Comic Books

ACTION COMICS #3

“Superman, Go Home!”

In a startling tale only Grant Morrison could bring you, the people of Metropolis turn on their new champion! But why?

Plus, shocking secrets from Krypton revealed!

Written by GRANT MORRISON
Art by RAGS MORALES, GENE HA and RICK BRYANT
Cover by RAGS MORALES
Variant cover by MIKE CHOI
B&W Variant cover by RAGS MORALES

Price: $3.99
iFanboy Community Pick of the Week Percentage: 0.9%
1498
Pulls
Avg Rating: 3.8
 
Users who pulled this comic:

Comments

  1. Isn’t Gene Ha doing this issue? Or maybe that was #4….

    Anyways, even with two artists I thought the book looked consistent enough. Some weird faces but for the most part a good looking book. I have a feeling we’re going to see a major change in Superman’s origin with this issue. Call me crazy.

  2. I’m excited as a puppy dog wanting to go out to pee to read this issue. Grant Morrison made me love and caring for Superman, which I thought would never happen! Heck, I’m even surprised to find Aquaman and Wonder Woman on my pull-list!

  3. Hurray for Action Comics…. hurray for me that I will have this in my hands wednesday afternoon.

  4. Grant needs to write more of the New 52.

  5. I really like the way he’s writing a young Superman. Can’t wait to see more first meetings like we saw with Lex.

  6. The first week on the month is always my favorite since Action Comics, Animal Man, and Swamp Thing all come out at the same time! 3 of my favorites from the new 52 especially Action Comics I can’t wait to read this issue. Grant Morrison has been doing a superb job.

  7. I love this Superman. If the art could match the writing this would be something special.

    • I rarely enjoy the artists that Morrison is works with. Does anyone think maybe he has different taste in artist than most people?

      I assume he gets his pick of artists these days

  8. Is Joshua Hale Fialkov co-writing this later?

  9. Nothing like Morrison to make me love a Superman comic. Hopefully they can bring the art up a bit from last issue though.

  10. Before the new AC I couldn’t care much less for Superman and never really respected him too much…now he’s coming through as badass and rash…I think we can thank Mr. Morrison a bit for this one.

  11. Haven’t been nearly as blown away by this as most of you other folks but it’s definitely staying on my pull list.

    • Ya same at least for the first arc. Given that im not the biggest Superman fan just based off Morrisons name attached ill give this that much of a shot

    • Agreed. I’m giving this at least six issues before I decide to drop it. Hasn’t turned me off yet, but I’m not blown away.

    • Did I say six issues… I meant three. Dropped. I’m sad too because I want to find a book about Supes that I can really get into.

    • I think this is going to be a strong book, and don’t mind getting on at the ground floor. This book is going to the top.
      The fact that its a bit decompressed doesn’t bother me because its a new Superman, and as a fan, I feel a story like this needs a little more room to breathe. Call me Old School, but there are so many layers to the Superman character, especially at the start of his career, that it would be fascinating to see how it’s all interpreted in this Brave New World. I’m looking forward to what kind of take Grant will use on it all. I like what I see so far, so I’ll stick around.

  12. Can’t wait to find out more about the alien spaceship (Brainiac?) giving intel to Lex. Excited to see how Morrison is gonna tweak Superman’s origin.

  13. Like many of the 52, I was a little less impressed with issue 2. In this case, though, I think it’s solely an art issue. Still very much in.

  14. The artwork still negatively affects my rating of this book. It’s unfortunate. There’s some good ideas here but the presentation is weakened.

  15. Ah-Ha… Superman has a blankie…

  16. Jeff Reid JeffR (@JeffRReid) says:

    How many pages of actual story is in this issue? The digital copy says it has 27 pages but how many of those are sketches and things of that nature?

    • Paul Montgomery Paul Montgomery (@fuzzytypewriter) says:

      20 story pages including a double page splash.

    • Jeff Reid JeffR (@JeffRReid) says:

      Thanks! I shall continue to wait for the trade on this book then. I can’t personally justify $3.99 for 20 pages of story.

    • That’s fair. At the very least DC is handling the PR about their $4 dollar price by providing some sort of extra content. It’s still a rip off but at least they acknowledge the consumer’s aversion to the $4 price point and aren’t being complacent about it.

  17. Decent issue but by far the weakest of the 3 in my opinion. Kinda wordy at times as well. However knowing morrison i’m sure the payoff will be well worth it. Still staying with it 3.5/5

  18. Yeah the pacing of this issue felt a bit off, in that it was too fast. That and the Morales pages were pretty inconsistent and far less superior then those amazing Gene Ha pages. I think we might need a new, permanent ongoing artist if Morale keeps this inconsistency up.

    3/5

  19. This was all over the place and the art was a mess.

  20. Hmm, I mist agree with the criticisms above. Story was choppy and muddled, art was off, and while the ideas are there I’m not really hooked in. This might not stay on the pull list for long…

  21. i wonder what morrison’s cooking up while he’s writing this….seems like a lot of his genius is being shuffled elsewhere. i think the price tag may be skewing my view, but man, where’s grant when you need ’em?

  22. Stop sugar coating it guys. This issue sucked.

  23. I might be back for the trade, but I think I’m off this. I loved the first few pages but then it got just meddled up. Low point being when they switch scenes before the page is even up…plus when I counted to find only 20 story pages. No thanks.

    • Absolutely. Some of the scene changes were jarring and inexplicable. How did he go from sitting with his friends in a diner to a park bench getting harrassed by a bum?

      2/5

      Next issue will probably be cool though.

    • ‘How did he go from sitting with his friends in a diner to a park bench getting harrassed by a bum?’

      Because the unique thing about comic books is that the length of time between panels can vary from a split-second, to an hour, to a week, to a hundred years, to seven billion lifetimes. Read Scott McCloud’s ‘Understanding Comics’ for an incredible discussion on all that can mean. It’s awesome.

      Clark obviously didn’t teleport there in a few minutes, it cut to a later part of the day. This was part of a technique deliberately employed to show lots of different things happening in this issue. Fair enough you might not have liked it, but it’s not ‘inexplicable’ or, as others seem to be implying, lazy.

    • right on markish. strange that needs to be explained to comic book readers unless, of course, its new readers. back in the day i remember they used to put a text box in the top corner of the panel that would read “meanwhile” or “later that day” when they would cut from scene to scene. perhaps they should reinstitute that practice for new readership

    • Another Grant Morrison story, another experience in having no idea how to follow the action from panel to panel. Regardless of his artist, G-Mo’s stories are almost always incomprehensible.

    • disagree….

    • It is jarring and badly paced.

      I read comics all the time and rarely stop and wonder why a scene change happens even in very average comics.

      Grant Morrison apologists annoy me more than this scene change.

    • know what annoys me? string cheese

  24. Grant has always done odd-placed scene jumps in his work, why is it so jarring now? Plus, he’s really trying to sell the quick paced ACTION feel of the title, and I think he’s doing a remarkable job with it. There was only one panel of Jimmy’s face that seemed odd, but I loved the rest of the art. If you guys want jump ship, more power to ya, but do you really think Morrison is going to not deliver?

    • I completely agree. Don’t know why everyone is hating. I love how fast paced this comic is, that is what’s drawn me in. Each issue has got me more and more hooked. Can’t imagine someone reading #3 and not wanting to continue.

  25. The artwork is taking a lot of heat. I think it was good and got the job done. It’s frustrating that 3 issues in they are struggling to stay on schedule but what are you going to do. I am still buying issue 4. Rags Morales will never be my favourite but he is not hurting the title.

  26. I gave this issue a 3; the artwork seemed rushed and just sloppy. I am however enjoying the story of this new Superman and the way it is going.

    Just sayin’,

    K

  27. i fuckn loved this issue. 5 outa 5. the story flowed nicely, i love rags art even though i will admitt that some panels look totally fucked, but not in this issue. gene ha was a nice addition, i enjoyed his opening. i think this book is right on point and i am happy to have it on my pull list. morrison is a god

  28. it seemed choppy and all over the place, still good but weakest of the 3

  29. This was going to be the first book I read but I couldn’t get past the first couple pages. I guess I’m not a Gene Ha fan. Certain characters seem randomly over-rendered and the panel layouts and borders turn my eyes away. I assume all the artwork was rushed as well.

    It seems this book will suffer the most from DC’s new strict release schedule. I like that the books are shipping on a tight schedule but I also like them to look good. You can’t always have your cake and eat it too. Morrison’s comics typically need to be well drawn to excel.

    I’ll give this another try when I’m done everything else.

  30. More Ha, less Morales please. I’m a fan of Rags, but nothing he’s done in the last seven years has held a candle to Identity Crisis. He seems to be moving backwards. More importantly, his work just doesn’t fit the scale and freshness of Morrison’s story.

    Still really liking this title. So many balls in the air. I can’t wait to see where some of these threads end up going. Brainiac, Metallo, a possible Mxyzptlk (the landlady), and Luthor all in the same story? And it’s the FIRST story! That’s good Superman. We even got two nods to Krypto in this one. And the bottling of Kandor was handled beautifully.

    We’re obviously starting to see the usual polarization that Morrison’s work inspires. But I think there’s something else happening too. We’re in week three now, and the initial excitement of the New 52 is starting to wear off. A lot of the complaints here are completely valid, but some of them seem to be stemming from a desire to keep the adrenaline pumping. Not every issue is gonna be a mind melter, folks. Sometimes “mediocre” immediately follows “epic”. This is how it’s always been, and it’ll be this way ’til the end of time. In this particular case, it may be a mistake to jump off before we’ve reached the first stop.

  31. Not as bad as I expected based on many of the comments. I agree it was bit odd/abrasive jumping from the scene where Lois enters at the table with Clark and Jimmy and then BAM…he is outside being told a cryptic message? Maybe a little ‘ham-fisted’ if you ask me.

    The art worked for me as well as the story presented, but i will not miss the filler that has been included in the backup. Bring on the backup stories!

  32. For those curious about the pacing, read the first chapter of Supergods. You’ll understand a lot more about grant’s take on this book.

    • Should we have to read outside material to enjoy a supposed self-contained series?

    • Not at all, but it is an amazing read and it really turned me around on Morrison’s body of work. How is more insight into how an artist views his subject a bad thing. Also, it is Grant Morrison… of course you need to read outside material to enjoy his work. Did Final Crisis teach us nothing?

  33. Art has been getting progressively worse on this, which I dont completely understand as I usually love Rags Morales’ work? Perhaps its the inking? I didn’t like the opening sequence on Krypton (though I did get a chuckle thinking that Jor-El might have had his own podcast). I didnt care for the choppiness either. Maybe I’ll get to Supergods eventually but im still deep in the midst of Game of Thrones so thats going to be a while. I needed to see more repercussion from the landlady finding his costume. More about Clark getting from the restaurant to the alley with the homeless guy. On the other hand, I liked seeing the comments about the ghost and the white dog (Mon-El or Zod, and Krypto…or the upright dog creature over Jor-El’s shoulder at the beginning of the book?)

    • ‘More about Clark getting from the restaurant to the alley with the homeless guy.’

      You would have enjoyed the book more if it had featured a panel of him leaving the cafe, followed by a panel of him walking to the park? Two panels where the story wouldn’t be advanced at all?

      I’m sorry, but I’m really struggling to understand this criticism…

    • It’s more about the choppiness…normally a transition like that would at least happen between pages and a “later” written…. this is just one panel he’s at the table greeting Lois, and next he’s on a park bench.

    • I agree with Skyfire124, I believe the ‘cafe-to-the-street’ scene is worthy of criticism. A main character (Lois) arrives in a scene and then, without any reason, you show Clark sitting on a park bench being told a cryptic message by a homeless person pushing a cart.

      I’m sorry, but if this form of sequential story telling becomes acceptable, why not just have two panels in the entire book. In the first panel show baby Kal-El’s eye and then in the second panel show the cliffhanger and let the reader ‘fill in the blanks’.

    • @Kmanifesto Yes, that’s exactly the same thing. Of course it is. If those two panels were the only pertinent story points in the issue then yes, that WOULD be the same thing and this would be a terribly written and pointless comic. But they clearly weren’t

      THere WAS a reason for showing that message, it’s obviously going to be important to the story. Whatever Jimmy, Lois and Clark chatted about in the diner between panels won’t be. That is how a story works. You show the important points. Otherwise every story would be in real time and deal with the mundanity of people waiting for buses to go to places where things might or might not happen. Why do that when you can just cut to a guy at the destination where something IS happening?

      Are you similarly annoyed at the scene two pages where it cuts from the mob throwing a bottle at Superman to Clark in his apartment after having thrown his costume in the trash? would you have preferred a couple of panels of Clark walking home, taking of his top and looking out a picture of his dead parents?

      How about the scene two pages earlier where the police officers are in Clark’s apartment then ONLY A PANEL LATER are outside! Where was the nine panel grid of them walking down the stairs?

      Yes, I’m being ridiculous. I know that people are fine with panel to panel transitions where people leave rooms . I just don’t think there’s a huge difference between those three examples and I’m not sure why so many people seem to have problem with it…

    • Well said, markish.

  34. @markish – lets be clear, it is the transition that is the problem, not the information within the panels. Obstacles should not be put up, whether purposely or unintentional, in keeping the reader from following the story. It should not be up to the reader to compensate for the creators lack of elegance in their storytelling.

    I can’t comment on the other transitional points you brought up (I don’t have the issue in front of me), but I don’t recall having a problem with them. Of course, I could have done what the writer expected the reader to do and just ‘filled in the blanks”.

    Perhaps Morrison is given so much leeway that editors are intimidated to bring to light problems and readers, who are so enamored with him, overlook the occasional flaw in order to maintain the image of Comic-book Rockstar.

    • ‘I can’t comment on the other transitional points you brought up (I don’t have the issue in front of me), but I don’t recall having a problem with them. Of course, I could have done what the writer expected the reader to do and just ‘filled in the blanks”.’

      Again I ask why is it an issue in this one instance? Did it REALLY keep you ‘from following the story’? What happened between those panels is fairly obvious. I doubt anyone reading the issue mistakenly thought the cafe had magically transformed into a park and Lois and Jimmy had merged together to become a man with a cart. They were very obviously two seperate points in time/space/story.

      Comic books are unique in that we are active in reading them. If we did not ‘fill in the blanks’ we would be looking at a series of stlll pictures instead of reading a comic book.

      I’m not giving Morrison leeway here. I completely understand that in books like Final Crisis he HAS used potentially confusing panel transitions that take maybe too much work to figure out. But in this case I really don’t think he has.

    • @markish – If I, as a reader, must work harder at the story than the writer, then the issue of sloppiness must be brought up.
      We, as readers, must stop enabling this lazy form of storytelling and then labeling those creators as geniuses because of those flaws.
      I enjoyed Action #3, but I don’t consider everything Morrison does as manna from heaven. If a flaw pops up, we, as active readers, must point that out.

      You don’t have to agree with ‘why this transition didn’t work for me’. Just understand that I had a problem with it, I explained why I had a problem with it and then deal with it. Don’t take it personal or as an attack on your image of what Morrison means to you.

    • In writing, there are certain rules you follow. If you have to hyphenate a word before it continues to the next line, you only break it off at a syllable. Within a paragraph all the sentences pertain to the first sentence, then start a new one. A change in location, a lapse of time, or a change of view and you’re given a new chapter or at least, extra lines of space before the next paragraph. and so on and so on. Writers sometimes try to break tradition but for best effect, they follow guidelines such as this, so the reader doesn’t have to get bogged down in the minutia of figuring how what just happened.

      Good comics in recent years have generally followed some guidelines about transitions between panels. For whatever reason, I don’t feel that this one followed enough of those guidelines.

      I realize that Morrison tries to challenge the reader on a number of levels in his storytelling. He’s a master of giving us a story and giving us layers and layers of meaning. However this is one area, that I don’t feel that ALL of his panel transitions were effective and this transition was particularly egregious. Was he doing this intentionally to challenge the reader? Perhaps, but that doesn’t mean that what he was doing was to best effect.

      Seriously, I think all of this could have been avoided with the simple use of the word “Later” in the corner of the panel.

    • ladies, ladies. im enjoying your little cat fight, but you guys are writing novels of non-sense. just rip eachothers bras and panties off and roll around in the baby oil already. LMFAO!
      you guys kinda sound like that weekend update skit from snl with seth and amy entitled “REALLY!?”
      YOU THINK THIS AND THIS? REALLY?! REALLY? ! WELL IT SHOULD BE THAT AND THAT! REALLY? BUT ITS SUPPOSED TO BE THIS AND THAT? REALLY?! I DONT WANTA DO THAT! THEY SHOULD DO THIS! REALLY?!

    • later..
      sitara119 sat back down in front of his computer. it had been a half-hour since he last posted a smart-ass comment at his favorite website and he was curious if anyone had replied to his remarks when suddenly he realized he was tired of this bullshit already. hahahahahaahahahahahahahahhahahahaaha!!!!!!
      hope that was easy enough for everyone to follow. hahahaha!

    • @Kmanifesto I absolutely agree you have the right to not like a comic and/or any aspect of it including this incredibly specific example. I just think calling it ‘lazy’ is unfair. It’s just different is all. I didn’t write the issue so I don’t take it personally, I was just bewildered by several reviews I read (here and elsewhere) using that specific scene as an example of ‘laziness’. I really don’t see it. Obviously we differ on that. No worries.

      I have no idea in what world someone would call this discussion a ‘cat-fight’ or would think anyone has taken anything said personally or anything. That’d be insane. I thought we were all discussing things perfectly reasonably – if with a bit of sarcasm here and there… But thanks for reading and giving us a glimpse into your head sitara119…

      Also, I totally agree that this was the weakest issue of Action Morrison has written so far. Nowhere near my POTW this month like it was last month.

    • i was attempting to be funny.
      granted i was drinking a bottle of guinness at the time so
      perhaps my timing
      was a bit off. but lucky for you, im here all week! and remember kids:
      dont drink and type.

  35. $3.99 for a 20 page comic from a MAJOR publisher??? Sigh…if the issue blew me away, that may have helped ease my pain at the cash register.

    It didn’t.

  36. OMF’n LAME.. Seriously, I think boredom itself would have been offended by this.

  37. Even a weak issue of Morrison’s ACTION COMICS is more interesting than most comics out there. Though the artwork continues to annoy me bigtime. It’s like Rags Morales is some disfigured shut-in who so resents normal-looking people that he intentionally draws them all super ugly. What does he have against human faces?? Why must he portray mankind so spazzy? Good God… it’s like Michael Turner walked through a bizarro-ray, and the resulting backwards creature was handed a pencil and hired to draw this book.

  38. Gave the issue another try and while I strongly dislike the Gene Ha pages, it was otherwise a solid issue but not as good as the first two. I agree a couple sequences were disjointed and rushed but I understood what was going on just fine. $3.99 for 20 pages and questionable back matter is rough. Plus, if there were another two pages the issue could’ve been paced better.

  39. i love this issue!!!

  40. I went back and reread it, after I broke it down I found it much less choppy than I originally thought. I’ll be back for #4 I think, now.

  41. Not as good as the first two issues for sure, this one only got a 3/5 for me. However, I trust this is just an in-between to set some pieces in motion for the next issue. I’m really enjoying this comic and I hope it keeps delivering quality after this story is done.

  42. Didn’t really work for me- I nearly set the pages on fire- rubbing them together like a brand new stack of dollar bills- 3.99+tax to be exact- trying to figure out what I was missing as the story leapt all over the place. I’m holding out hope like @jonny, that this is all setup for something great.

  43. I usually don’t pay attention to price but this one bugged me. Maybe it’s because I wanna love a Grant Morrison book but just can’t. Maybe it’s because I normally don’t like Superman as a character or its the 20 pages for $3.99 and the odd transitions.

  44. One of the worst comics I have ever read. To be fair, I don’t read too many bad comics. This shit was impressive!

Leave a Comment