Here, folks, is an exception to the rule of judging a book by its cover. I feel like I could write an entire review on Alex Ross' Steeljack portrait, which, more than any other single image thus far, has captured the atmosphere of Kurt Busiek's surreal superworld and the contrasts it so often displays: between the superpowered, eccentric heroes/villains and the average, dismissible working class men and women (though of course Steeljack manages to fit into both categories more than most citizens) and between the dynamic and the mundane (an ex-supervillain with glowing, steel flesh -!!!- ...who is...eh, dressed in a flannel trucker's shirt and, um, wearily chomping on some scrambled eggs in a diner.) But then, as a friend of mine pointed out, when you are given eight months to produce a single painted cover, the results are more likely to impress and excite. At any rate, it is a supreme improvement over last issue’s drab and vague cover.
Issue fifteen continues the saga of Steeljack from issue fourteen, which was of course released during the Carter administration. Steeljack, as previously mentioned, has steel flesh. This quirk was an advantage to one looking into the field of supervillainy, so soon Steeljack was being bad with the worst of them, and he inevitably found himself in prison. Now, many years later, he is a free man, though it seems that things are not much better for him on the outside than they were in prison. Lost, notorious, conspicuous and a bit institutionalized, Steeljack wanders about Astro City, wondering just how to put his life in order. Along the way, he continues his parole-violating quest to discover who is offing small-time villains in the city. He speaks with the families of many a deceased supervillain, and it is through these scenes that issue fifteen really excels into levels of beauty and drama, for we are shown just how damn forgivable and human all these villains were (something many people need to see, in a society which loves to assign villainous roles and titles to any inconvenient cog in the machine.) Most of Jack's late buddies and colleagues were simply desperate to provide for their families, and crime seemed to be the means to do so. The similarities and familiar patterns between each tragedy were magnificent and touching, luring the reader into support of Steeljack much more than the previous issue managed. Steeljack’s resolution at issue’s end leaves us eager for issue sixteen, which Curse will review from his cubicle on Moon Station 4-Z in 2007. Watch for it, kids!
In addition to the lovely story, we are given some of Brent Anderson’s best artwork to date. The man is so damn talented that I just accept his exquisite gift as a given, a known, something which needs not be mentioned at all, for fear of sounding silly and redundant (“Hey, folks, did you hear about the sky and Brent Anderson? Blue and talented, respectively.”) Also, though I admit I know very little of the task of coloring or the skills it requires, note must be made of Alex Sinclair’s work in this issue. No two buildings or shirts are the same color and the damn effects and details just scream at you on each page. This creative team has a delicious way of making even the most unlikely image seem possible and lifelike. Good stuff.The only discouraging thing about this issue, and of course many would disagree with me, was the interaction between Steeljack and Yolanda, the daughter of the late villain, Goldenglove. The fact that Yolanda failed to learn from her father’s mistakes was appropriate and believable, but her actions, dialogue and introduction all seemed too quick, corny and over-the-top to suit the subtle mood of this issue. Of course, much of the books of the very era Busiek honors with this wonderful series were written in such a fashion, but the two flavors should be kept in separate tales. If Busiek is to take his time to earn our sympathy with a wonderful character like Steeljack, then he should likewise take the same care with the supporting cast, rather than have a young woman appear in one panel and unceremoniously announce and display her abilities to fly and shoot lasers within the three following panels. Yolanda pulls the reader out of the I-am-absolutely-believing-this-is-real state, and we all know Busiek has the skills to keep us there throughout an entire story (read Marvels for an example...hell, even the animated-character-come-to-life tale of Astro City #13 was consistently touching and “believable,” and it concerned the fate of a living cartoon lion!) However, this unfortunate blemish can be overlooked, as the issue concludes with yet more stunning emotional drama, rather than corny, superhero melodrama. Issue sixteen looks to be an exciting and touching read, as well, though the teaser preview, featuring the Zorro-esque “El Hombre,” has me a bit nervous. Oh well, even when he slips into occasional corniness, Busiek is one of the best storytellers in the field. Issue fifteen, “The Long Treadmill”, will remind you why you love this series, and comics in general. Read it.
Overall Rating: 9.4 Out Of 10 (a haunting story, accompanied by the shockingly incredible art which we spoiled readers have come to expect of Brent Anderson.) R.I.Y.L. Marvels, Kingdom Come, The “human” in “superhuman.” Pop Culture Parallel- Shawshank Redemption.“...and the old feelings are still there. I just want to run. To run far and fast, and get away- but I been runnin’ all my life now- and I’m still in the same place.”
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