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superman86to99 · 2 months

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Superman/Doomsday: Hunter/Prey #1 (April 1994)

DOOMSDAY IS COMING... BACK! Superman has been having nightmares about Doomsday, which is the natural psychological reaction when someone kills you. In his dreams, Doomsday has already wrecked the entire Justice League (again) and goes after Superman, who turns into a scared little boy in the middle of the fight. Just when Doomsday is about to knock lil' Clark's head off...

...he wakes up. It's the same dream every night. So, Superman decides to do the healthy thing when something is scaring you to that point. No, not visit a therapist -- finding and killing it.

But where is Doomsday these days, anyway? The last time anyone saw him, he was floating through space after the evil Cyborg Superman tied his body to an asteroid and tossed him there. As it happens, just when Superman is thinking about finding Doomsday, a cargo spaceship headed for Apokolips runs across that asteroid and takes it in, thinking they might be able to sell it to Darkseid as a big paperweight or something. By the time the ship lands in Apokolips, everyone inside is dead -- and soon, so is everyone in its general vicinity. As Doomsday tears through Apokolips' residents, one seems to recognize him and calls him "the Armageddon Creature," which for some reason makes me think of Steve Buscemi.

Even Darkseid seems freaked out by Doomsday. He sends his elite guard to slow him down with their fancy exo-armors, which "can stop anything"... except, it soon becomes clear, Doomsday's fists. When Doomsday kills one of the guards, a little gizmo on his back starts glowing and something jumps into the guard's armor -- it's the Cyborg Superman, whose consciousness had been hiding there since Superman Superman destroyed his previous body!

So now they have two maniacs destroying poor old Apokolips (what did they ever do to deserve this?!). Desaad wants to call the Darkstars or L.E.G.I.O.N. or some other cosmic police force for help, but Darkseid would rather evacuate the entire planet than do that.

Meanwhile, after talking it over with Lois (who isn't exactly thrilled about her fiancé going after a creature that has already killed him once), Superman realizes who can help him find Doomsday: the Linear Men, the protectors of the time-stream, since they can find anything, anywhere, anytime. He stands outside young Matthew Ryder's home, causing the adult, time-traveling Ryder to materialize and ask Superman why he remembers a famous superhero loitering in his back yard one night. Superman asks the Linear Men to give him all the info they have on Doomsday, but Matthew hits him with the "sanctity of the time-stream" stuff again.

However, Matthew's more hot-headed (pun intended) alternate reality version, Waverider, manages to give Superman a "subtle" clue about Doomsday's current location:

Back in Apocalypse Apokolips, Darkseid decides to step in personally and hit Doomsday with his legendary Omega Beams. No one can withstand the unsurpassed force of the--! Oh, wait, no, Doomsday did, pretty easily. And then beat the living crap out of Darkseid. After seeing that, Desaad is like "screw this," disobeys his master's orders, and calls the Justice League headquarters... just as Superman has stepped in to ask for help in finding Doomsday. Desaad ends their intergalactic Zoom call, but this makes Superman put two and two together and decipher Waverider's hint.

Now aware that Doomsday is in Apokolips (but still not knowing if he's alive or dead), Superman borrows a Mother Box from the JL's Oberon and teleports there, only to immediately run into the Cyborg breaking shit up. Superman is ready to fight him, but the Cyborg hits him with something more devastating than any blast: a live video feed of Doomsday, alive and kicking. Well, punching.

And then he hits Superman with a blast. While the Cyborg is distracted torturing Superman, Desaad uses the opportunity to open up a Boom Tube near Doomsday to teleport him away (which they probably should have done in the first place, huh). Superman flies off to stop it, but he's too slow: Doomsday has been sent to some other planet... perhaps Earth?! TO BE CONTINUED!

Creator-Watch:

This marks the glorious return of inker Brett Breeding, who we hadn't seen since the end of "Reign of the Supermen" because he was focusing on this miniseries. This time, he's actually providing finished art to Dan Jurgens' layouts, and the result is probably his finest work yet. We've all missed Breeding in the regular books (no disrespect to Josef Rubinstein), but that makes this mini feel extra special and like a prestige event worthy of that cardboard cover and the extra three bucks. More art gushing in Don Sparrow's section below!

Plotline-Watch:

No idea if this is intentional or not, but the final page, with Superman failing to catch Doomsday's Boom Tube and wondering if he stopped himself out of fear, reminds me of the classic final pages of Jack Kirby's Forever People #1 (1971), when he intentionally stops in the middle of a Boom Tube trip. Not many comics end with an emotionally devastated Superman kneeling between some rocks in front of an orange background after just barely not making a Boom Tube trip.

Superman mentions to Lois that one of the reasons he wants to find Doomsday's body is because he remembers how obsessed people in ancient Krypton became with genetic engineering (as seen in the World of Krypton miniseries), and he worries someone might recreate him or make an army of Doomsdays. That's a pretty clever way of delivering information that will become relevant when we find out Doomsday's origin, next issue.

ELROY SIGHTING! Of course that little jerk wouldn't wanna miss an issue where his rival for Lois' affection has serious chances of suffering a violent death...

Don Sparrow says: "A small nod to the 'Emerald Twilight' storyline happening in Green Lantern, as Superman mentions he can no longer ask Green Lanterns for help in outer space." Find out why at the @greenlantern94to04 blog, which just reached Green Lantern #50! (I'm hoping to have that blog catch up to this one by the time we hit Zero Hour at least, so we can crossover.)

Another important observation from Don: "Superman’s a boxers guy now, which is a switch from the tight-whiteys he wore in the now-famous Superman #50. No, I don’t feel like I’m wasting my life, why do you ask? (Weigh in with your comment—do you think Superman is a boxer guy, or briefs? NOT about whether I’m wasting my life.)" I'm gonna go with briefs on the outside, boxers on the inside. He's a man of two worlds!

As he leaves the Ryder residence, Superman tells Matthew's confused dad to "teach your son to do what's right -- while you still have time." Am I the only one who thinks the even more confused little Matthew got a belting after that?

At the JL HQ, Maxima offers to come along to Apokolips to have her own rematch with Doomsday, but Superman says no because he wants to face his fears alone. I feel kinda bad for her, but she must be pretty used to Superman turning her down by now.

I like this little car parked outside Darkseid's palace. Did a cabbie get so lost that he ended up there? Did he still charge $6,50?

Not even the Linear Men could figure out where exactly this miniseries fits in the continuity. This obviously takes place after Action #694 (February 1994), the issue where we last saw Doomsday floating in space, and before the Zero Hour event (September 1994), due to certain events involving Matthew and Waverider. Thing is, that Action issue takes place during the long storyline when Superman is losing control of his powers, which doesn't seem to be a problem in this miniseries. That storyline ends in Action #699, which is also the first part of the "Battle for Metropolis" storyline, which leads directly to Metropolis becoming a big pile of rubble in Action #700. Metropolis seems fine in this mini, so this must be taking place during Superman's power woes, but something about him being stronger than usual during such an important rematch doesn't seem right to me. Let's all just blame this on Zero Hour messing with the time-stream.

Patreon-Watch:

Our patrons Aaron, Chris “Ace” Hendrix, britneyspearsatemyshorts, Patrick D. Ryall, Bheki Latha, Mark Syp, Ryan Bush, Raphael Fischer, Kit, Sam, Bol, and Gaetano Barreca got to read half of this post back in November, because Don got a bit ahead of himself, and now they get to read half of our upcoming post on Man of Steel #28, because it happened again! Take advantage of our absentmindedness by joining us at https://www.patreon.com/superman86to99

Speaking of Don, he's got way more to say about this issue, so keep reading...

Art-Watch (by @donsparrow):

Some context behind the art on this issue: While I was essentially a DC-only kid in the early 90s, you simply couldn’t ignore the revolution happening at Image Comics. I still maintain that those early Image books weren’t popular only, or even mainly because of the creators, and certainly not because of the stories—I think what set them apart were the incredible production values. (The fact that there isn’t that much appetite for trade paperbacks of early Spawn or Savage Dragon issues bears this out.) The paper quality and digital colouring that Image Comics offered blew the doors off of what DC was publishing regularly. And it wasn’t that DC was incapable of using the same techniques, or paper supply—indeed the astonishingly illustrated Batman movie adaptation from 5 years earlier showed they could. So while I found Image comics to have enviable art, but no stories to my taste, I couldn’t help but wish that my beloved Superman comics could look as nice as the Image comics on the newsstands. That’s one part of what made these issues so exciting. Of course, a rematch with Superman and Doomsday was another attraction, and as if we needed a third reason, this mini-series reunited Jurgens and Breeding, who weren’t the usual team on the superbooks at the time.

After all that, we start with the cover, and the simplicity would certainly make it jump off the stands. Jurgens was always the most posteriffic Superman artist, where the action poses would make a great pinup, but without sacrificing story. This cover is a great example of that, with a determined Superman flying into battle on a computer-generated background of flames on the front cover, with Doomsday stomping into action on the back cover. Even the title pages boast some great production values, as the brushed steel photoshop texture and rounded gradients on the rivets make for a much more photo-realistic finish than usual.

Issues like this one are tricky, because it’s tempting for me to comment on every darn page, because the art is so consistently at a high level. So, in the interests of keeping this post from becoming a novel (yes, I know I went overboard in the Death of Superman 30th Anniversary Special issue!), I’ll just highlight the very best of the best.

The slow buildup of the early pages are very well done, as the peaceful dreamlike setting of Clark’s childhood farmhouse give way to the adult nightmare of Doomsday. The full page splash on page 4 is perhaps the defining image of Doomsday (one we saw repeated in modern times, as it was swiped last year in the aforementioned 30th Anniversary issue).

I like seeing the Superman-era Justice League (even if it’s among the wreckage), though my copy has a colouring error on Blue Beetle’s costume).

The outer space scenes, of the doomed space freighter crew have a scary, claustrophobic feel, and I can definitely remember my heart racing seeing Doomsday awake (even though we knew he was a long time ago). The design on this ship is reminiscent of the semi-canonical Superman/Aliens mini-series that’ll come out in about a year’s time.

As any loyal reader knows, I love good Lois art, so seeing Lois in her pajamas is a treat when handled by this art team. Later in the issue we get a Darkseid that rivals John Byrne himself for my favourite depiction of the lord of Apokolips.

We are also introduced to the new look Cyborg Superman (Jurgens tried hard to establish his name as simply “The Cyborg” but it never really took—even with Vic Stone not in the comics of the time, I think DC fans always thought of “Cyborg” as a good guy) which is one of my favourite looks for him. I think I may slightly prefer the look he had in mid-2000s Green Lantern comics overall, but even they took the red and black look established here. It’s a small panel, but I remember copying and re-copying the little shot of a very handsome Superman flying toward the camera on page 26. The subtle gradients in the colouring really add a lot.

Back to Apokolips, the simple silhouette of Darkseid using his omega beams is a stunner, especially with the sizzle effect at the edge of the beams.

Not sure I pictured Darkseid having red blood, as we do (dark gray maybe? Black?) but the image of someone as imposing as Darkseid yelping in pain is definitely one that will linger. For pure cartooniness, I love the panel of Desaad’s shock at seeing Darkseid KO’d. After seeing the Lord of the Rings films, I always pictured Brad Dourif as Desaad, but at this time (and certainly seeing this panel) I think Marty Short would have made a great one.

I appreciate the Justice League being involved, even tangentially, given their involvement in the first Doomsday battle. Though Maxima’s costume is technically more demure than when Superman was in the league (in mourning for Superman she updated her look in Justice League America #71) as she’s covered chin to toes, she somehow seems more naked than ever in these pages.

There are a couple reused panels in this comic, which stand out—page 40 reuses the famed Doomsday portrait mentioned earlier and that same page inserts a shot of the Cyborg’s eyes that is clipped from page 43. Not the end of the world, but noticeable to me. As Superman emerges from the Boom Tube, I like the blue-tinged lighting on his costume, some good colouring there.

Lastly, the body language as Superman passes by the closed Boom Tube that transported Doomsday elsewhere is well observed.

SPEEDING BULLETS:

This mini-series also highlighted an unfortunate trend of the early-to-mid 90s—that anything really big rarely happened in the regular titles, but was relegated to special—and enormously more expensive—special issues or mini-series. Despite this story being seismic in importance, it was mostly ignored by the events in the tightly-linked Superman titles at the time. Which to me felt like a missed sales opportunity, certainly the rematch between Superman and Doomsday would have bolstered sales line-wide, had they done it in the regular books. But having a new-reader friendly self-contained story, by a single writing and art team AND a high price point won out in the end. This was also true in the Batman titles, where pivotal characters like Azrael and Bane were introduced in prestige format one shots or mini-series rather than the monthly titles.

Maybe another reason this story was confined to a mini-series—it’s quite gory in some places, perhaps too much so for a code book?

Back in the 90s, they’d always play it coy about whether Superman and Lois have a sexual relationship, but as in the past, they do give hints to support one reading or the other. On the one hand, they keep separate apartments, but on the other, they do have potentially meaningful captions like “hours later” that may contain multitudes.

I gotta say, I was sorta surprised and impressed that DeSaad didn’t immediately make a power play in order to rule Apokolips himself. Though, he likely knew that no matter what he’d need someone as powerful as Darkseid (or Orion, or Mr. Miracle) to combat Doomsday.

I do get a kick that even under duress, DeSaad still officiously signs off with a “DeSaad out!”, Seacrest style.

It’s grim, but the expression on the face of the dead inspector is unintentionally hilarious to me. Almost like it begs for one more word bubble. [Max: Don's gonna hit us with a "Totally Rad!" isn't he?]