Issue #3 is not a comic I would qualify as “sucking”. Of the four issues it’s probably the better one. That doesn’t mean it if free of faults, but most of them come from the mini-series as a whole, not this particular issue, so I have to give them credit for that. Also, if Liefeld did this cover, he didn’t put his name on it like the others. It’s rather plain, just being a shot of the Galactica orbiting Earth with a Base Ship nearby and the new model Vipers flying around. It’s still bland for a comic book cover, but most of them are nowadays and the 90′s are partly to blame.
Battlestar Galactica #3
Maximum Press (September 1995)STORY: Rob Liefeld & Robert Napton SCRIPT: Robert Napton PENCILER: Hector Gomez INKERS: Hector Gomez & Rene Micheletti COLORIST: Angel McLaughlin COLOR SEPARATIONS: Extreme Colors LETTERER: Kurt Hathaway EDITOR: Matt Hawkins UPDATED CHARACTER & SHIP DESIGNS: Rob Liefeld & Karl Alstaetter (who is not credited with layouts this issue, but I assure you his spirit is very much there)
Admittedly, the comic starts on a nice scene between Apollo and Adama (after Adama gets to see his grandchildren). Apollo isn’t happy that his father’s last command was put him to sleep and wake him when they reach Earth. He’s still dying from Kaitai Syndrome, the plot device used to ensure Adama gets to be in this story despite taking place years after the original series (and ignores Galactica 1980). Now part of Apollo wants to put him back because he’s still dying but Adama is ready to pass on if in fact he’s reached his destiny.
Back on the Hades…wait, does that Cylon have a popping vein in his arm?
Well, considering how ripped the Cylons are in this comic (especially for robots), I’m not surprised. Anyway, Iblis restates something I forgot to mention last issue, some vague rambling about needing people to serve him willingly because of the ways of his people (not that he was ever a huge follower of his people’s ways before becoming more powerful) and then disappears to go after the one who can eliminate the threat of Apollo (remember for next week that he’s supposed to be important to the Seraphs according to the show).
Meanwhile, we have a scene with Apollo and Starbuck talking on the shuttle that is bringing Adama to Earth that reminds me of the heart-to-heart talks the duo used to have on other shuttle trips. This is where I have to again wonder why Liefeld (and whomever else) decided to set this story so far in the future. No other comic that has had the license after them (Realm Press and most recently Dynamite when they also had the re-imagining’s license) bothered with that, and there wasn’t a need to age the comic artificially, unless Liefeld just really wanted to update the Vipers and give Starbuck longer hair.
On Earth, Adama’s amulet acts as a key that opens the pyramid and inside they find an image of their ancestral home planet.
Meanwhile, Iblis appears in Sheba’s room and whisks her off (without her permission) back to where they met in “War of the Gods” to show her what he claims is her father’s dead body. Iblis claims that he preserved the body to show her all these years later to “prove myself to you”. (Insert dated blue dress joke here.)
Back in the pyramid, our heroes finally reach another door that also opens with the amulet. Within the chamber are two sarcophagi with glyphs on them. Adama translates them as mentioning the “House of Adam” but Cain corrects him thinking that a better translation is “Adam’s Ark”, a nod to the title and concept that Battlestar Galactica came from. (Larson’s original pitch was that people flee a dying Earth and the ship was commanded by a guy named Adam, hence the name, Adam’s Ark.)
Adama wants to open the sarcophagi, but Apollo worries that they’re moving fast, which could lead to a number of jokes about the pacing in this comic. Again the skeleton
key amulet works, and a flash of light later leads to two naked people (sorry, folks, you don’t get to see the “goods”) which Adama identifies as Adam and his consort, Eve. You know, like the Bible figures, the first two people who we’re now told aren’t the creation of the Lord but space aliens. Yes, yes, I know that one interpretation of this show is that the entirety of the human race on Earth are descended from the 13th Tribe, and thus are all space aliens, but it could also be interpreted that they found a planet with its own humans and just mingled in. Liefeld and Napton went the route that invalidates the Bible.
Did I mention that creator Glen A. Larson is a Mormon? I wonder what he’d think? By the way, the reveal of Adam and Eve is done in yet another three panel, two-page spread, but at least this time something resembling exciting was happening. It was still unnecessary space padding and a waste of storytelling space.
Really, the problems with this comic are the sins of its kin. Off pacing has been a minor issue except that it takes huge panels to tell what their comic forefathers could do with better use of the page. Sometimes the nine-panel grid is your friend, used properly. Needing to set the story so far in the future is also a waste as it serves no purpose. The bit with Iblis and the Seraphs could have been their own story, but stuffed in here, the potential is lost. This becomes apparent next issue as well, as we conclude both this mini-series and Liefeld’s Galactica Week.