Tom Strong (1999) #5

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The backup this issue is from Jerry Ordway, so the art’s good. It’s not really a backup, it’s more an aside to give the reader some more information. But Moore and Ordway present it as a fifties or sixties sci-fi comic, albeit with better dialogue.

Tom Strong gives Moore a nice opportunity to do revisionist Golden Age and Silver Age stories (presumably the point) while still keeping modern. It’s impressive how, in this single issue, he’s able to introduce a villain, go through the history with the villain, and then give him a sendoff.

Moore didn’t do a lot of superhero books, but Tom Strong shows he definitely would be able to do them if he wanted.

The issue’s set in Pangea (or is it on Pangea?), giving Sprouse a prehistoric wasteland to illustrate. He’s got some beautiful visuals.

Again, not a deep, thoughtful issue; but a good one.

Tom Strong (1999) #4

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It’s the first two-parter (or multi-part, I have no idea) story. I sort of figured Moore would do Tom Strong as done-in-ones, just because it fits. Though he does get to a good hard cliffhanger–I’m going to start using the terms hard and soft cliffhanger, sort of like hard sci-fi–I just wish I hadn’t been expecting a wrap-up.

I shouldn’t have been. There’s a flashback story in here–unfortunately with art from Art Adams–and so there wouldn’t be enough space.

Moore also changes up what he did last issue in terms of narration. There’s no first-person Tom Strong narration here. It’s mostly just a good action issue, with the flashback providing the drama–Moore’s dialogue’s strong and the Sprouse art is great. But it’s not thoughtful.

Though Moore does get around to talking about the race thing.

Still, it’s fine.

Tom Strong (1999) #3

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Tom Strong is the main character this issue, the third in the series, Tom Strong, and the first issue where he is that main character. Moore even does a bunch of first person narration, which gives the reader the first insight into him.

The story is fairly straightforward (especially for a Tom Strong). Aztecs from another dimension are about to take over the planet and it’s up to Tom Strong to save the world. And he does, of course. Moore presents him as a very thoughtful protagonist—this issue is an example of some of the best first person comic book narration. Moore’s not using it as exposition (he opens with some funny expository dialogue though). He’s just plain writing.

This issue reveals the series to be mildly didactic. Well, at least the last two issues. Moore’s Tom Strong is intensely, thoughtfully optimistic and it strives to share that outlook.

Tom Strong (1999) #2

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It’s the second issue and Moore’s confident enough he has the reader’s attention he doesn’t even bring Tom Strong in until the last five or six pages. And then it’s as something of a deus ex machina. It’s interesting how in the present action, Tom Strong is more thoughtful, when ten years before (in 1987), he’s more gung ho to do the action hero route. Knowing Moore there’s probably something to the difference.

Anyway, it’s another fine issue. Moore does a lot of jokes this issue (not even counting the bickering between Solomon and Pneuman). He’s got two goofball teenage boys who are hilarious. It’s not at all the kind of jokes I’d expect from Moore. Except they’re all well-written and succeed, so I guess they are Moore jokes.

Some very nice art, once again from Sprouse and Gordon. There’s a particularly nice one page action scene.

Again, excellent.

Tom Strong (1999) #1

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I read Tom Strong when it came out (some of it, anyway); I didn’t remember much about this first issue until I got to the end. I sort of remembered the big smile at the end of the issue, which—at the time I first read it—I thought was a little strange.

Here’s Alan Moore—the Watchmen guy, the Swamp Thing guy—basically doing this resoundingly nice superhero moment. I guess I hadn’t read his Superman stories yet.

This issue’s the origin (and Moore’s calm about the age-slowing plant, introducing it at the end instead of the beginning) and it’s absolutely beautiful. It would be nice to spend more time in the various eras Moore’s writing about… first because Sprouse’s art is beautiful, but also Moore has a great feel.

Moore’s writing is assured and funny. It’s maybe the most comedic work of his I’ve read.

It’s lovely.

Fantastic Four (1961) #285

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Holy shit. I thought Byrne was going to do some kind of responsible story about a kid lighting himself on fire to be like the Human Torch but he does not. There’s certainly an element of that story in this issue, but there’s no responsibility. Byrne turns it into A Christmas Carol (but with only one ghost and the Beyonder being that ghost) and instead tells the reader since the kid was lonely and read Fantastic Four comic books and all, lighting himself on fire at the ripe old age of thirteen and dying is thumbs up.

I mean, I get what Byrne’s trying to say, the Torch isn’t responsible, but the way he magics away Johnny’s guilt and feelings of responsibility? Wow. It’s incredible.

It’s so incredible, it kind of has to be read to be believed. Along with Byrne’s awful artwork. Is the man incapable of drawing faces?