Big comics publishers are accused of some unfortunate sins -- toeing the company line, servicing marketable properties, making a buck at the expense of art -- and there are plenty of times when that proves to be true. But there are those times when it becomes clear that the men and women working there truly respect the craft, when they give a nod to those artists and writers who make it all possible. The launch of Solo strikes me as one such occasion. This debut issue pays tribute to the talent of Tim Sale by teaming him with amazing writers on timeless icons, but also by allowing the artist to explore more unconventional material... more personal fare. This anthology -- tied together not by a theme but by an artist -- doesn't just show off what Tim Sale is capable of, but what the medium is capable of in terms of variety and impact.
Catwoman entices the Batman on a merry chase around Gotham City. A young man facing an impossible choice takes the woman he loves back to a place that represents unbearable pain to him. A Maid of Steel struggles with the decision to keep secrets from the first boy she ever loved. A young Clark Kent makes lemons out of lemonade on his prom night. A sultry woman returns from memory, much to the surprise of the man who loved her. And a couple reflects back on one of their first dates.
This is Sale at his best. Better than Batman: The Long Halloween. Better than Daredevil: Yellow. The book demonstrates his range incredibly well. He captures a playful mood as well as a melancholy one. An air of desperation and an air of innocence. In previous projects, the most dominant visuals were those that emphasized the inhumanity of a twisted characters, such as the Batman Rogues Gallery or the oddball villains from Marvel's Hell's Kitchen. These stories emphasize a more human tone overall.
The Frank Miller influence continues to shine through clearly here, but he flexes some other muscles as well. His linework on the first story often reminded me of Walt (Thor) Simonson's style, and there was a touch of John (Wolverine) Romita Jr. and Klaus (The Dark Knight Returns) Janson in "Christina." I wasn't wild about his take on the barrel-chested Clark Kent here, but then I didn't care for it the first time around in Superman For All Seasons. There's a noir leaning in his work that's appealing, but it doesn't always convey an air of mystery and menace. In the final story, dedicated to his parents, Sale captures a powerfully romantic quality.
Dark Horse editor Diana Schutz contributes a Silver Age Supergirl story here, and it was a pleasant surprise to see this book crossing company lines in this small way. Her story is a simple, familiar one, but it's a lovely tribute to a classic era in comics. Sale's "Christina" and Azzarello's "Low Card in the Hole" represent a slight flub in editing, as they boast some common plot elements, albeit with radically different atmospheres and characters.
My favorite story in this book comes down to a tie between the longest segment (which opens the issue) and the shortest (which serves as the other bookend). Darwyn Cooke's chase story is delightfully entertaining, using action and plays on words to great effect. Sale's story of lasting love is cute but challenging as well. It requires the reader to really focus and delve into the characters' feelings without the benefit of dialogue. 9/10
