Review: Lois Lane #5

Lois Lane #5 came out this week and was an interesting issue. The major plots of the book were nudged forward just a bit. A subplot that has been nearly forgotten was mentioned again so we know that it is still out there. And there is great Question action.

But for a grizzled comic reader like me, the big joy of this issue was that I learned something. The young Anj used to be able to wow his parents with vocabulary and cultural references that he learned in comics. In fact, that was a big reason why my parents fostered the hobby ... I was reading and learning. In this issue, I learned a lot about journalism. That's a good thing.

Writer Greg Rucka does a good job of showing just how rigorous true journalism needs to be. He explains different levels of information that can be shared in reporting. And he shows how tenacious Lois is in following a story. He also shows how difficult it is to battle public perceptions of fake news.

Meanwhile artist Mike Perkins shows, once again, that he needs to be on a street level book. Please DC, give the man a Question solo title to draw. His work in unbelievable. But outside that, there is a page here, which I will share which shows the power of the genre, when words and images mesh.

I have really loved this book. So far, so good.

We start out with Lois on a flight to Washington D.C.

The person sitting next to her recognizes Lois and so starts up a conversation.

In it, the woman talks about how reporters can write anything and try to persuade or influence the public. We get a very impassioned rebuttal from Lois who reminds the woman that everything must be checked and double checked before she can print it. She needs to do her homework before she can release a story. You can tell it irks Lois when her integrity ... or the integrity of the press ... is questioned.

Still the woman wonders what is stopping reporters from lying. This is our era. The era of 'fake news'.

It is here we get Mariska Voronova, the murdered Russian reporter from the first issue, name dropped. It is a reminder that her story still has to be told.

In D.C., Lois touches base with Renee who is following her own story. She won't tell Lois what she is up to. This way Lois has deniability.

I love how Lois laughs it off as turnabout to the usual Perry/Lois conversation. It's true.

It is a small moment but I thought it was a great one.

Renee has been tracking Mr. Blakely throughout Metropolis.

Blakely is bringing a gym bag into a seedy bar, there to hire some thug to do something nefarious.

Of course, Renee is underwhelmed with the level of infidel here.

I loved this splash page, Renee mocking these crooks by with a 'serving number 17' line. She is taking them out like it's a deli line.

Just great. The art here is powerful. She is confident in her body language. But I love the small lines on her blank face. It is just enough for me to know she is smirking under that mask.

And then we get down too it and Perkins shows us wonderfully just how great Renee is at her job.

These are face smashing, bone crunching, devastating hits. And it all looks so so pretty.

Just gorgeous.

Meanwhile Lois is meeting with someone who has information about the detention centers and the kickbacks surrounding them. Kids are dying in these centers. Something has to happen.

But this woman needs to protect herself.

This opens up the book into a sort of primer on sources and levels of information.

What is 'off the record'?

What is 'background'?

What is 'deep background'?

How much can this woman be implicated?

Heck, I learned something.

And here is my favorite page, a great example of comics as a medium.

This woman has information. But she wonders if it is worth the fight. Throughout their conversation, the two are circling a statue of two young soldiers. Lois talks about how to her the statue shows the difficult decisions that need to be made in the moment.

That spurs the woman to reveal a memo exists which delineates the center issues. And Lois, looking as determined as I've seen her asks for more.

But it is that last panel that is magic.

We see the two silhouettes. It echoes to two soldiers. These are two people deciding to do what was right in that moment. And by removing background and distractions, we are focusing on them and the enormity of this second.

Love it.

With that Lois lets Perry know that she is on the case.

Even Superman couldn't keep her away.

Ah, the subtle glasses adjustment from Clark. It is so old school it feels fresh.

As for the Question, she knows Blakely's bag had $500K in it. He is paying for a hit. And that much money means the target is someone big.

It has to be Lois. She is about to blow the roof off government corruption. And she is guarded by Superman. She'd be pricey.

Again, love the subtle expression Perkins gives the Question's face here. Very similar to Denys Cowan's classic take on Vic!

So a very good issue. The plots do not vault forward. But I love the slow burn. This is a middle chapter. It is time to add the spice.

Overall grade: A-

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