Though Action Comics #1093 continues the trend of showing Clark Kent’s early years as Superboy, this time, things hit far too close to home. One day, Clark discovers that a foreclosure notice has been served to his parents – and they aren’t the only ones, as Smallville’s citizens are being forced to leave their homes due to the whims of a predatory banker. Faced with a problem he can’t punch, Clark races against the clock to save his family’s farm.
It’s tricky to make a Superman story without a big villain or a world-ending threat as the focus, but if there’s any writer who could pull it off, it’s definitely Mark Waid. Waid perfectly captures the frustration, anger, and desperation that Clark and the rest of Smallville are feeling, not to mention the different ways people react. One scene even features Clark digging into an abandoned gold mine to find the funds to save the Kent farm, only for his parents to firmly turn him down. It’s a well-done character moment that shows where Clark gets his sense of right and wrong from.
Ironically, the best scene in Action Comics #1093 doesn’t even feature any superpowers. One of Smallville’s citizens, deciding to take matters into his own hands, brings a shotgun into the bank before eventually being talked down by Pete Ross. Again, this shows Waid’s gift for character, but it also shows how Smallville shapes Clark into the hero the world knows and loves. The people there may not be able to fly or bend steel with their bare hands, but they will help a person who needs it, and that’s the best superpower of all.
DC
Action Comics #1093 also sees the return of Skylar Patridge to interiors. While the previous issue wasn’t hurting art-wise, there’s just something about Patridge’s art that’s made this story arc pop. It’s especially apparent in this issue, which features nearly everyone in Smallville. There are folks of all shapes and sizes, and putting the focus on them, as well as on the Kents, hammers home the gravity of potentially losing one’s home. My favorite sequence is a page that cuts between Jonathan and Martha discussing their future, while Clark hammers into the ground. Patridge makes sure to juxtapose the worry on the Kents’ faces with the anger and determination on Clark’s, which makes this moment hit that much harder.
Speaking of little details, Patridge and FCO Placensia add some moments that make certain scenes pop. Whether it’s the little hearts floating over Lana Lang’s head as she stares up into the sky, hoping to catch a glimpse of Superboy, or Clark turning into a red and blue blur when he hits the ground, each panel has impact. That’s especially important for the last few pages, which tease another major shift and feel far more ominous than the preceding story.
Action Comics #1093 might be on a smaller scale, but it still cuts to the core of what makes Superman who he is. Any time someone says you can’t make a good superhero story without any fights or that tackling certain issues is too “political”, this issue will serve as a strong counter argument.
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