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“Supreme: Blue Rose” #2 is Perhaps the Most Subjective Experience in Comics, And That’s a Great Thing [Review]

By | August 21st, 2014
Posted in Reviews | % Comments

In “Supreme Blue Rose” #2, Warren Ellis and Tula Lotay continue to turn every concept you might have of the Superman pastiche on its head, starting with placing the focus on the story’s “Lois Lane.” Is someone at DC taking notes?

Written by Warren Ellis
Illustrated by Tula Lotay

Diana Dane is being transported by Darius Dax in the hunt for the mysterious Ethan Crane. It’s a car ride that takes her a lot further than she expects: out into the nature of the universe itself.

Two issues in, “Supreme: Blue Rose” is still very much a “what in the world did I just read?” kind of book. It’s existential, abstract, and full of half legible comic book science that sounds just real enough to make you believe that time really is like thread running through a giant cosmic loom. The danger with this type of story is that any kind of human character element will be buried by the mountain of high concepts. Thankfully, this is something that “Blue Rose” avoids, with not one but two strong, compelling female leads.

Structurally, the issue follows a course similar to the first issue. It opens on a beach, with a man that is quite possibly an elderly Jeff Bridges from an alternate reality were Jeff Bridges is actually an author by the name of Storybook Smith. This beach is very reminiscent of Diana Dane’s dream beach from the first issue, only with a smaller wooden beach house replacing the much larger, columned building. Another connection comes in the form of the mysterious red headed woman, who Smith recalls meeting earlier in life. Smith describes the encounter in great detail, drawing the reader into a magical and timeless moment, one defined by raw human chemistry and cosmic philosophy. The segment seems to be rich in symbolism; the burning house, the rotating stairway to nowhere, and the bookending of Smith’s life. Of course, as with most of “Blue Rose” thus far, it’s nearly impossible to make a guess at what it all means.

Even more perplexing are the book’s “Professor Night” segments, the long running serial that Diana watches on her phone. This type of meta story telling instantly calls to mind ‘Tales of the Black Freighter’ from “Watchmen”; however, at this point “Professor Night” bears no obvious connection to the world in which it exists. Told across six panels with five ominous captions, it’s hard to even call it a story, as there is no clear progression. While there’s most assuredly a connection or a hidden meaning, this part of the book remains the most obtuse and inaccessible.

Interestingly, the second and third panels instantly call to mind themes from Grant Morrison’s “Batman.” The “bullethole in the world” is much like “the hole in things,” a hole that, in a roundabout way, was also caused by a bullet. While the following scene bears no direct connection, my mind instantly went from “the hole in things” to the iconic death of the Waynes in Crime Alley. The fact that “Professor Night” is a suitably fitting moniker for Bruce Wayne and that are both creations of 1939 makes me wonder if Ellis is mixing a little “Batman” in with Supreme’s “Superman.”

When we finally catch up with Diane, she’s on her way to officially begin employment under Darius Dax. Assisting here is Linda, her chauffeur. Of course, to call her only a chauffeur is a gross understatement, as Linda (a.k.a. Twighlight Girl Marvel, a.k.a. Dr. Funkenstein) has an alarmingly detailed understanding of the inner workings of NPC. It’s not long before Linda delves into the subject of “versioning,” a bizarre form of speculative revisionist history that plays out scenarios and extrapolates them to surprising ends. It’s yet another of the book’s wonderfully kooky and captivating high concepts.

Intersecting with Diana’s story is a new character to the series, Chelsea. A scientist with a grand vision of the time, space, and the universal machine, Chelsea makes for a fascinatingly broken character. She grandly posits on the applications of her work, which seemingly amounts to a form of science driven divination. Comically and yet somewhat depressingly, Chelsea’s thoughts betray her true motives, as she recalls past relationships that have soured. Wouldn’t life be better if we could just talk with our past selves? Warn us of the banalities of our currently interests or courses of actions? Wouldn’t that make the present so much less empty? These are extremely heavy questions with immense consequences, consequences that Ellis may already be preparing to explore.

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I realize that, as I near the end of my thoughts on the issue’s plot, that this piece is almost more annotation than review. Honestly, it’s quite difficult to professionally critique this issue, with so much of its intent, purpose, and vision veiled from the reader. Some will most definitely see this as a fault; a story that is so obscured loses its value as a story. Other’s may view the book’s intellectual focus and metaphysical mystique as an enthralling hook, finding great value in pouring over the issue’s clues and hidden meanings.

The book itself is inherently subjective, formed to play off of your experiences, your interpretations, and you immediate emotional responses. However, one thing is objectively undeniable: Tula Lotay is a fantastic artist.

One could gush for hours on what a spectacular job Lotay does in these few pages. There are two styles at play here. The first layer is the softly penciled world that conveys the characters, their world and their stories. Sometimes Lotay’s pencil lines are thin and smooth. When colored, these pages are somewhat reminiscent of Doc Shaner and Jordie Bellaire’s recent work on “Flash Gordon.” Other times, as in the diner scene later in the issue, Lotay’s lines are thicker, looser, almost as if vibrating. Underlaying this first, more practical layer is the issue’s spark. It’s a second layer of color, swaths and lines and flares and wisps of smoke that trail over the page, adding to the book’s already ethereal feel. It’s an odd design choice compared to the majority of mainstream comics, but it gives the book an undeniably unique look.

“Supreme Blue Rose” continues to be an absolutely anomaly. Ellis and Lotay have come along to revive a seemingly lost franchise, so soon after the last maligned attempt, literally out of the blue. The result is such a massive departure, even for a series known for massive departures. Whether the long and winding trail will eventually pay off remains to be seen. However, “Blue Rose” certainly stands as an immensely compelling and gorgeously drafted comic book.

Final Verdict: 8.7 – Mind-bogglingly brilliant.


Zach Wilkerson

Zach Wilkerson, part of the DC3 trinity, still writes about comics sometimes. He would probably rather be reading manga or thinking about Kingdom Hearts. For more on those things, follow him on Twitter @TheWilkofZ

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