Superman: Whatever Happened to the Man of Tomorrow? by Alan Moore

My rating: 4 of 5 stars

A recent discussion with a friend regarding what I disliked about the film Man of Steel led to us reminiscing about the Superman comics we’d grown up with, which led in turn to him recommending this collection of stories from the 1980s that I somehow missed back in the day.

Briefly, in 1986, after decades of publication and hundreds of issues, DC Comics announced plans to reboot Superman… to toss everything that had come before and start over at issue #1, the destruction of Krypton, Ma and Pa Kent finding the baby in the crashed spaceship, the whole thing. But before that new series debuted, the publisher saw an opportunity that’s rare in ongoing comic-book titles, the chance for closure, to provide a definitive ending to the classic era of the Man of Steel… or, as he was once known, the Man of Tomorrow.

The two-part tale that lends its title to this collection, “Whatever Happened to the Man of Tomorrow?” (originally published in Superman #423 and Action Comics #583), is flat-out brilliant. Written by comic legend Alan Moore (Watchmen) and structured in the form of a flashback (from the futuristic year of 1997!) narrated by Lois Lane, the “last” Superman story tells of Kal-El’s old enemies and allies coming together for one final confrontation, with fatal consequences for many of them, including — apparently — Superman himself. While there are plenty of deaths and an overall elegaic tone, the story never gets too heavy, and it ends on an absolutely perfect note, quite literally with a wink and a smile. For older fans who loved the Superman of an earlier era, it’s a wonderfully satisfying, nostalgic conclusion. The art by Curt Swann and George Perez is perfect as well, clean and bright, a touch old-fashioned perhaps but very pleasing, and exactly the way I remember Superman comics looking when I was a kid.

Rounding out this trade paperback are two additional stories by Moore that are unrelated but have a similar tone and theme to “Whatever Happened.” In “The Jungle Line,” originally published in DC Comics Presents #85 with art by the great Al Williamson, Superman has been infected by an extra-terrestrial fungus. Delusional and not trusting himself to fly safely, he drives south, intending to die well away from anyone who might be hurt by his super-powered death throes. But the jungle he finds himself in is home to another denizen of the DC universe, the hideous but kindly Swamp Thing, who makes telepathic contact with the stranger in his realm and tries to help him fight the ravaging hallucinations.

Finally, in “For the Man Who Has Everything” from Superman Annual #11 (art by Dave Gibbons), the Man of Steel is held captive by a telepathic alien plant that grants the illusion of the victim’s greatest desire… in this case, a “normal” life on an unexploded Krypton. While his friends Batman and Wonder Woman fight to save him in the real world, Kal-El comes to realize the “life” he’s living is nothing but illusion…

Taken together, these four stories all form an interesting meditation on the core of the classic Superman’s character: his desire for a normal human life as a husband and father balanced against his superhuman nobility and sense of duty. Unlike more modern superhero stories, which would present these ideas with clenched jaws and grim self-loathing, these tales have a lighter touch, more humor and optimism, and a sense that, while Superman may wish he had a different life, he’s not all that unhappy with the one he’s got, because he’s serving a purpose. It’s a refreshing change from the modern superhero idiom, and a lot of fun to read.

View all my reviews

Save

Batman: The Doom That Came To Gotham by Mike Mignola

My rating: 4 of 5 stars

I am amazed by the seemingly infinite flexibility of the Batman mythos. I’ve read Batman stories set in the Victorian era and the far future, seen him teamed up with (or placed in opposition to) characters as offbeat as the monster from the film Predator, and of course he’s been interpreted through cinematic visions as wide-ranging as Adam West’s, Tim Burton’s, and Christopher Nolan’s, and yet, somehow, it almost always works. In The Doom that Came to Gotham, the Caped Crusader and his rogues’ gallery of regular sidekicks and villains are transplanted into an HP Lovecraft story, and it works very well indeed.

The year is 1928, and the globetrotting adventurer Bruce Wayne has just discovered the remnants of the overdue Cobblepott Antarctic expedition… as well as the tentacled thing they found in the ice that apparently drove them all mad. Wayne destroys the monster with explosives — or so he thinks — and returns to Gotham City, the home he hasn’t seen in 20 years. But he soon encounters a talking dead man and a demon called Etrigan, who warns him that an old debt is coming due. An ancient evil from before the time of men is waking up, and if Wayne can’t find a way to stop it, humanity is doomed…

One of the pleasures of an “alternate history” tale like this is seeing how familiar characters and tropes get reworked in service of a new framework, and in this case, the reworking is clever, organic to the story, and frequently surprising. (This story contains the most logical explanation behind The Penguin that I’ve ever encountered!) But I suspect this story would also be effective if you didn’t know a thing about Batman or his usual sidekicks and adversaries. Co-writer Mike Mignola is the creator of Hellboy, another series that draws heavily on Lovecraft’s dark tales of Elder Gods and cosmic dread, and this story is an effective pastiche of those. It’s a taut, spooky yarn that effectively ratchets up the dread panel by panel until the climax, which casts a whole new light on the eternal question of whether the Dark Knight’s true identity is Bruce Wayne… or the bat.

Mignola did not do the artwork in The Doom that Came to Gotham, but the general look will nevertheless be familiar to fans of Hellboy, although it’s less stylized. Rendered mostly in a subdued palette (except where fire is involved), with nice detail overall and a suitably squirmy look to the creatures, the art contributes greatly to the final effect of the story.

Overall, a highly satisfying read.

View all my reviews

Save

Save

Save

Space: 1999 – Aftershock and Awe by Andrew E.C. Gaska

My rating: 4 of 5 stars

Last year, I spent some time revisiting a TV series I dimly remembered watching as a young boy, Space: 1999. If you’ve not familiar with it, the premise is this: by the year 1999 (as imagined in the early 1970s), humankind is busily exploring the solar system and has established a permanent lunar outpost, Moonbase Alpha. It’s also started dumping its dangerous nuclear waste on the far side of the moon, which is a swell idea until a freak mishap detonates all that waste material, blowing the moon out of orbit and sending it hurtling out into the universe, along with Moonbase Alpha and everyone living there. Far-fetched, yes, even ridiculous, but also weirdly compelling… compelling enough that the show still enjoys a healthy cult following some 40 years after it originally aired. For proof of that, you need look no further than the 2012 publication date of the (mostly) original graphic novel Aftershock and Awe.

Aftershock and Awe comprises two parts. The first retells the events seen in the TV show’s pilot episode, climaxing in the nuclear detonation and the so-called “breakaway.” I understand this segment was adapted from a vintage comic book as well as one of those children’s storybook records that were common at the time; accordingly, the artwork has a pleasing (to me at least) retro appearance. Having just seen the television series before reading this, I also appreciated certain story tweaks to reconcile discrepancies that were created when the show was retooled in its second season, such as giving us a glimpse of characters that didn’t appear in season one.

However, the real meat of the book is the second part, which tells the story of what happened back on Earth after the moon’s departure, something the series only hinted at. The action follows several different characters scattered around (and above) the world: two men in an orbital station; the father of a young girl who is touring Moonbase Alpha with her mother at the time of breakaway; the brother, daughter, and ex-fiance, respectively, of three of the series’ most loved regular characters; and a number of powerful politicians and military men. The narrative builds a convincing alternate history in which President Kennedy was not assassinated and the past several decades proceeded very differently than we remember them — thus explaining the discrepancy between the imagined 1999 of the TV series and the real one we experienced — then interweaves all the individual characters’ storylines against the backdrop of an almost unimaginable global disaster. The plot includes dramatic rescues, failed conspiracies, and the question of how best to rebuild on an Earth radically changed, finally ending on a surprisingly optimistic note ten years after “the last moonrise.” My only complaint with this half of the book, honestly, is with the artwork. While it’s fine on its own terms, I found the modern painted realism rather jarring after the old-fashioned look of the first part. I would’ve liked to see a bit more uniformity between the two segments. But that’s my own preference; as I noted, there’s nothing really wrong with it.

As presented, the story is perfectly accessible to people who aren’t familiar with Space: 1999, but I suspect it will be of more interest to established fans, for whom Aftershock and Awe will make a nice companion to the beloved old series.

View all my reviews

The Fiery Cross by Diana Gabaldon

My rating: 2 of 5 stars

I was warned ahead of time that The Fiery Cross, the fifth book in Diana Gabaldon’s Outlander series, would be a bit of a slog, and indeed it was. All of Gabaldon’s books are long, but this one is a real whopper, coming in at 1,443 pages in the mass-market paperback edition; for all that bulk, however, it feels as if very little actually happens to advance the story of Jamie Fraser, his time-traveling wife Claire, and their increasingly extended family.

Oh, things do happen in the book. Over the two-year span covered by The Fiery Cross, 1770-72, there are a couple weddings; new settlers are welcomed to the fledgling community of Fraser’s Ridge; there’s a murder mystery to solve, and bigger mysteries appear involving a treasure (the so-called “Frenchman’s Gold,” dating back to the failed Jacobite Revolution in Scotland) and an unknown time traveler (recall that Claire, her daughter Briana, and Bree’s husband Roger are all from the 20th century, not the 18th). Jamie and his son-in-law Roger bond through adversity, and Roger’s life and character take a major, traumatic turn. Jamie and Claire encounter a very twisted couple deep in the wilderness who could be characters from an entirely separate, far more Gothic novel. There’s a bear hunt, a near-fatal snake bite, and a hanging. Characters thought lost for good return. And Jamie, as de facto laird of the people living on Fraser’s Ridge, is pressed into forming a militia and marching off to battle against self-styled vigilantes called “the Regulators,” as the first stirrings of the American Revolution make themselves felt. But somehow none of it feels very consequential. It’s almost as if Gabaldon’s fascination with the details of everyday life in this milieu — which had been one of the great strengths of the earlier books — has become a distraction for her. She disappears down rabbit holes and then occasionally thinks, “Oh, I really should throw in some action here.” But my impression is that her heart really wasn’t with the action in this one, and it’s always perfunctory at best. Even the long-awaited confrontation with recurring villain Stephen Bonnet, when it finally arrives, is something of an anti-climax, over and done with quickly so we can get back to domestic matters.

I’ve heard it said that the reason most stories about couples take place either at the beginning or the end of the relationship is because all the stuff in between, when people are just raising kids and building a life together, makes for pretty poor drama. This book is perfect evidence of that, as all the talk of dirty clouts and breastfeeding gets pretty tedious. If I didn’t already have a sizable emotional investment in these characters — if this were my first exposure to the series — I’d be wondering what the hell the big deal is and why these books are so popular. As it is, I’m hanging in there with the series because I do care about Jamie and Claire and Roger and Bree, and because I know the Revolution is coming and things will be getting interesting again. But this book, The Fiery Cross is essentially just filler between points A and B. Recommended for confirmed fans only.

View all my reviews

No Tourists Allowed: Seeking Inner Peace and Sobriety in War-Torn Sudan by Shannon Egan

My rating: 4 of 5 stars

Growing up in Utah is hard enough when you’re not a member of the culturally predominant Mormon Church. It becomes an order of magnitude more difficult when you are a member but harbor doubts or long for something other than the officially sanctioned LDS lifestyle. In that respect, Shannon Egan’s story is a familiar one. I’ve known many people who experienced similar struggles to find themselves in the face of parental disapproval and an almost overwhelming institutional pressure to conform. Often, as in Shannon’s case, these struggles lead to self-destructive behavior and problems with drugs and/or alcohol. But what makes Shannon’s story unique is what she did to try and escape both her upbringing and her addiction: she took a teaching job in Sudan, a war-torn country about which she knew virtually nothing. As the situation in Sudan deteriorated, a chance encounter led her to a position as a fledgling journalist, and that, in turn, led her to witnessing the horrors of Darfur and a confrontation with her own demons. Even in a land ruled by strict Islamic law, a determined addict can find what she needs…

Shannon Egan is a fine storyteller who reveals herself with vivid imagery and a sometimes painful degree of honesty. Her account of getting lit up on the Sudanese version of bathtub gin — a noxious homebrewed spirit called aragy — and the events that led to the relapse is one of the most harrowing things I’ve ever read. But there are moments of real beauty in this story, too, as she describes the history, culture, and especially the people of a place few Americans really know anything about. No Tourists Allowed is as much a travelogue and an ethnography as it is a work of memoir, and I found the wide-angle story as fascinating as Shannon’s personal one.

If the book has any flaws, it is in the author’s habit of occasionally slipping into asides filled with the jargon of recovery and advocacy. I understand that’s where Shannon’s mind is these days, as she’s parlayed her own experiences into both a career and a noble cause, but these passages tend to feel like parentheticals that distract from the action of the story she’s telling. The book is powerful enough on its own terms, don’t misunderstand, but I think it could’ve been moreso if she’d stuck to the facts and saved some of the commentary.

Nevertheless, this is an engrossing and fast-moving read that plumbs the worst depths of human behavior to come up with a message of hope and resilience. I understand a sequel is in the works, and I look forward to reading it…

View all my reviews

Drums of Autumn by Diana Gabaldon

My rating: 3 of 5 stars

After taking a little break from the Outlander-verse, I’ve jumped back in with the fourth book of the series, which I believe is the longest one yet (and that’s saying something with these massive tomes!) Drums picks up a few months after the events of Voyager, the previous volume, with our time-crossed lovers Jamie and Claire, along with Jamie’s nephew Ian and adopted son Fergus, trying to start a new life for themselves in the colony of North Carolina in the years just prior to the American Revolution. They will face many dangers in this new world, including bears, Indians, disease, scheming family members, the ugly institution of slavery, a murderer, and even a ghost, but it is a chance encounter with a pirate named Stephen Bonnet that will have the greatest impact on their future… and that of their daughter, Brianna, who they think is safe and sound up in the 20th century, but has learned something terrible enough to convince her to risk traveling through time herself… for the sake of her mother and the father she’s never met…

By this point, the series has left its bodice-ripping origins far behind — Drums doesn’t even have much sex in it, compared to the earlier books — and settled into something resembling a cross between a cliffhanger serial and a soap opera. Basically, it’s “one damn thing after another” in a historical setting, and the book strongly reminded me of Michael Mann’s 1992 film version of Last of the Mohicans with its epic sweep and romanticized depiction of 18th century America. As ever, I am deeply impressed with the sense of authenticity and verisimilitude Gabaldon brings to her writing. The settings and the mundane details of life in this period are absolutely convincing, and the characters themselves live and breathe and are as real in my mind as my own relatives. Gabaldon even allows her hero Jamie to be somewhat unlikable for a good portion of the book, and even the dastardly Stephen Bonnet, in the end, reveals an unexpected depth.

Also, I don’t think I’ve ever encountered a series of books with such a strong female perspective. I don’t mean simply “the female gaze” that objectifies and admires the beauty of Jamie and the other male characters in the way that we’re accustomed to lingering over female beauty, although that’s definitely a noticeable motif in these stories. Rather, I’m talking about the way Gabaldon revels in the earthy, visceral, sometimes unsettling, often mysterious, but always very human flesh-and-blood reality of women’s bodies and women’s lives. I’ve read books by women authors, of course, and about female protagonists, but can’t recall any before that go into the places that Gabaldon deftly journeys. And I have to say, as a man, I wasn’t at all alienated by that perspective, as one might expect; rather, I’m fascinated and at times moved by it. Without making too much out of it, I think these books are giving me a better understanding of what it is to be a woman, and that’s exciting and makes for really damn good reading.

Unfortunately, though, Drums does have a couple of problems. For one thing, it’s difficult to really describe the plot of this one because, frankly, it doesn’t have much of one. Things happen, a lot of things, and the story moves forward, but there’s no clear throughline as in the previous books. It really is just one damn thing after another, and it’s more the reader’s affection for the characters and the world that keep you reading than a tight story. That‘s where I’m getting the soap opera feeling I mentioned.

In addition, Gabaldon allows some of her vivid characters to vanish from the action for long periods. Poor Fergus and his wife Marsali are especially ill treated by Drums; their appearances here are little more than cameos. Of course, Gabaldon’s cast has become sufficiently large that this is probably unavoidable, and one could make the argument that it’s true to life, especially under the primitive conditions of the 1760s when you wouldn’t have frequent contact with friends and relations. But as a modern-day reader who likes these people, it is… frustrating.

Ultimately, though, the story belongs to Jamie and Claire, and it is at its most interesting when the action is centered on them. By the end of Drums, some thirty years have passed since we first met them, and it is to Gabaldon’s great credit that she’s managed to let them age without losing whatever it was that made them seem real and compelling in the first place. Whatever else one may say about this series, it feels like a record of actual lives, and that’s a rare and commendable thing for a writer to have accomplished.

View all my reviews