Behind the poster-worthy cover by illustrator Clayton Henry and colour artist Tomeu Morey, the Phantoms serial continues, with this chapter opening on Jor-El inventing the Phantom Zone projector.
Superman muses on the dichotomy that while his father inadvertently spared Zone prisoners death as Krypton exploded, turning people into living ghosts, stuck in a realm of nothingness, was undoubtedly cruel.
His thoughts return to the present as Mon-El’s ship nears Aethyropolis and is attacked by Phantom King Xa-Du’s own craft. His super powers fading, Superman nevertheless leaps to the defence of Mon-El and his crew of least worst Phantom Zone inmates.
The fracas ends with a satisfying moment for Mon-El.
Aethyr, the godlike being whose will has twisted the Zone from ethereal realm to physical hell, is displeased with his lackey.
‘A bottomless pit of history’ sounds rather appealing so far as supposed fates worse than death go. Which is just as well, as by the end of this issue Superman’s followed… and you’ll never guess where he ends up.
Well, you might, given writer Mark Waid’s love of classic Superman stories, and the core of this tale. Anyway, that’s next week. This week I was thoroughly entertained by a fast-paced story balancing action and characterisation to great effect. I enjoyed seeing Mon-El getting physical, while Aethyr continues to be as creepy as heck – artist Clayton Henry portrays the demon as a big cat with a gaping maw.
I’m even getting into the subplot away from the main event, as New Superman and Superboy find themselves abducted to a space museum.
Holy Colonial Theft, Batman!
So, last time I had a terrific theory as to why the excitement of the Zone shenanigans was being interrupted by an apparently unrelated side story. Since then I’ve read a couple of interviews with Waid and it turns out he simply didn’t think readers would want to be denied supporting characters for the several issues this arc will last. And to make it easier on Henry, second artist Michael Shelfer is handling the sequence, along with the excellent full-book colourist Matt Herms. Shelfer looks to be having a ball, I really like the alien curator’s look – the head is like two faces crashed together.
Kudos, too, to letterer Dave Sharpe for such great touches at Aethyr’s extended font.
Also this issue, the Supergirl back-up by writer Mariko Tamaki, artist Skylar Patridge, colourist Marissa Louise and letterer Becca Carey continues.
In space no one can hear you yawn.
Too Dangerous For a Girl 2 
The lead story is amazing but I’m kinda meh about the art. There’s something off to me there but I don’t have the words to describe it. His storytelling chops are great but there’s a stiffness and too smoothed out sense.
And the back up is utter crap. The art is many times better than it deserves. Heck, it was drawn by Kupperberg and inked by Colletta it would still be too good for the gobbedy gook Tomaki is spewing. Did I mention I Googled her Big Two work and found out I didn’t like anything of it I had read? The streak still stands. It’s a shame it’s paire dwith Waid awesomeness so some future (unfortunate) editor may hire based on sales.
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I always quite liked Alan Kupperberg, I remember being chuffed when he took over Invaders from Frank Robbins. Of course, one day I woke up and loved Robbins.
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I loved Robbin’s men. His comics were a part of me realizing I was gay.
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Not a comment on the story, just a trivia question – has there ever been a story explaining why Jor-El didn’t evacuate people to the Phantom Zone when Krypton blew up? I feel like there must have been! I mean the obvious point is that all of the worst criminals of Krypton are there.
Stu
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There was and it had to do with the Zone being filled with sociopaths.
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That makes sense!
Stu
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In the Silver and Bronze Age one reason was that the PZ projector had been sent to Earth in the Forbidden Weapons box, as found in the first-ever PZ story.
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Fab, thanks Mart!
Stu
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Thanks, and I’m all for Superboy’s past being officially restored, Wolf Boys, Tarzan Babies and all.
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