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>>>>Also: Action Suit. Best term for glorified superjamas ever.
Don't know... When it's practically a second skin, I have to call in my book "euphemism for nudity". Or just a codename for latex S&M suit (as in, "Sweetie, which action suit I go with tonight?")
I just read it. Bittersweet has never been this sweet. This issue felt like the one with most covered distances (maybe it's just the natural feeling after a whole issue practically being entirely in jail, almost a One Scene).
- Loved that his friends know about Clark. It was a well-played no-no for "no one must know my secrets!" drama. Pete winking-and-sitting beside Clark with shirts-matching-drink as a old man frown on them was a huge visual laugh for me. Someone said earlier it wasn't very clear the man was aging fast, but I thought that was intentionally made for subtlety, the aging aged man concealed by the "ludic-heavenly young good ol' days" sort of soft-focus lighting (well played with the aging themes and nice visual rhyme with Lana's universe-saving flash -- a photograph of younger days that detected fast Chronos). Pretty perfect scene.
- Was Morrison the first in making teen AllStar-wearing Clark say "I have to hit the crapper" as an excuse to go into action? (made a visually comical finale to the entire scene -- even more if you don't read, just go for a "silenced pictures" feel)
- The oddity of the open-and-welcoming Pa Kent bringing three unnecessary men to his farm and home (of course, later "clarified" -- but even so. Just imagine what goes on in Ma Kent's mind...). It's just the perfect example of the distances Morrison achieves with so little, when you imagine that most people would assume that the bodybuilder with Kansas serial killer haircut (accompanied by other two "Carnivàle" extras) in the middle of the night was a Hades-psycho with delusions of grim reaper making his harvest. It's in just one panel-and-title so seedy downground with the mock-danger-alert and so high-grounds with fantasy.
Maybe it was one of the major intentional points of the issue, but I just wish we'd heard more from Pa Kent's arrangement. And when he found out who they really were, or if he knew all along, or if they revealed themselves from the beginning. "Calvin" seems stunned when Pa Kent calls him "Cal" (perhaps thinking he might have meant "Kal"; maybe Pa Kent actually did it intentionally, knowing his son's true name and seeing the resemblance between "Calvin" and Clark). And, of course, also wished Clark's expression wasn't covered by the bandages so we'd seen if there was any sign of "so you knew all along, huh?" after Pa Kent's question about his son's future (maybe he recognized his son's voice, and it was a veiled question meaning "Are things good?" -- showing concern without "embarrassing" Clark, or not going directly for some other reason). Just wanted to know what was behind Pa Kent's every words in the kitchen scene and in the field.
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I'm not so sure about not having any link to Clark's going-in/going-out on #5's vaginal last page (which I'm still a bit confused to what it means, since only recently I noticed that the borders of the page wasn't necessarily Lex's legs in a "suck it"/"pussy"/top-dog/moby-dick prison joke, since their boat is turned the other way, it appears). A*Super here is a mummy. Going back to the Fertility-Life motif (which many say it's the origin of all our myths, folklores and stories), that in #3 was right in our noses with Lois' own "belt buckle" (the eggs) and the day she is born.
Even the SolarGolden/SuperBuddah/GoldenTao/SolarHarmony/God at the end... He's the (individual's, generation's, humanity's, cosmo's) end of the journey, the morning sun-son, what spawns after all "the work put in". And like the end of the dead-mummy's journey, it ends as the rising sun. Like Clark said it, "it comes out all right in the end"/ "there's always a way". I don't see this as the first Ra reference in the series, Golden Superman's triply ambiguous "Ha" was a poke at the RisingSunGod after the undergroundJourneyCocoon now that, "at last", Superman takes off the bandages (and probably doesn't have to make too much effort to recognize his own face, so his question probably isn't quite in a honest "I asked because I really have no clue whatsoever" tone).
- The Eternal Flower was way too f*%$#@ good. At first, I thought, "does indestructible flowers bloom?" (somehow at the time I linked to Samson's line about "eternity is the limit" -- thinking that the line was a jab at Samson concerning the deadness of foreverness, as in "things don't grow and live in stagnated state of immortality/ eternity etc). But after seeing it symbolically growing from Pa Kent's grave, it was all good.
That was too good. I'll stop talking now.
I need a smoke.
And more from Lois.
(PS: please, just this one more. About futureSelves. SuperSolar Supercontext giving the flower to Superman was a too perfect contrast-parallel to MummySuper shaking hands with Young Clark with chill down his spine).
(PS2: in that #8's cover... is that Bizarro or is that George Reeves?) |
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