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The Kryptonian Cybernet Issue 27
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T H E K R Y P T O N I A N C Y B E R N E T
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http://www.ms.uky.edu/~sykes/kc
Issue #27 - July 1996
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In Loving Memory of Curt Swan
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CONTENTS
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Section 1: Superscripts: Notes from the Editor
Curt Swan, Super-Heroines
News and Notes
Tooning In
Info about the upcoming Superman series, by Jeff Sykes
Into the Darkness
Info about and checklist for The Final Night, by Jeff Sykes
Section 2: Good-Bye Superman -- A Tribute to Curt Swan
Swan's Grace, by Brian Saner-Lamken
Farewell from the Fans
Section 3: And Who Disguised As...
Swan Song, by J.D. Rummel
Rave Revue
Karl Kesel and Steve Mattsson about SUPERBOY & THE RAVERS,
by Brian Saner-Lamken
The Metropolis Library
A mixed bookbag by Isaiah J. Campbell
Section 4: Just the FAQs
"Can Superman Breath in Space?", by David T. Chappell
Superman - The Serial
A new column focusing on the first live-action adaptation
of the Man of Steel on the Silver Screen, by Steven Younis
Section 5: Reviews
The "Triangle" Titles
Superman #114, by Ken McKee
Adventures of Superman #537, by Anatole Wilson
Action Comics #724, by William J. Nixon
Superman: The Man of Steel #59, by Art LaMarche
Section 6: Reviews
Other Super-Titles
Superboy #30, by Art LaMarche
Steel #29, by Dick Sidbury
Showcase '96 #7, by Rene' Gobeyn
Annuals, Miniseries, and Special Appearances
Superman Annual #8, by Art LaMarche
Eradicator #1, by Rene' Gobeyn
Section 7: Reviews
Miniseries and Special Appearances (cont)
Kingdom Come #2, by Rene' Gobeyn
New Gods #10, by Rene' Gobeyn
After-Byrne
A Tribute to Curt Swan, by Mark Lamutt
Manuscripts of Steel
Legends of the World's Finest, by Denes House
Merchandise
Section 8: The Phantom Zone
The Girl Friend and the Pal
Lois Lane Giant #113, by Jon B. Knutson
Into the Archives
Superman #6, by Neil Ottenstein
TELEscopic VISION: Superman on the Small Screen
Atmosphere on the Lois and Clark Set
Section 9: TELEscopic VISION (cont)
4th Coming
A Season 4 wish list, by Zoomway
Episode Reviews
#3-12: "Never On Sunday", by Shane Furlong
#3-14: "Tempus, Anyone?", by Leigh Raglan
Section 10: Coming Attractions
STAFF:
------
Jeffery D. Sykes, Editor-in-Chief
Arthur E. LaMarche, Executive Coordinator of Reviews
Nancy Jones, Executive Coordinator of Lois and Clark Section
Editors: Joe Crowe
Curtis Herink
Ken McKee
Shane Travis
Steven Younis
LEGAL DISCLAIMERS:
-----------------
Superman and all related characters, locations, and events are
copyright and trademark DC Comics. Use of the aforementioned is not
intended to challenge said ownership. We strongly suggest that each
reader look to the media sources mentioned within for further infor-
mation.
Opinions presented within this issue belong to the authors of
the articles which contain them. They should in no way be construed
as those of any other particular member of the editorial or contributing
staff, unless otherwise indicated.
This magazine should be distributed freely via e-mail. Should
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________________________________________________________
SUPERSCRIPTS: Notes from the Editor
------------------------------------
Since this issue is looking to be pretty full, I'm going to keep my comments
brief this month. First and foremost, I want to express my sorrow at the loss
of perhaps the most popular Superman artist, Curt Swan. While I never had the
opportunity to become a big fan of the man's work, what little I *did* see made
it very easy to understand why so many saw his work as the definitive depiction
of the Man of Steel. The simple fact that he drew the Man of Steel in five
different decades (the fifties through the nineties) is a testament to his
skill and popularity. He will certainly be missed.
With the advent of the SUPERGIRL title close at hand (the first issue will
almost certainly be out by the time this sees "print"), I wanted to raise two
issues which relate to the new series. The first is that of drastic changes in
existing characters. Peter David, in taking control of Supergirl, has
announced that he will be making some major changes in the character to begin
the series.
While change, in and of itself, is not necessarily a bad thing, I'm not certain
that I agree with Mr. David's reasoning for the change. According to quotes
I've seen, Mr. David apparently felt this was the only way for him to get a
handle on the character. I've seen similar comments from other creators as
they took over a character that was new to them.
Don't get me wrong, I will certainly be reading Mr. David's SUPERGIRL, and I
fully expect it to be a fantastic book. I just don't understand the rationale
behind the changes he has in store for Matrix. It seems to me that a good
writer (and there's no doubt that Peter David is an excellent writer) should be
able to write about a character as he or she already exists. If not, then
maybe he or she shouldn't take on the character. Why should the writer be more
important than the character?
Before anyone rushes to compare this to the Byrne revamp of Superman, let me
point out a major difference. Byrne was hired specifically to revamp the Man
of Steel. To the best of my knowledge, the revamp of Supergirl was Mr. David's
idea. Of course, if I am wrong about this, then I apologize for drawing an
incorrect conclusion. (And if I am wrong, then I'll get on DC's case for
changing a character which they had not bothered to try and explore.)
The second issue is that I understand Gary Frank has a reputation for artwork
that borders on cheesecake, or even exploitative. I've seen a few preview
pages of the art, and they seem to be okay. Nonetheless, I hope that this
title stays away from the stereotypical heroine. This industry desperately
needs a top-selling heroine comic which doesn't pander to the consumers
responsible for the popularity of bad-girl art and the balloon-chested,
wasp-waisted Image-type heroines. I sincerely believe that only then will
comic books have any chance of being respected outside the medium.
Until next month, enjoy the new issue!
Jeff Sykes
Editor
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NEWS AND NOTES:
SUPERMANIMATION
The USA Network has been showing THE SUPERMAN/BATMAN ADVENTURES for
several weeks now. The program includes programming taken from several
past DC animated series, including the ever-popular SUPER FRIENDS! These
can be seen Monday through Friday at 7:00 AM Eastern. And I've also been
told that SUPER FRIENDS has been airing on the Cartoon Network on
Saturdays at 11:00 AM Central.
DC MEETS MARVEL AGAIN?
George Perez is writing a Superman/Silver Surfer meeting for DC and Marvel
Comics, with art by Ron Lim and Terry Austin. In the special inter-
company event, the Man of Steel and the Surfer will face off against the
villainy of Mr. Mxyzptlk and the Impossible Man!
Later this year, expect a second clash of the DC and Marvel universes!
Rumored is an Access miniseries -- remember the interdimensional traveler
created in DC VERSUS MARVEL? First up is a clash between Superman and
Spider-Man villain Venom! And of course, the web-crawler couldn't be very
far behind! (I've also heard rumor that this is an ongoing series, but
we'll just have to wait until we get some more concrete facts!)
The word is also out that we're going to be seeing some more from the
Amalgam Universe in 1997! No word on a SUPER-SOLDIER follow-up, but I
have heard that plans include a second SPIDER-BOY book, a Green Lantern/
Iron Man hybrid called -- naturally -- IRON LANTERN, and possibly a Karl
Kesel-penned CHALLENGERS OF THE FANTASTIC! Again, this is still mostly
in the rumor and speculation phase, but we'll let you know as soon as we
hear more!
MISCELLANEOUS COMIC NEWS
I met Stuart Immonen a few weeks ago and was fortunate enough to see some
of his artwork for THE FINAL NIGHT, the DC Universe crossover beginning
in September (see our feature article for details). Supes fans take note
that there's an extremely fascinating scene involving the Man of Steel and
one of his most dangerous arch-enemies!
It also appears that Superman comic completists will have an extra $2.95
to spend each month in 1997, as the Superman family of characters will
not be featured in SHOWCASE '97. In fact, there probably is not going to
be a SHOWCASE '97 at all!
Later this year, look for a new take on the World's Finest as Superboy
and Robin team-up in a Prestige Format miniseries!
When the sun goes out in THE FINAL NIGHT, Superman will lose the source
of his powers. After the crisis has passed, look for Superman to get
some super-powered help while he waits for his powers to recharge.
Suppose infant Kal-El's spaceship had landed in the Cold-War Soviet Union.
That's the premise behind SUPERMAN: RED SON, an Elseworlds mini-series by
Mark Millar and Dave Johnson, coming in 1997.
And creators are already lining up for a shot at projects for Superman's
60th anniversary in 1998. For example, Mark Waid and Alex Ross, the
creators behind the smash hit KINGDOM COME, are rumored to have already
mentioned just such an interest!
STEEL: THE MOTION PICTURE
It's now confirmed! Press reports confirm that NBA star center and actor
Shaquille O'Neal (BLUE CHIPS, KAZAAM!) has signed to star in a motion
picture based on the DC Comics character Steel, to be written and directed
by Kenneth Johnson. Johnson's directing credits include SHORT CIRCUIT 2
and the foreign feature THE INCREDIBLE HULK, which he also wrote and
produced. Johnson has also written and directed a number of highly
acclaimed television movies, including all six installments of the ALIEN
NATION series of films and the blockbuster miniseries V. He was also the
creator and producer of THE BIONIC WOMAN and THE INCREDIBLE HULK.
Producers are Quincy Jones, David Salzman, and Joel Simon of QDE. Leonard
Armato, Bruce Binkow, and O'Neal are executive producers. Production is
scheduled to begin in August in Los Angeles.
STEEL MORE ABOUT STEEL
Christopher Priest (THE RAY, JUSTICE LEAGUE TASK FORCE) recently mentioned
online that he'll be writing STEEL beginning with issue #34. This will
begin a new direction for the character. The highlights: John Henry
becomes known again as Dr. John Irons. He and Natasha move to Jersey
City, where everyone speaks a different language and packs a gun. John
also gets a new townhome, "chock full of high-tech goodies," and begins
work as head of research for a major medical center. Steel will receive
new streamlined armor, once again sporting the "S" on his chest.
Priest goes on to say that the book will have an entirely new concept, as
well. "X-Files-In-The-Hood wackiness ensues (the medical center is a
creepy, five square-block maze of halls and catacombs, based on an actual
place, the Jersey City medical Center). Example: the plot for #34: Steel
has stopped a bad guy by ramming his hammer into the hood of a fleeing
vehicle. He spends 22 pages trying to pull the hammer out."
Phil Gosier and Rich Faber will continue providing art for the series.
WIZARD FORETELLS THE FUTURE
WIZARD magazine, in their fifth-anniversary issue, predicts that within
the next five years, Superman will be launched into a new level of
worldwide fame. Their reasons? ABC's LOIS AND CLARK is now a ratings
winner, and WB's upcoming SUPERMAN animated series and tie-in toy line
promise to be successful. The next Superman film should be out by 1999 or
2000, undoubtedly with incredible special effects and a massive box office
take, and should open the door to a new movie franchise, much as Warner
Brothers has done with the Batman series of films!
________________________________________________________
TOONING IN
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by Jeff Sykes (sykes@ms.uky.edu)
A little more than 50 years ago, the animation world was set on its ear by the
incredible work of the Fleischer studios in bringing to the screen the
adventures of the wildly popular creation of Siegel and Shuster. The quality
of animation in those episodes rival even the best work being produced today.
In 1992, the style and feel of the original SUPERMAN cartoons was recaptured in
Bruce Timm and Paul Dini's BATMAN: THE ANIMATED SERIES (B:TAS), the first of a
new surge of animated superhero projects. And now the same creative forces
strike again, this time returning not only to the style of the Fleischer
cartoons, but the subject as well!
The long-awaited animated series featuring the Man of Steel will finally debut
this September on the WB Network! SUPERMAN will first air in a 90-minute
prime-time special on Friday, September 6. Regular episodes begin in its
normal timeslot the following morning: Saturday, September 7, at 10:00!
SUPERMAN is produced by Paul Dini (who writes for both SUPERMAN and B:TAS) and
Alan Burnett, and Bruce Timm (also of B:TAS) is an animator. In addition, the
series will also feature all-star comic writers like Joe Lansdale and Evan
Dorkin. Thirteen episodes are scheduled for the first season, and the entire
series has been given a full order of 65 episodes.
The 90-minute premiere will present the origin of the Man of Steel, but don't
expect things to be exactly as they appear in the comics! Clark will be more
of a hard-edged crime reporter, and his relationship with Lois will not be
romantic, as it is on ABC's LOIS AND CLARK. Says Timm: "More like siblings who
don't get along." Visually, the style of the show takes some of the same
influences as B:TAS, primarily that of the original Fleischer cartoons.
However, as Dini points out, "Unlike Gotham City, Metropolis is more optimistic
and futuristic."
Just as in B:TAS, viewers can expect the full array of supporting characters
and a long list of regular and guest voices. Clark Kent/Superman is portrayed
by Tim Daly (WINGS), Lois Lane is played by Dana Delaney (CHINA BEACH), and
supporting characters include a young Jimmy Olsen, Perry White, Maggie Sawyer
and the Metropolis Special Crimes Unit (SCU), Terrible Turpin, and Bibbo.
Villains are led by Clancy Brown (EARTH 2) as Lex Luthor, Malcolm McDowell
(STAR TREK: GENERATIONS) as Metallo, Jim Belushi (SATURDAY NIGHT LIVE) as the
Parasite, Michael York (LOGAN'S RUN) as Kanto, Bud Cort (M*A*S*H) as the
Toyman, and Gilbert Gottfried (PROBLEM CHILD) as Mr. Mxyzptlk! Also watch for
Brainiac (who appears in the origin and has something to do with Krypton's
destruction), Darkseid, and many others!
Guest-stars will include Lobo (who has a two-parter in the first season),
Supergirl, the New Gods, The Spectre, Wonder Woman, Aquaman, The Demon, and
eventually Batman!
A sneak preview of the show's artwork can now be seen online at the new WB
animation home page: http://www.wbanimation.com
Just as B:TAS before it, SUPERMAN will also spawn several forms of tie-in
products. SUPERMAN ADVENTURES is the monthly comic companion to the series,
and its debut issue is scheduled to appear on September 5, written by Paul Dini
and illustrated by Rick Burchett and Terry Austin. Subsequent issues will be
written by acclaimed UNDERSTANDING COMICS author Scott McCloud! See this
month's COMING ATTRACTIONS for more information.
Also in September, Kenner debuts a new line of action figures based on the
animated series' characters, and SkyBox presents the SUPERMAN ACTION PACKS
trading cards, including a full set of trading cards, pop-ups, puzzles, and
even a piece of chewing gum! See this and last month's MERCHANDISE sections
(or the KC Homepage) for more information on these products.
________________________________________________________
INTO THE DARKNESS
-----------------
by Jeff Sykes (sykes@ms.uky.edu)
September is always a time of new beginnings: the autumn season begin anew,
kids everywhere head back to school, football season gets into full swing, the
TV networks begin their new year of programming, and shopping malls everywhere
start thinking about the Christmas rush! :)
This September, DC makes its new beginning an ending. In this year's annual
crossover event, Earth is faced with its final night.
Imagine, if you will, a world without sunlight. Since the dawn of time, an
unstoppable force has roamed the DC Universe, feeding off the stars themselves.
Planets bursting with life drop dead in hours, gripped in relentless cold and
growing darkness. Panic spreads as people lose all hope -- formerly
sound-minded citizens are driven to riot, murder, recklessness, and suicide.
Desperate unvoiced love is confessed, and torn lovers are reunited. Foes set
aside their differences to await the end, as eternal night darkens the land.
And Earth is next.
>From the acclaimed creative team behind ADVENTURES OF SUPERMAN comes THE FINAL
NIGHT, a four-issue weekly miniseries. Writer Karl Kesel, penciller Stuart
Immonen, and inker Jose Marzan, Jr. join with colorist Patricia Mulvihill
(WONDER WOMAN) to bring us what could be the end of the DC Universe as we know
it!
The story begins when an alien crash-lands in Metropolis, bringing warnings of
the impending doom: an entity known as the sun-eater is fast approaching the
solar system, an entity which feeds off of stars! And the story really begins
when the combined heroes of the DC Universe utterly fail to stop the threat.
During the month-long event, the Earth struggles to save a dying planet, and
heroism is born in many different ways -- and from many unexpected sources, as
heroes and villains alike rally to prevent the unstoppable.
As the drama unfolds, the pivotal event of the tale takes place in a special
one-shot, nestled between the third and fourth issue of THE FINAL NIGHT. Hal
Jordan was once Green Lantern, one of the noblest and most respected of all
heroes, but ultimate grief shattered his life and drove him to become the
all-powerful Parallax. Now, in PARALLAX: EMERALD NIGHT, Hal Jordan faces his
ultimate encounter with the Cyborg -- the villain from "Reign of the Supermen"
who engineered the destruction of Coast City, which led to Jordan's downfall.
And before everything is over, Parallax will play a major role in the Earth's
current crisis.
During each of the four weeks of THE FINAL NIGHT, several DC titles will
spotlight the chaos spreading through the DC Universe and how the heroes deal
with the hopeless population and worsening conditions. These issues are *not*
required reading for understanding the events of THE FINAL NIGHT, but they
focus on the effects of the disaster and the response of humanity in
self-contained stories which enhance the main story in the miniseries. See the
complete checklist of involved titles below.
THE FINAL NIGHT is a weekly four-issue miniseries in the Miraweb format (the
same as the weekly Superman books), edited by Dan Thorsland. Each issue has a
US cover price of $1.95. Issue #1 arrives in comic book stores September 5.
PARALLAX: EMERALD NIGHT is a 48-page one-shot, also in the Miraweb format,
edited by Kevin Dooley. It arrives in comic book stores September 18 with a US
cover price of $2.95.
THE FINAL NIGHT CHECKLIST!
--------------------------
September 5:
Main story: THE FINAL NIGHT #1
Affected issues: Green Lantern #80
The Power of Shazam! #20
Sovereign Seven #16
Superman #117
September 11:
Main story: THE FINAL NIGHT #2
Affected issues: Adventures of Superman #540
Batman #536
Green Arrow #114
Supergirl #3
September 18:
Main story: THE FINAL NIGHT #2
Affected issues: Action Comics #727
Aquaman #26
Detective Comics #703
Superboy #33
Tie-In: PARALLAX: EMERALD NIGHT
September 25:
Affected issues: The Flash #119
Hitman #8
Legion of Super-Heroes #86
Robin #35
The Spectre #47
Superman: The Man of Steel #62
Takion #6
Conclusion!: THE FINAL NIGHT #4
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GOOD-BYE SUPERMAN -- A TRIBUTE TO CURT SWAN
-------------------------------------------
SWAN'S GRACE
Premier Superman artist Curt Swan, 1920-1996, is remembered
Originally published in the June 26th, 1996, edition of FAT JACK'S
comicScrypt; reprinted here with permission
Copyright 1996 Brian Saner-Lamken; all rights reserved
* * * * *
Legendary Superman artist Curt Swan died in his sleep on June 12th at the age
of seventy-six.
Swan was a true Golden Ager, having worked professionally in the comics
industry for over fifty years, but it was his later work - throughout the
Silver Age and beyond - for which he was best known. He is perhaps more
closely associated with Superman than anyone save the Man of Steel's own
creators, Jerry Siegel and Joe Shuster, and generations of comic-book readers,
this writer among them, grew up with Swan's vision of the character as their
own.
He was born in 1920 and raised in Minneapolis, MN, during the Depression. Swan
served in the National Guard during World War II, and it was then that his
illustrations first saw print, in the army paper STARS AND STRIPES. His
artwork caught on, and he left his unit in Northern Ireland for a staff job
with the paper in London, England, and later in Paris, France. After the war,
the newlywed Swan and his wife moved to New York, where he often met with
fellow ex-STRIPES staffers. One, France Herron, had returned to work for DC
Comics, and recommended that Swan show his portfolio to some DC editors. That
was 1945. DC was ten years old, Swan was twenty-five, and it was the beginning
what would eventually become a beautiful friendship.
Swan's first job for DC was an eight-page BOY COMMANDOS story assigned by
editors Whitney Ellsworth and Mort Weisinger. "They gave me a few pages of
Jack Kirby's to work from," Swan recalled to Jack C. Harris in a 1975 interview
for DC's house fanzine of the time, THE AMAZING WORLD OF DC COMICS. "I did a
very conscientious job, staying up practically night after night, doing this
BOY COMMANDOS eight-pager. And I didn't omit any detail." The work paid off:
Swan penciled BOY COMMANDOS, with Steve Brodie inking, for years to come,
supplementing that series with a variety of work, including GANG BUSTERS, the
Tommy Tomorrow feature in ACTION COMICS, and a then-new project from
Weisinger's Superman stable called SUPERBOY.
Five or six years into the game, however, Swan's frustration with demands from
both writers and editors forced him to quit. "At home I was getting more and
more tense, throwing things around the room - paper, my art supplies - because
I was being asked to draw things I didn't think would work," the artist wrote
in an essay for the 1987 anthology SUPERMAN AT FIFTY: THE PERSISTENCE OF A
LEGEND. "I was working too hard, anyway. I would get these terrific migraine
headaches where I would have to lie down on the bed, and heaven help anybody
who dropped a pin. I figured my eyes were going. I got new eyeglasses, but it
didn't seem to help. I decided I would have to give up the comic-book business
and find something less strenuous."
Leaving DC, Swan took a job with a small advertising studio. His income
dropped considerably, though, and after a month he returned to his former
employers. "They welcomed me with open arms," he wrote. "But soon I was lying
in bed at home again with a splitting headache." Realizing that the migraines
had vanished during his foray into advertising work, he made the connection:
"It was not my eyes, after all. It was something about working for DC Comics."
Upon further inspection, Swan pinpointed the problem as a conflict with
Weisinger, and ultimately the two worked things out. "In time," Swan wrote,
"we actually became quite close friends."
Following Swan's work on a Superman 3D comic book in 1955, Weisinger sent
Superman-related scripts Swan's way with increasing regularity. He got his
feet wet with the spin-offs SUPERMAN'S PAL, JIMMY OLSEN and SUPERMAN'S GIRL
FRIEND, LOIS LANE, and in 1961 began a regular diet of work on the flagship
SUPERMAN title. He continued to draw frequently for Superboy's own series, as
well as for the Boy of Steel's feature in ADVENTURE COMICS, and regularly
penciled tales of the Legion of Super-Heroes, first in ACTION COMICS and then
in ADVENTURE. For more than twenty years, he remained the primary Superman
artist on both SUPERMAN and ACTION COMICS, and provided the style guide from
which other Superman artists took their cue.
Swan drew all manner of stories and all manner of people. Among the entries
representing his work in THE GREATEST SUPERMAN STORIES EVER TOLD are the goofy
"The Night of March 31st" from 1961 and the socially relevant "Must There Be a
Superman?" from 1972, written by Otto Binder and Elliot S. Maggin,
respectively. For some, Swan's name conjures up the heyday of Imaginary
Stories, when his graceful figures were inked by George Klein and starred in
such sagas as Jerry Siegel's original "Death of Superman" and Leo Dorfman's
classic "The Amazing Story of Superman-Red and Superman-Blue" - both also
reprinted in Greatest Superman. For others, Swan is the man who, a decade
later, drew somewhat older, bolder versions of the Man of Steel and his
supporting cast as inked by Murphy Anderson in Denny O'Neil's pivotal "Superman
Breaks Loose" - first published not long before its inclusion in the sadly
out-of-print SUPERMAN: FROM THE '30S TO THE '70S.
In SUPERMAN AT FIFTY, Swan reminisced about some of his favorite aspects of the
Superman mythos - Brainiac, the fifth-dimensional imp Mr. Mxyzptlk, the bottle
city of Kandor - and his favorite stories as well. "I guess the story I'm
proudest of," he wrote, "is the 1973 version I illustrated of 'The Origin of
Superman' - showing the last days of Krypton, the baby Kal-El rocketing to
Earth and being found in a cornfield by Jonathan and Martha Kent, then young
Clark discovering his superpowers as a boy and going off to Metropolis to serve
the world as Superman." Carmine Infantino, then DC's Publisher, laid out the
story, which appeared in a special release titled THE AMAZING WORLD OF
SUPERMAN. It was inked by Anderson - whose collaboration with Swan was so
natural that the team was simply dubbed "Swanderson" - and dialogued by DC
historian E. Nelson Bridwell.
Swan was one of the few constants as Superman's world moved from the Weisinger
era into that of Weisinger's successor, editor Julius Schwartz; all told, he
spent over thirty years working on the characters in the Superman family. He
finally entered semi-retirement in 1986, following a two-part story written by
Alan Moore and inked by George Perez and Murphy Anderson that bid fond farewell
to the Superman of old and paved the way for a new version to debut in the wake
of DC's history-altering CRISIS ON INFINITE EARTHS. During the Man of Steel's
fiftieth anniversary in 1988, however, Swan penciled the one-shot SUPERMAN: THE
EARTH STEALERS - written and inked, respectively, by two new Superman
chroniclers, John Byrne and Jerry Ordway. And he continued to work on a
variety of Superman projects - even penciling a run on THE ADVENTURES OF
SUPERBOY, based on the live-action television series - right up to his untimely
passing.
Swan's non-Superman credits ranged from DC's STAR-SPANGLED WAR STORIES - just
the job for a former staffer of STARS AND STRIPES - to, more recently, issues
of THE BATMAN CHRONICLES and even SWAMP THING. But he remains inextricably
linked with the Big Red 'S'. He contributed to a storyline that ran through
each of DC's four current Superman titles just last month, drawn by a variety
of artists and written by longtime Swan fans Mark Waid and Tom Peyer. And his
last piece of work was a drawing of Superman for a charity auction held at the
Charlotte, NC, Heroes Con the weekend of June 15th, at which Swan was to have
been a guest.
He is survived by three children, who have requested that in lieu of flowers,
donations in Swan's name be sent to the attention of Gary Hood at the
International Museum of Cartoon Art, 200 Plaza Real, PO Box 1643, Boca Raton,
FL 33429. Cards and letters may be sent to the Swan family in care of his
daughter Cecilia Swan Swift at 573 Valley Rd., New Canaan, CT 06940.
* * * * *
Brian Saner-Lamken is the author of PRO-MOTION: HOW TODAY'S CREATORS BROKE INTO
COMICS... AND THEIR ADVICE TO YOU!.
________________________________________________________
FAREWELL FROM THE FANS
----------------------
Because of the sheer volume of responses, many of the following farewell comments were edited for length. All letters submitted will be reprinted in their entirety on the Kryptonian Cybernet homepage.
******************************************************
I was saddened by the news of Curt Swan's death. I had personally met Mr. Swan
twice, but I had been part of his world for years, reading the many books that
he illustrated. His art is a permanent part of my life. God bless you, Curt.
George Kozak (gsk5@cornell.edu)
******************************************************
It seems like that entire Golden Age and Silver Age generation of Superman
creators is leaving us. In the past few years, we have lost Joe Shuster, Wayne
Boring, Jack Kirby (who was briefly involved with Superman in the 70s), Jerry
Siegel, and now Curt Swan. I was particularly saddened to hear about Swan,
because I had met him several times. I worked at DC in the mid 70s, and Curt
came into the offices from time to time. I'm sure he wouldn't remember that
kid from the Production Department, but I certainly remember him, and his
renderings of Superman have endured almost as long as Superman himself has.
I had the opportunity to see a lot of Curt's original pencils. I lettered the
pencilled pages, before the inker got to them. His pencils were clean and
finished, unlike a lot of pencillers, who depended on their inkers to clean up
everything. My favorite inker to work over Swan was Murphy Anderson. They
were on a roll for a long while, until Anderson became involved in projects
outside of the comics field. They still had occasional reunions.
His work didn't really fit anymore, in the grim Image/X-Men era of comics. But
he always looked good on Superman. For an entire generation of Superman fans,
his Superman was *the* Superman!
Bill Morse (BillMorse@aol.com)
******************************************************
I could always look at Swan's work and immediately know it was his. His art
was simpler, perhaps not as flashy as today's artists, but always effective ...
and his was the definitive Superman. Looking at some of the older comics I
have with his work in it reminds me of a time when comics, for me at least,
were more enjoyable, less "grim". He will be missed.
Mike Santo (msanto@ix.netcom.com)
******************************************************
I was very saddened to hear about the recent passing of Curt Swan. When I
think of Superman artists, I think primarily of Jerry Ordway (who along with
John Byrne helped to "revamp" the Superman mythos) and Curt Swan. When I first
started reading comic books, Superman was one of, if not the first that I read
and with it was Mr. Swan's art. It was his unmistakable and distinct art that
helped to shape the way Superman, Superboy, and the Legion of Super-Heroes
looked to untold millions of readers and future artists of these characters for
generations to come. We have lost a valuable asset to the comics industry and
he will surely be missed.
Harlan J. Bryan (hjbryan@mail.pittstate.edu)
******************************************************
In times like this I think of a line that I think H. P. Lovecraft wrote:
That is not dead which may eternal lie,
And in some strange eons, even death may die.
Swan will be missed. He shaped a legend and, in so doing, he became legendary.
Alan Fried (Fried-Alan@SC.EDU)
******************************************************
I'm stunned ... I grew up with Curt, and to me, there is no other rendition of
Superman that stands in my mind ... When I think of Superman ... It was
*Curt's* Superman .. His was the *definitive* Superman ... so expressive, so
*real* ... I know there remain many great artists to continue the Legacy, but I
still feel as though now, more than ever, Superman has truly passed on ... God
Bless You for everything you've given, Curt ... Say "Hi" to George for us
........
DEX (wdima@ix.netcom.com)
******************************************************
I was shocked and saddened to hear the news posted on the rac.dc.universe
newsgroup, especially so soon after losing Jerry Siegel. I grew up with Curt
Swan's Superman and was an avid collector in the 70's. ... It was always a
treat to find the Swan Superman in new or back issues.
Swan's influence was pervasive and permanent - both on the comics industry and
to readers like myself, for whom his work will always symbolize youthful
idealism and hope.
Sean Hogan (nhogan@cln.etc.bc.ca)
******************************************************
Forget Clark Kent: Curt Swan *was* Superman. He defined a consistent look when
Superman was at his most diverse (Mort Weisinger sitcom, Dennis O'Neil
dramatic, Cary Bates in action). He was a guardian and champion of what the
Man of Steel is supposed to be like. He will be missed.
John Saponaro (johns2@village.ios.com)
******************************************************
There's no way I can come close to providing an overview [or even a review] of
Curt Swan's career, so I just wanted to pass on a few memories that came to
mind the day I heard Curt Swan passed on:
-- "I Flew With Superman" from SUPERMAN ANNUAL #9 [1983]. This story had no
credits to it [as far as I can recall], but it involved Curt Swan meeting
Superman. I guess that Curt Swan both pencilled and inked this, but what I
remember most is the Superman's line: "My x-ray vision shows your heart is
just fine, Curt" ...
-- Finally, I don't remember which issue it was, but there was a Superman
story shortly after the "Sand-Superman" storyline, in which Superman was
pulled into the future along with George Washington, Abraham Lincoln, and
George Custer. Everyone thought that Superman was about to die, but it
turned out it was the Superman of an alternate dimension who died. The
final lines of that story have a special resonance: "Somewhere, in some
part of the universe, a Superman is gone. A hero, enshrined forever."
Rest in Peace, Mr. Swan. We won't forget you.
Jim Lesher (JLESHER@npr.org)
******************************************************
I am one of the many people who grew up devouring every Superman comic I could
get my hands on in the late fifties and early sixties. I am also one of those
whose favorite artist was Curt Swan. His Superman, indeed all his characters,
just about leapt off the page they were so alive. To this day, when I read
about Superman, it is the Curt Swan image that appears in my mind.
Rest in peace, Mr. Swan. And thank you so much for the memories.
Mike Dieckmann (orangemd@cdmnet.com)
******************************************************
Curt Swan's 1960s Superman was a solid upstanding citizen of another era, a
time that seemed both magical and lost when I first read the Superman family
titles ten years on, as a teenager. His Superman, while the essence of
morality in the best possible sense, was also human, and had in his character
along with his bravery, honor, and goodness, compassion, empathy, and a highly
developed sense of humour. Swan's Superman set a fine example for society -
while at the same time enjoying the company of those around him - Jimmy, Lois,
Lana, Perry White - and enjoying himself as well. While the 70s brought a
different concept of the character, Swan's artwork was just as brilliant;
perhaps more so, as he rose to meet the challenges of the grittier stories.
And yet, I'll miss his blue suited and red tied Clark Kent, his freckled faced
Jimmy Olsen reaching for his signal watch, his chubby Professor Porter and
portly Perry White, Lois and Lucy Lane in their set hairdos that never changed,
the ringed globe on the roof of the Daily Planet, all the stories,
melodramatic, gripping, silly that made those years. It's sad to know those
times can never come back, that we'll never have stories like those again.
It's hard for me to realize that the man whose work influenced so much of my
interior world as both a teenager and an adult is gone. All I can say as a
reader is that I will miss him greatly.
Ivy Dennett-Thorpe (I.Dennett-Thorpe@uea.ac.uk)
******************************************************
Back in the summer of 1963, as an 11 year old I became an avid comic book
collector and reader. Among the titles that I was drawn to were SUPERMAN,
ACTION COMICS, and WORLD'S FINEST. In these comics, Curt Swan presented the
"Superman family" in a very consistent and precise style. His art made a world
in which a Superman and Supergirl from Krypton, existing in our world under
secret identities, seem almost real. I'll put Curt up there with Jack Kirby in
terms of the enjoyment he provided for many of my generation.
Alan MacInnes (macinnes@world.std.com)
******************************************************
This has been a devastating Super year. First Siegel and now Curt.
Curt Swan was a hard working, talented, yet down to earth guy. For 30 odd
years he drew Superman. I remember the first Superman book that still stays in
my mind was The Death of Superman (The original). Now that I think of it, it
is "ironic" because Jerry wrote it and Curt drew it! Curt cranked out the
pages. He was productive -- from the old school that said if you haven't got
the "inspiration" today, just sit at the board and crank it out anyways. We
have a job to do. Curt had a great sense of the character. I do not know if
there was anyone this side of E. Nelson Bridwell who truly knew the character
like he did. Yet, Curt said that he didn't want the legacy of being known only
as "Superman's alter ego."
He was an underrated talent whether teamed with George Klein, Murphy Anderson
or his other assorted inkers over the years. In an industry of fan favorites
and flashes in the dark, Curt Swan was consistent and consistently good. He
was this fanboy's favorite, and he drew a hell of a Superman. In fact he drew
*the* Superman.
I know that they make a hell of a team in Heaven, Curt, Wayne, Jerry, Joe, and
of course Mort. Heaven is far the richer and we the poorer. Curt I lift my
mug and salute a fine gentleman. You are missed, remembered, and loved.
Arik Meir (mahr@netvision.net.il)
******************************************************
I certainly do not qualify as an expert on Superman (my favorite character) nor
Mr. Swan's work. However, I do qualify as one of the millions of fans that
were treated to his unique artwork and the dedication he poured into each line.
My early recollections of Superman are made of "the stuff" that came off his
boards. For that, I thank him.
May his memory be eternal.
George W. Ioannidis (Vyzantio@aol.com)
******************************************************
Swan's Superman was powerful and congenial. A man who could halt an invading
alien armada as well as help a club of full of Metropolis kids.
I remember once reading THE EARTH-STEALERS and thinking "Man ... this art sure
does look old fashioned to me now." Well, that's not quite correct. Rather, I
should have realized that the art work looked like my childhood. My childhood
has gone, naturally, but I still have memories. I still have the pages of
ACTION COMICS with Superman, powerfully built, sporting a determined jaw or a
broad smile.
We'll miss you, Mr. Swan.
Jason Deas (Buckaroo88@aol.com)
******************************************************
I just want to say good-bye to Curt from Mexico City in my own language,
Spanish.
"Gracias por los momentos de fantasi'a que con tus dibujos nos hiciste vivir de
nin~os y au'n de adultos, te vamos a extran~ar ..."
Jorge G. De Cossio (Jorge_Decossio-A12014@email.mot.com)
******************************************************
I always loved Curt Swan's work. He was the definitive Superman artist. I
remember the sadness I felt in the last issue he drew before CRISIS, in which
the Superman world as we knew it came to an end. I loved seeing his work not
only in the Superman titles but also in LEGION OF SUPER-HEROES.
And it was always a pleasant surprise to see his work after the John Byrne
reincarnation. I even remember issues where he, himself, became a character in
some of the stories (along with former editor Julius Schwartz).
His passing is as important as the passing of both Shuster and Siegel.
Krypto29@aol.com
******************************************************
Curt was an old friend whom I've never met. My first comic was drawn by Curt
Swan and so were several hundred more. I hope that someday the last comic I
read will have also been drawn by Curt Swan years previous. Curt has drawn
more Superman books than anyone else. His contribution cannot be diminished.
I respectfully thank Mr. Swan for years of entertainment he has brought me.
Think of Curt Swan the next time you "Look, up in the sky..." and maybe you'll
see him.
Chad McCubbins (chadmcc@ix.netcom.com)
******************************************************
I am at a loss for words. As a Superman fan who started reading comics in
1959, I was always in awe of his work. His Lois Lane is outdone only by
Schaffenberger, his Superman and Jimmy Olsen are without a doubt the best.
The industry has truly lost a great man, and I am not ashamed to say I broke
down in tears when I received Jeff's notice.
Thanks Curt, for everything.
Bill Crupe (wcrupe@tiber.nist.gov)
******************************************************
Thanks for letting me know the shocking news about Curt Swan, who passed away
recently. I really liked his art in the Superman comics. In fact, I have some
autographs from Mr. Swan as well as his Superman artwork sent to me long ago
(in 1982 when I was in Calgary, Alberta, Canada).
I feel really sad that Mr. Swan is no longer around to contribute his Superman
artwork. I am also sending my heartfelt condolences to his daughter, wherever
she is. Thanks again for letting me know about Mr. Swan.
Don Stromberg (strom@torfree.net)
******************************************************
>From 20,000 miles away, his work has touched me.
An icon in his genre, who will be sorely missed.
Steve Kaplan (phoenix@infonet.co.za)
******************************************************
I was saddened to hear of Mr. Swan's passing. My earliest and fondest
childhood memories are of a mom-and-pop grocery store near my Uncle's house in
San Diego where I saw my first Superman comic book. It was drawn, I found out
later, by Curt Swan. Most of my favorite Superman stories of the Silver Age
were drawn by Curt Swan.
For many of us Curt Swan defined the appearance of Superman in the Silver Age.
The comics industry has suffered a great loss with his death. I hope Mr. Swan
is fulfilling the scripture that promises, when we are absent from this body we
are present with the Lord.
Jimmy Stewart (jstewart@MAILBOX.ECON.AG.GOV)
________________________________________________________
AND WHO DISGUISED AS...
--------------------------------------------
A Column of Opinion by J.D. Rummel (rummel@creighton.edu)
"Swan Song"
Have you ever played that game, you know, the one where someone asks: "where
were you when you found out (famous name) died?" It is probably not going to
be played using Curt Swan's name, his wasn't the caliber of fame that fits, but
I will always be able to tell you where I was when I heard he had died. It was
Sunday and I was at the Merchant Of Venus bookstore buying my comics. My
friend Ron told me in casual passing, thinking that I had heard already. But I
hadn't, and the words hit me square in the stomach, like a bully's punch. Ron
had no details, and for several minutes I was literally in a daze. In the
movies the screen would get wavy and I would flashback in detail, but actually
the memories came back in pieces and it took awhile to assemble them.
The first and only time I actually met Curt Swan was in 1987. It was at a
Kansas City comic convention during an oppressively hot June or July. I saw
him at a table, signing some work, selling some of his pages. Tan, with styled
silver hair and gold chains on his neck, I was immediately struck by how much
he looked like one of his own drawings. I approached the table and introduced
myself. I thanked him, and explained to him that his work was very dear to me,
that as I was growing up his art was the first I ever learned to recognize.
Imagine. How many people know the first artist whose work they could
appreciate and anticipate? Curt Swan was the one for me. I didn't know his
name, comics didn't have credit panels then, but I came to know his angles, the
lines of his work -- his style. What was it that drew me? Certainly the
reality of his pictures, how he made the impossible seem almost neighborly. To
me, Curt Swan's world was possible, like a walk out the front door.
Comics, like any art form are purely a matter of taste. What determines why
one artist's work is loved and another not? For instance, while I acknowledge
his place of greatness in the Superman legend, I had little use for Wayne
Boring's work. His barrel chested titan, strolling through the clouds with a
kerchief for a cape was a cartoon. But Curt Swan's Superman -- you've heard me
use this phrase before -- was a real guy. Curt Swan took the fantastic and put
it there on the page rendering it with a reality usually reserved for mundane
things. That day, as I told him this he thanked me. He may have thought I was
just another idiot fanboy, but he was supremely gracious and gladly signed my
copy of the "Kryptonite No More" issue of Superman. I still remember he had a
beautiful drawing of Superman in the clouds with a dove. I should have bought
it that day, but I passed. An idiot fanboy might not have, I think.
Now, nine years later, I sit reading the chapter he wrote for SUPERMAN AT
FIFTY: THE PERSISTENCE OF A LEGEND. Once more I am struck by the niceness.
There is unpretentious prose in the slim memoir, it hardly scratches the
surface of his contribution to an icon of pop culture. He treats his work as
it must have seemed to his next door neighbors: Curt draws stories for a
living. He reveals few secrets, he doesn't dish, preferring instead to give a
very straightforward chronology of his life. Born at an unspecified date in
most likely the twenties, Curt developed his skills in school and in the
service, eventually working on comic books for around $18 a page. Outside of
comic books, great moments happen without a narrator's caption informing us of
their nature. It is not until years later that we see great moments for what
they are. Swan's first Superman work came in 1955 on a 3-D comic. To read his
account, he simply continued to work on Superman for thirty plus years -- no
big deal. He doesn't seem to regard the feat as anything other than a well
done job. From the extremely humble picture painted, I doubt he considered
himself the definitive renderer of Superman's image.
But he was.
I can always picture dozens of Curt Swan Superman panels. Images of Superman
flying, performing super feats. Swan, whether inked by Klein, Anderson, or his
personal favorite, Al Williamson, was always for me a guarantee of even a lame
story being rendered beautifully. One of the strongest images I retain is a
black and white page I first saw in the sixties. That page highlighted the
fact that Curt Swan's Superman had expressions. I remember that page of
various faces; Superman surprised, pensive, whistling, laughing, suffering and
winking.
In his career, Curt Swan drew many characters besides Superman, the Legion of
Super Heroes being notable and worth examination, but it was his work on
Superman that assures his place in comic history. His contribution to the
legend of Superman is staggering. There is no telling how many people grew up
reading the stories he illustrated. How many lives does a man touch in thirty
years of drawing the official adventures of the most famous character in the
world? How can you possibly measure the impact of such work? In juxtaposition
to this incredible audience, unlike many seminal artists he has no imitators
that I am aware of, somehow remaining unique in a world where accomplishments
such as his are rare. Perhaps because his style was so very subtle, lacking
the noisy, swollen quality that is popular today.
We have lost something rare.
Obviously, I never knew the man well. I have only my impressions of his
character and life, though even if I knew him well, that isn't important here.
My words today are intended only to discuss his work, and the joy his
illustrations brought me. To me, there is nothing like the sensation of
sitting on a summer porch, or in a winter kitchen and losing the world for
awhile in the words and pictures of a comic book. Curt Swan made some of the
best pictures of Superman that have ever come down the road, filling the eyes
of millions with images, creating tiny scenes that will entertain generations
to come.
Good bye Mr. Swan. I meant what I said that day in Kansas City. To me, and to
many others you were the best. Thank you for so much joy and beauty.
Away
And Who Disguised As... is copyright 1996 By J.D. Rummel. Making of copies in
any format is expressly forbidden without the written permission of the author.
________________________________________________________
RAVE REVUE
----------
A comicScrypt Q&A: Karl Kesel and Steve Mattsson talk about SUPERBOY AND THE
RAVERS
Originally published in the July 3rd, 1996, edition of FAT JACK'S comicScrypt;
reprinted here with permission
Copyright 1996 Brian Saner-Lamken; all rights reserved
* * * * *
In late July, one month before the debut of the newest incarnation of the Teen
Titans, DC Comics is launching a monthly series in the offbeat tradition of
such youthful superteams as the Titans and the Legion of Super-Heroes -
SUPERBOY & THE RAVERS, co-written by Karl Kesel, departing scribe of Superboy's
solo series, and Kesel's good buddy Steve Mattsson. Besides the Boy of Steel,
the charter members of the Ravers include Sparx, a teenage girl with a
literally electrifying personality, first seen in the ADVENTURES OF SUPERMAN
Annual during the BLOODLINES crossover; Aura, described as "smart, stunningly
beautiful, and the possessor of awesome magnetic powers" by Mattsson, who added
"but all she wants to do is dance"; Half-Life, a boy who died in 1957 at the
age of sixteen and joined the Ravers forty years later "in an effort to find
the aliens that killed him and his family"; Kaliber, a "juvenile delinquent"
from the otherdimensional world of Qward, where he was responsible for "random
acts of kindness and senseless acts of beauty" and became, according to
Mattsson, "fascinated by the heroic ideal"; and Hard-Luck Hero, who's "very
good at finding things he didn't even know he was looking for" - such as a
canine companion who'll be familiar to longtime DC readers.
The following comicScrypt Q&A with Kesel and Mattsson was conducted a bit
differently than most. Normally, Ye Editor will place a call to the
interviewee; sometimes, there's time for a chat at a convention. This game of
Twenty Questions, however, was conducted via the modern miracle of E-mail. A
round of preliminary questions went out first to Mattsson, a longtime colorist
whose work is currently on display in Marvel Comics' UNTOLD TALES OF
SPIDER-MAN, and whose writing credits date back to a stint co-writing Marvel's
NIGHT THRASHER with UTOS scribe Kurt Busiek. Mattsson then passed along the
E-mailed questionnaire, with his responses, to Kesel, whose efforts on the
Amalgam Comics one-shots SPIDER-BOY and X-PATROL (the latter co-written with
wife Barbara Randall Kesel) brought him much industry acclaim. The whole
shebang was then E-mailed *back* to comicScrypt headquarters, carefully
considered, and subjected to cross-examination and follow-up questioning, which
Mattsson and Kesel likewise obliged. The results are reproduced here for your
edification and enjoyment, with comicScrypt's questions numbered and the
interviewees' responses - mixed and matched in our E-mailed exchanges to the
point that *they* don't even remember who said what - following in indented
form.
* * * * *
1. Tell me a bit about SUPERBOY AND THE RAVERS' genesis. How did the concept
get worked out between the two of you, and what was it like pitching the series
to DC?
We started with a question: What could get a group of teen superheroes
together on a regular basis that would be different? The intergalactic
rave called the Event Horizon was our answer. We knew a place like that
would be full of interesting characters and all we had to do was pick the
ones whom we wanted to tell stories about.
2. Just who and what are the Ravers? From whence are the characters being
drawn, and have we seen any of them before?
Most of the core Ravers are brand-new characters, but they all have ties
to the DC Universe; some of the ties will be obvious and other are more
subtle. Besides Superboy, Sparx is the only regular we've seen before,
and she plays a very important role in the series. After Superboy's
woman troubles in the "Losin' It!" arc [recently concluded in DC's solo
SUPERBOY series], Sparx acts as his girl friend - emphasis on "friend" -
and he really needs one.
3. For the benefit of the unfortunately unhip in our audience: Exactly what
is a rave?
A rave is a "movable feast" - an underground party of fuzzy legality that
moves from place to place to keep ahead of the authorities. The
"authorities" in SUPERBOY & THE RAVERS are a group called InterCEPT - the
Interdimensional Cooperative Enforcement Police Team. The special agents
on this team were hand-picked from the police forces of their various
dimensions to protect interdimensional borders and fight interdimensional
crime. They are Captain Beta Tos of the Stellar Shield Watch; Jack
Nebula, a Darkstar; Ephyra, of the Ultramarines; Shaar Q of the Chromium
Fist Corps; and Nightshade [formerly a member of the Suicide Squad].
The dimension of origin for the Darkstar and Nightshade should be obvious,
but I think the readers will have fun figuring out where the other members
of InterCEPT come from.
4. How do Superboy and the other ravers get to the rave?
They get a hand-stamp that can teleport them to the rave from any point
in the Universe. There are a few rules about how and when the hand-stamps
work that will take the ravers (and the readers) a while to figure out.
5. Is the rave merely intergalactic or cross-dimensional, too?
The Event Horizon can travel pretty much anywhere except in time - the
Anti-Matter Universe, Bgtzl, the Fifth Dimension, Land of the Nightshades,
and Skartaris are all possible destinations.
6. Do the ravers have to show ID?
Once they get the hand-stamp they are in - unless the host decides to
take it back.
7. Who's the bouncer?
The bouncer is a guy called the Bouncer, and he's more than qualified to
keep a party full of superpowered teenagers under control.
8. While he has a considerable supporting cast in his own book, and in fact
was recently paired up with Knockout in the "Losin' It" storyline, Superboy
seems at heart more of a loner than a joiner - at least as far as superteams
go. How much of a presence will the Ravers have in his personal life?
Superboy will remain the independent type, but will have no problem going
to a party, which is really all the Event Horizon is. [Although saying
the Event Horizon is simply a "party" is like saying WWII was a "minor
disagreement".]
9. Did RAVERS have anything to do with your decision to leave the solo
SUPERBOY series, Karl?
RAVERS had nothing to do with my leaving the main Superboy title. Tom
[Grummett, series penciller] and I had simply told the stories we wanted
to tell with the Kid - at least as a solo character. Believe me, after
three years of solo-hero writing on SUPERBOY and ADVENTURES OF SUPERMAN,
I was dying to work on a team book!
10. How did you and Steve hook up as writing partners?
Steve helped me out in a pinch once before - SUPERBOY #6, I believe - and
I was very happy with the results. Quite a few bits in that issue that
most people assumed were my doing - like Krypto getting a "cape" - were
actually Steve's! He's a guy with a ton of great ideas.
11. What sort of cross-continuity can readers expect between SUPERBOY and
SUPERBOY AND THE RAVERS? Have you worked out any specific plans with new
Superboy writer Ron Marz?
Both books are handled by the same office, so there will be plenty of
consistency in the way Superboy is portrayed and there will be some
continuity, but the twobooks won't become a bi-weekly Superboy series.
12. Are you serving double duty as Karl Kesel, inker, and Steve Mattsson,
colorist, or leaving those jobs to other folks?
We'll be leaving those jobs to other folks. Only so many hours in the
day, unfortunately. Paul Pelletier pencils and Dan Davis inks. Every
page is a beauty to behold!
13. Last year's long-awaited crossover between Superboy and the Legion of
Super-Heroes seemed to meet with considerable fan appreciation. Now that a
group of the Legionnaires are going to be stuck in the 20th century, can we
expect them to interact with the Ravers?
I think that even somebody with sophisticated 30th-century tastes might
find some diversion at the Event Horizon.
14. Is it possible that some Legionnaires might join up with the Ravers team,
or vice-versa?
That is a much more complicated question than it seems, and the problem
is in the definition of the word "team". All you need is the hand-stamp
to become a raver, but within the rave there are lots of cliques, or
"teams". Aura belongs to a group called the Fashion Police as the series
starts. There's a Khund clique called the Red Shift, a group of undead
teenage ravers called the Corpse Corps, and many others. If the
Legionnaires were to visit the rave, I'm sure that they would be seen as
comprising their own unique clique.
15. There's a rumor - well, it's more than a rumor, because Steve played a
guessing game in the Comics Forum on CompuServe a while ago and a few folks
finally figured it out - that Rex the Wonder Dog is on the team. Has he been
brought through time, or is this Rex's great-great-great-great-grandpuppy?
SUPERBOY AND THE RAVERS will feature the original Rex the Wonder Dog.
He's a regular in the book, but I don't know if I'd go so far as to
classify him as a member of the "team". The answer to your question
about Rex's longevity is located in the Rex cannon, *all* of which is
still in continuity but will *not* be referred to in [RAVERS].
16. Chuck Dixon mentioned years ago that a Superboy/Robin pairing was a
definite possibility - he called it WORLD'S FINEST: THE NEXT GENERATION. Are
we any closer to seeing that?
Yep. First issue's plotted, Tom Grummett's drawn about half of it, and
Chuck and I (Karl) are starting to script it. Second issue to follow
shortly. Probably on sale sometime in late summer, early fall. Or not.
17. Might the Ravers meet the new Teen Titans? Will Superboy be crossing
paths with Impulse anytime soon? How about that new Wonder Girl? Captain
Marvel Jr.? Bucky Barnes?
It is the goal of the mysterious host of [the Event Horizon] - and the
writers of this series - to get every young hero in the DCU to make an
appearance at the party. How close he - and we - get to succeeding is
anybody's guess at this point. And Bucky Barnes would be a problem, but
not for the reason you might think!
18. Is this "mysterious host" anyone we've seen before? Is he/she/it just
being kept mysterious for now, or are we looking at a SECRET SIX/CHARLIE'S
ANGELS thing?
The host of the Event Horizon is a new character called Kindred Marx.
He is probably the most powerful teleporter in the DCU. If we're using
'70s TV analogies, he's "mysterious" in a Mr. Roarke of FANTASY ISLAND
kinda way rather than a Charlie of CHARLIE'S ANGELS kinda way.
19. If Baby Plas from THE PLASTIC MAN COMEDY/ADVENTURES SHOW aged in real
time, he'd be about Superboy's age. Is there any chance of them meeting up?
Actually, Superboy *is* Baby Plas!
[Note: This is, as near as can be determined, simply a joking response to a
joking question. Thus far, however, nobody has actually conducted the one test
that would lay this matter to rest - namely, tugging on Superboy's forelock to
see if it is indeed capable of stretching farther than the mozzarella on a
freshly baked Pizza Hut personal pan pizza.]
20. Whatever happened to Penny and Hoola-Hoola, anyway?
Godzooky ate them.
* * * * *
Karl Kesel's current projects include DC's ADVENTURES OF SUPERMAN and Marvel's
revitalized DAREDEVIL, both of which he writes monthly. Both he and Steve
Mattsson have some "secret projects" on the burner, which may or may not
include contributions to a possible second wave of Amalgam offerings. Stay
tuned. SUPERBOY AND THE RAVERS is scheduled to arrive in comic stores July 24.
* * * * *
Brian Saner-Lamken is the author of PRO-MOTION: HOW TODAY'S CREATORS BROKE INTO
COMICS... AND THEIR ADVICE TO YOU!, available at finer comics shops nationwide
or directly from the publisher for only $14.95 plus $3.00 shipping with a check
to Boardwalk Press, PO Box 362, Wynnewood, PA 19096. Mention THE KRYPTONIAN
CYBERNET and shipping is free! All checks must be in US funds drawn on US
banks.
* * * * *
This article originally appeared in the July 3rd, 1996 edition of comicScrypt,
the weekly newsletter of Fat Jack's Comicrypt, a four-store chain of comics
shops in and around Philadelphia, PA. If you'd like *your* local retailer to
distribute a ginchy newsletter like comicScrypt absolutely free with your stack
of comics every week, E-mail the editor at blamken@aol.com with your store's
name and address; include yours as well, and you'll get a free sample copy as
thanks. Subscriptions are available as well!
________________________________________________________
THE METROPOLIS LIBRARY
--------------------------------
by Isaiah J. Campbell <icampbel@mail.orion.org>
First of all, I would like to apologize for there not being a Metropolis
Library in the last issue. Things came up and I was not able to do turn in
anything for that issue. Also, I must apologize for this article. Some
complications arose which did not allow me to review the book that I wished to
review. What am I going to do instead? Ah, read on.
Before getting into my article, let me say that Curt Swan has always been one
of my favorite artists of all time. I am sorry that he has left this earth,
but he has left us a legacy in his comics. If there is ever a biography of
Curt Swan, believe me, it will be reviewed here. On to my article.
I have been given the pleasure of getting to read many good Superman novels,
some of which I will review someday. There have been, however, some books that
I simply cannot review, either because they have smaller essays instead of one
giant plot-line; because I feel that I would be tarred and feathered for my
opinion, or for some other reason. It is my pleasure, therefore, to give you
these books, and brief summaries, so that you can read them and review them for
yourself. Here they are:
SUPERMAN AT 50
publisher unknown
This is a book of essays about Superman, written for his fiftieth birthday.
They are all very well written. (No, "Man of Steel, Woman of Kleenex" is not
in it!) Many are quite informative (such as the article about Superman physics
-- very informative). I would suggest this book to you if you don't mind
reading opinionated articles. (Such as this one you are reading right now :)
THE AMAZING WORLD OF SUPERMAN, METROPOLIS EDITION
National Periodical Publications, Inc. 1973
This is not a book, but it isn't a comic and it isn't a graphic novel, so it
falls under my column. It has many articles, not only about Superman Comics,
but also about making a comic book; about Metropolis, Illinois; and about the
Broadway show "It's a Bird...It's a Plane...It's Superman!" If you are a
Superman history buff, or if you are interested in Superman Trivia, then you
should get this ... magazine.
THE DEATH AND LIFE OF SUPERMAN
by Roger Stern
New York; Bantam Books, c1993
I have decided to not review this novel because the events are out of date. It
is a good re-telling of the story, and if you aren't quite sure about what
happened with it all, you should read it. If enough people write me asking me
to review it, I will.
All of the LOIS AND CLARK novels except for #1
M.J. Friedman
New York: Harper Paperbacks
Simply put, this is not a series of reviews to review a series of novels. I
will review #1 (hopefully next issue), but I will not review any others.
Therefore, you might want to read the rest, (hey, I don't even care if you read
#1 before I do, just don't write a review and send it in before I do, OK?
Thanks)
SUPERMAN, THE MAN OF STEEL (Which Way Book #1)
Andrew Helfer
Illustrated by Jose Delbo
An Archway Paperback published by POCKET BOOKS, a division of Simon & Schuster
Inc. 1983
I have never known how to review a "Choose Your Own Adventure Book." But the
illustrations are great and the story is really good. If you don't mind this
type of book, I would suggest you read it.
You might be able to find these books at a bookstore that deals in old books,
or you might be able to find some of them in a library. If all else fails, try
rummage sales. And if that fails, just fly over to the Metropolis Library,
open 24 hours a day, 7 days a week.
Next time, (hopefully) the first of the LOIS AND CLARK novels.
________________________________________________________
Just the FAQs
More Details about Frequently-Asked Questions about the Man of Steel
by David T. Chappell
After a two-month hiatus, this column is returning to cover more topics about
the Last Son of Krypton. This month's question covers a subject relevant to
some of my own career interests. While a student at Stanford University, I did
research in both human and robotic aspects of Mars exploration. However, this
subject is not only of personal interest but of issue in Superman's recent trip
to the Red Planet. Rather than confining the subject to Mars, I have broadened
the question to ask,
"Can Superman Breathe in Space?"
Introduction
The story of Superman has been connected with outer space since nearly its
conception. It was from space that Superman came -- the doomed planet Krypton
-- and a rocket ship transported the young babe across vast distances to Earth.
More than just Kal-El's origin is linked to space, however. Superman's trips
to outer space and his good deeds on other planets have given him an
interstellar reputation as one of the galaxy's greatest heroes. While some
fans (and even writers) treat Superman's trips through space as nothing
special, one should consider how amazing it is for a man to survive in a
complete vacuum with no oxygen. This article does not tackle the question of
why Superman does not freeze, and despite modern folklore, exposed human bodies
do not explode in space. Nonetheless, I shall explain how Superman breathes in
this extreme environment.
The Good Old Days
In comics stories printed before the 1986 Crisis on Infinite Earths, Superman
could survive in space without difficulty. A nice breath of air before leaving
Earth's atmosphere was sufficient to last for an indeterminate amount of time.
Superman could speed off to other planets at a moment's notice, and long trips
through space never bothered him. Moreover, he had another special talent that
materialized in space. When traveling with others, Superman could use
super-ventriloquism to communicate. Regardless of the lack of any intervening
medium to transmit the sound, Kal-El and his super-powered cousin Kara Zor-El
could speak to each other with their wondrous super-ventriloquism.
Early New Adventures in Space
When Superman was revamped by John Byrne on the character's fiftieth
anniversary, his powers were redefined and reduced. Kryptonians could no
longer survive without air indefinitely but needed regular breaths of oxygen.
In the new Superman's first post-Crisis adventure into outer space, as
retroactively recounted in ACTION COMICS ANNUAL #7 (1995), he learned that a
deep breath can last for some time in space, but Clark also pushed himself to
his limits and nearly suffocated. It was also in that story that he first used
a breathing mask and a small oxygen tank to extend the length of time he could
remain out of an oxygen-rich environment.
Superman's most epic adventure in space was his 1989 self-imposed exile from
Earth. Before departing, the Man of Steel asked Professor Hamilton to give him
a tank of air so he could survive. As the trip extended, Superman's oxygen
tank ran out, but he encountered several oxygenated environments on spaceships
and even the monstrous Warworld. Though Superman survived the trip, oxygen
deprivation did drive him unconscious at one point in his adventures.
Since then, Superman has taken several other trips into space. Some have been
aided by other heroes or powerful beings who can alleviate the need for air or
instantly transport Superman across space. Other trips, such as his jaunt to
Argo City in the 1995 SUPERMAN VS. ALIENS mini-series, have been within a
spaceship with life support. Another notable trip into space in comics dated
early 1994 occurred when Superman's powers were beginning to increase. For
then-unknown reasons, Superman's body was temporarily processing energy at an
accelerated rate, and he was able to survive in outer space with practically no
need to respire at all.
A Super-Biology Lesson
Two valuable texts provide details on Superman's breathing requirements: Roger
Stern's SUPERMAN: THE MAN OF STEEL SOURCEBOOK and John Byrne's unpublished
"Superman -- The 'New' History -- A Guide." Superman's body processes air at
100% efficiency, and he can survive on a single deep breath of air for an hour.
His metabolism thus puts Earth's moon in easy reach since super-speed can put
Superman there within just a few minutes. Other planets, however, are out of
normal reach. To solve the problem, Byrne suggests, "Just as a diver can take
a single deep breath of nearly-pure oxygen and go without refilling his lungs
for six to eight minutes, so Superman could essay a trip to Mars or Venus under
similar conditions." Longer trips to deep space require further preparations,
as demonstrated in the aforementioned stories.
Superman on Mars
As of this writing, the Man of Tomorrow's most recent visit to outer space was
on his trip to Mars within SUPERMAN #112 (Jun 96). Despite the previously
mentioned need for special precautions for such a long trip, Superman clearly
just directly takes off for space in that story; however, one could presume
that he made a detour to breathe pure oxygen before taking leave of Earth's
atmosphere. According to inside information, Jurgens simply forgot Superman's
breathing limitations. To Jurgens' credit, however, he did correctly
acknowledge that Mars has "just enough atmosphere for sound." This atmosphere
provides more than just a medium for sound: it also provides enough oxygen for
Superman to breathe.
The amount of oxygen in the Martian atmosphere is nearly insignificant in
comparison to our terrestrial environment. On Earth, oxygen makes up 21.0% of
the atmosphere; out of a total of 1013 mbar pressure, that yields a partial
pressure of 212.7 mbar. In contrast, oxygen makes up only 0.15% of the Martian
atmosphere; out of a total of 6.1 mbar pressure, oxygen thus has a partial
pressure of just 0.0092 mbar. Hence, Mars has only a tiny fraction as much
oxygen as Earth, and it takes about 23,250 times as much volume of Martian air
to provide as much oxygen as on Earth. However, if one presumes that
Superman's lungs could inhale enough volume to equal the same pressure on
either planet, then only the percent composition matters. Therefore, Superman
could use his super-lungs to get a big lung-full of Martian air on each breath,
and he would only need 140 breaths on Mars to equal one on Earth. If we assume
that he can survive with one breath an hour on Earth, then Kal-El would have to
breathe only about once every 25 seconds on Mars.
Conclusion
Superman's occasional excursions into outer space are part of the legend that
makes him Earth's greatest hero. Since he came from the stars, it seems only
appropriate that he not be confined to a single planet. Although he usually
needs to make special preparations to breathe in space, Kal-El's past
experiences have taught him his limits. Older fans may prefer the pre-Crisis
incarnation of Superman who could survive without breathing, but this modern
limitation is part of the emphasis of the man over the super.
While Superman's main interest in space is saving humans and aliens, some of
his fans have time to learn more about the universe around us. Readers
interested in learning more about space exploration and Mars can visit WWW
sites such as these:
The Planetary Society -- http://planetary.org/tps/
Center for Mars Exploration -- http://cmex-www.arc.nasa.gov/Mars
Global Surveyor Project -- http://mgs-www.jpl.nasa.gov/
SIMM Mars Information Pages -- http://www.duke.edu/~dtc/mars/filelist.html
________________________________________________________
SUPERMAN - THE SERIAL
---------------------
by Steven Younis (younis@ipacific.net.au)
In the beginning...
Hi there! This is my first ever column in any type of magazine or publication,
so please be patient with me as I find my feet! :)
As the title of this column says, I'll be stepping back in time to the
beginning of Superman. No, not in the comics, not in books, not on television,
but on the Big Screen! To be exact, I'll be reviewing the 15 chapters of
SUPERMAN - THE SERIAL. And then (if Jeff and the rest of the KC team allow it)
I'll also review the 15 chapters of SUPERMAN VS THE ATOM MAN. But I'm getting
way ahead of myself!
SUPERMAN - THE SERIAL is the first ever appearance of The Man of Steel to the
movie-going audience. As we all know, Superman's first comic appearance was in
1938, and most of us are aware of the TV series starring George Reeves starting
in 1951. But what many aren't aware of is that there was a Cinema Serial in
1948, and that before George Reeves there was Kirk Alyn.
Before I go on further about the content of THE SERIAL videos, let me tell how
I came across this gem.
My wife and I went along to a Collectors Fair at Parramatta Town Hall (I live
in Australia BTW), besides the usual comics and collector card stalls, my wife
found one stall where these ladies were selling all types of videos. Actually
I couldn't tell you what other videos they had, as my whole attention was
centered on the two Superman collections on their table. Two double video
sets: SUPERMAN - THE SERIAL and SUPERMAN VS THE ATOM MAN at $24.95 each. In a
flash, out came the cash! :)
I'm sorry but at this point in time, I don't know who or what released these
videos or where (if at all) you can buy them from. But in the coming months
I'll attend the next Collector's Fair and ask the people I bought them from for
more information. I promise to pass on the details, as soon as I know more.
The covers on volumes 1 & 2 of THE SERIAL are identical except for the volume
number on the spine. The front cover has an artist's color rendition of Kirk
Alyn as Superman with small drawings of Superman in different situations
surrounding the main picture. Also prominent is a drawing of this story's
villain(ess), The Spider-Lady. The familiar 3D Superman title tops the cover,
and a black & white photo of actual footage from chapter 11 is shown in the
bottom left-hand corner of the cover. Here's what's written on the Front cover
in very small print:
Based on the SUPERMAN adventure feature appearing in SUPERMAN and ACTION COMICS
magazines, in daily and Sunday newspapers coast-to-coast, and in the SUPERMAN
radio program broadcast over the Mutual Network.
Kirk Alyn, Noel Neill, Tommy Bond and Carol Forman.
Adaptation by George H. Plymton and Joseph F. Poland.
Screenplay by Arthur Noel, Lewis Clay and Royal Cole.
Directed by Spencer Bennet and Thomas Carr.
Produced by Sam Katzman.
A COLUMBIA SERIAL
The back cover has a photo of The Spider-Lady against the backdrop of a spider
web. Here's the information printed on the back:
Superman: The Serial
First-ever live-action version of the comic book legend stars Kirk Alyn as the
Man of Steel, using his muscular might to foil the machinations of the
malevolent Spider Lady. Noel Neill appears as Lois Lane [a role she also
played in the later TV series]: with Carol Forman, Tommy Bond. 15 episodes:
248 min.
Chapter Titles:
1. Superman Comes to Earth
2. Depths of the Earth
3. The Reducer Ray
4. Man of Steel
5. A Job for Superman
6. Superman in Danger
7. Into the Electric Furnace
8. Superman to the Rescue
9. Irresistible Force
10. Between Two Fires
11. Superman's Dilemma
12. Blast in the Depths
13. Hurled to Destruction
14. Superman at Bay
15. The Payoff
The opening credit when playing the video lists the cast members as follows:
Superman/Clark Kent - Kirk Alyn
Lois Lane - Noel Neill
Jimmy Olsen - Tommy Bond
Spider Lady - Carol Forman
Driller - George Meeker
Anton - Jack Ingram
Perry White - Pierre Watkin
Brock - Terry Frost
Conrad - Charles King
Hackett - Charles Quigley
Graham - Herbert Rawlinson
Leeds - Forrest Taylor
Morgan - Stephen Carr
??? - Rusty Wescoate (The character name is cut off by the bottom of the
screen, but I think the actor's name is correct)
>From all appearances, these chapters were shown in weekly installments in
cinemas, because at the conclusion of every chapter we're left with a
cliff-hanger of an ending and the sound of the narrator's voice saying to make
sure we "catch the next exciting chapter of Superman at this cinema next week!"
Whether or not these were shown before a feature film or on their own I don't
know (maybe one of you KC subscribers knows more about this. If so, please
pass on the info).
I won't go into any details on SUPERMAN VS THE ATOM MAN until I finish
reviewing THE SERIAL collection. (Actually, at the time I write this, I *can't*
rather than *won't* go into details on the ATOM MAN videos as I haven't watched
any of this collection yet!) :)
Okay, here we go!
After the Title, music and credits (which by the way only shows up at the
beginning of each cassette), we're shown the chapter title in 3D lettering:
Chapter 1 - "Superman Comes to Earth"
The scene is outer space, (all the special effects in this series are done
using animation). The narrator introduces us to the planet Krypton, a blue
planet, circled by 12 moons. Footage of Krypton's surface (no longer
animation) shows us jagged rocks and rough terrain. But on a flat plateau
(animation again) stands Krypton's giant capital city (no name given). This
city is populated by a race of Supermen and Superwomen.
Jor-El, one of Krypton's leading scientists believes Krypton is being drawn
towards its sun and one day will explode into millions of tiny fragments.
We see Jor-El in his laboratory. He's wearing a weird outfit, a cape (like a
magicians) is draped over his shoulders, his pants and shirt look like silk or
satin.
Jor-El (we are told) is building a trial space craft. If his model is
successful, he plans to build a mammoth fleet for all Kryptonians to escape the
pending doom and find safety on Earth, "a planet similar in atmosphere to
Krypton".
Jor-El's request to meet with Krypton's Council members (7 in total) is
accepted. They are to discuss the quakes and volcanoes that have been
occurring (and are still occurring) all over Krypton.
Ro-Zan, head of the Council, introduces Jor-El to the rest and motions for
Jor-El to talk. Jor-El speaks (for the first time with quite an English accent
too) telling the Council his theories on the doom Krypton faces and that they
should plan to evacuate Krypton as soon as possible in the space crafts he has
designed. This moves most of the Council to anger. They mock and ridicule
Jor-El, even going so far as to ask if maybe his mind isn't wandering.
Jor-El pleads with them one last time, before they take a vote (very
democratic) and unanimously decide to disregard Jor-El's theories and stay on
Krypton.
Jor-El dejectedly leaves the meeting room to the sounds of their laughter and
returns to his laboratory. Soon after, Lara (his wife) enters holding their
infant child (Kal-El) wrapped in blankets. A major quake shakes the building,
and we're told that Jor-El realizes Krypton's last moments have come.
Jor-El places the baby into the model rocket (which looks like every other
rocket in movies made in the 1950s) as a large volcano erupts outside. Making
last minute adjustments, Jor-El closes the hatch and presses a button on the
rocket. With sparks and plenty of smoke, the rocket scoots up the ramp it
rests on and flies out the open window.
Jor-El and Lara hold each other as Krypton is shaken apart. From a view-point
in outer space, we see the (animated) rocket ship shoot out of Krypton's orbit
seconds before the planet explodes into a puff of smoke.
*phew!*
On Earth, a car (classic late 1940s model, no roof) chugs along a country road.
Traveling in the car is a middle-aged couple, who stop the car when they hear
a strange noise. As they watch, a rocket ship falls out of the sky, sliding to
a halt behind some large rocks.
The woman says, "Eben! It landed behind that rock!"
(We all know that this is Mr. and Mrs. Kent, but here (and even in the 1950s TV
series) Mr. Kent's name is Eben rather than Jonathan. In this series we never
find out Mrs. Kent's first name.)
The couple investigate and Mr. Kent opens the hatch of the smoldering rocket
and "rescues" a bundle from inside. Mrs. Kent exclaims, "It's a baby! And
alive! How can that be?" Just then the rocket explodes.
Mr. Kent wonders at the blanket the baby is wrapped in, how it's made out of
some odd material, "fire proof".
They wonder where the baby came from, and decide that people would think them
crazy if they said it fell out of the sky. So they keep the whole thing a
secret, take the baby home, naming him "Clark".
The narrator tells us that Clark grew rapidly, and that the Kents knew soon
enough that he was different. How? Well when we next see Clark, he's around 6
years old and pulling a loaded wagon all by himself!
Then at age 10 (or there abouts) we see Mrs. Kent point Clark towards a
haystack. Using his X-Ray vision and Super-sensitive hearing, Clark burrows
into the hay and comes out seconds later holding his mother's watch. (What her
watch was doing in the middle of a hay stack I don't know :)
Now in the Kent's living room, Clark looks about 16. Mrs. Kent answers a
telephone call from someone in the town, telling her a tornado is heading their
way! She hangs up and tells Clark to run out to the far field and fetch his
father.
Meanwhile, Mr. Kent (I can't bring myself to call him "Eben"), who's working on
some machine, feels the wind pick up, looks around, and sees the twister (again
an animated effect). Running, he gets into his car (this time it's one with a
roof) and drives off. But the wind and dust obscure his sight and force the
car off the road and into a tree! A falling power line lands on the car,
electrocuting the exterior.
Clark comes running, sees the power lines and tells his dad not to touch any
metal. He grabs the live wires and throws them clear of the car.
Driving home in the car together, Mr. Kent tells Clark that was the most
amazing thing he has ever done! Clark looks at his dad and smiles, saying they
better get home to "Ma" as she's probably worried.
Back in the Kents' living room, the years have passed and Clark has reached
manhood. The Kents reveal to Clark the story of how they found him. Mr. Kent
tells him that because of his great abilities, how he's almost a superman, he
has a large responsibility.
Admirably, Clark agrees with his father and announces that he plans to go to
the city, where there is need for somebody like him, and that he'll get a job
that will keep him close to world events.
Mrs. Kent brings forth a parcel which she hands over to Clark, telling him it's
a costume she's made for him out of the "strange cloth" he was wrapped in when
they found him. She says it resists both fire & acid, and hopes it will
protect him always.
Now just let me cut in here for a second. I realize compared to today's
story-lines that these plots have quite a few holes in them, but what I'd like
to know is how Mrs. Kent knew the cloth was resistant to acid? And if Clark
was such a super man, why did she hope that the "strange cloth" would protect
him always? He's super without the suit! Anyway...
Clark says he'll only wear the costume when he's "Superman", because he thinks
it's best if people don't know that Superman and Clark Kent are one and the
same.
Shortly after this event, we're told that both Mr. and Mrs. Kent "passed away".
Clark leaves Smallville (actually we're never told the name of his home town,
I'm just presuming) and heads for the local train station.
The scene changes and we're aboard a train. Here we first meet Lois Lane and
Jimmy Olsen. Jimmy knocks on the door of Lois' compartment and with some
whimsical comments she lets him in. Lois is typing away on her typewriter, and
as he fiddles with his camera, Jimmy comments that the train is really
traveling fast.
Now at the station, Clark arrives just in time to see the station master run by
in a panic. Using his telescopic vision, Clark spots a broken section of the
railway. Two men stand next to the broken piece wondering what can be done
about it. Clark and the station master (now with a flag in hand) run up along
side the two men and also examine the broken rail.
Meanwhile, the train speeds ever closer!
The station master runs up ahead and waves his flag wildly trying to signal the
train driver to stop! One man races off to call an ambulance just in case,
while the other, realizing the driver isn't going to spot the station master in
time to stop, runs for cover.
Clark (looking very intense) thinks to himself: "This looks like a job for -
SUPERMAN!" and races off behind a gathering of trees. Two seconds later, from
behind those same trees emerges Superman!
The train speeds past the station master, horn blaring and brakes screeching as
Superman prances (I'm sorry but he prances) across the tracks, bends over the
broken section of the rail and ...
"Can even Superman save this train from destruction? What will happen to Clark
Kent when he arrives in Metropolis? Don't miss 'Depths of the Earth', the
second exciting chapter of Superman at this theater next week!" or should that
be in this e-zine next month!
A great cliff-hanger!
Sorry if I sound a bit sarcastic at times, I really did enjoyed this
collection, I sat enraptured as I watched. But by today's standards and after
growing up watching Christopher Reeve as Superman (God bless him), it's hard to
warm to Kirk Alyn's performance. Don't get me wrong, he does a great job, but
his running style and the way he jumps out from behind the trees holding his
arms out from his side and swiveling side-to-side as he takes in the whole
situation is a bit theatrical and over-dramatic. He just doesn't seem tough or
masculine enough IMHO. But without a doubt this is definitely a must for any
Superman fan's collection, I wouldn't trade it for anything!
That's it for this month, I hope you enjoyed it. Please don't hesitate to
e-mail me at any time with your thoughts and reactions to my column.
BTW, I've put the SUPERMAN - THE SERIAL Theme Music (recorded off the video)
and other Superman related sounds for you to download (in .au format) in the
BITS & PIECES section of my Web of Wonders homepage at:
http://www.ipacific.net.au/~younis/web_of_wonders.html
I'll catch up with you again in next month's issue of KC!
Later!
Steven Younis
younis@ipacific.net.au
****
You can also read a comprehensive history and production details regarding
the Superman Serial at
HTTP://www.skypoint.com/members/joycek19/setchell.htm
thanks to Rick Setchell (rsetchel@monarch.papillion.ne.us)
The Superman - The Serial Review column is copyright (c) 1996, Steven
Younis. All rights reserved.
________________________________________________________
REVIEWS
-------
Ratings Panelists:
AW: Anatole Wilson KM: Ken McKee SF: Shane Furlong
DS: Dick Sidbury MC: Matt Combes VV: Vic Vitek
JS: Jeff Sykes RG: Rene' Gobeyn WN: William J Nixon
As always, the first rating given after the average is that of the reviewer.
The average rating given for each book may correspond to a larger sample
of ratings than what is printed following the average.
THE "TRIANGLE" TITLES:
---------------------
Uniform Credits:
Colorist: Glenn Whitmore
Separator: Digital Chameleon
Associate Editor: Mike McAvennie
Editor: KC Carlson
29. SUPERMAN #114, "Identity Crisis IV: Worldwide Web"
Writers: Tom Peyer and Mark Waid
Pencils: Chris Renaud, Steven Butler, Curt Swan, and Chris Marrinan
Inks: Dick Giordano and Pam Eklund
Letterer: John Costanza
Cover: Kieron Dwyer and Patrick Martin
August 1996
$1.95 US/$2.75 CAN
RATINGS:
Average: 3.7/5.0 Shields
KM: 4.0 Shields
MC: 4.0 Shields - It's really sad, knowing that this issue contains the last
Curt Swan Superman art ever. Seems all the greats are dying these
days. Great issue.
SF: 3.0 Shields - Nice story, but changing pencillers and the stock cover
detracts from the rating.
DS: 3.5 Shields - The trouble with Brainiac stories is the conclusions are
usually pretty weak. The solution was much too pat for me, especially
coming from Waid and Peyer. I'll give the issue an honorary 5.1 as
Curt Swan's last work, however.
VV: 4.0 Shields - Put in a slightly different ending, without the easy answers
to Chas' problem, and I'd rate it higher. Then again, it was a kind
of silver age ending, so I'm not too disappointed. A good conclusion
to a good read, proving you don't need a fight an issue to have a
great story.
Our story opens with Superman (Brainiac) saving a bikini babe from an apparent
drowning at the local beach. Mentally he is recording the events as he sees
them unfold. A bizarre opening to a very confusing and convoluted story, he
appears to be conducting some sort of experiment to see how humans will react.
Cut to downtown Metropolis where Chas (Superman) is trying to figure out how to
break into Lexcorp, the secret headquarters of Brainiac. All around him the
good citizens of Metropolis are walking around like mindless robots spouting
binary numbers. Brainiac has overloaded their brains with megabytes of
information to the point where they have lost all individual identity. Chas
(Superman) is determined to stop Brainiac at all costs and recover his body.
Despite a minor setback by some flying killer robots, Chas (Superman) makes it
to the top floor where he finds Milton Fine strapped to a gurney.
Meanwhile, in another part of the building, Brainiac (in Superman's body) is
planning to download information into the minds of everyone on the planet with
the aid of a worldwide television signal (sort of like what Bob Dole and Bill
Clinton plan to do this summer for the upcoming election).
Chas (Superman) is suddenly interrupted by Superman (Brainiac), who plans to
kill him on worldwide television. Superman (Brainiac) picks up Chas (Superman)
and hurls him through the glass dome to the street below. Just when it seems
to be over for Chas (Superman), Superman (Brainiac) swoops down and catches
him.
Now Superman (who *was* Brainiac) is back to being Superman!? [Chas, in his
delusion of being Superman, has wrested control from Brainiac -- both of their
minds are housed in Superman's body! --Jeff] As Chas (Superman) tries to
explain what happened, Brainiac regains control of Superman's body. He flies
Chas (Superman) back to their previous location and attaches a set of cables to
their heads. Activating the equipment, Brainiac expels Chas' mind back into
the boy's body, so that Brainiac's mind is alone in Superman's body, and Chas'
and Superman's minds both share Chas' body!
Enter the dream sequence. Superman (the *real* Superman) and Chas are having a
discussion, and Superman is telling Chas that he must fight. Superman manages
to see Chas' memories and finally realizes why Chas wants to be Superman so
badly. Living with a battering mother all but kills him as a child, and his
only escape is to slip into his imaginary world as the Man of Steel.
Back to reality. Chas/Superman has a momentary reprieve from Brainiac's mind
control and flips a switch on a control panel. The electrical current surging
through the cables throws Brainiac back into the body of Fine and Superman's
mind back into its rightful owner. But it ain't over yet, dear readers.
Brainiac now uses his knowledge of Superman's physiology and discharges a
destructive ray from his mind towards Superman. Superman pleads with Chas to
do something before it is too late. There is only one thing he can do. He
leaps from the balcony, grabs some cables, and manages to short out the deadly
mental transmission between Brainiac and Superman. Superman is released from
Brainiac's power and quickly soars to Chas' rescue; they both escape in the
aftermath of a tremendous explosion. Of course Superman had to drag along
Brainiac. It wouldn't be fair to just let him die. I wonder what Luthor will
think of the destruction of his corporate office?
Chas tells Superman that he reversed the flow of the knowledge that Brainiac
put in the brains of his victims. They are all back to normal (do they
remember what happened?) and Brainiac is needing a new hard drive to hold all
his newly acquired mental energy.
The ending is a good one for Chas. He is having an operation which will cure
him of his seizures.
This is another rendition of the Joker's attempt to take over the world in the
movie "Batman Forever." I had to go back and read it several times to figure
out the ending because it was so confusing. I don't know what the opening
beach scene had to do with the rest of the story and where did Chas get the
cables he was holding when he leaped from the balcony? Maybe they were the
ones that Brainiac had attached to his head, but they weren't there when he
jumped.
I like Brainiac much better than Luthor. I think he is a much more formidable
adversary for Superman, and he definitely has more class than Luthor.
The cover was sensational, as was the rest of the artwork. The entire story
was interesting and intriguing, but the thing I liked best about it was that it
was short. It didn't drag on for three months like so many stories do.
As a final note, I am deeply saddened by the death of Curt Swan. I remember
his rendition of Superman as a kid. To me, Swan's Superman truly was the Man
of Steel. Good-bye Curt. We'll miss you.
Ken McKee (stdkrm01@shsu.edu)
=================================================
30. ADVENTURES OF SUPERMAN #537, "Creatures on the Loose!"
Writer: Karl Kesel
Penciller: Stuart Immonen
Inker: Jose Marzan, Jr.
Letterer: Albert De Guzman
Cover: Stuart Immonen, Jose Marzan, Jr., and Patrick Martin
August 1996
$1.95 US/$2.75 CAN
RATINGS:
Average: 2.6/5.0 Shields
AW: 1.0 Shield - Buy it for the artwork, not the uninspired set of
ill-conceived subplots.
MC: 3.3 Shields - Jimmy's becoming a jerk and Lori's under my suspicion for
those "errands" she was running, but this was a pretty nice issue.
I'm adapting little by little to Immonen's artwork, and Kesel pulls
off the plot quite nicely.
SF: 2.0 Shields - Indifferent story with poor art. Many pages have no
backgrounds at all.
WN: 3.5 Shields - Monster fun and art, I loved Jimmy getting his comeuppance
from Lucy, but what's with Thompson's outfit?
VV: 2.5 Shields - Sigh. Back to "monster of the week". On the other hand, I
like the way the Ron Troupe/Lucy Lane relationship is being handled.
I wonder if Jimmy has been taking RELATIONSHIPS 101 from Clark,
recently. And what is Lori Lemaris going to do with all the money
she earns from sunken treasures?
I might as well just come out and say it -- "Creatures on the Loose" was a big
disappointment. In a comic about a flying man from another planet, it can be
hard to say what strains "credibility" in a story. I don't have any such
problem with this one: from Superman's previous lack of concern about the life
forms being imprisoned in S.T.A.R. labs to Jimmy's callous pursuit of a story,
to Burton Thompson's ridiculous costume in the very last panel, this issue
carries on several implausible plot lines that just left me scratching my head.
The issue starts out with the Doc Freeman/Rudy Parasite causing a power outage
at S.T.A.R. labs for a purpose to be revealed later. The power blackout frees
all the creatures Thompson has been keeping in S.T.A.R.'s underground lab, and
they proceed to run amok throughout Metropolis.
Clark and Lois are in the newsroom and argue over who should get this story. A
preoccupied Perry White (who apparently has just learned he has cancer, I've
heard) picks Clark to handle the story.
Kent, as Superman, goes to handle the crisis. He saves a group of men from a
wolf-like creature, only to learn that Lucy Lane has been captured by King
Kong, Jr. Kesel adds a little spin by having the giant gorilla-like creature
shoot stone spikes and substitutes floating creatures who have acid instead of
blood for the traditional biplanes.
Oh -- and we see Jimmy's new professional callousness as he and Ron Troupe
finagle their way to the top of the LexCorp building; Ron is concerned about
Lucy, Jimmy is only concerned about getting good pictures. After Lucy is saved
(c'mon, you knew she would be), she decks Jimmy for trying to interview her.
I'm not sure if we're supposed to laugh or just be stupefied by Jimmy's
behavior.
There's nothing particularly exciting about the battle (Superman grabs a box
and stuffs all the acid blobs into it), except for the breathtaking sequence on
page 20 where I was actually convinced the ape creature was going to fall to
its death before Superman could save it.
The victory of Superman's save is short-lived, however, because the creature is
suddenly "shattered" by a death ray. The death ray comes from a techno-spear
wielded by Burton Thompson, S.T.A.R. Director and apparent Tarzan/B'wana Beast
wannabe. Or is his costume from Brother Voodoo's old collection? Either way,
it's an incredibly silly costume that I can't imagine any self-respecting
scientist would wear, especially if he wanted to keep his job. Doesn't
S.T.A.R. have any kind of managerial oversight?
So what we have is a series of subplot insertions that I just don't buy, and
one of the most ridiculous new characters -- Burton Thompson -- that we've seen
in a long time.
And once again the issue ends with Superman caught unawares as the foe he's
captured is killed before his eyes. I think this is happening now about twice
a month. How many more times must we be subjected to this brutal cliche?
The only redeeming qualities of this issue were the appearance by the Parasite
(though I thought his killing of two security guards counts as gratuitous
violence), and the previously mentioned art, which reached its pinnacle on page
20.
Anatole Wilson (awilson@vnet.ibm.com)
=================================================
31. ACTION COMICS #724, "Losing Brawl!"
Writer: David Michelinie
Guest Penciller: Tom Morgan
Inker: Denis Rodier
Letterer: Bill Oakley
Cover: Tom Grummett, Denis Rodier, and Patrick Martin
August 1996
$1.95 US/$2.75 CAN
RATINGS:
Average: 2.8/5.0 Shields
WN: 3.5 Shields - Brawl is a victim and Lex is chilling in a solid action
installment.
MC: 1.5 Shields - Well my theory has been proven. Looking at the crap I see
on the cover, I was right when I said that Rodier was at fault for all
the similarity in the (crappy) art in ACTION. I surely hope they rid
themselves of him soon. I'm not sure I could stand Tom Grummett's
pencils with his inks. As for the story, one word: boring.
SF: 3.0 Shields - Brawl with a personality!? Nice story, and guest penciller
Tom Morgan does a good job especially drawing Lois.
JS: 2.7 Shields - Adequate fill-in art by Tom Morgan, but Michelinie fell back
into his "stupid readers" mode -- telling us what we're already seeing
in the art.
VV: 3.5 Shields - Okay more brawling (no pun intended). However at least
there was good movement in two subplots (STAR monsters and
Clark/Lois), and a hint of movement in a forgotten one - the
Parasite. But I wonder what happened to Burton Thompson. He was
about to be arrested in three panels on the first page, never to
be seen again...
On the cover a tense Superman stands over a fallen Brawl as Lois holds him
back. ACTION continues the escaped monsters storyline with the focus on Brawl
(last seen in MOS #53). It deftly weaves Lois and Clark's relationship, Lex,
Brawl's history, the Parasite, and a good old fashioned slugfest all seamlessly
together. I enjoyed it. Great Grummett/Rodier Superman on the cover.
Burton Thompson, he-man figure, has recaptured most of the escaped monsters,
but a number, including Brawl, are still on the loose. Superman follows him to
the suburbs and they face each other in a storm drain. Brawl throws Superman
over and carries on towards his destination. Above him a small Lexcorp (?)
camera whirrs away, relaying footage to Lex.
In the Pacific, Lex is chided by his new bride to leave his work alone and join
her in the pool (she is wearing a minimalist swimsuit). He is intent on
Brawl's progress against Superman. Lois makes her way into S.T.A.R. Labs and
discovers that files relating to Torval Freeman (AKA Doc Parasite) have been
erased.
As Superman and Brawl fight, the latter begins to remember shards of his former
life and hesitates long enough for Superman to pin him down. Clark takes the
opportunity to check the city. The SCU are holding their own, but Lois is in
danger. He flies off to protect her but finds himself debating about the
rights and wrongs of what he is doing. He doesn't want her to come to harm but
at the same time wants to respect her independence. Before he arrives Lois
'extinguishes' the monster. The pride etched in both of their faces was a joy
to behold.
Meanwhile, Brawl has escaped and is lurching towards his final destination. He
remembers the name Rosebud. As he approaches a suburban home, a woman comes to
the door and hears him cry 'Rosebud'. Bill, as Brawl refers to himself, begins
to say that he knows who did this but mysteriously dies. In a chilling panel,
Luthor can be seen pressing the key which executed Brawl with a casual sigh.
As S.T.A.R. Labs arrive to take Brawl's body, Rosebud tells Superman about her
life with Bill. He had developed a brain tumor and didn't survive experimental
surgery. Superman checks Brawl's body and sees that the brain tumor has
disappeared. He vows that justice will be served. Lex joins the Contessa in
the pool -- his 'investment' hasn't paid off, but he jokes that there is still
time to make a killing.
There was a lot going on in this issue, and a lot of threads to follow through.
It was a solid, satisfying read. Thompson seems a most curious character with
an interesting fashion sense for a director of S.T.A.R. Labs (I mean this is
the same Burton Thompson Supes met back in SUPERMAN #113, there seen in a
double-breasted suit and new in town). Brawl looked like a prototype of a
Doomsday-like creature and Luthor is still about, still pulling the strings.
The monstrosity of the way these guys have taken it upon themselves to remodel
a normal man into a killing machine was brought home with the introduction of
Rosebud. Brawl was a guy who needed surgery, who had a life, a wife, and a
penchant for Orson Welles. A guy whose widow wept and "buried him" in a closed
casket. In the hands of Thompson/Luthor he became a deindividuated, mutant
tool for furthering their own designs. The extent of their collaboration
remains to be seen, but it seems like a reasonable assumption.
Lex didn't seem to have any control over Brawl this time, presumably as a
result of the unforeseen breakout caused by the Parasite. And it was Lex who
was responsible for the latest incarnation of that purple behemoth. His
fingerprints and presence are still everywhere. As deadly and worthy a nemesis
as he has always been.
I was glad to see that Clark pulled back from checking in on Lois after she
saved herself and realized that perhaps he had gotten too hung-up in old
habits. He was proud of her and his love shone through.
Tom Morgan as guest penciller did a good job and I liked his renderings of
Lois. Looks like we will see more of him next month. Her realization that the
Parasite was involved was a picture. Good job all around.
William J Nixon (W.J.Nixon@lib.gla.ac.uk)
=================================================
32. SUPERMAN: THE MAN OF STEEL #59, "Prey"
Story: Louise Simonson
Penciller: Jon Bogdanove
Inker: Dennis Janke
Letterer: Ken Lopez
Cover: Jon Bogdanove, Dennis Janke, and Patrick Martin
August 1996
$1.95 US/$2.75 CAN
RATINGS:
Average: 3.0/5.0 Shields
AL: 2.5 Shields
MC: 2.5 Shields - I cannot stand this cartoonish artwork in my Superman comic
book. If Bog were a young artist trying to get into the biz today,
he would be criticized so much for his misproportions and skewered
perspective; he just scrawls these people on the paper. Louise
Simonson is the only savior for this title. I just loved Clark's
remark to Lois on page 19 -- after all, not only is it true, but she
deserves a retort like that after the way she's been acting.
SF: 3.0 Shields - Nice Lois-centered story, but the Bogdanove art really
takes away. This book continues to be the weak link in the Superman
group.
DS: 3.75 Shields - Good Lois and Superman interaction. A believable conflict
between the two of them.
JS: 3.5 Shields - Janke's inks are still too heavy, but the art was more
tolerable this issue -- though why is Bog's Parasite so much more
muscular than Immonen's? It's good to see Lois back in crack
reporter mode, but methinks she overreacted a bit at the end.
When I was reading this week's MAN OF STEEL, I had to flip back to the splash
page to see if there were credits to Phil Foglio or Tom Clancy. The Artwork
was very cartoonish, and reminded me of Foglio's work (page 7 or 20 -- it could
just have easily been Dixie instead of Lois). In addition, it was obvious that
all the characters were eventually going to come together at the climax of the
story as they would in a Clancy novel.
The Story opens with Superman and the SCU collecting one of the last escaped
monsters on the water front, while Dr. Thompson, Dr. Faulkner, and Lois are
having some problems with some of the recaptured monsters back at STAR Labs.
Eventually things are back under control. Back at the Planet, Clark and Lois
run into each other and their relationship declines as they discuss how she
recently extinguished a threat at STAR Labs. Superman was prepared to help,
but held back when he saw she had things under control. But while they discuss
the situation, she feels that he treated her as a parent would a child. The
scene concludes with each thinking that maybe they can not even be friends.
The main plot of the book is advanced as Thompson, Lois, and Superman all begin
to unravel clues about the Parasite. Lois gathers the SCU and Professor
Hamilton (YEA! -- I like this guy I want to see more of Hamilton -- "DR. Art")
and they set a trap for the Parasite. They capture the Parasite in a pair of
stasis beams, but one of the beams malfunctions and the Parasite escapes. Lois
distracts the monster and leads it away from Hamilton. Superman arrives and
just when it appears that the Parasite will suck Lois' life force, Hamilton
gets the contraption back on line and contains the Parasite, and Superman
swoops in and lifts her to safety. Which upsets Lois even more than their
earlier conversation.
But, wait! In comes Dr. Thompson to add to the confusion. Eventually
everything ends, and we are left with Superman and Lois at her apartment. She
tells him that she can not count on him rescuing her. She says this causes her
to lose her edge. Turning her back on Kal-El to hide her tears, she tells him
she is leaving Metropolis to become one of the Planet's foreign correspondents.
Ugh, The Relationship has gone from bad too worse. The deterioration has been
realistic. I know very few couples that have broken up and then remain
friends. But there are always a few lucky souls who get back together after
some rough times. We can only hope...
Arthur LaMarche (DrArt95@aol.com)
________________________________________________________
OTHER SUPER-TITLES:
------------------
SUPERBOY #30, "Lost & Found" (Losin' It: Part 6 of 6)
Story: Karl Kesel
Pencils: Tom Grummett
Inks: Doug Hazlewood
Colors: Tom McCraw
Lettering: Richard Starkings and Comicraft
Associate Editor: Chris Duffy
Editor: Frank Pittarese
Cover: Tom Grummett, Karl Kesel, and Patrick Martin
August 1996
$1.95 US/$2.75 CAN
RATINGS:
Average: 3.3/5.0 Shields
AL: 2.5 Shields
DS: 3.0 Shields - Well it's about time he figured it out. A very
disappointing way to end Kesel's run.
JS: 3.7 Shields - Great having Grummett back on the interior once more, and
Kesel does a pretty good job of wrapping up (though I don't think
Volcanum's really dead) the story. The point? I think that Roxy
put it best: "Don't go all grim an' gritty on me, S.B. -- it just
ain't you!" Let's hope Marz remembers that...
VV: 4.0 Shields - Okay, who *didn't* think that Superboy would come to his
senses? And the ending wasn't telegraphed (well, maybe we knew
that Superboy would eventually fight and defeat Knockout, but the
solution was *extremely* well hidden in a previous issue). The fight
scenes were pretty good -- only one question: why didn't Superboy
stop Knockout from killing Victor? Then again, we did not see the
body at the end, and the lava was his life blood, and lava was
pouring in from all over the place...
Well, just like the old saying, "The sixth time's the charm." The kid finally
gets a clue. OK, so maybe the third time should have been the charm, and maybe
the kid was a little slower on the uptake then any of us would have been, but
hey, he is only about three years old now.
Superboy bursts in on Victor Volcanum and Knockout. But he is unable to kill
Victor when Knockout asks him to do so. But before Superboy can react,
Knockout kills Victor Volcanum herself! Superboy is shocked and, for the first
time, directly confronts her with the death of the police officer in SB 25, and
this time he figures out the truth. But more trouble is brewing. With the
death of their leader, the robots begin a self-destruct sequence.
Superboy is able to rescue the scientists that were being held captive and
finds that Tana Moon is also there. He brings them to a boat that contains the
SCU. While there, Roxy gives him back his "S" shields. With the normals
rescued, Superboy rushes back to the island, and his final confrontation with
Knockout begins. A well choreographed and beautifully drawn fight crescendos
through several pages. It ends with Superboy determined to sacrifice his own
life to prevent Knockout from escaping. He pins her to the island by use of
his telekinetic power and the weight of the island to augment his strength.
Realizing she is trapped and unable to fight back, Knockout suffers a
psychological breakdown. She simply shuts down. Superboy lifts her
unconscious body and brings her into custody. As the story ends, Superboy is
feeling down. Roxy gives him a pep talk, telling him that he has to learn from
his mistakes -- and that someday the big "S" will retire, and Superboy will
become Superman!
Arthur LaMarche (DrArt95@aol.com)
=================================================
STEEL #29, "The Price"
Writer: Louise Simonson
Penciller: Phil Gosier
Inker: Rich Faber
Color Artist: Stu Chaifetz
Letterer: Pat Brosseau
Assoc. Editor: Chris Duffy
Editor: Frank Pittarese
Cover: Phil Gosier and Rich Faber
Special Thanks to Eric Fox
August 1996
$1.95 US/$2.75 CAN
RATINGS:
Average: 3.8/5.0 Shields
DS: 3.75 Shields - Most of this for the glorious artwork and the rest for one
of my favorite villains, the Parasite.
JS: 3.8 Shields - Best (and saddest) story in this book in months; Steel's
life has certainly become more difficult. And the return of Gosier
and Faber brings us a fantastic looking book -- their art really
captures Steel's turmoil and the imposing figures of Polaris and the
Parasite.
A Death in the Family!
Story:
In this episode the Annihilator continues to haunt Steel. Two new villains
have heard of his new plasma weapon and try to take it from him. In detail...
A near riot is taking place at the Irons' house. Officer Shauna Beryl takes
the police call and proceeds to the scene. Unfortunately, the Parasite, one of
my favorite villains (I wonder what would happen if he fought Doomsday?),
intercepts her and drains most of her life force, resulting in her squad car
careening into the crowd. Fortunately, Steel is back in the 'hood and stops
the car from killing a dozen or so protesters. Steel takes Shauna away to the
hospital and leaves her in the care of Dr. Quick, who promises to take good
care of her and also offers Steel (to whom she seems to have a romantic
attraction) the use of her condo as a hide-away from the press. The Parasite,
who needs constant energy to survive, wants the Annihilator, Steel's ultimate
weapon, so that he can use it as a constant source of energy. The Parasite
lays in wait for Steel to return. Bess and Butter, Steel's grandparents,
discuss the situation. Butter believes that John had no choice but to reveal
his identity, but Bess is not so sure.
Meanwhile, Jane Wallace, intrepid TV reporter, who has been following Steel
around, breaks the news of the attack on Shauna and wonders aloud if Steel's
presence is a detriment to the community. This is playing on TVs in the
background as John Henry tries unsuccessfully to find an apartment to rent.
She catches up to him just as another villain, Dr. Polaris shows up to try and
take the Annihilator, which has already been destroyed, away from Steel. Dr.
Polaris, who can control magnetic fields, and Steel duke it out for a few pages
until Steel teleports away into Dr. Quick's apartment.
John dozes off on the couch and has another nightmare which is interrupted by
the appearance of Dr. Polaris. The TV newsthoughtfully reported that Steel
left the hospital with Dr. Quick, so Polaris deduced that John Henry would be
at her apartment and bashes through the skylight in search of Steel.
Meanwhile, the Parasite is smashing the Irons' house and John Henry breaks away
from Polaris when he sees a report of this on TV. Polaris follows, but Steel
traps him in the magnetic fields of the power lines.
Steel rushes home and attacks the Parasite to hold him off long enough for the
Irons family to escape. Unfortunately, Bess, John Henry's grandmother,
misunderstands the situation and doesn't realize that John Henry is marking
time until his family escapes. She believes that he has lost the power to
teleport and rushes out to help him. Polaris also shows up and enters the
fight with Steel, the Parasite, and Bess. Bess is hit with a magnetic charge
which incapacitates her, and her dying words to her only remaining grandson
are: "Now ... All you can do.. is save the others. Trust you ... to save ...
'em ... to be their SUPERMAN..."
The two villains leave -- Dr. Polaris for Keystone City and Parasite to go in
hiding and build his own Annihilator. The cops, TV crews, and neighbors come
up to Steel. The cop wants to know why he isn't chasing the villains. As he
cradles his dead grandmother he says: "Give me one reason that I should even
care!"
Artwork:
The first team is back, and it shows. The artwork follows the usual style:
oblique overlaying panels of various designs, black gutters, white gutters, no
gutters. It is sharp and crisp with a lot of empty space around some of the
panels. Splash pages with vibrant colors and palette schemes for different
areas of the story continue the tradition. I'm not much of a judge on artwork
and to me, it usually takes a distant second place to the storyline, but Steel
is the exception for me. I like its artwork as well as any of the super
titles.
Conclusions:
This issue examined the personal reaction among John Henry's family to the
aftermath of the revelation of his secret identity. There were some supporters
and some detractors. There was also a large part of the issue tied together
with various slugfests. Usually this doesn't work for me, but it seemed to be
effective in this issue. TV news was portrayed in a very negative manner here,
but the portrayal was subtle. The artwork was very satisfactory.
Dick Sidbury (sidbury@cs.uofs.edu)
=================================================
SHOWCASE '96 #7, "Playing With Fire"
Featuring Gangbuster and Captain (Mary) Marvel
Writer: Jerry Ordway
Penciller: John Statema
Inker: Mike DeCarlo
Colorist: Dave Grafe
Letterer: Ken Bruzenak
Assoc. Editor: Chris Duffy
Editor: Frank Pittarese
Cover: William Rosado and Klaus Janson
August 1996
$2.95 US/$4.25 CAN
RATINGS:
Average: 3.6/5.0 Shields
RG: Story: 3.5 Shields - Tight, consistent, and complete.
Art: 3.0 Shield - Well detailed figures, needed backgrounds.
JS: 4.0 Shields - Best lead story since SHOWCASE joined the Superman family.
Wonderful storytelling and dialogue by Ordway, and gorgeous art by
Statema and DeCarlo. Now if we can just get a Captain (Mary) Marvel
meeting with Supergirl!
This ones a keeper. It has most everything I like to see in a story: a tight
plot, consistent use of the chosen characters, and it's complete in one issue.
I had to take a little off my rating for the almost gratuitous use of angst as
a plot device, but it was understandable in context. The action sequences were
very well done, and everyone stayed in character.
The art was some of the best I've seen in SHOWCASE in months. I thought the
panel layouts and detailing on the people were excellent. The use of the
sketchy backgrounds hurt the rating a bit, and some of the perspectives were
off.
Mary Bromfield (Captain Marvel) has won second place in a state-wide essay
contest. She and the first place winner are to get their awards from Cat
Grant. Gangbuster is watching from the audience when The Arson Fiend shows up.
It turns out that his nephew has a crush on Mary and wants her to notice him.
He has set it up with his uncle so that he can be the hero of the day when he
gets everybody out of the theater after the fire starts.
"Chasing the Clouds Away" (Part 2 of 2)
Starring Firestorm
Writer: Robert L. Washington III
Artist: Randy DuBurke
Letterer: Gaspar
Editor: Ruben Diaz
No "Super" content - not rated
Firestorm comes to grips with his drinking problem and makes his real first
steps in getting past his problems.
"Snow Crash"
Starring Fire (JLA) and Cruiser (Sovereign Seven)
Writer: Chris Claremont
Pencils: Rick Leonardi
Inker: Hanibal Rodriguez
Letterer: Chris Eliopoulos
Colors: Tom McCraw
Editor: Alisande Morales
No "Super" content - not rated
A strong story of two good, but under-used characters. One of the finest short
stories I've read in ages. I suspect that the use of Cruiser could have been
gratuitous, but it (he) really worked. A nice sense of closure for Fire that
was missed in the JLA titles.
Rene' Gobeyn (gobeyn@kodak.com)
=================================================
ANNUALS, MINISERIES, AND GUEST APPEARANCES
------------------------------------------
SUPERMAN ANNUAL #8, "The League of Supermen"
Writer: David Michelinie
Pencillers: Kevin J. West and Tom Grindberg
Inkers: Barb Kaalberg, John Lowe, and Bill Anderson
Letters: Phil Feliz and Albert DeGuzman
Colors: Dave Grafe
Separators: Digital Chameleon
Assoc. Editor: Mike McAvennie
Editor: KC Carlson
Cover: Jerry Ordway
1996
$2.95 US/$4.25 CAN
RATINGS:
Average: 2.8/5.0 Shields
AL: 2.5 Shields
MC: 3.0 Shields - Although still a disappointment, this annual was much better
than some of the other "Dead Earth" annuals I've read so far.
SF: 2.5 Shields - Best of the lot so far on these annuals but I hate these
themes and that takes away from the rating.
JS: 3.0 Shields - Again we have an average annual. Kevin West's art wasn't
bad, but I didn't care for Grindberg's. The concept here was okay,
but as with most team books, one issue isn't enough to establish the
characters very well. As a result, it was difficult to care about
what happened.
VV: 3.0 Shields - Nice ending. Good, logical limitations to powers (with
great power come great drawbacks?). Of course, this annual does seem
to imply that (a) at least part of the Fortress is salvaged at some
point in the future (where do the drones come from?); and (b) maybe
the disaster occurring in FLASH happens after all <g>.
I have never been a big fan of the out of continuity annuals. It was the first
of this year's annuals that I have read. I have purchased them all, but I have
not taken the time to read them. Although I was not looking forward to reading
it, it did provide enough twists to keep it interesting.
The premise of the story is that the body of Superman is no more, but his
spirit lives on inside of a Super-computer (sorry, couldn't resist). To
replace Superman, a Super League has been created. People join the league and
are genetically enhanced to emulate just one of Superman's powers. But the
augmentation does not come without drawbacks. For example, the individual with
the Super strength can not touch anything because his most gentle touch would
crush just about anything. The individual with Superman's invulnerability can
not feel anything -- from a gentle breeze to a bomb's explosion. Through these
sacrifices, a League of Supermen is created to defend the adopted Earth.
The two newest members of the League are cybernetically enhanced. In this way,
they are able to take their powers off. Their sacrifices will not be as great
as earlier members. As the story heats up, it becomes apparent that the Super
computer is behaving strangely. It has, apparently, jeopardized the lives of
people in order to create a protective shield around the planet. But the
situation worsens when we learn that the weapons on the satellites point
towards the planet -- not into space.
The team decides that the League must destroy the computer to save the planet.
By combining their talents, the Super League is able to overcome the
adversities that the Super Computer puts in their way. Through great personal
sacrifice, the League shows us that it is worthy of the S-shield and they
overcome the computer by removing its power source -- Kryptonite.
As the Super Computer's "life" fades, it thanks the League for killing him. It
seems that years of isolation without the sensation of touch has slowly eroded
away his sanity. He knew he was going insane and staged events in which it
appeared that it was threatening people. But it was all a ruse to provoke the
desired response before he really lost his sanity and did something terrible.
The book closes with the League announcing the passing of the Super Computer,
and reaffirming their commitment to the humanity and spirit of SUPERMAN!
All in all, I liked the story. I was skeptical at first, but I must say I was
pleasantly surprised. The Super Computer and the League were true to Superman.
I also thought the great sacrifices of the individuals of the League were
heroic, if not super heroic. Artwork was OK for an annual, but I would not
lobby for any of these artist to replace any of the current Super-team.
Arthur LaMarche (DrArt95@aol.com)
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ERADICATOR #1, "Pinocchio: Prince of Lies"
Writer: Ivan Velez
Penciller: Roger Robinson
Inker: John Lowe
Letters: Chris Eliopoulos
Colorist: Roberta Tewes
Editor: Chris Duffy
Cover: Roger Robinson and John Lowe
August 1996
$1.75 US/$2.50 CAN
RATINGS:
Average: 2.75/5.0 Shields
RG: Story: 3.0 Shields - A good beginning, a solid recap.
Art: 2.5 Shields - Too dark, needed details.
MC: 4.5 Shields - This is some excellent stuff. I just picked this up on a
whim since I had some extra cash no me (I wasn't going to get this
originally), and I really enjoyed every bit of it. I hope I have
enough extra cash for the *second* issue...
SF: 1.5 Shields - Can't say much for this book. The art is only so-so and
the story is hard to follow. You really need to know the backstory on
the Eradicator or you'll be lost -- and even then you might be.
DS: 2.5 Shields - A disappointment, but I'll buy the next issue to see if it
gets better.
JS: 2.5 Shields - This first issue was confusing, though I suspect it was
meant to be so, at least to some extent. Robinson and Lowe's art
here is very rough. To be honest, I hope this miniseries is used
to ditch the Dr. Connor incarnation -- the Eradicator was so much
more interesting before.
If you like the Eradicator (as I do) as a character and want to know what it is
that has been slowly destroying his sanity, this is for you. If not, you can
probably give this one a pass. The book is mostly a recap of the Eradicator's
(short) history, and a necessary lead in to the series. There is enough new
material to make it worthwhile in its own right. There is a mystery villain, a
psycho hero(?) destroying his family and friends, and a cliffhanger that I
suspect will have some serious effects on Superman himself.
If I could ask for any one thing to make the book better, it would be that the
near whiplash pacing of the story be improved. This could be what the author
was trying for, but I hope not. It was a tough read in some places.
The artwork was not up to the standards that I use for judging the main line of
Superman titles. The inking was too dark and heavy for my tastes. The lack of
background detail made the art feel rushed, and some of the foreground details
don't make sense (yet?). Though for all of that, there are a few pages that
really worked. The two page scene where the Eradicator visits the Lang farm to
say good-bye to Lana is a good example.
* * *
The Eradicator (David Connor) is losing it. The delusions that have been
slowly driving him mad are getting worse and more frequent. He can no longer
fight them back, even when he knows that what he is seeing isn't real.
After totaling a chunk of Metropolis, and a portion of STAR Labs, he decides
that he needs to leave Earth, possibly killing himself (if he can think of a
way to do it). Before he goes, he decides to say a few good-byes.
After a tense confrontation with his (David's) wife, he decides to listen to
the voices in his head. I don't want to spoil anything with where they take
him, but it was a real surprise for me, and may have some (serious?) effects on
the Superman continuity.
Rene' Gobeyn (gobeyn@kodak.com)
________________________________________________________
MINISERIES AND GUEST APPEARANCES (cont)
---------------------------------------
KINGDOM COME, Book Two: Truth and Justice
By Mark Waid and Alex Ross
with Todd Klein
Painted Cover by Alex Ross
August 1996
$4.95 USA/$6.95 CAN
RATINGS:
Average: 4.7/5.0 Shields
RG: 5.0 Shields - Well paced, tightly plotted, breathtaking art.
SF: 4.0 Shields - Alex Ross does some fantastic work and the story is great as
well. The characterization of Superman here is not traditional but it
is an Elseworlds.
WN: 4.5 Shields - Superb art and a compelling what-if storyline which is
really heating up.
JS: 4.7 Shields - Just a tiny bit confusing on the first read, but overall
the story just keeps hitting the nail on the head. Superman's group
seems to have some pretty formidable opponents lining up for a shot
at them, and something tells me that Magog still has an important
role to play. And Ross' art is as beautiful as ever, each page
with so much eye candy that only the most knowledgeable readers
could hope to catch it all!
VV: 5.0 Shields - Can I give a 6? Unbelievable artwork. Terrific story with
a ton of twists. BUY THIS BOOK. Give up the candy bars and soda if
you must, but get this book. Just when you think you had everything
figured out, Mark and Ross throw a couple of curves out of left field.
Did I tell you to get this book yet?
If you don't have this book (or the first issue), stop reading and go get it.
You may never forgive yourself if you miss this series. It is truly some of
the best work being done in the industry. Waid and Ross have managed to bring
a darker, but familiar DC continuity to life. As a reader you can easily see
how with very few changes the events of this story could come about in today's
continuity.
The fully painted art shows the changes to our heroes in their faces and
posture. You can watch as Superman hardens himself for the tasks ahead. You
can almost feel the pleasure Luthor feels as Batman joins him in the MLF. I've
read my copy six times already and I'm still finding little things seemingly
hidden in the background of the panels. For example, look for Deadman in the
Meta bar scene. Does he see McCay and the Spectre? You decide.
As The Spectre and Norman McCay continue their journey, we get to watch as
Superman rebuilds the Justice League using both new and old heroes. Basically,
Superman is giving the new generation of vigilantes a choice: His way, or no
way. Too bad Luthor and the Mankind Liberation Front (MLF) don't see things
his way.
We attend a meeting of the MLF, with Norman and the Spectre, and find out that
they are actually behind some of the new vigilantes and directly responsible
for making things worse for humanity in a complex plot to take over the world.
Luthor tells the MLF that they have nothing to fear from Superman, because he
has an insurance policy in the form of Captain Marvel. We don't learn why Cap
is there, but I'm sure we'll find out soon.
Superman and his heroes begin to run into more and stiffer resistance to their
efforts. It isn't until Superman and Wonder Woman approach Aquaman, whom they
ask for permission to build an underwater prison for the heroes who can't or
won't mend their ways, that we start to really see some of the counter plots
and resistance that the MLF is throwing in their way. Aquaman turns them down.
He has finally come to grip with who he is, and that person is King of the
Seas. The doings of the land folk have little to do with him.
Superman and Wonder Woman find one of the bars where the new metas gather.
Superman makes a "my way" speech and leaves. It seems that many of the young
metas are about to join him when Green Arrow comes in. We don't get to see
what he does to convince them not to join Superman's legion, but somehow we
know that he manages.
Little seems to be going right for Superman and the new League. Just as he and
Diana are finally starting to get things together romantically, they are
informed that Magog has been found in the ruins of Kansas. It is now that we
are given more of the details concerning Superman's retreat from the world.
Magog tells the story of Superman's departure from the world. It seems like
the point where this world differs from the regular DC continuity is that,
here, the Joker came to Metropolis and managed to kill 93 people at the Daily
Planet. One of them was Lois. When Magog finally found Joker, he killed him.
Superman tries to bring Magog to justice for killing Joker, only to have the
jury acquit Magog. Superman sees this as the world validating Magog's methods
and decides that he and his ways are no longer needed or appreciated.
After listening to Magog blame him for everything that has happened since he
left, Superman seems to finally realize that they are at war. The story closes
with Batman and his team finally joining forces with Luthor and the Mankind
Liberation front.
Rene' Gobeyn (gobeyn@kodak.com)
=================================================
NEW GODS #10, "Sacrifice of the Gods"
Guest-Starring Superman
Writer: Rachel Pollack
Penciller: Stefano Raffaele
Inker: Brian Garvey
Letterer: Clem Robins
Colorist: Patricia Mulvihill
Assistant Editor: Jason Hernandez-Rosenblatt
Editor: Paul Kupperberg
Cover: Stefano Raffaele
August 1996
$1.95 US/$2.75 CAN
RATINGS:
Average: 2.4/5.0 Shields
RG: Story: 3.5 Shields - Little characterization, but we learn some
interesting things.
Art: 3.0 Shields - Nicely detailed, but too stylized.
JS: 1.5 Shields - Even as one who has been reading this series, I didn't
understand Superman's purpose here. His appearance is very much
a throwaway. And Raffaele's depiction of the Man of Steel is just
plain ugly.
A good story overall, but you do need to be more than a little familiar with
past events in this title for this one to work. For those of you who haven't
been following this title and its companions, this one will probably be hard to
follow. On the other hand, if you have been following the New Gods since Kirby
created them the overall story line of the battle between Good and Evil, New
Genesis and Apokolips, is coming to a conclusion. Superman just might end up
playing a part in this as well. Only time will tell.
The story flowed well between scenes, but I didn't particularly care for the
way the Superman character was portrayed. He didn't seem to have the
confidence that I've come to expect. While this might be due to his
interacting with characters who are supposed to be real gods, he doesn't come
off as good as I would like him to.
The art in the story is very nicely done. The detailing and backgrounds are
very well done and fit well with the story being told. My only complaint is
that the human characters are too blocky and angular for my taste. The human
characters are shown with rough edges, in poses that must have come out of body
building magazines. The poses and posturing managed to distract me from the
story being told a few times. This is not what I look for. The inking was,
for the most part, very well done, and a step above what I usually find. The
use of shadows and cross-hatching to bring out details was what saved the art
in the book for me.
The Earth is being wracked by earthquakes and intense storms. Superman is
helping in any way he can, but he is unable to find the source of the problem.
He is contacted by Highfather of New Genesis to aid Orion in his battle against
S'ivaa, who has been awakened, and is trying to destroy New Genesis.
Highfather and Darkseid need Superman to delay and distract S'ivaa while they
prepare to sacrifice themselves to the Source to restore its balance between
Light and Darkness. That Darkseid has his own agenda goes without saying.
Superman and Orion do their best, but it doesn't look good. While they are
battling S'ivaa, Orion helps Superman (and us) understand a bit more about the
true nature of New Genesis and how it relates to our reality. The story is
supposed to conclude next issue.
Rene' Gobeyn (gobeyn@kodak.com)
________________________________________________________
AFTER-BYRNE: Reviews of the post-Crisis Man of Steel
----------------------------------------------------
A TRIBUTE TO CURT SWAN
----------------------
by Mark Lamutt (markdl@netcom.com / mdlamut0@wcc.com)
Superman, DC Comics, and millions of fans worldwide suffered a huge loss the
week before Father's Day last month when Curt Swan, one of the most incredible
artists that has ever laid pencil to paper creating the wonderful pictures
behind the Superman stories, passed away.
To be honest, I am only familiar with his work with Superman over the last two
decades or so. I started reading Superman comics in 1975, when I was but the
tender age of six. Although I had no idea the process behind creating a comic
book at the time, and for many years thereafter, I vividly remember how
strongly the stories sprung from the pages of each book I could get my hands
on. And looking back now, I realize how truly special Mr. Swan's work was, and
how important it was to the world of Superman. For me, Superman looked the way
he did because of the way that Curt Swan drew him. I have no memory of any of
the other artists' work from the time, but every time I have seen Curt Swan's
work, especially in recent years in a Superman book, I have known right away
that it was his work. Because, for me, that's how Superman was and is supposed
to look.
A perfect example of this came just the other day when I was catching up on
some recent issues. Opening SUPERMAN #114 (Aug 1996), and reading through the
story, when I saw page seven, I was floored. Superman looked like he always
had years and years ago as I was growing up. Talk about bringing back fond
memories. The same thing happened when I read ACTION COMICS #700 last year.
There are certain styles of things that you grow up with in life, and that will
stay with you throughout your life - one of them for me is Curt Swan's
Superman.
To Mr. Swan's family and friends, I humbly offer my deepest condolences. I
knew him only through his work, but I have to say, that I will miss him very
much, especially while turning the pages of future books.
In Mr. Swan's memory, I give his vision of Superman my highest rating - 5
shields out of a possible 5. Stay tuned next time as the Blackout resumes with
Part 4 in SUPERMAN #62.
________________________________________________________
Manuscripts of Steel
--------------------------------
Reviews of After-Byrne Superman special stories
by Denes House
------------------------------------------------------------------------
Legends of the World's Finest
(Books 1-3)
Written by Walter Simonson
Painted Art by Dan Brereton
Painted Cover by Dan Brereton
1994
Prestige Format, $4.95 US/$6.50 CAN
Rating:
2.0/5.0 Shields
---------------------------------------------------------
Have you ever wanted to see someone else's dreams? Some of us have problems
even remembering our own, but have you ever listened to someone explain their
dream and you wished that you could have "been there"? I've often wondered if,
given the inter-connected and highly interpretational nature of human memory
and thought, one could even understand another person's thoughts or dreams. Or
would they be so alien to our own "way" of thinking that we would be helpless
to make sense of them? Would they, in the end, wind up confusing us more than
enlightening?
LEGENDS OF THE WORLD'S FINEST (hereafter LOTWF) explores what happens when
Superman and Batman exchange dreams. In the instant classic Dave Gibbons/Steve
Rude miniseries WORLD'S FINEST, there is a striking parallel scene where Clark
Kent and Bruce Wayne's dreams are placed side by side. Clark dreams of being
rocketed to Earth by his father Jor-El as the planet Krypton explodes in an
emerald blast, while Bruce's dreams are filled with the gunfire of a common
thug as his parents are ripped away from him in the tragedy that created the
Batman. This scene is set up so as to emphasize the similarity of the two
classic characters' origin stories. LOTWF stresses their dissimilarity. A
friend of mine often remarks on the importance of beginnings. "Where you start
out has a lot to do with where you end up."
The story opens with a young Scottish lass, rebelling against her parents,
rowing out to Castle McDougal, the ancestral home of the Clan McDougal, the
family under the curse of the Silver Banshee due to their meddling with magical
matters beyond their ken. The lass finds an ancient, leather-bound book, and
against the almost unheard warnings of the McDougals' good-spirit watchwoman
the Old Crone, brings it home. That night, she recites one of its
incantations, and summons up a monstrous demon, who carts the girl off to the
castle. He in turn recites a spell from the pages, and turns the girl into a
host for the Silver Banshee!
The demon is Tullus the Damned, umpteen-great Grandfather of the McDougal clan,
who centuries before betrayed the McDougals to their enemies and forced them to
turn to witchcraft for survival. Tullus has spent a thousand years in the
clutches of Blaze, the mistress of the underworld, and has escaped, seeking (he
claims) to recompense for his sins. He promises the Banshee that his hope is
to free her from the curse she is under, and give her peace at last. To do
this, he must hold the searching Blaze at bay. He realizes that a lost soul
cannot do this, so he seeks allies to help him.
Superman is his first choice, but his overwhelming goodness proves a deterrent
for Tullus and the Banshee. Their second choice is Batman, darker and also
formidable, but all too human. If only there were a way to combine the two?
So Tullus exchanges the heroes' dreams. Their sleep becomes fitful. Batman's
tragic loss darkens Superman's soul, and Superman's hopeful dreams cause Batman
to lose his menacing edge. Neither hero is aright with the other's origin
driving him.
Of course, eventually we learn that Tullus has not reformed, his motivation is
still conquest of the earth. He cares nothing for Banshee, who has fallen in
love with the Dark Superman (and vice versa). The Old Crone, aghast at the
evil that has been unleashed, prepares Batman for battle, ironically allied
with the demoness Blaze.
Let me say up front that I really, really hate most Superman stories dealing
with the magical realm. As a Christian, I find them thick with evil in a way
that is difficult to describe. I was drawn to this series by Dan Brereton's
(covers for Big's LADY JUSTICE) painted artwork, but in the end, even that was
no match for my revulsion for this kind of story.
Walt Simonson (renowned artist on Marvel's THOR and most recently a story in
BATMAN: BLACK & WHITE #2) crafts a story that adheres to its own internal
logic. The dialogue is suitably stilted, with all the thees and thous and
Gaelic incantations that you'd expect from a story like this. It is reasonably
paced, with good character development on the part of Tullus and the Banshee,
whose motives are subtle and changing, yet make sense.
The core of the story, it's premise, is an interesting one, but it was
difficult to watch Superman's slide into evil. This is the man who resisted
Blaze to the bitter end in all previous encounters. Now, a simple spell drives
him to evil. It was tough to swallow, and even harder to like.
Dan Brereton's painted artwork is dark and moody, but inconsistent. He has a
powerful drawing style, and the pencil marks show through the watercolors,
giving the art a fresh, sketchy feel. His men are muscular and grim, his
females voluptuous and sensual. The art gets far less detailed and much
blockier at points that makes the artwork feel rushed. This especially happens
in Book Three.
Capsule review:
Story: Well constructed, but it does some extremely uncomfortable and almost
mean-spirited things with the characters. 3 Shields out of 5.
Art: Stylish and powerful, but inconsistent and at times rushed. Still,
Brereton's one of the better painters out there. 3 Shields out of 5.
Overall: Based on objective criteria, I'd give it a 3 Shield rating, but my
intense dislike for these forays into the mouth of Hell prevents me from doing
that. 2 Shields out of 5.
Denes House
________________________________________________________
SUPER MERCHANDISE
-----------------
Information on Forthcoming Superman Merchandise
Assembled by Jeffery D. Sykes
The information which follows is reprinted without permission from Diamond's
PREVIEWS and is in no way meant to serve as a replacement for that magazine.
For further information on (and in many cases, pictures of) the below
merchandise, see recent issues of PREVIEWS!
ABBREVIATIONS:
-------------
FC: Full color
HC: Hardcover
PB: Paperback
PI: Inquire about price
SC: Softcover
Unless otherwise indicated, the product is from DC Comics.
Also keep in mind that dates listed are when Diamond will be able to
distribute the product in question. For some merchandise (books and toys
especially), you may be able to find the item at a retailer earlier
than this given date.
These monthly updates only list new merchandise solicited by PREVIEWS.
For a full listing of Superman-related merchandise, visit the Kryptonian
Cybernet Homepage!
SEPTEMBER:
---------
THE AMALGAM AGE OF COMICS: THE MARVEL COMICS COLLECTION TRADE PAPERBACK
(Marvel Comics)
Written by various, Art by various
Wraparound cover by Dave Gibbons and Angus McKie
Collecting Marvel's Flaming Hot Amalgam Comics! Gathered in one volume
for the first time: SPIDER-BOY, MAGNETO AND THE MAGNETIC MEN, BULLETS AND
BRACELETS, SPEED DEMON, BRUCE WAYNE: AGENT OF S.H.I.E.L.D., and X-PATROL!
Spinning out of MARVEL VERSUS DC, this shared universes merged cool
characters like Captain America and Superman to get the star-spangled
Super Soldier! Now all the fun is bottled in a handy package!
Scheduled to arrive on September 11
SC, 7x10, 160 pgs, FC
$12.95
THE AMALGAM AGE OF COMICS: THE DC COMICS COLLECTION TRADE PAPERBACK
Written by various, Art by various
Wraparound cover by Dave Gibbons and Angus McKie
DC offers a softcover collection of its six AMALGAM one-shots, the
best-selling stories of the heroes that came into being when the DC and
Marvel Universes fused into one! Now in one volume are LEGENDS OF THE
DARK CLAW, SUPER-SOLDIER, AMAZON, JLX, ASSASSINS, and DOCTOR STRANGEFATE.
This collection also includes art from the AMALGAM trading card series
and a new wraparound cover by Dave Gibbons and Angus McKie.
Scheduled to arrive on September 25
SC, 7x10, 160 pgs, FC
$12.95
LOIS & CLARK: A SUPERMAN NOVEL (Prima Publishing)
by C.J. Cherryh
When Superman is called away to avert disaster in Eastern Europe, Lois
springs into action, entering a collapsed hotel to save lives -- becoming
a national celebrity in the process. In the aftermath, Superman is
accused of being remiss in his duty to protect Metropolis, and Lois'
personal life is pried open for the world to see. Faced with mounting
professional and personal doubts and pressures, will the engagement
between Lois and Clark succumb? And when Lois discovers that there's
more than meets the eye behind the hotel's collapse, will even the power
of Superman be enough to save her life?
CAUTION: All information subject to change, but should ship no later
than 90 days past its scheduled shipping date.
HC, 6x9, 288 pgs
$20.00
SUPERMAN ACTION PACKS TRADING CARDS (Skybox)
This fantastic series is tailor-made for the young collector, or any
collector with a "sweet tooth!" With cards based on the new SUPERMAN
animated TV show, each pack contains die-cut pop-ups of your favorite
characters from the hit TV show, cards that spotlight images based on
the animated series, die-cut puzzle cards, coloring cards with trivia
questions, and one piece of trading-card sized bubble gum with the
image of a character from the TV show printed on it!
CAUTION: Information is subject to change; may ship late.
?? cards per pack, 48 packs per box
PI
DC COMICS OVERPOWER CCG STARTER DECK (Fleer/Skybox Games)
A major expansion to the Marvel OverPower Collectible Card Game -- DC
OverPower! These completely playable (and fully compatible with the
Marvel Cards!) Starter Decks contain a random assortment of Heroes and
Villains found in the DC Universe, including Superman and Batman! An
introduction of a new power type not previously found on Marvel OverPower
Cards (Intellect) allows players to add variation in deck building
strategies. Also, new Ally cards feature such characters as Alfred
Pennyworth and Lois Lane, adding yet another new dimension to strategy.
With original artwork by DC's top pencillers and inkers (including John
Byrne, Tom Grummett, and Mike Wieringo), an easy-to-learn game mechanic,
and new features, these cards are sure to be brawl-to-brawl fun!
CAUTION: All information subject to change, but should ship no later
than 90 days past its scheduled shipping date.
69 cards per deck
PI
DC COMICS OVERPOWER CCG BOOSTER PACK (Fleer/Skybox Games)
Expand your character base with these cool booster packs, designed to give
your OverPower deck more of the DC Comics cards you need! All cards in
the booster pack are completely compatible with the Marvel OverPower CCG.
CAUTION: All information subject to change, but should ship no later
than 90 days past its scheduled shipping date.
9 cards per pack
PI
SUPERMAN/BATMAN 2-PACK PLATINUM EDITION (Kenner/Hasbro)
A PREVIEWS Exclusive!
Superman and Batman are the world's finest super-team, and Kenner/Hasbro
and PREVIEWS have teamed up to bring collectors this special,
limited-edition two-pack available only through PREVIEWS! Limited to
15,000 pieces, this two-pack (similar in design and contents to the mass
market version) comes with two all-new cyber-link Superman and Batman
action figures -- and a special exclusive Platinum Edition full-size
Elseworlds comic book by Christopher Priest, Eduardo Barreto, Dick
Giordano, and Mike DeCarlo, and featuring an all-new cover illustration
by John Byrne! (Note: Not available outside the U.S.)
CAUTION: May not be available in some areas due to licensing restrictions.
PI
SUPERMAN COSTUME (No company indicated)
Perfect for Halloween! You may be no Dean Cain (or even Bill Murray, for
that matter) but you can still look like the classic Man of Steel thanks
to this outfit! Costume comes complete with jumpsuit, attached boot tops,
belt, and cape -- you supply the super-powers! Fits up to approximately
men's size 36.
CAUTION: All information subject to change, but should ship no later
than 90 days past its scheduled shipping date.
$45.00
________________________________________________________
THE PHANTOM ZONE: Reviews of the pre-Crisis Man of Steel
--------------------------------------------------------
THE GIRL FRIEND AND THE PAL: LOIS AND JIMMY IN THEIR OWN COMICS
----------------------------------------------------------------
By Jon B. Knutson (jonknut@aol.com)
As promised, this month I review LOIS LANE GIANT 113, featuring "The
*Strangest* Love Stories Ever Told!" This was around the brief romance comics
revival at DC in the early 70's, and helps explain the theme of this issue.
The first story in this issue (which originally appeared in LOIS LANE 49, May
1944) is drawn by Kurt Schaffenberger, one of my favorite LL artists.
Superman's off on a mission in space, and Lois has to find scoops without his
help (nice guy, eh?). Lois gets a tip to show up at the corner of 6th and
Regent to get the story of the year. Lois shows up, and hears an explosion at
a nearby lab. Entering it, she finds a scientist, Dr. Drolc, putting out a
fire. He explains that he's built a Talent-Tracer, which he proceeds to
demonstrate. Lois presses the button marked "athlete," and the machine tells
her where the world's greatest unknown athlete can be found. Lois jets to
Florida, armed with a pair of sunglasses that will tell reveal an aura around
whoever the Talent-Tracer has spotted. Down there, she spots a man throwing
baseballs through a knothole in a fence. Another test finds a man extremely
talented as a violinist. Lois' third test is to try the newest button,
"super-person!"
The machine leads her to Albuquerque, New Mexico, where she finds a handsome
Indian revealed by the glasses, who recognizes Lois from her newspaper
articles. Going along with him, she finds that Strong Bear has super-hearing,
super-breath, and invulnerability. Lois confronts him on this, and he tells
her he is super-powered, but he's not from Krypton ... he gets his powers from
the last of the great medicine men, an ancestor of his. A totem pole erected
in this ancestor's memory is shown to Lois, and Lois is amazed that he's shared
his secret with her so quickly. Strong Bear surprises her by saying that he
fell in love with Lois at first sight. He kisses Lois, and she thinks "His
kiss is every bit as exciting as Superman's!" I believe I've pointed out in
earlier columns how the Lane women seemed awfully fickle?
Strong Bear proposes and Lois accepts (she does that kind of thing a lot,
y'know), and Strong Bear celebrates by ending a drought. He gives Lois a
necklace made of Kryptonite (which doesn't bother him) as well as Strong Bear's
ring (the tribe's chief insists on that, though Strong Bear is taken aback by
the idea). While Lois is taken to the Pool of Echoes as part of the ceremony,
she thinks she's seen that ring before, but can't recall where. While bathing
in the pool, Lois calls out "I love you, Strong Bear!" which echoes (gee, guess
that's why they call it the Pool of Echoes, eh?) many times. Lois later
suddenly recalls where she's seen the ring: on the scientist, the baseball
player, and the violinist. Strong Bear tells her he needs to get the ring
back, but startled, butterfingers Lane drops the ring, which breaks. Strong
Bear collapses to the ground as a gas escapes from the hollow ring. Strong
Bear changes into a blue-skinned alien, quite grotesque, who posed as all of
the persons wearing the ring. Lois figures the ring gave him the powers and
talents, but he says that he had super-powers when he arrived on Earth. The
ring's gas allowed him to live on earth and metamorph him into any human shape
he desired. Since the ring is broken, he's going to die, and tells Lois that
on his home world of Zavak, he possessed scientific genius. When war broke out
between Zavak and a rival world, nuclear weapons were used. To protect the
women and children, they were loaded into spaceships to evacuate the world, but
an asteroid destroyed the ship. Fallout then mutated the men into their
blue-skinned ugly form. Bamor, the alien, was selected to leave the planet and
survive elsewhere... namely, on Earth, which he'd monitored from his lab on
Zavak, falling in love with Lois via long distance, so to speak. He didn't
expect the chief to give Lois his ring, as he couldn't last without it. He
requests one last favor... a kiss before dying, which Lois grants him before he
crumbles into dust. Returning to Metropolis the next day, Lois forgets to take
the Green K necklace off when Superman visits her.
This was a fairly nice story, save for the "Talent-Tracker" and sexism involved
with it. Of course, the Schaffenberger art alone gives it five shields out of
five in that department, and the writing earns it a solid three shields. One
certainly can't imagine today's Lois in this story, though!
The second story reprinted is "The Monster who Loved Lois Lane!" from LL 54
(Jan. 65), which I happen to also have in my collection. The art, once again,
is Schaffenberger, while the writing is by Edmund Hamilton. The story starts
with Clark ducking out of the office so Perry can't give him a story (as
Superman, he's got a scheduled mission coming up). Lois gets the story, to
cover a big scientific breakthrough by a physicist named Dr. Elder. Lois shows
up at Elder's lab and finds that he's created a machine that can create a
doorway into another dimension, which he demonstrates. Lois sees a big pink
monster with hair and tentacles through the doorway, which frightens her, but
before Elder can shut off the doorway, the monster enters our own dimension,
accidentally damaging the machine (Interesting Coincidence Department: This is
thematically similar at this point to the Martian Manhunter's origin, save that
it was Dr. Erdel who summoned him to earth... Erdel can be anagrammed into
Elder, too!).
The monster grabs Lois and pulls her near him, setting her down and saying,
"Herko!" which Lois assumes is its name. She runs out, and is nearly hit by a
car, but Herko saves her, smashing the car to bits (fortunately, the driver
bailed out first). The police arrive, and start shooting, but the bullets
bounce off Herko. Lois insists the monster was trying to protect her, and the
police tell her to keep him out of the city. As Lois leads Herko away, Elder
tells the police that he'll have the dimensional door projector fixed in a few
hours. There then follows a series of amusing incidents where Herko tries to
show his love for Lois by imitating what he sees human couples giving each
other (a bouquet of flowers isn't enough for Herko... he offers Lois an entire
tree!).
Jimmy Olsen spots Lois with Herko and assumes the worst, summoning Superman,
who starts fighting Herko until Lois points out that their battle could wreck
the entire city, and he should seek Dr. Elder and ask for his help. Elder
tells the Man of Steel that if Lois can lead Herko back to his lab, they might
get it back to his own world. Superman tells Lois this (there's a great
reaction shot of Herko glaring at Supey here), and she leads him back to the
lab, and through the re-opened dimensional doorway into Herko's home dimension.
After Herko follows her through, Superman sucks her back in with his
super-breath (make your own joke here), and shuts the machine off. Lois,
feeling tearful, asks Dr. Elder if he could open up a peephole into Herko's
dimension to see how the big pink lug is taking this... and he's not taking it
very well. Lois feels Herko will wait and wait for her... but maybe someday
she'll reopen the doorway and let him see her again.
This was a *much* more touching story than the first one. Herko's appearance
is comical, yet still shows his emotional state (the kind of monster that could
only come from Schaffenberger's pencil), and ya just can't help but feel sorry
for the guy! Five shields out of five for the art, and four out of five for
the story (aside from the similar Martian Manhunter origin bit, it also feels
like some of the original Titano plot was cannibalized as well, in the "monkey
see, monkey do" bit).
Herko didn't have too long to wait to see Lois again, though, as the next story
(another Hamilton/Schaffenberger job from LL 57, May 65) reveals! Jimmy sees
Lois moping at her desk and finds she's thinking about Herko. She feels guilty
about tricking him, and wants to see if Herko's still waiting for her. Jimmy
thinks it's ridiculous, but he'll go with her to Elder's lab if she must go
(Jimmy's been getting lessons from Superman on acting like a chauvinist towards
Lois). They get there, and even though Elder is not in, a peephole is opened
for her again (it seems to be a reprint of the same panel from the last story),
and impulsive Lois opens the door up more to walk through. Jimmy tries to stop
her, but trips over a spotlight stand, which hits the off switch for the
projector after Jimmy also goes through the door. Herko spies Lois, and
demonstrates he's learned a bit of English from his last trip, talking more
like the green stupid Hulk. Herko assumes that Lois returned to marry him! He
introduces her to his mother (who looks like Li'l Abner's Mammy Yokum, complete
with corncob pipe), and Jimmy says Lois will have to play along until they find
a way home.
They then learn that Zagga, the "girl next door" (yecchh), loves Herko, and
wants to marry him, but Herko wants Lois (hey, there's a title for LOIS AND
CLARK next season if Clark doesn't return from New Krypton... "Lois and Herko:
The New Adventures of Pinkmonster"). Lois figures if Jimmy starts courting
Zagga, Herko will get jealous. Jimmy is shamed into trying when Lois chides
him for being cowardly (smart is more like it... Herko and his people are
*very* strong, y'know). Jimmy is more successful than he could have imagined
he'd be! The two Planet reporters *really* get worried when they see what kind
of health test has to be passed before anyone can be married on that world
(being hit on the head with a club). Jimmy is told to try making Herko jealous
even harder, but finds himself engaged to Zagga as well! Lois then discovers
that Herko reacts to her make-up the same way Superman reacts to Kryptonite,
and uses that to help put Herko and Zagga together (gee, wasn't she wearing
cosmetics before this?). Lois and Jimmy return to their original entry point
to find that Elder has reopened the door, and taking a look through another
peephole, find that Zagga and Herko did, indeed, get married.
Next month: Reviews of the remaining stories in this LOIS LANE ANNUAL, and the
first story or two from JIMMY OLSEN GIANT 104, as well. If you have any issues
of JIMMY OLSEN or LOIS LANE you'd like to see me review in future issues of KC,
or just want to offer some comments on this or other reviews, feel free to
e-mail me at jonknut@aol.com.
________________________________________________________
INTO THE ARCHIVES
-----------------
by Neil A. Ottenstein (otten@gluon.umd.edu)
SUPERMAN #6, Sept./Oct. 1940
The sixth issue of SUPERMAN was the first bimonthly issue. The first two
stories give a quick summary of what is to follow in the story, while the third
sets the scene and the fourth gives a summary of Superman's powers. All four
stories are 13 pages in length.
1) Lois goes to dig up some news and finds herself framed for the murder of a
jewel collector. Superman defies the police by freeing Lois from their hands.
Lois has an interesting description of their relationship: "You continually act
as tho (sic) I don't mean a thing to you, and yet you always manage to show up
and help me when I get into difficulties." Through a bluff Superman manages to
get the killer to show his guilt. There is amusing interplay with rival
reporter "Scoop" Carter of the Morning Pictorial.
2) Racketeers take over the town of Gateston. George Taylor, the editor of
the Daily Planet sends Lois and Clark to investigate. They arrive in time to
see the Gateston Gazette's editor blown up. Superman finds his murderers and
delivers them to the police. Once again during this story Clark makes Lois go
unconscious so he can save their lives with his powers. While all the other
stories have a half page splash panel, this story has a full splash page -
first one used on a Superman story.
3) George Taylor sends Clark to cover the departure of the relief ship for San
Caluma, a disaster plagued country in South America. Superman stops forces
aimed at stopping the relief.
4) Superman stops a construction scam. More details below.
After the first story is another Supermen of America notice. One of the
benefits to joining the club is receiving the Superman code. Previously
Superman's secret messages appeared only in ACTION, but for the first time one
appears here in Code Saturn No. 5. Other pieces in between stories include:
"Too Big for Marbles" by George Shute in which a young boy helps arrest some
racketeers; a "Driftin' Dave" cartoon by Alger; a Super Strength page drawn by
Jack Burnley with Superman giving exercise tips; an advertisement for the
second issue of Batman; "The Strangest Case" by Gardner F. Fox in which an
inexplicable murder turns into an accident; an advertisement for the Superman
radio show; "Sports Close-ups" by Jack Burnley focusing on baseball pitchers'
sore arm puzzles [Ron Goulart identifies the Jack Burnley art here and earlier
in the foreword mentioning that he had been a sports cartoonist before comics];
and various comics advertisements as had been seen in previous issues.
The fourth story starts with disaster at the new department store Grimes
Brothers. On opening day, the walls collapse. Clark is sent to investigate by
his editor and sees what is left of the store. He goes to talk to the head of
the construction company. At the office building where the Globe Construction
company is located, a man hurriedly exits as Clark enters.
Noticing that the door to the Globe office is open, Clark enters to find a dead
body - the head of the firm. Sergeant Clancy enters, surprised that Clark
seems to "manage to show up at the scene of crimes before" the police. He
points to a gun in the corpse's hand and states it was not murder, but suicide.
Clark, using his microscopic vision sees finger marks around the throat,
implying he was choked before being shot. A further clue is that there was one
fingerprint missing on the right hand and thus the killer must be missing one
finger.
Clark visits the wife of the victim and she reveals that he had been fronting
for someone and there was friction between him and his employer. She doesn't
know who he fronted for, though.
Back at the Daily Planet, the editor now assigns Clark to cover the costly new
municipal stadium that is being built. Lois comes along with Clark to the
construction site. As they near the site a worker forces them away. When he
is pushed down, he explains to Lois that he won't fight back, because "only
morons resort to physical violence!" Lois only sees cowardliness and Clark
tells the worker he is going to report him to his employer.
Clark goes to Jackson Construction Company, and notes with amazement that
Jackson only has four fingers on the right hand. He apologizes for the
overzealous employee saying that it was due to his insurance company policy.
Clark is suspicious of Jackson, but has no proof that he is the murderer.
Clark decides to investigate the construction site as Superman. He first
experiments with the cement and then the wood and sees that it is all inferior
material. Construction workers attack the snoop, ineffectively, with a crane,
which Superman easily upends, but he then loses his balance and falls into a
cement mixer. He breaks free just as two workers fall from a scaffold into
cement. He dives in, rescuing them and takes them to a nearby hospital.
Days later, Lois goes to the dedication of the new stadium. Clark declines her
invitation as he has an important task to do as Superman. He goes to Jackson's
office and overhears a conversation between him and the mayor. Jackson wants
the mayor to sign a release giving him prompt payment for the stadium work.
The mayor first declines until Jackson threatens to expose him for receiving a
cut on the department store deal through his subsidiary - the Globe
Construction Company.
Superman heads to City Hall and warns the mayor not to sign the release. The
mayor summons his guards, but Superman holds the door shut with his little
finger, much to the mayor's shock. He takes the mayor to Jackson's office and
takes them both to the stadium.
As the stadium is about to collapse, Superman straps his guests in at an
observation tower as he goes to save the other people in the stadium. After
allowing one group of people to leave safely he hears a cry for help from Lois
at the same time he sees the children's section collapsing. He has instants to
make up his mind on whom to save. Lois tells him to save the children. After
saving the children, Superman unearths Lois from the wreckage. She says she is
just shaken, but Superman knows better and takes her to a hospital.
He then returns to the observation tower. Jackson is relieved to see him as
everyone has now escaped but them. He attaches them under a flying plane and
warns them that he won't release them unless they confess. Jackson confesses
the murder and the inferior construction materials. The mayor confesses to his
graft. He deposits them with the police. They want to be locked up in fear of
Superman.
Clark arrives at the hospital only to find out that Lois won't live without a
blood transfusion. Clark asks to see if his blood is the proper type.
Unnoticed he tears open his own skin as none of the hospitals instruments could
hope to penetrate it. The doctor is shocked to see his blood "conforms to all
four types." After the transfusion he is surprised to see an invigorated Lois,
recovering within a few seconds.
As they leave the hospital Lois says she feels stronger than ever. Back at the
Daily Planet, Taylor informs them that Jackson and the mayor are getting jail
terms and Lois gives Clark her eternal gratitude. She won't forget that his
blood saved her life. Clark thinks, "with Lois more friendly, I'm tempted to
forget my identity as Superman - but of course I must go on as I have!"
For once Lois is not only thankful to Superman, but Clark as well. She is a
little warmer to Clark in the story, inviting him to the stadium dedication and
now she has another reason. This is a possible start to their building more of
a friendship, despite Clark's apparent cowardliness at times, which she so
despises. It is very interesting to see that Lois received a dose of "super
blood." Not having read further, I wonder if there were any storylines that
examined any effects of the transfusion.
________________________________________________________
TELEscopic VISION:
------------------
Superman on the Small Screen
We've got a bit of treat for you this month, but we'll get to that momentarily.
First the news: LOIS AND CLARK is set to begin filming on its fourth season
on July 25. You should expect the season premiere slightly later than in
previous seasons, probably on September 22. And finally, contrary to previous
reports, it now appears that the season premiere will not be a two-hour movie.
The "New Krypton" story line will still be resolved in two hours, but it will
be shown over the course of two weeks.
Below we've got Zoomway's wish list for the fourth season, reviews of "Never
on Sunday" and "Tempus, Anyone?", and our special treat. One of readers
occasionally works on the set of L&C as an extra. She has provided us with
an article describing her work!
And don't forget that we need your interview questions for the interviews with
Eddie Jones and K Callan! Send them to Nancy at Nljfs@aol.com as soon as
humanly possible.
________________________________________________________
ATMOSPHERE ON THE LOIS AND CLARK SET
------------------------------------
One of our readers works occasionally on the L&C set. She has written an
article to tell us a little about her job. I found it to be an interesting
insight as to a job which makes each episode seem more real, but doesn't get
much notice -- except when it is missing. I hope you enjoy this article as
much as I did. --Nancy
* * * * * * * * *
Extras, or Atmosphere as they are often called, are arranged through two of the
main casting companies -- Central and Cenex. The production company calls them
the day before and puts in an order for how many extras they need and what
types (i.e., expectant mothers, twins, children, etc.). The casting companies
then call the extras giving them the call time and place plus what kind of
clothing and how many changes they should bring.
When the actors arrive at the studio (or location) they check in with the 2nd
Assistant Director or the 2nd 2nd (the 2nd A.D.'s assistant). They get their
Vouchers (kind of like a timecard) and then go to wardrobe to have their
costumes approved. Once dressed in the chosen costumes, the extras report back
to the holding area.
When they are ready to rehearse the scene with the actors, the 2nd AD chooses
the atmosphere and tells them what they are to do such as shopping on a city
street and crossing at a certain place or carrying files across the bullpen at
the Daily Planet. The actors and extras rehearse the scene several times.
After the rehearsals are done, the stand-ins take over and the extras are given
a break. On the set the crew puts the finishing touches in lighting and
decoration while the final touches of hair and makeup are put on the actors.
When everyone is ready, they shoot the scene several times from one direction,
then they turn the camera around and they shoot it from the opposite direction
to get both points of view.
Once the director gets all the shots he or she needs, they move on to the next
scene on the list. It could be on the same set or another. The director does
not shoot the scenes in sequential order. He or she tries to shoot all the
scenes on each set on the same day to avoid needlessly moving back and forth
between stages. This saves the production company both time and money.
A typical day for the regular cast and crew usually lasts about 12-14 hours.
For the atmosphere, the day can last anywhere from 4-14 hours, depending on how
many scenes require extras.
Once they are finished for the day, the extras are given their out times to
fill out on their vouchers and are then released for the day. If they are
working again the following day, they are also given a call time. The time
shooting ends that night determines what the call time will be for the next
day. There is a 12 hour turn around time between wrap time andresuming
filming. At the beginning of the week, the day starts out early and tends to
finish at a relatively decent hour. As the week progresses, the days run
longer and start later, so by Friday, the call is usually rather late and the
shoot day lasts sometimes well into early Saturday morning.
Everybody works hard, as is apparent in the finished LOIS AND CLARK episode.
The crew, as well as the cast, are all great and a pleasure to work with, even
on such long days.
________________________________________________________
4TH COMING
----------
by Zoomway (Zoomway@aol.com)
This will be a relatively short article. Aren't you relieved? It basically
amounts to a wish list for LOIS AND CLARK's fourth season. An amalgam of
things that I felt worked in all three seasons, and things that may be better
off not returning. I'll start with who and what I'd rather not see much of in
fourth season.
I don't want to see cyborgs or clones again. I know they've been like some
tradition, or perhaps plague in all three seasons, but I'd just as soon we
don't find either "c" word in fourth season. I also don't want to see the
Kryptonians beyond the premiere. If they don't turn out to be Kryptonians,
fine, I still don't want to see them. This is simply because I'd like more
down-to-earth story lines in fourth season. Not completely flat-footed like
the plot and villains from "Honeymoon in Metropolis" or "Contact" who were
quite forgettable, but rather closer on a par with "Strange Visitor", "Whine
Whine Whine" or "Tempus Anyone?". They all had their "fantasy" quality to
them, but there was something that made them click, move well, and showcased
what the program could do at its best. All of these episodes had a nice blend
of drama, humor, Lois and Clark interaction, sub-themes, etc. Even the
villains weren't paramount to the episodes' success. Believing the dilemmas,
no matter how farfetched, and motivations were.
I'd like the N.I.A. (National Intelligence Agency) lurking in the shadows and
perhaps be behind some plot involving Superman. They may be concerned with
national security on some level, but they seem to have their fingers in a lot
of pies. Their otherwise supreme power would be threatened by someone like
Superman. Perhaps they have a whole division at their operation dedicated to
the study of Superman. Maybe even the old Bureau 39 hails from the N.I.A.
Being a government agency, it would be able to circumvent a lot of legal
channels to accomplish what it wanted, but still stay within some parameter of
the law. It would also have nearly unlimited resources to use, and that gives
it a lot of options.
I don't know what will happen to Intergang if Mindy Church, as rumored, does
not return. She made a good change-of-pace villain who was guaranteed to have
more light-hearted and humorous plots, but the plots she was involved with were
usually rather complex, and she was the queen of the "frame up." Not to
mention her dumb bimbo disguise was extremely effective. So Intergang may end
up in limbo.
Above everything else, the show has got to get Lois and Clark married for real,
and make their marriage an undercurrent theme for the season. Their
relationship can't be fully explored until this happens. It's one thing when
Lois and Clark live apart and Lois doesn't know Clark's whereabouts at three in
the morning, but it's quite another when Lois doesn't know the whereabouts of
her husband at that hour. Having Lois' family visit once Lois and Clark are
married will open opportunities for humor as well as stress.
Since Lois and Clark are waiting for marriage before becoming sexually
intimate, then any story line drawn from that has to wait as well. Nothing
overt, but rather a story in which Clark and Lois are both working hard and
can't "connect" privately for several days, and then perhaps having that
aggravated by visits from their parents. It creates the good type of sexual
tension, and unlike the "bad" sexual tension, this type will find resolve. I'd
also like to see Clark somewhat insatiable after he's finally lost his
"patience" and have that as an issue they'll have to deal with. There's also
the matter of both of them not being careful enough when Clark is dressed as
Superman. Someone (undoubtedly Jimmy) will have to catch them in the act, and
they'll have to find some clever way to undo the damage.
Smaller issues would be to keep the supernatural themes to a minimum, and keep
them clever when used. Though the supernatural is one of the few things that
can work against Superman besides Kryptonite, such stories are difficult to put
across for dramatic episodes, but a bit too intense to be used humorously.
Have more of the Lois and Clark teamwork as in "We Have a Lot to Talk About",
where Lois' knowledge of Clark being Superman can be exploited. Introduce a
rival reporter who is suspicious of the Planet getting so many exclusives about
Superman, and Superman being so chummy with the Planet. We rarely see Lois and
Clark having to beat a competitor to the punch, and so having them run afoul of
this guy occasionally might help add suspense as well as be an avenue for
humor.
Well, that's it for this month. Next month I'll talk about the historic nature
of a married Superman.
________________________________________________________
EPISODE REVIEWS:
----------------
Episode #3-12: "Never On Sunday"
--------------------------------
by Shane Furlong (Shane.Furlong@evolving.com)
US Airdate: January 7, 1996
Guest Starring: Cress Williams as Baron Sunday
Beverly Garland as Ellen Lane
Carol Lawrence as Beverly Lipman
Gary Dourdan as Ziggy
Ben Reed as Matt Young
Les Lannom as Rod Clemens
Olivia Brown as Star
Joe Palese as the detective
John Mueller as the policeman
Randal Keith as the passenger.
Written by: Grant Rosenberg
Directed by: Michael Lange
"Never On Sunday" concerns a subject that I always have a little trouble with,
Superman versus the supernatural. I'm not sure what the trouble with it is. I
mean if I can suspend disbelief that Superman can fly, lift incredible weight,
and see through solid matter why can't I believe in magic? I'm not sure why,
but it's with this personal bias that I watched this episode.
In the beginning of the episode, Clark is having a nightmare of being closed
into a small space and it shakes him up quite a bit. The scene cuts to a man
laughing with decidedly snakelike eyes. Strangeness continues in this episode
as we see Clark throw away some mail as he enters the office and the same
envelope then shows back up in Jimmy's hands. The envelope contains tickets to
a magic show being given by Baron Sunday, the snake-eyed man from the intro,
who's a famous magician who lives on a plane.
The main story of this episode concerns the quest for revenge from Baron Sunday
whose real name is John Hendricks. Clark had written a story on Hendricks long
ago. Clark based the story on material given to him by an agent from the
National Intelligence Agency. Hendricks was blamed for a gun smuggling ring in
Jamaica even though he was not responsible for it. Matt Young, the agent who
fed Clark the story, was really responsible for the smuggling.
Like many episodes of L&C, the B story is about their relationship. This
concerns their wedding plans and an apparent mismatch between their feelings
about the size of the wedding. Clark thinks they are having a small wedding
but Lois apparently wants a big one. She involves her mother and a bridal
consultant, and the interplay between them all reminded me of the movie FATHER
OF THE BRIDE.
Back to the A story -- Young and another NIA agent, Rod Clemens, set up
Hendricks to take the fall with Clark as an unwitting accomplice. They
believed that Hendricks was killed in the bust, but he was only wounded and was
rescued by voodoo practitioners in Jamaica. They empowered him with magical
abilities.
Hendricks, as Baron Sunday, comes to Metropolis to extract revenge from Young,
Clemens, and Clark. He does dispatch Clemens by causing him to have a
flashback to Vietnam while driving a bus. Young has a vision of dogs attacking
him, and he too would have died but for some quick thinking on Clark's part and
a nearby light pole. Baron Sunday has more trouble causing the death of Clark
but he is able to weaken him with these visions.
As the story continues, Clark continues to have the vision, and it gets more
and more vivid. He sees himself being closed up in coffin and hearing a loud
noise like thunder. After consulting with Lois' neighbor Star, they are
surprised by Ziggy, Baron Sunday's assistant, who dies trying to warn them.
Clark and Lois go to confront Sunday with Star's advice that to fight the magic
Clark needs to hold onto something he loves.
With that in mind Lois slips her engagement ring in Clark's pocket without his
knowledge. Sunday was expecting them and brings out a doll of Clark and
paralyzes him with fear. While Sunday flies away with Lois, Clark rolls in
pain on the ground. Grasping at the ring that he spies on the ground Clark
suddenly realizes what the vision is, it is his parents closing him up in the
capsule for his journey to Earth.
Once the vision had no hold on him Clark was able to save Lois and stop Sunday.
Returning the plane to the ground, Lois and Clark discover that Sunday has
disappeared. We see a snake slithering off with some voice-over laughter. The
episode ends with Clark and Lois on the balcony while her mother and the bridal
consultant discuss the merits of doves versus Swiss bell ringers.
This episode was pretty good even with the bias I mentioned earlier. There are
several good scenes like the one of Baron Sunday's performance where Jimmy was
made to believe he was naked in the second grade. The scene was supposed to be
humorous, but it really played rather pitifully -- Justin Whalen did it well.
(Note to trivia buffs James Bartholomew Olsen was born in Metropolis on
February 15, 1974. Clark's birthday is February 28, 1966.)
Another cute gag in the episode was when Star asks if Lois has anything evil in
her purse. Lois says, "Only my credit cards." The scene where Clark gives
Young an electric shock to get his heart started again was inventive as well.
Clark's admission that the vision was scaring him was also a powerful scene.
One other thing I liked from this episode was the inclusion of the old
pre-Byrne comic book origin. Superman was born on Krypton and sent here as an
infant and not birthed in a chamber on the way to Earth. Clark said he felt
love and sadness from his parents which is another change from the sterile,
un-loving Krypton Byrne made. In all I thought this episode made good use of
the supernatural, especially the way it scared Clark over his powerlessness.
________________________________________________________
Episode #3-14: "Tempus, Anyone?"
--------------------------------
by Leigh Raglan (leigh4ck@aol.com)
US Airdate: January 21, 1996
Guest Starring: Lane Davies (Tempus)
Hamilton Camp (H.G. Wells)
Emily Proctor (Lana Lang)
Lee Arenberg (Major Domo)
Eric Stuart as the rookie cop
Lee Spencer as the bank guard
Elizabeth Maynard as the woman
Written by: John McNamara
Directed by: Winrich Kolbe
THE PLOT
Lois is taken hostage at gunpoint by Tempus, whom she doesn't remember, and
transported to an alternate Metropolis. Left alone in a cemetery, she is
alarmed to find herself at her own grave site. H. G. Wells approaches and
reassures her that it was an alternate Lois who died. He then recounts their
last adventure together in "Tempus Fugitive", restoring Lois' memory of all
those events. Wells says they need to find Tempus' machine so they can
transport him and themselves back to their own world.
It becomes apparent they will need the help of Superman to achieve their goals.
The Metropolis of the alternate world is like a wild, wild West town -- people
tote guns of every size and description, there are holdups and drive-by
shootings.
Perry White is still editor-in-chief at the Daily Planet, however he is also
running for Mayor. His opponent is Tempus! Perry is delighted to see Lois is
alive and warmly welcomes her back. He introduces her to the new owner of the
Planet, James Olsen, who achieved his financial success with computers.
"Mister" Olsen and the paper are backing Perry's campaign.
Lois greets the alternate Clark with a passionate loving kiss. However, he
doesn't know her -- or Superman! He is engaged to Lana Lang, who is
domineering and manipulative. She tries to run Clark's life like clockwork.
In private, she reprimands him for surreptitiously using his powers again. She
warns he could wind up in some lab where they would study him, then he would
never have a life. "No one will ever love you more than I do, or understand
you better." She tells him to promise not to use his powers again. He
artfully avoids agreeing.
Lois and Wells meet Clark privately. His worst nightmare comes true when she
begins rattling off everything she knows about him -- how he was found, all
about his super abilities. They reassure him they are not from the government.
What stuns Clark the most, however, is the thought that an alternate Clark is
flying about wearing tights. When Lois explains Martha made the costume he
says, "But the Kents died when I was ten." He says he bounced around after
they died, however it was a long time ago; he's fine now.
Lois and Wells are taken hostage by Tempus. Lois, bound and blindfolded, finds
herself in a perilous position on a crumbling ledge high atop a building.
Wells is tied to a chair in a room where he and Tempus watch her on monitors.
Tempus is gleeful about terrifying her. He is curious to see what will happen
to Lois in a world without Superman. He speculates that Clark falling in love
with a woman who constantly put herself into perilous situations contributed to
his creation of Superman.
When the final piece of the ledge crumbles, Lois screams, "Clark!" He saves
her at the final moment, while Tempus' men capture on video Clark flying in his
civvies and glasses with Lois in his arms.
Clark and Lois return to his apartment with shopping bags of fabric and a blue
ski suit which Lois suggests Clark wear as a secret identity. He is
unconvinced. While he does what he can to help, he wants to have a normal
life. He doesn't wish to be a super hero. A picture of Superman amuses him.
He is surprised by a photo of Clark and Lois together, noticing her engagement
ring for the first time. "Is this us?"
A picture of Clark with his parents stuns him. He explains his own parents had
been killed in a car accident when he was ten. He tried to save them -- he was
fast even then, just not fast enough. He is not convinced one man can make a
difference. Lois convinces him otherwise.
When Clark models the costume Lois made for him, Tempus, who is watching on a
monitor, is elated she is creating Superman. Wells realizes this is precisely
what Tempus wanted to happen.
Because Clark is rather uncertain, Lois suggests they go out on a trial run.
Carrying Lois in his arms, they fly about Metropolis. After he stops a
burglar, a grateful police officer not only thanks him, but thinks the name
"Superman" is "cool." Elated, Clark says, "My whole life I never felt so good
about being me."
He is also very drawn to Lois. "The feeling that I keep having when I'm around
you -- I can't control it."
Lana is appalled when Superman explains, "I've decided that the world needs
me." She wants things to return to the way they were. It is either Superman
or her.
Lois receives an anonymous phone call (from Tempus). A bomb has been planted
at a TV studio where Tempus and Perry will be debating. When she arrives with
Superman, Tempus makes it appear as if Superman brought the bomb. To
counterattack, he produces a chunk of Kryptonite, felling Superman, who drops
the bomb. Tempus portrays himself as mankind's savior from a menacing alien
here to destroy everyone. He then exposes Superman to the world by airing the
footage of Clark saving Lois.
Wells notices the bomb is ticking and announces this fact to everyone. When
Tempus attempts to flee, Wells punches him out. Lois throws the Kryptonite as
far from Superman as she can. Though quite weak, he pops the bomb in his
mouth. When it explodes, he passes out and isn't breathing! After a few long
moments, he begins coughing. Clark receives a warm welcome from everyone.
Back at the Daily Planet after Perry wins the election, Superman tells Lois
that he wishes he was half as upset about losing Lana as he is about losing
her. He urges her to stay. She can't. He isn't sure how to be Superman. He
needs her. Lois reminds him that her own Clark needs her. She has to go. He
asks, "Does he know what he has?"
"We both do."
"We *all* do," Clark says very sadly.
Wells has sent Tempus back into the arms of the police in the original
Metropolis and has returned to fetch Lois. He tells Superman he holds the
world in his hands and is giving "a once hopeless world" a new future. Clark
is still not sure he is up to the task. When he goes outside the Planet
wearing his new costume to be introduced to the cheering mob of people as Clark
Kent, a.k.a. Superman, he can't take his eyes off Lois. He watches unhappily
until she disappears.
Lois tells Wells she wishes this Clark "didn't have to be alone."
He responds, "The hardest lesson to learn is that love can be so fair to some
and so cruel to others -- even those who would be gods."
The moment Lois arrives back in her own world, she is joyfully reunited with a
very relieved Superman, who had been frantically searching everywhere for her.
He says that for ten terrible seconds he experienced what his life would be
like to be without her.
OPINION:
"Tempus, Anyone?" is just terrific. Again, Tempus is an excellent villain.
The absolute cold bloodedness of his eating popcorn nonchalantly while watching
Lois face death is pure evil -- and pure delight to watch.
Dean Cain really deserves special accolades for his amazing portrayal of the
alternate Clark. I just loved this character. After having played the role
for two-and-a-half years, Cain managed to make this Clark familiar, yet more
subdued, quieter, somewhat melancholy and even a bit cynical -- distinctly
different from our Clark, though just as endearing.
Seeing the alternate James Olsen was quite amusing. Justin Whalin did a great
job. In his suits with his slicked down hair, he looked and behaved quite
differently from our Jimmy.
The portrayal of Lana Lang as being manipulative and somewhat shrewish was a
bit jarring to anyone familiar with the character. Yet her bossiness is what
made the story work because we could not believe Clark could find happiness
being married to her. Although he probably knew Lana wasn't right for him --
judging from the way he would not promise her he would not use his powers --
without her he would have been completely alone. Based on the one photo Lois
saw of them, Clark and Lana did appear to have had some happy times together.
To her credit, Lana did love Clark, knowing he was a superpowered alien, even
if she did not want him to use those powers.
There were quite a few nice parallels to the Pilot, from the creation of the
Superman costume to his first superdeed of swallowing a bomb. Lana's
commentary about Clark winding up in a lab mirrored Jonathan's similar fears.
The episode also allowed us to see how influential Martha and Jonathan have
been in Clark's life by providing us with a glimpse of what his life might have
been like had he grown up without their love and support. It also demonstrated
how strong the bond between Lois and Clark is -- it actually transcends both
time and space. By the end of "Tempus, Anyone?", Clark and Lois seemed
destined to be together -- soul mates in any dimension.
Clark Kent's biggest fear has always been what would happen if everyone learned
he was Superman. He has always thought this knowledge made public would put
everyone he cares about in jeopardy. Villains would use his friends and family
to get to him. In the Pilot, Clark created Superman (with Martha's help) after
giving considerable thought about having some sort of disguise to wear which
might eliminate his need to worry about people finding out about him. He was
confident his costume would work because, "It won't be me."
In "Tempus, Anyone?" we have the unique situation of Lois being the one who
creates Superman while Clark has strong doubts about the disguise working.
While our Clark had decided wearing a costume would allow him to lead a normal
life, the alternate Clark had to be talked into wearing the suit by Lois. By
the end of the episode, the Superman costume has become his uniform, rather
than a disguise. Amusingly, the alternate Clark can never quite believe people
would not have recognized him just because he wasn't wearing his glasses. His
distress at being exposed is minimal; it is as if he knew it was bound to
happen. Thus, what has always been Clark's biggest nightmare -- being exposed
to the world -- was handled expertly in a way which also absolved Lois of any
blame. Not only was the alternate Clark now surrounded by adoring fans and
friends like Perry and James Olsen, he could openly be both himself, Clark Kent
a.k.a. Superman, without the burden of trying to be two people. It would
appear the alternate Clark would suffer no worse a fate than movie stars, for
example, in terms of now being a famous celebrity except, of course, he would
never need a bodyguard. <g>
The episode was not without some flaws or continuity glitches. The most
glaring was just how Tempus, who had been presented in "Tempus Fugitive" as
being completely inept with anything mechanical, not only created his own time
travel machine *without* a set of blueprints, but created a more sophisticated
device capable of taking him to parallel universes.
While I wished for a happier romantic ending for the alternate Clark (I do hope
the writers will return to him in some future episode as I would like to see
how he fares), the sad ending linked strongly with our Clark's emotions over
losing Lois for the longest ten seconds of his life. It was as if, for a brief
moment, our Clark was in the alternate Clark's shoes, watching Lois leaving him
and finding himself possibly all alone -- forever.
________________________________________________________
COMING ATTRACTIONS
------------------
A List of Upcoming Comics Featuring The Superman Family of Characters
Assembled by Jeffery D. Sykes
This monthly section is dedicated to giving you official information
concerning which comics you should watch for in the near future in order
to keep up with Superman, Superboy, Supergirl, and all the rest of the
Superman family of characters.
The information which follows is reprinted without permission from Diamond
Previews and is in no way meant to serve as a replacement for that magazine.
I strongly recommend that each reader find his or her own copy for additional
detailed information on the entire DC Universe! Note that Diamond is the
exclusive distributor of DC Comics!
NOTES
---------------
Okay now, everybody keep count with me! First we've got the four
issues of THE FINAL NIGHT, the miniseries bringing us DC's annual EVENT,
in which the heroes try to save the world after the sun is blown out.
Pivotal to the story is PARALLAX: EMERALD NIGHT. See our feature
article for more details...
Each of the four Superman titles ties in with THE FINAL NIGHT, as do
September's issues of SUPERBOY and SUPERGIRL. Also, Superman pays a
visit to Fawcett City during the crisis in POWER OF SHAZAM! #20. Each
of these stories deals with events related to the loss of the sun.
(And now we're up to 12 books already!)
Not tying in to the event, SHOWCASE spotlights Bibbo Bibbowski and his
attempts to prevent a suicide, STEEL continues to be tested relentlessly
after revealing his identity, and SUPERBOY & THE RAVERS find their way
to the planet Rann. JUSTICE LEAGUE: A MIDSUMMER'S NIGHTMARE wraps up,
leading to the new Justice League series this fall. (Still with me!?)
Kurt Busiek (best known for MARVELS and ASTRO CITY), Paul Ryan (new
penciller for MAN OF TOMORROW), and Josef Rubinstein (inker of SUPERMAN)
bring us the final Superman annual of the year with SUPERMAN: THE MAN OF
STEEL ANNUAL #8, featuring another "Legend of the Dead Earth." And
last, but certainly not least, with the debut of SUPERMAN, the new
Warner Brothers animated series, comes the debut of SUPERMAN ADVENTURES!
So what have we got? 18 titles for the month of September! DC's (and
please pardon the use of this word choice) onslaught of the Superman
fans' wallets continues...
-------------------------------------------------------------------------------
LIST OF TITLES BY EXPECTED ARRIVAL DATE
---------------------------------------------
Arrival Date: Comic title and information:
------------ ---------------------------
July 3: Justice League: A Midsummer's Nightmare #1 (of 3)
Written by Mark Waid and Fabian Nicieza
Art by Jeff Johnson, Darrick Robertson, Jon Holdredge,
and Hanibal Rodriguez
Cover by Kevin Maguire and John Dell
48 pgs, $2.95
Showcase '96 #8
Superman and Superboy
Written by Karl Kesel
Art by Tom Grummett and Josef Rubinstein
Supergirl
Written by Peter David
Art by Terry Dodson and Karl Story
Cover by Tom Grummett and Doug Hazlewood
48 pgs, $2.95
Steel #30
Written by Louise Simonson
Art by Phil Gosier and Rich Faber
Cover by Howard Porter
$1.95
Superman #115
Written by Dan Jurgens
Art and Cover by Ron Frenz and Josef Rubinstein
$1.95
July 10: Adventures of Superman #538
Written by Karl Kesel
Art and Cover by Stuart Immonen and Jose Marzan, Jr.
$1.95
Kingdom Come #3 (of 4)
Written by Mark Waid
Painted Art and Cover by Alex Ross
48 pgs, Prestige Format, $4.95
Supergirl #1
Written by Peter David
Art and Cover by Gary Frank and Cam Smith
$1.95
July 17: Action Comics #725
Written by David Michelinie
Art by Tom Morgan and Denis Rodier
Cover by Tom Grummett and Denis Rodier
$1.95
Superboy #31
Written by Eddie Berganza
Art by Kris Renkewitz and Brad Vancata
Cover by Tom Grummett and Karl Kesel
$1.95
July 24: Superboy & The Ravers #1
Written by Karl Kesel and Steve Mattsson
Art and Cover by Paul Pelletier and Dan Davis
$1.95
Superman: The Man of Steel #60
Written by Louise Simonson
Art and Cover by Jon Bogdanove and Dennis Janke
$1.95
July 31: Alpha Centurion Special #1
Written by Barbara Kesel and Stuart Immonen
Art by Dean Zachary and Wade von Grawbadger
Cover by Stuart Immonen and Wade von Grawbadger
48 pgs, $2.95
Eradicator #2 (of 3)
Written by Ivan Velez, Jr.
Art and Cover by Roger Robinson and John Lowe
$1.75
Superman #116
Written by Dan Jurgens
Art and Cover by Ron Frenz and Josef Rubinstein
$1.95
August 7: Action Comics Annual #8
Written by David Michelinie
Art by Kieron Dwyer
Cover by Jerry Ordway
48 pgs, $2.95
Justice League: A Midsummer's Nightmare #2 (of 3)
Written by Mark Waid and Fabian Nicieza
Pencilled by Jeff Johnson and Darick Robertson
Inked by Jon Holdredge and Hanibal Rodriguez
Cover by Kevin Maguire and John Dell
48 pgs, $2.95
Showcase 96 #9
Lady Shiva and Shadowdragon
Written by Joan Weis
Pencils by Kevin West
Inks by Keith Champagne
Cover by Ron Frenz and Brett Breeding
48 pgs, $2.95
Steel #31
Written by Louise Simonson
Art and Cover by Phil Gosier and Rich Faber
$1.95
Superman: The Man of Tomorrow #6
Written by Roger Stern
Art by Paul Ryan and Brett Breeding
Cover by Tom Grummett and Brett Breeding
$1.95
August 14: Adventures of Superman #539
Written by Karl Kesel and Jerry Ordway
Art by Ron Lim and Klaus Janson
Cover by Stuart Immonen and Jose Marzan Jr
$1.95
Detention Comics #1
Superboy story:
Written by Ron Marz
Art by Ron Lim and Andrew Hennessy
Cover by Joe Phillips
64 pgs, $3.50
Kingdom Come #4 (of 4)
Written by Mark Waid
Painted Art and Cover by Alex Ross
48 pgs, Prestige Format, $4.95
Supergirl #2
Written by Peter David
Art and Cover by Gary Frank and Cam Smith
$1.95
August 21: Action Comics #726
Written by David Michelinie
Art by Tom Morgan and Denis Rodier
Cover by Tom Grummett and Denis Rodier
$1.95
Superboy #32
Written by Ron Marz
Art and Cover by Ramon Bernado and Doug Hazlewood
$1.95
August 28: Eradicator #3 (of 3)
Written by Ivan Velez Jr
Art and Cover by Roger Robinson and John Lowe
$1.75
Legion of Super-Heroes #85 (Superman)
Written by Tom Peyer and Tom McCraw
Art by Lee Moder and Ron Boyd
Cover by Alan Davis and Mark Farmer
$2.25
Superboy & The Ravers #2
Written by Karl Kesel and Steve Mattsson
Art and Cover by Paul Pelletier and Dan Davis
$1.95
Superman: The Man of Steel #61
Written by Louise Simonson
Art and Cover by Jon Bogdanove and Dennis Janke
$1.95
September 5: The Final Night #1 (of 4)
Written by Karl Kesel
Art and Cover by Stuart Immonen and Jose Marzan Jr
$1.95
The Power of Shazam! #20 (Superman)
Written by Jerry Ordway
Art by Peter Krause and Mike Manley
Painted Cover by Jerry Ordway
$1.75
Showcase '96 #10
Bibbo
Written by Paul Castiglia
Art by Denis Rodier
Cover by Denis Rodier
48 pgs, $2.95
Steel #32
Written by Darren Vincenzo
Pencilled by Roger Robinson
Cover by Phil Gosier and Rich Faber
$1.95
Superman #117
Written by Dan Jurgens
Art and Cover by Ron Frenz and Josef Rubinstein
$1.95
Superman Adventures #1
Written by Paul Dini
Art by Rick Burchett and Terry Austin
Cover by Bruce Timm
$1.75
September 11: Adventures of Superman #540
Written by Karl Kesel and Jerry Ordway
Art by Terry Dodson and Karl Story
Cover by Stuart Immonen and Jose Marzan Jr
$1.95
The Final Night #2 (of 4)
Written by Karl Kesel
Art and Cover by Stuart Immonen and Jose Marzan Jr
$1.95
Justice League: A Midsummer's Nightmare #3 (of 3)
Written by Mark Waid and Fabian Nicieza
Art by Jeff Johnson, Darrick Robertson, Jon Holdredge,
and Hanibal Rodriguez
Cover by Kevin Maguire and John Dell
48 pgs, $2.95
Supergirl #3
Written by Peter David
Art and Cover by Gary Frank and Cam Smith
$1.95
Superman: The Man of Steel Annual #5
Written by Kurt Busiek
Art by Paul Ryan and Josef Rubinstein
Cover by Jerry Ordway
48 pgs, $2.95
September 18: Action Comics #727
Written by David Michelinie
Art by Tom Morgan and Denis Rodier
Cover by Tom Grummett and Denis Rodier
$1.95
The Final Night #3 (of 4)
Written by Karl Kesel
Art and Cover by Stuart Immonen and Jose Marzan Jr
$1.95
Parallax: Emerald Night #1
Written by Ron Marz
Art and Cover by Mike McKone and Mark McKenna
48 pgs, $2.95
Superboy #33
Written by Ron Marz
Art and Cover by Ramon Bernado and Doug Hazlewood
$1.95
September 25: The Final Night #4 (of 4)
Written by Karl Kesel
Art and Cover by Stuart Immonen and Jose Marzan Jr
$1.95
Superboy & The Ravers #3
Written by Karl Kesel and Steve Mattsson
Art and Cover by Paul Pelletier and Dan Davis
$1.95
Superman: The Man of Steel #62
Written by Louise Simonson
Art and Cover by Jon Bogdanove and Dennis Janke
$1.95
-------------------------------------------------------------------------------
SPOILERS
------------------
September 5:
-----------
The Final Night #1 (of 4)
Superman and the Legion of Super-Heroes encounter an alien who crash-lands
on Earth to warn it of impending doom! An unstoppable force that feeds
off the stars themselves has entered the solar system! And try as they
might, Earth's heroes fail utterly to prevent the total blowout of the
sun, spelling certain doom for their world ... and all that inhabit it!
The Power of Shazam! #20
Superman guest-stars! One city still shines in the darkness of THE FINAL
NIGHT -- Fawcett City -- but only if the light-bringing, life-giving magic
spell of the wizard Shazam will hold out! Unfortunately, it's also the
painful duty of Captain Marvel and the Man of Steel to keep desperate,
panic-stricken mobs from flooding an already overcrowded Fawcett City as
the world around it grows colder.
Showcase '96 #10
Bibbo tries to stop a man from jumping off a bridge by telling him stories
of how he defeated some of DC's deadliest villains! According to Bibbo,
he's taken on the Joker, the Cheetah, Major Force, and even Doomsday --
but the only way to really prove his heroism is to stop the jumper ... who
doesn't believe a word of Bibbo's tall tales. The Legion's Ultra Boy
(trapped in the 20th Century) draws the focus in one of the issue's backup
stories, while Captain Comet is featured in the other.
Steel #32
When the super-intelligent, hulking Blockbuster sets his sights on
Washington, there's one obstacle he must first eliminate -- Steel. But
after all he's been through, there's no way Steel's going to let his city
fall.
Superman #117
As the bitter cold and darkness of THE FINAL NIGHT descends, Superman is
forced to battle his own Antarctic refuge as the robots within the
Fortress of Solitude fail to recognize him as a Kryptonian, perceiving
him instead to be an interloper!
Superman Adventures #1
Following the success of their first DC cartoon, the creators of BATMAN:
THE ANIMATED SERIES send Superman rocketing over the airwaves in a new
series slated for Fall 1996 on the WB television network. As before, DC
offers an all-new ongoing comic book based upon the animated show!
SUPERMAN ADVENTURES packs all the storytelling excellence, action, fun,
and excitement that's made THE BATMAN AND ROBIN ADVENTURES a critically
acclaimed favorite. Illustrated by Rick Burchett and Terry Austin, issue
#1 is written by Warner Bros. Animation producer/writer Paul Dini, with
subsequent issues written by acclaimed ZOT! creator and UNDERSTANDING
COMICS author Scott McCloud. Issue #1 also features a wraparound cover
by Warner Bros. animator/producer Bruce Timm, with a metallic fifth color
ink.
September 11:
------------
Adventures of Superman #540
As THE FINAL NIGHT continues, guest-star Ferro of the Legion of Super-
Heroes is spotlighted in a story that explores his tragic past while
Metropolis is engulfed in a blizzard.
The Final Night #2 (of 4)
With the sun blown out, worldwide death seems certain unless Earth's
heroes can devise a solution. But their efforts may do nothing more than
delay the inevitable as the darkened world grows colder ... and colder.
Justice League: A Midsummer's Nightmare #3 (of 3)
The Know-Man's plot is revealed, and if carried out it will grant every
person on Earth power beyond their imagining. Only Dr. Destiny holds the
key to releasing the world from a carefully-crafted dream reality, and
even the Justice League may be powerless to stop worldwide chaos.
Supergirl #3
The sun has blown out in THE FINAL NIGHT, and as Supergirl battles the
elements in her newly adopted town, Leesburg's residents are transformed
into twisted, dark versions of themselves. It's the work of Grodd, one of
the Flash's most frightening adversaries -- who possesses an artifact with
magical powers that thrive during a solar eclipse. Faced with the end of
the world, Grodd is determined to die as ruler of a new twisted kingdom,
even if it means transforming the Girl of Steel!
Superman: The Man of Steel Annual #5
The "Legends of the Dead Earth" Annuals continue with a story by Kurt
Busiek (ASTRO CITY, MARVELS): In the distant future, a stellar empire
suppresses all knowledge of the long-lost motherworld, Earth. An armored
cadre of warriors known as the "Imperial Supermen" sweep across planet
after planet, dashing any hope of returning to an "age of super-heroes."
But a young rebel has other ideas, leading to a final clash with Emperor
Alexander the 60th.
September 18:
------------
Action Comics #727
Metropolis struggles against the brutal weather wrought by the blowout of
the sun in THE FINAL NIGHT as Superman and the SCU battle the returning
SimmBots in Centennial Park.
The Final Night #3 (of 4)
With Earth's demise mere hours away, the heroes struggle to give hope to
the darkened, freezing world. Faced with certain death, people are driven
to riot, murder, suicide, confess love, even reconcile with enemies as the
inevitable approaches.
Parallax: Emerald Night #1
This is it! This pivotal tie-in to THE FINAL NIGHT is the long-awaited
story in which Hal Jordan confronts his past, present, and future! Writer
Ron Marz (GREEN LANTERN, DC VERSUS MARVEL) and artists Mike McKone and
Mark McKenna (the team from Image's SPARTAN) create a moving tale that
re-examines the forces driving Parallax, from a cosmic battle at the ends
of the universe with the evil Cyborg, to the now-darkened and dying world
of Earth, where Hal at last makes his peace with those he left behind.
Superboy #33
In the wake of the sun's demise during THE FINAL NIGHT, desperate people
flee to Hawaii for warmth as the island begins to shake itself apart with
sudden volcanic activity.
September 25:
------------
The Final Night #4 (of 4)
The incredible conclusion! Earth's heroes may have found a way to save
the world, but it requires a supreme sacrifice ... and only one hero can
make it work. Whatever the outcome, this issue will shock and rock the
DC Universe!
Superboy & The Ravers #3
The intergalactic chase continues as the team gets teleported to the
planet Rann, where they're caught up in a search for a missing -- but
very powerful -- child. Plus, a new member joins -- the ectoplasmic,
living-dead teenager, Half-Life.
Superman: The Man of Steel #62
Follow both Superman's struggle to save Earth from THE FINAL NIGHT even
as his power fades without sunlight to feed it ... and also Jor-El's
tragic failed attempt to save his own world of Krypton.
________________________________________________________
End of Section 10/Issue #27
