe, Robert Campanella, Karl Story, Colleen Doran, Dennis Cramer
Colorists: Gene D'Angelo, Tom McCraw, Dave Grafe
Letterers: Gaspar, Pat Brousseau, Bob Pinaha

First we get some pages from two issues of L.E.G.I.O.N. that wrap up Jo Nah's search for the missing Tinya Wazzo, though he finds out that L.E.G.I.O.N.'s Phase is no Tinya, but her cousin. This is a retcon I don't buy and tend to ignore, but good on DC for including the pages here. (I think these are the only issues of L.E.G.I.O.N. to ever be collected?) After that we get two Elseworlds annuals, one where the Legion are Arthurian knights in space, and one where it's an Oz riff. Neither is a great Elseworlds tale, though the Arthurian one has its moments.

Finally, we get a set of timebending Zero Hour tie-ins that draw this era of the Legion to an end. A couple issues of Valor are here, though Colleen Doran art aside, I don't rate them highly; even Mark Waid can't make this dud of a premise work. (The SW6 Valor has to replace the original Valor and do everything he did, but earlier and quicker, for some reason.) Then time anomalies begin threatening the Legion and Legionnaires in the thirtieth century, their continuity slipping around them; Cosmic Boy turns out to be the Time Trapper; a series of increasingly complicated but meaningless reveals about nothing are made. It's the worst kind of superhero comics, where what happens is more important than how.

And then it all comes to an end. I guess I can see why DC decided to start over with the Legion, but it seems to me that this was the beginning of the slow thirty-year death of the Legion. No longer was the Legion a single ongoing story to which different authors and artists added their bits, but rather it was now continuously jettisoned and started over arbitrarily. Even when later runs were strong (I do really like the "threeboot"), the overall health of the Legion as a concept never recovered. I wonder if there was a way to continue on from this era and make it work (probably such a way requires there to never have been an SW6 Legion) but we'll never know.

But regardless, this is a great collection in that it provides ready access to a key slice of DC history. Even the bad choices here are interesting, and the good choices are great. I'm pretty close to owning an unbroken 1958-94 run on the Legion, and I look forward to savoring this volume as the culmination of the original dream.

I read a Legion of Super-Heroes collection every six months. Next up in sequence: Legion of Super-Heroes Archives, Volume 1

24 November 2017

Review: Manhunter: Face Off by Marc Andreyko, Jeremy Haun, John Lucas, et al.

Earlier this year I read all the collected editions of DC's Manhunter ongoing (2004-09). Though all of the ongoing was collected, one more Manhunter collection was solicited but never published: Face Off* which would have collected the thirteen nine-page Manhunter backup strips that ran in Batman: Streets of Gotham for a year. I liked Manhunter enough, and wanted more closure than I got from the last volume of the ongoing, so I tracked down the issues of Streets of Gotham and read them.

It begins with Kate Spencer starting her third job: she's the new district attorney for Gotham City, an unthankful job if there ever was one, only it seems perfectly suited for the way Kate/Manhunter works as a character. Justice fails so much in Gotham that there will be plenty for her to do. She doesn't want to endanger Ramsey, though, so he stays back in L.A. with his father. The main thrust of this storyline is Kate's attempt to prosecute Two-Face for the murder of her predecessor (and, I guess, his successor) as D.A., which was carried out by "Jane Doe," a woman who can wear other people's skins, at his instigation. I think. There were definitely some jumps. I wasn't even sure when and how Kate figured out Two-Face was responsible for the murder, and the trial starts for some reason even though she actually has almost no evidence.

Clearly the story cuts off before Andreyko imagined it would, as his Manhunter stories always seemed to; Face Off ends without a resolution to the Two-Face trial, though there has been a mini-resolution when Jane Doe assaults Kate's family and is defeated. Still, I enjoyed returning to these characters-- moving the story to Gotham even allows Andreyko to tie up what happened to Dylan Battles, who went to Gotham in the aborted penultimate storyline from the ongoing. We also get Ramsey's discovery of his superpowers, setting the stage for him becoming a superhero in the "Some Years Later" epilogue.

Like I said, Gotham is a good fit for this series's sensibilities, and Andreyko gets some of his better artistic collaborators. Though there is a lot of switching off over the story's 117 pages (see below), I thought Jeremy Haun, who pencils a majority of it, was suited to the gritty tone of Manhunter and Gotham. I even liked the work of Georges Jeanty, whose poor childlike faces always threw me in Buffy the Vampire Slayer: Season Eight-- whatever he did in those stories that I didn't like, he tones down here.

This is a decent, if incomplete, story, and I enjoyed reading it more than the last few "actual" Manhunter storylines. It deserved to be collected, so I'm glad I tracked it down. Kate only appeared on the cover once (issue #7, pictured above; the cover is by Dustin Nguyen, who drew the lead Batman feature in Streets of Gotham), and I'd guess the cover was commissioned so it could be used for the never-published collected edition. I assume the moment for any kind of Face Off collected edition has long passed, but maybe someday there will be a Kate Spencer, Manhunter Omnibus, where this would make a perfect inclusion between issues #36 and 37.

Manhunter: Face Off originally appeared in issues #1-13 of Batman: Streets of Gotham (Aug. 2009–Aug. 2010). The story was written by Marc Andreyko; pencilled by Georges Jeanty (#1-3), Jeremy Haun (#4-6, 8-11), Cliff Richards (#7), and Szymon Kudranski (#12-13); inked by Karl Story (#1, 3), Dexter Vines (#2), Jack Purcell (#3), Jeremy Haun (#4-5, 9), John Lucas (#6, 8, 10-11), Art Thibert (#7), and Szymon Kudranski (#12-13); colored by Nick Filardi; lettered by Sal Cipriano (#1-6, 8-13) and John J. Hill (#7); and edited by Janelle Siegel.

* Or Faceoff or Face-off: I saw all three versions on-line. I went with "Face Off" because that's the actual title of the story in issue #7.

30 December 2009

Faster than a DC Bullet, Issue #16: Lex Luthor: Man of Steel

Comic trade paperback, n.pag.
Published 2005 (contents: 2005)

Borrowed from a friend
Read December 2009
Lex Luthor: Man of Steel

Writer: Brian Azzarello
Artist: Lee Bermejo
Additional Inks: Mick Gray, Karl Story, Jason Martin
Colorist: Dave Stewart
Letterers: Phil Balsman, Pat Brosseau, Rob Leigh, Nick J. Napolitano

DC Universe Timeline: Seven Years Ago
Real World Timeline: 2005

(When I assembled this timeline, I placed this story after For Tomorrow, Volume Two on the basis of an on-line timeline I saw somewhere that gave this placement. But after reading the story, it's plainly not true: Luthor is still CEO of Lexcorp and doing quite well, so it must come before his term as president. In addition, Superman and Batman don't have a friendly relationship-- Lex gives Batman a piece of kryptonite, and Superman fights him to get it back-- so it must occur early in their careers... but not too early, as Mona, who's probably in her 20s, says Superman's been in Metropolis since she "was a little girl". One timeline cited the apperance of Mr. Orr in both this and For Tomorrow as evidence they go close together, but that actually works in favor of an early placement for Lex Luthor: in For Tomorrow, he's working for shadow governments and fighting Wonder Woman, whereas in this one he's intimidating union bosses. Obviously he's got some mercenary credentials to acquire yet. Considering all that, I've placed the story a year before Crisis on Infinite Earths. Which disappointingly means it's not really the last stop on my chronological journey, but oh well.)

It's a well-established fact that Lex Luthor is my favorite comic book villain of all time. Superman's my favorite hero, and Luthor is the perfect opposite for him:a self-made man, through and through. Both see themselves as wanting the best for everyone around them, but the difference is that for Luthor, what's best for everyone else is always also best for him. I also love his casual arrogance, his manipulation of those around him... which is deserved, because he actually is the smartest man in the room. My preferred Luthor is the accomplished, brilliant businessman-- that's the one I grew up on in the Superman cartoon-- but I also admit a fondness for the Gene Hackman/Kevin Spacey version, who I think still has the same fundamental core. The highest compliment I can give to a villain is to compare them to Lex Luthor; I like to try to do this in graduate seminars, and have thus far succeeded with the man in the yellow suit in Tuck Everlasting and Madame Beck in Villette. But the threat to Luthor is simple and strong: Superman.

The threat that Superman poses to Luthor is something that Lex Luthor: Man of Steel aims to explore. It's a Lex Luthor comic book, told almost entirely from his perspective. What are his adventures? What does he think? Why is he such an utter bastard?

As Azzarello paints it-- and this I agree with, it's how I see Luthor as well-- Lex Luthor thinks that Superman is a threat to humanity. Not because Superman is openly antagonistic or anything like that, but because the idea of Superman threatens humanity. As an outsider, Superman cuts off humanity's potential. Why should humanity aspire to do greater, if Superman is out there, doing it for them? Lex rejects the concepts of fate and destiny: "All of us-- everyone-- deserves a chance at greatness. All that takes is the belief that it exists. But his existence threatens not just that belief... but our existence. I believe there's something inherently dangerous when something real becomes something mythic. I believe when that happens, we lose the part of ourselves that yearns to be great. Because when faced with a myth? We can't win." Superman threatens that achievement time and again... and the possibility of humanity to achieve is something Luthor spends all his time in Man of Steel trying to prove.

The event that's going on in the background of this book is Lexcorp's construction of the Science Spire, a gigantic research facility in the heart of Metropolis. The book doesn't have one strong overarching storyline, but a couple smaller ones, interspersed with moments of Lex Luthor being Lex Luthor. It's one of these moments that's my favorite: Luthor learns that his office janitor's son is interested in science, but that he cuts class frequently, so he's not making the grades he should be. Luthor gives the janitor an invitation for the opening of the Science Spire, one he can only pass on if the son gets an A. But after the janitor leaves, Luthor instructs his personal assistant, Mona, to ensure that the son gets one of twelve spots in the incoming class at Von Rauch Academy, a very exclusive private school. Mona objects that the school's picked its incoming class already; Luthor tells her to make it work. That's Lex Luthor. He's a man who believes every human being has great potential within... and will do totally unethical things to realize that potential.

My other favorite small moment is when Luthor brutally dismisses Mona and her advances:
MONA: Lex, can I talk freely?
LUTHOR: I sign your checks, Mona.
MONA: Do you want to know what I think about this?
LUTHOR: No. Here's what you think: "My boss is getting dangerously close to making a mistake that could ruin him. He's been touched by an ideal, when all I want is for him to touch me. Despite the way I dress, he won't notice me. He only has eyes for his ideal. How can I change that? How can I make myself... ideal?"
MONA: You're a bastard.
LUTHOR: No, Mona... I'm an idealist.
It's one of these small moments that's also my least favorite. The Science Spire is going overbudget, but Lexcorp can't renegotiate its contracts with its construction workers because they have a strong union, so Luthor has Mr. Orr intimidate the union boss and threaten to throw him over the side of the building. Though this is the sort of problem-solving the ever-crude Mr. Orr might partake in, it seems a little bit beneath Luthor, using a bludgeon when a scalpel will suffice. Threatening murder just to get a building finished on time and on budget seems to be overdoing it-- especially when he's thinking about incorporating the Science Spire as a nonprofit and doesn't care about the money he makes! So why all this then?

The best extended plotline is Luthor's trip to Gotham, to meet with one of his business partners... a certain Bruce Wayne. It's a well-done chapter, cutting between Luthor's conversation with Wayne and a Batman/Superman fight precipitated by the visit: Luthor gives Wayne a piece of kryptonite, and Superman's not too happy about that. Does Luthor know that Wayne is Batman? It's never directly said... but it seems strongly implied. He knows that Wayne has something going on, though, and is willing to take a chance to get what he wants. It's a fantastic conversation. To an utterly innocent outside observer, Luthor would appear to be a forward-thinking idealist, Wayne a lackadaisical playboy. Yet, underneath, neither is the man they pretend to be.

The dedication of the Science Spire corresponds with Luthor's revelation of his own, homegrown hero: Hope. Hope is a woman created in one of Lexcorp's labs to be the ultimate superhero. You see, she's human, and the pinnacle of human achievement. Humans created her with human technology. There's a brief time where she supplants Superman in the hearts and minds of Metropolis. And as for Luthor, how does he react? Hope is the ultimate expression of his every desire. How could he react but to fall in love with her? Dang, Lex Luthor, but you're creepy. But it's believable, because Luthor's really in love with one person beneath it all: himself. He is the best humankind has to offer, and he created Hope. The sheer arrogance of that name-- who other than Lex Luthor could believe that he'd personally created hope itself?

But Hope is part of a more elaborate plot, and this is where the book loses me again. She's just not an artificial superhero: she does artificial good. The initial disaster she helps fight is manufactured by Luthor via Mr. Orr (who gets the Toyman to do it for him, in a rare good use of the character). And the book climaxes with Hope apprehending the Toyman for his crime... and dropping him, her body operating at Luthor's will. Superman saves the Toyman, of course, and a battle between the two "heroes" ensues. And during that fight, Luthor causes her to detonate, collapsing the Science Spire himself. I love the idea of a man willing to destroy is own greatest achievements for the greater good. But the justification is weak: "What the world watched you do tonight... if it only changes one mind about what you are..." That's it? Turning one mind against Superman is worth that? I don't buy it; Luthor is too calculating for that. And the fight just doesn't work either; why would saving the Toyman escalate into something like that? It's a disappointing ending, even if it does yield another fantastic Lex Luthor line: "I know I can't beat you... alone. But then, I'm not alone. There are six and a half billion of me... and only one of you."

The art's usually great. Lee Bermejo's work is rough and harsh, perfect for the world of Lex Luthor. Even if he does look a little too craggy from time to time. His Luthor is perfectly expressive, able to go from warm and friendly to cold and calculating and still be the same person. He does a good job at all the other characters, too. There is one very weird sequence with a redhead being reflected in a glass wall that I found confusing, but I eventually puzzled my way through what was happening there. The occasionally switching style is nice, too: the issue that intercuts Lex talking to Bruce with Batman fighting Superman uses a different style for each strand-- the Batman/Superman one looks more painted-- which is very effective. The colors by Dave Stewart really help, too: a lot of dark grays and greens, muddy colors for Lex's world. Superman is brighter than everything else... but only relatively. It's still a dim world.

Superman is an ominous presence in Lex Luthor: Man of Steel, and that works immensely well. He hovers outside Luthor's office, fights Batman, reports on the Science Spire, and battles Hope for the Toyman. His glowing red eyes are a recurring motif. But he only has one line of dialogue: "You're wrong... I can see your soul." It's a line that chills Luthor to the bone, because he knows it's true. Lex Luthor might be the better human being... but Superman is the better person and always will be. And they both know it, even if Luthor will never admit. Luthor will go on fighting that good fight, trying to serve humanity the best he can: the most unethical way possible. And that is why I love him.

Amazingly enough, I've finished my chronological journey through my friend's comics. But Faster than a DC Bullet's not over yet: these have just been the in-continuity ones. We've got three more out-of-continuity stories to go before this thing wraps itself up.

Note that this originally appeared on my old LiveJournal and included pictures back then. Sadly, the pictures are lost in the mists of the Internet.