This stands out as the strongest issue of this limited series yet, and there are a number of reasons for it. The core plotlines -- yes, plural -- emerge, and I love how the two storylines contrast with one another. Cooke continues to bring darkness and maturity to the icons of DC's Silver Age, and to some of the more obscure characters from that time as well. All of the elements here converge to make for riveting storytelling, from the script to the characters. And of course, one can't forget the artwork. Cooke's simpler style doesn't keep the book from looking moody and mature. He employs heavy inks to great effect for key visuals. If his work on Catwoman and Selina's Big Score weren't enough to convince fans of the strength of his craft, Cooke's efforts here definitely will.
It's the late 1950s, and stuntman Red Ryan dreams and dwells on the impossible. He and three other men survived an airplane crash that no one should have been able to walk away from, and the miracle of their survival haunts him. He soon learns that he's not alone. Meanwhile, Hal Jordan accepts a new joba t Ferris Aircraft as a test pilot, but what he doesn't know is that he's actually training for a different assignment altogether. Back in Gotham City, John Jones finds himself face to face with someone who has uncovered his secret, just as he uncovers the secret of the mysterious book he took from a crime scene a while back.
What's most striking about Cooke's art in this issue is his use of heavy inks to solidify the tense mood. He hides characters' faces from us, immersing them in emotions as dark as the shadows obscuring them from the reader. Another favorite visual element in this issue is how Cooke makes the filmreels of the 1950s come to life. Of course, one must also take note of the strength of the colors here. Dave Stewart adds a great deal to the atmosphere of foreboding, but he also helps Cooke make the art more playful during lighter moments, such as during those scenes in which Hal and Carol flirt with one another.
Cooke's writing here is quite strong as well, and it's rare that one finds a writer/artist who brings such strength to both sides of the equation. I was particularly struck by the intensity of the Martian Manhunter scene. The threat that looms over his head is chilling. I also love how Cooke transforms the Challengers of the Unknown concept from one of adventure to something darker and even a little frightening. In the Silver Age, the characters dedicated their lives to making the most of their borrowed time, but the darkness of the approach here makes it seem as though the characters have something of a death wish.
I'm also struck by the parallel plotlines. One is combination of science fiction and conspiracy theories. Space travel and fears of invasion boast plenty of potential to carry the story on their own. But Cooke has also included a key plotline that's steeped in supernatural elements and a sense of film-noir mystery. I look forward to seeing how these radically different modes will converge.
