Tag: Sinfest

The titular story in Whatever Happened to the Man of Tomorrow? was Moore’s coda to the pre-Crisis Superman, and is one of the best Superman stories ever, especially for people who grew up reading his 50s, 60s and 70s adventures as I did. All of Superman’s old enemies come back at once, disrupting his life and threatening the lives of his friends. Superman retreats to his Fortress of Solitude to await the end of his career and perhaps his life. While Moore brings a modern sensibility to what seemed like silly menaces of past decades, the themes are fundamentally those of classic Superman: Help others even at cost to yourself, and that Superman can never kill, no matter how dire the threat. Before Spider-Man codified the principle of great power conveying great responsibility, Superman was living by it, and Moore focuses on that as the central element of the character’s classic portrayal. with art by Curt Swan, George Pérez and Kurt Schaffenberger, it has a classic visual style too.

The other major work here is “For the Man Who Has Everything”, in which Batman, Robin and Wonder Woman visit the Fortress for Superman’s birthday, and find him incapacitated by an alien plant that induces a dream/trance state, and his enemy Mongol ready to take over the world with Superman out of the way. Aside from the battle in the real world (which ends with a terrific moment for Robin), Superman’s dream of life if Krypton hadn’t exploded is exactly as poignant and tragic as you might expect. Moore’s career in the 80s was full of melancholy stories despite the heroic deeds done in them, and this story fits right in with them. Dave Gibbons draws the story, in a style which seems like a transition from his earlier style in which everything looked slightly shiny, and his ultra-realistic Watchmen style.

The third story is a largely-forgettable Superman/Swamp Thing story from a team-up book illustrated by Rick Veitch, whose art I’ve never really warmed to. Not everything Moore wrote was a winner even in his heyday, so this one is for completists only. Nonetheless, this is a terrific package worth picking up if you haven’t read the big two stories before and you have any interest at all in the Man of Steel.

The format has the obvious drawback that the first issue barely gets anywhere in any of the stories because, well, they’re only a page long. So the best pages are the ones that go for broke on the artwork: Kyle Baker’s deeply textured Hawkman page, or Jose-Luis Garcia Lopez and Kevin Nowlan’s Metal Men page (JLGL’s layout style was made for this large format). Other strips look either pedestrian, or overdrawn. Ben Caldwell’s Wonder Woman is so intricate it’s practically unreadable, while Barbara Ciardo’s colors over Lee Bernejo’s Superman make the page look stiff.

You could call Wednesday Comics a “micro-anthology” book, and it evokes the feel of newspaper adventure strips with the tabloid format. For me it more directly recalls the Action Comics Weekly series of 1988-89, which I think illustrated how difficult anthology comics are to pull off in the modern era, especially with publishers’ priorities to market their trademarked properties above all else. Wednesday Comics has a leg up on ACW in that it contains the work of many A-list creators (Baker, Busiek, Gaiman, Pope, Kubert), but it remains to be seen whether they’ll have the latitude to produce noteworthy stories. It’s far too soon to tell if any stories here will be much good.

When Wednesday Comics was announced, my reaction was, “Enh, anthology comic. I bet the stories will be entirely forgotten in a year or so.” I wasn’t even planning to buy it, but all the hype made me change my mind. I still think it will end up being largely forgettable, but there could be a couple of exceptions. We’ll see.

Broadly, the premise involves the ongoing struggle between God and Satan for the soul of Slick, a young man (who resembles Calvin with sunglasses) who wants eternal hedonism. The main supporting character is Monique, the object of Slick’s desire, albeit one who’s completely her own person and isn’t going to let him just have his own way. The strip is PG-13 rated, with strong innuendoes (and language) but no nudity; it’s oddly clean, yet dirty.

Fundamentally, the strip’s humor is based in characters who have strong wants and drives which conflict with one another. This may be best exemplified in Percy and Pooch, the artist’s cat and dog (or fictional representations thereof) who play, argue, fight, and follow their drives while their owner is away. Their adventures are the favorite part of many of the strip’s fans, as he’s got the nature of and differences between cats and dogs perfectly nailed for comedic purposes.

I’ve been reading the strip for years and although it sometimes feels like its edge has been a bit blunted, these early strips feel as fresh as ever. While it might not be for everyone, it should appeal to anyone who enjoys irreverent humor, especially people who enjoyed the early Bloom County strips before Bill the Cat sent it into its downhill spiral.

(Looks like the second volume will be out in December.)