The gimmick of writers coming up with new stories to fit a classic cover image reminds me of another unusual DC project, one that was published years ago. DC Challenge saw a different writer taking over each subsequent issue and trying to continue a story that incorporated the impossible cliffhanger left by the previous writer. It was a lot of fun and incorporated a wonderful array of colorful characters. The fun of the Silver Age contained in these Julie Schwartz tribute comics continues to tickle my brain as well. The affection these creators have for these characters and the stories of yesteryear shines through clearly in their efforts here. The art on one story and the script on another in this issue stand out as truly inventive and special, though.
Adam Strange hitches his rides to the distant planet Zann on Zeta Beams that strike regularly on Earth, but they always strike the southern hemisphere. That takes Adam to some exotic locales, and some that are not-so friendly. The discovery of his space suit and Rannian technology raises some uncomfortable questions and some dire problems. And in another story, Adam has drawn the attention of the U.S. military, who have plans of their own for Adam's second home.
Maggin's story is one that incorporates political and power struggles in the real world into the sci-fi fantasy of Adam Strange. It's a novel premise, one that really merits a longer-form and more in-depth exploration. Maggin doesn't get too serious about it here, though, and it's a smart choice. The limited length of the story doesn't lend itself to much more. Maggin also incorporates Adam Strange's connection to the Justice League by including the Elongated Man and his wife in this story.
The first segment's greatest appeal, though, lies in the richly detailed artwork of J.H. (Promethea) Williams. His work here reminds me a little of the style of Kevin (Tomorrow Stories) Nowlan, and I love how he delves back into the property's roots and offers up a panel layout that's distinctly reminiscent of what one would find in the Silver Age of comics. Jerry Ordway captures that traditional feel in the artwork in the second story as well, and it makes for a nice balance with the unconventional tone of Grant Morrison's script. My favorite visual aspect of the latter story, though, is the inclusion of the old-fashioned dot-color motif.
Morrison's script plays off the conflict between the wonder and imagination of yesteryear and the cynicism and complexities of today's storytelling. The notion of soldiers engineering a war for public relations and budget reasons will no doubt spark some readers to think of the the mess the United States has made of its incursion into Iraq; I know it had me thinking that way. What really sets this story apart, though, is Morrison's inclusion of a metatextual discussion of the context that gave rise to Schwartz's creativity and the effects he had on popular culture.
