Action Comics # 1001 Review – AiPT!

Superman looks for the origins of the fires that took place across Metropolis in Action Comics # 1001. Is this good?

Action Comics # 1001 begins with a humorous exchange while Superman stops a pair of thieves with ease. Writer Brian Michael Bendis and artist Patrick Gleason have an absolute blast with this sequence, as one of the thieves is clearly embarrassed by the actions of his more violent counterpart. Gleason and Bendis capture the ease with which Superman is able to cope with these ordinary threats while he catches bullets while seemingly standing still and talking with thieves without resorting to the violence himself. The way Bendis frames the conversation clearly shows that Superman is not angry but disappointed in his actions.

It is revealed that Superman is after the knowledge of the fires that raged through Metropolis. Questioning the criminals is only part of his investigation. Bendis does a good job in contrasting Superman's approach to this type of work with the way you expect Batman to handle it. Superman came out in the day, talking openly and honestly with people and gathering knowledge from them rather than gathering evidence in the dark of the night.

Patrick Gleason's illustrations throughout the issue allow immersive reading. At multiple points, Gleason blurs the backgrounds, giving the art a photographic focus on the characters, which adds to the realism. This extends to his treatment of Superman, because Gleason ensures that Superman trunks read like trunks rather than underwear. Gleason also ensures that the physical actions of Superman appear effortlessly. His body is rarely put in a tense position, and even when he is, his facial expression conveys the ease. These details not only help to convey Superman's strength and speed, but also provide a good point of contrast for scenes in which Superman investigates fires. Physical work is easy – the challenge is detective work.

This attention to detail in the art of Gleason extends to supporting characters. When readers first see Deputy Chief Moore, she collapses to the side of her fire truck, covered in ashes. She is surprised by the arrival of Superman, and it is understandable that a little caution in discussing the case with the main suspect. Gleason shows it through his body language – looking down, supporting himself with his hand on his back – readers can see that it's just one more thing on his long day. These are the details that really make her a living character.

The art of the color of Alejandro Sanchez is sublime. The backgrounds, even obscured, feel absolutely real, and Sanchez brilliantly keeps the majority of the comic book brightly lit in a naturalistic way, avoiding some of the bright yellow and gold-colored sunlight. Sanchez does a fine job capturing the details in the faces of the characters; The subtle pink in Clark's cheeks when Superman is named a fire suspect at a Daily Planet meeting helps show both his concern and his ability to hide himself.

If there is a place where Action Comics # 1001 feels a little rough, it's in the transition between Clark leaving the office and the final scene of the matter, who presents the wicked. The two scenes are well executed, but the drastic difference in tone between the clandestine meeting of the wicked and the rest of the number makes the reading a bit awkward, as if the audience was suddenly in a different book. After spending the majority of the problem with Superman, it's quite possible to jump suddenly between three different sets of characters at the end. This may have been intentional, but it appears more confusing than intriguing.

Is this good?

Aside from this minor issue, Action Comics # 1001 doing a good job ends the miniseries Man of Steel that Superman # 1 Brian Michael Bendis clearly has a strong leadership for both series, and it's interesting to see how he explores different aspects of Superman in each book. The work of Patrick Gleason and Alejandro Sanchez is superb, capturing the down-to-earth aspects of the Steel Man