{"id":74965,"date":"2018-08-23T10:00:03","date_gmt":"2018-08-23T08:00:03","guid":{"rendered":"http:\/\/www.comicbox.com\/?p=74965"},"modified":"2018-08-22T10:54:52","modified_gmt":"2018-08-22T08:54:52","slug":"avant-premiere-vo-review-action-comics-1002","status":"publish","type":"post","link":"http:\/\/www.comicbox.com\/index.php\/articles\/avant-premiere-vo-review-action-comics-1002\/","title":{"rendered":"Avant-Premi\u00e8re VO: Review Action Comics #1002"},"content":{"rendered":"

En ce qui concerne le dernier fils de Krypton, Brian Michael Bendis travaille sur deux canaux. Il y a d’un c\u00f4t\u00e9 la s\u00e9rie Superman, qui traite plus facilement des menaces cosmiques, si l’on en croit les premiers \u00e9pisodes. Et puis il y le titre avec lequel tout a commenc\u00e9, Action Comics, o\u00f9 il s’agit plus particuli\u00e8rement de rester dans Metropolis, d’une certaine mani\u00e8re au niveau de la rue. Mais comment les habitants de la ville (en particulier les mafieux) peuvent-ils agir sous le nez d’un \u00eatre surpuissant capable de tout entendre, de tout percevoir ?<\/p>\n

\"ActionAction Comics #1002 [DC Comics]<\/strong>
\nSc\u00e9nario de Brian Michael Bendis
\nDessins de Patrick Gleason
\nParution aux USA le mercredi 22 ao\u00fbt 2018<\/strong><\/p>\n

S’il reste \u00e0 savoir pr\u00e9cis\u00e9ment comment la chronologie des deux s\u00e9ries s’organise (dans Superman, la Terre est dans une position bien particuli\u00e8re qui ne semble pas \u00eatre de mise dans Action Comics), Brian Michael Bendis traite ici de la vie \u00ab\u00a0\u00e0 la ville\u00a0\u00bb du h\u00e9ros, en laissant une large place \u00e0 Clark Kent et au monde du journalisme. Derni\u00e8rement, quelqu’un a d\u00e9cid\u00e9 de g\u00e9n\u00e9rer un tr\u00e8s mauvais buzz autour de Superman. D’abord, on l’a accus\u00e9 d’incendies, maintenant voici qu’on tente de lui coller d’autres meurtres sur le dos. Le pr\u00e9ambule permet au sc\u00e9nariste d’entretenir au premier degr\u00e9 toutes les intrigues qu’il a d\u00e9j\u00e0 mis en place, les nouveaux personnages secondaires du Daily Planet, le sort de Lois Lane et un Perry White utilis\u00e9 comme la voix de la raison. Il est d’ailleurs int\u00e9ressant de noter que selon les auteurs et leur opinion sur le journalisme, White passe du coq \u00e0 l’\u00e2ne. Il est parfois un r\u00e9dacteur pas tr\u00e8s regardant sur la qualit\u00e9 ou sur l’int\u00e9grit\u00e9 tant que le journal sort. Mais avec Bendis, c’est tout le contraire, White est ici le garant de la profession, le type \u00e0 qui on n’en raconte pas sans v\u00e9rifier ses sources. Il n’est pas tr\u00e8s difficile de voir que le White de Bendis lorgne sur une bonne partie de ce que l’auteur d\u00e9crivait d\u00e9j\u00e0 chez le Ben Urich de Marvel. Au-del\u00e0 des \u00e9l\u00e9ments de premier degr\u00e9, Bendis s’int\u00e9resse aussi \u00e0 un de ses th\u00e8mes de pr\u00e9dilection, la p\u00e8gre, et s’int\u00e9resse \u00e0 savoir comment une mafia organis\u00e9e pourrait exister et agir dans une ville o\u00f9 un surhomme peut tout entendre et tout voir. Entre des mots-clefs interdits qui pourraient d\u00e9clencher la super-ou\u00efe, des petits mots \u00e9crits pour les choses les plus dangereuses et enfin des diversions, Bendis fait de la population de Metropolis un personnage \u00e0 part enti\u00e8re. On n’y vit certainement pas comme \u00e0 Gotham. L’auteur pose m\u00eame les bases d’une autre question, pratiquement l’angle contraire : comment \u00eatre un super-h\u00e9ros \u00e0 Metropolis et dans Suicide Slum quand on vit dans l’ombre de Superman ? Pour commencer \u00e0 \u00e9voquer la question, il utilise du coup un protagoniste rattach\u00e9 au monde de Superman depuis une quarantaine d’ann\u00e9es.<\/p>\n

\n

\u00ab\u00a0– Look! – Up in the sky! – Oh look! Tourists!\u00a0\u00bb<\/strong><\/h3>\n<\/blockquote>\n

Cela fait longtemps que Patrick Gleason n’est plus un d\u00e9butant en ce qui concerne la repr\u00e9sentation de Superman et de son monde. Le dessinateur, efficace comme \u00e0 son habitude, s’est visiblement donn\u00e9 pour t\u00e2che de relier la ville \u00e0 l’univers DC, de ne pas la repr\u00e9senter comme un ilot coup\u00e9 du reste (une tentation commune chez l’\u00e9diteur, tant on a parfois l’impression que l’existence d’un Superman, qui peut tout faire, invalide la pertinence d’autres h\u00e9ros). Non seulement Gleason repr\u00e9sente le guest-star que Bendis a pris la peine d’ins\u00e9rer dans l’histoire mais il dessine aussi quelques petits \u00ab\u00a0easter eggs\u00a0\u00bb, comme une r\u00e9f\u00e9rence \u00e0 Mister Miracle, par exemple. Globalement, m\u00eame si Bendis va un peu loin dans sa logique au point de devenir contradictoire par moment (l’id\u00e9e de localiser Superman a du bon, tant qu’on oublie qu’\u00e0 super-vitesse il peut \u00eatre au Mexique et la minute suivante revenu \u00e0 Metropolis), cette construction du rapport entre Superman et ses concitoyens est efficace. Elle apporte un plus, un degr\u00e9 de cr\u00e9dibilit\u00e9 et de texture pour une Metropolis bien souvent repr\u00e9sent\u00e9e de mani\u00e8re trop propre, trop froide. On est curieux de voir ce qu’une telle logique donnera sur le moyen ou long terme.<\/p>\n\n[Xavier Fournier]\n","protected":false},"excerpt":{"rendered":"

En ce qui concerne le dernier fils de Krypton, Brian Michael Bendis travaille sur deux canaux. 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