OK, Alan Moore has made Armageddon politically and emotionally relevant. Is such a development, even if it's the result of the work of a writer of Moore's level, a sign of the apocalypse in and of itself? He and his artists deliver yet another remarkable issue full of imagination and emotion, and somehow, he makes this modern tale of magic and misery work even with the presence of Moore's own Silver Age-inspired science hero, Tom Strong. If you're an adult comics reader and you're not reading this title, you're crazy. The good news is that it's not too late, as Moore offers up a surprisingly accessible script.
Tom Strong confronts Sophie Bangs, who's been living in Millennium City under a pseudonym, about her status as this era's Promethea. The FBI has learned that she is a key to the end of the world, and they want to ensure that doesn't arise. Sophie is afraid as well, and is refusing to transform into Promethea as a result. On the other hand, she's convinced the FBI will kill her to prevent Armageddon, and that scares her more. Meanwhile, the magical creatures the FBI has locked up in special cells sense an approaching cataclsym.
At the Comic-Con International San Diego in July, J.H. Williams III had a black-and-white copy of the cover image for this issue on display, and I knew I recognized it from somewhere. He also had a copy of the cover of the first DC/Marvel crossover, Superman Vs. the Amazing Spider-Man, and immediately, the inspiration for this cover became clear. It's striking how well Williams and Gray -- artists with meticulously detailed and dark styles -- capture the bright simplicity of the Ross Andru/Dick Giordano style that dominated so many DC covers of the 1970s.
Williams, Gray and Cox manages to capture an air of menace and an atmosphere of serenity all at once in the latter part of this book. The inventive panel layouts reinforce the supernatural elements while Moore takes us into the lives of ordinary people. Williams's incorporation of Chris Sprouse's simpler approach and character designs is impressive, as is his success is never sacrificing his own style to make way for that of the world of Tom Strong. I also enjoyed the artist's use of deep gutters and plenty of white space in the opening scene as a means to convey Sophie's sense of isolation.
The real power in this issue is the emotional crisis that washes over the world. Moore provides glimpses of many little lives, exposing small sins and reasonable regrets. It's easy to see oneself in one or more of these characters who face the end of all there is. I also loved Moore's incorporation of the current global political climate into the background of this despair and peace. He points out how ridiculous -- and how scary -- the dramas we watch unfold on CNN really are.
