If Nothing Ever Changed, There'd Be No Butterflies

I enjoy writing this blog, and I don't plan to quit posting as long as I'm enjoying it. That having been said, I am planning to make some changes going into the new year.

There is part of me that hates to pull back at this time because my audience seems to be growing right now. The growth isn't huge, but it is significant. I don't get a lot of comments posted, but the number of you silently reading out there has multiplied by quite a bit in the last six months or so. Anyone is free to join in the conversation, as always, and I can't complain about a lack of comments as there are many blogs and sites which I frequent without leaving comments of my own. But getting back to that growth, I don't want to lose whatever momentum I might have built up by posting multiple times a week.

Still, I have other demands upon my time that I need to focus more energy on going forward. For instance, I've mentioned here in the past that I am trying to go through my sizable comics collection and figure out what space will allow me to keep and what must be gotten rid of -- not because I didn't or don't like it, but simply because there isn't enough room in our house now that we've added another person. Based on the number of views different posts get, some of the more popular posts are my looks at older books, particularly complete runs of short-lived series or a specific creator's run on a longer-lived title. Most of those stem from my time spent going back through some of the comics in my collection. But when I decide to sell something, I have to price the books, make scans of the covers, and list them in various places so potential buyers can see them. All of that takes time away from blogging and even reading.

That project has been put on the back burner a lot of late, but I need to concentrate on getting through this stuff. I don't have an exact count, but my collection at its largest probably ran somewhere around 12,000 comics, not counting trades, hardcovers and other collections. I'm trying to cut that down to 30 Drawer Boxes storage boxes I bought and placed along one wall in my new office. Maybe I'll post a picture of that sometime in the future, but the image accompanying today's post is 39 boxes and other loose comics that still need to be sifted through and even that represents just a portion of the total that needs to be gone through. These no longer fit in my office, so they are stacked in a corner of my wife's and my bedroom, a fact she is less than pleased by. She tolerates them there because she knows I'm trying to cut the collection down, but she hasn't seen much progress in the last few months. That project needs to get moving again.

I've also mentioned recently that I have cut back considerably on what I have been buying, both for financial and space reasons. The less I buy means less variety in the new comics I'm reading and discussing on the blog. That's probably fine for those readers whose tastes line up with mine and enjoy reading what I think about the comics they also enjoy. But some blog readers might be put off if every fifth post is about an issue of Aquaman or Nightwing or Lone Ranger because I am buying and reading fewer new titles right now. Maybe by posting a little less often, I can be a little more choosy about topics and not cover the same book as often.

Probably like most of you, the biggest demands on my time remain my paying job and my family, and that's as it should be. My wife and I used to have the house to ourselves and work at the same place on the same schedule. Since shortly after our daughter was born, that has all changed. We both still work at the same place, but on different schedules now. That helps cut down on the cost of day care, but I don't get to see my wife except in passing most days that way. I do see my daughter quite a bit, which is very nice, but also time consuming. When she was smaller, she took frequent naps, which made ideal times to get little projects done. She's 28 months old now, however, much more mobile and commands much more of my attention. Don't get me wrong; I love spending time with her, reading to her, playing with her, potty-training her, etc., but that leaves little time for anything else right now.

So bottom line is this: I am going to continue to post new blog entries here every Tuesday that I have something ready to go. There might be a week or two here and there where a Tuesday goes by without a new post, but I hope those will be very few and far between. And hey, things could go the other way; posting only once a week might result in a backlog of stuff waiting to be posted, thus resulting in some extra posts from time to time.

I hope everyone keeps stopping by and reading despite there being new content a tad less often in 2014 than you were used to in 2013. And as always, happy collecting!!

It's Really Not Bad; I'm Just Not Feeling It

Superman: Earth One tpb
DC Comics
J. Michael Straczynski, writer
Shane Davis, artist

A couple weeks ago, I talked about finally giving Batman: Earth One a try after finding the hardcover for a price I couldn't pass up. The Earth One original graphic novel concept is to re-tell origins of iconic DC characters as if the events were happening today, in the modern era, instead of 20, 30 or 75 years ago. If done well, it's not a terrible concept, and in my opinion, Batman: Earth One was done exceptionally well.

Enjoying that story prompted me to try the first such Earth One OGN re-imagining Superman for the modern era. The trade version of that book is available now, so I picked it up and gave it a whirl. I'm not sure what went wrong, but the experience was definitely not the same.

I didn't hate the story or the re-imagining that these two creators came up with. I really just had trouble getting into the story.

I have friends who will see a movie in the theater, and if they like it, I mean really like it, they will swear that to fully appreciate the film, one has to see it on the big screen. I never quite understand that caveat. For me, it truly doesn't matter if I'm in a large theater with a giant screen or simply sitting in my own living room watching something on our modest-sized TV. If I'm into what I'm watching, really enjoying it, I am immersed in the experience to the point that the size of the screen doesn't matter; my surroundings kind of vanish to the background, and I'm "in" the film or program.

It's the same with a really great read. I literally lost myself in the pages of Batman: Earth One while I was exploring that reality. But with Superman: Earth One, I was very aware of the fact that I was sitting in the breakroom on my dinner break at work reading this book. Several times I looked up noticing the time so I wouldn't be late getting back; the narrative just wasn't holding my interest as well. Several times some action by a character seemed just a bit off, taking me out of the story, puzzling over the perceived inconsistency. And a few times, my focus actually wandered a bit, forcing me to back up and re-read something I'd "missed."

The charge that a character's action seemed off might seem odd when applied to an Elseworlds-style story where the characters are not exactly the ones we know. I'll admit, seeing characters changed or altered is part of the draw of an Elseworlds story. But even in that type of setting, you expect certain things to be constants. Maybe it's just a matter of personal taste. For instance, this version of Jimmy Olsen is a take-charge daredevil willing to do whatever it takes to get the best photos possible. That's a little more devil-may-care than Jimmy is usually portrayed, but it works here. I like it. But Lois Lane's character is just the opposite. In every iteration of the character I have ever seen she is a gutsy, barge-right-in kind of reporter. In some ways, she still is that in this story. But she also tries several times early on in the story to pull Jimmy back from danger, not so much out of concern for his safety although I'm sure that was a factor, but because she seemed to be afraid for herself. And she wasn't obviously doing any reporting or observing, really, during the action of the story.

Another major problem here, for me at least, was the villain of the piece. I can buy into the history that pits this villain against the last surviving son of Krypton. But I never completely got the threat this guy posed or understood how he operated. There is an entire armada of ships, but we only ever see one guy. Is this just the leader or is this one person in control of all these ships? He refers to a collective "we" at times, while also seeming to challenge Superman one-on-one a lot. I have no problem with creating an entirely new villain, but it seems odd in a one-shot like this not to use an established character. This Tyrell's appearance is very similar, though, to Silver Banshee's in the regular Superman books. Is that coincidence, which seems odd, or is there a reason for that similarity because none is given? If you're going to use an original character, make it a completely original one.

Even Clark's action and motivations seem inconsistent. He comes to Metropolis not sure what he wants to do with his life and abilities or how best to use them to benefit mankind. He applies to a number of sports teams and companies, quickly impressing almost all of them with his prowess at whatever skills they need from him. First off, that seems like a huge secret identity risk as all of these firms have Clark Kent's name and address on resumes; it doesn't seem like it would take a genius to figure out when Superman shows up shortly after this wunderkind impresses the hell out of you and several other leaders of the community that they might be connected. They even look alike. Then, Clark's rationale for joining the Planet staff at the end seems a bit contrived, based on the actions of only three people at two of the many, many places to which Clark applied for work.

I admit, this is a minor quibble, but another point that bothered me about Superman: Earth One was the inclusion at the end of Clark Kent's and Lois Lane's Daily Planet articles concerning the debut of Superman. I'm a journalist. I work for a newspaper. That doesn't make me an infallible authority, by any means, but whenever a Superman story includes "actual" articles written by Daily Planet reporters, they always yank me out of the story because they are seldom ever written like real news stories turned in by actual reporters. Typically, these devices are used to convey additional story points, I know, but it bugs me nonetheless.

Bottom line, I was pretty underwhelmed by this tale.

With A Pedigree Like This, It Has To Be Great

Velvet 1
Image Comics
Ed Brubaker, writer
Steve Epting, artist

I tend to be more of a story fan; be it comics or prose, if the writing is good, I'm in. I confess, I haven't read everything by Ed Brubaker, and I have read a few titles by him I haven't cared for as much as others. But for the most part, if he wrote it and I didn't buy it, it was because the subject matter didn't grab me more than anything else. Brubaker has had some fantastic runs on some titles I've really enjoyed, titles like Batman, Daredevil, Gotham Central, Scene of the Crime, and Criminal. His writing is full of rich characters he makes come alive with his talent for dialogue, and Brubaker has a knack for making his characters feel like real people. They don't always do what you want them to do, but you can believe that they would act as he portrays them.

Just because I tend to notice writing credits more doesn't mean I ignore art credits. There are a number of comics artists that I very much like and whose name on a project is a definite plus. As with Brubaker, I haven't read every single book Steve Epting has worked on, but I have enjoyed very much the ones I have read. I first became aware of Epting's name during his all-too-short collaboration with Dan Jurgens on Aquaman in 1999-2000. Epting's art next caught my eye when he moved to CrossGen and supplied the art for Crux and El Cazador. Epting just has a crisp, realistic art style I appreciate. His figures are dynamic, and his panel layout is clear and easy to follow.

These two creators came together in 2005 to relaunch Captain America for Marvel Comics. I like superhero comics, so I mean no disrespect when I say that their run on Captain America didn't feel like a superhero comic -- it felt superior. They took Cap's association with S.H.I.E.L.D. and made the title an espionage book. It wasn't straight-forward spy versus spy, but damn close. Both the writing and the art combined to give the book a cinematic feel. That mixed with the high adventure; the human drama of re-inroducing Cap's former partner, Bucky Barnes; the simple decision to have Steve Rogers appear without his Cap costume so much of the time alongside former S.H.I.E.L.D. agent and girlfriend Sharon Carter all worked to make this feel like a very real drama playing out on a worldwide scale.

More of the same is what I hoped for when I first heard of Velvet, the new Image title by this same creative team. And that is what we are getting, judging by this debut issue.

Velvet Templeton is the secretary/head assistant for the head of a secret British spy organization. Think Miss Moneypenny from the James Bond franchise. Only Velvet is so much more, as she so skillfully demonstrates when several of the organization's top agents are killed.

It seems that Velvet was herself the super-spy in previous decades before being assigned to a desk job. But just because she is currently riding a desk doesn't mean this lady can no longer cut it in the field. She begins by conducting her own investigation into the first murder, that of Jefferson Keller, Agent X-14. Before long, Velvet finds other dead agents and is framed for the murders. And all of this is in just the first issue!

Merry Christmas to everyone celebrating the holiday! See you again, Friday!!

Somebody Needs To Put Him Down

Justice League 24
DC Comics
Geoff Johns, writer
Ivan Reis, artist

Much of this issue is devoted to giving the back story for this latest version of Ultraman, the darkly twisted Crime Syndicate version of Superman, but we also see some events in the present, taking place between issues 2 and 3 of Forever Evil, the limited series detailing the Syndicate's takeover of our world.

Ultraman's back story is told in almost-familiar vignettes. We see the destruction of the planet Krypton as its citizens mob, maim and kill each other to be the first to get to escape pods. The two most ruthless and bloodthirsty are Jor-Il and Lara, who not only destroy their fellow Kryptonians but also several other escape pods to maximize their son's chances for success. But it is clear that these two are not motivated out of any sense of love for their child.

As the infant Kal-Il is flown through space headed for Earth, he is bombarded by his father's voice, urging him to conquer and pillage his new home but also reminding him that his father fully expects him to fail and be proven worthless.

We see the young child crash landing on Earth, destroying the home of a drunken Jonathan and drug-addicted Martha Kent, failed farmers in a mutually abusive marriage. Kal-Il forces these two to be his new "parents" until he reaches the age of 7, when he decides they are no longer worth the trouble to him. And then we see glimpses of some of Ultraman's first encounters with people in Metropolis.

Through all of this, we learn that an individual was responsible for the destruction of Krypton, although Lara casts some of the blame on Jor-Il, too. We also learn that the same individual who destroyed Krypton came to the Crime Syndicate's Earth and caused the devastation of that planet that prompted the Syndicate members to seek out our universe and come to conquer it.

From there, the story switches to the current time frame. Ultraman continues his search for kryptonite, the source of his powers, but decides to take a detour and investigate this universe's version of his old stomping grounds. Several members of the Daily Planet staff catch the brunt of his temperamental personality, but none moreso than Jimmy Olsen and Lois Lane. That is, until Black Adam shows up to challenge Ultraman.

All in all, this issue provides some nice insights into Ultraman. I'm not sure any incarnation of the character has ever really had a back story beyond being an evil, twisted version of Superman, so some of the glimpses into his past were interesting. And the current events were nice moments likely not included in the main Forever Evil series. I'm very curious who it is that destroyed Ultraman's version of Krypton and Earth. I think Darkseid is too obvious an answer, especially since there are strong hints that the hooded prisoner the Syndicate brought with them is the individual responsible for that destruction, and he looks like an ordinary man. If this is the actual destroyer, how did the Syndicate subdue him and what is the purpose of bringing him along? If it isn't the destroyer, then who is he and again, why bring him along?

I'd definitely say I'm enjoying the ride Forever Evil is offering so far.

More Tales Of Daring-Do, Bad And Good Luck Tales

Walt Disney's Donald Duck: "Christmas On Bear Mountain" by Carl Barks hardcover
Fantagraphics Books
Carl Barks, writer and artist

If money holds out, I guess I will keep buying these Disney Duck collections; I'm five-for-five so far on the collections featuring Donald as the headliner, and they've all been great reads, featuring a combination of one-page gags and longer stories about Donald and his nephews, Huey, Dewey and Louie. This particular volume has a much heavier concentration of the longer narratives, including only a small handful of one-pagers. Still very good, though.

The first duck tale in this latest volume, the title story, has the distinction of being the very first appearance of Uncle Scrooge McDuck. The character in this 1947 story bears little resemblance to the globe-trotting miser from future stories, however. The physical appearance of Scrooge in this tale is close, but the crotchety uncle of Donald Duck is pretty mean-spirited and has difficulty moving around unassisted. His dim view of others prompts him to tempt Donald and the nephews with the promise of a resplendent holiday full of food and gifts if they will only spend the night in his hunting cabin on Bear Mountain. Then he plots to scare them away as unworthy cowards. But Scrooge's plot is foiled by the unwitting intervention of some real bears.

Other yarns in this collection have Donald and the boys planting flower gardens competitively; learning about dancing, music and magic; tracking down the whereabouts of a "lost" mine; and traveling to such far-off locales as Australia, the West Indies, and the fictional Volcano Valley.

In another Christmas-themed story, Huey, Dewey and Louie decide that they have been pretty bad all year and need to work hard in the last days before Christmas to earn the possibility of presents. Unfortunately, most of their genuinely good deeds and favors for Donald end up having disastrous results for their poor uncle. But more often than not, it is Donald's attempts to teach the boys a lesson that end up backfiring, resulting in Donald himself getting into trouble.

He's Tugging At The Emotions

Fables 134
DC Vertigo
Bill Willingham, writer
Mark Buckingham, artist

One of the reasons I don't talk about Fables with every issue I read is because all I tend to do is gush about the title. I haven't much cared for some of the DC superhero work that Bill Willingham has written; his stint on Robin wasn't a half-bad story at all if he'd told it using an original character, but it really didn't fit the established personality of the Tim Drake Robin character; and his work with the magical-based heroes, Shadow Pact, or the legacy-minded Justice Society did nothing for me at all.

I can't say the same for his superhero work from other companies. I've long been curious about his Elementals series from Comico, but still haven't read any of those issues yet. And while those characters are superheroes, my understanding without having read an issue is that the Elementals characters have a lot in common with the Fables crew. That's one of the reasons I'm still curious to try that series someday.

But the world presented in Fables -- as far as I know pretty much wholly created by Willingham himself (Yeah, yeah, all of the characters are ages-old characters from fairy tales and folklore created by others, but the world they live in in this series and their current personalities and voices are pretty much all Willingham, right?) -- is just a fantastic read every single issue. Having said that, every now and then an issue of Fables comes along that is just a step above the usual greatness of the rest. This issue, focused on Little Boy Blue and Bigby in the afterlife, is one of those best of the best.

Blue died way back during the great war to overthrow the Adversary, and Bigby more recently met his end at the hands of the treacherous Prince Brandish. There has been hope offered that Bigby might be resurrected if all of his various pieces can be reassembled owing to the fact that he is a natural shape-shifter. This issue seems to further indicate that possibility while also revealing even more about the supernatural nature of Bigby.

As the issue opens, Bigby finds himself in an unfamiliar forest without any memory of how he got there or how long he's been there. In short order, Blue comes to meet him and explains that he is in a transitional period between worlds/realities/lives; the very nature of reality and life and death is much more complicated it seems than most suspect.

Blue has come to explain some things to Bigby about his situation before moving on. Blue has no desire to go back to his life in Fabletown, having found a measure of peace in his own transition, but he confirms that Bigby can indeed return if he wishes to do so, although the journey will not be easy. Blue also cautions Bigby that going back might not be the best course to pursue and warns that there is more trouble ahead for the denizens of Fabletown.

Of course, if you've seen the news that Fables has only about another year to go before the title comes to an end, the threat of danger lurking doesn't seem like a huge surprise. But the simple discussions between these two characters satisfies on many levels. This issue serves as a quiet, non-action issue in the middle of a larger sprawling epic. It is two old comrades who haven't seen each other in quite some time catching up. There are even a number of revelations given to readers, although in true comic book fashion, the revelations leave more questions than they truly answer.

As nice as the bulk of the issue is, however, the real heart-tugger moments come at the very end. Blue is not the only person to visit Bigby in this transitionary forest before the Great Wolf must decide his course of action. Someone else wants to speak with him before Bigby moves on, whichever direction he chooses to go, and this person represents a truly once-in-a-lifetime, no-parent-would-ever-wish-for-such-a-meeting-nor-turn-it-down reunion. Readers aren't privy to all the details of this second reunion, but we see enough that I think Willingham made the right choice in leaving the rest to the imagination.

I'm Afraid, But Not Necessarily For The Right Reasons

Afterlife With Archie 1
Archie Comic Publications
Roberto Aguirre-Sacasa, writer
Francesco Francavilla, artist

I've said before I'm not really a zombie fan. I don't hate the genre, but don't especially seek it out or care much one way or the other most of the time.

I tried The Walking Dead because I grew tired of hearing how good it was and not knowing first hand. So I tried it, and I liked it, but I still maintain that the book is not so much about the zombies as it is the people still living and fighting to survive. The zombies in the book are more like props or part of the environment.

But I don't really care that much about zombies. I skipped the whole Marvel Zombies craze, now on its zillionth miniseries permutation. I'm aware of the franchise, it's popularity, and some of the events that have happened in the books, but I've never actually read one of them. Just don't care to so far.

I did read and enjoy DC's Blackest Night, but that wasn't really zombies although I'll grant that the re-animated corpses of heroes and villains in that book were very similar.

But zombies in Riverdale? That is a concept almost too bizarre to pass up. It's like putting the Archie gang together in a story with the Punisher! Oh wait. They did that, and I bought that one too for the sheer oddity of the thing.

Had this been a miniseries, I likely would have waited for the eventual trade collection, but from the get-go, this series was announced as an ongoing title. So I opted to give the single issues a try. I even opted to buy No. 1 with the gorgeous variant cover by Andrew Pepoy despite the fact I tend to prefer the cover artist be the same one as the interior artist when there's a choice to be made. That's not a dis of Francesco Francavilla's art; his work is perfectly moody for this type of subject matter. But Pepoy's Betty Cooper being terrorized by zombified versions of her friends was just too cute to pass up.

I'm not spoiling anything not already revealed in preview materials for the series by saying that the zombification of Riverdale begins with Hot Dog, Jughead Jones' lovable sheepdog. But the blame for how Hot Dog turns into the first contagion gets spread around a little bit. First Hot Dog is killed in a hit-and-run accident; I won't name the culprit here, but he is named in this first issue. But then two others conspire to bring the beloved canine back. Don't worry, both of them are duly punished for their efforts.

While only one of the five core Archie-gang members is turned into a zombie in this first issue, several other familiar peripheral characters are attacked in these pages. So far, their fates -- newly formed zombies now themselves or simply zombie chow -- are not known, but the body count still seems kind of high for an ongoing series. Who's going to be left after a few more issues at this pace. But then, the threat is still new and most are unaware even of the threat at this point. Maybe the body count will slow as people realize the danger they are in and start fighting back against the zombies now in Riverdale.

I'm loving the book after this first issue and look forward to more. So what am I so afraid of, you might ask. The day before I read this first issue of Afterlife With Archie, I received a notice from my comic supplier that my pre-order for issue No. 4 has been canceled by the publisher. I'm hoping that simply means a delay and the book will be resolicited, but when that is the case, the cancellation notice usually includes that information. Is this book headed for its own untimely demise???

I'm Not Too Old Yet

Batman: Earth One hardcover
DC Comics
Geoff Johns, writer
Gary Frank, artist

I have "known" some comic-fans who have stopped keeping up with the current slate of comic books and continuity developments. They often are still actively re-reading books from their respective collections, just not reading the new stuff. They are still fans of the medium and often dabble by remaining a part of online communities that by their nature are most concerned with the current stuff, but such fans have found their own personal golden age of comics and prefer to stop reading the more recent books that aren't doing anything for them anymore.

The older I get, the more I understand those feelings; many of my favorite books were ones published in the 1970s. But I don't know that I'm quite ready to label that era my personal golden age yet. I also have favorite comic stories from each of the subsequent decades, and more modern times have truly been great with regards to comics turned into animation and film.

Having said that, I don't try as many new comic and graphic novel titles as I once did. When Marvel announced the Ultimate line, I half-heartedly picked up the Ultimate version of Spider-Man and X-Men, but I didn't stick with either long. I had more of an interest in the New 52 when DC launched that project, but those books were replacing, not running along side of, the already established continuity. I stuck with my favorites but didn't stay long with many of the newer titles and characters. So my reaction when DC announced their "Earth One" line of stand-alone graphic novels re-inventing their heroes for a modern era, my reaction was, "Good luck and I hope it brings new readers in as created to do, but I think I'll just pass." Not worth the price of admission for me; I already know the origin of Superman and Batman, so far the only two characters to get the Earth One treatment.

Then I went in search of a copy of the trade collection Superman: Exile, and found a nicely priced copy for sale online. That particular seller also had a copy of the Superman: Panic In the Sky trade, which I decided to pick up. And also for sale by this individual was a $5 copy of the Batman: Earth One hardcover. That's the hardcover. In nice shape. For $5. I'm not as interested in trying this book for the initial hardcover price tag, but I'm not going to turn down a chance to try it for a fraction of the cover price, either.

And I'm glad I took the chance!

This volume is a great example of what the old Elseworlds and What If ... ? series could be at their best. I don't want to ruin some of the many story surprises Geoff Johns and Gary Frank have crafted in this volume; a large part of my enjoyment reading this graphic novel was in discovering these gems on my own. But these men have created a powerful story that changes the established facts longtime readers know about the Wayne family and gives a satisfying read. There are many familiar faces such as Bruce, Thomas and Martha Wayne and Barbara Gordon. There are familiar names like Oswald Cobblepot, Alfred Pennyworth and Harvey Bullock that are used in brand new, fascinating ways. And there are more subtle changes to familiar characters like James Gordon and Gotham District Attorney Dent that add to the tapestry of this story. Johns has written a powerful origin story for this not-quite-the-Batman-we-know that lives up to the high standard set by his other writing. Gary Frank's artwork is crisp and adds visual nuances to Johns' script, as usual. Well done! Very well done, indeed!

I Was On A Roll And Then I Ruined It

Panic In the Sky trade paperback collection (1993)
DC Comics
Dan Jurgens, Jerry Ordway, Louise Simonson and Roger Stern, writers
Jon Bogdanove, Tom Grummett, Dan Jurgens, Bob McLeod, Brett Breeding, Doug Hazlewood, Dennis Janke and Denis Rodier, artists

Last time, we talked about the Superman: Exile trade collection -- one I read recently for the first time and very much enjoyed. A large part of that story involves Superman running into Warworld, being forced to take part in its gladiatorial-style contests to the death, and the Man of Steel's attempts to change that system. In Exile, Warworld is under the control of the Post-Crisis on Infinite Earths version of Mongul.

In this trade collection from a few years later, Warworld, now under the control of Brainiac, is headed for Earth  to enslave the populace. Unlike Exile, I read this story arc in the Superman titles of the time -- Action Comics, Adventures of Superman, Superman and Superman: The Man of Steel. I was drawn to "Panic In the Sky" because Superman assembles a large team of heroes to assist him in fighting off the Warworld invasion. Several of my favorites at the time play roles in the story. The group Superman assembles is a hodge-podge of heroes and anti-heroes because there is no current Justice League team in DC continuity at the time of this story.

One of the nicer things about this trade collection, which I purchased along with the Exile trade, is the inclusion before each chapter of the various writers' and the editor's thoughts on the story and how it came about. Turns out "Panic In the Sky" was initially envisioned as one of those all-consuming crossover stories DC did every year at that time. Only later was that notion turned down and the story moved to being told solely in the various Superman titles for a few months.

I very much enjoyed "Panic In the Sky" when it first appeared in single issues, and it isn't a bad story as Superman, Batman, Wonder Woman, Guy Gardner, Kilowog, Fire, Ice, Flash, Captain Marvel, Booster Gold, several of the New Gods and more battle to save Earth from the schemes of Brainiac and the forces of Warworld. But honestly, rereading it now in trade format 20 years after I first experienced it, the story doesn't hold up quite as well as I remembered.

In one of his text pieces, writer Dan Jurgens wrote about superheroes -- especially Superman -- merely reacting to threats after someone has been hurt or some crime has been committed. One of the goals of this story was to depict the heroes -- again, especially Superman -- being more proactive. But the Superman depicted here is just as reactive as usual. Sure he assembles a team of heroes to come together and go into space to fight Warworld before it reaches Earth, but only after Brainiac sends his robotic Head-Ship to attack Metropolis, wreaking a great deal of destruction, and announcing to the Man of Steel that Brainiac is now in control of Warworld and bringing the artificial planet to Earth. Superman has no knowledge of the threat before this initial attack, so he's still reacting. To make matters worse, some of the character interaction among the many heroes in this story makes Superman seem like kind of a weak leader. He's constantly being challenged by Guy Gardner and Orion, to name just two examples, and he's also shown as uncertain several times and uneasy leading all of these various heroes.

Another problem in hindsight is the inclusion of Deathstroke the Terminator among Superman's assembled team. Deathstroke had his own comic in the mid-1990s, and while he was still an anti-hero, his strong moral code was emphasized in his own title. The character became a bit more heroic than he was initially depicted and would be written in later comics. In another text piece by Jurgens, the writer expressed his initial concern about including Deathstroke; why would someone like Superman seek out such an individual for help? But Jurgens said he later came to see the value of Deathstroke's tactical contributions. Except, wasn't Batman known as the master strategist of the DCU heroes? With some of the things the character has been used for since "Panic In the Sky," Deathstroke really seems out of place in this story now.

Several other characters are barely used. Wonder Woman is among the heroes Superman assembles, but her role is limited to appearing in a few backgrounds and exposition scenes. She plays no real role in the battle against Warworld. Other heroes get the same treatment, showing up but contributing little. I was happy when these books debuted to see two of my favorites, Aquaman and Nightwing, included in the story. Happily, they get much more panel time and much more dialogue than Wonder Woman in the story, but sadly, neither contributes a vital role to the proceedings, I discovered upon rereading these issues.

That isn't to say that there is nothing of value here; Draaga's story in this trade continues from what was begun for him in Exile. His is a pretty compelling story and easily provides much of the heart of these issues. Supergirl/Matrix also has some interesting developments in this arc. And finally, events at the end of "Panic In the Sky" were directly used to help re-launch the Justice League title for this era. But all of these things also seem to make Superman a supporting character in his own titles for two months. That's really kind of sad for the hero known for inspiring all others.