It’s the first all-action issue of O.M.A.C. and everyone–meaning Giffen and Koblish–does fine. There’s one great moment when O.M.A.C. “smashes,” which I assume was a Hulk reference.

But the issue introduces the first original villain, a very silly Psi-fi Man, who has a distended brain stem because he’s so smart and psychic.

It shouldn’t work, it really shouldn’t.

But like everything else in O.M.A.C., it does. Psi-fi Man works. Heck, after the send-off the issue gives him, I wish he’d get a one shot.

The book still manages not to be silly, even though… you know, it’s silly. Now Didio and Giffen are introducing (or reintroducing into the new DC Universe) Checkmate. Only they have these light show weapons out of Tron and whatnot. They’re after O.M.A.C., who’s zapping around the country, with Brother Eye setting him up for trouble.

O.M.A.C.‘s a constant joy.

CREDITS

Offensive Meetings, Antagonistic Communications; writers, Dan Didio and Keith Giffen; penciller, Giffen; inker, Scott Koblish; colorist, Hi-Fi; letterer, Travis Lanham; editors, Harvey Richards; publisher, DC Comics.

The second issue of O.M.A.C. is even better than the first, as Didio and Giffen embrace all their wackiness. Even when the wackiness is forced, it works great. Like the secret reveal at the end–it’s kind of obvious, but with Giffen’s Kirby-homage approach to the character, it works.

Didio and Giffen continue their Hulk approach with the O.M.A.C. guy moving around a desert town and getting into trouble because Brother Eye has some plans for him. But when they bring in an actual emotional need, they get away with it. Some of their dialogue is weak, but mostly just the guy talking to himself. Everything else works.

What works really well is the narration. It’s so intensely serious, it’s funny, which sums up half the book. The other half is the goofiness of the O.M.A.C. guy.

Didio and Giffen’s O.M.A.C. is perhaps the most singular title in DC’s relaunch.

CREDITS

Odd Meals Assure Confrontation; writers, Dan Didio and Keith Giffen; penciller, Giffen; inker, Scott Koblish; colorist, Hi-Fi; letterer, Travis Lanham; editor, Harvey Richards; publisher, DC Comics.

They had me until the last page. I mean, OMAC is a terrible idea for DC’s relaunch. It’s a big Kirby homage when the line is supposed to be geared at people who don’t know or care about Jack Kirby.

But it’s also Keith Giffen letting loose. Apparently, he can be freewheeling when he’s got the president of the company as his co-writer (or whatever Dan Didio’s position’s called). Because the story’s so straightforward and enthusiastic, they could practically get away with anything in terms of dialogue. But it’s still good dialogue. Giffen always had an ear for conversation.

The only problem–besides the last page (which might even be in the original Kirby continuity, I don’t care)–is Scott Koblish’s inks. He controls Giffen, making the lines thin and tight. For a better Kirby homage, it should’ve just been Giffen.

Maybe Koblish is supposed to make it accessible….

CREDITS

Office Management Amidst Chaos; writers, Dan Didio and Keith Giffen; penciller, Giffen; inker, Scott Koblish; colorist, Hi-Fi; letterer, Travis Lanham; editor, Harvey Richards; publisher, DC Comics.