1 out of 5
It’s hard to say what Alan Moore might’ve been up to with his Glory issues. I mean, yes, they are clearly a precursor to Promethea – Rob Liefeld’s half-goddess / half-human is Alan Moore-d into a curious creature of myth, embodying (literally) the Earth-bound waitress Gloria West, learning more about these wacky mortal creatures while something sinister rumbles in the ether – but the three issues that made it to print prior to Moore departing for ABC are, perhaps, some of the worst things he’s written. They’re horribly edited, first off, with a slew of typos – especially in the third issue – and there’s this weird, over-arching ignorance to the treatment of West, a schizophrenic. Sections in each of the non-preview issues which are taken from ‘classic’ Glory comics from the in-universe 40s / 50s, done as Wonder Woman pastiches (and one of the sections drawn by Melinda Gebbie), again hint at the revisionist comics worlds of ABC, but these sections really miss the mark, especially in issue 2, in which artist Marat Mychaels clearly isn’t cued to the type of cheesecake Moore was maybe going for, opting for lurid, Avatar-y depictions which one can’t help but assume weren’t part of Alan’s generally exacting playbook.
But the ‘exacting’ may have been what was missing, here. The writing feels half committed; either Moore was one foot out the door, or he just wasn’t sure how to couch the writing for Liefeld fans. He’d been able to settle into a somewhat satisfying ‘voice’ during his Image years that worked with the high-bluster style, but you can sense him itching for something more, here, then ripped back to scantily-clad reality by the art and publisher. Maybe. Deeper analyses likely abound elsewhere, but since the book ends right when Moore was getting into the gist – Glory is stranded in her human body (or inbetween worlds, perhaps) – who knows where this would have gone. What we’re left with is a mismatch of art and writing, and writing itself that feels unclear as to a tone.