Review: Empty Space by Michael Jan Friedman and Calo Cacau

Comic PDF eBook, n. pag.
Published 2019 (contents: 2018-19)
Acquired and read June 2019

Empty Space

Writer: Michael Jan Friedman
Pencils and inks / Colors: Calo Cacau
Colors: Marcos Martins
Letters: Jim Campbell and Zaak Saam

This is the collected edition of an indie comic miniseries funded through Kickstarter, which I backed since it was written by Michael Jan Friedman, longtime writer of space opera in comics and prose (mostly Star Trek, of course, but also The Darkstars!). The series is about a ship's captain who wakes up to find out he died and was brought back to life as a weapon of war. The final result is fine. Friedman's heyday as a comics writer was the 1990s, and it shows here: the narration is repetitive and details are spelled out when they don't need to be. It's decent space adventure stuff, but the character work is thin, which is a shame because I feel like characterization was Friedman's strength as a writer: more could have been made of being an "Empty" but it's mostly a background element, and most of the side characters are pretty generic. Calo Cacau's art is solid and well done; I hope he goes places.

Price Check on Smiles!

If you went back to my old LiveJournal (don't), you would discover that when I was in college, I probably talked more about and treated more seriously my job at Scott Dining Hall than I did my studies. I started out working about 6 hours per week; by junior year I was a student manager, usually working around twenty.

I took a lot of pride in this job. I used to talk about it a lot, years later, presumably to the annoyance of those around me. I don't talk about it so much anymore, twelve years on. I hope not anyway.

Scott was à la carte, not buffet-style, was was subdivided into a number of different units. One of the most popular was the personal pizza/hot sub line. Customers could get as much toppings as they wanted, and because it had every pizza topping you could think of, people could get some imaginative toppings on their hot subs. You would get your stuff, then it would go through a little oven on a conveyor belt (3 minutes for subs, 6 minutes for pizzas), then at the other end toppings you didn't want toasted would be applied (e.g., lettuce, mayo). It was all pretty low-tech, very dependent on little receipts upon which customers' names were written.

At lunch, it was probably the most slammed unit we had. I took pride in my running of the pizza line. It usually had three students assigned to it (plus a cashier), so I would put all three student workers on the making end, and then me and a full-timer would man the oven end, which could be pretty grueling. I was good about keeping orders in the right order, and one full-timer refused to do it alongside anyone else. Plus I prided myself on remembering what kinds of stuff some regulars got; some people were astoundingly consistent, getting the same thing three days a week. I could recognize a name, put the toppings on, and then call them.

Okay, okay, whatever. Good job Steve. But I also learned something about how to manage people from this. Usually from my mistakes. When I first started as manager, I was nervous, and in the true Mollmann way, I defaulted to sarcasm. You can be a sarcastic underling or co-worker and be liked; that was when I learned that to be a sarcastic authority figure requires some careful modulation. Thankfully someone was like, "Steve, you're overdoing it. Chill out."

Another thing: No one had set shifts on Friday nights; instead we rotated responsibilities. One Friday evening I was paired with another manager who had literally never worked on that entire side of the dining hall before. She was trying her best, but out of her depth. I might have been obnoxious about it. What I remember in particular doing was something along the lines of telling the student workers not to worry about her too much. I had thought I was helping (relieving the pressure of her responsibilities), but what I had really done was undermine her authority and her competence. She, I think nearly in tears, rightfully called me out on it.

I think much of what I know about working with people, I learned there. I had to do a lot of it in grad school, especially during the two years I had an administrative GA, and I'd like to think I did an okay job, and I think that's partially because of skills I developed making Italian subs.

Also there was this other manager named Josh. When I was working the sub line, he was usually on the wok line. I don't quite know how this evolved, but when things got really crowded and busy, I would shout out across the dining hall, "Josh, can I get a price check on smiles?"

"Steve," he would shout back, "the smiles are free!"

Random people would see me on campus and go "the smiles are free!" at me.

#457: Do you have a job?

Joe Casey's Adventures of Superman #596: The Aftermath of Our Worlds at War

"Shipbuilding" / "Prelude to The Big Noise: Three Months Away"

The Adventures of Superman vol. 1 #596 (Nov. 2001)
Superman/Batman #64 (Nov. 2009)

Words: Joe Casey
Pictures: Mike Wieringo and Scott Kolins
Inks: Jose Marzan, Jr.
Letters: Bill Oakley and Rob Leigh
Colors: Michael Atiyeh
Asst. Edits: Tom Palmer, Jr.
Associate Editor: Adam Schlagman
Edits: Eddie Berganza 

Here we have two issues that follow up (or may have followed up) on Our Worlds at War. I'll tackle them in turn, because there's not much unity between them, aside from both being written by Joe Casey. "Shipbuilding" (Adventures of Superman #596) is a quiet issue, taking place as the world reconstructs following the devastation of the Imperiex War (I don't think anyone ever calls it that, but I need to call it something). While the JLA is stretched thin doing reconstruction, though, and President Luthor is making media appearances, Superman is largely sitting it all out: staying at home in his Clark Kent guise, watching the news. As the end of Our Worlds at War pointed to, he's questioning how is it all worth it if his parents can die.

from The Adventures of Superman vol. 1 #596
(art by Mike Wieringo & Jose Marzan, Jr.)

It's not a funk that lasts long, though-- one conversation with Plastic Man and the Martian Manhunter, and Superman is back at it, fighting Flash villains in the Antarctic and saving a construction worker who tumbles off a dam. Luthor chastises Superman for not doing all the reconstruction himself, but Superman gives a speech about how "[h]umanity has to rebuild itself. If I do it for them, it means nothing." Luthor calls it "[c]onvenient," and I agree, though for more metatextual reasons. Superman can't rebuild the Earth because it would break the premise of Superman comics... but I feel like there must be millions of homeless and displaced people who probably would think it would still be quite meaningful if someone rebuilt their homes for them. As always, I feel like ongoing superhero comics are better off not calling attention to this problem than trying to explain it.

Anyway, the construction worker whose life Superman saved comes to his defense, and Superman and Luthor both go back to doing what they do best. It's a fine issue; I'm glad we finally got some emotional fall-out to Our Worlds at War and I hope we get more going forward, but the trajectory of the whole thing was pretty predictable. It wasn't likely to end with Superman not being helpful, was it?

from The Adventures of Superman vol. 1 #596
(art by Mike Wieringo & Jose Marzan, Jr.)

Two other points: 1) Superman debuts a new costume, where the yellow in his S-shield is replaced by black, presumably as a sign of mourning. I wonder how long this will last going forward. 2) This issue can be hella expensive on its own. At the time I purchased my complete run of Joe Casey's Adventures of Superman, the cheapest copy on MyComicShop was $20, for example. (It's since come down a little; it's $4.80 as of this writing.) Thankfully, I picked it up as part of a 29-issue set on eBay for $55, absorbing the cost. Anyway, this is apparently because it features an image of the smoking LexCorp Towers, which were damaged in Our Worlds at War. The LexCorp Towers are very obviously visually based on the World Trade Center... and this issue's cover date of Nov. 2001 means that it was actually distributed to comic shops on September 12, 2001! So it's become a sort of collector's item. But here's the panel; I just saved you $20. You're welcome.

The other issue is Superman/Batman #64, the prelude to a Superman/Batman story arc called The Big Noise (#68-71), which I'll be reviewing next week. Joe Casey returned to Superman over five years after his run on Adventures was over to pen an additional story arc set during it. I only had a rough idea of when it was set when planning my readthrough, so I had to do some guesswork. The main Big Noise storyline is cover-branded "Our Worlds at War Aftermath!: Casualties of War!", leading me to place it after "Shipbuilding," and I guessed that the Big Noise prelude might fall between those.

from Superman/Batman #64 (art by Scott Kolins)

It's okay, bordering on meh. It's very much a prelude, and very much an example of overly decompressed comics. We see a spaceship in the time of ancient Krypton fight another Kryptonian spaceship that's been taken over by aliens... then we jump ahead to the present where the commandeered Kryptonian ship is found abandoned in the asteroid belt by Batman and Superman, who realize an escape pod means one of the alien hijackers is on Earth. The whole thing probably could have been done in 5-10 pages, or maybe have even just been implied backstory. Seeing it all happen in detail is kind of pointless.

As for placement, I think I got it wrong. While the main Big Noise series definitely goes where I guessed (as of this writing, I've read three of its four issues), the prelude takes place earlier. I'm deducing that it goes before Return to Krypton, as some of Superman's dialogue makes me think he has not yet ever been to Krypton; for example, he says, "seeing their [his people's] fate...and my inability to do anything about it except bear witness to the aftermath... time and time again... that's been my primary relationship with my own heritage." Those do not sound like the words of someone who travelled back in time to before the disaster and actually averted it (even if it was a Phantom Zone projection)! So, I am retroactively slotting it between Adventures #588 and #589 in my reading order.

ACCESS AN INDEX OF ALL POSTS IN THIS SERIES HERE

Reading Roundup Wrapup: September 2019

Pick of the month: Jingo by Terry Pratchett. I don't know if this is the best City Watch novel, but it is the best of the three I read this month. Great satire-- and like the best satire, as painful as it is hilarious. A funny and harsh take on how easily we mobilize against those unlike us. Pratchett always plots quite masterfully, but everything comes together in this novel in a way that is somehow utterly inspiring and utterly deflating at the same time. Bingley bingley beep!

All books read:
1. Feet of Clay: A Novel of Discworld by Terry Pratchett
2. Best. State. Ever.: A Florida Man Defends His Homeland by Dave Barry
3. Jingo: A Novel of Discworld by Terry Pratchett
4. Secondhand Memories by Takatsu
5. The Fifth Elephant: A Novel of Discworld by Terry Pratchett

Not a big month! Secondhand Memories was a slog, and, well, the beginning of the semester is what it always is.

All books acquired:
1. Star Trek: The Fall: The Crimson Shadow by Una McCormack
2. The Best Science Fiction of the Year, Volume 1 edited by Neil Clarke
3. Doctor Who by Gary Russell

Books remaining on "to be read" list: 652 (no change)
Books remaining on "to review" list: 8 (down 1)

Review: Secondhand Memories by Takatsu

Kindle eBook, 529 pages
Published 2015 (originally 2008)

Acquired February 2015

Read September 2019

Secondhand Memories by Takatsu

This begins melodramatically, and it never gets out of that mode. The narrator is a high schooler who is just super super in love-- then his girlfriend ends up in a coma. So then he is super super sad. Then another girl comes along, so he is super super torn. And it just goes on and on and on and on for 529 pages... and 852 chapters! The chapters are these short little things, and the paragraphs are tiny, too; sometimes less than a sentence apiece. For example, here's a page literally at random:

I no longer had any patience left.

These dark desires to strike

were horrifying to me.

My patience had worn thin with time.

And it seemed to get worse.

What seemed like a long time ago,

a far off land separated by the seven seas,

while everything was still summer,

where everything was still simple,

I had been agreeable to all.

Slowly, surely,

things changed

and it was eating me

from the inside out.

I was no longer a pleasant kid.

I was no longer an innocent boy.

Worse, I realized this,

in this moment,

staring into the eyes of the Devil,

I realized my own darkness. (ch. 804, p. 494)

Sorry for the lengthy quotation there, but I wanted you to get a sense of just how overwrought the prose is, and just how excruciating its choppy, overemphasized short sentences are to read.

The novel was serialized originally, and gives every indication of being made up as it goes along. Key concepts seem to spring up out of nowhere, especially the identity of the so-called culprit. The end is particularly unsatisfying. This is a short book, and it took me weeks to drag myself through it. Irredeemably painful.

Joe Casey's Adventures of Superman #595: Our Worlds at War: Casualties of War!

Our Worlds at War: Casualties of War!: "The Red Badge of Courage" / "Kissing on the Apokolips" / "Escalation" / "Split Decision" / "War Letters" / "Total Abandon" / "Amazons! Attack!" / "Trial by Fire" / "Finale"

The Adventures of Superman vol. 1 #595 (Oct. 2001)
Superman: Our Worlds at War (2006), reprinting Action Comics vol. 1 #782, Impulse #77, Superboy vol. 4 #91, Superman vol. 2 #173, Superman: The Man of Steel #117, Wonder Woman vol. 2 #173, World's Finest: Our Worlds at War #1, Young Justice vol. 1 #36 (Oct. 2001)

Writers: Jeph Loeb, Peter David, Joe Casey, Todd Dezago, Joe Kelly, Mark Schultz, and Phil Jimenez 
Pencillers: Ed McGuinness, Bill Sienkiewicz, Todd Nauck, Mike Wieringo, Carlo Barberi, Pascual Ferry, Doug Mahnke, Phil Jimenez, Kano, Mark Buckingham, Yvel Guichet, and Duncan Rouleau 
Inkers: Cam Smith, Bill Sienkiewicz, Marlo Alquiza, Jose Marzan, Jr., Juan Vlasco, Keith Champagne, Tom Nguyen, Andy Lanning, Walden Wong, Mark Morales, Wayne Faucher, Dexter Vines, Lary Stucker, and Duncan Rouleau
Colorists: Tanya & Rich Horie, Jason Wright, Tom McCraw, and Patricia Mulvihill
Letterers: Richard Starkings, Ken Lopez, Bill Oakley, and Janice Chiang
Asst. Editor: Tom Palmer, Jr.
Editors: Eddie Berganza, Joey Cavalieri, and Mike McAvennie

from Superman vol. 2 #173
(script by Jeph Loeb, art by Ed McGuinness & Cam Smith)

The last third of Our Worlds at War, "Casualties of War!", kind of thuds to a close. The middle third of this storyline was definitely the best part. In theory, things should be winding up, but instead, the story piles on unnecessary and seemingly un-thought out twists and complications that it has no time to explore the repercussions of.

At first, things get off to a good start. "The Red Badge of Courage" (Superman #173) kind of picks up from the end of All-Out War!, with Superman now voluntarily working for President Luthor (though at the end of All-Out War! he seemed very resigned and submissive, whereas here he's all confrontational), and still awkward around Lois. Superman leads a space expedition to destroy Imperiex with some American soldiers and Strange Visitor (back for the first time since Adventures of Superman #592), and this has some decent moments, though I thought it was a little cruel for the erstwhile Sergeant Rock to lecture Strange Visitor the way she did. She clearly did not ask for any of this, of course she doesn't know how it works!

At the end of this issue, though, things begin to spiral out of control. Imperiex is destroyed, but Warworld (from all the way back in the first issue of this storyline) reappears and absorbs Imperiex's power. Brainiac 13 somehow fires on Apokolips using LexCorp Towers (though the art here in confusing; when I first read the issue I though Warworld was firing on LexCorp Towers and on Apokolips), and Darkseid declares war on Earth, ending the alliance. I'm not sure why Darkseid is so dumb in this moment.

from The Adventures of Superman vol. 1 #595
(script by Joe Casey, art by Mike Wieringo & Jose Marzan, Jr.)

Superman goes to Apokolips to stop Darkseid, but is somehow surprised to learn Warworld is at fault even though we all saw it happen. Darkseid's son (?) Grayven says he's taking over Apokolips, but it's the worst conceived coup ever because Darkseid just shoots him with his eye-beams and throws him into a boom tube. Like, what did he think Darkseid would do?

Then things accelerate even more. The last two Super titles issues here, Superman: The Man of Steel #117 and Action Comics #782, are more exposition than story, piling explanation upon explanation about who Brainiac 13 is, what his plan is, what Imperiex (not actually dead) is up to, how they are going to be defeated, and how they are actually going to be defeated when that doesn't work. So much stuff happens in these two issues that it mostly has to be explained in narration boxes, and loses all of its potential impact. Maxima breaks the alliance (why?), Steel comes back to life, Wonder Woman volunteers to throw Paradise Island at Warworld, Jimmy Olsen has some kind of computer powers, the Amazons worship Darkseid to revitalize his depleted powers, the heroes decide to send Warworld back in time to jumpstart the Big Bang(!), and more. It's all a bit too much, and a bit too messy to be enjoyable.

A lot of things set up in the first third, "Prelude to War!", never really came into fruition. Like, why did the population of Metropolis have to be evacuated into space?

from Superboy vol. 4 #91
(script by Joe Kelly, art by Pascual Ferry & Keith Champagne)

As always, there are a few issues of other titles sprinkled in here. Three star Young Justice and its members (Young Justice #36, Impulse #77, and Superboy #91). They were running medical aid missions during the space battle when they got sidetracked and crash-landed on Apokolips; the three issues follow their attempts to stay alive on the most inhopsitable planet in the universe. These are both fun and dark at the same time; I was surprised how much I liked them. I've never read any Young Justice before, but it's a group of well-meaning but often-at-odds characters trying to do their best, but often doing their worst, so of course I enjoyed them. The Superboy issue was particularly good (showing what's beneath his 1990s "attitude" as he writes a letter home from the war), but they're all good. The issues do feel pretty irrelevant to the big story, though, so I'm not sure why they're in here. I also wish the issue showing how they actually escaped Apokolips (Young Justice #37, I think) had been included, since as it is, their story just kind of stops, aside from a one-page appearance in the "Finale" epilogue.

There's also an issue of Wonder Woman again, "Amazons! Attack!"* (#173), which makes sense as some pretty dramatic things in Wonder Woman's life happen. It's oddly placed, though (I would have moved it to after Action #782), and doesn't really answer the big question I had after reading Man of Steel #117: why would Wonder Woman make such a dramatic choice as to destroy her homeland so easily? On the other hand, the mental powers of Aqualad (I think that's who this "Garth" fellow is) prove key to the final battle... but were never mentioned before it. It might have been nice to throw in whatever the relevant issue of the relevant title was beforehand.

from World's Finest: Our Worlds at War #1
(script by Jeph Loeb, art by Ed McGuinness & Cam Smith)

The story is technically over before its final issue. "Finale" (World's Finest: Our Worlds at War #1) is an epilogue, showing various bits of fall-out: mourning for Aquaman (I forgot he died, actually), a ceremony for Wonder Woman's mother, Mongal (!) taking over Warworld, Strange Visitor's husband being mad, and so on. It's fine. Jeph Loeb's schtick of running famous speeches over the action of this series has lost its impact, though.

Overall, I feel like this series didn't live up to its potential. Too much spectacle, not enough humanity. The first third threw too many ideas out; the middle one had some great character hooks that never got followed up on because the last third got overtaken by the Big Action of the story. But it's possible the character moments will get followed up in Adventures of Superman going forward, which might redeem the story for me somewhat. We shall see!

ACCESS AN INDEX OF ALL POSTS IN THIS SERIES HERE

* Note the two exclamation marks, which most indexers on the Internet seem to have missed. "Amazons Attack!" is something else entirely.

Review: Star Trek: Movie Classics Omnibus by Mike W. Barr, Tom Sutton, Ricardo Villagran, Peter David, Arne Starr, et al.

Comic trade paperback, 370 pages
Published 2011 (contents: 1979-2009)
Acquired March 2012
Read May 2019

Star Trek: Movie Classics Omnibus

Adapted by Marv Wolfman, Andy Schmidt, Mike W. Barr, and Peter David
Art by Dave Cockrum & Klaus Janson, Chee Yang Ong, Tom Sutton & Ricardo Villagran, and James W. Fry/Gordon Purcell & Arne Starr
Lettering by John Costanza, Robbie Robbins, Agustin Mas, and Bob Pinaha

Colors by Marie Severin, Moose Baumann, Michele Wolfman, and Tom McCraw

This volume collects the comics adaptations of all six original series Star Trek films, which were published by a variety of publishers over the years: Star Trek I by Marvel, III through VI by DC, and II by IDW. Like a lot of archival IDW collections of Star Trek material, the basic idea is laudable (IDW even commissioned an adaptation of the never-adapted The Wrath of Khan just to plug a gap in this book), but very little care seems to have gone into it. The credits are riddled with errors: Marv Wolfman is listed as "Mary Wolfman" and Tom McCraw as "Tom McGraw," and no one is credited with the adaptation of The Motion Picture, seemingly because the original comic's credit of "Script/Edits" has been misinterpreted as "Script edits." The indicia also includes a number of errors, listing the original publication of the comics all being titled by the name of the relevant movies, but in fact the Motion Picture adaptation was originally published in Star Trek #1-3 (or, arguably, Marvel Super Special #15), and the adaptations of Search for Spock, Voyage Home, and Final Frontier were in Star Trek Movie Special #1-3. I mean, okay, "Who cares?" but I bet you Dark Horse would never have made such mistakes in their omnibus line.

For what it's worth, I actually read these by interspersing between them any collections of movie-era comics I already owned. So, for example, I read Star Trek Omnibus, Volume 1 (collecting issues #4-18 of Marvel's Star Trek) between The Motion Picture and The Wrath of Khan, or Star Trek Archives, Volume 6 (collecting issues #9-16 of DC's Star Trek vol. 1) between The Search for Spock and The Voyage Home. I think this did affect my reading: Search for Spock comes across as just the first step in a long epic when you read it before The Mirror Universe Saga.

Sorry about the scan here; should have pushed down harder, I guess.
from Star Trek #3 (script by Marv Wolfman, art by Dave Cockrum & Klaus Janson)

The actual stories here are decent. I enjoyed the adaptation of The Motion Picture a lot for how very of-its-time it was. Marv Wolfman's script has a totally different tone to the majestic, intellectual original, but it still works. He loves grandiose over-the-top narration, and that makes this story just as epic as Robert Wise's direction, just in a totally different way. There are some trims and cuts here, but also some expansions-- we get to see the unfilmed "memory wall" sequence, for example, and Kirk is actually with Spock during his journey into the heart of V'Ger-- but on the other hand, the art of Dave Cockrum and Klaus Janson doesn't always give things the epic-ness they deserve.

The whole comic is very dark.
from Star Trek II:The Wrath of Khan #3 (script by Andy Schmidt, art by Chee Yang Ong)

It's hard to say much about the Wrath of Khan adaptation. Published much later than the others, in 2009, I felt like it approached the movie somewhat reverentially. Everything you expect is here, rendered in a photorealistic style. Nothing bad, but it doesn't use the comics medium to do anything unique, either.

One thing I thought was interesting: the DC comics that precede and follow each film have to massage how the films fit into the comics continuity (e.g., why is the Enterprise crew back in exile on Vulcan in Voyage Home given they were all recommissioned in The Mirror Universe Saga?), but Mike Barr never puts any of that massaging into the comic adaptations of the films. Nothing in this sequence really fits with the fact that according to the comics, all of these characters served on Excelsior!
from Star Trek Movie Special #2 (script by Mike W. Barr, art by Tom Sutton & Ricardo Villagran)

Of the two adaptations scripted by Mike Barr and illustrated by Tom Sutton and Ricardo Villagran the first is solid, but unremarkable. It's solid space adventure comics, and I enjoyed reading it. On the other hand, the adaptation of The Voyage Home largely fails to translate the charm of the film to the comics page. The humor doesn't have the pacing or the performances to really work, and without that, what's the point?

This Rushmore bit was originally supposed to appear on screen. I don't think it's really discernible here that the fifth face is a black woman, though.
from Star Trek Movie Special #3 (script by Peter David, art by James W. Fry & Arne Starr)

The best adaptations in the whole bunch are the two scripted by Peter David. The Final Frontier reads surprisingly well as a comic; I guess it's a lot like a comic book in some ways, with its ridiculous twists and long-lost relatives and weird premise. David has a great grasp on the characters, which really shines through, and even massages some of the inconsistencies of the film in a way that doesn't come across as too Christopher L. Bennettesquely gratuitous. I also appreciated that the rock monster got its due, and probably looked better here than it ever could have on screen. The one of Undiscovered Country is also a good adaptation of a great movie, and reads pretty nicely as a climax to the whole sequence, especially if you've been reading a lot of DC Star Trek comics along the way as I have, where Kirk always seems to be facing down the Klingons.

On the whole this is a good idea for a collection, and I appreciate how IDW enhanced the project by commissioning an extra comic. I doubt this will be anyone's preferred versions of these stories, but they're a solid read.

In Two Weeks: We find out what happened between Star Treks I and II, in volume 1 of the Star Trek Omnibus!

Review: The Undefeated by Una McCormack

Trade paperback, 109 pages
Published 2019
Acquired May 2019
Read June 2019

The Undefeated by Una McCormack

This Tor.com novella is by Una McCormack, who I know from her excellent work on Star Trek and Doctor Who tie-in fiction-- so excellent that I've long thought she needs to do more original stuff, so I'm happy to see her in such a high-profile venue as this. An aging journalist returns to her home planet, even as the area of the galaxy it's in has been evacuated in the face of an unstoppable onslaught. The book combines her youth with her return into one narrative. It is, as always, well written. I always like Una's narrative voice, and the book marshals a sense of inevitable tragedy in all its time frames, and its grasp of character and social dynamics is astute. I did find myself wishing the ending had been sharper; I felt like I ought to have learned something that I had not actually learned, and I don't know what.

MR DUCKS

Dentist selfie, including a Mexican duck.

Little Buddy* is starting to learn language and sounds. This, I knew, would happen. What really amazes me, observing such a process up close for the first time in living memory, is how he can make leaps of understanding. For example, it's been some time since I was "Dada" and Hayley was "Mama." (In fact, this one kind of passed us by because at first we weren't sure he wasn't just making the noises at random, and then by the time we were certain, he'd been doing it for a long while.) But it was pretty impressive when he started fixating on a picture of me and Hayley on our honeymoon, which sits on the shelf behind the sofa. He would reach toward it and go, "Dada!", having figure out it was me in the picture. For whatever reason it took him longer to figure out mama was in it, too. (On the other hand, when we read him Baby Feminists, he says "mama" when we get to the page with the Obamas!)

Or a couple weeks ago he was reading a book of Spanish words with Hayley, and eventually came back to the food page and made the "unnhh" noise he makes when he wants something toward the pictures of yogurt (el yogurt) and a banana (el plátano). It turned out he really did want some yogurt. Later, he did something similar to me with a set of little board books that have words on them, one of which is "yogurt." It's impressive in multiple ways-- like he knows the mushy snack he eats is yogurt, and he knows the cartoon in the book is of the same thing, and it occurs to him that this is a way to indicate he wants it!

Perhaps most of all this happens with ducks. He has a wide array of rubber ducks for bath time, and one of his first words was "duck" (though it just kind of sounds like "duh" when he says it). What he's very quickly also learned, however, is how to recognize a duck in a book. Probably it helps that one of the books we've read him regularly since month one is That's Not My Duck... so he's heard it a lot, but he plainly recognizes ducks as ducks in books where the duck isn't even mentioned in the text. I guess what impresses me here is that it means he already has an abstract idea of "duckness" in his head that he is able to match up with new images. I didn't know kids did this this early! His errors are usually understandable ones, too (such as mistaking geese or chickens for ducks).

Last week he had a fever, and I stayed home with him one day, and during a particularly fussy moment, I turned on Llama Llama on Netflix. In the episode "Spring Fever" (1x07), Llama Llama's grandparents show him that their duck had a baby duck, and as Llama tries to complete a series of errands, the ducks keep randomly popping up and getting in his way. Every time they did, Little Buddy† went, "Duck!" So even an animation is recognizable as the same thing he sees still images of.

I guess the real question is, if he saw an actual duck, would he recognize it as the thing he knows from cartoons and drawing and rubber toys!?

* I don't like using his name on a public blog, so I will try this out for now.

† Eh, maybe not.

Joe Casey's Adventures of Superman #594: Our Worlds at War: All-Out War!

Our Worlds at War: All-Out War!: "Death Be Not Proud" / "A Date Which Will Live in Infamy" / "The Doomsday Protocol" / "Chest Deep in Heroes' Blood" / "Thousand Yard Stare" / "Her Mother's Daughter"

The Adventures of Superman vol. 1 #594 (Sept. 2001)
Superman: Our Worlds at War (2006), reprinting Action Comics vol. 1 #781, JLA: Our Worlds at War #1, Superman vol. 2 #172, Superman: The Man of Steel #116, Wonder Woman vol. 2 #172 (Sept. 2001)

Writers: Jeph Loeb, Joe Casey, Mark Schultz, Joe Kelly, and Phil Jimenez
Pencillers: Ed McGuinness, Ron Garney, Mike Wieringo, Doug Mahnke, Kano, and Phil Jimenez
Inkers: Cam Smith, Mark Morales, Lary Stucker, Tom Nguyen, Marlo Alquiza, and Andy Lanning
Colors: Tanya & Rich Horie, Rob Schwager, and Patricia Mulvihill
Letters: Richard Starkings, Bill Oakley, and Ken Lopez
Ass't Editor: Tom Palmer, Jr.
Editor: Eddie Berganza

Imperiex arrives in the solar system in force in the middle third of Our Worlds at War, appropriately called "All-Out War!" Honestly, I found many aspects of the story confusing at first-- with a high focus on action, Superman vaults from escapade to escapade and there's not a lot of time spent explaining what's actually going on. Big events seem to happen off-page. Possibly they happen in tie-in comics not collected here, but still. (At one point, there's an alien armada coming to Earth's defense; at another, it's been destroyed.)

from Wonder Woman vol. 2 #172
(script by Phil Jimenez, art by Phil Jimenez & Andy Lanning)

There's an issue of Wonder Woman (#172) collected here in addition to the Superman-focused titles, and I'm not really sure why from a storytelling standpoint, as it doesn't seem to add much to Superman's story (it expands on events from JLA: Our Worlds at War #1 and Action Comics #781 from Wonder Woman's perspective)... but I was so thankful it was included, because it contains a bunch of exposition clearly designed to bring Wonder Woman readers up to speed. However, this is all exposition that was never provided to readers of the actual Superman issues of Our Worlds at War! Finally, someone explains who Imperiex is, how he works, what his goals are, and how his weapons function. I'll come to the actual story later, but by God I was so grateful for this much-need dump of information the characters already know because no one had ever told me!

The stories here chronicle increasing desperation on the part of Earth in general and Superman in particular as Imperiex advances. Lots of big fights and big losses and big deaths: Lois's dad and Aquaman and John Henry Irons and Wonder Woman's mother all die, Atlantis is destroyed. Some are more about what happens than how or why, and those I struggled to engage with. Jeph Loeb usually uses character narration to keep things grounded, but both of his issues in this span populate their narration boxes with famous speeches that counterpoint the action: the Gettysburg Address in Superman #172 and FDR's Pearl Harbor speech in JLA:Our Worlds at War. It's not really interesting enough to have a noteworthy positive effect.

from The Adventures of Superman vol. 1 #594
(script by Joe Casey, art by Mike Wieringo & Lary Stucker)

The best issues take you into Superman's head during all of this action. Joe Casey's Adventures of Superman story (#594) teams Superman up with Doomsday for a battle in space. It's called "The Doomsday Protocol," but I would argue that the "Doomsday protocol" of the title isn't Luthor's decision to release Doomsday and use him as a weapon to defend Earth, but Superman's decision to essentially become Doomsday in his mentality: "he has cut loose. Subsequently, the probes have offered little resistance. He can't help but think... if only he'd come to this conclusion on Earth, how many more might have been saved...? Is this how men like Luthor can walk between the raindrops...? By cultivating their inherent ruthlessness... their lack of conscience...?" I like how it's done, too-- a third person narration that's next to the imagery, not in it, giving it all a timeless feel, like you've lost track of time just as much as Superman has in the fight, pondering the difficult questions while the battle goes on automatically. It's well done and character driven, and I can also envision how it's going to contribute to Superman's legendary renunciation of violence whenever I get to that part of the run.

from Action Comics vol. 1 #781
(script by Joe Kelly, art by Kano & Marlo Alquiza)

I also liked Action Comics #781, where we continue to see Superman's emotional self-isolation; an increasingly desperate Lois keeps reaching out to him, but he literally cannot hear her even though he can hear everything else, because he cannot afford to let himself hear her, otherwise he will break. At the end of the issue, he has this cold, heart-breaking moment with her. They're in public, so they can't acknowledge that they're married as he tries to say he's sorry for the death of her father. But then he turns to Luthor and says, "Tell me what to do, Mister President. Whatever it takes to win this... I'm yours." Wow. Heck of a way to end the chapter!

Which is why it's kind of a bummer that Wonder Woman #172 comes next. If it had to be included, I think it would have been better placed earlier, before Action #781. As it is, the Wonder Woman issue feels like a backtrack, but moved earlier, I think the chronology of Superman's actions would be more straightforward, and we'd have a better sense of what he's actually doing in Action. The first issue of the next chapter, Casualties of War!, picks up with Superman working for Luthor, so it seems like it should go right after the cliffhanger. Anyway, the issue itself is fine, and Phil Jimenez's art is great, but it's really a Wonder Woman story, clearly tying up some big emotional threads from that series that the reader has to struggle to catch up on if they haven't been reading it already.

from Superman vol. 2 #172
(script by Jeph Loeb, art by Ed McGuinness & Cam Smith)

On the whole, this was okay, and better than the first chunk of Our Worlds at War because of the parts more focused on Superman himself. I hope the story continues to develop that approach going forward.

It's also interesting to note that this set of issues are dated September 2001 and this story is all about how you respond to an existential violent threat without compromising your ideals, including an American president who is willing to put values aside for security. But the on-sale date was July 2001, and of course it would have all been plotted and written much earlier than that. Something was in the ether, I guess. If the comic ends up doing anything particularly interesting with these themes, I'll discuss them more when I get to "Casualties of War!"

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