Action Comics Presents: Doomsday Special #1 review

One morning in Metropolis Supergirl tells cousin Superman, in his guise as mild-mannered reporter Clark Kent, that she’s been dreaming about Doomsday. This prompts Clark to tell her what it was like being murdered by the Kryptonian killing machine.

A little later, Supergirl is approached by Clark’s longtime Justice League friend J’onn J’onzz. He explains that he recently received a psychic message, but it was in Kryptonian. He couldn’t understand it so relayed it to someone who might – Kara.

Recently, Doomsday almost came back from oblivion, attempting to rebuild himself, and in helping stop him, J’onn was left with a psychic connection to the beast whose only instinct is to kill. Kara allows J’onn to use his telepathy to experience the dream as she did, to understand the message about Doomsday.

Someone is watching Kara and J’onn, and they’re playing right into his hellish hands – the psychic link sends the superheroes straight to him. Straight to Hell. And guess who’s already there?

With every passing moment, Doomsday is getting more powerful… and the more powerful he gets, the more likely it is he’ll escape the inferno to begin a new killing spree in Metropolis. The being who has sucked Kara and J’onn into their realm couldn’t give a stuff for the safety of humans – after all, their realm is built to torment lost souls – but they don’t want their demon-torturers to anoint someone in their stead.

Can Supergirl and the Martian Manhunter stop Doomsday from returning to Earth?

Doomsday isn’t one of my favourite supervillains, he’s pretty dull, just a spiky evil rock monster. He bashes walls, he bashes people, often to death. The only interesting aspect to him is the fear he instils in heroes who daily humble gods. But on hearing Supergirl and the Martian Manhunter were starring, I was sold – neither of these classic characters have been getting the page time they deserve lately.

Well, Dan Watters fixes that with a 30pp story that gives both heroes a chance to show why they’re so comfortable at Superman’s side. They’re likewise A1 powerhouses, as strong morally as they are physically. They begin the story determined to spare Superman the renewed threat of Doomsday’s return and as the pages pass show true compassion for the souls bad or stupid enough to get themselves sent to hell. A child of science, Supergirl can’t get her head around Hell existing, but Watters spells it out in a way that makes perfect sense in a fantasy universe.

As for who the so-far-unseen puppeteer is, it’s not who this veteran Superman reader was expecting. And I was very impressed with their presentation here, and how, when Kara dons hell-spawned armour to atttack Doomsday, they recognise her true character.

So, basically incorruptible – if only a few more DC writers had got the memo, but thank you Dan Watters for clearly stating it – and giving us a fun nod to Kara’s Satan Girl moments.

As for Jonn’s big moment, it’s too big for me to go into. But it is simply wonderful. Other highlights include the extended breakfast scene, a seriously good narration from our biggest bad that kicks in at the perfect moment, and Supergirl’s blousey, brash attitude in the face of ultimate evil.

And then there’s our title character. Doomsday remains characterless, but the narrator manages to make him seem truly formidable and very scary.

As does the artwork of illustrator Eddy Barrows and embellisher Eber Ferreira – this monster is fierce, looking right at home in one the most disturbing visions of Hell we’ve had in a non-Vertigo DC book. J’onn and Supergirl look brilliant too – Martian Manhunter has the perfect power physique and beetle brow while Kara is just gorgeous, her Seventies movie star looks restored. Then there’s the devil who seeks a bargain with them, who’s terrifically regal and imposing even from behind.

The storytelling is first rate throughout, with the psychic scenes especially effective as the demon proves to be lurking in Kara’s mindscape, and the final – well, for now, anyway – frustration of Doomsday is quietly epic. And how about this as a way of showing movement in a panel?

Adriano Lucas gives a masterclass in comic book colouring, matching and enhancing the mood of every page as we move from a breakfast bar in downtown Metropolis to the fiery pits of Hell, which is toned with rare sensitivity

Letterer Dave Sharpe blazes his own trail through the story, with well-chosen and applied fonts including the one given our devilish narrrator.

‘Doomsday in Hell’ is a standout, basically standalone story that contributes to the greater tapestry the Superman Office, here represented by editors Jillian Grant and Paul Kaminski, is laying down to mark Doomsday’s 30th year of punching blindly. It’s a worthy entry for DC’s first Action Comics Presents.

But wait, there’s more…

During their pancakes and syrup session, Clark tells Kara of ‘some poor kid’ who died foiling Doomsday’s recent resurrection attempt. Well, said kid, the unfortunately named Raphael Arce, stars in a ten-page back up strip. Despite his obvious goodness, he’s also in Hell. And I fear for his soul from the first page.

The anonymous torturer reckons Raphael hasn’t a chance, but actually, he has a trick up his sleeve. The Lazarus Rain gave him empathic powers and while using them to foil Doomsday, he gained a connection to the alien horror – and an alien hero, J’onn J’onzz. And he’s been inspired by one of the Martian shapeshifter’s many identities.

It’s the all-new, surprisingly effective Bloodwynd. I might not have shown this moment but his name’s right there on Björn Barends’ astounding, barbarian paperback-worthy cover. Bloodwynd had a brief comic book career at the same time Doomsday first began punching down. The first one we met was indeed J’onn but it transpired there was an actual Bloodwynd. Lord knows what happened to him, but I suspect this third version will stick. Courtesy of Dan Watters again, Raphael is a charismatic, characterful lead, equal parts thinker and fighter.

And as drawn by Max Raynor, one of DC’s most adaptable artists, he looks fantastic. I want to see more of him now, and this short sets up a mini-series very effectively. If we do get a bigger story, colourist Andrew Dalhouse and letterer Dave Sharpe should be there too, as their work here is attractive and effective.

The end of the second tale does tell us to watch for Bloodwynd in regular Action Comics, Supergirl is getting a mini-series soon, and J’onn… no clue, but I hope Dan Watters has pitched something to DC. After reading this issue, you likely will too.