Who would have thought Crossed + One Hundred wouldn’t just be good, but would be some really strong mainstream stuff from Alan Moore. He gets to create a language–future English–which undoubtedly gave him a lot to think about (since the language also shows how the world has changed since the apocalypse and what’s important and what’s not). And he gets to imagine a future civilization.
Not surprisingly, it’s upbeat. Moore shows the humanity both in his cast of survivors, but also in the crossed. It’s very strange because they’re not sympathetic yet, but he’s got a anthropologic distance from them and it does make them very interesting.
A lot of the details don’t have anything to do with Crossed and are probably just ideas Moore has had kicking around for a while. But he fits them perfectly to the world such a calamity might create.
Gabriel Andrade’s art’s excellent.
Writer, Alan Moore; artist, Gabriel Andrade; colorist, Digikore Studios; letterer, Jaymes Reed; publisher, Avatar Press.
Moore brings it all together for the Tom Stone finale. He even gets around to a scene or two I really wasn’t expecting. It turns out there are drawbacks to a more emotional Tom Strong or Tom Stone. They play out unexpectedly for the characters, but maybe expectedly for the superhero comic book medium.
Ordway proves the perfect artist for the issue–and the arc–given the vast number of guest starring science heroes. They’re everywhere during some of the issue, with Ordway getting to do very different Bronze Age superhero action composition. It’s very cool, even if Moore’s successful at the scenes being emotionally devastating.
With all the time travel and alternate universes, it’s initially odd Moore wants to close off the Tom Stone storyline. The conclusion, where he actually gets to develop Tom Strong a little more, wouldn’t work without treating the arc rather seriously.
It’s excellent work.
How Tom Stone Got Started, Part Three: Crisis on Infinite Hearts; writer, Alan Moore; penciller, Jerry Ordway; inkers, Ordway, Sandra Hope and Richard Friend; colorist, Dave Stewart; letterer, Todd Klein; editors, Kristy Quinn and Scott Dunbier; publisher, America’s Best Comics.
The Tom Stone story continues with Moore doing a combination alternate history lesson of the twentieth century–with Tom Stone and the good Saveen rehabilitating all the villains instead of fighting them–and wink at the traditional Tom Strong back story.
The most interesting part is how Tom Strong’s mother is basically the only villain in the issue. She’s the one knowingly endangering the fabric of the space-time continuum. But not really, because everything in the Tom Stone world is okay.
And Tom Strong gets to hear all about how he didn’t do things as well as Tom Stone would have done–the deciding factor seems to be Tom Strong’s dad not being as sympathetic as Tom Stone’s–and even he gets tired of it.
There’s not a lot of drama to the issue, something Moore saves entirely for the soft cliffhanger.
It’s competently done, but lacks any momentum.
How Tom Stone Got Started, Part Two: Strongmen in Silvertime; writer, Alan Moore; penciller, Jerry Ordway; inkers, Trevor Scott, Karl Story and Richard Friend; colorist, Wildstorm FX; letterer, Todd Klein; editors, Kristy Quinn and Scott Dunbier; publisher, America’s Best Comics.
Jerry Ordway guest pencils for a special alternate history story. The shipwreck on the tropical island goes differently and so there’s never a Tom Strong. Instead, there’s a Tom Stone, son of Tom Strong’s mother and the ship captain. His understanding of racism firsthand–and still having the empathy to ignore it and help everyone–allows him to convince Saveen to become a science hero with him.
There’s a lot more, with Saveen marrying Dhalua and they have Tesla while Tom Stone marries some other chick. He’s actually nowhere near as important to the story; Moore realizes he can only get so much mileage out of that character and everyone else is more interesting.
It’s a constantly surprisingly comic, though the final reveal suggests Moore foreshadowed everything carefully throughout the issue. He’s not asking the reader to pay attention, he’s ignoring readers who do not.
It’s a tad manipulative, but definitely engaging.
How Tom Stone Got Started, Part One; writer, Alan Moore; penciller, Jerry Ordway; inker, Karl Story; colorist, Dave Stewart; letterer, Todd Klein; editors, Kristy Quinn and Scott Dunbier; publisher, America’s Best Comics.
This issue, containing three different stories by two writers (Moore on the first and last, daughter Leah on the middle one) and three different art teams (Howard Chaykin on the first, Shawn McManus and Steve Mitchell on the second, regular artists Sprouse and Story on the third), is mostly awesome.
Moore and Chaykin do a domestic adventure for Tom and Dhalau in the first story; Dhalau is kidnapped and Tom has to save the day. Throw in a matriarchal society and Moore gets to explore gender in comics. Chaykin’s exuberant but a tad too loose.
Leah Moore and McManus do a decent enough story with villain Saveen. McManus’s art is excellent but the final twist is too predictable.
The final story is an awesome riff on comic readers and the love of classic comics as objects. It’s funny, smart and mildly disturbing.
It’s a discreetly ambitious commentary on the medium.
Electric Ladyland!; writer, Alan Moore; artist, Howard Chaykin. Bad to the Bone; writer, Leah Moore; artist, Shawn McManus. The Hero-Hoard of Horatio Hogg!; writer, Alan Moore; penciller, Chris Sprouse; inker, Karl Story. Colorist, Dave Stewart; letterer, Todd Klein; editors, Kristy Quinn and Scott Dunbier; publisher, America’s Best Comics.
I think all of the jokes Moore gives Svetlana X–proud Russian science hero who has an interesting way of saying things (Moore gives her the cursing, only with accurate if misunderstood translation)–just primes for the big finish. He ends the story arc involving the giant space ants with a great cheap joke. There’s a lot of humor throughout, but the finish is an easy, wonderful joke.
Sprouse gets three big moments this issue. He’s an illustrating intergalactic battle and the script builds to each reveal. Sprouse has to make each bigger than the last. Given the first one involves a solar flare from the sun, it’s an accomplishment he’s able to properly amp up the others.
There’s good stuff with the supporting cast and Tom finally gets himself back in joint. He and Svetlana are hilarious together (he’s too polite to correct her).
As usual, Strong is reliable.
The Last Roundup; writer, Alan Moore; penciller, Chris Sprouse; inker, Karl Story; colorist, Dave Stewart; letterer, Todd Klein; editors, Kristy Quinn and Scott Dunbier; publisher, America’s Best Comics.
Moore’s subplot for this issue is Tesla and her fire monster boyfriend, Val. Mostly with her mom trying to keep the progress of their relationship quiet in front of Tom. It never gets a full resolution but Moore foreshadows one nicely.
The main plot is the preparation for the space battle against the giant ants. Giant space ants. Moore is kind of doing fifties sci-fi with the ants, but not exactly–Sprouse gets to mix sci-fi elements. It’s simultaneously retro and mainstream modern. Moore and Sprouse fit a lot into Tom Strong, they never let it get too much into one genre or another.
The only dragging scene is Tom going and visiting the intelligence on Venus or whatever planet. It’s a talking heads scene with a rock. It’s not bad, it’s just pointless.
Great subplot with the Strongmen too. Moore certainly appears to love writing for them.
Ant Fugue!; writer, Alan Moore; penciller, Chris Sprouse; inker, Karl Story; colorist, Alex Sinclair; letterer, Todd Klein; editors, Neal Pozner, Kristy Quinn and Scott Dunbier; publisher, America’s Best Comics.
Moore has a bunch of fun this issue. He enlists the Strongmen of America and they even get to sleepover with the Strong’s. The way he handles the absurdity of these kids getting to sleep over at a superhero’s is great and all, but having Dhalua call their mothers’ to get permission is even better.
And then there’s Tesla’s little fire monster boyfriend who Tom doesn’t like. That subplot’s wonderful because Moore shows it a little from Tom’s perspective–his daughter’s moon-eyed and he doesn’t approve–but Moore’s really showing it from Tesla’s. And she knows what she’s doing.
The main plot has to do with an alien invasion–it’s actually a little Cowboys vs. Aliens (I’m sure Moore was fine not getting credit for that movie) as the guest star is an intergalactic cowboy. Great details from Moore on that back story and some wonderful art.
Some Call Him the Space Cowboy; writer, Alan Moore; penciller, Chris Sprouse; inker, Karl Story; colorist, Alex Sinclair; letterer, Todd Klein; editors, Neal Pozner, Kristy Quinn and Scott Dunbier; publisher, America’s Best Comics.
Moore plots out the issue precisely, not just how he uses the action, but also how he uses Tesla. The issue is just as much hers as Tom’s… or maybe even a little bit more.
The issue opens with her disappearing under extreme circumstances. Tom, Dhalua and Solomon have to go rescue her. Moore gets his expository dialogue about Tesla’s history exploring volcanos done while he’s talking about the protective suits everyone is wearing. It’s a little thing, but brilliantly executed.
The issue then has some exploration before Moore brings Tesla into it. A lot of the issue is spent with Tom not thinking and Tesla thinking. The characters figure things out–Moore doesn’t pause to let the reader figure them out, the reader’s going to hear about them, Moore needs the characters to do it.
It’s an interesting form of action.
Excellent art from Sprouse and Karl Story too.
Ring of Fire!; writer, Alan Moore; penciller, Chris Sprouse; inker, Karl Story; colorist, Matt Hollingsworth; letterer, Todd Klein; editors, Neal Pozner, Kristy Quinn and Scott Dunbier; publisher, America’s Best Comics.
Moore bites off a lot for this final issue to the arc. It isn’t enough Miracleman and company will turn the world into a utopia, Moore has to sell it. He uses great detail–like the Warpsmiths liking the Inuit language the most–to make things process. He also throws in a lot of personality. Heavy metal gangs turning Kid Miracleman into a sensation; it’s unnecessary but perfect.
And Liz. How Moore deals with Liz is crazy good. Winter comes back, but she’s kind of comic relief. Liz figures in differently. One has to wonder if Moore always had this plan for her.
There’s a bit of joking at Thatcher’s expense. Moore is having a good time, after all.
Miracleman is not a superhero comic. Maybe Moore never intended it to be one, just let it pretend like on Gargunza’s tapes.
Fabulous work from Totleben too. The art is breathtaking.
Olympus, Chapter Six: Olympus; writer, Alan Moore; pencillers, John Totleben and Thomas Yeates; inker, Totleben; colorist, Sam Parsons; letterer, Wayne Truman; editor, Letitia Glozer; publisher, Eclipse.
What’s incredible–and possibly singular–about how Moore approaches Miracleman is his distance. There are moments this issue where another writer might wink at superhero comics. Moore doesn’t. Even in those moments, he’s only writing this one. More so, he’s only writing this moment, even though it’s technically a flashback.
London is destroyed, decimated. There is no happiness. Moore pulls Miracleman away from humanity even more; tellingly, Totleben doesn’t do any of his “beauty of Miracleman” panels. The visual poetry is violence and blood. Even in the small panels.
Moore caps it off with Miracleman’s final shedding of his human self, possibly through the most humane act possible. It’s so sad it makes one despondent. Not the act or event itself, but how Moore and Totleben tell it.
I think there are slow parts to the issue. Maybe too much time spent on filler. But it doesn’t matter… it’s amazing.
Olympus, Chapter Five: Nemesis; writer, Alan Moore; artist, John Totleben; colorist, Sam Parsons; letterer, Wayne Truman; editor, Letitia Glozer; publisher, Eclipse.
As far as the art goes, it’s near perfect. Moore’s script (presumably with panel arrangement), Totleben’s art, it’s outstanding.
And most of the issue is excellent too. The stuff with the Moran family, the stuff with Miracleman and the other super-powered beings setting up their club… well, actually that decision is Moore’s second most questionable this issue. Miracleman, Miraclewoman, the other aliens, they set up a superhero club, something apparently all worlds with superheroes do. It feels too obvious.
The real problem is with how much abuse Moore throws at Billy Bates. He’s been being tortured by other kids for a number of issues now, always resisting the urge to turn into Kid Miracleman. Moore goes too far with it; it’s too much torture. Moore’s practically martyring the kid.
The bookends flow throughout the issue; during one recollection, Miracleman dances. It’s crazy, fantastic; easily makes up for the bumps.
Olympus, Chapter Four: Pantheon; writer, Alan Moore; artist, John Totleben; colorist, Sam Parsons; letterer, Wayne Truman; editor, Letitia Glozer; publisher, Eclipse.
It’s an awesome issue. Not just in the flashback plotting and reveals, but with how Moore structures Miracleman’s narration from the present. Even though the present day stuff is all static and all summary, Moore manages to get in an amazing finish for this issue. Moore doesn’t try to frustrate the reader with foreshadowing, he instead overwhelms.
Miracleman and Miraclewoman go to the galactic council or whatever it’s called and there’s a bunch of political stuff set to Totleben’s trippy alien designs. Miracleman often has smaller panels, so it’s impressive how much Totleben’s designs resonate even if they don’t get close-ups.
But there’s also stuff with Billy and Liz and how it will all shake out to get the story to the future bookends. Moore juggles the otherworldly and the human; he brings them together in the soft cliffhanger.
It’s an outstanding issue. Definitely the best with Totleben’s art.
Olympus, Chapter Three: Hermes; writer, Alan Moore; artist, John Totleben; colorist, Sam Parsons; letterer, Wayne Truman; editor, Letitia Glozer; publisher, Eclipse.
More hints at what’s to come–both in the bookends and in the present action. Moore’s pretty slick with one of the reveals–so quiet maybe it’s a typo–but the other, revealed on the last page but suggested much earlier… Well, things might just get really dramatic here in a bit.
This issue reveals Miraclewoman’s back story. It involves the evil scientist, of course, which sadly reminds one of Chuck Austen’s terrible conclusion to that story arc. This issue continues with Totleben, who does quite well. He’s really getting the idea of Miracleman as an Adonis, not just a regular superhero.
There are the surprises, some great panels–big and tiny, Moore’s got Totleben doing these practical thumbnails with great composition–and some really odd, nice moments with the supporting cast. The insect people are interesting, but Moore’s clearly saving more for later.
Excellent comic, though it ends abruptly.
Olympus, Chapter Two: Aphrodite; writer, Alan Moore; artist, John Totleben; colorist, Sam Parsons; letterer, Wayne Truman; editor, Letitia Glozer; publisher, Eclipse.