When Superman burst onto the pages in June 1938, the cover of Action Comics #1 depicted men fleeing in terror of the sheer sight of Superman. Action Comics #41 Volume 2, returns to that in a way. Its fitting. Our world doesnt want Superman. We dont want someone reminding us that we are all making the wrong decisions. We crown the wrong people heroes. Supermans power grew with America and the two became synonymous. I hate that too. But the story to come will absolutely put Superman at odds with the police. This isnt John Byrnes deputized Superman of 1986. Hes a man on the run. His identity is exposed. His powers are diminished. And, hes still doing the right thing. Hes charging into danger without a thought of himself, but while thinking about everyone else.

But in Astro City, the standard superhero story is always a way to show something else. In this case, it shows how tired some of the tropes are in the long-underwear funny pages.

Dan Abnett, an Oxford educated Britton, whose titles include Legion Lost and Knights Pendragon, is a skilled writer and, hopefully, has an inkling about the history of this year. Since the Hundred Years War (starts in 1337), is foreshadowed, I suppose he does. Abnett's 2000 A.D. collaborator, I. N. J. Culbard's art is flat but striking. The very conscience two dimensional panels gives the book a very Bayeux Tapestry (look it up) feel, which is cool if you're a history geek as well as a comics geek. It's a bland first issue, but stick with this series, but not so long as it takes to start quibbling about God and food.

It's a fun read, and it can only get better if that tone can be maintained. But, that message can also get exhausting. Time will tell.

Brian Wood (Star Wars, X-Men) deftly tells the story and dances on the line between historical fiction and historical fantasy pretty well.Andrea(Evil Empire, Noir) Muttis pencils are deftly executed. The one gripe is in the lettering, which isnt credited. The narration uses a serif type face think Times New Roman. Its a bit anachronistic. It would add to the feel if the narration looked like handwriting. Overall, this is a book worth checking out if for nothing but the spectacle of it all and a peek at a part of the war that is often overlooked.

Ben Caldwell's pencils inSuperboy are just awful, with facial expressions don't match the words in the panel and body proportions that are way beyond belief; and sometimes whole panels look like melting clay.

Are these supposed to be jumping-on points? If so: Fail.

Doug Mahnkes (Green Lantern, Superman/Wonder Woman) pencils are spot on. But, this is book is definitely an example of how the art highlights the writing and not vice versa. Everything about this book bows down to Morrison, that prick, and his ideas.

The Wicked + The Divine is what graphic storytelling should be at all times.