World's Finest #3

Don't panic everybody! This isn't the World's Finest miniseries as recently covered on From Crisis To Crisis. This one is much better! It's safe to read on!

Year Three: Light In The Darkness


Words: Karl Kesel
Pencils: Dave Taylor
Inks: Robert Campanella
Colors/Seps: Alex Sinclair
Letters: Bill Oakley
Associate Editor: Joseph Illidge
Editor: Darren Vincenzo
Cover Artist: Dave Taylor and Robert Campanella
Cover Date: June 1999
Release Date: 21/04/1999

 Eight Years Ago...


Illuminata and her two henchmen rob a truck full of money in Gotham City. Clark Kent steps forward, proclaiming that it looks like a job for Superman, before struggling to remove his civilian clothing, confusing the villains. He then threatens to use his heat vision, before struggling to reach a fast sprint. Illuminata uses a flash bomb to blind him, but having been distracted by the events, they are arrested by Commissioner Gordon. In the tussle, a gun accidentally goes off, striking Superman and dropping him to the ground. Policemen come to his aid, and discover a kevlar vest underneath his costume. With Bruce Wayne overlooking, Gordon comes to the conclusion that 'Superman' is just another member of the public who has gone a little crazy and gently escorts him to Arkham Asylum for evaluation.


At Arkham, 'Superman' joins Jeremiah Arkham for an evaluation. His power either fail or he refuses to display them like a performing animal. Jeremiah persuades him to spend the night . As 'Superman' is led to his cell, the various inmates of Arkham react to his presence. Concerned about Superman, Bruce Wayne contacts Perry White to find out what has happened to Clark Kent, telling White that 'Superman' has been locked up in Arkham. After the call, White celebrates with Jimmy and Lois - Clark has gained access to Arkham Asylum for his undercover story.


That night, in his cell, Superman bemoans that he really cannot see through the lead-based paint. Suddenly his door unlocks, and Illuminata is standing there, having assaulted a guard to steal his keys. She has been busy, having already released the other inmates. Flying off, Superman quickly encounters Scarecrow and Penguin, both of who are surprised to discover that 'Superman' is actually Superman. Superman then follows The Riddler through the corridors, before discovering a scene orchestrated by Two-Face where both Mr Freeze and Poison Ivy stand ready to kill two members of staff at the same time, with Superman only able to intervene and save one of them. Superman chooses to melt Mr Freeze's gun, whilst Batman arrives to take care of Ivy. With the villains apprehended, Batman realises that the Joker is missing.


Batman and Superman enter the kitchens, where they are attacked by the Joker. Batman quickly overpowers Joker, but the two heroes are told that the Joker had caught Illuminata in the pantry. Opening the door, Superman discovers that the Joker has cut off her eyelids.

After order has been restored, Batman angrily confronts Superman over his assumption that Batman would act as backup on the anniversary of Harrison Grey's death. Batman insists that they are not partners or a team, and when Superman suggests that Batman's training of Robin is a reaction to their past team-ups, Batman suggests that the reverse is true. He suggests that Superman's night in Arkham was a reaction to his previous comment that he wouldn't last the night in Gotham. Superman denies this - he was originally going to write an exposé on Arkham with the intention of having it shut down, but his experiences have led him to change the focus of his article, calling for more funding and resources. The work being done there is too important to shut down, as is Batman's. Despite reaching an understanding, Superman has taken Batman's original words to heart, and suggests that the next year they try to remember Harrison Grey in their own ways. The two part company.

Ah, it's nice to return to a series that builds a relationship between Superman and a hero whose presence actually affect the Man of Steel. One of the strongest things about these earlier issues of this World's Finest miniseries is that, with large gaps in the history of the relationship between Batman and Superman, Karl Kesel is unafraid to have the heroes make mistakes with each other. The relationship that is in place by the time the two of them are heading up the JLA is one forged through adversity and across the years. Here, Superman makes some assumptions about the nature of his and Batman's working relationship that are wrong. The end result appears to be what he assumed would happen, but the reasons for the result are very different from what he expected, prompting him to re-evaluate his relationship with his most notable ally.

Although Superman has worked in Gotham prior to this issue, this is the first time he is exposed to the true darkness that inhabits the city. Magpie, for all of her showy theatrics, was a troubled woman and therefore elicited sympathy from Superman. The various Batman villains in Arkham Asylum, at their most demented and powerful, profoundly trouble Superman. When he comes across Illuminata, strapped to a chair with her eyelids sliced off so that she can never close her eyes, he is told by her to turn the light off as it is too bright. Instead of closing the door and quietly extinguishing the light, Superman is so shocked and reviled by what he sees that he cries out in shock, ripping the light bulb from the ceiling. Although he denies putting Batman's decree that he wouldn't last a night in Gotham City, this is very much a trial for Superman, one that he passes unscathed, but not unaffected by what he has seen. Although match-ups between Superman and Batman's villains are rare, each of them is taken seriously, with a respect for the potential for violence and loss of life that Superman gets from this encounter.

I really enjoyed the opening of the issue, where Superman pretends to be a well-meaning but deluded super-hero wannabe. Dave Taylor does a great job with the art in this opening scene, presenting subtly wrong images of Superman in action. I particularly like the detail on 'Superman's' hair, which is deliberately almost-but-not-quite right. I'm not so much of a fan of Taylor's portrayal of the Bat-villains, however. His Joker seems too ordinary, his appearance being at odds with the horrific act he commits. He is a lot creepier on the very striking cover that adorns this issue. I particularly like the way that Batman takes up the whole cover, and yet it's possible to not even notice that it's him unless you take in the small element of non-silhouette at the top of the image.

For me, this is one of the strongest issues of World's Finest, building on the first two issues whilst telling its own story, without being distracted by events that would define the later years of Batman and Superman. And in a few days, we'll be checking out the next issue.

The Geeky Bits: I missed out on creator bios the last two issues thanks to some interesting continuity pieces that needed addressing. And talking of those, this is the first time that Superman encounters The Joker.

Karl Kesel is one of the few people to have worked on the post-Crisis Superman as writer, artist and inker, although never at the same time. He is best known as the creator of the clone Superboy, a 67-issue, 6-year run as writer of Adventures of Superman, and as the writer of 59 issues of the Superboy series, in three runs from the first to the last issue. His main work as a penciller was on the Superman issues of the Time And Again arc, and he was the inker for the majority of John Byrne's run on Superman.

Next on World of Superman: Well, it's not the biggest leap in time that we've made (that honour belongs to an almost 100,000 year jump from World of New Krypton #2 to The Kents #1), but we're leaping ahead an entire year to see how Superman and Batman react to the third anniversary of Harrison Grey's death in World's Finest #4.

World's Finest #2

A Tale Of Two Cities

Script: Karl Kesel
Pencils: Dave Taylor
Inks: Robert Campanella
Colorist/Separator: Alex Sinclair
Letters: Bill Oakley
Associate Editor: Joseph Illidge
Editor: Darren Vincenzo
Cover Artist: Dave Taylor and Robert Campanella
Cover Date: May 1999

Nine Years Ago...

Batman is mourning at Harrison Grey's grave, a year after his death. Sensing that Superman is approaching, he hides. Superman pays his respects, then calls Batman out of hiding. The two talk about what happened, how Grey ran out of fear of both of them. With tensions high, they prepare to depart, but instead get into an argument about each other's cities. Realising that their lack of trust and understanding of each other contributed to Grey's death, Superman makes a suggestion - they spend half the night in each other's cities to try and understand a little bit more about the worlds they come from.

First up is Gotham City, and Superman expresses his dislike of the gothic architecture that epitomises the city. Suddenly, Batman vanishes. In an exclusive club, the patrons are being robbed by a gang compirising of henchmen from various Gotham villains. Batman bursts in, fighting the henchmen. Superman arrives a few minutes later, using his super-powers to catch a spray of bullets fired at the victims. In the aftermath of the encounter, Superman realises that his presence has only heightened the unease of the victims.  He  gracefully makes an exit.


Outside, Superman suggests that Gotham might have an easier time with its crime if Batman became a public figure, someone that the inhabitants of the city would feel more comfortable with. Batman explains that without any super-powers, it is the fear he instils in the criminals that keeps him alive and fighting. They turn to discussing why each other turned down JLA membership. Batman was too busy, as was Superman, although Superman wishes that he was able to talk about aspects of his life with people who understand. As Superman attempts to hold out a hand of friendship, Batman tells him that it's time they visited Metropolis.

Before long, Superman and Batman come across a crook named Khodar, who claims to be from the future. Khodar has a device that allows him to control metal, and he uses it to trap a lady in railway tracks. With a train approaching, Batman tackles Khodar, whilst Superman brings the train to a halt before it can kill the lady. Despite being saved, the lady is petrified.

As dawn breaks, the heroes discuss the night's events. Superman has realised that his raw power and abilities have the power to instil fear in others. He tells Batman that his real reason for not joining the JLA was that he was concerned that he was too powerful, that people would have trouble trusting someone with so much power and that could have hurt the newly-formed League. Superman works as hard to make sure that he can be trusted as Batman does to make himself feared. Despite their differences, they agree that they made a good team that night, and agree to meet up once a year on the anniversaru of Harrison Grey's death. 

This second issue of the World's Finest mini-series sets up the format for the rest of the run, namely that Superman and Batman shall meet up once a year on the anniversary of the death of Harrison Grey, and we as the reader shall watch their relationship grow and develop as time passes and events in their lives shape how they view each other. In this first year, both Batman and Superman have been offered places in the JLA and have both declined. In Superman's eyes, this, combined with their failure to prevent Grey's death, gives the two common ground to start building a relationship, even a friendship, although Batman is far more closed off and unwilling to participate in this.


Kesel draws the comparisons between Superman and Batman in more obvious terms in this issue. Whereas the first issue delighted in the subtleties of this, especially in the opening sequence, here Superman and Batman tackle their differences head-on in downtime between their activities. It's interesting that the person with the most room to learn about himself is Superman, who is faced with the distrust that people can have in him as a result of his powers head-on. Batman is more assured with his place in the world, although he is sufficiently affected by the death of Grey to agree to the team-up.

The two menaces faced in Gotham and Metropolis are wonderfully goofy and lightweight. I really like the idea of a bunch of henchmen teaming up to pull a crime and to try and control their own place in the world, and the visuals of Batman taking down these brightly costumed goons work well. On the other side, the criminal from the future with a fantastic piece of technology kind of riffs on the recent (in the life of Superman) Xotar encounter from The Man of Steel Annual #4. There is an interesting moment where Superman decides that he doesn't have the time to save both the girl and the train, and he confronts the train with his super-strength and super-confidence. He seems to have gone in the complete opposite direction from his being unsure of his powers in Superman Annual #7 and Action Comics Annual #7, having a total and uneasing confidence in his abilties and what he can achieve. My reading of this has it that this, combined with his inherent otherworldliness, is what terrifies the girl so much. Well, that and her brush with a squishy crushed-by-a-train death...

The art here has tightened up from the first issue. Dave Taylor has a better control over Superman face, although the odd panel still seems unusual, such as Superman's first full appearance against the gang of henchmen on page 10. I particularly like the quiet moments at the start of the issue, where Superman's face is imbued with a great sense of expression. The colouring is also particularly effective, with (again) the opening graveyard scene flooded with gorgeous sunset oranges.

The Geeky Bits: As has already been covered, Superman was offered membership in the JLA in both The Man of Steel Annual #4, and JLA Year One . As Batman's continuity didn't receive a 'hard reset' after Crisis on Infinite Earths, I'm not so sure as to when he was first invited to the JLA.

Next on World of Superman:  Superman is pretty legendary, so it's about time we got into a story from the legendary series, Legends of the DC Universe. Crappy hyping aside, this is the first time we get James Robinson writing Superman himself, and having just finished with the whole War of the Superman/World of New Krypton era of Superman, I'm interested to see how his tales from 12 years ago stand up today.

World's Finest #1

Year One: Different Worlds


Writer: Karl Kesel
Penciller: Dave Taylor
Inker: Robert Campanella
Colorist/Separator: Alex Sinclair
Letterer: Bill Oakley
Editors: Darren Vincenzo & Scott Peterson
Cover Artist: Robert Campanella and Dave Taylor
Cover Date: April 1999
Prestige Format

Night in Gotham, day in Metropolis. Batman and Superman apprehend a duo of thugs each, their actions and reactions mirrored yet different. Donnie in Gotham, attempting to rob Wayne Enterprises,  and Lonnie in Metropolis, breaking into LexCorp, both attempt to escape, thinking that Batman and Superman would both be focused on crime lord Eric Stang, who has just busted out from prison. As they independantly make plans to switch cities, the heroes force their cars into the water and finish the chase.


The next day, Perry White approaches Clark with an event to cover - noted plastic surgeon Harrison Grey is opening a clinic in New York. Clark notes that Grey is backed by LexCorp, providing a local angle. Lois want the assignment so she can expose how Grey's work on Hollywood actresses has imposed an impossible standard of beauty. Clark has a trump card - he grew up with Grey in Smallville and is close friends with him. Clark wins the assignment, and calls his parents to tell them the news, prompting Ma and Pa to reminisce about the night they found their son.

Bruce Wayne is flashing back to the murder of his parents. He is brought back to the present by Jim Gordon, who has arrived to provide a report on the break-in at Wayne Enterprises. After he leaves, Alfred reminds Bruce that as his company has invested in Grey's clinic, he should attend the opening. Bruce has been set up with a date by Grey, a leading actress named Savannah Summer, who is put out when Bruce doesn't recognise her.


At the reception, Lex Luthor is boring Bruce Wayne when he unexpectedly runs into Clark Kent, who has been given access to the VIP area by his old friend. Bruce and Clark meet for the first time, noting that the other has a strong grip in the handshake. The four discuss Superman and Batman. Savannah is getting on very well with Grey, giving up her seat next to Wayne to allow Clark to sit with his friend. Clark warns Bruce, who tells him that he has noticed everything, and that he is being used as cover to allow the two to see each other in public without causing gossip.


Harrison starts his presentation, using the different examples of Batman and Superman to illustrate the work he wants to do at the clinic. After praising the staff, he announces that their skill means that he will be retiring. Moving backstage after his speech, Grey is approached by one of his staff. Clark hears a gunshot, just before Savannah runs on stage screaming that Grey has been kidnapped and his bodyguard killed. Clark and Bruce both disappear, and seconds later, both Batman and Superman bear down on the kidnappers. They quickly realise that the Grey they have saved is a dupe, having had surgery to look like the real Grey. Batman quickly gets Alfred to start tracing Grey. Superman overheard the name of a militant group, called the Independent Citizen's Militia, who are rumoured to have broken Eric Stang out. Now that they have a lead, Superman asks how they will handle it. Batman wants to work alone, not be in charge of a team effort, and the two part company on bad terms.

Harrison Grey is brought to Eric Stang, who wants Grey to give him a new face. Suddenly, Superman bursts through the roof, shrugging off gunfire. Then, Batman bursts through the window, tackling more of Stang's goons. Whilst the two of them take out the henchmen, Stang grabs Grey and activates a dead man's switch in his hand - if he lets it go, the building will explode. The heroes attempt to negotiate with Stang, but get nowhere. Stang activates the switch, but nothing happens - Superman had smelled the fertiliser used in the bomb earlier and defused it. Stang jumps for the window. Batman leaps after him, telling Superman to look after Grey. Superman ignores the instruction, and flies out to catch Stang before he hits the ground, eager to ensure that Batman doesn't do anything to Stang. Whilst they do so, Grey runs out in a panic, and is run down and killed by a delivery van.


At the funeral, Savannah suggests to both Clark and Bruce that if Superman and Batman had worked together more then Grey would still be alive.

World's Finest was a maxi-series focusing on annual meetups between Batman and Superman, taking into account changes in each character across the corresponding years. As we slowly work our way through the series, we'll meet the replacement Supermen and Batmen, and watch these two iconic heroes forge a relationship out of the ashes of their failure at the end of the issue. But this is all to come.

The first issue really runs with the seeds sown by John Byrne in Man of Steel #3, that Batman and Superman do not really like each other, and certainly don't trust each other. It makes for a frosty relationship that ultimately ends in tragedy with the death of Harrison Grey. There are two great in-costume moments where this relationship hits the skids - when Batman tells Superman that he doesn't want lead a team-up, and Superman replies that he hadn't thought of Batman leading it, and when Superman dives out of teh window after Stang, concerned over what action Batman might take against him. There's also a lovely moment where Bruce Wayne, Clark Kent, Lex Luthor (who, by the way, looks very off-model for some reason) and Harrison Grey debate the differing approaches to crime-fighting employed by Batman and Superman. As it doesn't take much longer for the Daily Planet to earn Lex's complete animosity, this scene is one of the very few civil interactions between Luthor and Kent without any subtext to their remarks.

As with many team-ups between Batman and Superman, the book opens with a clear presentation of their differences and similarities. The first twelve pages are split directly between Superman and Batman, with near-identical actions and dialogues. What is fun is the subtlety of the differences. On page 5, a building behind Batman has a condemned sign hanging off it, whilst the corresponding Superman panel has a bright, catchy sign for a hair salon. Superman hands his crook into the authorities, whilst Batman trusses his up for the approaching policemen. There's a wonderful moment of confusion after both heroes survive a hail of bullets, where Batman's gunman believes that Batman is more than human, whilst Superman's is convinced that the Man of Steel is wearing kevlar. Of all the contrasts in this section, the one that doesn't come across so well is the Lonnie/Donnie one. Both men are drawn to be similar in appearance, and the reader expects there to be a follow-up with their similarities, but after the opening sequence neither are heard from again.

What doesn't come across well in this book is the artwork. For most of the time, it's fine. Taylor does a creepy Batman, and I really quite like is Clark Kent. But his Lex Luthor is so off-model that if he wasn't identified in the dialogue then I wouldn't have recognised him. And his Superman is just... well... wrong. Especially on the opening splash page, and in the panel to the left. The face is far too slim and out of proportion with the rest of his body. It gets better throughout the issue, but never reaches any noticeable heights. But blowing the two big reveals of Superman at the start of the issue sets me against the artist, and these panels should have been done better and been images worthy of Superman.

The Geeky Bits: The second post-Crisis meeting between Batman and Superman, after Man of Steel #3.

The first post-Crisis meetings between Clark Kent and Bruce Wayne, Bruce Wayne and Lex Luthor and, despite Luthor recognising Clark, this is the first time they meet on-panel.

This isn't the only time Karl Kesel will get involved in a post-Crisis World's Finest series...

Next of World of Superman: There's a part of me that really wants to cover the first Superman/Batman annual, but as that's very clearly not of this continuity, I'm going to have to reluctantly put it to one side. So what's next? Oh, right, another Year One...

Action Comics Annual #7

And we're back, after an absolutely nightmare-ish week-and-a-half at work that left me in a state where I could only work, eat and sleep. But all is now well, and I'm back to take a look at Superman's first venture into space.

Year One: Loss And Space


Writer: David Michelinie
Penciller: Darick Robertson
Inker: Brad Vancata
Letterer: Bill Oakley
Colorist: Pat Garrahy
Assistant Editor: Chris Duffy
Editor: Mike Carlin
Cover: Walt Simonson
Cover Date: Annual 1995

A group of radiation-suited terrorists find that their hijacking of a cargo lorry in Illinois doesn't go to plan when Superman drops in. Heating up the asphalt, Superman waits for the hijackers to sink in before chilling it solid with his freeze breath. He flies off, continuing his journey back to Smallville. Over dinner with his parents, Clark addresses his father's fears that he is pushing too far and placing himself in danger. Clark is not concerned; he is riding on a high of using his powers and as far as he is concerned, he has no limits. Suddenly, the conversation is interrupted when a mental pulse deafens Clark. He quickly discerns that it is coming from the moon. A thought strikes him - if he takes a deep enough breath and pushes hard enough, he could break free of the Earth's gravity and head into space.


Changing to his costume, Superman puts his plan into action. The plan works, and Superman finds himself in orbit. Forcing himself not to be overawed by the sight of Earth from space, Superman makes his way to the moon. Near the site of the Apollo 11 landing, Superman finds an alien craft that is emitting the signal. As he approaches, a hatch opens. inside, Superman meets the pilot, a dying alien, who warns him of the H'tros, a swarm of plundering mechanical aliens who target a world and pick it clean. The alien's planet, a pacifist world, has been targeted, but transmissions from Earth speaking of Superman gave them hope. The alien had been sent to enlist Superman's help. As the alien dies, he gives Superman a choice - press a button to be transported to their homeworld to help, or to return to Earth and let his people perish. Superman chooses to help, and pushes the button.


Transported across the galaxy, Superman finds himself setting foot on an alien planet for the first time. The aliens greet him, but bow their heads in front of him. Superman realises that as a man of action and violence, his presence is resented by the pacifist people. Briefed on the H'tros, Superman heads into space to avert the invasion. It doesn't take long for the H'tros to react to his organic nature, and Superman soon finds himself the target of the fleet. The H'tros detonate a grenade, forming a miniature black hole to trap Superman, but Superman is able to plug the black hole with one of the Htros ships. Superman is then nearly caught with a bluff to draw him away from the approaching mothership, but at the last minute he realises the plan and is able to escaape the trap and focus on the mothership. Bursting in, he battle H'tros guards that seem intent on keeping him away from a certain area. Battling his way through, he discovers the primary power core, and detonates it, destroying the ship and routing the invasion.


Recovering in space, panic overtakes Superman when he realises that he has lost his bearings and he cannot find the alien planet. He picks a direction and is about to head off in it when he realises that if he is wrong, heading off will only make him more lost. With his oxygen running out, Superman applies science to retrace his steps to the centre of the explosion that stranded him. From there he is just about able to identify the planet, and in a desperate race against his approaching unconsciousness, he hurtles towards breathable atmosphere. Back on the planet, the aliens are both grateful and mournful for the loss of the H'tros. They despatch Superman back to Earth.


A few days later, Clark Kent is working in the Daily Planet newsroom when a report comes in from NASA of approaching alien ships. The manner of their approach tips Clark off that it is the H'tros, who have somehow survived. On the roof of the Planet, Clark face down the fear of getting stranded in space again and, armed with a larger oxygen supply, heads off to face down the H'tros again.


Repeating his tactic from before, Superman is surprised at the lack of resistance on the mothership. He soon realises why - the power core has been encased in a force-field that he cannot penetrate. The H'tros attack him, and Superman realises that their tactics work to prevent him from getting to another ship. He fights his way into the new ship, and the sound of metal breaking under his assault makes him realise that there is atmosphere present, an unusual occurence for a ship populated by robots. Venturing onward, he discovers the organic creator of the H'tros, who has been commanding their attacks. Reasoning that the H'tros are programmed to follow their creator, Superman hurls the ship into the sun. The H'tros follow, and are burned up. Superman returns to the alien, who he had evacuated from the ship, only to find that he has comitted suicide.


Back in Smallville, Clark confides in his father that his adventures in space have helped him realise his limits.

There's a lot to like about this annual, and I'll get to these things in a second. But first, I have to deal with the elephant in the room, namely the lameness of the H'tros, their plans, and the aliens who get Superman involved in the whole affair. First of all, the aliens, who rate so lowly in the story that Michelinie never bothers to give them a name, are almost completely forgettable, save for the moments where their pacifist nature causes them to regard Superman with disdain. Their world is a one-gimmick world - they are pacifists - and we have no real sense of what it is that Superman is fighting for, other than the fact that he has been asked to fight. As for the H'tros... they attack anything organic on sight , and their whole reason for doing so is that once upon a time their creator wanted to end a centuries-long war. Hold on... organic creator creates an unstoppable race of robotic beings as the result of a centuries-long war that he commands in secret while they annhialate the galaxy... sound familiar?

To be honest, the H'tros aren't as bad as they sound, but Michelinie struggles to give both the H'tros and the nameless pacifist aliens (can't I just call them Neutrals?) a true sense of depth in the 48 pages of this annual. There's a lot to fit in, and a few sacrifices have to be made, including the final revelation that Superman saved the H'trosi creator before sending his ship into the sun - the reveal reads about as smoothly as I covered it in the recap.

So, that's enough of the not-so-good. What works well here? There is a real sense that Superman is out of his depth at several points in the issue. We get to see Superman adapting his use of powers on the fly in a new environment. Things that might be taken for granted in future episodes, such as divining the presence of an atmosphere because of the noise of metal melting under Superman's heat vision, are laid out logically for the reader. And, of course, the real highlight of the issue is the very tangible sense of panic Superman feels after destroying the H'tros mothership, when he realises that he has got lost and very well may die in space. The artwork really sells the idea that Superman is struggling not only for survival but to keep his head in difficult circumstances.

The bookends with the Kents are a lovely touchstone. Between Man of Steel #1 and #6, we see very little of Clark's parents, and catching up with their thoughts, feelings, and concerns for their son during his formative years as Superman is an important thing for us to do. The final scene ties in nicely with the end of Man of Steel #6, as Pa Kent references the fact that Clark's upbringing is as important to Superman as his superpowers.

Finally, on a personal note, re-reading this annual for the blog confirmed just how important writing these reviews are for me. When I first read this annual, a few years back, I wasn't interested in the space story, and because I had bookmarked this issue in my head as 'Superman in space', I had a pretty negative view of the annual as a whole. Going back through this issue several times over the past week (work allowing) has completely changed my view of the book. Although the space story still isn't a particularly strong one (in my opinion), it's the character moments and progression that really make this annual stand out for me. I'm glad I reread it and gave it a second shot, as it's now turned into one of my favourite stories from this time in Superman's life.

The World of Metropolis #2

(Apologies for lateness, a busy week at work combined with the refusal of blogger to save my drafts properly have put me back a little. If the synopsis seems a little off, it's because it's my fourth or fifth attempt at getting it written.)

How I Spent My Summer Vacation


Writer: John Byrne
Pencils: Win Mortimer
Inks: Dick Giordiano, Sal Trappini
Lettering: Bill Oakley
Coloring: Tom Ziuko
Assistant Editor: Renee Witterstaeter
Editor: Mike Carlin
Cover: John Byrne
Cover Date: September 1988
Releae Date: 17/05/1988


Lois Lane rushes into a burning building, climbing up to find Wanda. She bursts into an apartment and finds Wanda, a pet dog. She breaks the window and throws the dog out to the waiting firemen, before jumping herself. Superman catches her and uses his heat vision to destroy some falling rubble. Returned safely to the ground, Lois is reuinited with Wanda and her owner, her sister Lucy Lane. That night, Lucy stays with Lois. As they eat pizza and watch old movies, Lois is reminded of how she first went after a job at the Daily Planet...

Instead of babysitting, the 15-year old Lois Lane drags her sister along to the Daily Planet newsroom. She approaches Perry White, reminding him that they have met before, even though Perry does not remember. She attempts to impress Perry, demanding a job as a reporter, and lying about her age. Lucy blows the lie, and Perry ushers the two girls out of his newsroom, telling Lois to come back in ten years. As they leave the building, a rejected Lois overhears two reporters talking about wanting to get dirt on Luthor, and comes up with a plan.


That night, Lois sneaks out of the Lane family home, having conscripted Lucy to help cover for her. Lois makes her way off the army base and onto a bus bound for Metropolis. She emerges in the city in front of the LexCorp building. She uses a nearby statue to climb up to a low-hanging window-cleaning cradle, then uses the cradle to ascend to the penthouse level. The cradle stops a few feet away from the balcony, but one death-defying leap puts Lois on the balcony, hiding behind a plant and planning her next move. However, teh cradle swings from the momentum of the jump, crashing into the building. Lex Luthor and his companions rush onto the balcony to see what has caused the commotion.


Lois rushes in behind them and immediately starts stuffing papers from Lex's desk into her pockets. Unsurprisingly, Lex notices this, and he and his companions give chase. Lois quickly gets lost in the corridors, and finds herself confronted by Lex. Lex is surprised that the intruder is so young, and hands her over to his female security, who strip-search Lois and recover the papers. Lex beats Lois with his cane and evicts her from the building, before settling down to watch the tape of Lois' search. Out on the street, Lois coughs up a piece of paper she had swallowed to prevent it from being discovered. She returns home, and watches old movies with Lucy, eating ice-cream.


Back in the present day, Lois tells Lucy that she gave the stolen paperwork to Perry White. Although it was stolen property and it couldn't be used as the basis for a story, Perry was impressed with her initiative and kept an eye on her. Years later, when Lois started becoming a famous reporter, Lex sent her a copy of the search tape to remind her of where she came from.

This second installment of World of Metropolis stands on its own more than the first. The notion that Lois and Lex have a history that pre-dates Superman's arrival is one that is returned to time and again, even in the current Secret Origin reboot. Although the idea was pushed to the background once the regular titles got going following Man of Steel, a lot is made of the idea that Lex has an obsession with Lois, especially during Man of Steel #4. As her experience of Lex starts here with her being forcibly strip-searched and beaten with a cane, it's not surprising that Lois constantly rebuffs his advances.

If the manic-laughter-Lex of the previous issue felt out of character, then the dominating-paedophile-Lex who retires to watch a tape of the 15-year old girl being forcibly strip-searched is a particularly dark edge to the character that, thankfully, has been left behind. I'm not a fan of this element of the issue or of Lex. It's too blunt and on-the-nose, and for such a serious encounter, it shapes too little of Lois' future life. Her anti-Lex reporting always seemed to come from a place of distrust of the powerful, rather than from a prior abuse.

Random things that I like about the issue include the extended sequence of Lois gaining entry to the LexCorp building, and the fact that Lois' plan is just so bad (run in, grab some stuff, run out, hope that something stolen is worth something to Perry). A real annoyance is the way that the issue wants to have a great anti-Lex payoff, but just comes across as.. well... wrong. Lois seems to find it funny and a bit of a victory that the only way Lex can get her is to watch a video of her 15-year old self being brutally strip-searched... yeah, that works Lois, you got the irony of the situation just right. The closing page just seems to decelerate the issue to the point where it screeches to a complete stop, without providing a sense of closure to Lois' story. It feels like there's a second part out there where an adult Lois wins the day, regaining the moral high ground conceded by her when she broke into LexCorp.

Next on World of Superman: Mr Clark Goes To Metropolis!

Martian Manhunter #20

Revelations Part One: Strange Visitors

Writer: John Ostrander
Artist: Tom Mandrake
Letters: Bill Oakley
Colors: Carla Feeny
Color Separations: Jamison
Assistant Editor: L.A. Williams
Editor: Peter Tomasi
Cover: Tom Mandrake
Cover Date: July 2000
Release Date: 03/05/2000



J'onn J'onnz has become aware of a spacecraft entering Earth's atmosphere. He follows it to Kansas, and finds the craft, open and empty, with footprints leading away from it. Curious as to what was contained within, J'onn makes telepathic contact with the spacecraft's AI, and experiences the death of Krypton, before being rejected for not being Kryptonian. The sound of an approaching truck makes J'onn turn invisible, and he witnesses Pa Kent bury the spaceship. Concerned that Kent may not be in control of his actions, J'onn follows Kent home and sees him and Martha agree to adopt the baby from the spaceship. J'onn leaves, vowing to return and guard the boy, ready to act if he threatens the Earth with the same destruction that Krypton experienced.


Eight years later, J'onn returns, disguised as Joshua Johnston, a black farmhand who helps out the Kents that summer. He befriends Clark, despite accidentally calling him Kal, all the time searching Clark's mind for any trace of Kryptonian that might threaten the Earth. In town, Joshua experiences racism from several youths, and Clark rushes to his defence, despite being smaller and weaker than those he confronts. Joshua attempts to break up the fight, but the parents of the other children get involved, continuing to taunt Joshua. One of the adults strikes Clark, and Joshua retaliates. Jonathan Kent arrives and the situation is defused, even though the tensions aren't. That night, the police arrive at the Kent farm - a complaint has been filed and the sherriff feels that it would be better for Joshua to leave town. Joshua agrees to leave, which angers Clark, who vows one day to make things right.


J'onn intends to return to Smallville, to ensure that Clark's desire does not develop into vengeance, but events elsewhere leave him without his memories for several years. He is able to recover, and spends a year as a high school teacher to Clark, now in his mid-teens. J'onn observes as major events happen to Clark, culminating in the reveal of his alien heritage, and progressing to the reveal of Superman to the world.


J'onn visits the Daily Planet in disguise, looking to find Lois Lane and through her, Superman. Once inside, he encounters Clark Kent, and is confused as to why Superman would hide himself and his heritage even though he has full knowledge of it. Later on, J'onn finally confronts Superman in the image of Jor-El, commanding him to embrace his heritage and reshape the Earth in the image of Krypton. Superman refuses to do so, passionately defending the Earth and its people. Realising that his fears have been unfounded, J'onn finally reveals his true self, and his past disguise as Joshua, to Superman. The two shake hands in friendship.

A concerned J'onn J'onnz looks down at an innocent baby contained in a spaceship. A great cover that serves the themes of the issue, despite not appearing within the narrative. And a great start to a great comic. This retcon insertion of the last survivor of Mars into the early life of Superman serves to strengthen both characters. J'onn becomes more trusting of other non-humans and heroes, while the bigoted behaviour of certain inhabitants of Smallville helps instill moral values into the young Clark Kent.

The issue picks up on an element of the Superman origin story as presented in Man of Steel that tends to be passed by in the general Superman mythos, the fear of Superman, what he represents, and what he might do to the planet. J'onn feels this fear, having witnessed the destruction of his own people, and learnt of the destruction of Krypton. Although we know the ultimate fate of Clark Kent as the protector of Earth, Ostrander does a good job of conveying an unsettling alternative through the thoughts and fears of J'onn.

An interesting element of the story is the choice of disguise as Joshua Johnston. A key element of Martian Manhunter's story is centered around the fear of his appearance. The man responsible for bringing J'onn to Earth, Dr Erdel, dies of a heart attack upon seeing J'onn for the first time, and J'onn is compelled to take human identities out of fear for what may happen to him if he is discovered. To then take the identity of a black farmhand in a Kansas town where racism is not unknown is an interesting choice, possibly a cathartic one, allowing him to experience the consequences of revealing his identity and thus be better prepared for doing so in the future.

I really like the ending of the book, especially the last panel, where the themes of trust and frienship overriding fear are encapsulated in a firm, friendship-defining handshake. J'onn and Kal-El share much in common, being the last survivors of their people, and in my opinion, not enough has been done with this in the Superman titles over the years. Although sitting outside of the core Superman books, this issue is a great read for anyone interested in how Superman became acquanted with the wider DCU in his early years.

The Geeky Bits:

Estimated Diamond Pre-Orders: 19.636
Diamond Sales Chart Position: 129
Best-Selling Comic Of The Month: Uncanny X-Men #382

Next on World of Superman: If MM#20 is an example of how retconning origins can be a positive and enhancing experience, then our next issue is completely the opposite. Join me in a few days for the 'experience' that is Action Comics #794.

Starman #51

Midnight In The House of El

Story: James Robinson and David Goyer
Words: James Robinson
Pencils: Peter Snejbjerg
Inks: Keith Champagne
Letters: Bill Oakley
Colors: Gregory Wright
Separations: GCW
Editor: Pete Tomasi
Cover: Tony Harris
Cover Date: March 1999
Release Date: 05/09/1999


Lost in space and time, a spacecraft containing Jack Knight, Mikaal Tomas, and a hologram of Ted Knight generated by a Mother Box lands on Krypton in the near past. Upon exiting the ship, the trio are confronted by a large robot, which opens up to reveal a young Jor-El. Jor-El assists the group with re-plotting their course back to the present. Jack finds it hard to focus on the discussions, as he is obsessed with the fact that he is meeting Superman's father. Ted reveals the location of Earth to Jor-El, who is delighted to meet aliens and people from the future all in one. Jack shares the reason for his quest with Jor-El, causing the Kryptonian to compare reproduction on his planet with love on Earth.

The ship is discovered by other Kryptonians, who transport it to the nearest city. Seyg-El, Jor-El's father, splits the three travellers up and interrogates them about their intentions., suspecting them to be connected to the Black Zero terrorist group. Jack is easily able to resist the interrogation, as Seyg-El is rather poor at it (and Jack has had many experiences of watching police drama on television). 

That night, Jor-El breaks his own confinement to free Jack and Mikaal. They go to retrieve Jack's staff and the Mother Box so that they can all escape. Jack holds off Seyg-El's robot guards while the ship escapes the city. Landing outside the city to let Jor-El off, Jack gives him a data disc containing information and the co-ordinates of Earth. They then leave to continue their journey.

I am a big fan of this story. It doesn't matter to me that it's part of a larger narrative, both in terms of the 'Stars My Destination' story-arc, and in the larger story of Robinson's Starman. This is a great look at a young, naive and impressionable Jor-El, which in turn shapes the entire future of the DC Universe.

The tie-ins to World of Krypton and Man of Steel #1 are faithful and respectful. The costumes mirror the Mignola originals, and the image of Earth used by Ted Knight to represent his home is the one still obsessed over by Jor-El in Krypton's dying moments. The Krypton we are shown fits right in as well, a sterile, cold and infertile world where there is almost no direct contact between its inhabitants. In recent years the impression of Krypton given to us in the comics is one of a virtual paradise, and as always it is great to see that Superman's homeworld is a place of flaws and imperfections.

Despite all of this, this is very much a Starman story. Plenty of themes common to the wider Starman series are present. Jack and Ted share a little moment where they find new common ground and learn a little more about each other. All three Starmen react very differently to the interrogation by Seyg-El, taking apart the effectiveness of his questioning with ease but in their own ways. And throughout, Jack's reactions to his unusual situations are wonderful and so well realised, especially the moment where all he can focus on is the fact that he's talking to Superman's father.

Although this is just one part of a sweeping Starman story, it is a story that is well worth thinking of as part 2.5 of World of Krypton, as it fits very neatly into the WoK storyline and requires very little knowledge of the wider Starman story.

The Geeky Bits:

Estimated Diamond Pre-Orders: 28,122
Diamond Sales Chart Position: 84
Best-Selling Comic Of The Month: Uncanny X-Men #366

The Kents #5

Brother vs Brother Part 1


Writer: John Ostrander
Penciller: Tim Truman
Inker: Michael Bair
Letters: Oakley/NJQ (Bill Oakley)
Colors: Carla Feeny
Color Separations: Digital Chameleon
Editor: Peter Tomasi
Cover Art: Timothy Truman
Cover Date: December 1997
Release Date: 08/10/1997

The issue opens with the shooting of Nate, as seen from Jeb's point of view. As he rides off, something makes him look back, and he sees Joshua Freeman break cover to tend to Nate. The look Josh gives Nate chills the younger brother.


Abraham Lincoln is elected President, and over the next few months the tensions escalate further. Quantrill is arrested near Lawrence in early 1961, but is taken to a more friendly town to await bail. Jeb arrives to post the bail, chased by a posse from Lawrence, but he and Quantrill escape.


In June 1961, John Glenowen leaves his daughter to look after Josh, and joins the Union forces. He has a chance meeting with Nate, who has been looking for his brother, and who has joined up along with Wild Bill Hickok. The Union forces engage the Confederates, with the Kent brothers on opposing sides. In the confusion of the conflict, Jeb shoots out Nate's horse and wounds John Glenowen, before recognising his brother. When Nate recognises Jeb, he fires wildly at him until John is able to calm him down. Nate takes John to get medical attention, vowing to kill his brother on their next meeting.

With this issue the Civil War finally erupts, after 4 and a bit issues of tensions rising and events escalating. The War in this story serves to highlight the differences between Jeb and Nate. In this issue, they only meet on the battlefield where their allegiances and beliefs push them into conflict with each other, an outcome that Jeb clearly doesn't want as evidenced by his actions in greeting his brother, who he last saw dying after he shot him.

This issue feels more focused than most of the first four. It centers on two scenes - the post-shooting of Nate, and the battle at the end. The transition from Bleeding Kansas to the Civil War is covered in one smooth passage, with a brief Jeb scene to prevent there from being 8 pages of pure exposition. The central scenes we do have show us that Jeb has remorse for his actions, even if he doesn't have a fully formed sense of self-preservation to stop him from breaking cover to greet the man he shot a year previously. Jeb is by no means redeemed  in this issue, but his character grows beyond the impulsive teenager rebelling against his family that had driven his actions in the last two issues. Conversely, Nate is shown to us as the revenge-driven hardened veteran, with no room in his heart for his brother, a less likeable character than the Nate we have seen previously. Starting this arc with the brother so opposed not only from each other but from their previous depictions sheds new light on where events have taken them, and shows us that Ostrander is looking for new ways to present Nate and Jeb.

The Geeky Bits:

Estimated Diamond Pre-Orders: 27,332 (-2383)
Diamond Sales Chart Position: 106 (-11)
Best-Selling Comic Of The Month: Uncanny X-Men #350

The Kents #4

Bleeding Kansas Part 4


Writer: John Ostrander
Penciller: Tim Truman
Inker: Michael Bair
Letters: Oakley/NJQ (Bill Oakley)
Colours: Carla Feeny
Colour Separations: Digital Chameleon
Editor: Peter Tomasi
Cover Art: Timothy Truman
Cover Date: November 1997
Release Date: 03/09/1997

Stung by the words of Jeb, Nate decides to reach out and get to know the people he is fighting for. He seeks out a family of freed slaves, the Freemans, who make their living as farmers. Despite some initial tensions on the part of Tobias and Sarah Freeman, they bond when Jeb asks for Tobias to teach him how to tend the land.


Later that year, elections are once again held. Although there is no direct conflict this time, ballot-stuffing is rife. Governor Walker disqualifies many candidates, including Sherriff, and is himself relieved of his position by President Buchanan.


Tensions are relieved somewhat in the spring of 1858, when gold is discovered at Pike's Peak, sparking the Colorado Gold Rush. Nate and Jeb's relationship continues to deteriorate. An argument over Mary Glenowen, who Wild Bill Hickok is starting to lose his affections for, leads to Nate hitting his brother, and Jeb pulling a gun, promising to lose it next time.


Nate continues to ride with Quantrill and his men, who now include Luther. The group have started killing Free State supporters in acts of guerilla warfare. but Jeb abstains from firing his gun. Wild Bill breaks up with Mary over issues of her half-Indian heritage, and rides off. As Nate comforts Mary, he confesses his love for her. She cannot reciprocate his feelings so soon, and the two part.


Over the next year, tensions start to rise again, spurred on by John Brown's actions, stealing slaves from Missourian farms and delivering them to freedom. He is eventually caught after a period of hiding, and hung.


The summer of 1860 sees a drought blight Kansas, causing further hardship. One day, while Nate is teaching the Freemans' son, Josh, to read, Quantrill and his gang, including Jeb, ride up to forcibly enslave the family. When Nate defends the Freemans, Jeb shoots him in the back. The Tobias and Sarah Freeman are dragged away. Josh saves Nate, bringing him to Mary Glenowen, who helps him recover. Part of the recovery process involves being covered with an Iroquois healing blanket, which bears a symbol of healing, a familiar 'S' shield.


At the end of 1960, having fully healed, Nate rides off to free Tobias and Sarah, and to have his revenge on Jeb.

There's no avoiding it, so let's deal with the elephant in the room - the 'S' shield. Such an obvious link to Superman, far more blatant than Luther-as-bad-guy connection, stands out like a sore thumb.The design just doesn't work. The bright red, blue, and yellow, jump off the page at the reader, further sticking out as we have never seen these particular colours before. They seem to be from a completely different colour palette to those used so far in this series. About the only good thing to remark about the appearance of the logo is that it never really pops up again - thankfully, Jeb doesn't fashion it into a cloak and fight for freedom under it. Although the Superman logo is worked into the cover of each issue, it has always been in a more subdued manner, feeling as if it belongs to the image. Here, it's an unwelcome intrusion that brings the reader out of the story crafted by Ostrander.

This issue feels a bit rushed. The story needs to end with the Civil War about to erupt, and thus this issue covers over three years of plot. It's also the most focused of the issues - the detours into historical background are limited to two single pages, allowing the narrative more room to focus on the Kent brothers. Despite his inaction during the murder of the Free Men, Jeb finishes the issue firmly painted as a villain, shooting his brother in the back and throwing his lot in fully with Quantrill. Jeb will inhabit this role for most of the rest of the series, losing some of the layered detail of character that he was portrayed with during the first few issues.

Overall, this first arc in The Kents has been a success, despite having to work against a specific era of American history that is perhaps less well-known that the Civil War era that dominates the next arc.

The Geeky Bits:

Estimated Diamond Pre-Orders: 29,715 (-3,805)
Diamond Sales Chart Position: 91 (-6)
Best-Selling Comic Of The Month: Uncanny X-Men #349

The Kents #3

First of all, an apology for the delay in this review. I've been away training for my new job at a location that takes three times longer to get to than my home location, which has reduced my free time considerably. I've actually completed this review a couple of times over, but the blogsite has crashed and deleted all my writings, which has been frustrating. Normal service shall resume! And on with the show!

Bleeding Kansas, Part 3


Writer: John Ostrander
Penciller: Tim Truman
Inks: Michael Bair
Letters: Oakley/N.J.Q. (Bill Oakley)
Colors: Carla Feeny
Color Seperations: Digital Chameleon
Editor: Peter Tomasi
Cover Art: Timothy Truman
Cover Date: October 1997
Release Date: 06/08/1997

As Nate rides from Washington to Lawrence to help the town survive the siege, fallout from President Pierce's refusal to consider Kansas' statehood hits the Senate, with Senator Sumner brutally beaten for denouncing the 'crime against Kansas'. Meanwhile, Lawrence surrenders to the Missourians, believing that no help will be forthcoming from the Washington party. Despite the surrender, Sherriff Woods and Luther's men ransack the town, arresting key opponents and torching buildings. Deciding to deal with his issues over being left behind, Jeb, in disguise, incites a mob to attack and destroy the family printing press.


Two days after the surrender and sacking of Lawrence, Nate arrives home, and is distraught at the destruction of the family press. Jeb has fled town, and has taken up with Lily Beaumont, the daughter of a pro-slaver. That night, John Brown and his gang confront and kill Lily's father, with Lily and Jeb watching from cover. Jeb returns to Lawrence with news of the Pottawatomie Massacre comitted by Brown. During a confrontation with Nate, Jeb expresses solidarity with the Missourians, and the two part company again.


By late September 1856, things have got worse in Lawrence, with key community leaders arrested and the new pro-slavery Governor Woodson inviting the Missourians to 'restore order'. Lawrence has become better defended, and Nate renews his acquaintance with Bill Hickok, who has taken up with the half-Indian Mary Glenowen and her Welsh father, John. Nate visits the Glenowens and falls in love with Mary, but hides his feelings out of respect for Bill. In the meantime, Jeb has taken up with bad company, and helps lead some abolitionists into an ambush where they are killed by William Clarke Quantrill, who recruits Jeb to his posse.

If you boil this series down, stripping away the historical research and cameos from historical figures, what The Kents is about is the two different paths taken by the Kent brothers. As the American Civil War (Apologies to the American readers, but here in England we had our own Civil War 200 years earlier. Not only did we get to commit regicide, but the Civil War was so popular it came back a few years later for a sequel.) becomes the focus of the series, these paths and conflicts are made more explicit and sit at the front of the series, but what is impressive here is the way that Ostrander refuses to portray Jeb as the 'bad' brother.

Although Jeb's actions are hardly noble, they are born from a desire to find his own place in the world, one that distinguishes him from his brother. His desire to be his own man is shown through his actions and inactions, although his choices of when to act and when not to send him down a different path. He chooses to be a part of the looting of Lawrence, destroying his father's press, and again chooses to be a part of Quantrill's murderous actions at the end of the issue. He is presented with the opportunity to take a stand when Beaumont Sr is killed, but chooses to an observer and not a participant.

As the brothers drift further apart, and as history takes its course, the impending Civil War propels this issue forward. The young Government of America descends into chaos, with attacks on senators who stand up for Kansas, and in Kansas itself the two opposing factions turn to guerilla-style tactics to further their cause. The two brothers are inextricably caught up in this, and their paths, while still fluid here, will be well and truly set by the end of the next issue.

The Geeky Bits:

Estimated Diamond Pre-Orders: 33,519 (-4,802)
Diamond Sales Chart Position: 85 (-16)
Best-Selling Comic Of The Month: Spawn #65

The Kents #1

Bleeding Kansas Part 1

Writer: John Ostrander
Penciller: Timothy Truman

Inks: Michael Bair
Letters: Bill Oakley
Colors: Carla Feeny
Colour Separations: Digital Chameleon
Editor: Peter J. Tomasi
Cover Art: Timothy Truman
Cover Date: August 1997
Release Date: 04/06/1987

In present-day Smallville, Pa Kent uncovers a buried trunk containing letters and heirlooms from his ancestors. As he investigates the finds, he writes a series of letters to Clark informing him of the story of Kents as he uncovers it...

Silas Kent, patriarch of the Kent family in Boston, Massachusetts, is an abolitionist and active in the underground railroad, supported by his sons Nathanial and Jebediah. He relocates himself and his sons to Kansas, intending to send for the rest of his family once he and a group of like-minded people have founded a society there. He takes his printing press with him. Upon arrival, the group is confronted by Luther Reid and his band of pro-slavery Missourians. Although conflict is avoided on their first meeting, the threat of reprisals casts a shadow over their endeavours.

In August 1854, the town of Lawrence is founded, and the Kents make their home there. In November of that year, elections are rigged and disrupted by the Missourians in an attempt to deprive the abolitionists of representation, and tensions rise again when in the Spring of 1855, Luther and his enlarged posse attempt to disrupt elections with a cannon. Silas is instrumental in seeing Luther off, but this, along with the anti-slavery printing from his press, make him a target.

In reaction to the impending pro-slavery legislation, Silas republishes the US constitution on the front page of his local paper, stirring up anti-slavery protests. One night, he is shot in the back and killed. Nate and Jeb confront Luther, who denies having Silas killed. Luther then enlists the help of a Southern sheriff to help destroy the Kents and Lawrence.

John Ostrander's sprawling 12-issue epic The Kents is brave project. It's a Western comic, published in an age where true Westerns have fallen out of favour, despite, as pointed out by Ostrander in his editorial contained at the back of the issue, the themes of a Western being found throughout fiction. It is also a serious historical comic, rooted firmly (as suggested by the title) in the Bleeding Kansas era of American history.

The book is permeated by cameos of real historical figures. In the first issue alone, Harriet Tubman, Charles Robinson and John Brown appear. Unlike in later issues, where the plot turns Bill Hickok into a major supporting character, these cameos feel natural and unobtrusive, serving to ground the series further in the real life events that occurred.

If this first issue has a flaw, it is that the main characters of the series, brothers Nate and Jeb, receive little page time. There is a lovely scene set during the emigration, where Jeb's curiosity, intelligence, and desire to understand further the events that have uprooted his life come across as positive character traits, despite the journey that these traits would lead him down throughout the series. And although I like pitting a character named Luther against the Kents, the appearance by John Henry Lane (despite the wonderful naming coincidence) feels like over egging the naming pudding, inviting more comparisons with the traditional Superman status quo than are intended by the series.

The art is beautiful. Everyone in the series feels real, from the interpretations of the real-life figures down the more caricatured designs such as Luther. The threats of weapons, such as the numerous guns levelled at Luther throughout the issue, are powerfully conveyed without ever assigning a morality to them - the guns, no matter who wields them, are presented as deadly tools and nothing more.

Ignore the 'S' shield on the cover - other than the names, this is a gripping stand-alone historical Western saga.

The Geeky Bits:

Estimated Diamond Preorders:  46,470.
Diamond Sales Chart Position: 47
Best-selling Comic Of The Month: Uncanny X-Men #346