(if you read all the issues)
(if you haven’t)Writer: James Robinson
Artists: Peter Snejbjerg & Paul Smith, Gregory Wright (colors)
Publisher: DC Comics
One of the greatest movie moments I’ve ever experienced happened while I was watching Krzysztof Kieslowski’s Trois Couleurs: Blue and Trois Couleurs: White. White was made second, but I saw it first. It's the story of a Polish man divorced and ruined by his French wife. He then plans an elaborate revenge that includes faking his death and framing his wife for the murder. The film opens with the Pole pleading his case in court. During his
speech, a woman in the background pokes her head through the courtroom’s doors.
Blue is the story of a young woman whose husband, a popular composer, had just died. She learned he had a mistress who studied law. She goes to the courthouse to find her. While she’s walking around, the Polish man from White stumbles through the halls. When the woman finds out where the mistress is, she pokes her head through a courtroom’s doors to look at her. And it’s the trial scene from the start of White! When I saw this scene, I realized Kieslowski must have conceived of both pictures at the same time! I was blown away by how these two seemingly unrelated movies could connect in such a simple but natural way. He might have even filmed them simultaneously. The third film in the Trois Coulers trilogy, Red, concludes with the lead characters and actors from all three films being rescued from a sinking ship. Red is the story of the friendship between a young model and a bitter, old judge. I’d have to see the films again, but perhaps the judge heard the divorce case in White.
Any one of the Trois Coulers films can be enjoyed on its own. But it’s not until you watch all three of them that you realize they’re part of a larger story. Unlike Tolkien’s Lord of the Rings novels, which were part of a singular narrative, Trois Coulers is three stories that come together to form a larger “meta-story.” I had never experienced a story so complex.
Until “Grand Guignol.”
“Grand Guignol” was told in issues #61-73 of the Starman series. It is the longest of the Starman story arcs, and it has to be. Everything leads into this. Every story told so far ends here. Every character we’ve seen, anyone who was even tangentially involved with Starman has a role in this story. It’s that big. It’s that important. And while you could go back and enjoy any other Starman trade on its own, you’d only know it as “a” story. Read them all before “Grand Guignol,” and you’ll get THE story.
And when I say everything and everyone, I mean EVERYTHING and EVERYONE. In addition to the regular cast of Jack and Ted Knight, Mikaal, the O’Dares, Bobo Bennetti, The Black Pirate and The Shade, the story also presents the Elongated Man and Sue Dibney, Black Condor, Adam Strange and the new Phantom Lady. Consulting detective Hamilton Drew also provides invaluable assistance. And Will
Payton, revealed to be Prince Gavyn, leads a cavalry at the end. Returning villains include Solomon Grundy, the Ragdoll, Dr. Phosphorus, Mr. Pip, and both Mists. Crusher and Frankie Soul from "Night and Day" return. Even the Prairie Witch, who only appeared in two Starman comics, has a role in this drama. But the true villain of the piece is Culp, The Shade’s immortal archrival. We finally learn who he is and how he’s been plotting to utterly destroy the Shade for the last 60 years.
Every story ever told in Starman, or about a Starman character, contributed something to this story. The “Times Past” stories about Payton chasing the Bodines, and Ted Knight’s adventure with The Demon; Jon Valor’s curse on Opal City; even John Mayville of the 1880’s and Thom Kallor of the 30th Century are connected to these events. And that’s why it’s so important you read every issue of Starman before reading this book. In fact, you need to read more than just the Starman trades; you need to read the “Times Past” issues not included in the trade books, The Shade mini-series, Showcase ‘95 #12 and Showcase ’96 #4-5. They are all pieces of the larger Starman mosaic. To create a story so complex, so detailed, and yet fit together so elegantly is a testament to James Robinson’s ability as a writer.
And while the story is impressive, the art cannot be ignored. Snejbjerg draws as though he hasn’t seen a comic book since the end of the Golden Age. And that’s a good thing. His work has the simplicity, starkness, directness, and impact of the greatest cartoonists. I would compare him to Dave Mazzuchelli and Art Spiegelman. You can see the influence of Jerry Siegel, Alex Toth,
and other Golden Age artists. My favorite scene is when Ralph Dibney meets Hamilton Drew, his life-long idol. He is awed and honored; it’s the greatest moment of his life. And just by looking at Ralph’s face, you can feel what he feels. To truly feel what the character feels, not just know what they’re feeling but have it yourself, as they’re feeling it, that is the mark of a great story!
Speaking of the Dibneys, I want to point out how well Ralph and Sue Dibney worked as a team. When Ralph goes into battle, Sue doesn’t cry or worry, like other superhero girlfriends/wives. She thinks, “God I love that man.” When the old Mist reveals himself, Ralph calls Sue and asks her to get Ted Knight. She does so in minutes. Teamwork. No questions, no hesitation, just get
the job done. Man, I miss her.
As I said, many characters die in this story, heroes and villains alike. The funeral at the end is heartbreaking and honest. Snejbjerg draws each person as befitting their personality. The Golden Age Flash is casual. He looks like an old man until he tips his helmet at the end. Then he looks like the young hero of long ago. The Golden Age Green Lantern is stiff and dignified. He doesn’t crack until tears fall from behind his mask. Wildcat looks like a paunchy fighter, talking with his fists. Mikaal shows his pride in how a fellow warrior gave his live defending his home. The Shade shows sadness and warmth, further emphasizing how, “Ted Knight taught me how to me a man again.” But nothing can top Jack’s word for his father: “My father is gone for good. And I miss him. That’s all.”
Then he comes back and says, “Oh, and he’d want me to thank you all for coming. He was polite the way”, he says with a smirk. I love that smirk.
Read this book. It’s too good to ignore.
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