Well, I just read this and am not sure what I think of it. Is it brilliant or just crazy? I’ll need to read it again. A story of aging superheroes stuck on a farm, a meditation on loss, and aging, a slow burn, suddenly speeds up, takes a sharp left turn and goes crazy with revelations. The 2017 Eisner award winner for Best Continuing series features Jeff Lemire at the top of his game, with many recent successful accomplishments and his place—at such a young age—in the history of comics secured (Essex County chief among his works, I think). He is joined by probably the most celebrated-of-all-time colorist (Dave Stewart) and letterer (Todd Klein) and a pretty fine illustrator at the top of his game, Dean Ormston (The Sandman: The Kindly Ones, Lucifer), and the appearance of it is terrific. Do we trust them in this sudden wild new direction?
One way I think about this is that Lemire likes superhero comics, he likes horror/pulp comics, he likes sci fi comics,, he likes most of all character-driven stories with some depth and ache in them, and so in this volume of the series he mashes all of his interests together. I’ll try to explain without giving everything away.
So Lucy Weber, the new Black Hammer, is about to reveal what she knows about the Farm when she is spirited away from rural Ontario with a gang of silver-age sci fi superhero types, to a kind of crazy para-zone, a kind of nightmare, to Hell. Here we meet all sorts of pulpy horror characters from the non-sci fi/superhero side of comics. In doing so, this volume expands the meta- and historical dimensions of comics they are exploring to other areas, so many I can’t even recognize them. I see something like The House of Mystery, the Dreaming, and sure enough, there’s Lemire’s own Sweet Tooth. It’s like we are Dorothy falling down to Oz, passing images of comics history in the dream along the way. It’s like Alan Moore or Neil Gaiman making obscure references to comics in every panel. Ormston not only gets to reference the history of comics in his work here, but also things from the history of art, from among other things, surrealism.
When Lucy (I mean The Black Hammer, ahem!) returns to the Farm, we learn the surprising truth about it, the truth about where Spiral City's heroes ended up after the battle with the Anti-God. I really don’t like plot devices like memory erasing or dream sequences that reveal we never knew what was truly going on, but one of these happens as part of the reveal.
Anyway, he new Black Hammer ascends to her rightful place as successor to her father, and this at least looks promising. I am at this moment going to lean in the direction of liking this a lot and hoping to like it even more when someone smarter than me tells me more what it is about. Or maybe the team will make it clearer in the next issues. I bet they will try.