Although there was the notion that amused me - that a world like Orando made up of illusion-casters who are basically living perception-filters, could look like anything. They could be hideous snake people with psionic robot arms mounted to sleeves they wear, and we've only ever perceived them as pretty blonde princesses in fairy tale looking castles (last seen in Giffen's beautiful Legion Annual)
I'm a big Grant fan and find plenty to love in Action, but it's not perfect and this issues chaotic nature seemed all over the place to me, too. But on the second time through I paid extra special attention to the Captions. "Scenes, locations, dates" and it all worked perfectly. There's loads of clues in the artwork that would have been obvious with an artist actually depicting them symbolically (the Legion HQ was always in downtown Metropolis, Metropolis is just a district in Nugothropolis, and Centennial Park is what the Legion are sneaking through to get to their old HQ (which is also the New Krypton era James Robinson present-day Science Police Building.) But anyway, a few of those different time periods take place at the same Earth location - the Metropolis version of Central Park. It'd still be clever if they were explained more clearly - but like I said, I think a better artist would have made it absolutely clear.Finally got caught up on this issue and read it last night. Without getting every single thought into this thread, because it could be as confusing as the first read, the thoughts going on inside of my mind page after page was mayhem. Loud noises, fast music, drums being banged at high speeds, etc. It was just a crazy issue for me. I thought issue #15 was the best of the series, one of the most fun issues of the series. Undoubtedly my favorite, but this issue here reads like a bad case of mushrooms, haha. I'll go through it a second time and hope my mind slows down this time around.
Absolutely.I personal don't think this issue should be looked at as a single issue, it's more of a linking device for the whole run. It actually uses aspects from almost the whole run to show you how the link up.
"Everything hs changed. ‘Dark’ entertainment now looks like hysterical, adolescent, ‘Zibarro’ crap." - Morrison, 2008.
I felt it is too early to introduce the death of superman in the new 52 and the way Morrison did it was kind of confusing. As much as I don't like it I would have been ok with it if he was still writing but with him leaving Action next issue he is not going to get to tell his death of Superman story and if DC does make one for the news 52 the new writer is going to be limited to making it during Supermans younger days unless they just retcon Morrisons story.
I thought this issue was great.
This one and the last have totally (mostly) made sense of the series for me. Well looking forward to seeing how this run wraps up.
So this could be that Sensor having somehow been mutated back, or a version of that Sensor where she never was mutated, or she's another character entirely who may have replaced Sensor Girl.
My review of Action Comics #16 posted over at ifanboy.com
http://ifanboy.com/reviews/action-comics-16/Action Comics #15 indulged into the back-story and origin of "The Little Man" and what makes him tick through the eyes and telling of Clark's 'landlord' Mrs.N (who happened to be a Goddess and Princess of the 5th dimension serving as the lovely wife of one fella by the name of Mr. Myxlplyx.)
Issue #15, by far, was the most well-rounded story in Grant Morrison's ever-so-changing tale in how he depicts his journey through his visions of the Man of Steel. The world around Superman is becoming more advanced and the way Morrison handles his character developments in that single issue was superbly executed. Continuing that trend in Action Comics #16: "The Second Death of Superman"; Morrison holds nothing back, delivering a haymaker to the readers, sending a message to those who aren't familiar with his writings that the pace of his books can take one dramatic turn right after one another.
We see first appearances from the Legion of Super Heroes to set the tone in the beginning of the book that gives off the kind of importance they resonate in such crisis. Lois and Jimmy recognize the cruelty of the situation of worlds colliding that it brings back the darkest of memories of the day of 'Doom' where Doomsday once killed Superman in the eeriest of red-skies of deja' voo (allowing the reader to automatically assume 'The Death of Superman' exists in the New52, but in a different light.)
Morrison wastes no time in this issue and you could see why a 5th dimension tale suits his writing almost perfectly. Confusion sets in. Different realities haunt. References are made to the tiniest of details of prior issues. Superman is tormented of all the pain in the world but in the same breath, is in need to dig deep as he fends off attacks and revenge tactics from the Anti Superman Army, even if that need is from his Kryptonian K-9 (proving the cliche' of 'mans best friend.')
We see Lex Luthor involved in one capacity or another, even if he wasn't aware he made the deal with the devil in the wake of a project that isn't even close to being finalized, but screams 'DOOM' nonetheless in the next issue to come. As I flipped through page after page, I couldn't help but hear trampling chaos going on inside of my head. Drums being played rapidly. Symbols being smashed together. Dramatic noises and music at its finest as a symbolism of 'action' screaming off each panel.
If you're looking for a well paced issue (like you got in issue #15) you may not enjoy this story. But if you are intrigued by Morrison's humbling writing style and understand the importance of the overall confusion to be played out in its entirety, then I say this is a definite must-buy for any Super-fan, even if 'Super-Doom' is amongst us!
Story: 4 - Very Good
Art: 4 - Very Good