I know that some were a bit put off by the total change in approach for Powers last issue, whether the complaints were general (hey, where are Walker and Deena?) or more specific (an entire comic full of monkeys having sex and fighting?) For me, however, this change has shaken up a book that I was feeling a little complacent about and reminded me of the strength of talent onboard, as well as allowing Bendis and Oeming to work in genres that they haven't covered quite as much as the super-hero/crime blend that defined the book. This time out, the story is a Conan-esque barbarian tale with parallels to last issue's story, and while I'm usually not a big fan of the barbarian genre, this one ties in nicely to the overall Powers story as well as hitting all the really cool stuff about the genre.
Oeming has been working in a style that is so perfect for the noir style of this book that it's easy to forget how versatile his style is. The look of this issue is very evocative of the Conan movie, starting with a spectacular two-page splash of our lead for the issue and continuing on with some ornate and imposing designs for the armor of the adversary and the other characters who make themselves known later in the issue. And few could miss the nifty homage to Frank Frazetta's Death Dealer, even if they miss the dedication on the front page. Oeming also maintains a visual link to the modern-day Powers universe, as you can see familiar faces in Gora, Zanona or the nameless woman who has a brief relationship with Gora.
It is my belief that this is a hint about the true nature of this unusual story, that Bendis is setting up a sort of repeating cycle that makes those with Powers into more than just run-of-the-mill super-heroes. It's not difficult to see the parallels between Gora and Zanona and Walker and Zora, or to read Deena into the nameless woman, which raises big questions about the red wizard. There's also a reference back to last issue, as the final battle visually echoes the finale of #31, indicating that perhaps these battles took place throughout time.
It's fascinating to me to see a creative team stretch themselves like this. Oeming has tackled other styles of work in Hammer of the Gods, Bastard Samurai and others, but to work with different genres within the realm of Powers is something different. And Bendis is known for his humorous dialogue and pop-culture references, but this absolutely feels like a real barbarian comic, maybe even a lost issue of Conan. Leaving aside the payoff for the Powers universe, which the observant will have spotted the potential for in the previous issue and will see even more in this one, these are fascinating exercises of craft that stand alone in each issue.
Given how much I've enjoyed this series within the fairly narrow confines of modern crime, I'm surprised and pleased at how well it's working as an exploration of super-powers with a wider scope. My only concern at this point is that when the team inevitably goes back to the modern status quo, the book will feel smaller after we've seen the vastness of the universe that Bendis, Oeming and the rest have put together here.
