FINAL CRISIS SUPERMAN BEYOND #1 (OF 2)

Review by: flapjaxx

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Size: pages
Price: 4.50

In Superman Beyond, Morrison is trying to tell us something primal, something fundamental about the nature of Superman and, by extension, the nature of (super)hero stories in general. That in itself, I think, is a more laudable aim than any other comic out this week. Why screw around with derivative little comic heroes going through the motions of derivative little superhero comic plots when you can shoot for the moon (or the sun or the void) and just show the audience what THE ANSWER is to this whole genre? It’s not an accident that the solicitation for this issue describes the current-continuity Superman, our protagonist, as “the greatest hero of all time”. That description’s not supposed to be hyperbole; it’s straight-faced and intentional. Superman is a stand-in, or embodiment (maybe “the current embodiment, in our culture”) of the archetypal hero figure. Morrison has said that this series (and Final Crisis in general) is to explain “The ‘hero’ story .and why we never tire of it”, as well as “humankind’s relationship with ‘gods’.” Those are lofty goals, yet I can see him going quite a ways toward meeting them–I hope. Whether readers will catch on to what he’s doing, who knows. Some readers probably didn’t take in the weight and consequences of Superman’s supporting cast in this issue: so many different variations on himself, from the German version (recalling Nietzsche’s “ubermench” concept), Ultraman (the misapplication of said concept), and others. The full spectrum is here, if not in body than in between the bodies: Miracleman is here, for instance, in between the Aryan ideal, the Shazam mold, and Superman’s nobility. Smarter and more knowledgeable people than me can and probably will write lengthy essays on what all these shades of Superman represent, individually and collectively, and what it means in this context of Final Crisis.

With all that said, with these lofty-yet-seemingly-reachable goals, with these literary references (another essay could be written comparing the infinite “book” artifact of this issue, and its concept of “story”, with Finnegans Wake), with all this well-thought-out groundwork–this issue should be a no-brainer. It should be awesome in every way. Grant Morrison is apparently leaving superhero comics (for a while) after Final Crisis, so the first issue of this so-oh-favored tie-in should be a jaw-droppingly excellent comic.

It should be, but it’s not. Superman Beyond #1 is every bit the mess of a story that all the Morrison nay-sayers (and the pretend “I’m NOT a Morrison nay-sayer” nay-sayers) say it is. It’s screwy. It may be intended as screwy, but it’s still screwy. I’m just not sure all the lofty aims are being carried out in the best way possible, or even in a serviceable way. Often I found myself bored with this issue, especially during the first half. I LOVE the idea of this comic, I love the idea of the 3D glasses as well, but I’m not sure about the execution. I can (and above I guess I did indeed) go on and on about how much I like the ideas of this comic, but these admittedly great ideas in themselves don’t constitute a good story, or even an elegantly structured work of art. Reading this issue didn’t really develop the subject matter or ideas, which I already knew beforehand. I’d rather just read another interview where Grant Morrison talks brilliantly about the nature of superheroes… because I don’t see those great ideas really DOING anything in this comic. Hopefully that changes in issue 2…

…But these reservations aren’t JUST an issue of wanting to read part 2 of 2 before judging this. Even as the first act of a two-parter, there were awkward scene transitions and tediously pseudo-impressive descriptions (including more “nano” stuff). And I DIDN’T get the impression that I was supposed to be disorientingly or annoyedly affected by those certain things. In other words, not ALL of the jarring factors of this issue were intentionally disorienting. I think it was just mediocre execution of a GREAT idea by a writer who has a better ideological handle on these ideas than anyone not named Alan Moore. It was just an “okay” comic. Still glad I bought it–I was entertained overall, and I will reread it a few times–but it wasn’t the classic I was hoping for.

On the art: The 3d stuff was neat–not perfect, but neat–which was all I wanted. I applaud DC and the whole team for doing something interesting and different. It added a bit to my enjoyment of the book. Without the 3d stuff, I’d’ve given the art a 3, not a 4. I don’t understand why this “Doug Mahnke” guy is supposedly a draw, or why people would buy this book just for his art. It looked competent and okay. But the guys in this era of comics who pass for superstar artists… I really don’t get them. Even Bryan Hitch–that guy’s art doesn’t matter to me either way. I guess this is a result of me growing up in the early ’90s era. Don’t get me wrong, I’m glad Mahnke drew this rather than, I dunno, Dale Known (sp?) or Greg Capullo or someone, but the pencilling doesn’t excite me. I care tons more about comics’ writing, anyway.

A last word on the price. Please. $4.50 isn’t so much. I spend far less on comics than most people on this site. I think it’s kind of funny for people who spend like $50 a week on comics to complain about spending an extra $1.50 for a deluxe/bonus/special issue by A-list creator(s). It’s $1.50 extra, guys. Unless we’re all 10-year-olds in the early 1980s going from house to house in the neighborhood asking old ladies if we can rake their leaves for a few extra coins… $1.50 extra isn’t much, for god’s sake, especially not for something you’re interested in. Just buy the comics you like and are interested in, then you won’t have such a problem with spending $1.50 extra. If I was buying a ton of comics mostly out of habit, then I too would be pissed about plunking down $4.50 for no real, honest reason. But I’m not. I just buy things I want to buy. If I’m going to complain about “having to buy” a comic, then I would think that sensation would be a clue that I didn’t need to buy it in the first place. But, anyway, I hope most people on here have jobs where they earn $1.50 in less time then it would take them to read this rambling review.

Story: 3 - Good
Art: 4 - Very Good

Comments

  1. this is a highly intelligent review, You’ve read Finnigans wake and can compare it to something!? good for you.

  2. yes, very nicely written.

  3. Thanks for the compliments.

    Yeah, I’ve read Finnegans Wake about 4 times. And I wasn’t even on any drugs for at least 3 of those times. P.S. I really don’t see why so many people think Morrison was on drugs when he wrote this (or Final Crisis, or Batman R.I.P.). I think it’s because it’s a known fact that Morrison did a bunch of drugs in the ’90s, so people who don’t like his stuff use that as an excuse. Have they ever taken real hard drugs? This recent stuff is not written on drugs, or not anywhere near to the degree that the Invisibles or Flex Mentallo (or JLA!) were written on drugs. And all of these works are so different, I really don’t see how it makes sense to lump all of Morrison’s drug-influenced work together anyway. 

  4. @flapjaxx – I don’t agree with you on the price thing.  I get upset at a book costing this much because if it does well than more will cost this much and while 1.50 extra for one book is okay it’s another story when all the books come out that much or even half.  I buy around 5 to 10 books a week.  that means I could see a 7.50 to 15 dollar jump.  This is why I’m upset at seeing books get this high up.  I know its special because its 3d but I didn’t feel like the 3d was needed in this book or was used well.

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