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The Kryptonian Cybernet Issue 35
___________________________________________________________
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 #35 - February 1997
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CONTENTS
--------
Section 1: Superscripts: Notes from the Editor
But Why Can't I Eat It Too?
News and Notes
The 1996 Kaycees!
The Third Annual Kryptonian Cybernet Readers' Choice Awards
-- You could WIN ORIGINAL STUART IMMONEN ARTWORK!
Section 2: Superman FAQ (1 of 3)
Frequently-Asked Questions about the Man of Steel
by David T. Chappell
Section 3: Superman FAQ (2 of 3)
Frequently-Asked Questions about the Man of Steel
by David T. Chappell
Section 4: Superman FAQ (3 of 3)
Frequently-Asked Questions about the Man of Steel
by David T. Chappell
Superman: The Serial
Steven Younis wraps up his series of reviews
Section 5: New Comic Reviews
The Superman Titles
Superman: The Man of Steel #65, by Shane Travis
Superman #121, by Shane Furlong
Adventures of Superman #544, by Anatole Wilson
Action Comics #731, by William J. Nixon
Section 6: New Comic Reviews
The Superman Titles (cont)
Superman: The Man of Tomorrow #8, by Rene' Gobeyn
Super-Family Titles
JLA #3, by Matt Combes
Steel #36, by Dick Sidbury
Superboy #37, by Rene' Gobeyn
Superboy and the Ravers #7, by Jeff Sykes
Section 7: New Comic Reviews
Super-Family Titles (cont)
Supergirl #7, by Jeff Sykes
Superman Adventures #5, by Jeff Sykes
Miniseries
Superman/Wonder Woman: Whom Gods Destroy #4, by Rene Gobeyn
AfterByrne
Manuscripts of Steel
The Legacy of Superman, by Denes House
Section 8: The Phantom Zone
Super Friends
The Brave and the Bold #192, by Joe Crowe
The Mailbag
Section 9: Superman: The Animated Series
"My Girl"
Episode Review by Jimmy Stewart
"Tools of the Trade"
Episode Review by Scott Devarney
Merchandise
Section 10: Lois and Clark: The New Adventures of Superman
News and Notes: L&C Edition
Clark Kent's So-Called Life
By Zoomway
Section 11: Coming Attractions
STAFF:
------
Jeffery D. Sykes, Editor-in-Chief
Arthur E. LaMarche, Executive Coordinator of Reviews
Nancy Jones, Executive Coordinator: Lois and Clark, S:TAS sections
Editors:
Chip Chandler Steve Hanes D.M. Simms
Joe Crowe Curtis Herink Shane Travis
Trevor Gates Bill Meeks Steven Younis
William O'Hara
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 information.
All original material published in The Kryptonian Cybernet, including but not
limited to reviews, articles, and editorials, are copyright 1996 by The
Kryptonian Cybernet and the respective authors. Reprinting in any format is
expressly forbidden without the permission of The Kryptonian Cybernet and the
contributing author.
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 can be distributed, in whole, freely via e-mail. Should you
desire to share this publication with other on-line services, please contact me
at sykes@ms.uky.edu for permission. Feel free to advertise subscription
information on other on-line services which have internet mail availability.
THE KRYPTONIAN CYBERNET is available by e-mail -- to subscribe, send the
commands
subscribe kc
end
in the body of an e-mail message to "majordomo@novia.net" (without the
quotation marks). The program ignores the subject line of the message.
Back issues are available via ftp at oasis.novia.net. These archives can also
be reached via the Kryptonian Cybernet Homepage:
http://www.ms.uky.edu/~sykes/kc
___________________________________________________________
SUPERSCRIPTS: Notes from the Editor
------------------------------------
BUT WHY CAN'T I EAT IT TOO?
The rumor mill, as well as the Hollywood press, has turned its attention onto
SUPERMAN LIVES (or SUPERMAN REBORN -- who knows these days?), the
on-the-horizon feature film set to begin filming this summer. Kevin Smith has
reportedly turned in the first draft of the complete script, and casting is in
the early stages.
The early front runner, according to VARIETY, for the role of Superman is
Oscar-winning actor Nicolas Cage. Hold the phone people. I would hope that
Warner Brothers has a bit more sense than this. Now, I have nothing against
Nicolas Cage -- I think he's a fine actor. But you know, I was REALLY hoping
that they'd find someone who actually looks the part this time.
No knock on Christopher Reeve, because I thought his has been the definitive
non-comics Superman to date. But to me, he never really looked the part.
Perhaps I'm blinded by comics, but Superman should be a really big guy, and
Reeve simply didn't have that look. Neither does Cage.
As far as acting ability, Cage is one of Hollywood's best, but I can't for the
life of me remember when Cage has played a character of this stature. He has
a history of playing brooding, morose, even depressed characters. He's
wonderful at what he does, but I just don't think he's right for the part.
And darn it, this is SUPERMAN! While I'm tremendously excited that we're
finally going to get a new film, I'm also tremendously concerned that it be
done right. And, just as most of you other serious fans will be, I'm coming
into this with high expectations -- I really don't want to be let down. It's
just not enough that they're making a Superman movie; it needs to be GOOD.
They're also talking seriously about Jack Nicholson as Lex Luthor. This could
work, but I'm not really certain he's the perfect choice either. Besides,
he's the Joker. What'll happen when they eventually get around to that
World's Finest movie? :)
Now, not to flog a dead horse, but why is that we waited oh so long for some
good Superman action figures, only to have the toy business screw it all up
for us? The Man of Steel line is all but defunct, having been absorbed into
the animated series line. The only place I've SEEN the animated line is Toys
R Us, and then only in very limited quantities. And now the second wave of
animated figures, which PREVIEWS solicited for January, have yet to show up.
Speaking of the animated series, I'm starting to go through withdrawals now
that I've been without for nearly two months. A suggestion to the WB network.
You know how UPN effectively syndicated out its programming (including STAR
TREK: VOYAGER) to markets without a UPN station? Give it a try...
Sorry for the sour tangent. I DO realize that the sheer number of Superman
projects out there make this one of the best times in history to be a Superman
fan. From action figures, to animated series, to live action series, to
weekly comics, to impending movies, there's a lot of different takes on the
Man of Steel available right now. But, as I'm sure most of you will agree, we
all have our own ideas about what Superman is really about, and sometimes even
the volume of adaptations available can't make up for it when they fall a bit
short of what we expect.
Ah, well. Tradition holds that Superman's birthday is February 29. The
current comics incarnation may not have picked up on this explicitly, but it
was certainly Leap Day for the pre-Crisis Man of Steel. And even LOIS AND
CLARK has picked up on it by naming Clark's birthday the 28th of February. So
why don't we all run out on Friday and have a birthday cake to celebrate?
Heck, maybe you can even eat it too.
I'll go work on my positivity. :)
See ya next month!
Jeff Sykes, Editor
___________________________________________________________
NEWS AND NOTES
--------------
GETTING ALL THE FAQS
This month, THE KRYPTONIAN CYBERNET is proud to present the latest
version of David Chappell's excellent Superman FAQ. In order to keep
the individual sections of the magazine from becoming too large, the FAQ
is being broken into three parts, appearing in consecutive sections of
this month's issue.
COMICS QUICKIES
Barbara Kesel (SUPERBOY ANNUAL, ALPHA CENTURION SPECIAL) will be filling
in as writer on two issues of SUPERBOY later this year, joined by artist
Leonard Kirk (Marvel's ULTRA GIRL).
Speaking of Leonard Kirk, he's set to become the new penciller on
SUPERGIRL, beginning with issue #13.
Also due later this year is a special Madman/Superman crossover by
Madman creator Mike Allred, as well as the SUPERMAN: RED SON project we
mentioned several months ago.
Missed one of the first few issues of the new JLA series? No problem.
JLA: NEW WORLD ORDER, a $6.95 trade paperback reprinting the first four
issues of JLA, is scheduled for release on February 26.
John Byrne is planning a follow-up to his smash hit BATMAN/CAPTAIN
AMERICA Elseworlds special. The prequel, proposed for release next
year would deal with the 1939 incarnations of Batman and Superman, and
would partly commemorate Superman's 60th birthday.
LIGHTS, CAMERA, ACTION FIGURES!
To coincide with the new STEEL motion picture, scheduled for release
later this year, Kenner/Hasbro will be producing a line of Steel action
figures and toys. Planned basic figures include Steel, Armor Up Steel,
Power Gauntlet Steel, Vapor Trail Steel, Lt. Sparks, and Shell Shock
Burke. Deluxe figures include Electro Magnetic Steel and Mobile Barrier
Steel. Also planned is one vehicle, the Steel Assault Cycle.
Also on the way from Kenner/Hasbro is a second wave of figures in the
SUPERMAN animated series line, including Strong Arm Superman, Capture
Claw Superman, Darkseid, Electro Energy Superman, Fortress of Solitude
Superman, Anti-Kryptonite Superman, Metallo, Supergirl, Capture Cape
Superman, and Lightning Strike Flash. Deluxe figures and vehicles (some
may be part of the Man of Steel line) include Vision Blast Superman,
Flying Superman, Steel Justice Superman, City Camo Superman, and Krypton
SpaceShip.
S:TAS FALL RESCHEDULING
Kids' WB has announced minor changes to their previously announced
plans for airing SUPERMAN and BATMAN in the fall.
All-new episodes of the Emmy Award-winning series BATMAN will be added
to Kids' WB! Saturday mornings, along with now-classic episodes of the
top-rated, award-winning series, which will rotate weekday afternoons
with SUPERMAN under the moniker -- THE NEW BATMAN/SUPERMAN ADVENTURES.
Additionally, viewers will be able to enjoy some all-new adventures with
SUPERMAN on Saturday mornings and recent favorites weekday afternoons.
THE NEW BATMAN/SUPERMAN ADVENTURES is scheduled to air on weekday
afternoons at 4:30 PM. BATMAN will air Saturday mornings at 10:00 AM,
followed by SUPERMAN at 10:30 AM. Dates and times may be different
in your local areas.
Also, the fall SUPERMAN/BATMAN season *will* kick off with a 90-minute
WORLD'S FINEST animated movie, in which Superman and Batman will be
meeting for the first time, teaming up against Luthor and the Joker.
Finally, for the second season, expect more guest-stars and more classic
villains. Planned appearances include Mr. Mxyzptlk, Darkseid and his
minions, Orion and the New Gods, Dr. Fate, Flash, Steel, and Supergirl.
Also watch for the Female Furies, Mister Miracle, the debut of Livewire,
and a Titano story!
___________________________________________________________
THE 1996 KAYCEES!
The Third Annual Kryptonian Cybernet Readers' Choice Awards
-----------------------------------------------------------
Welcome, finally, to our annual awards for the best in the world of Superman!
The 1996 Kaycees will cover comics published with a 1996 cover date, as well
as the third season of LOIS AND CLARK. (The fourth season of LOIS AND CLARK
and the new SUPERMAN animated series will be covered in the next edition of
the Kaycees -- we may break off the other-media awards into their own event in
May or June.)
For those of you with WWW access and a forms-capable browser, I will be
setting up a voting "booth" at the KC homepage. Check in at
http://www.ms.uky.edu/~sykes/kc/kaycees
or link in from the main page. Those of you without a forms-capable browser
can still vote, simply by sending your votes on the ballot below through
e-mail. Place your votes, and you could win ORIGINAL ARTWORK BY ADVENTURES OF
SUPERMAN ARTIST STUART IMMONEN!
Before we get to the ballot itself, I want to again briefly comment on the
categories so that we can limit the amount of confusion. I will also indicate
sources for further information, all of which will be available on the KC home
page.
ONGOING COMIC SERIES:
--------------------
Eligible in these categories are the Superman titles which feature a "triangle
number," the two Superboy titles, SUPERGIRL, and STEEL. Annuals, miniseries,
SUPERMAN: THE WEDDING ALBUM, and other specials will be covered in the next
section.
CS1: Best Writing in an ongoing comic series
CS2: Worst Writing in an ongoing comic series
These categories are for regular writers only.
Eligible: Peter David, SUPERGIRL
Dan Jurgens, SUPERMAN
Karl Kesel, ADVENTURES OF SUPERMAN
Karl Kesel, SUPERBOY
Karl Kesel and Steve Mattsson, SUPERBOY
Karl Kesel and Steve Mattsson, SUPERBOY AND THE RAVERS
Ron Marz, SUPERBOY
David Michelinie, ACTION COMICS
Louise Simonson, STEEL
Louise Simonson, SUPERMAN: THE MAN OF STEEL
Roger Stern, SUPERMAN: THE MAN OF TOMORROW
CS3: Best Art in an ongoing comic series
CS4: Worst Art in an ongoing comic series
Again, these categories are for regular artists only.
Eligible: Ramon Bernado and Doug Hazlewood, SUPERBOY
Jon Bogdanove and Dennis Janke, MAN OF STEEL
Kieron Dwyer and Denis Rodier, ACTION COMICS
Gary Frank and Cam Smith, SUPERGIRL
Ron Frenz and Josef Rubinstein, SUPERMAN
Phil Gosier and Rich Faber, STEEL
Tom Grummett and Brett Breeding, MAN OF TOMORROW
Tom Grummett and Doug Hazlewood, SUPERBOY
Tom Grummett and Denis Rodier, ACTION COMICS
Stuart Immonen and Jose Marzan Jr, ADVENTURES OF SUPERMAN
Tom Morgan and Denis Rodier, ACTION COMICS
Paul Pelletier and Dan Davis, SUPERBOY AND THE RAVERS
Paul Ryan and Brett Breeding, MAN OF TOMORROW
CS5: Best Story/Story Arc in an on-going comic series
CS6: Worst Story/Story Arc in an on-going comic series
You should reference the 1996 Year in Review for specific stories.
Some of the major arcs were:
Superman Titles - "The Trial of Superman"
"Identity Crisis"
"The Bottle City"
STEEL - "Family Feud"
SUPERBOY - "Losin' It"
RAVERS - "House Rules"
Again, you need not limit your voting to only the major arcs.
CS7: Best Cover from an on-going comic series
CS8: Worst Cover from an on-going comic series
Eligible are any individual covers from the nine titles outlined
above. For visual reminders of most of these covers, see the 1996
Year in Review (available on the KC homepage).
CS9: Best Ongoing Comic Series
CS10: Worst Ongoing Comic Series
Eligible: ACTION COMICS
ADVENTURES OF SUPERMAN
STEEL
SUPERBOY
SUPERBOY AND THE RAVERS
SUPERGIRL
SUPERMAN
SUPERMAN: THE MAN OF STEEL
SUPERMAN: THE MAN OF TOMORROW
======================================================
SPECIALS AND LIMITED SERIES:
---------------------------
Eligible in these categories are Superman family books other than those
eligible in the previous section. This includes SHOWCASE '96 both as an
entire series and as individual issues. For more information on these issues
and their creators, see again the 1996 Year in Review.
LS1: Best Writing in a special or limited series
LS2: Worst Writing in a special or limited series
Eligible: Any writer(s) of a Superman family SHOWCASE story
Any writer(s) of a Superman family annual
Peter David, DC VERSUS MARVEL
Ed Hannigan, LEAGUE OF JUSTICE
Barbara Kesel and Stuart Immonen, ALPHA CENTURION SPECIAL
Karl Kesel, THE FINAL NIGHT
Karl Kesel, SPIDER-BOY #1
Karl Kesel, SUPERMAN/TOYMAN #1
Ron Marz, DC VERSUS MARVEL
Fabian Nicieza and Mark Waid, JL: A MIDSUMMER'S NIGHTMARE
Ivan Velez, ERADICATOR
Mark Waid and Dave Gibbons, SUPER SOLDIER #1
Mark Waid and Alex Ross, KINGDOM COME
LS3: Best Art in a special or limited series
LS4: Worst Art in a special or limited series
Eligible: Any artist(s) of a Superman family SHOWCASE story
Any artist(s) of a Superman family annual
The JL: A MIDSUMMER'S NIGHTMARE art team
Claudio Castellini and Paul Neary, DC VERSUS MARVEL
Dave Gibbons, SUPER SOLDIER #1
Ed Hannigan and Dick Giordano, LEAGUE OF JUSTICE
Stuart Immonen and Wade von Grawbadger, SUPERMAN/TOYMAN #1
Stuart Immonen and Jose Marzan Jr, THE FINAL NIGHT
Dan Jurgens and Josef Rubinstein, DC VERSUS MARVEL
Roger Robinson and John Lowe, ERADICATOR
Alex Ross, KINGDOM COME
Mike Wieringo and Karl Kesel, SPIDER-BOY #1
Dean Zachary and Wade von Grawbadger, ALPHA CENTURION SPECIAL
LS5: Best Special or Limited Series
LS6: Worst Special or Limited Series
Eligible: The individual Superman family annuals
ALPHA CENTURION SPECIAL #1
DC VERSUS MARVEL/MARVEL VERSUS DC
ERADICATOR
THE FINAL NIGHT
JUSTICE LEAGUE: A MIDSUMMER'S NIGHTMARE
KINGDOM COME
LEAGUE OF JUSTICE
SHOWCASE '96
SPIDER-BOY #1
SUPER SOLDIER #1
SUPERMAN: THE WEDDING ALBUM
SUPERMAN/TOYMAN #1
======================================================
LOIS AND CLARK:
--------------
These are awards for the third season episodes. If you wish to refresh your
memory, you can find a copy of the third season episode guide at the WWW
address below. It resides there in both HTML and text formats.
http://www.ms.uky.edu/~sykes/lc/index.html
LC1: Best-Written Season Three Episode
LC2: Worst-Written Season Three Episode
Eligible: WE HAVE A LOT TO TALK ABOUT
ORDINARY PEOPLE
CONTACT
WHEN IRISH EYES ARE KILLING
JUST SAY NOAH
DON'T TUG ON SUPERMAN'S CAPE
ULTRA WOMAN
CHIP OFF THE OLD CLARK
SUPER MANN
VIRTUALLY DESTROYED
HOME IS WHERE THE HURT IS
NEVER ON SUNDAY
THE DAD WHO CAME IN FROM THE COLD
TEMPUS, ANYONE?
I NOW PRONOUNCE YOU...
DOUBLE JEOPARDY
SECONDS
FORGET ME NOT
OEDIPUS WRECKS
IT'S A SMALL WORLD AFTER ALL
THROUGH A GLASS, DARKLY
BIG GIRLS DON'T FLY
LC3: Best Season Three Episode
LC4: Worst Season Three Episode
Eligible: Same as above list :)
======================================================
WRITE-IN AWARDS (W1 and W2):
---------------------------
Feel free to write in any award not given above which you feel is deserved.
Or, if need be, send in the most bizarre award you can think of. Not all of
these will be published, but I will print the best of them when the awards
results are announced. Please don't submit more than two write-in awards.
======================================================
Now, with the category descriptions out of the way, here are the rules.
1. Use the ballot found below to record your votes (or vote via the form
on the KC home page). Please leave all question numbers on your ballot,
even if you do not vote in all of the categories. Be certain to
include your e-mail address on the first line of the ballot, as is
indicated below. Include only the lines of the ballot below. Do not
include all of the information I provided above.
2. Please do not vote for ties in any category. Tallying all of the votes
is going to be hard enough as it is.
3. E-mail your votes to KCVote@aol.com
This account has been set up for the sole purpose of collecting votes.
Votes sent to any other address will be thrown out and not counted.
Simply replying to this message *will not* direct your ballot to the
correct address -- you should make certain the address is correct before
actually sending the mail.
4. Voting ends at 11:59 PM EST on March 21, 1997. Votes dated after this
will not be accepted! I strongly suggest that you mail your ballots no
later than a day or two after the 14th. This should prevent any e-mail
delays from causing your vote to be ignored.
5. As in past years, the Kryptonian Cybernet is awarding a special prize to
one voter, selected at random from all who enter. And this year, I am
proud to announce that ADVENTURES OF SUPERMAN artist Stuart Immonen has
donated a piece of original art which will be given to the selected entry!
This is the original pencil art used for the packaging of Kenner's
Matrix Conversion Coupe -- this is a one of a kind! MAKE CERTAIN YOU
INCLUDE YOUR NAME AND E-MAIL ADDRESS ON YOUR BALLOT, OR ELSE YOU WON'T
BE ELIGIBLE FOR THIS FABULOUS PRIZE!
++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++
Include Everything between the next two lines of plusses as your ballot.
Do not include the plusses themselves.
++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++
Name:
E-Mail Address:
CS1:
CS2:
CS3:
CS4:
CS5:
CS6:
CS7:
CS8:
CS9:
CS10:
LS1:
LS2:
LS3:
LS4:
LS5:
LS6:
LC1:
LC2:
LC3:
LC4:
W1:
W2:
++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++
Refer to the outline above for a list of the categories which match the
given question numbers. And for those of you with a forms-capable browser,
I guarantee voting will be a bit easier than this using the form on the
KC homepage.
Have fun!
Jeff
___________________________________________________________
SUPERMAN FAQ
Frequently-Asked Questions about the Man of Steel
VERSION 2.40 February 1997
1 of 3
INTRODUCTION: This FAQ gives comic-book readers an introduction to
Superman. Though most Americans are familiar with the lead character and
his friends at the DAILY PLANET, the current comic books include many
characters and events with which new readers will be unfamiliar. This FAQ
tries to keep new readers from wondering about the background information.
All facts are about the post-Crisis universe (see Q12) and revamped Superman
(see Q13) unless specified.
DATE: All information is accurate as of February 1997, and some details
(notably current story line events and mailing addresses) may change.
Events from the most recent comic issues will not appear in the FAQ to
prevent spoiling the story for readers.
TERMINOLOGY: The term "Superman" implies the character rather than the
comic book of the same name. "Comic" means comic book. ALL CAPS are used
in lieu of italics to indicate a title; a "title" is a series of comics
under the same published title (e.g., ACTION COMICS).
LEGAL DISCLAIMER: Superman and all related characters are trademarks of DC
Comics. Mention of these characters in this FAQ is without permission of DC
Comics, but said use is not intended to challenge DC's trademark rights or
copyrights. Readers who want to learn more about Superman are encouraged to
purchase the comic books. The author strongly suggests that this FAQ be
distributed free of charge. While this FAQ is not "official," DC has
recognized its existence (see Q9).
AUTHORSHIP: This FAQ was compiled and maintained by David T. Chappell. It
is based primarily on his memory of Superman stories with the assistance of
various Superman comics and books that he possesses. This FAQ also
incorporates suggestions by various readers. Comments, suggestions, and
corrections may be sent via Internet e-mail to dtc@acpub.duke.edu.
AVAILABILITY: This FAQ is posted regularly to Internet newsgroups and ftp
sites (see Q43 and Q44). It is also available on GEnie (see Q45) and RIME
(see Q46). Permission is granted to distribute the FAQ in its entirety and
without modification as long as such is done without charge. For other use
beyond that appropriate for using other resource material, please contact
the author for prior permission. David requests that anyone posting the FAQ
to another major computer network contact him.
CONTENTS (+ updated question; * new question since last minor version)
THE BIG ONE
Q1: Who is Superman?
THE COMIC
+Q2: What Superman comics are published regularly?
+Q3: I only want to read one Superman title rather than all four monthlies.
Which one should I choose?
Q4: On the cover of each comic there is a triangle with numbers in it.
What do the numbers mean?
+Q5: How do I subscribe to Superman comics?
Q6: How do I find old Superman comic books?
Q7: How much money are old Superman comics worth?
THE LETTERS PAGES
Q8: How do I contact the creators of Superman comics?
Q9: What is a Baldy?
SUPERMAN HISTORY
+Q10: Who created Superman? When did Superman first appear?
+Q11: What are Superman's powers? How did he get his powers? How have his
powers changed over the years?
Q12: What was the Crisis?
Q13: When and how was Superman revamped in recent years?
Q14: How did Superman change after the Crisis and revamp?
Q15: What happened in the Death of Superman? What is Doomsday?
Q16: How did Superman return to life?
Q17: What was the Reign of the Supermen?
+Q18: In what other media has Superman appeared?
THE DAILY PLANET AND REPORTERS
Q19: What is the DAILY PLANET?
+Q20: Who is Lois Lane?
Q21: Who is Jimmy Olsen?
+Q22: Who is Perry White?
Q23: Who is Catherine Grant?
SUPPORTING CAST
+Q24: Who is Lex Luthor? Who is Lex Luthor II?
+Q25: Who is Supergirl (a.k.a. Matrix)?
+Q26: What is the Eradicator?
+Q27: Who is Superboy?
+Q28: Who is Steel (a.k.a. the Man of Steel)?
Q29: What is Project Cadmus?
Q30: Who is Professor Emil Hamilton?
THE STORIES
Q31: What is Superman's origin?
Q32: What are Superman's nicknames?
Q33: What is the L. L. connection for Superman?
Q34: What is Kryptonite? Why is it dangerous?
Q35: How old is Superman?
+Q36: Where does Superman live?
Q37: What and where is Metropolis?
Q38: What and where is Smallville?
+Q39: What is the Fortress of Solitude? Where is it?
Q40: Since he doesn't wear a mask, why doesn't anyone realize that Clark
Kent is Superman?
+Q41: Who knows Superman's secret identity?
*Q42: Are Clark Kent and Lois Lane really married?
COMPUTER NETWORK RESOURCES
Q43: What Internet newsgroups cover Superman topics?
+Q44: Where can I find various Superman-related files on Internet?
Q45: Where can I find comics-related files on GEnie?
Q46: Where can I find comics-related files on BBSs?
Q47: Where can I find comics data on America Online (AOL)?
+Q48: What is THE KRYPTONIAN CYBERNET?
THE BIG ONE
Q1: Who is Superman?
A1: Superman is probably the best-known superhero in the world. Superman
comic books have been around for nearly 60 years (see Q10), though his
appearances in movies and television (see Q18) have probably done more to
make him famous.
Superman has various superhuman abilities (see Q11) that he uses to
uphold good. He captures criminals, rescues people in danger, strives for
justice, and has a strong sense of morals. In short, Superman fights for
Truth, Justice, and the American Way.
Superman wears a special costume while fighting crime, but he also has
a life outside of being a superhero. As Clark Kent, he grew up in the town
of Smallville, Kansas (see Q38), and attended Metropolis University. Clark
is a Pulitzer prize-winning newspaper reporter for the DAILY PLANET (see
Q19), and he strives to keep his Superman identity secret. Clark Kent is
well-known for his DAILY PLANET articles, and he has published several
books.
Superman is 6'3" tall and weighs 225 pounds. He has black hair and
blue eyes. (WHO'S WHO #1, Aug.90)
THE COMIC
Q2: What Superman comics are published regularly?
A2: SUPERMAN, ACTION COMICS, THE ADVENTURES OF SUPERMAN, and SUPERMAN: THE
MAN OF STEEL are monthly comics published by DC Comics. A fifth, quarterly
Superman book entitled SUPERMAN: THE MAN OF TOMORROW is published during
the former "skip weeks" in which none of the four monthly titles are
printed. With four monthly comics and one quarterly, a new Superman comic
book comes out every week. In addition, one special annual comic is
published for each title.
There are several additional Superman family monthly series. Superboy
(see Q27) now has two of his own monthly titles; John Henry Irons (see Q28)
stars in the STEEL title; and Matrix (see Q25) stars in SUPERGIRL. Other
occasional limited series, such as the recent ERADICATOR and upcoming KENTS,
also feature Superman and his supporting cast. Since Superman is a member
of the latest incarnation of the Justice League of America, he also appears
in the latest JLA comic.
Based on the success of the Batman and Superman animated series, DC
also publishes several comics based upon these cartoons. These titles are
aimed at a slightly younger audience and are independent of mainstream DC
continuity. Superman stars in SUPERMAN ADVENTURES and makes occasional
appearances in ADVENTURES IN THE DC UNIVERSE.
Q3: I only want to read one Superman title rather than all four monthlies.
Which one should I choose?
A3: Though each comic contains a story unto itself, the story lines flow
smoothly from comic to comic across the titles. Thus, a plot in ADVENTURES
one week will continue in ACTION the next. At various times in the past, DC
tried to make each title distinct in some way. This distinction was clear
during the Reign of the Supermen, for example, but apart from the creative
teams that work on them, there is generally little to distinguish the
titles. The only criteria I can suggest is if you prefer one writer or art
team. However, the MAN OF TOMORROW quarterly is being written so that it
can stand alone if fans choose to read only that title.
Moreover, since they are independent of the main DC Universe
continuity, fans can read SUPERMAN ADVENTURES and/or ADVENTURES IN THE DC
UNIVERSE without missing any story elements in other books.
Q4: On the cover of each comic there is a triangle with numbers in it.
What do the numbers mean?
A4: These are called "triangle numbers." The lower, boldfaced number
indicates the order in which the stories flow. Because the story line flows
continuously from title to title each week, it is difficult to otherwise
discern in which order the comics should be read. For example, issue
numbers do not indicate whether THE ADVENTURES OF SUPERMAN #505 precedes
ACTION COMICS #692, but triangle numbers (31 vs. 32) show that it does. The
top number is the year; triangle numbering starts over at 1 each year.
Triangle numbers currently appear on the four monthly titles plus THE
MAN OF TOMORROW. Mini-series and cross-overs in other books typically do
not include triangle numbers.
Q5: How do I subscribe to Superman comics?
A5: Many comic-book stores will hold incoming comics each week for
customers in what they call a "subscription service." In addition, you can
order a mail subscription from the publisher. Write to DC Comics
Subscriptions, P. O. Box 0528, Dept. DC-8, Baldwin, NY 11510, or check
current comics for subscription advertisements. For more information on
subscriptions, send e-mail to dcosubs@aol.com.
Q6: How do I find old Superman comic books?
A6: Many comic-book dealers will sell old comics. Comic-book conventions
feature many new and used comics for sale. Furthermore, many current comics
will include advertisements for dealers who sell old comics by mail order.
Finally, DC reprints some collections of Superman stories in books. Do not
try to contact the publisher for old issues of comics. In addition to
current titles (see Q2), comics from the past that featured Superman include
THE NEW ADVENTURES OF SUPERBOY, DC COMICS PRESENTS, and WORLD'S FINEST.
Q7: How much money are old Superman comics worth?
A7: The crude answer is that they are worth whatever someone is willing to
pay for them. In general, the value depends on the importance of the story,
the number of copies printed, the physical quality of the book, and whether
it is the first printing or a reprint. For example, the comic in which
Superman died (SUPERMAN #75) is valuable because fans consider the story
important and the demand exceeded the supply. Second and third printings of
that book are worth much less, and a poor-condition copy would not be worth
as much. The OVERSTREET COMIC BOOK PRICE GUIDE is often accepted as the
best guide to comic prices, while several fan magazines print clearly
inflated prices.
THE LETTERS PAGES
Q8: How do I contact the creators of Superman comics?
A8: The address for DC Comics is 1700 Broadway, New York, NY 10019. To
ensure that a letter gets to the desired title's creative team, use the
appropriate letters-page name:
ACTION COMICS Re: Action
SUPERMAN Metropolis Mailbag
THE ADVENTURES OF SUPERMAN Krypto Grams
SUPERMAN: THE MAN OF STEEL Tempered Steel
SUPERMAN: THE MAN OF TOMORROW Quarterly Reports
Due to the continued popularity of the Man of Steel, a personal reply or
printing of your letter is unlikely, but the team is likely to read your
correspondence.
In addition, it is now possible to send e-mail to the letter columns.
The Internet address is dcconline@aol.com. Letter writers should mention
the letters-page name in the subject to ensure that their correspondence
reaches the right title.
Q9: What is a Baldy?
A9: In the letters page of each Superman comic, the editor bestows a Baldy
award to the best printed letter. An actual award is mailed to recipients,
and in a few cases the editors have mentioned what the prize was (e.g.,
platinum-edition SUPERMAN #75). Even aside from the physical prize, receipt
of a Baldy is a great honor to Superman fans.
Doug Shaw (doug.shaw@math.lsa.umich.edu) received a Baldy in 1990. He
reports that the actual award is a personalized postcard signed by Lex
Luthor. In 1994, editor Mike Carlin sent the author of this FAQ (David
Chappell) "an honorary Baldy for keeping such complete tabs on us!" David's
award was also a personalized postcard.
DC has explained that, in the comic-book world, the Baldy is a special
award established by Lex the First for journalistic achievement in
Metropolis. The official name for the award is the Zenith Award for
Excellence in Journalism, and Metropolis journalists provided the nickname
(ACTION #693, Nov.93).
SUPERMAN HISTORY
Q10: Who created Superman? When did Superman first appear?
A10: Superman was created by Jerry Siegel (writer) and Joe Shuster (artist).
In the 1930s, the two teenagers from Cleveland failed to convince comics
publishers and newspapers to print their stories until Superman finally made
his first appearance in ACTION COMICS #1 (cover date June 1938).
Q11: What are Superman's powers? How did he get his powers? How have his
powers changed over the years?
A11: In the first stories from the 1930s, Superman relied primarily on his
superhuman strength. Over the years, he gained more powers and greater
strength. After the Crisis (see Q12) and revamp (see Q13), Superman's
powers were lessened to make him more mortal.
Superman's powers include unusual strength, flight, extra-dense skin,
invulnerability, super hearing, and super-speed. As a result of his super
strength, he also has a powerful breath. An electro-chemical aura that
surrounds Superman's body protects him (and his costume) and seems to be
part of his flight ability.
The Man of Tomorrow also has several forms of super-vision. With his
x-ray vision, he can see through solid objects (with the exception of dense
materials such as lead). Superman's heat vision has been explained as
either telekinesis or the release of excess solar energy through his eyes.
His telescopic and microscopic visions allow him to see farther and in
greater detail than normal humans. With infrared vision, he can see heat
sources.
Superman's ability to fly has been explained as a result of Earth's
gravity being much less than that of his home world, but it seems to be at
least partially psychokinetic in nature. Most of his other powers are due
to Earth's yellow sun (Krypton had a red sun).
Superman was not born with his powers, but they developed as he grew.
They began to show themselves during puberty, but he did not fully realize
his powers until he became an adult.
Of recent note, Superman's powers greatly increased after his return
from death (see Q16). His strength, speed, and vision powers were greater
than before. He could also survive in space without oxygen for extended
periods of time. Superman's powers increased because his exposure to
Kryptonite passing through the Eradicator (see Q26) changed his metabolism
(SUPERMAN #82, Oct.93). His strength grew to the point where it was nearly
uncontrollable and he was a danger to everyone around him. Eventually, an
encounter with the Parasite removed Superman's extra powers and reduced him
to his normal levels (ADVENTURES #512, May 94). After the entire sequence,
Superman's powers returned to their pre-Death levels with no net increase or
decrease (ACTION #699, May 94).
After the sun's energy was temporarily blocked during the Final Night
(1996), Superman's powers faded. He eventually regained his super-powers,
but his "Power Struggle" seems tied to a more important change. In the
current "shocking" story line, Superman's powers have greatly changed to
become more energy based. The cause and details of this transformation are
being slowly revealed.
Q12: What was the Crisis?
A12: The Crisis on Infinite Earths was a major event in DC stories. In
1985, the 50th anniversary of DC Comics was highlighted by a comic-book
maxi-series, CRISIS ON INFINITE EARTHS, which included all of DC's heroes
and also had cross-overs in most DC titles.
Prior to the Crisis, DC explained the existence of many heroes in
different times by having multiple universes. On Earth-1, for example, all
the major heroes were in their prime in modern times, whereas the Earth-2
heroes were in their prime during the 1940s. This explained how Superman
stories from both WWII and today showed him at roughly the same age.
In the Crisis on Infinite Earths, an evil force (the Anti-Monitor)
tried to destroy the multiverse, but a good force (the Monitor) combined a
few surviving universes into one while the major heroes battled the Anti-
Monitor. Afterwards, everyone in the universe forgot about the events of
the Crisis and everything proceeded as though there had only ever been one
Earth. In the modern story, the one and only Superman arrived on Earth a
few decades ago, and other heroes (mystery men) existed during WWII. The
entire Crisis story is much more detailed than presented here, and
interested readers are encouraged to read other Internet Crisis discussions
(see Q44) or read the comic books. The Crisis affected Superman in several
ways (see Q14).
A recent sequel to the original Crisis on Infinite Earths is Zero Hour:
A Crisis in Time. It centered around an attempt to remake the universe into
a multiverse. Superman joined other heroes to streamline the proper flow of
time. Although the DC universe was again rebooted after the Crisis in Time,
it did not affect Superman's past.
Q13: When and how was Superman revamped in recent years?
A13: Following the Crisis (see Q12), DC decided to streamline Superman in
1986. They hired John Byrne to return Superman to his position as DC's
paramount hero. Marv Wolfman and other comics experts joined the team. A
special six-part mini-series, THE MAN OF STEEL, retold Superman's origin
from the destruction of Krypton to his early years as the first modern
superhero. THE MAN OF STEEL trade paperback reprints this recent classic
series.
At that time, the SUPERMAN title was renamed to THE ADVENTURES OF
SUPERMAN and a new SUPERMAN title was started. In addition, three mini-
series helped redefine more about the characters in Superman comics: THE
WORLD OF KRYPTON (1987), THE WORLD OF SMALLVILLE (1988), and THE WORLD OF
METROPOLIS (1988).
The revamp was done for several reasons. DC wanted to make Superman
seem more human (i.e., a real person rather than a two-dimensional
character). His powers were lessened (see Q11) to keep him from being god-
like. Other changes have made Superman the ONLY survivor of Krypton. While
Superman is still the same character, the changes made during the revamp
were substantial (see Q14). This FAQ includes only information about the
revamped Superman.
The more recent Zero Hour did not retcon any of the "modern" Superman
history.
Q14: How did Superman change after the Crisis and revamp?
A14: During the Crisis on Infinite Earths (see Q12), Supergirl saved
Superman (of Earth-1) when he was battling the Anti-Monitor, and--at the
cost of her own life--she destroyed a machine that the Anti-Monitor planned
to use to destroy the Earths. Her death was the main effect that the Crisis
directly had on the Superman saga.
The Byrne revamp (see Q13) was actually responsible for most changes in
Superman. Since the revamp was done soon after the Crisis, most people
treat the Crisis as the dividing line and refer to "pre-Crisis" or "post-
Crisis" events.
Several elements may differ from new readers' expectations because they
changed after the Crisis and revamp. The original Supergirl (Kara Zor-El,
Superman's cousin) no longer exists, and the bottled city of Kandor never
was. Pre-Crisis stories had a young version of Superman--Superboy; in the
post-Crisis stories, Superman developed his powers later in life (see Q11),
and he never was Superboy. In the current continuity, Lex Luthor (see Q24)
is a brilliant but corrupt businessman and scientist and no longer a
convicted criminal. Ma and Pa Kent are alive in the post-Crisis universe,
while they had died during Clark's teen years in the pre-Crisis version.
Streaky, Beppo, and the other super-powered animals do not exist in the
current stories. There are numerous other changes in elements such as
super-villains, the supporting cast of characters, and the extent of
Superman's powers (see Q11). All of these changes are retroactively
permanent. Thus, in the current universe, Supergirl (Kara Zor-El) did not
die battling the Anti-Monitor: she simply NEVER EXISTED.
Most Superman stories from the pre-Crisis years are no longer part of
the continuity. This FAQ includes only information about the post-Crisis
Superman, though sufficient demand could result in a separate pre-Crisis
FAQ.
Q15: What happened in the Death of Superman? What is Doomsday?
A15: In 1992, Superman endured an extensive battle with a monster called
Doomsday. The Creature destroyed numerous towns and much of Metropolis
before Superman was able to stop it. At the end of the battle (SUPERMAN
#75, Jan.93), Superman and Doomsday apparently killed each other with their
final blows.
According to interviews with DC staff, they decided to create a new
enemy to defeat Superman rather than have one of his old enemies accomplish
the heinous deed.
Two compiled books reprint the comics that make up the story of the
Death of Superman. THE DEATH OF SUPERMAN includes the battle with Doomsday.
The Funeral for a Friend series is reprinted in WORLD WITHOUT A SUPERMAN.
These trade paperbacks are published by DC Comics and are available at
comic-book stores. Furthermore, the hardback novel THE DEATH AND LIFE OF
SUPERMAN by Roger Stern retells the entire story from the battle with
Doomsday to the end of the Reign of the Supermen.
After his return to life, Superman had a rematch with Doomsday in the
SUPERMAN/DOOMSDAY: HUNTER/PREY mini-series. The story revealed that
Doomsday was an artificially engineering being created millennia ago on the
planet Krypton. At the conclusion of the mini-series, Doomsday was
apparently destroyed for good at the end of time.
Q16: How did Superman return to life?
A16: Due to a coincidental chain of circumstances, Superman was able to
return from his apparent death. On the physical level, his dying body still
contained some residual energy, and it absorbed more energy from the Sun and
the experiments performed on it. The Eradicator (see Q26) stole Superman's
body from its tomb and took it to the Fortress of Solitude (see Q39), where
it used the body to convert solar energy to energy it could use. Meanwhile,
Superman's spirit was trapped between life and death, and various demons
struggled for possession of it. With the assistance of Pa Kent's spirit,
Superman decided to return to Earth (ADVENTURES #500, May 93).
Superman's essence returned to his physical body, but he lay dormant in
the Fortress of Solitude for many days until he was able to escape the
energy-siphoning device. A much-weakened Superman traveled to Coast City to
battle alien invaders. At the end of the battle, the Eradicator gave most
of its energy to Superman and restored him to full strength.
___________________________________________________________
SUPERMAN FAQ
Frequently-Asked Questions about the Man of Steel
VERSION 2.40 February 1997
2 of 3
Q17: What was the Reign of the Supermen?
A17: In the weeks following Superman's death, several heroes appeared
claiming to be Superman. These include Superboy (see Q27), Steel (see Q28),
the Eradicator (see Q26), and a Cyborg. With the exception of Steel, all
claimed to be the original Superman (or, in the case of Superboy, his true
heir).
After much media hype and a few encounters between the Supermen, it was
uncertain which, if any, of them was the true Superman. Eventually, the
Cyborg was revealed to be an insane, formerly-human life force in alliance
with alien invaders. It wanted to get revenge on Superman, but upon
learning that he had died, the Cyborg tried to conquer the Earth and destroy
the other Supermen while pretending to be the real Superman. Superboy,
Steel, the Eradicator, Supergirl, Green Lantern, and the true, now-revived
Superman joined forces to defeat the Cyborg and the aliens. THE RETURN OF
SUPERMAN trade paperback collects the entire Reign of the Supermen story
line into one book.
[Historical Note: A 1932 science-fiction story by Siegel entitled
"Reign of the Superman" led to his creation of the Superman comic-book
character.]
Q18: In what other media has Superman appeared?
A18: Although comic books are the first and foremost medium for Superman
stories, the Man of Steel has appeared in several others over the years.
Examples include a serialized radio program, movie serials, animated movie
cartoons, television programs, novels, feature films, and a syndicated
newspaper strip. Moreover, several songs mention Superman. Details are too
numerous to list here, and this FAQ deals primarily with the comic series.
For the most part, the stories in these other media do not fit into the
continuity of the regular comic books.
The ABC television series LOIS & CLARK: THE NEW ADVENTURES OF SUPERMAN
deserves special note because it is contemporary. The stories are set
during Clark's early years as Superman and borrow slightly from the comic
stories from the early years (after Byrne's revamping). Thus, in the TV
series, there is no Supergirl, Doomsday has not killed Superman, and other
important events have not happened. The series emphasizes the relationship
between the two title characters, and they did get married on the show in
the fall of 1996. The series is currently in its fourth season.
In addition, the WB television network is now airing a new Superman
animated TV series. As of spring 1997, new episodes air Saturday mornings
in the U.S.A., but in the fall it also air on weekday afternoons alternating
with the ADVENTURES OF BATMAN AND ROBIN animated show.
THE DAILY PLANET AND REPORTERS
Q19: What is the DAILY PLANET?
A19: The DAILY PLANET is a major newspaper in the city of Metropolis (see
Q37). The original DAILY PLANET was founded in 1775. It seems to be of
quality comparable to the real-world NEW YORK TIMES, LOS ANGELES TIMES, or
LONDON TIMES. Since Clark Kent works at the paper, the PLANET and its
reporters are major players in many plots and subplots. The building itself
is famous for the large globe (planet) atop it.
Q20: Who is Lois Lane?
A20: Lois Lane is a well-known journalist for the DAILY PLANET (see Q19).
Lois started working for the PLANET when she was sixteen years old, and she
is now one of the paper's best reporters. Her investigative reporting often
gets Lois into trouble, but it also gets her good stories. When she wrote
the first article about a mysterious new superhero, she created the name
"Superman." Despite a long-standing rivalry, Lois and Clark are now married
(see Q42), and she knows his secret identity. When Lois married Clark, she
decided to keep her maiden name. In Metropolis, Lois is known as
"Superman's Girlfriend" due to her friendship with the Man of Steel. Lois's
younger sister, Lucy Lane, is a minor character.
Q21: Who is Jimmy Olsen?
A21: James Bartholomew Olsen is a red-haired, freckle-faced, young friend of
the DAILY PLANET (see Q19) staff. He started work at the PLANET as a gopher
and has worked to earn respect from the staff. Jimmy endures the hardships
of becoming an adult yet often bumbles. Due to his occasional association
with Superman and the signal watch he once made, Jimmy has earned the
nickname of "Superman's Pal." For several years, Jimmy worked as a
photographer for the DAILY PLANET, but he now has a job as news reporter for
WGBS television working for Cat Grant (see Q23).
Q22: Who is Perry White?
A22: Perry Jerome White is the managing editor of the DAILY PLANET (see
Q19), and the newspaper staff respects him. Perry started at the paper as a
copy boy at age ten and earned his way up. He served 18 months in southeast
Asia (probably Vietnam), and on his return, he learned of Lex Luthor's (see
Q24) plans to dump the paper. Although they grew up as friends, Perry and
Lex thereafter became bitter enemies. Perry's love for the paper drove him
to find someone to buy the PLANET, and the new owner insisted that he take
the position of editor. Perry acknowledges the position of importance the
PLANET holds in Metropolis, and he cares for the city and its people. Perry
and his wife have adopted the orphaned boy Keith, and Perry has recently
been undergoing therapy to battle cancer.
Q23: Who is Catherine Grant?
A23: Catherine Jane Grant used to work for the DAILY PLANET (see Q19) as
gossip columnist. Ms. Grant is divorced from Joseph Morgan, and she and
Clark dated for a brief time. Cat has worked for WGBS television for a
while as a news reporter and talk-show host, and she has recently been
promoted to producer and manager of the station. Her only child, Adam
Morgan, was about 12 years old when the Toyman (Winslow Schott) murdered him
(SUPERMAN #84, Dec.93).
SUPPORTING CAST
Q24: Who is Lex Luthor? Who is Lex Luthor II?
A24: Alexander "Lex" Luthor was one of the most powerful humans on Earth,
but Lex derived his power from money and influence rather than super powers.
At age thirteen, he arranged for his parents' death to gain the life-
insurance money, and it was not long before he took over his first company.
>From there, he used his intellect to rise to ownership of many other
companies and found LexCorp International. Despite his selfish motives, Lex
maintained the facade of being a philanthropist, and most people in
Metropolis loved him for the many gifts and jobs he provided for the city.
His intelligence led him to such a prominent position, and it allowed it to
make the most of his power. Lex Luthor was clearly the richest man in
Metropolis, and his scheming made him the most powerful--before Superman
arrived. Lex was jealous of Superman's power and became his enemy when he
was unable to buy the Man of Steel. Superman saw through Lex's deceit, but
after several encounters, Lex was able to keep Superman at bay when he had a
ring fashioned from a chunk of Kryptonite (see Q34) he obtained.
Ironically, this same Kryptonite eventually led to loss of his hand and
induced cancer. Shortly before his inevitable death, Lex Luthor died in a
plane crash.
After LexCorp--and thus all of Metropolis--floundered for a while in
the aftermath of Lex Luthor's death, his son and heir was eventually found.
Lex Luthor II had been raised in Australia, and his existence was kept
secret to protect him. Luthor Junior came to Metropolis, took control of
his father's corporation, and brought Metropolis out of its economic slump.
He controlled LexCorp, and many citizens agreed that he was kinder and
gentler than his father yet just as generous.
In truth, the original Lex Luthor lived on in a new body while
pretending to be his own son. Luthor arranged to fake his own death--even
fooling Superman--while he actually hired Dabney Donovan, an expert genetic
engineer, to clone a new body for him and transplant his brain. Only a very
small number of people knew the truth about Lex: two trusted assistants and
Donovan, who has remained outside Luthor's control.
During the Battle for Metropolis story line, a clone-affecting disease
incapacitated Lex Jr. and left him in a vegetative state. Lois Lane
revealed the truth about his being a clone, and after Luthor's involvement
in the Fall of Metropolis, the police were prepared to press charges against
him should he be revived. For a while, Luthor was kept alive at S.T.A.R.
Labs in Metropolis; however, Luthor had a backup plan by which his mind was
restored to his body, and the recovery process began (MAN OF TOMORROW #1,
Summer 1995). The demon Neron restored Luthor to his full health, and he
now plots in secret. Recently, Luthor married the Contessa del Portenza
(MAN OF TOMORROW #5, Summer 1996) and has moved back to Metropolis. After
assisting humanity in the Final Night, he has been at the threshold between
freedom and imprisonment.
Q25: Who is Supergirl (a.k.a. Matrix)?
A25: The Supergirl of today's comics has no family relationship to Superman.
A pocket universe with a duplicate Earth was attacked by three supervillains
from that universe's Krypton. That universe, however, had no Superman nor
other superheroes because its sole protector--Superboy (see Q27)--had died
years ago. The Lex Luthor of that universe was a good-natured heroic
genius, however, and he not only led the resistance forces but also
developed a special weapon. Lex Luthor invented a substance called
protomatter and used it to fashion an artificial life-form (known as Matrix
or Supergirl) to fight the villains. Lex eventually sent Supergirl across
dimensional boundaries to enlist the aid of Superman, and the two
superheroes returned to her universe. The two heroes stopped the villains
only after the evil Kryptonians had destroyed all other life in the pocket
universe. Supergirl then returned with Superman to his Earth, and Clark
left her with his foster parents. After some psychological problems, Matrix
left Earth for a while but later returned. When she eventually met Lex
Luthor II, she identified him with the Lex of her world, and she remained
for him for some time as his super-powered helper and girlfriend. Only when
Lex's continual scheming revealed his true nature did Supergirl grow to hate
Luthor and leave him.
Supergirl's powers are somewhat different from Superman's. Though
strong, she is not as strong as Superman. Supergirl can levitate and fly.
She also wields powerful psychokinetic energies and can turn invisible.
Finally, with her chameleon ability, she was able to mold her protomatter to
change her appearance into that of any human.
At the beginning of the current SUPERGIRL series, Matrix merged her
protoplasmic form with the body of the dying Linda Danvers. Supergirl has
now found her powers limited; for example, she can only change between
Linda's shape and her Supergirl form. She has also maintained Linda's life
as best she can and thus has a secret identity.
Q26: What is the Eradicator?
A26: The Eradicator is a Kryptonian artifact that is about 200,000 years
old. Superman gained possession of the device manylight-years from Earth
when an alien cleric gave it to him. When Superman returned to Earth, the
Eradicator's artificial intelligence tried to mold Superman's mind and turn
him into the perfect Kryptonian, which is far from human. Though Superman
hurled the artifact into the Sun, it survived, assumed humanoid form as the
Krypton Man, and tried to reshape the Earth to form a second Krypton.
Superman barely survived this second battle with the Eradicator and
dissipated its energies.
Following the Death of Superman (see Q15), the device's energies
reformed into an immaterial body, which then tried to take Superman's
deceased body. Though it could not take control of his body, the Eradicator
was able to use Superman's body as an energy source. The Eradicator lost
its memory, and thinking that it was Superman, it fought crime as a strong
but unnecessarily brutal enforcer of the law. During the Reign of the
Supermen (see Q17), he was known as the Last Son of Krypton. Eventually,
the Eradicator was defeated by the Cyborg Superman (see Q17), Superman
escaped from his imprisonment, and the Eradicator joined Superman in the
final battle against the Cyborg.
Though horribly wounded in the final battle, the Eradicator survived.
It seemed to be good-natured, as its old personality merged with Superman's.
S.T.A.R. Labs examined its body, and the body seemed to be inhabited by the
mind of xenobiologist Dr. David Connor (ACTION #693, Nov.93; SHOWCASE '95
#3, March 95). The Eradicator was a member of the Outsiders and was last
seen with the Superman Rescue Squad. In the 1996 ERADICATOR mini-series, it
was revealed that David Conner's mind never truly controlled the body, but
the artifact's intelligence was present all along.
Q27: Who is Superboy?
A27: Superboy, also known as the Metropolis Kid, appears to be an imperfect
clone of Superman. After Superman's death, the Cadmus Project (see Q29)
obtained a partial sample of his DNA, which they combined with other DNA to
form a clone. The clone has an equivalent age of approximately 16 years,
and he has various super-powers--some similar to Superman's and some unique
powers as well. Though he dislikes the name Superboy, he begrudgingly
accepted it upon the return of the original Superman. While it originally
seemed that Superboy was a Superman clone, the actual DNA donor was Cadmus
director Paul Westfield. Ending his world tour, Superboy has now settled in
Hawaii. The Boy of Steel also has two of his own titles now: SUPERBOY as
well as SUPERBOY AND THE RAVERS (see Q2). Professor Hamilton (see Q30) gave
Superboy a pair of technological goggles that grant him the equivalent of
Superman's various super-visions, but the Kid decided that they were more
trouble than they were worth.
In addition, Superman once met a Superboy who was the younger
equivalent of Superman in a Pocket Universe (see Q25). That Superboy,
however, sacrificed his life to save the Earth at the conclusion of the
story. Also, a similar Superboy appeared during Zero Hour (SUPERBOY #8).
Q28: Who is Steel (a.k.a. the Man of Steel)?
A28: John Henry Irons was an engineer who designed guns that were used as
horrible weapons of war. Out of shame for the way his constructions were
misused, he decided to give up his engineering job and become a construction
worker. Superman saved his life while Henry was on a construction job, and
when the worker thanked Superman, the hero just asked that he make his life
count for something.
After Superman's death, John Henry Irons decided what to do with the
extended lease on life that Superman gave him. He donned a metal costume he
had built and set out to fight the crime that grew rampant in the aftermath
of Superman's death. The news media called him the Man of Steel, and he
helped bring down the criminals that used his guns.
When Superman returned, the true Superman began calling him Steel, and
the two of them joined with other heroes to defeat Mongol and the Cyborg
Superman (see Q17). Steel barely survived the battles, but he decided to
continue his crime-fighting career. He returned to his family in
Washington, D.C., where he tried to keep guns off the street. Later, Dr.
Irons moved to Jersey City. Steel also has his own title now (see Q2).
In his guise as Steel, John Henry Iron's strength is boosted by devices
built into his armor. The armor provides good protection, and it has a
rivet shooter and rocket boots. Henry is a good man with strong morals, and
Superman's friends claimed that, among the false Supermen, his personality
seemed the most like the original.
Q29: What is Project Cadmus?
A29: The Cadmus Project is a semi-secret organization that studies genetic
engineering. The three original founders were Doctors Reginald Augustine,
Dabney Donovan, and Thomas Tompkins.
The primary research at Cadmus has resulted in various clones and new
life forms. The current Guardian, for example, is a clone of Jim Harper's
first body but contains his original mind. The modern Newsboy Legion are
also clones: one of the founders, Tompkins, had been part of the original
Newsboy Legion and known the Guardian. Other products of work at Cadmus
include the D. N. Aliens, a group of genetically advanced beings. Many of
the failed experiments and outcasts from Cadmus have made their way in
secret to live in the caves under Metropolis where they call themselves
Underworlders.
Some of the experiments at Cadmus have been ethically questionable.
While some employees have high morals, others have low standards. Several
of these controversial projects were led by Dr. Donovan, who faked his death
and left the Project. Donovan went on to create Lex Luthor's second body
(see Q24) and is still alive in hiding.
After Superman's death (see Q15), Project Cadmus stole the Man of
Steel's body from the grave in an attempt to clone him. They were unable to
get a good sample of his DNA, but did succeed in making Superboy (see Q27).
The Project is located in the hills outside of Metropolis. For years,
its existence was kept secret from the general populace. Superboy publicly
denounced Project Cadmus on television, however, and the Project tried to
project a positive image. Team Luthor recently destroyed Cadmus--as best
the public knows--but the Project survives in secret. (Project Cadmus was
created by Jack Kirby.) [Historical Note: In Greek mythology, Cadmus was a
Phoenician prince who planted dragon's teeth to grow soldiers.]
Q30: Who is Professor Emil Hamilton?
A30: Emil Hamilton is a brilliant scientist and inventor. Though he was
once a criminal, he has reformed and now aids Superman when necessary. The
Professor is friends with several PLANET reporters, including Lois and
Jimmy. His residence and lab are in Hobs Bay, Metropolis. Professor
Hamilton has performed more experiments on Superman than anyone else, and he
has also studied Kryptonian technology (including the Eradicator--see Q26)
and visited the Fortress of Solitude several times (see Q39). During the
Fall of Metropolis, the Professor lost his left hand; he subsequently built
himself several robotic prostheses to replace it.
THE STORIES
Q31: What is Superman's origin?
A31: The planet Krypton, inhabited by an emotionless race of advanced
humanoids, was doomed to explode. A humane scientist named Jor-El sent his
unborn son Kal-El in a rocket ship to Earth with the knowledge that Kal-El
would gain fabulous powers there. Martha and Jonathan Kent found the rocket
on Earth and recovered the child. They took the baby as their own and named
him Clark (after Martha's maiden name). Over the years, Clark's powers
developed slowly (see Q11).
Clark was 18 years old before his adoptive parents told him of his
extraterrestrial origin. For the next seven years, Clark worked in secret
to prevent disasters and fight crime. He had to show himself in public,
however, when saving a space plane from crashing into Metropolis.
Thereafter, he adopted a costumed identity and took the name "Superman"
given to him by report Lois Lane. At age 28, Clark learned the history of
Krypton through a device Jor-El had left in the spacecraft that brought
young Kal-El to Earth.
Q32: What are Superman's nicknames?
A32: At various times, Superman is also known as the Man of Steel, the Man
of Tomorrow, the Last Son of Krypton, and the Metropolis Marvel. Other,
less dignified names by which he is called include the Kryptonian, Supes,
and the Big Blue Cheese. During the Reign of the Supermen (see Q17), some
of these nicknames were applied to individual false Supermen, but they all
apply to the real Superman.
Q33: What is the L. L. connection for Superman?
A33: A remarkably large number of characters in the comics have the initials
L. L. Most notable are Lex Luthor, Lois Lane, Lana Lang, and Lori Lemaris.
A rumor says that these names were chosen because Joe Shuster's (see Q10)
first girlfriend had the initials L. L.
Q34: What is kryptonite? Why is it dangerous?
A34: Surviving fragments of Superman's home world of Krypton are known as
kryptonite. In the last days of Krypton, a chain reaction with the planet's
core caused a build-up of enormous pressures. These pressures fused the
minerals inside Krypton into the new, radioactive, super-actinide element
kryptonium. Furthermore, the pressure grew to be too much for the planet's
mantle to contain, and Krypton exploded in a violent eruption. The
resulting kryptonite is the ore of kryptonium, and it is best known for its
green hue. Even if the planet Krypton had not exploded, the radiation from
the kryptonite would have eventually killed all the inhabitants in what the
Kryptonians called the Green Death.
Though the radiation from kryptonite is harmful to all life, it is
especially harmful to Kryptonians (notably Superman). Kryptonite radiation
rapidly fills Superman's cells and drives out the solar energy stored
therein. Prolonged exposure to kryptonite would be fatal to Superman.
There is no relationship between kryptonite and the chemical element
krypton, though Superman's home world was probably named after the element.
The main source of kryptonite on Earth is a rock that was attached to
the rocket ship that brought Superman to Earth. This one rock has been
fashioned into at least two forms. Superman gave Batman a kryptonite ring
(formerly belonging to Lex Luthor--see also Q24) in case someone ever needed
to use it against the Man of Steel. Some kryptonite bullets were stored in
a lead container in the Fortress of Solitude (see Q39).
In addition, the mischievous imp Mr. Mxyzptlk magically created some
red kryptonite that robbed Superman of his powers. This red K has been seen
only during the "Krisis of the Krimson Kryptonite" story line.
In the pre-Crisis years (and the Pocket Universe), there were a myriad
of colors of kryptonite which plagued Superman and other Kryptonians. For
information on these varieties, see David Chappell's "Just the FAQs" column
from the KRYPTONIAN CYBERNET #17 (Sept 95) (see Q48).
Q35: How old is Superman?
A35: The character has existed for almost 60 years (see Q10). Clark was 25
when he became Superman, and the post-Crisis (see Q12, Q13, Q14) stories
recount his adventures beginning at age 28 (SUPERMAN #1, Jan 87). Clark was
34 when Doomsday killed him (NEWSTIME, May 1993; ZERO HOUR #0, Sept 1994).
Though flashbacks and stories of his early years may show a younger
Clark/Superman, current stories show him at the age of about 37. Due to his
alien heritage, it is unknown whether Superman will continue to age and grow
old at the rate humans do, but his rate of maturity has till now matched
that of humans. See also Superman Time Line by David Chappell for details.
Q36: Where does Superman live?
A36: Though he was conceived on the planet Krypton, Superman has adopted
Earth as his home. Superman lives in the city of Metropolis (see Q37) and
does not normally dwell in the Fortress of Solitude (see Q39). For most of
his adult life, Clark Kent lived in the Clinton Apartments 3-D at 344
Clinton Street. After Clark disappeared in Doomsday's attack, Superboy (see
Q27) decided--through an apparent coincidence--that it would be neat to move
into Clark's old apartment. When Superboy left Metropolis, the destruction
caused by Doomsday had raised the rent enough to discourage Clark from
moving back in. Clark temporarily moved in with Jimmy Olsen (see Q21) but
then returned to 344 Clinton. After Clark's marriage to Lois (see Q42) the
couple moved to a new, larger apartment at 1938 Sullivan Pl.
___________________________________________________________
SUPERMAN FAQ
Frequently-Asked Questions about the Man of Steel
VERSION 2.40 February 1997
3 of 3
Q37: What and where is Metropolis?
A37: Metropolis (a.k.a. the Big Apricot) is Superman's adopted city and the
largest city in the DC Earth. Clark Kent lives in Metropolis, where he
works for the DAILY PLANET newspaper (see Q19), and Superman patrols the
city more than he does any other. Metropolis has seen its share of
disasters, the most notable including the destruction caused by Doomsday and
the more devastating Fall of Metropolis. The latter event left downtown in
shambles until Zatanna magically restored the city soon after Zero Hour
(ADVENTURES #522, Apr 95).
Superman is neither the only nor the first super-hero to be based in
Metropolis. Booster Gold, Gangbuster, Supergirl (see Q25), Superboy (see
Q27), Steel (see Q28), and the Eradicator (see Q26) used to call Metropolis
home but have moved on to other cities. The Guardian, the Thorn, Rampage,
and Sinbad still dwell there. Furthermore, the original headquarters of the
JLA is in the hills just outside Metropolis.
In the real world, there is a city named Metropolis, Illinois, which
has a Superman museum.--The Illinois city exists in the DC Universe as
well,-but Superman's Metropolis is located on the Atlantic Coast of the
United States near Gotham City. See also the WELCOME TO REC.ARTS.COMICS
posting for a discussion of where various DC cities are in the real world.
Q38: What and where is Smallville?
A38: Clark Kent grew up in Smallville, a small town in Small County, Kansas,
near the Lowell County border. Ma and Pa Kent's farm is near Smallville.
Clark still has a few friends, notably Lana Lang and Pete Ross, from his
childhood in Smallville.
Q39: What is the Fortress of Solitude? Where is it?
A39: When the Eradicator (see Q26), first tried to create a new Krypton on
Earth, Superman defeated it in a mental battle. In the aftermath, the
Eradicator built a structure in Antarctica that contained various elements
from Krypton's past (ADVENTURES #461, Dec.89). Superman uses the base as a
peaceful retreat from the world, and he calls it the Fortress of Solitude.
The Fortress contains advanced Kryptonian machinery, several robots,
Kryptonian battle suits, and holograms and statues commemorating the
deceased planet Krypton.
The Fortress was severely damaged at the end of the Reign of the
Supermen. The Eradicator left it in shambles when he absorbed all of the
Fortress' energy (ACTION #691, Sep.93), and Superman later cleaned up the
remains and buried much of the debris under the Antarctic (ACTION #693,
Nov.93). While there seemed to be nothing left of the original Fortress,
some aspects remain in surprisingly good condition (ERADICATOR #1, Aug.96;
S:TMOS #61, Oct.96).
Q40: Since he doesn't wear a mask, why doesn't anyone realize that Clark
Kent is Superman?
A40: The prime reason is that when in his Superman identity, our hero always
vibrates his face slightly so that photographs will only show his features
as a blur. The physical distinctions between the Superman and Clark Kent
persona are a curl of hair, the glasses, and a deepening of his voice.
Another major factor is that the lack of a mask keeps people from even
suspecting that Superman has a secret identity. For example, Lex Luthor was
once told the truth, but he dismissed the idea because he could not believe
that someone so powerful would want another identity. Also in the modern
stories, Lois Lane never suspected the dual identity.
Furthermore, there have been several occasions where Clark and Superman
have been seen together. In the first case, "Superman" was really a robot
(ADVENTURES #439). Soon after Superman's return from his self-exile in
space, Jimmy snapped a photo of Superman and Clark (a confused Matrix)
(SUPERMAN #34). Finally, after Superman's return from death, the Man of
Steel publicly rescued Clark Kent (secretly Matrix) from an old Civil
Defense Shelter (ACTION #692).
Q41: Who knows Superman's secret identity?
A41: Several people know Superman's real identity. His parents, Martha and
Jonathan Kent, clearly know the truth. In his senior year of high school,
Clark Kent revealed his powers to his girlfriend, Lana Lang, just before he
left Smallville. Amanda McCoy, a scientist in Luthor's employ, figured out
about his secret identity (SUPERMAN #2, Feb.87), but no one believed her;
however, Ms. McCoy is now dead and thus unable to share her knowledge.
Supergirl also knows the truth, and Batman discovered the secret (ADVENTURES
#440, May 88). Clark also told Wonder Woman about his secret identity
(ACTION #600, May 88). Hal Jordan (Parallax) also knew the secret and was
friends with Clark (ACTION #606). Clark's mermaid girlfriend, Lori Lemaris,
telepathically uncovered his secret, and Clark revealed his identity to Lois
Lane after they became engaged (ACTION #662, Feb.91) (see Q42).
A number of semi-omniscient beings also know about Clark's dual
identity. On the technology side, they include Mxyzptlk, Waverider, and the
Linear Men. Supernatural entities with the knowledge include Dr. Occult,
the Phantom Stranger, the Spectre, the Black Racer, and Kismet.
Q42: Are Clark Kent and Lois Lane really married?
A42: Yes. Though in the past there have been multiple make-believe stories
about Lois marrying either Clark or Superman, they were actually engaged for
several years (SUPERMAN #50, Dec.90). Some time after they became engaged,
Clark revealed to Lois that he is Superman (see Q41). In ACTION #720
(Apr.96), Lois got fed up with Superman getting in the way of her life, and
she broke off the engagement. The couple later reconciled and was married
in the extravagant SUPERMAN: THE WEDDING ALBUM (Dec.96).
COMPUTER NETWORK RESOURCES
Q43: What Internet newsgroups cover Superman topics?
A43: Further discussion of the Superman comics can be found in the Internet
newsgroups rec.arts.comics.dc.universe, rec.arts.comics.misc, and
alt.comics.superman. The LOIS & CLARK television series is covered in
rec.arts.sf.tv, rec.arts.tv, alt.comics.superman, and alt.tv.lois-n-clark.
The Superman FAQ is regularly posted to alt.comics.superman and
rec.arts.comics.info.
Since the alt.* newsgroups are not carried by all Internet sites, I
highly recommend cross-posting news articles to appropriate rec.* groups.
Q44: Where can I find various Superman-related files on Internet?
A44: This Superman FAQ is available via anonymous ftp at the following site:
Host Name: ftp.hiof.no # Address: 158.36.33.3
File: /pub/Comics/FAQ/Superman.FAQ
Mosaic users can access the above sites via the WWW page
ftp://ftp.hiof.no/pub/Comics. In addition, the Superman FAQ can be accessed
via gopher: gopher.hiof.no port 70.
The hiof site is the primary rec.arts.comics site, and it has many
other comics-related files. The site also has Jeffery Sykes' LOIS & CLARK
episode guide and several other Superman files. The Legion of Super-Heroes
FAQ (available at hiof) contains more details about the Pocket Universe (see
Q25, Q27), though it concentrates on the Legion rather than Superman.
Another file, written by the author of this FAQ, is the Superman
Stories list. It contains a list of all major Superman stories in the
current (post-Crisis) continuity. This file is also available on hiof as
/pub/Comics/Superman/Superman.ComicList.
The Internet is also home to THE KRYPTONIAN CYBERNET, a Superman
electronic magazine (see Q48).
Q45: Where can I find comics-related files on GEnie?
A45: This Superman FAQ and other comic book data can be found on the Comics
RoundTable library. The GEnie address is page 1320.
Q46: Where can I find comics-related files on BBSs?
A46: This Superman FAQ and other comic book discussion can be found on the
comic book conference on the Relaynet International Message (RIME) Network.
Note that not all bulletin boards are part of the RIME system, and not all
RIME boards carry the comics conference..
Q47: Where can I find comics data on America Online (AOL)?
A47: DC Comics Online is a major section of AOL that can be accessed via
keyword "DC." The section contains comics bulletin boards, chat rooms,
downloadable pictures, and guest DC employees in the auditorium.
Q48: What is THE KRYPTONIAN CYBERNET?
A48: THE KRYPTONIAN CYBERNET is a monthly electronic magazine on the
Internet dedicated to anything and everything having to do with Superman.
In addition to all of the news and reviews of what's happening in the comic
world of the Man of Steel, the KC features articles and columns on various
incarnations of Superman in other media (such as the television series LOIS
AND CLARK and the new SUPERMAN animated series).
The e-zine is published in both text and HTML-formatted versions. Past
issues of the magazine are archived and can be accessed by ftp at
ftp://oasis.novia.net/pub/zines/kc. New issues are posted to the Internet
newsgroups rec.arts.comics.dc.universe and alt.comics.superman. They are
also distributed by an e-mail subscription list. To subscribe, send an e-
mail message to majordomo@novia.net, including only the following two lines
as the body of the message:
subscribe kc <address>
end
You should replace "<address>" with the e-mail address to which the issues
are to be sent. In addition, both recent and past issues of THE KRYPTONIAN
CYBERNET can be accessed via the World Wide Web at URL
http://www.ms.uky.edu/~sykes/kc.
___________________________________________________________
___________________________________________________________
SUPERMAN: THE SERIAL
------------------------------------
by Steven Younis (younis@dot.net.au)
Sadly, this will be the last of my SUPERMAN: THE SERIAL columns. Time has
become scarce for me -- I run a Graphic Design/Web Page Design business, and I
maintain a number of personal web sites (mainly the Superman Homepage --
http://www.geocities.com/Area51/Vault/7771/ ). I'll still be a part of the KC
crew (in the editing department), but that's more of a background role. But
fear not, for you who have been following this column from month to month, I
won't leave you halfway through this series without something to smile about.
In this month's column I've collected for you short summaries of the remaining
chapters of SUPERMAN: THE SERIAL.
You'll recall that last month in Chapter 6 we left off with:
6 - Superman In Danger
----------------------
In Leeds' office, Superman saves Lois from being hurt by an electric device
used by the crooks, then flies after the crooks. They use the kryptonite to
escape from him. The Spider Lady decides she will need scientific help using
the kryptonite and Reducer Ray, so she arranges a jail break for Dr. Hackett,
a brilliant scientist with a twisted mind. Clark tries to get Hawkins to give
a tip about the doctor, but Hawkins hesitates when spotting men from the
Spider Lady. Clark pursues the men, while Lois manages to get a tip from
Hawkins. The crooks go to a summer cabin where Hackett is holed up and
disguised by bandages. They say they will return to pick him up. Clark ties
up the doctor and, in disguise, is taken by the crooks in an ambulance. Lois
arrives and unties Hackett, who forces her into her car. The crooks discover
Clark and stun him on a rural road. Hackett spots them and stuns Lois, then
jumps from her car as it roars towards the edge of the road and a mountain!
7 - Into The Electric Furnace
-----------------------------
Superman finds Hackett's cabin empty, then spots Lois' car in time to save
her. The Spider Lady reveals her plan to Hackett. They plan to capture Clark
Kent to trap Superman. Hawkins is forced to phone a tip to Kent, but Lois
answers, and instead she and Jimmy go to the meeting place. There Jimmy is
kidnapped. At the Daily Planet, Clark gets a call about Jimmy and goes to
meet a crook, secretly followed by Lois. Clark offers to have Superman show
up if Jimmy is freed. Instead the crooks have Clark locked up in a room in a
warehouse, while Jimmy is left unconscious on a conveyor belt headed into a
blast furnace.
8 - Superman To The Rescue
--------------------------
Superman rescues Jimmy, but the crooks escape when they toss a piece of the
kryptonite in the furnace, releasing kryptonite fumes. Lois arrives and blows
a police whistle, making the crooks leave. Hackett complains about the failed
caper, and the Spider Lady learns he is willing to betray her. In Washington,
Superman arranges a trap by having a newspaper story say the reducer ray will
be taken by truck for study at Metropolis University. The Spider Lady sends a
group to hijack the truck and stop Superman with kryptonite. Superman stops
the crooks, but overhears on their car radio that the Spider Lady has found
out the ray really is being transported by train, and that another group plans
to derail the train.
9 - Irresistible Force
----------------------
Superman stops the train before it reaches the crooks' blast point. Perry
assigns Lois to pick up Dr. Graham at the airport. The Spider Lady has Lois
delayed, and she poses as Lois and picks up Dr. Graham. When Lois gets to the
airport, she picks up Hackett, disguised as Graham. While Graham is being
taken to the Spider Lady's cave hideout, Lois takes Hackett and an assistant
to the reducer ray at Metropolis University. When Lois becomes suspicious of
Hackett studying the device, she is captured and the ray is rigged to explode.
But Jimmy had photographed Hackett and Lois at the airport, so when Clark
sees Lois didn't pick up Graham he leaves.
10 - Between Two Fires
----------------------
Superman arrives in time to save the ray machine and Lois. Jimmy spots
Hackett and his assistant, and follows them. Jimmy is captured in a building
where Graham is now being forced to recreate his ray device. When Hackett
leaves, Graham tells Jimmy he'll use a machine to secretly signal for help.
Graham's signaling causes static on the city's phones. Clark and Lois are
sent to investigate the cause of the static, and Clark figures out it is a
coded message. Lois is sent off to locate the source of the signal, while
Clark stays with two phone employees. The crooks spot Graham's signals, and
leave after rigging the building. Jimmy escapes their moving car, while Lois
enters the building, which erupts in flames.
11 - Superman's Dilemma
-----------------------
Superman manages to save Lois again. Dr. Graham is forced to agree to finish
another reducer ray machine that Hackett has built. Graham says he'll need a
new chemical compound called mono-chromite, and the Spider Lady's men find a
chemical engineer, Fred Larkin, to supply it. After looking it up and seeing
it is a restricted compound, Larkin tells them to come back for it, but calls
Perry White for advice. Perry assigns Clark to see Larkin, but an angry Lois
arranges for Clark to end up arrested for driving a stolen car, while she and
Jimmy visit Larkin. The crooks pick up from Larkin a crate that Jimmy is
hiding in. They punch out Larkin and lock Lois in Larkin's vault. Superman
leaves his jail cell to get to Larkin's office, where he saves Lois from
suffocating. In route, the crooks spot that someone is in the crate and shoot
at the crate.
12 - Blast In The Depths
------------------------
Luckily, Superman had earlier found the truck and replaced Jimmy. Superman
leaves Jimmy with the crooks trussed up, and returns to the jail, where Clark
is released. Hackett decides to try another engineer. Men are sent to try
mining engineer Fred Collier to get ore to make mono-chromite, but Collier
resists and is shot. Perry has Lois check Collier's office, where she finds a
mining map. The crooks return and kidnap her. Clark and Jimmy arrive too
late, but Clark spots a mark Lois left (?+) that Clark figures out refers to a
mine at Questionmark Crossing. At the mine, while the crooks carry out ore,
Clark is captured and left handcuffed to Lois. The crooks rig an explosion in
the mine and, outside, punch out Jimmy.
13 - Hurled To Destruction
--------------------------
The explosion stuns Lois long enough for Superman to get them outside.
Meanwhile, Graham is forced to reveal more about his machine. It will need a
special tube that takes months to build. The Spider Lady has her men go to
Metropolis University, posing as reporters to steal the original tube. Perry
has Clark and Jimmy go to the university, but Jimmy goes ahead while Clark
checks on something. At the university, two crooks drive off with the tube,
while another forces Jimmy to drive in his car. Clark arrives and spots
Jimmy. Superman appears and stops the car. Jimmy asks Superman to leave the
crook with Perry for an exclusive. At the Daily Planet, while Superman
changes to Clark, Perry ends up struggling with the crook, who knocks Perry
out of the window to fall to his death!
14 - Superman At Bay
--------------------
Clark enters the outer offices in time to capture the crook, Anton, and then
rescues Perry who is hanging on the window ledge. Anton's capture makes
headlines, since he is an aide of the Spider Lady. She and Hackett agree to
have him allow himself to be arrested, so he can talk with Anton. Lois and
Jimmy capture Hackett outside the Daily Planet. Outside the jail, they
witness a crook pick up a cigarette butt tossed out by Hackett. It has a
coded message. Jimmy takes over, delivering the message to a store. At the
store, after Jimmy hides and hears a crook radio the Spider Lady, he is
captured, and the crooks rig the store to explode if someone uses the door.
Meanwhile, Graham now has the second ray machine ready. The Spider Lady has
him target the location where Hackett and Anton (and Lois) are in the jail.
After Clark is phoned by Lois, Superman rescues Jimmy, who warns about the
plan to target the jail.
15 - The Payoff
---------------
Superman saves Lois from the explosion, but the other two are killed. The
ray's use causes headlines. The Spider Lady publicly says that because it is
Superman's ally, she will soon destroy the Daily Planet building. Superman
reconstructs a recording of Hackett talking to Anton. The recording mentions
somewhere called the Dog's Eye. Lois and Jimmy go off to investigate reports
of stalled cars in the foothills, thinking it may be related to the ray's use
at the jail. They get captured and taken to the Spider Lady's cave hideout.
Meanwhile, Clark figures out where the Dog's Eye refers to. It is a mine near
Metropolis. Superman goes and finds one of the Spider Lady's men, who uses
kryptonite. Superman is dragged into the Spider Lady's hideout, where she
holds another piece of kryptonite to prevent him from stopping the ray
machine. But Superman is wearing a lead-lined costume and faking being
unconscious. He resists the ray's beam and Dr. Graham turns it on the fleeing
Spider Lady, killing her.
--
Well there you have it.
Please don't hesitate to e-mail me at any time with your thoughts and
reactions to my column.
You'll find the SUPERMAN: THE SERIAL Theme Music and other Superman related
sounds for you to download (in .wav format) in the Images and Sound File
section of the Superman Homepage at
http://www.geocities.com/Area51/Vault/7771/index.html
Please note that the Superman Homepage has moved, so adjusting your links and
bookmarks now would be a good idea. :)
While there, you'll also find a wealth of Superman information, TV and Cartoon
Episode Guides, Comic Reviews, FAQs, Comic Book Index List, Who's Who, Icons,
and so much more!
I've also designed a puzzle called "Mr. Mxyzptlk's Mix-Up Puzzle" that's
updated weekly. You'll find it in the GAMES & PUZZLES section of my Web of
Wonders at
http://www.geocities.com/EnchantedForest/5071/index.html
Thanks again to Jeff Sykes for his time and efforts in putting together such a
great publication.
Later!
Steven Younis
younis@dot.net.au
The "Superman: The Serial" Review column is Copyright (C) 1997, Steven Younis.
All rights reserved. Making copies in any format is expressly forbidden
without the written permission of the author.
___________________________________________________________
NEW COMIC REVIEWS
-----------------
Ratings Panelists:
AW: Anatole Wilson JG: Jack Grimes SF: Shane Furlong
CS: Cory Strode JS: Jeff Sykes ST: Shane Travis
DC: David Chappell MC: Matt Combes VV: Vic Vitek
DS: Dick Sidbury PS: Patrick Stout WN: William J Nixon
RG: Rene' Gobeyn
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 SUPERMAN TITLES:
-------------------
9. SUPERMAN: THE MAN OF STEEL #65, "Losers"
Story by Louise Simonson
Pencils by Sal Buscema
Inks by Dennis Janke
Letters by Ken Lopez
Colors by Glenn Whitmore
Separations by Digital Chameleon
Associate Editor Mike McAvennie
Editor Joey Cavalieri
Cover by Jon Bogdanove, Dennis Janke, and Patrick Martin
March 1997
$1.95 US/$2.75 CAN
RATINGS:
Average: 2.6/5.0 Shields
ST: 2.3 Shields - (Story: 1.5 Shields, Art: 3.5 Shields)
SF: 3.5 Shields - The Revenge Squad is a good idea. The idea of Superman
having to think through his response to the attack and adapt to each
type is interesting, and I like the return of Maxima to her old self.
JG: 2.0 Shields - Bland fight scene, some semi-interesting character points.
JS: 2.5 Shields - While I continue to enjoy learning about Riot, the rest of
the squad does nothing for me. It was, however, fun to see Luthor
get falsely pinned with this one. Buscema's art was often distorted,
generally worse than Bog's usual.
The issue opens with Superman helpless thanks to a power-draining
'techno-wrap' of Misa's. The Squad starts to fighting amongst themselves over
what to do next: Barrage wants Superman dead, Anomaly wants to turn him over
to the 'big boss' for the reward money, and Maxima puts her own claim on him.
Tired of the bickering (and of not getting her way), Maxima psi-blasts the
other four. Now the intra-Squad bickering really revs up a notch. Misa
changes Superman first into a horrible-looking creature (to spoil Maxima's
amorous plans for him) and then into a two-dimensional cardboard cut-out.
Barrage goes to take a shot at Misa, but has his weapon-arm ripped off by a
magnetic Anomaly.
Riot opts out of the whole fight scene; he realizes that the boss has made
mutually exclusive promises to all five members and decides that he will have
to rescue his hostage-self alone. It was a pleasant surprise to have Riot
show this much perception and initiative; not only can he stick to walls,
split into a hundred copies and out-manic Jim Carey but he has brains to boot.
Let's see more of Riot!
Anomaly is still intent on getting the bucks from the boss, so he grabs some
cables, changes form, and wraps himself around Misa. He convinces her to
change Superman back--much to Maxima's chagrin. A fully-powered and somewhat
peeved Superman grabs Maxima by the scruff of the cape and tries to shake
information out of her; namely, her motivations for fighting against him
alongside these four villains.
The SCU arrives on the scene, loaded for bear. Superman is forced to release
Maxima to prevent Barrage from killing Maggie Sawyer, and it's dogpile on
Superman again--all except Misa who is having too much fun watching. Maxima
tries to get the SCU off her back by psi-blasting them all, but the SCU is
ready for her with psi-shields. Sawyer and Turpin wonder aloud why Maxima has
'gone rogue'. Misa is about to drop another surprise, but then decides to sit
out the rest of the fight when she overhears Sawyer refer to her as 'immensely
powerful'. Seems that flattery can turn even a villainess' head.
Anomaly touches a wrecking-ball and turns into steel to better combat
Supes--which is just what the SCU have been waiting for. ZAP! CLANG! and
Anomaly is stuck against the biggest electro-magnet you ever saw. One down.
Meanwhile... Riot has found the warehouse where his hostage-self is being
kept. He overhears their shadowy benefactor badmouthing the Squad, calling
them losers -- tools -- and demonstrating a willingness to let them all get
captured and go to jail. The eavesdropping Riots are none too pleased with
this, and after freeing their own, they mess with the psi-helmet the boss uses
to talk to Maxima.
All goes according to (Riot's) Plan. The boss uses the helmet to send 'Yay
team!' messages to Maxima, but due to Riot's tinkering she also overhears the
subconscious subtext of, "Only a gullible fool would expect me to deliver on
my promises." Enraged, she sends a psi-blast back through the helmet that
knocks the shadow-boss arse over teakettle.
Barrage has managed to get Maggie Sawyer in his grip once again, and Superman
is being kept too busy by Maxima to do anything about it. It looks like
curtains... until Misa, in an effort to be unpredictable, drops a
techno-gadget on Barrage's armor which causes it to blow up in his face.
Maxima finally reveals her reasons for joining these misfits; she is sick and
tired of rejection. In her words: after coming to Earth in an insane attempt
to aid its people, she has been humiliated by shameful treatment, including
Superman's continued rejection of her. Hmph. Imagine that. Can't imagine
why Superman doesn't immediately rush into the arms of such a delightful
woman.... She lands one more punch and flies away. Sawyer is just as happy
to let her go, muttering something about Diplomatic Immunity, given that she
is an Empress and all.
Misa laughs at Superman sprawled in the dirt, and he flies up to grab hold of
her. Aha! At last... someone Supes can finally capture. Oops... sorry Big
Blue; Misa blows them all a kiss and pulls one of her famous vanishing acts.
The SCU rounds up the remaining Riots as they come back to rescue those
already under lock and key.
Dragging the losers to jail, Superman watches and wonders who the 'boss' was
that brought them together. The villains all (mistakenly) agree that it must
have been Luthor... and in the background, a shadowy figure laughs,
congratulates himself on fooling them all, and continues to plan the downfall
of Metropolis....
Watching and wondering. That about sums up the extent of Superman's role
throughout this book. In case you missed it from the synopsis, the entire
book was one long fight scene in which the major role of the Main Man was to
get beaten, punched, transmogrified, tripped, psi-blasted, shot at, and
generally made to look incompetent. Except for a brief scene where he saved
Maggie Sawyer, Superman spent the whole issue fighting with Maxima while the
rest of the so-called Superman Revenge Squad either did what they wanted,
stayed out of the way, or got themselves caught by the SCU.
Which brings me to one of the things I _did_ like about the book. Too often
in the DC Universe, the SCU is shown as outclassed, outmanned, and outgunned.
It was nice to see them show up on the scene having made the obvious
preparations. But for Misa, these villains were all known quantities to the
SCU and it showed in their planning. From net-guns for Riot and an
electro-magnet for Anomaly to psi-shields to defend against Maxima, the SCU
was on their toes and in the know. They basically did all the work capturing
Anomaly, Riot, and (with a little help from Misa) Barrage, while Superman did
his imitation of a punching bag.
I guess that's what bothers me more than a little about this whole issue;
Supes just stood there and took it. His head didn't seem in the fight at all.
He seems generally clueless, easily confused, and outmatched by five villains
who don't deserve the name Superman Revenge Squad.
Maybe it was all due to Maxima. Yeah. That's it. Maxima was messing with
his mind....
Seriously though; Maxima is powerful, but I don't recall her giving Superman
this much trouble in the past. Her massive temper-tantrum and recent attitude
is true to her original characterization, but fails to take into account any
of the maturing she has done as a member of the various Justice League
incarnations over the intervening years. As for Diplomatic Immunity... when
did the US Government start opening embassies for dignitaries from alien
planets? And if they have, why didn't Mongul ever have one?
I found the art team of Buscema and Janke a refreshing change from Bog/Janke.
The layouts on the issue were excellent; there is a real fluid feel to the
entire fight and everyone has a very unique way of moving/standing/posing that
is difficult to bring across in a static medium. Unfortunately, while many of
the faces are well done and expressive, others are awkward and distorted; this
visual variation is jarring and detracts from the story. A tip of the hat to
Glenn Whitmore; I liked his use of pastels to make things look more
three-dimensional (opening spread) or two-dimensional (page 14, 16). Overall
things were bright and entertaining... which is good, because the story wasn't
holding up too well.
-- 30 --
Shane Travis (travis@sedsystems.ca)
=========================================================
10. SUPERMAN #121, "They Call It Suicide Slum"
Story and Art by Dan Jurgens
Finished Art by Joe Rubinstein
Letters by John Costanza
Colors by Glenn Whitmore
Separations by Digital Chameleon
Associate Editor Mike McAvennie
Editor Joey Cavalieri
Cover by Dan Jurgens, Joe Rubinstein, and Patrick Martin
March 1997
$1.95 US/$2.75 CAN
RATINGS:
Average: 2.8/5.0 Shields
SF: 1.5 Shields
JG: 2.8 Shields - Simplistic story with a not-so-perfect resolution. Great
art, though.
JS: 4.0 Shields - While I know some people have not been enamored with this
story, I found it to be fascinating. I've always enjoyed seeing
Superman tackle "real life" problems, especially those he doesn't
deal with often. And it was wonderful seeing Dan Jurgens draw Big
Blue again!
Synopsis:
In the Simon Project, a government housing project in Suicide Slum, a young
girl witnesses a drive-by shooting, but she and her mother are threatened by
the gang members responsible. On the scene, Clark realizes that the little
girl knows something, but her mother refuses to help, claiming that neither
the police nor Superman can help them out. Unfortunately, the gangsters
misinterpret the exchange and plot to eliminate the problem.
Disturbed by the lack of faith in justice and in him, Superman decides to act.
In one powerful sweep, the Man of Steel removes and destroys all illegal
drugs and firearms. However, it's barely the next day before the gangsters
have their hands on more weapons (supplied by a mysterious Mr. L -- any
guesses?), and the thugs attack in a barrage of gunfire. Clark manages to
catch the bullets he sees, but one comes from behind, striking the little girl
in the head.
The tragedy makes Superman realize he can't fix everything, but he refuses to
give up on the little girl, whisking her away to the hospital. The mother
decides on the spot that the only way to protect her child is to get her out
of the Simon Project. The child manages to pull through, and Clark arranges
help in relocating the family out of the neighborhood.
Story: 1.5 Shields
Every so often the Superman writers like to show Superman dealing with a real
world problem rather than a super-villain or force of nature. This issue it's
gang violence and the hopelessness infecting portions of the inner-city of
America. Including a story like that is risky since Superman can't solve it.
These are real problems which exist and will continue to exist unless our
society applies long term solutions not found in a cape and tights. This
story, on the other hand, shows the solution to be found by trusting the white
folks to rescue the poor black folks who can't handle it themselves.
Oh, maybe that's being too simplistic, but the story for me came down to that.
I also have a problem with the sudden introduction of an area of Metropolis
so crime-ridden, but one where Superman says he's never been. I can't believe
that a spot so in need of Superman would have been overlooked till now. In
the end all is well because Superman and Mr. Jupiter (put in the story as a
small plug for Jurgens' TEEN TITANS) save the family from their neighborhood.
Hurrah, the white folks to the rescue.
Art: 2.0 Shields
The effect of having the story told in 4 long-short panels per page got
tiring, although I liked the cover as well as the splash page on page 19. The
effect of the panel layout made the splash page even more dramatic when it
came. Frenz had no art this issue, as Jurgens and Rubinstein worked together,
and he was missed.
Shane Furlong (Shane.Furlong@evolving.com)
=========================================================
11. ADVENTURES OF SUPERMAN #544, "Dead Men Walking"
Written by Karl Kesel
Pencils by Stuart Immonen
Inks by Jose Marzan, Jr.
Letters by Albert De Guzman
Colors by Glenn Whitmore
Separations by Digital Chameleon
Associate Editor Mike McAvennie
Editor Joey Cavalieri
Cover by Stuart Immonen, Jose Marzan Jr, and Patrick Martin
March 1997
$1.95 US/$2.75 CAN
RATINGS:
Average: 4.0/5.0 Shields
AW: 3.5 Shields - This mystery had some holes, but was told well enough
to be some fun.
SF: 3.5 Shields - A really nice story with a great cover. This issue really
set up future things well while entertaining today.
JG: 4.0 Shields - Very nice mystery story, excellent character interaction
between Lois and Clark, sets up a great new plot, and beautiful art.
JS: 4.8 Shields - Folks, this is about as good as it gets. The return of
Donovan, Moxie, and Intergang -- amidst all of the chaos we're
already feeling over the machinations of Luthor and the mystery
man behind the revenge squad, this really lights a fire under
things! Immonen and Marzan were darn near perfect in this one...
Okay, let me get this straight -- Clark and Lois, in this issue, are
investigating the murder of -- Clark Kent. But wait -- that's not really
Clark, it's somebody called the Skin Man. And the Skin Man was impersonating
Kent to investigate some mobsters from the 1940's--only they're all dead.
Well, actually they're not *all* dead, because ol' Mike Gunn is still alive,
and was seen at the murder site. But he couldn't have done it, because he's
in his eighties and the killer was in his thirties. But he did do it and
kills himself when he's discovered. Only he didn't kill himself, because the
younger version of him is still alive. But when the younger Gunn is
confronted by Superman at his favorite abandoned carnival hangout, he kills
himself again.
Then, just as Clark Kent finds out that he's going to have to work with Simone
DeNiege and thinks that things can't get any worse, it turns out that things
are getting worse. Those old dead gangsters, you see, aren't really dead now
-- they've been cloned or something by Dabney Donovan -- even though he's
supposed to be dead -- and now Boss Moxie is not only alive and kicking, but
is also starting a new Intergang, and uses Vincent Edge to help him assemble
the criminal leaders in town so he can blow them up and then, presumably,
clone them. Oh, and because Vincent Edge is old, Boss Moxie has him killed.
I hope this clears everything up for you.
Actually, I rather enjoyed all the twists and turns in this issue, even if
there were holes in the plot (like who was the Skin Man, anyway, and why did
all the gangsters in town want him dead? How did Superman know that Gunn and
his girlfriend Ginny McCree used to hang out at a carnival?). The most fun of
this issue was seeing Clark and Lois work together to get their story, and
Supes whisking Lois around town. Kesel, Immonen, and Marzan have been doing a
great job with the scenes where Clark and Lois are together, whether it's at
work or at home.
Now the down side was the holes in the plot. Just who the heck was the Skin
Man? Why was he researching the gangsters? Was he some sort of cop? To
throw out this clone-type being and kill him without explanation was just
weird. And how the heck is this clone running around when all it is all skin,
no bones or brains, even? And for Superman to know about the abandoned
carnival, and for Gunn to be at the carnival, was just too convenient. I
would have gladly passed up the scene with Simone DeNiege to have had a more
credible explanation for finding the Gunn clone. And for the real Gunn
to kill himself but not to consider it really dying since his clone is running
around is a metaphysical leap that I just didn't get.
I hope these questions will be answered in future issues, but considering that
Superman is going to become an energy being next issue, I think he's going to
be too distracted to ever find out.
It will be interesting to see how these gangsters from the 40's adapt to
modern life. I hope the various writing teams don't just throw them into the
90's knowing and accepting everything around them. It may even be that their
40's sensibilities make it more difficult for them to deal with the criminals
of today, like in THE GODFATHER, where the Family wars were kicked off because
Don Corleone didn't want to sell drugs.
Immonen and Marzan, Jr. do a good job with the artwork, but not an outstanding
one. The art felt a little cramped, as if all the indoor settings were
preventing them from showing their stuff. But Boss Moxie and gang did have a
grizzled, 40's-ish feel to them, which I think was well done.
Finally, I'd like to mention a couple of things left over from my last review.
First, I'd like to take a bow for accurately predicting that Maxima was the
only real power in the misnamed Revenge Squad, and that the Squad would be a
pushover for the Man of Steel. Second, I'd like to thank Tracy Mallon and
Jeff Lesher, who were the first to remind me that the movie Clark and Lois
were watching in AOS #543 was none other than "His Girl Friday," starring
Clark Gable and Rosalind Russell. That movie, it turns out, was a remake of
an earlier film, "Front Page."
You learn something new every day...
Anatole Wilson (awilson@vnet.ibm.com)
=========================================================
12. ACTION COMICS #731, "...Fire Burn and Cauldron Bubble!"
Written by David Michelinie
Art by Tom Grummett and Denis Rodier
Letters by Bill Oakley
Colors by Glenn Whitmore
Color Separations by Digital Chameleon
Associate Editor Mike McAvennie
Editor Joey Cavalieri
Cover by Tom Grummett, Denis Rodier, and Patrick Martin
March 1997
$1.95 US/$2.75 CAN
RATINGS:
Average: 2.7/5.0 Shields
WN: 3.0 Shields - An old Cadmus experiment returns in the hands of a Russian
criminal to bring havoc to Metropolis.
JG: 2.0 Shields - Third-rate villain, dry plot. Hated Clark's "I may have to
kill" attitude. Hilarious title, though. :)
JS: 3.0 Shields - Didn't care for Cauldron the first time (still don't know
why that was an enhanced cover), and I don't care for him now. And
with all the other goings-on in the Super-books lately, do we need
Karpov to be brought into the mix?
This is a self-contained issue which returns Cauldron (last seen in ACTION
COMICS #695, January 1994) to Metropolis. In brief, this tale could be seen
as a simple slugfest: criminal kingpin manipulates destructive war machine
(with sentience) to take on Superman. The kingpin this time however is not
Luthor, nor is the "war machine" Brawl -- the most recent issue of ACTION
COMICS which this tale reminded me of, at least in underlying plot.
Cauldron's background and the shadowy nature of Nikolai Karpov kept the tale
fresh and brought up a number of questions. I would have liked to have seen
Karpov, but doubtless we will catch up with him soon enough.
Flashback: Cauldron was Project Cadmus' first foray into law enforcement. He
was a clone of Kevin Crow, an upright Cadmus Special Forces soldier who lost
an eye and the use of both legs during Doomsday's rampage. This clone was
"cyber-genetically enhanced" and controlled by Crow. The Cauldron Project was
discontinued when Dabney Donovan took control of Cauldron to prove that he
could. Cauldron was destroyed while shoring up a crumbling building to help
Superman rescue its homeless occupants.
Flashforward: The plans for Cauldron were duplicated by someone at Cadmus and
sold to the highest bidder, one Nikolai Karpov. Due to an accident at the
Metropolis docks, Cauldron is freed from his shipping crate to wreak havoc.
It is ironic, given Cauldron's background that he is now in the hands of a
Russian criminal kingpin. Modifications and enhancements to his makeup ensure
that Superman's attempts to bring him down are not as straightforward as they
were the first time around. With information from Lois, Cadmus, and Cauldron
himself, Supes uses his intellect as well as brawn to isolate Cauldron in the
Earth's core. The cloned figure who is at the heart of Cauldron (identity
unknown, perhaps Crow again?) tries to resist Karpov's commands. This
provides Superman with a moral dimension to the fight; he cannot destroy
Cauldron since, to do that, he would have to take a life. His interim
solution to trap Cauldron seems to be the most expedient in the short term.
Like all things, nothing is ever as simple as it seems. This issue succeeded
as a self-contained story while leaving a number of questions. Who is the
Cadmus traitor, and what else have they sold? Who is Nikolai Karpov, and if
he has the information to create Cauldron, what is to stop him from doing so
again?
Grummett and Rodier's artwork was ably executed with their customary
professional aplomb. Superman and Cauldron sizzled across the pages.
William J Nixon (W.J.Nixon@lib.gla.ac.uk)
___________________________________________________________
THE SUPERMAN TITLES (cont):
--------------------------
13. SUPERMAN: THE MAN OF TOMORROW #8, "True Grit"
Written by Roger Stern
Art by Paul Ryan and Brett Breeding
Letters by John Costanza
Colors by Glenn Whitmore
Separations by Digital Chameleon
Associate Editor Mike McAvennie
Editor Joey Cavalieri
Cover by Paul Ryan, Brett Breeding, and Patrick Martin
Spring 1997
$1.95 US/$2.75 CAN
RATINGS:
Average: 3.7/5.0 Shields
RG: Story: 4.5 Shields - Nice character introduction, good use of cast.
Art: 4.5 Shields - Good use of backgrounds, excellent shading.
JG: 3.0 Shields - Sub-standard issue, with another forgettable villain. Nice
character scenes, though.
JS: 3.5 Shields - More than anything else about this issue, I love how the
writers are beginning to *really* put Luthor through the ringer.
Can't wait for him to try to get back at Superman, whom you *know*
Lex will hold responsible...
This is rapidly becoming my favorite Superman title. For me, this one is
about as good as it gets. Roger Stern has always been my favorite Superman
writer, and stories like this are the reason why. A good introduction to a
new character, some interesting by-play between members of the supporting
cast, enough action, and a real threat to justify Superman's involvement. To
add icing to the cake, it was complete in one issue. I don't ask for more
than this.
The art was just what I like to see. Interesting layouts and good
perspectives, coupled with well-detailed backgrounds, enhanced and
complemented the story. Ryan and Breeding are really coming together as a
team.
On the character development side, we get more information on the current
status of the Contessa's pregnancy, Luthor's house arrest, and a wonderful
lead-in page. Throw in several scenes that give us a couple of brief glimpses
of the newlyweds' home life, and bit of foreshadowing for things to come, and
you get this issue. We even get a bonus of a new character (can't really call
him a villain) that has old ties to Luthor's past.
All-in-all, an extremely well done book.
Rene' Gobeyn (gobeyn@kodak.com)
======================================================
SUPER-FAMILY TITLES:
-------------------
JLA #3, "War of the Worlds"
Written by Grant Morrison
Pencils by Howard Porter
Inks by John Dell
Colors by Pat Garrahy
Color Separations by Heroic Age
Letters by Ken Lopez
Edited by Ruben Diaz
Cover by Howard Porter and John Dell
March 1997
$1.95 US/$2.75 CAN
RATINGS:
Average: 4.5/5.0 Shields
MC: 4.8 Shields
SF: 5.0 Shields - Grant Morrison really hits his stride this issue. The
characterizations in this issue were fantastic.
JG: 4.0 Shields - Excellent, excellent characterization and plot.
JS: 4.0 Shields - The tale kicks into high gear with this one, and it's
nice to know that the whole league wasn't actually as debilitated
as it seemed last issue. Love the fact that Batman's taking 'em
down!
The stuff that dreams are made of.
I swear, that's what goes into this title.
Continuing into JLA #3, the newly revamped Justice League is pitted against
the dubious Hyperclan who are bent on overtaking Earth. Issue #3 begins with
Superman captured by the Hyperclan and restrained while under the influence of
Kryptonite. (Where they got it, I have no idea.) Wonder Woman and Aquaman have
been captured. Green Lantern and Flash spend their time figuring how to defeat
their adversaries in the Hyperclan, and eventually join together to breach one
of the Hyperclan's fortresses; unfortunately, they too are caught and
restrained. The Hyperclan have told the captured Justice Leaguers that their
comrade, J'onn J'onzz, has betrayed them, though that in itself was never seen
on-panel. The only Leaguer left is Batman, who uses his expertise to break
into the fortress and make his way further inside.
One of the Hyperclan, A-Mortal,decides to check out some mysterious
happenings in the fortress and eventually finds Batman. The other Hyperclan
don't hear a report back from A-Mortal, and three go in search of him. They
find A-Mortal hanging from the ceiling, unconscious, with a note on his chest
that reads "I KNOW YOUR SECRET!" After more searching they come upon Batman.
As they surround him, he lets them know that he is aware they are Martians and
that they are vulnerable to fire. He whips out a match box and lights some
gasoline that he spread earlier. Tronix, Fluxus, and Zenturion try to fight
off the fire while Protex, the Hyperclan leader, starts the Flower of Wrath --
a deadly device to which the captured leaguers have been bound. He
simultaneously commences an attack plan that would bring 70 more Martians to
Earth, and so #3 comes to a close...with yet another "To be continued" that
leaves us hanging.
It's no wonder that JLA has so quickly become DC's top-selling book. The
writing is strictly superb with Grant Morrison at the helm, devoting pretty
much equal time to each character in order to develop their place in the
story. He has a real way with these characters, and I'd be surprised if I
found out he hasn't read up on all of them or isn't currently reading their
respective titles in order to get them into character, because he does a great
job. For Superman, Morrison does a lot of things that I just wish I could find
in the regular titles. IMO, I doubt you would ever find the Superman that's in
JLA in any of the super-titles, because Morrison writes him so much *better*
than any of the current writers on ACTION, ADV, MOS, SUPERMAN, or MOT. There's
not the overuse of captions and thought balloons (for *any* character, not
just Superman). Superman is more smug and witty under Morrison's pen (er...
typewriter... or computer... whatever) as well. My dream wish is for Morrison
to script or write a monthly Supes title someday.
Anyway, back to the issue... I thought it was quite interesting making Batman
the hero of the day. Again showing Morrison's flair for the surprising,
Batman, the only JLA member without powers, is the one who remains free and
ends up defeating four -- count 'em *four* -- of the Martians. What a brain
that Wayne guy has. Always counts to bring gasoline and matches with you too
(though MacGyver coulda done it with just a Swiss Army knife and duct
tape...).
I'm really interested in the Martian Manhunter bit that's going on. We never
actually saw J'onn actually "go to the Dark Side," so to speak. Apparently he
said he would join them, but of course we can't really expect J'onn to have
gone bad. I think it's obvious that good ol' J'onny-boy is planning a sneak
attack from the inside (further evidenced by page 20, bottom panel, where
Batman speaks into a comm. device of some sort and says "Ready when you
are.").
I also really enjoyed the small-yet-important Flash part in his race/battle
against Zum (pronounced Zoom). I thought it was a nice touch to bring up Barry
Allen during the match and have Wally recall the "Flash Facts." This is
another way you can tell Morrison's been studying up on his major DC
characters. (Maybe they should have Morrison be a co-author of the next Who's
Who... geez.).
As for the art, I will say it's still growing on me. While it's really good,
and Howard Porter has really improved since Underworld Unleashed, it's the
only thing that stops me from giving this issue a perfect 5 out of 5 shields.
Howard needs to work on his eyes and some of his facial features a little more
(he hits really creative spots in those areas, though, like Superman's grin in
response to Protex's frustration on page 16, and any of Batman's, since he's
under a cowl and he's just...Batman. Shadowy type of guy.). I also have quite
a distaste for his running scenes -- many just look very awkward, even if
they're possibly anatomically correct in that type of viewspace. Sometimes
(but definitely not always, as is evidenced by people like Rob Liefeld) what's
easier on the eyes is better than what's anatomically or physically correct.
But that's just me. Other than that, Porter is really coming along great. I
can't think of a certain person I'd rather have pencilling this title.
John Dell and Pat Garrahy do nice work as inker and colorist, but I hope Dell
eases up on the amount of lines he tends to stick in. It seems like he's a
real nut for line after line after line. And while that may make for a
smoother-type look, it doesn't always bode well for Porter's square-style
drawing. Garrahy's colors always fit the situation, though, especially the
Batman and desert scenes.
Anyway, I've said it more than once and I'll say it again: If you're not
reading this book, *do so*. There is no other book that DC publishes (save
STARMAN for you Starman aficionados, which I hear is one of the primo things
on the racks today...I haven't read that myself...maybe *you* pick up JLA, and
*I'll* pick up STARMAN. Deal?) that is worth not buying this book for. I
recommend it at all costs.
Matt Combes (MrNandoX@aol.com)
=========================================================
STEEL #36, "Home"
Written by Christopher Priest
Layouts by Denys Cowan
Finishes by Tom Palmer
Letters by Pat Brosseau
Computer Colors by Stu Chaifetz
Associate Editor Chris Duffy
Editor Frank Pittarese
Cover by Dave Johnson
March 1997
$1.95 US/$2.75 CAN
RATINGS:
Average: 3.9/5.0 Shields
DS: 3.8 Shields - "Boris" and Natasha continues to be more interesting than
the main story line.
JS: 4.0 Shields - Remember how I commented that under the prior creators,
Nat didn't strike me as much like a teenager? Boy does Priest have
*that* angle down cold! Not quite sure where he's going with the
teleportation/monster-in-the-basement thing, though.
Story:
The story opens with Steel searching the catacombs beneath the Garden State
Medical Center for the monster he ran into last issue. Steel has no success
and as he is returning to the surface, he runs into a crack head who empties
fifteen shots into Steel at point blank range. When the clip empties, the
punk pulls a revolver and empties six more slugs into Steel. This angers
Steel, who promptly pounds this punk and several of his drug crazed cronies.
The cops show up at the scene, and Steel takes an expandable net from his
"utility belt"(??), scoops up the gang, and deposits them with the cops. As
he is flying home, he crashes in a heap and a kid from the neighborhood yells
out "Ma ..Ma!! Come quick!! Superman's Dead Again!!" Somehow Steel is taken
to his hospital, where he is diagnosed with a mild concussion and is sent home
to rest and recuperate. He is so bad that he takes a taxi rather than fly.
Meanwhile, Natasha is lying on her bed, channel surfing from quiz show to soap
opera to ad for the Psychic Fiends Network, and as teenagers are wont to do,
she is also talking on the phone to Candace, one of her pals. She has been
grounded for "borrowing" John's truck (last issue). Paul shows up while she
is talking on the phone, and they make sophisticated sexual banter as he cuts
open a present for her -- a watermelon. He extols the virtues of watermelon
-- fat free, loaded with electrolytes, neat sugar buzz, a happy fruit. She
complains that she's black and that giving watermelons to blacks is something
that just isn't done. She then comes to the conclusion that he hadn't even
considered her race when he picked up the melon, which pleases her to no end.
A pager goes off, sending a message to John to indicate that someone has come
to visit his niece. While John is returning home on the bus (he couldn't hail
a cab), Boris is teaching Natasha how to spit watermelon seeds. Somehow they
end up in her bed -- he is apparently eating popcorn and watching TV and she
is still on the phone. [What do you expect from a code approved comic? And
actually it's sort of romantic to see how naturally they get along together].
John arrived at the house and exchanges witty banter with Natasha, and he
kicks her out so he can get some rest even though she's grounded. Since she's
still in her nightie, she dresses up in Steel's armor, which is large enough
on her that she resembles a little child wearing a Steel Halloween costume.
Meanwhile, John dreams and apparently teleports within his dream to the white
zone where he beats up his sentient costume. He tries to teleport HOME but
nothing happens. He then tries to teleport to the HOUSE and arrives back in
his bed.
Natasha and Boris are out in an alley playing Dress Up, and she points the
rivet gun at him. Fortunately nothing happens, because the suit isn't powered
up. He suggests that she try "Rosebud" as the combination, and after kissing
him she does. Naturally, this is the combination and the suit takes off,
flying both Boris and Natasha. She handles flying better than Ralph Hinkley,
but not by much. While flying, she sees a bunch of police cars parked outside
a Pawn Shop and deduces that a robbery is in progress. Naturally, they both
fly down, roaring through the window to help avert the robbery. Boris falls
off and they make their triumphant entry into the Pawn Shop, where a BIG
mean-looking black man with shades grabs Boris and puts a gun to his head.
Natasha points the rivet gun at him and they each threaten to kill. The
situation is resolved when the mean looking dude calls the cops. He is the
proprietor of the Pawn Shop and the cops parked outside are also parked next
door to a donut shop. John arrives in his black long johns and rocket boots
and sends the kids to bed without any supper ... uh, sends them to the car
while he straightens out the situation.
Natasha and Boris kiss good-bye and next we see Nat and John back at home
where he is putting a safety lock on his costume. She promises to behave and
the phone rings. Dr. Villain asks John how his recovery is going, and they
briefly talk about the tentacled monster that might have been in the catacombs
under the GSMC. As the issue fades to black, we see a part of a tentacled
monster sitting in front of Arthur.
Art:
There's something about Denys Cowan's pencils that I don't like. And I'm not
sure I know how to describe it. But most of the panels on page 8 and
especially the lower right panel on page nine look like so much doodling.
This doodling, however, seems to work quite well in the bottom panel on page
three. Cowan also does very good eyes, both in terms of expressiveness and as
an expression of superheroicness. Specifically Steel has no eyes, only slits,
(like Batman). But when Nat dons the Steel costume, we see her eyes in every
single panel. Stu Chaifetz' colors add a very three-dimensional look to
everyone's faces (and to Nat's legs). I don't recall commenting on Pat
Brosseau's lettering in any previous review, but after trying to read the
latest issue of CYBERELLA, I have a renewed respect for someone who produces
dialogue and narration that's both dramatic and easy to read.
Summary:
A punk pumps a couple of magazines into Steel's helmet, which gives him a
headache. He rests while Natasha and Paul behave like (extremely
sophisticated) teenagers. But like teenagers, Natasha and Boris make one
doozie of a mistake that Steel has to use all his super tact to smooth over.
And we are left with two questions: Is Dr. Villain (pronounced Will Hain) a
villain (pronounced villain), and why did the writer of this comic change his
name from Christopher Priest to Priest? Maybe we'll get an answer to one of
these questions next month.
Dick Sidbury (sidbury@cs.uofs.edu)
=========================================================
SUPERBOY #37, "Sledge-Hammered!"
Written by Ron Marz
Guest Pencils by Sal Buscema
Guest Inks by Ray Kryssing
Colors by Tom McCraw
Letters by Richard Starkings and Comicraft
Associate Editor Chris Duffy
Editor Frank Pittarese
Cover by Ramon Bernado and Doug Hazlewood
March 1997
$1.95 US/$2.75 CAN
RATINGS:
Average: 2.8/5.0 Shields
RG: Story: 2.5 Shields - Better, but too much fight, too little story.
Art: 3.5 Shields - Some excellent detailing, needs backgrounds.
JG: 2.0 Shields - The whole "Betty and Veronica" should have been resolved
long ago. And how the heck did Sledge get from NY to Hawaii?!
JS: 3.5 Shields - Surprisingly well-told story (given Marz's previous issues,
that is), and Buscema's art is better than his work this month on
MAN OF STEEL and than anything Bernado's given us in this book.
Psst, Kid. Choose Roxy.
This issue had its ups and downs. While it is certainly getting better (at
least the writing is), it's hard to really recommend the book, because the
quality isn't consistent. Overall, this one came out in the plus column. The
title's improving slowly, but it still has a way to go.
I have to admit that the art carried the book this month. Sal Buscema and Ray
Kryssing were listed as 'guest' artists. Too bad. They did a better than
average job on this story, and from past exposure to Sal's work I think he
could do very good things for this book in the long term. My only complaint
with the art stems from the fact that it looked a bit rushed in places. There
are many pages where the backgrounds and details were used to enhance the
story, while in others it was missing almost completely. If it weren't for
these instances, the art would have rated higher.
Ron finally seems to be starting to get the feel for the cast and is letting
them help carry part of the story. If the trend continues I may be able to
start recommending the book. It's too bad that the fight scenes still
dominate the book, but even in the middle of the fight the cast still manages
to play a part that stays consistent with the characters. Ron even managed to
keep the villain in character
The book opens with a dream sequence that is almost straight out of (teenage?)
male fantasies, where Superboy finds his recent love triangle (Roxy, Tana, and
himself) resolved by the ladies involved deciding to share him. When the
dream turns into a nightmare, the Kid wakes up. The by-play between the Kid
and Dubbilex is pretty good. Some of the best we've seen from Ron so far.
Later in the story, circumstances force the Kid to put the two ladies
together, and they are still together later in the story. Unfortunately, even
though the position of the three is similar to that of the dream, Roxy and
Tana don't seem like they've come to any reconciliation. The Kid's troubles
can only get more interesting.
Rene' Gobeyn (gobeyn@kodak.com)
=========================================================
SUPERBOY AND THE RAVERS #7, "Speed Kills"
ROAD TRIP: FIRST STOP
Written by Karl Kesel and Steve Mattsson
Pencils by Paul Pelletier
Inks by Dan Davis
Colors by John Kalisz
Letters by Kevin Cunningham and Chris Eliopoulos
Associate Editor Chris Duffy
Editor Frank Pittarese
Cover by Paul Pelletier and Dan Davis
March 1997
$1.95 US/$2.75 CAN
RATINGS:
Average: 4.1/5.0 Shields
JS: 4.7 Shields - I simply loved every part of this book! Great story
idea, great dialogue, great characterization (except, perhaps, for
Impulse), and great art!
JG: 3.5 Shields - This is what I buy this title for... exploring the DC
Universe.
This new storyline promises to be quite entertaining, as the Ravers embark on
a cross-country road trip in order to introduce Kaliber to the Man of Steel!
The book opens by focusing on Kaliber The Anarchist, as he is called by his
own people on the world of Qward, exhibiting just how strange it is that he
should pursue heroism -- on Qward, Kaliber is considered an outlaw and a
terrorist. This plot thread alone could make for an interesting *series* -- I
just hope that Kesel and Mattsson spend an adequate time developing it!
Soon after, the Ravers all reunite at the Event Horizon, where Superboy is
introducing Hardrock, the teenager that he and Superman helped turn around
back in SHOWCASE '96 #8. But Kaliber is much dismayed to learn that Hardrock
joined up in Metropolis, and that his trip to Qward had caused him to miss
"the home of the Superman."
However, Kaliber had returned to Qward to pick up Half-Life's newest
possession -- the meta-cycle he won playing truth or dare last issue, newly
treated to withstand inter-dimensional travel. And at Hero's suggestion, the
group decides to take a road trip to Metropolis! All except Aura, that is...
Meanwhile, Claw Hammer is reporting to Marx about his run in with Jack Nebula,
and he points out that Nebula had a symbol on the palm of his hand, one that
appears on the wall behind Marx! After this meeting, Marx summons Aura to his
chambers, teleporting her in while she is in the process of changing into her
uniform (the Rave is in Southern California, and many of the Ravers had been
swimming). She immediately misinterprets, and Marx assures her he has eyes
for another, a picture of a female of his species silhouetted in the
background. He convinces Aura that she can best spy on the rest of the team
by going with them.
So they're off! To make the rest of the story shorter, Kaliber gets another
case of hero worship as the team passes Santa Marta, the new home of the
Flash, so they stop to attend a festival in Flash's honor. Unfortunately,
Flash has to leave suddenly to answer his JLA signal. Left behind is Impulse,
and he and the Kid agree to race each other as a bonus attraction for the
citizens.
Impulse and the Ravers lose track of where they are and eventually run upon
the Coast City memorial. Moods change quickly, and the issue ends with some
cryptic remarks from Aura.
One of the most wonderful aspects of this title so far is the wide-eyed
hero-worship of Kaliber, and it plays even more than usual in this issue.
When he first learns that he missed Metropolis, you'd think his whole world
was at an end -- and his excitement over seeing the Flash in person is equally
as extreme.
Kesel and Mattsson keep running with the continuity and sub-plot balls,
throwing in the little touches such as Marx's manipulation of Aura and her
mysterious past. DC and Hero's apparent relationship continues to blossom.
SB's sporting the zit which is playing a prominent role in his original title
(obviously, this entire storyline will take place before events in the recent
issue of SUPERBOY). Hardrock is brought into the group instead of being left
to wander in unused character limbo.
And perhaps most importantly, the intrigue surrounding Marx and his Darkstar
counterpart continues to grow. A few observations are in order on this front.
First, the inverted symbol is shown on Marx's wall in conjunction with the
symbol he uses on the Rave attendees. They're like two halves of a whole, so
perhaps the evil twin angle isn't too far off. At the very least, it appears
that Marx knows who it is that's after him. Also, it just struck me this
issue how much Marx and the pictured female resemble Stealth, of the now
defunct L.E.G.I.O.N. Hopefully, this story will receive the spotlight once
the road trip and Superboy's genetic troubles come to a conclusion.
Once again, Pelletier and Davis turn in gorgeous art, though the beach scenes
allow them to indulge themselves in a bit of cheesecake. Come on guys, this
book is strong enough on its other merits that it doesn't need the cheap and
quick draw of showing a lot of skin. But on the other hand, they do manage to
illustrate a wide range of emotions and actions, including some absolutely
priceless expressions on the face of Kaliber!
Next month, the Ravers visit Gotham City and then try to sneak into Guy
Gardner's bar, Warriors. Looks like more fisticuffs on the horizon!
Jeff Sykes (sykes@ms.uky.edu)
___________________________________________________________
SUPER-FAMILY TITLES (cont):
--------------------------
SUPERGIRL #7, "Art History"
Plot and Pencils by Gary Frank
Dialogue by Gary Frank and Peter David
Inks by Cam Smith
Letters by Pat Prentice
Colors by Gene D'Angelo
Color Separations by Digital Chameleon
Edited by Chris Duffy
Cover by Gary Frank, Cam Smith, and Patrick Martin
March 1997
$1.95 US/$2.75 CAN
RATINGS:
JS: 3.5 Shields - Dark story, lovely art. Must say, however, that if they
wanted Linda to have such a dark past, then why are they watering it
down by concluding she was an unwitting pawn of Buzz?
Synopsis:
Linda's old sculptures bring up Linda's memories, and Supergirl discovers how
her new identity was led into a world of darkness. First, a prize-winning
angel leads to teenage memories of her church and its clergy. After
witnessing Reverend Meeke severely beating his wife, a young Linda later found
evidence that he might have actually killed her.
Supergirl then finds a sculpture of Buzz's head, which prompts the memory of
Linda's first meeting with the man. At a church tent revival, Buzz uses
apparent knowledge of her prior discovery to echo Linda's doubts about the
Reverend. He plants seeds of doubt about what she has learned throughout her
life. Weeks later, Buzz uses just the right words ("Your mum probably
wouldn't have approved anyway.") to lure Linda into his car, and he then takes
her to some sort of house of pagan worship.
As years pass, he draws her in, using her own anger against her, until he
finally makes her verbally lash out against the Reverend, wishing that someone
would make him pay for his crimes.
Finally, a sculpture of a twisted mass of tormented bodies catches her eye,
and she recalls that darkest night revealed in issue #2. Out in the woods,
Buzz and Linda wait until a van drives up and deposits the kidnapped Reverend
Meeke and a familiar woman, both in their underwear. Buzz pulls out a case of
ceremonial daggers, and...
Art:
What can I say? Gary Frank and Cam Smith certainly produce beautiful artwork,
though the pagan building and the dark woods scene gives them a chance to once
again stoop to the trashy art. There's very nice work on their part in
showing Linda's confusion as she first encounters Buzz, as well as the terror
she experiences on several occasions. And two of Linda's sculptures are quite
disturbing.
The first two panels on page eight, as well as some dialogue on page three,
indicate that Linda and Supergirl have different physical sizes, in addition
to the different hair colors. Also, two comments *may* indicate that the two
forms may be coming closer together, that Linda's body may be growing in
stature to match Supergirl's. Supergirl notes that "the morph to Linda gets
easier each time," and Mrs. Danvers notices that Linda's "definitely
getting...
bigger."
Story:
As Supergirl learns of Linda's early involvement, she becomes angry and
exclaims that Linda never had a chance. Why present this terribly dark side
to the personality and then backtrack and say that she may not have been truly
responsible? This seems to be wimping out a little.
On the other hand, my personal belief is that nobody can *make* one do
something against one's nature -- at least not without some kind of personal
threat or extortion, if then. So, from this point of view, it really doesn't
matter that Buzz led her down this road, because it was ultimately Linda's
decisions that brought her all the way to murder.
David's dialogue is rife with anti-religion venom, presenting the many
standard arguments used to denounce various religious beliefs. But this comes
solely from Buzz in his attempts to "turn" Linda. David also manages to catch
several other sides of the religion debate: Linda's confusion and uncertainty,
her mother's deep convictions, and her father's apparent indifference. All
said, Mr. David has managed, so far, with this title to present a fairly
balanced look at religion -- certainly one of his main themes to this point in
the series.
Amidst this discourse, we also see more of Buzz's behind-the-scenes
machinations. Linda finally makes a date with Richard, but Buzz's apparent
intervention causes his car *and* phone to die on the way to the date. This
of course leads to next issue's blind date with Buzz!
Jeff Sykes (sykes@ms.uky.edu)
=========================================================
SUPERMAN ADVENTURES #5, "Balance of Power"
Written by Scott McCloud
Pencils by Bret Blevins
Inks by Terry Austin
Colors by Marie Severin
Letters by Lois Buhalis
Edited by Mike McAvennie
Cover by Rick Burchett, Terry Austin, and Marie Severin
March 1997
$1.75 US/$2.50 CAN
RATINGS:
JS: 3.8 Shields - Nice tale, but I wish we'd gotten to see Livewire's intro
on the series *before* this came out.
Well, we've missed the introduction to this character, Livewire, (apparently
still to come on the show), as she begins as a catatonic patient in a
hospital. And when she finally comes to, the first person she visits is Lois
Lane, who already knows who she is... Oh well, she's a pretty interesting
villain, and I look forward to seeing how she's developed by the series.
Anyway, the long and short of it is that Livewire is what you'd call a radical
feminist, and with her electricity-based powers, she can actually force her
beliefs upon others. So in this story, she decides to block any media
programming or source which is not coming from a female. Male reporters'
stories are deleted from their computers. Male news anchors are "snowed" out.
And so forth.
Luthor and Superman team up to stop Livewire, but Luthor goes a bit farther
than planned and puts her out of action. And even his female assistant, Mercy
Graves, doesn't appear to take his choice very well. It'll be interesting to
see if they follow up on this with Livewire's next appearance. But of course,
you can't keep an electrical feminist down -- not when she's being transported
to the hospital by a couple of chauvinist paramedics...
This is, again, a fairly interesting character, who brings a new level to the
battle of the sexes. Her powers actually give Superman some troubles, as
evidenced by the fact that he needed Luthor's help to defeat her. But this is
not a run-of-the-mill insane villain, but an intelligent, conniving woman with
the power to exert her opinion. This is once of those cases where the problem
isn't the villain's message, but her methods.
The art is, well, cartoonish. But that's what we expect, so what else is
there to say? One thing I noticed here is that there are more physical
distinctions between the female characters in this issue than there normally
are on the show. Perhaps this is simply because of the non-animated form, or
perhaps this was because of the guest art by Bret Blevins. Not that I think
this issue looks much different than the first four -- I'm beginning to wonder
if this is actually a fairly easy style in which to draw...
I also must point out that Marie Severin's colors were particularly vibrant
this issue, and Lois Buhalis provides very clean and effective lettering.
One question in closing. Why bother using actual backgrounds from the cartoon
if they're just going to be obscured by the rest of the cover art?
Jeff Sykes (sykes@ms.uky.edu)
======================================================
MINISERIES:
----------
SUPERMAN/WONDER WOMAN: WHOM GODS DESTROY, "Book Four: The Price"
Written by Chris Claremont
Pencils by Dusty Abell
Inks by Drew Geraci
Coloring by Gloria Vasquez
Lettering by Tom Orzechowski
Color Separations by Digital Chameleon
Associate Editor Chris Duffy
Executive Editor Mike Carlin
Cover by Dusty Abell, Drew Geraci, with Gloria Vasquez
March 1997
$4.95 US/$6.95 CAN
RATINGS:
Average: 3.8/5.0 Shields
RG: Story: 4.5 Shields - Ties up the loose ends, tight plot.
Art: 4.0 Shields - Striking, needed more detailing.
SF: 3.0 Shields - An ambitious effort closes and while it was generally good,
the only so-so art as well as the patented Claremont confusing plot
kept this from being perfect.
JS: 4.0 Shields - The series wraps up quite nicely, though with a bit much
exposition. This might have been better suited to a longer series
(without the Prestige Format, of course). Really interesting twist
having Superman become Supergirl, so to speak, for a while.
[Editor's Note: A review of issue #3 is now available in January's issue, on
the KC homepage.]
This is one series that I will be buying in trade paperback when it comes out
so I can put it on my shelves to re-read often. Between KINGDOM COME and now
WHOM GODS DESTROY, DC is again producing work that stands with and maybe above
WATCHMEN, V FOR VENDETTA, and THE LONGBOW HUNTERS. (In the case of KC, even
RETURN OF THE DARK KNIGHT). The depths of research that WHOM GODS DESTROYS
shows is wonderful. It's been some time since I was encouraged to dig out my
college texts to look up references to mythology. This series, taken as a
whole, has done it.
What really made the whole story for me were the intricate characterizations
that Claremont chose and built for some of the Gods of the Pantheon. Seeing
how he took the character traits that were ascribed to the Gods (as presented
in myth) and applied them to well-done '90s Nazis of a Reich-controlled Europe
was wonderful. That there would also be Gods mingling with the present day
European resistance was also true to the ways the Roman/Greek gods have been
described. Throughout the mythologies of both cultures is a near constant
thread. The gods constantly meddle in the affairs of mankind. That this
whole story resolves itself as a game between the gods with humans as the
playing pieces is almost a classic. It brings to mind some of the stories and
sub-plots used in the Iliad and The Odyssey.
The art in the book was excellent, though by the end of the third book, the
stylized figures and lack of backgrounds was beginning to get stale. While I
thought the highly angular humans were a bit overdone, it was consistent
throughout all four books. The style grows on you after a bit and I found
myself looking past the angles to the intricate details of form that I missed
on the first couple of readings.
The story unfolds like a Greek play. The stories within the story also come
together to form a whole that sometimes is masked by the parts. All our
characters, both Gods and (super) human come together in the end and face off
against Adonis, Zeus, and Hera. In an unexpected twist (though I found hints
in Book 3 that should have tipped me off), Superman fails in his mission, and
in failing comes full circle. Lois (as Wonder Woman) is the real hero of the
story, and succeeds only by staying true to her ideals even in the face of
defeat. Lana gains her heart's desire, only to seemingly lose it again.
The ending of the Pantheon's part of the story, wasn't at all what I expected.
In fact, I was disappointed when I read it the first time. It was only in
re-reading the whole story (all four books) that everything became clear. I
found that the ending not only made sense, but also maintained the elements of
myth that made everything work.
This is a very well done conclusion to an excellent story.
Rene' Gobeyn (gobeyn@kodak.com)
___________________________________________________________
MANUSCRIPTS OF STEEL
------------------------------
Reviews of After-Byrne Superman Special Stories
by Denes House (dhouse@itsmail1.hamilton.edu)
--------------------------------------------------------------------------
THE LEGACY OF SUPERMAN
A Collection of Stories by Various Writers and Artists
Cover by Art Adams
1993
$2.50 US/$3.25 CAN
Rating
------
3.7/5.0 Shields
---------------------------------------------------------
"Superman was the Guardian of Metropolis...the rest of us can only preserve
and protect his *legacy*." -- Jim Harper, the Guardian
Who would have thought that a comic book focusing on the importance of
Superman to Metropolis would be written in which the title character appears
only as a corpse in one panel, and in flashbacks on only seven pages? That's
exactly what happened in 1993, and the result is an uneven but generally fine
piece of work.
Superman had died at the hands of Doomsday, had been buried by Lex Luthor, and
was mourned by a stunned world. In our universe, the media made a big fuss,
ignited interest in the Superman titles, and then the hype faded away and so
did the world's attention. After a few installments portraying the Funeral
and its aftermath, DC Comics canceled the publication of comics starring their
greatest hero.
We all knew he'd be back. DC wouldn't cancel their flagship titles for long.
But for a little while, the world was very strange. There were no new
Superman comics on the stands for months. Then came THE LEGACY OF SUPERMAN,
and I'll be honest, what drew me in was the fabulous Art Adams cover. With a
sepulchral Superman standing guard, Waverider, Sinbad, Guardian, Thorn, and
Gangbuster face the viewer with grim determination. It's a great piece of art
-- and frankly worth the price of the comic by itself.
The stories inside, though, are also worth the price. Let me briefly walk
through them, and then I'll close with some general comments.
THE GUARDIANS OF METROPOLIS
===========================
Story - Karl Kesel
Art - Walt Simonson
Letters - John Workman
Colors - Glenn Whitmore
The story opens with a Walt Simonson splash page of a dead Superman being
probed by Cadmus scientists, and revolves around the struggle Cadmus is having
getting a DNA sample from Superman. They are unable to do so, because the
body is still invulnerable, even in death. The best they can hope for is to
get a computer reading of his DNA, and then extrapolate it onto human DNA, to
see if they can manipulate human genes to clone a new Superman. Jim Harper,
the Guardian, objects strongly, and the Newsboy Legion swipe the disk with the
genetic coding. Director Westfield dispatches Auron, a super-powered clone of
the original Jim Harper, to retrieve it. In Auron, Westfield is happy to have
a programmable clone that will do whatever he wants. The suggestion is that
this is what could be done with Superman's clone. After an involved chase,
Auron faces down the Newsboys, who remind him that he should not do this. As
a clone of Jim Harper, he should know that this was not right. Auron comes to
his senses, downloads the information into his computer memory, and destroys
the disk. He flies off into space to put himself beyond the reach of anyone
who would try to manipulate Superman's DNA for their own ends.
The story here is pretty by-the-numbers, but it introduces several concepts
into the Superman mythos. The first is the set-up for the creation of
Superboy. The seeds of that attempt are planted here. The second is Auron,
who figures into the Superman storyline later, as he runs across Massacre in
deep space. During "The Reign of the Supermen," I had thought that Auron was
one of the Supermen, either the Last Son of Krypton or the Cyborg Superman.
But while the story is simple, the art is vintage Simonson. Superman looks
more dynamic and powerful in the first panel as a corpse than he does in most
Superman comics these days alive! Simonson shows his dedication to the Kirby
legacy to the Superman mythos time and again, and this story is no exception.
Rating: 4.0 Shields out of 5.0
SISTER ACT
==========
Writer - Roger Stern
Penciller - Denis Rodier
Inker - Ande Parks
Letterer - Albert De Guzman
Colorist - Glenn Whitmore
As Rose Forrest returns home from jogging, she listens to her headphone radio.
The news reports sharp rises in crime since Superman's death. While police
spokespeople try to calm the public, Rose opens her front door to discover a
thief absconding with her VCR. He knocks her over on his way out. As the
police interview her and leave, we learn her history -- her father was a
police detective, killed by the 100, a crime syndicate, five years previously.
That night, Rose cowers in her bedroom, watching TV images of crime and
despair. She bemoans the loss of safety in the wake of Superman's death, and
she hears a voice agreeing in her head. She gets up, walks into a secret room
off her apartment, and changes into a dark green costume, for at night, Rose
Forrest becomes the Thorn! The Thorn had not been seen much in Metropolis
since she took down the 100, but in the aftermath of Superman's death, she
decides to take a stronger role.
The story is a basic introduction to the Thorn, bringing her to the attention
of modern readers. It ends with a plea -- if readers want to see more of
Thorn, write in! Readers did, and we've benefited from the Thorn's presence
in Metropolis since. The art by Rodier and Parks is decent, but nothing to
write home about. What is good about this tale is the moody setup of The
Thorn's alter ego. The Thorn is an alternate personality of Rose, and Rose
doesn't know she is there. Thorn only comes out at night, when Rose should be
sleeping. This is a weird, funky, and fascinating way of doing super-heroes,
and is cool to see in a Superman comic.
Rating: 3.5 Shields out of 5.0
GANGBUSTER OF SUICIDE SLUM
==========================
Writer - Jerry Ordway
Penciller - Dennis Janke
Inker - Mike Machlan
Colorist - Glenn Whitmore
Letterers - John Costanza and Albert De Guzman
Gangbuster smashes into a mob-related gun deal, beating the thugs mercilessly,
letting them know that he's not planning on calling the cops, he's planning on
beating them senseless. After a seven page fight, Gangbuster leaves the head
of the thugs hanging out a window tied up with rope, tied through the window
to the leg of an armchair, in which one thug is sitting. It is a loyalty test
-- if the thug tries to leave before the cops gets there, his boss will die.
Gangbuster leaves with the mob connection slung over his shoulder, then does
call the police, specifically Inspector Henderson. Henderson is upset that
Gangbuster is ruining arrests by beating up the perpetrators. The offenders
walk, those that can, and Henderson is angry and concerned. While he is
unable to get a trace on Gangbuster through the phone, Henderson knows that
Gangbuster is Jose Delgado, and he has a good idea where to find him.
Later, at the memorial statue marking Superman's tomb, Gangbuster is leaving
the mob man tied up, with a sign around his neck that reads "I sell guns to
children." Henderson approaches Delgado to warn him -- if he keeps this up,
the police will aggressively seek to bring him in. What Delgado is dishing
out is not justice, but vengeance, says Henderson, with the statue of Superman
visible over his shoulder. Henderson leaves Delgado with a one-way bus ticket
out of town. If he doesn't use it, Henderson will bring Gangbuster down.
The story is crisp and involving, and moves along well for its eleven pages.
Ordway created Gangbuster, and knows what drives him. Superman is present as
a symbol of Justice. The art is passable. Janke's pencils are often unclear,
especially in the fight sequences. His anatomy is distorted, and his
characters bend unnaturally. The effect is disconcerting. Machlan's inks are
moody and dark, as befits the character he co-created.
Rating: 3.8 Shields out of 5.0
FUNERAL PYRES!
==============
Writer - William Messner-Loebs
Penciller - Curt Swan
Inker - Joseph Rubinstein
Letterer - Bill Oakley
Colorist - Glenn Whitmore
Soraya Nassur is a secretary for LexCorp. Some time before this story, her
brother Davood acquired a LexCorp force belt which gave him telekinetic
abilities: including the ability to fly, erect a force shield around himself,
and project force bolts from his hands. Now, Lex Luthor Jr. is experiencing
trouble as he competes with the gang known as the Terrormasters, who are
hijacking shipments of LexCorp weapons. Lex needs someone whom he can use to
stop them...
Davood and Soraya meet for lunch in an unusual location: on a "flying carpet"
over the city. There, Davood believes, they can meet without being observed.
However, LexCorp cameras watch their every move. Back in the office, an
important shipment arrives. Suddenly, masked gunmen break in to steal the
shipment. In the process, they gun down one of Soraya's friends before her
eyes. While making their getaway, one gunman's mask "accidentally" slips off.
Later, Lex Jr. reveals that the shipment was a dangerous weapon, and that the
Terrormasters, "the most dangerous gang in Metropolis," has it. Soraya brings
this information home, and Davood prepares to go after the Terrormasters.
Acting on his own information, Davood flies with Soraya to the Terrormasters'
hideout. They spot the man whose mask "slipped" entering the establishment.
Inside, we learn that he is a LexCorp employee, planted in the Terrormasters
as a mole. While assembling the gun, the incompetent Terrormasters
accidentally set it off, blowing a hole through several walls with the
energy-based weapon. Davood swoops down. In the ensuing fight, Davood is
hit, and a holographic message programmed into the gun by Lex Luthor informs
the Terrormasters that though Davood was a patsy, they themselves would also
die. The weapon explodes, killing the Terrormasters and the LexCorp employee.
Unfortunately, Davood was unconscious when the message played, and when he
woke up, revealed that he had not heard it. So, his sister is still working
for LexCorp, while Lex now thinks Davood and the force belt are destroyed.
This is a decent story, with a poor resolution. Rubinstein is one of my
favorite inkers, and he brings out the best in Swan's pencils. This story,
though, does little to further the theme of the book, except to say that
others are working in Metropolis. In fact, neither the story nor the dialogue
require that Superman be dead during the story. It is a strong possibility
that this story was written separately, and included because it seems to fit.
Rating: 3.5 Shields out of 5.0
VANISHING POINT [1]
===================
Story & Layouts - Dan Jurgens
Finishes - Trevor Scott
Letters - John Costanza
Colors - Glenn Whitmore
Waverider has completed his course of study in his training as a Linear Man,
and is now being given the privilege of his first visit to the Library of
Time, a place where he can view any moment in time. Matthew Ryder, the head
of the Linear Men, chooses to view the Death of Superman. This flips
Waverider out. He was not aware of Superman's death (I guess they don't get
cable at Vanishing Point). He zooms off, vowing to stop this tragic event
from happening.
Matthew Ryder follows, and in the ensuing dialogue, he and Waverider debate
the ethics of meddling with the timestream. In the end, Waverider agrees to
let events proceed on their course.
Yawn. Yet another "should I interfere or not" story about Waverider, the most
one-dimensional character in comics since Uatu the Watcher. Both have
essentially the same dilemma -- do I interfere, or not? There are only so
many times you can tell that story, and by now, I am getting tired of it.
Jurgens' art is fine here, but Scott's inks are spotty, making whole sections
of art disappear in the reduction of the art to comic book size. Of note is
the generous use of panels from SUPERMAN #75 throughout this story.
[1] This story does not seem to be titled, but "Vanishing point" is the first
caption.
Rating: 3.0 Shields out of 5.0
CAPSULE REVIEW:
Overall: In general, a book worth reading. Decent stories, with good artwork,
and a fantastic cover. 3.7 Shields out of 5.0
NEXT MONTH: Whatever happened to the man of STONE?
___________________________________________________________
THE PHANTOM ZONE: Reviews of the pre-Crisis Man of Steel
------------------------------------------------------------------
SUPER FRIENDS
---------------------------------
by Joe Crowe (j.crowe4@genie.com)
THE BRAVE AND THE BOLD #192
Batman and Superboy in "You Can Take the Boy out of Smallville..."
Written by Mike W. Barr
Art by Jim Aparo
November 1982
Rating: 3.25 Shields
Here's the first appearance in this column of Superman when he was a boy.
Technically speaking, it's a little hard to team up with yourself. Of course,
Superman did it a few times anyway.
Batman is getting ready to nab some cheap hoods from Metropolis who've holed
up in Gotham, thinking they'd escape the X-Ray eyes of Superman. Duh. Batman
gives his buddy a ring.
He's glowing when he flies up on Batman. The glow fades, and it's Superboy!
Needless to say, they still beat the hoods like drums. Batman then reveals
his secret identity to Superboy. Superboy recognizes his friend Bruce Wayne,
because they met when Bruce was a boy.
A momentary digression here. Does anybody remember that story? Bruce met
Superboy on a trip to Smallville. Bruce ended up helping Superboy out on a
case by dressing up as "The Flying Fox." I read a reprint, since when it was
first published, I was a gleam in the eyes of Charles and Janice Crowe. This
was said to have inspired Bruce to later don the bat-suit. It also inspired
Roy Thomas in YOUNG ALL-STARS after the Crisis. He created a character
ostensibly to replace Batman in the post-Crisis World War II, and called him
Flying Fox. I love when I get an oblique reference.
Anyway, Superboy in the present and Superman in the past try to get back to
their rightful places, but discover a barrier. Superboy is dismayed by not
knowing how to use his powers. Batman must now become a father figure to his
best friend -- all the while preventing Superboy from learning about the
deaths of Ma and Pa Kent. Newer readers may not be aware of the fact that,
for almost forty years of Superman comics (until John Byrne's MAN OF STEEL
miniseries in the mid-80s), Ma and Pa Kent were dead in the present day, a
constant source of grief and angst for the Man of Steel.
Batman presses the Boy of Steel into service as they search for clues.
Superboy successfully uses his abilities this time. While he's airborne, he
sneaks a peek at Smallville with telescopic vision -- only to find the graves
of his Ma and Pa. A grief-stricken Superboy shrugs off Batman's help, but
Batman snaps him out of his funk.
They find out that the culprit is an old Superman victim... I mean enemy named
I.Q., who manipulated the solar flares to send Superman back to prehistory.
Well, he botched that up, only sending him back to Superboy's time. Making
use of a time-tested rule (rim shot), no one can co-exist with themselves in
the DC Universe, so Superboy was thrown into today.
I.Q. zaps Superboy with kryptonite, but Superboy shrugs it off and flies into
an I.Q.-made solar flare headed for Earth. He takes care of it, and discovers
that it also dissolved the time barrier. Thinking ahead like Batman taught
him, Superboy shrugged off the kryptonite by wearing lead-lined underpants.
I'm not kidding. One flight back through time later, the Super-guys are in
their right times, with neither remembering the events that occurred. Thus,
Superboy is saved the grief of knowing his parents' fate. And Batman buys
coffee.
I still love these old BRAVE AND THE BOLDs. The large majority of them ended
with one or the other of the heroes offering to buy lunch or breakfast. In
these stories, you got the feeling from these characters that they really
would hang out and drink java together. They were pals. I love that.
It can be argued that Superman has lost some of his "edge" by having his
parents alive. I disagree. I'm 26 and have been a comics fan since before I
could read, and I remember being distraught whenever I'd read about the death
of Superman's folks. This was something I could relate to! I didn't want my
Mom and Dad to die, either. When I read the aforementioned MAN OF STEEL issue
where it was revealed that Ma and Pa Kent were alive in this new continuity, I
was very pleased. Here was a forty-year old plot device that had been tossed
aside. Now we could move on. Plus, Superman had his kindly old Ma and Pa
back.
This story dealt with the issue head-on. Many LEGION OF SUPER-HEROES stories
made keeping Superboy's future a secret from him an afterthought. Not here.
Superboy had to handle it and do his job, like he would eventually have to in
his own life.
Once again Batman took on the role of teacher. In his own stories, Superboy
was usually seen as a younger version of the man, not a less experienced or
less powerful version. Here, that inexperience is tempered by Batman, just as
Batman had to rein in Supergirl in their B&B team-ups.
Mike W. Barr is probably overlooked by many, as is Jim Aparo in my opinion.
Jim draws the definitive Batman. End of story. Mike was always able to bring
any hero seamlessly into Batman's element, while at the same time keeping
alive the personality of that hero. The heroes grin at each other, they shake
hands, they drop the bad guys off at the local ape trap, then they go have
coffee. Very nice.
My goal is to review the most memorable adventures of Superman alongside other
super-heroes in the pre-Crisis era. If you have a favorite, drop me a line.
Thanks for reading.
___________________________________________________________
THE MAILBAG
-------------------------------------
(sykes@ms.uky.edu, KryptonCN@aol.com)
KC Responses are indented and begun with ****
======================================================
From: John B Abbott, Jr. (abbottjb@juno.com)
Great piece on the costume [David Chappell's "Just the FAQs" January column].
However, regarding the idea that it's "ridiculous" for the S symbol to be
related to the Latin alphabet, if one views it as an alien symbol (see the
first Superman movie, as Jor-El wore the same symbol) that happens to resemble
an English "s", it makes perfect sense.
**** I can't speak for David, but I have to agree with him. The idea that
the crest of the House of El would just happen to resemble an "s" is
a bit far fetched. I much prefer the symbol being created after he'd
already been named.
I do hope the black suit is kept around and used now and then. But permanent?
I hope not! Nor do I hope the powers change is permanent ... it isn't
Superman! But the new S? Hmm. Maybe.
======================================================
From: David Jolley (D.Jolley@m.cc.utah.edu)
I just wanted to offer my support for your views expressed in your editorial
piece, "The Times They Are A Changin'." I couldn't agree with you more, and
like you, I'm always disgusted at a majority of fans reactions to stories such
as these.
I've been collecting Superman comics since his "return/revamp" in '86 and it
always surprises me how ignorant and stubborn some comic book collectors can
be. If they truly are (regular) comic collectors, and have been collecting
for awhile, they'd understand these changes are never permanent and shouldn't
be taken like the end of the world. Furthermore, they should look forward to
such stories. After all, they're new, different, dramatic, and exciting. I
can't speak for others, but I know if comics didn't ever change or have
stories like these, I wouldn't be collecting at all.
What really makes me angry, though, is that it's ignorant fans such as these
that keep these stories or changes from lasting very long. Although, I do
think DC in general is pretty good at letting them sink in for awhile before
giving in and going back to the old.
**** To play devil's advocate, DC is in quite a bit of a spot when it comes
to any permanent changes to the Man of Steel. If Todd McFarlane were
to make radical changes in Spawn out of the blue, the only people who'd
raise their voices would be a few unimportant comics fans. But change
Big Blue permanently and you're changing one of the most well-known
fictional characters in the history of the world. People don't react
well when something as familiar as Superman gets changed.
I do have a question for you. Do you think (or have you heard anything) that
DC will retain some of the elements from this change in powers/story AFTER
they return to normal? Personally, I would really like to see them try and
keep the mortality of Clark Kent. I think this would really add to his
character and make him more down-to-earth.
**** I have wondered if perhaps this is masking a future change which is
not to be on so grand a scale. Kevin Smith has made statements to
the effect that he's planned a minor costume change for SUPERMAN LIVES.
Perhaps DC also has some minor changes to the costume in the works, but
they're trying to make them less noticeable by first shocking us with
these drastic changes.
======================================================
From: Kevin Flynn (Kal-El96@msn.com)
I just wanted to get my two cents in on this. As a LONG time reader/follower
of Superman, I can't tell you how thrilled I am with the new changes. I read
your piece and am in total agreement with you. Your statement about Superman
being more than just a costume said it all. I knew the overwhelming negative
comments would come, just as they did with the "death" story line. (Which in
my humble opinion was one of the best story lines in ALL of comics bar none.)
Let's give it a chance and see if the folks at DC have the guts to stick it
out for a while. I've already read comments made by a few people at DC that
give me the impression that they won't stick to their guns on this one. Look
what they did to Batman after the Night fall series. They had the perfect
opportunity to change a few things (ESPECIALLY his boring costume), and all
they did was change the color. WOW, how creative!! Anyway I enjoy your home
page and your comments very much. Keep up the good work.
**** In the long run, this is all I'm asking. Give it a chance. It just
seems irrational to pre-judge the story based on a few press releases,
and then to use that judgment as a reason to boycott the story. And
I'm coming from experience here. Take STAR TREK IV for instance.
Before I actually saw the movie, I thought the premise of the Enterprise
going back in time to replenish the world's humpback whale population
was a really stupid idea and would make for a really bad movie. But
what I found was what turned out to be a *very* good movie, which to
this date remains my favorite of all the Trek films.
Just give it a chance. Read several issues with an open mind, and if
you then don't care for what's happening, trash it all you want. But
you shouldn't trash something of which you have no knowledge.
======================================================
From: Patrick Keller (pkeller@blue.weeg.uiowa.edu)
I can't believe that you missed it! It seemed so obvious to me: the new
costume is part of DC's move towards the time shown in KINGDOM COME. Mark
Waid is even working on an on-going series showing events that are leading up
to that future. Didn't you notice how much the "S" on the new costume looks
like Alex Ross' redesigned, angular "S" from Kingdom Come?
**** KINGDOM is going to be set in the current continuity, but it's been
said that the series may or MAY NOT lead into the events of KINGDOM
COME. Personally, I really don't want to see things lead up to that.
It would be a really depressing few years of comics. If they wanted
to start a series or two picking up where KINGDOM COME left off...
======================================================
From: David Joseph Young, Jr. (dayoung@luna.cas.usf.edu)
Hi. I enjoyed your editorial (as always), but found myself disagreeing with
several of your points about the change in powers/costume issue. I agree with
the irritation you have about most people not even willing to give it a
chance. As a comic book retailer, I have come across this also. I will try
to put away my doubt at least until the work comes out. However, I do have
many doubts about it.
First, I do believe that this was a "marketing ploy." I'm not saying that it
necessarily was originally one, but ultimately it has become one. This is
also not necessarily a bad thing. Comics are a business. The comic book
publishers are in it for the money (art too, but the money first!). So to say
that this story's main point (at least in terms of the publishers) is to make
money makes sense. Almost all comics are put out for this same purpose. (All
but the very few put out by small publishers and/or original creators who do
it out of the pure joy of creating something, often at a loss.) Also, the
current comics market is geared towards the "big events" which will bring in
large short-term profits (Death of Superman, Onslaught, Heroes Reborn).
Steady quality stories may be what the die hard fans are clamoring for, but by
far the majority of comics buyers now wander from "event" to "event" and the
publishers now can do little but contribute to this mindset.
**** I believe we may disagree about what constitutes a marketing ploy. In
my opinion, a story is a marketing ploy only when its primary reason for
existence is the boosting of sales. The wedding was an obvious marketing
ploy -- the creators were not *allowed* to proceed at their own pace, but
instead were forced to have the wedding when they did. All for the
purpose of cross-promotion (which was then handled poorly). With this
story, if the creators truly did decide to do this and *then* the
marketing plans came about, I don't consider it a "ploy." The purpose
of the *story* is not to increase sales, the purpose of the *marketing*
is to increase sales.
I don't think that companies need to rely on the big events. Cases in
point. An excellent miniseries such as KINGDOM COME rakes in money
because it's good. FLASH and LEGION OF SUPER-HEROES have steadily built
up their circulations over the past few years because the product is
good. In my opinion, if the companies would focus on putting out
consistent quality, then the events wouldn't be necessary.
Second, I disagree with the following.
> To close off these thoughts, let me remind you of something. They're not
> changing what it is that makes Superman Superman -- it's not his powers or
> his costume that make him the ultimate icon of justice and heroism. It's
> what he stands for and how he conducts himself. And no costume or power
> change will ever be enough to change that.
I don't disagree with the spirit of what you're saying, but I do believe that
they are making major changes to the character, enough to almost make him a
"new" character. My reasons are as follows. One, if Superman were a
fictional character in novels or short stories, a change of costume would be
almost meaningless. As a comic book character, Superman's appearance is VERY
important. People identify with comic characters by their appearance and/or
costume more than with theirpowers, personality, quirks, etc. Superman is
the best example of this. People all over the world know Superman's famous
costume. One glance and one can instantly identify with all those other
elements you mentioned ("truth, justice," etc.) When you change this, people
are confused. They don't know what to think. Some will pick it up to out of
curiosity, but many will reject it since it is not what they are used to.
Another thing. Superman's traditional costume has stood the test of time.
How many other characters' costumes are nearly sixty years old? Superman,
Batman, Wonder Woman, Captain America. All of these have stayed nearly the
same over the decades. Sure there have been minor alterations (the recent
change of Batman losing the outer "shorts", Wonder Woman trading her eagle for
"WW" insignia), but they are images that have been so emblazoned in
everybody's minds and are so basic for their personalities, powers, and
abilities that they deserve to remain unchanged.
Also, Superman is a character who readers can feel is safe, friendly,
responsible, comfortable, warm. Critics may say he is boring, "square", a boy
scout, but these traits are really the same ones which Superman fans love
best. He is not a grim vigilante. He is not a mysterious alien being. He is
Superman, (yes "strange visitor from another planet"), a caring being who was
raised among humans and who holds all of the greatest ideals at heart. More
than that, he is a symbol himself of those ideals. His costume carries these
feelings of warmth, security, etc. I look at the new costume and it feels the
opposite--cold, mysterious, dangerous, tacky (sorry, that slipped out).
**** I hate to resort to cliches, but it's not the clothes that make the
man. You can't judge a book by its cover. I just don't see the
costume as being what carries these feelings.
Superman has been called an icon. I would submit that he is (coined term) "a
visual icon". An icon many people can identify with not only by hearing his
name, but by merely seeing him.
**** But this is my other main point. Changing the costume and powers in the
comics books is simply not going to change that visual icon. There will
be at most 100 thousand people worldwide who read this story from start
to finish. I simply can't see how a finite-length comics story is going
to be that big a deal to the rest of the world.
I have another problem with this change in costume/powers. It looks
dangerously similar to Marvel's "Spider-Clone" debacle to me. Marvel took one
of their most popular characters and almost totally changed him. They left
the powers, but basically told fans that the hero they'd been reading for
years was not the real thing. Now the upcoming Superman story does not go
that far, but it does make key changes in the basic qualities of Superman. I
would hope DC would have learned from Marvel's mistakes that the way to lift
sales (long-term ones) on older characters is not to totally change them
(after all, if I want to read a character different than Superman or
Spider-Man, I'll just pick an altogether different one instead of a "retooled"
version), but to reaffirm who the characters are, strengthening them with
improved characterization and plotting. So my ultimate prediction of this is
that is will have the same reaction as the "Spider-Clone" saga--a few new fans
will like it, more old fans will hate it, and DC will have to retract it.
**** Once again I find myself wishing I could find that stupid quote. This
is nothing like the Spider-Clone story. That was *intended* to be a
*permanent* change. But fan reaction was so negative that Marvel caved.
This story is not intended to be permanent. When all the hype began, I
read a quote from one of the creators that they knew exactly how the
story would begin and end, but they just had to fill in the middle. I
just wish I could once again find this source. DC will have to retract
nothing -- worst case scenario: sales decline, and the suits force the
creators to wrap things up early, much as they did with the sudden
wedding.
Having said all of that, I hope I am wrong. I also believe that this can make
a great story. I admit that most of my problems are due to the fact that I
hate (HATE) the new costume design. (I'm also not crazy about the concept of
Superman as the Ray.) I also agree with you that this will be as "permanent"
as the death. I would think long-term Superman fans will agree. Casual fans,
however, tend to get into a lather over changes like this (which is where all
these speculators keep coming from).
Ultimately, the final effect this will have on Superman will tell if it was a
good idea or not. The Death of Superman and The Wedding of Superman were
positive changes since 1) they were natural directions for the character to go
in (a super-hero faces death everyday and Lois & Clark should have gotten
married long ago), and 2) they reaffirmed the strength of the characters.
Superman emerged from the Death stronger than ever (in terms of his character,
not his physical strength). He did likewise after the wedding. This new story
will have to seem natural for him (which it does not, in my opinion, from the
promos), and he will have to come out stronger for it after it is over. If he
does not, we could have another "Dead Again" or "Trial of Superman."
**** I think I've said it before, but I'll say it again. The only thing I
really regret over the past five years is that the comics allowed LOIS
AND CLARK to dictate their stories. Granted, things worked out at
first, bringing us the incredible Death/Funeral/Reign story. But in the
long run, it only served to drag things out much longer than they should
have been. I really think that DC should have gotten on their horse,
forgotten about LOIS AND CLARK, and just married the couple a year or
two after "Reign" ended. This would have prevented the existence of the
stories we'd all like to forget, such as the aforementioned "Dead Again."
Side notes--It is interesting that Superman will become "human" when he
reverts to Clark Kent. This makes it real convenient for the next "big event"
to be arriving about nine months from now. (No arguments about Niven's essay
to worry about.)
**** It seems there's a big rift among the creators about whether or not the
couple should *ever* have children. So I seriously doubt that this is
going to happen any time soon. Unless, of course, Warner Brothers
decides that Lois and Clark should become parents at the same time as
LOIS AND CLARK...
Second, you mentioned in that it is unknown what will spark the new Amalgam
stories. Since at the end of the DC/Marvel: All Access limited series, the
Amalgam universe was made into a separate "pocket" universe, I doubt they will
have to say anything. They'll just release new stories like nothing else
happened.
**** I did notice that Access shows up in GREEN LANTERN the week after the
Amalgam event, so perhaps there will be something a bit more than using
the pocket universe as an excuse. Given the quality of the first
go-round of Amalgam, I'd kind of like to see a monthly Amalgam Universe
series, perhaps in anthology form, where various creators get to tell
stories about the Amalgam characters. And if they'd keep Ron Marz away
from it, I also wouldn't mind a monthly DC/Marvel crossover series in
the same vein. Heck, for that matter, wouldn't it be kinda cool if,
say, Captain America guest-starred in the Superman titles for a month?
-- Jeff Sykes
___________________________________________________________
SUPERMAN: THE ANIMATED SERIES
---------------------------------------
As of the episode, "Tools of the Trade," I am no longer coordinating the
SUPERMAN: THE ANIMATED SERIES section of the KC. I want to thank all my
raters, reviewers, and editors for the past several months for the wonderful
job that they have done. And to thank Jeff Sykes for putting out such a
wonderful e-zine. I give all my good wishes to Neil Ottenstein, and I hope he
has as much fun putting together this section as I have had.
nancy in chicago
[And just let me add my own thanks to both Nancy and Neil for handling this
section when it became clear that I wouldn't be able to on my own. Nancy's
done a bang up job for me in both this section and the LOIS AND CLARK section,
where she will continue to serve as coordinator. --Jeff]
======================================================
Ratings Panelists:
CH: Curtis Herink JS: Jimmy Stewart NB: Nathan Bredfeldt
DH: Denes House LF: Lee K. Fink NO: Neil Ottenstein
DS: Dick Sidbury MC: Matt Combes SD: Scott Devarney
GN: George Nelson MD: Mark Dooley
The first rating given after the average is that of the reviewer. The average
rating given for a particular episode may correspond to a larger sample of
ratings than what is printed following the average. Given airdates correspond
to the date of first US airing as regularly scheduled on the Warner Brothers
Television Network.
======================================================
Episode #11: "My Girl"
----------------------------------------------------
Reviewed by Jimmy Stewart (jstewart@econ.ag.gov)
November 23, 1996
Written by Hilary J. Bader
Directed by Yuichiro Yano
Featuring: Clark Kent/Superman -- Tim Daly
Lois Lane -- Dana Delany
Lex Luthor -- Clancy Brown
Lana Lang -- Joely Fisher
Mercy Graves -- Lisa Edelstein
Mr. Eelan -- Larry Drake
Lizzie -- Lauri Fraser
Big Susan -- Valri Bromfield
Terrorist -- Lee Magnuson
RATINGS:
Average: 3.7/5.0 Shields
MC: 2.8 Shields - As much as I loved Lana showing back up, this ep just
didn't do it for me. There were some great parts, though, and you
could tell at the end when Lana's telling Clark he'll find someone
in his life that's special, and then switches to Lois yelling at
Clark, that there will definitely be some romance between them
before the series' end. Daly's voice is growing on me as Clark.
SD: 3.0 Shields - So, who replaced Lana Lang with SPIDER-MAN's Mary Jane
Watson? If you can get past that, this is a nice little story
about the dangers of an untrained sidekick trying to help Superman
foil one of Lex Luthor's schemes. Now, can we get a story that
focuses on the Daily Planet staff?
CH: 3.4 Shields - This episode portrayed Superman as slow-witted and
overconfident. Lana Lang as fashion designer did not feel right
to me.
DH: 4.8 Shields - Wow. Lana's back! I *never* thought they'd bring in a
classic Superman character in a way that showcases their propensity
for making bad choices. Lana is a real person -- I'm sure we all
know people like her from our high school days! A complex story with
real emotions from Lex and Lana, and some very funny lines.
NO: 4.5 Shields - A nice twist on the Lana Lang character. I was very glad
Lana immediately knew Superman was Clark and that Superman figured
out the diversion at the end.
"My Girl" opens with Clark and Lois in formal evening wear, attending a
fashion show. They notice a commotion as Lex Luthor and his escort arrive.
To Clark's surprise, Luthor's companion is Lana Lang, now a chic fashion
designer. As Lana goes backstage, Luthor meets a dangerous looking character
named Eelan, a known arms dealer. He tells Luthor the "buyers" are interested
in the merchandise, but insist on a demonstration. "Arrange it," says Luthor.
After helping a model with her dress, Lana is kidnapped by two women, one
dressed in an evening gown and the other a 7-foot giant dressed in a
para-military uniform. Clark walks into the room as the kidnappers run down a
hallway carrying Lana. The would-be kidnappers and their victim enter a glass
elevator on the outside of the building and head for the roof. Superman
arrives, and when he isn't stopped by gunfire, the kidnappers throw Lana out
of the elevator. Superman rescues Lana, snaps the elevator cables, and then
ties the elevator to a girder on the roof.
Lana comments on Superman's costume, then asks if Martha sewed it for him.
Superman is shocked that Lana knows, but makes a hasty exit as Luthor arrives
on the roof.
Later, Superman is at Lana's apartment asking her how she knew. Lana tells
him she made the connection between the amazing things Clark Kent did in
Smallville and the appearance later of the Man of Steel in Metropolis, and
confesses she kept track of him as she hands him a root beer float. Superman
warns Lana about Luthor, and that the man he met at the fashion show is a
known arms dealer, but she's not concerned. She tells Superman she can take
care of Luthor. Superman asks her to be careful and flies off. Luthor's
assistant, Mercy Graves, sees the Man of Steel leave.
Later, Lana is in Luthor's office, where he demands to know what Superman was
doing at her apartment. She replies that he was just making sure she was
okay. Luthor questions what Superman told her about him. She says Superman
told her that Luthor is a bad boy, and that she likes bad boys. Lana leaves
as Luthor's business appointment arrives...none other than Eelan the arms
dealer. Lana pauses outside the office door and listens to their
conversation, in which Eelan tells Luthor the demonstration is set for 1:00
p.m. at the old Carter Mill. As Lana listens, we see that Mercy is watching.
Later, Mercy argues with Luthor that Lana heard his meeting with Eelan and
asks if she should take care of Lana. Luthor is not concerned with what Lana
heard -- he thinks that she couldn't understand what it means. He states it
wouldn't make any difference if she did understand.
At the obviously abandoned Mill, Eelan and the buyers (terrorists) examine the
merchandise: microwave rifles. Eelan fires an energy burst from the rifle at
a tree. Nothing happens for a moment, then the tree has static energy
discharges surround it before it explodes. The terrorists start shooting
trees themselves, laughing at the results. One tree falls, and a deer runs
from behind it. One of the men fires at the deer, but Superman appears and
stops the shot. The terrorists shoot the Man of Steel with no effect.
Superman then picks up a log, which the terrorists shoot. Just as the log
starts to explode, he tosses it at them. The blast knocks them for several
feet, disarming them. Eelan tries to run, only to find Superman in his path.
He aims the weapon at Superman, who reminds him the weapon won't work against
him. Eelan looks beyond the Man of Steel and shoots a nearby railroad bridge.
As a section of the bridge blows, a train approaches it. Superman quickly
pulls up a set of rails from a nearby track and zooms to the bridge. Holding
his rails overhead, Superman strains as the train runs over them. He weakens
a little and the train almost derails, but Superman pushes back and the rails
remain in place as the train passes.
Later, Superman and Lana are walking through a park in Metropolis, discussing
the incident. Superman sounds frustrated as he tells her the terrorists
refused to talk and Eelan escaped. He wants to know where Luthor's weapons
cache is, but he doesn't have anything else to go on. Lana tells him that he
still has her, then confesses she still has feelings for him and wants to help
him fight crime, even comparing herself to Batgirl. Superman refuses her
offer. Lana suddenly kisses Superman, who is at first surprised, then
embraces her. Luthor sees the incident and tells Mercy with an icy voice,
"I've seen enough. Let's go."
Luthor then feeds Lana false information designed to send Superman on a wild
goose chase to Central City. Eelan kidnaps Lana and takes her to Luthor's
Lead Alloy factory, apparently outside the city. Eelan ties Lana and places
her into a mold, into which molten lead will be poured. Superman, not fooled
by the false lead, shows up, and Eelan starts the conveyer and runs. Superman
saves Lana from the molten lead by spreading his cape over her.
Superman frees Lana, then shoves her into an office as he goes after Eelan,
who has already shot at them with a microwave rifle. Lana finds herself in a
room full of ordinance. During the battle, a huge tank is ruptured and molten
lead fills the factory, reaching Lana's hiding place. She climbs onto a desk,
then jumps and hangs from a light to escape the molten lead. As the light
breaks and the ordinance starts to sizzle, Superman with Lana and Eelan flies
out through the roof. A massive explosion levels the factory as Superman
flies away.
Lana later shows up at the Daily Planet and tells Clark she has to go to Paris
for a fashion show. They talk briefly about their relationship, and Clark all
but tells Lana she's like a sister to him and that he's sure Lana will find
someone special. She tells him if he ever changes his mind, to look her up.
She also hopes Clark will find someone who is understanding and loving too.
The conversation ends when Lois yells for Clark to get into Perry's office for
an assignment.
Overall, this is one of the better episodes in the series. It seems this is a
transitional episode, laying much of the groundwork for future adventures.
Lana was a little too sarcastic for my taste, but it's good that someone else
is in on the "secret." It is also good to see someone "get to" the implacable
Luthor. It's also interesting that Mercy seemed jealous of Lana.
In an early description of SUPERMAN: THE ANIMATED SERIES, a comment was made
that the creators would draw material from the Fleischer cartoons. It's quite
evident in this episode, with Superman saving a train by pulling up a set of
rails, and protecting Lana from molten lead with his cape. These adaptations
of super-feats were tastefully done and a wonderful tribute to Fleischer's
great work.
I must confess I have been disappointed in earlier episodes of S:TAS. They
seemed "thrown together," without the quality evident in BATMAN: THE ANIMATED
SERIES. It also seemed the creators were taking a "nothing but action"
approach to the show, which is a little two-dimensional. I remember a comment
by C.C. Beck, the artist on the original CAPTAIN MARVEL, that stories of
super-heroes flying around only doing super-things quickly became boring.
Good stories, Beck said, are about people, not heroics. I think our creative
team is growing into the show and striking a good balance between super-action
and human interest. I hope they keep up the good work.
___________________________________________________________
Episode #12: "Tools of the Trade"
----------------------------------------------------
Reviewed by Scott Devarney (devarney@ll.mit.edu)
February 1, 1997
Written by Mark Evanier
Directed by Curt Geda
Featuring: Clark Kent/Superman -- Tim Daly
Lois Lane -- Dana Delany
Lex Luthor -- Clancy Brown
Angela Chen -- Lauren Tom
Bruno Mannheim -- Bruce Weitz
Maggie Sawyer -- Joanna Cassidy
Dan Turpin -- Joseph Bologna
Darkseid -- Michael Ironside
Kanto -- Michael York
RATINGS:
Average: 4.3/5.0 Shields
SD: 4.5 Shields
NB: 3.9 Shields - A good, fun episode, but I wish they had done more with
Intergang.
CH: 3.8 Shields - Lots of great individual scenes, but I think the episode
was trying to accomplish too much in just a half hour.
DH: 4.6 Shields - A solid episode with good character work. It was great to
see the animated take on "Terrible" Turpin, Maggie Sawyer, and the
SCU. In the comics, Pa Kent warned his son not to use his powers to
make people feel useless. His lesson is well applied here. All
that, and DARKSEID!
GN: 4.3 Shields - The animation was particularly effective, especially the
scene with Superman in shadow, with his glowing red eyes --
signaling boy-are-you-in-trouble-now vision. The weapons definitely
had a Kirby-esque quality. I'm looking forward to more from both
Intergang and Darkseid in this series. Superman as defender of the
planet is a natural role for him. Hopefully, Darkseid will bring
this out.
NO: 4.7 Shields - Lots of fun and some great animation effects (best one was
the shadowed Superman with glowing eyes). Glad that Turpin saved
Superman. Another powerful ominous ending.
This episode of SUPERMAN was yet another winner! It was an enjoyable romp,
especially for comic book fans. We got the return of Bruno Mannheim and
Intergang and the introduction of the Metropolis Special Crimes Unit and the
New Gods of Apokolips.
Both Intergang and the Metropolis Special Crimes Unit (SCU) are frustrated
with Superman's constant intervention into crime scenes. Intergang and its
boss, Bruno Mannheim, are frustrated because none of its plans are succeeding,
whereas the SCU, and especially Dan Turpin, are frustrated because they appear
ineffective. A mysterious figure, Kanto, offers Mannheim the use of advanced
weaponry with the terms to be revealed later by Kanto's unnamed boss. After
Intergang successfully tests the weapons by derailing a train and trouncing
Superman and the SCU, Maggie Sawyer, head of the SCU, decides to officially
bring Superman in on the case. This irritates Turpin, causing him to turn in
his badge.
Turpin is captured by Kanto as Turpin tries to infiltrate Intergang's
compound. Kanto gives Mannheim a new energy gun that can destroy any
invulnerable target. Superman invades the stronghold and destroys the weapons
that were used earlier, but is subdued by the new energy gun. Just as
Mannheim is about to deliver the killing blow, Turpin gets Superman out of the
line of fire. Superman then finishes off Intergang, but Kanto and Mannheim
escape via a portal. During a later press conference, Superman gives Turpin
full credit for saving his life, thus earning Turpin's respect. The episode
ends with camera pans of a fiery landscape as Kanto, in a more exotic costume,
introduces Mannheim to his new lord and master, Darkseid.
Comic fans may have gotten more out of this than non-comics readers. When
Kanto first appears to Intergang and discusses his "boss", most comics fans
probably realized that he was alluding to Darkseid, which greatly intensified
the Faustian nature of Kanto's offer. Darkseid and his cohorts represent a
greater threat potential than Luthor or Brainiac. Another example is when
Kanto appears and disappears after a loud noise is heard. The characters
within the story don't understand what is happening, but most fans familiar
with the New Gods recognized that Kanto was using a Boom Tube to transport
between Apokolips and Earth. The only place where this writing to the fans
broke down was in the introduction of the Special Crimes Unit, where Dan
Turpin's full name is not mentioned until halfway through the show and Maggie
Sawyer's last name is never mentioned at all.
Mark Evanier showed some very logical reactions by the police to Superman's
presence. There was Dan Turpin's open hostility and Maggie Sawyer's reluctant
acceptance. It is only natural that there would be jealousy at Superman's
ability to handle these very large, very public menaces which would overwhelm
the ordinary men and women of the police force. It is also understandable
that the police might resent Superman's encroachment into their turf and the
calling into question of their competence by the public.
Dan Turpin was a delight. His gruff, take-charge manner translated well from
the comics into animation. Joseph Bologna made Dan sound exactly as he
should. The only complaint is that Turpin's change of attitude coming about
as a result of saving Superman's life was blatantly telegraphed. Artwise,
Turpin looked like a grizzled police veteran, except for the bushy maple
leafs, er, eyebrows. [Editor's note: The animated Turpin's appearance was
designed to resemble the real-life Jack Kirby, thus serving as a tribute to
the late creator of Darkseid.]
Maggie Sawyer, on the other hand, was a disappointment. She looked like a
willowy fashion model and sounded wimpy. The producers need to cast a voice
actress who sounds more commanding. Joanna Cassidy did not make this
character sound like a woman used to being in charge of a high profile police
unit. Ms. Cassidy should get some advice from Dana Delany, whose Lois Lane
oozes confidence.
Regarding the villains, Mannheim, introduced in "Fun and Games" returns and is
very much in control, unlike his first outing where he was Toyman's victim.
Mannheim is a fun character because he is at heart a blue-collar criminal.
Unlike Lex Luthor, who doesn't like to get his hands dirty, Mannheim revels in
crime. Bruce Weitz carries off the role well, giving Mannheim a sarcastic
edge, combined with an impression that Mannheim is not as smart as he thinks
he is. Kanto was wonderfully sleazy, with a clear disdain for Mannheim,
although, arguably, his role could have been given to Darkseid's lackey,
DeSaad. Kanto looked better in his business suit than his traditional
costume; it's tough to fear a man in breeches. Darkseid, on the other hand,
dominates his brief appearance. His classic look needs no modifications for
animation; it exudes power and evil.
The New Gods provide great stories for Superman. Mark Evanier has written a
great setup for future episodes. It should be intriguing to see what
Darkseid's plans are, why he is interested in Superman, and how Mannheim and
Intergang fit into those plans.
___________________________________________________________
SUPER MERCHANDISE
-----------------------------------------------
Information on Forthcoming Superman Merchandise
Descriptions courtesy of PREVIEWS catalog, copyright 1997, Diamond Comic
Distributors. For further information on (and in many cases, pictures of)
the below merchandise, see recent issues of PREVIEWS!
THESE ITEMS ARE NOT FOR SALE BY THE KRYPTONIAN CYBERNET or by anyone
associated with it. For information on purchasing any of the merchandise
listed below, contact your local comic shop.
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.
This update lists only new merchandise solicited in PREVIEWS Volume VII,
#2 (the February 1997 issue). For a full listing of Superman-related
merchandise, visit the Kryptonian Cybernet Homepage!
======================================================
APRIL:
-----
SUPERMAN COLLECTOR'S SET
This exciting collector's set presents the premiere issues of some of the
newest titles in the Superman family, as well as the 96-page collector's
edition of the history-making issue showcasing the wedding of Lois Lane
and Clark Kent. This Collector's Set includes: SUPERMAN: THE MAN OF
TOMORROW #1, the collector's edition of SUPERMAN: THE WEDDING ALBUM,
SUPERMAN ADVENTURES #1, SUPERBOY #1, SUPERBOY AND THE RAVERS #1, and
STEEL #1. Plus one trading card.
CAUTION: Quantities are limited, and orders may be allocated if they
exceed available supply. The comics in this set may not be first
printings.
Scheduled to arrive in stores April 9
PI
SUPERMAN RESTORATION LONG-SLEEVE T-SHIRT
(Graphitti Designs)
All of the powers of the Man of Steel are yours with this new long-sleeve
Superman shirt design. Based on the costume worn by Superman in recent
story arcs, the Superman Restoration T-shirt features a color variation
of the classic Superman "S" symbol screenprinted on the front of a black
100% cotton heavyweight long-sleeve shirt. The coolest Superman shirt
ever is here!! (Yes, this is the silver shield on black, from Superman's
recovery suit in "Reign of the Supermen!")
L-XL, $22.95
XXL, $25.95
SUPERMAN (SYMBOL) T-SHIRT
(Graphitti Designs)
Here's a shirt that continues to be one of the hottest tickets in town.
The Superman shirt sports the classic shield of the Man of Steel,
screenprinted on a navy blue 100% cotton heavyweight shirt.
L-XL, $14.95
XXL, $17.95
SUPERMAN LOGO HOCKEY JERSEY
(Company not indicated)
They'd have to be insane to mess with you on the ice while you're wearing
this pro-style embroidered tackle twill jersey, emblazoned with the
mighty Man of Steel's "S" symbol on the front!
XL, $64.00
SUPERMAN LOGO RINGER T-SHIRT
(Company not indicated)
The highly recognizable Man of Steel's chest symbol is proudly featured
on this white tee with red ringer.
L-XL, $16.00
SUPERMAN LUNCH BOX T-SHIRT
(Company not indicated)
The front of this white tee with red ringer features the image of a nifty
Superman lunch box on the front, while the back features the classic
Superman logo.
L-XL, $17.00
___________________________________________________________
LOIS AND CLARK: THE NEW ADVENTURES OF SUPERMAN
------------------------------------------------------
NEWS AND NOTES: L&C EDITION
---------------------------
February for LOIS AND CLARK was a virtual desert -- no episodes what-so-ever.
I do have the titles for the next three episodes, though, news on what
happened with Kathy Grabeman-Meyer's bone marrow transplant, and some parts of
ABC's press conference at the Winter Press Tour in early January.
The next episode airs on Sunday, March 2 (this weekend). Here are the titles
and credits for it and the next two. Episodes 14 and 15 are a two-part story
in which Tempus uses mind control in an attempt to win the Presidency. It is
believed to be a sequel to last year's "Tempus, Anyone?" You'll recall that
was the episode which introduced an alternate universe version of
Clark/Superman into the show's continuity.
#14: "Meet John Doe"
Written by Tim Minear
Guest-Starring Lane Davies
Air Date: March 2
Part 1 of 2
#15: "Lois and Clarks"
Written by Eugenie Ross-Leming and Brad Buckner
Guest-Starring Lane Davies and Hamilton Camp
Air Date: March 9
Part 2 of 2
#16: "AKA Superman"
Written by Jeff Vlaming
Air Date: March 16
I have some sad news to pass on to all the people who registered to donate
bone marrow when John McNamara, Dean Cain, and the rest of the LOIS AND CLARK
staff was asking for donors. Kathy Grabemann-Meyers passed away last October.
Her illness had progressed too far for the transplant to save her. Her
family sends heartfelt thanks to all who have helped and expressed their
concern and sympathies. We can only hope that others will be saved by people
becoming aware of the Bone Marrow Donor Program and how it can and does save
lives. Kathy, unfortunately, could not be a success story, but her courage
and spirit live on in her friends, family, and all those that reached out to
her and her family.
Some notes from the Winter Press tour
ABC Entertainment president Jamie Tarses participated in a wide-ranging press
conference at ABC on January 9. Tarses was asked, "...with the big decline in
LOIS AND CLARK's ratings, is there anything that can be done to save it and
keep it around for next year?"
She responded: "Both the creative team behind LOIS AND CLARK and the network
are having a lot of discussions about what we can do to boost the ratings on
the show. Everyone is making a considerable effort to come to some
conclusions and find some solutions there. The show will be returning, so we
need to figure out what the best time-period is to advantage the show."
Tarses also announced that "The Wonderful World of Disney" -- a weekly family
movie -- will air on Sundays from 7:00-9:00 p.m., ET, starting in September
1997. This of course means that LOIS AND CLARK will be moved to a new day and
time period.
nancy in chicago
======================================================
CLARK KENT'S SO-CALLED LIFE
---------------------------------
by Zoomway (Zoomway@aol.com)
I have been pondering for the past couple of months whether, if after four
years of wearing the Superman costume, Clark still regards the "suit" as only
a disguise that protects his privacy while he goes out do-gooding with his
powers. Along with this, I've wondered if Clark might not be needing a
jump-start out of a kind of denial he's been in since we've met him. Sorry
for the psycho-babble term, but I think there may be an intriguing truth that
has been hidden away and denied by Clark Kent since the pilot episode.
"Do you think it was easy for me sitting there watching you swoon over
Superman while at the same time ignoring me?"
"That's ridiculous. You *are* Superman."
"No, Lois, Superman is what I can do. Clark is who I am."
That's a great and classic line from the series. I think it is exactly what
Clark believes about himself. Is it the *truth* though? Just prior to that
classic exchange of dialogue from "Tempus Fugitive", Lois called Clark a liar,
to which Clark responded, "Lois, I never lied to you. I just told you certain
facts to keep you from finding out other certain facts." Was Clark saying he
*never* lied to Lois? Of course he has lied, and right from the beginning.
In the pilot, he claimed the man he rescued in the sewer was delusional when
that man said that Clark was the one who saved him. Later in the pilot, after
breaking free of his chains and escaping with Lois and Jimmy, he tells Lois
that they were thrown free of the explosion by the force of the blast, when in
fact Clark flew them to safety. These were not big or important lies, and
they did not alter the outcome of the situation, but the fact that Clark did
lie may be insignificant when compared to *why* he lied. Why he has always
lied? He was afraid.
Growing up different, or as an outsider, is never easy in our culture, and
Clark was *very* different. Many children learn to lie, or at least cover up
the truth to hide something that might interfere with their being accepted. A
child of a neglectful parent explains away dirty clothes by saying the washing
machine broke. An abused child explains away a bruise as an accident on the
playground. They aren't just protecting their parents; they are also
protecting the illusion of normalcy. Being in the schoolyard's narrow
definition of "normal" is a kind of acceptance, and children who have seen
classmates tormented and taunted because they did not meet that narrow
definition will do *anything* to be spared the humiliation. With Clark, added
to not being accepted, there was also the real possibility that he would be
"locked up in a lab somewhere, and dissected like a frog."
"He tried to fit in, but of course he couldn't, not really."
The very human fear of rejection also seemed to plague Clark. When Lois
turned down his proposal, Clark leaped to the erroneous conclusion, "Because
you found out something about me that you just didn't like." Lois said
nothing of the kind, not even close, but simply by the virtue that Clark would
jump to such a wild conclusion seems to indicate a fear that ran as far back
as his childhood. It created an equation in his head of truth equaling
rejection.
"I love being Superman ... helping people ... it's what I live for."
I received an interesting note from a fan of LOIS AND CLARK who does research
in the field of chronic care patients. Someone with a chronic condition uses
whatever is necessary to preserve as "normal" a life as possible. A chronic
condition is one that never goes away. The items used by people with chronic
conditions, which help them preserve nearness to normalcy, are called the
"stigma" of that condition. Stigma has a negative connotation in a general
usage, but in this case it becomes the "identifier" of the condition. An
inhaler is the stigma of some asthma patients, a wheelchair for some Multiple
Sclerosis patients, or even a wig used by a cancer patient who has lost
his/her hair due to chemotherapy.
This fan postulated that super powers are Clark's chronic condition, and that
the Superman costume is the stigma of his condition. Most people with a
chronic condition don't hide it, or quite often *can't* hide it. Who they are
should not be determined by their wheelchair, seeing-eye dog, or even a pair
of glasses, but, they do face the reality of what their condition is, and how
the "normal" populace views them. Clark *wants* to be that regular guy, but
he's constantly reminded when something goes wrong with his powers (as
happened most recently in "Lethal Weapon") that he's not a regular guy, but he
still holds onto the illusion of normal.
"My whole life, I never felt so good about being me."
I think Superman has always been good for Clark's soul. That thing that made
him different and afraid became accepted and respected when represented by the
costume. This is seen most vividly with the alternate Clark in the episode
"Tempus Anyone". After Lois literally recreated Superman in the alternate
universe, Clark thanked her for making him feel good about who and what he
was. All of a sudden there was a reason for all that he'd suffered growing
up; all the hiding and all the isolation. Being Superman has also given Clark
an answer that most of us don't have in our own lives, "When I save a life, in
that instant, I know two things that most people will never know; why I'm
here, and how I can make a difference."
"I miss the S and the cape, and this whole bleeding thing is no fun."
What I'm wondering is that after four years of wearing the costume, whether
that is still all the more Clark feels about Superman? A costume that lets
him do his good deeds in public. I'm asking this partly too because of an
aspect to Clark that I noticed creeping into his persona last year. In "Ultra
Woman", when Clark lost his powers, he obviously missed being Superman. Lois,
on the other hand, didn't want the super powers, and Clark was so
understanding that it seemed he was relating to how scary the powers were when
they first manifested themselves to him. Lois said, "I don't like this. I'm
starting to be afraid of my own..." Clark said, "I know." He's been there.
He also missed wearing the costume, and wasn't very happy having to deal with
the unpleasantries of human maintenance such as shaving, or the human reality
of pain and bleeding.
"I am Superman, and I can do anything..."
Something else regarding Clark's self image of Superman started in "We Have a
Lot to Talk About" when he said, "Hey, I'm Superman..." to a group of
departing, disgruntled kids who didn't like him umpiring their game. As if
being Superman should be reason enough to draw them back. In "Virtually
Destroyed", Jimmy warned Superman about the hazards of the virtual world and
whether he would be able to handle it or not. Clark's reply? "I'm Superman."
He said it matter-of-factly, as if that were all the answer necessary to
explain how he could endure whatever was thrown at him. He has said that
three word sentence on other occasions too. I think that Clark is beginning
to see what Lois saw four years ago. He is *also* Superman, and Lois loved
Superman.
"I need time ... time to get to know him for who he really is."
Lois said that to Martha in "We Have a Lot to Talk About" after Lois
discovered that the man she knew as her best friend, partner, and boyfriend
also turned out to be Superman. The question is *who* did Lois have to get to
know? She didn't have to get to know Superman, she *knew* Superman. She
couldn't get to know Clark Kent, not if Clark Kent meant a "regular" guy from
Kansas, because that guy never existed. She had to get to know the Clark Kent
that even Clark himself denies, or at the very least doesn't acknowledge as
existing. The Clark Kent who has a lifestyle that mimics a human concept of
normal, but is quite far afield from human normal. That is, would you own a
step ladder if you could just float up to change a light bulb, or get a
Frisbee off the roof?
"Think about it, Lois. Why would I ever *have* to learn how to do this?"
The above quote is from "Ordinary People" when Lois discovered that Clark did
not know how to build a fire in the traditional "scouting" way. Many of us
don't know how to build a fire that way, but Clark, if you come right down to
it, wouldn't have to learn how to strike a match or operate a lighter either.
He maintains this self-image of a "regular" guy, but he's never lived that
way. He didn't fix up his apartment like a "regular" guy, nor wallpaper the
townhouse in a normal fashion either. How much of who we think of as "Clark"
is largely due to growing up with extraordinary powers?
I believe that *who* Clark is, is based at least in part on *what* Clark is.
Clark knows over 300 languages, he's traveled the world (because he didn't
have to pay to do so), he's a farmboy who sipped tea at the London Savoy, and
was taught ballroom dancing by a Nigerian princess. He can read as fast as he
can flip pages in a book, and retains that information. How different would
*any* of us be if we had those powers? He may have grown up in our culture,
but because of his powers, he operated outside of our concept of "normal".
Yet those powers have formed much the *who* we consider Clark to be. The
charming contradiction of the world-traveled, but socially naive Clark Kent
made him an endearing character, but his social naivete was a direct result of
keeping himself at a social distance from others, lest his secret be
discovered. How different would he have been just in that socializing
category had he grown up human? Would he still be "a very patient man"? The
reason he gave for his virginal status was, "I'm not from here..." and he had
to be sure that when he crossed that intimacy threshold, it was with the one
person he wanted to spend his life with and who knew his secret.
"Does Superman think because he couldn't defeat some robot that that changes
the way I feel about him? Clark, that's not what attracts me. It's his
intelligence, and caring. He has integrity, and an innate goodness. He's a
lot like you."
I think Lois has always seen the contradictions, but loved and accepted Clark
for them anyway. She loved everything Clark was, even if that *everything*
was in a costume. This is what I'd like Clark to see. I don't want him to
say, "Clark is who I am, and so is Superman," but I'd like him to see that
Superman has always been a fairly accurate public consumption version of all
that Clark *truly* is. Even if he only acknowledges it for Lois's benefit,
and realizes that he might have been unfair in judging her initial love of
Superman as something artificial, and that if he comes to understand this,
he'll realize that Lois has loved him for just about the same length of time
he has loved her.
"I needed to know you'd marry me. Not Superman, not his powers, just me."
Who is this *me* Clark thinks he is? The me with a history I suppose.
Superman certainly had no family, no friends, no social life, just his job of
chronic do-gooding. He almost sounds like first season Lois. She had no
friends, her family hardly fit the definition of the word, she was the butt of
the jokes about having no social life, and she only seemed to live for her
job. Could it be that, on top of everything else she loved about Superman,
she saw an outsider like herself? A kindred spirit?
"Know why I gave up my crush on Superman? Because he's a fantasy. Know why I
fell in love with Clark? Because he's real, and that's what I want."
This resolve to love Clark, *just* the regular guy, lasted until Lois arrived
on Spencer's island in the episode "Ordinary People". It's not that she
wouldn't love Clark if he had no powers, but rather, he *does* have powers and
they are a large factor in creating the man she fell in love with. She wanted
to love the illusion he held so dearly about himself, but since that has never
really been the truth about Clark, it was impossible to love that *concept* of
Clark. Lois, instead, has had to come to treat the abnormal as normal, the
surreal as real, and the unusual as usual, "...I've decided it's something I
can put up with." She has come to know that when Clark gets a certain look,
he must leave, and that means tabling whatever they're saying or doing for
later. Clark sometimes gives her a look, and she knows to take a brief glance
around to make sure the coast is clear so that he can type at super speed, or
rifle through a ten inch stack of files in two seconds. She's become his
partner in that "so-called" life.
"What a man thinks of himself, that is which determines, or rather, indicates
his fate." (Thoreau)
Clark Kent, the ordinary guy, is how Clark thought of himself, and though it
may have been far from the truth, as long as Clark believed that, then that
was all that mattered in his heart. That became who and what he wanted to be
loved and accepted as, and so Lois had to travel a long journey from Superman
to the Clark that Clark himself wanted to be, all the way to the Clark Kent
that only Lois knows and loves.
"... And to protect him with all the strength he uses to protect others."
Lois does protect Clark, Superman, and the secret. She lives with Clark in a
kind of exile, and she has no one to confide in other than Clark, or his
parents, and while it's true that Clark only has Lois and his parents to
confide in, Lois's journey into exile was voluntary because she loves Clark.
Though entering into their marriage with open eyes, Lois was not clairvoyant,
and so "better or worse" sometimes takes on dimensions never before imagined.
There have been the extremes of discovering her spouse possessed a virtual
immortality, to Clark nearly destroying their home when his powers went
haywire. There are also other factors that Lois has had to deal with since
knowing the secret, such as Clark having to dash off to be Superman without
warning, but marriage may complicate that aspect even further. It was one
thing when they did not live together, and Lois was only responsible for cover
stories while at work, but now she may have to explain why her husband isn't
home in the wee hours of the morning, or why he wasn't at her birthday, etc.
Given all of this, there must be days when Lois wonders what vortex the naive
"moony-eyed cheerleader" who once worshipped a red and blue fantasy has
disappeared into. Then there are most days....
"Earth guys don't stand a chance against you."
Clark and Superman have always been better for Lois than any detriment they
may have caused along the way. The strange visitor from another planet
patiently taught the cynical occupant of this planet how to give, how to love,
how to trust, and how to forgive when sometimes that trust was based on a lie.
Through her long association with Clark, Lois has been transformed from a
hyperventilating, tantrum-prone child, to a grown woman who has proven herself
to be the ultimate mate to the ultimate hero. She has also displayed a
tenderness that perhaps foreshadows her ability to be a pretty great mom to a
child who might be in need of a lot of patience and understanding adjusting to
his so-called life, but she will be aided all the way by Clark Kent,
*whomever* he might truly be.
___________________________________________________________
COMING ATTRACTIONS!
---------------------------------------------------------------------
A List of Upcoming Comics Featuring The Superman Family of Characters
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.
Descriptions courtesy of PREVIEWS catalog, copyright 1997, Diamond Comic
Distributors. Diamond is the exclusive distributor of DC Comics!
NOTES
---------------
As I did last year, I'm only going to list the Spider-Boy and Super
Soldier Amalgam titles below. For a complete list of the Amalgam books
scheduled for April, see PREVIEWS or January's NEWS AND NOTES. Note
also that SPIDER-BOY TEAM-UP is published by Marvel Comics, while SUPER
SOLDIER: MAN OF WAR is published by DC Comics.
Completists should note that Superman makes a cameo appearance in GREEN
LANTERN #87 (April 9). And SOVEREIGN SEVEN #23 (April 16) concludes
the five-part backup story with Cascade accompanying Clark and Lois to
Smallville. (Neither of these issues appears in the list below.)
The "Meltdown" story line which begins in February's SUPERBOY #38 will
take a detour through SUPERBOY AND THE RAVERS #10 in April. The five
part story concludes in May's SUPERBOY #41.
----------------------------------------------------------------------------
LIST OF TITLES BY EXPECTED ARRIVAL DATE
---------------------------------------------
Arrival Date: Comic title and information:
------------ ---------------------------
February 5: JLA #4
Written by Grant Morrison
Art and Cover by Howard Porter and John Dell
$1.95
Steel #37
Written by Christopher Priest
Art by Denys Cowan and Tom Palmer
Cover by Dave Johnson
$1.95
Superman Adventures #6
Written by Scott McCloud
Art and Cover by Rick Burchett and Terry Austin
$1.75
Superman: The Man of Steel #66
Written by Louise Simonson
Art and Cover by Jon Bogdanove and Dennis Janke
$1.95
February 12: Adventures in the DC Universe #1
Featuring Superman and the JLA!
Written by Steve Vance
Art and Cover by John Delaney and Ron Boyd
$1.75
Supergirl #8
Written by Peter David
Art and Cover by Gary Frank and Cam Smith
$1.95
Superman #122
Written by Dan Jurgens
Art and Cover by Ron Frenz and Josef Rubinstein
$1.95
February 19: Adventures of Superman #545
Written by Karl Kesel
Art by Scot Eaton and Jose Marzan, Jr.
Cover by Stuart Immonen and Jose Marzan, Jr.
$1.95
Aztek: The Ultimate Man #9 (Superman guest-stars)
Written by Grant Morrison and Mark Millar
Art by N. Steven Harris and Keith Champagne
Cover by Steve Lightle
$1.75
Superboy #38
Written by Ron Marz
Art and Cover by Ramon Bernado and Doug Hazlewood
$1.95
February 26: Action Comics #732
Written by David Michelinie
Art and Cover by Tom Grummett and Denis Rodier
$1.95
Superboy and the Ravers #8
Written by Karl Kesel and Steve Mattsson
Art and Cover by Paul Pelletier and Dan Davis
$1.95
March 5: JLA #5 (Supergirl guest-stars)
Written by Grant Morrison
Art and Cover by Howard Porter and John Dell
$1.95
Steel #38
Written by Christopher Priest
Art by Denys Cowan and Tom Palmer
Cover by Dave Johnson
$1.95
Superman Adventures #7
Written by Scott McCloud
Art and Cover by Rick Burchett and Terry Austin
$1.75
Superman: The Man of Steel #67
Written by Louise Simonson
Art and Cover by Jon Bogdanove and Dennis Janke
$1.95
March 12: Supergirl #9
Written by Peter David
Art and Cover by Gary Frank and Cam Smith
$1.95
Superman #123
Written by Dan Jurgens
Art and Cover by Ron Frenz and Josef Rubinstein
Standard and Collector's Editions, each $1.95
March 19: Adventures of Superman #546
Written by Karl Kesel
Art and Cover by Stuart Immonen and Jose Marzan, Jr.
$1.95
Aztek: The Ultimate Man #10 (JLA guest-stars)
Written by Grant Morrison and Mark Millar
Art by N. Steven Harris and Keith Champagne
Cover by Steve Lightle
$1.75
Superboy #39
Written by Ron Marz
Art and Cover by Ramon Bernado and Doug Hazlewood
$1.95
March 26: Action Comics #733
Written by David Michelinie
Art and Cover by Tom Grummett and Denis Rodier
$1.95
Superboy and The Ravers #9 (Superman guest-stars)
Written by Karl Kesel and Steve Mattsson
Art and Cover by Paul Pelletier and Dan Davis
$1.95
April 2: Spider-Boy Team-Up #1 (Amalgam)
Written by Karl Kesel and Roger Stern
Art by Jo Ladronn
$1.95
Super Soldier: Man of War #1 (Amalgam)
Written by Mark Waid and Dave Gibbons
Art by Dave Gibbons and Jimmy Palmiotti
Cover by Dave Gibbons
$1.95
April 9: JLA #6
Written by Grant Morrison
Art and Cover by Howard Porter and John Dell
$1.95
Steel #39
Written by Christopher Priest
Art by Denys Cowan and Tom Palmer
Cover by Dave Johnson
$1.95
Superboy #40
Written by Ron Marz
Art and Cover by Ramon Bernado and Doug Hazlewood
$1.95
Superman: The Man of Steel #68
Written by Louise Simonson
Art and Cover by Jon Bogdanove and Dennis Janke
$1.95
April 16: Supergirl #10
Written by Peter David
Art by Jennifer Graves and Chuck Drost
Cover by Gary Frank and Cam Smith
$1.95
Superman #124
Written by Dan Jurgens
Art and Cover by Ron Frenz and Josef Rubinstein
$1.95
Superman Adventures #8
Written by Scott McCloud
Art and Cover by Rick Burchett and Terry Austin
$1.75
April 23: Adventures of Superman #547
Written by Karl Kesel
Art and Cover by Stuart Immonen and Jose Marzan, Jr.
$1.95
April 30: Action Comics #734
Written by David Michelinie
Art and Cover by Tom Grummett and Denis Rodier
$1.95
Superboy and The Ravers #10
Written by Karl Kesel and Steve Mattsson
Art by Ramon Bernado and Dan Davis
Cover by Paul Pelletier and Dan Davis
$1.95
----------------------------------------------------------------------------
SPOILERS
------------------
April 2:
-------
Spider-Boy Team-Up #1
Spider-Boy is saved by another spider-powered teen who could be Spider-Boy
2099! Using the Time Cube, Spider-Boy finds himself in 2099, where he
meets the Legion of Galactic Guardians.
Super Soldier: Man of War #1
The amazin' Amalgam Universe marches on! And this time everyone marches
to the swingin' drumbeat of the WWII grunt behind the lines in Nazi
Germany! That's right, true believer, this fanatical flashback story
takes place in the glory days of the Golden Age of Amalgam as Super
Soldier faces front with Sgt. Rock and his Howling Commandos! The
maniacal Major Zemo has got the Howlers trapped in his creepy castle in
Nazi Germany being prepped for his even creepier experiments, when Super
Soldier makes the save! But can the combined might of the Man of Steel
and the Man of Rock (and his men) overcome Zemo's ultimate weapon -- the
War Wheel!? Guest starrin' Wondrous Winston Churchill and the
Historifyin' All-Star Winners Squadron!
April 9:
-------
JLA #6
In "Fire in the Sky," Zauriel, a former guardian angel, seeks refuge with
the JLA after losing his immortality. Is it because he knows of the
impending rebellion about to take place in Heaven? To keep him quiet,
Asmodel -- archangel of the bull-host, sends his celestial legions to
dispose of the defector! Meanwhile, Neron and the Demons Three have plans
of their own for the fugitive from paradise.
Steel #39
As Steel makes his way home from Africa, a mysterious, superpowered man
named Crash is looking into Steel's life. But in addition to a big gun,
Crash carries with him a secret -- and a connection to Steel -- that sends
John Irons reeling.
Superboy #40
In Part 3 of "Meltdown": The rest of the Superman family arrives at
Cadmus to search desperately for a cure for Superboy's degenerative
disease. But it looks like there's little hope left for the Kid, and
the visit may well be their final one... ever. Continued in SUPERBOY
AND THE RAVERS #10.
Superman: The Man of Steel #68
The adventures of the Man Beyond Tomorrow continue! Metallo wants a
radical upgrade for his matchless might, and he's managed to take over
a nuclear sub to do it! Can Superman and the emissary from Kandor stop
him before he completely levels Metropolis?
April 16:
--------
Supergirl #10
In the wake of Buzz's reign of terror, Supergirl relaxes into her life
as Linda Danvers, unaware that a cave on the outskirts of Leesburg hides
a threat that nearly destroyed Superman and his set its sights on her.
Superman#124
The adventures of the Man Beyond Tomorrow continue! Life in Kandor
becomes chaotic. A riot is about to ensue, causing their leaders to lose
control. Meanwhile, their prince is the newest hero of Metropolis --
Scorn! All this and Booster Gold too. Plus, Jimmy starts to pay for
making life worse for Superman.
Superman Adventures #8
As if being shrunk down to two inches tall weren't enough of a problem
for the Man of Steel, now the Kryptonian villain Jax-Ur has used Professor
Hamilton's size-changing device to become a giant! And with Mala still at
his side, it's obvious that Metropolis isn't big enough for the three of
them!
April 23:
--------
Adventures of Superman #547
The adventures of the Man Beyond Tomorrow continue! Superman must go
into the bottle city of Kandor, this time with his new powers. To get
there, he needs the help of the (literally) Tiny Titan, The Atom!
Meanwhile, wearing Superman's old costume, Scorn continuous to take
Metropolis by storm!
April 30:
--------
Action Comics #734
The adventures of the Man Beyond Tomorrow continue! Superman and the
Atom go into the bottle city of Kandor to restore its peace, safety,
security, and environment, but get attacked for their trouble. Plus,
who is this woman they meet in the bottle? Will they get to know her
before the Kandor suicide pact has its way? And it's Scorn vs. crime
in Metropolis!
Superboy and the Ravers #10
In chapter 4 of "Meltdown," the Ravers struggle to keep Superboy's
nemesis, The Technician, from getting at the dying Kid for his own
nefarious purposes, unaware that, by stopping him, they could be stopping
Superboy's shot at recovery. Concluded next month in SUPERBOY #41.
___________________________________________________________
*****************************************************************
End of Section 11/Issue #35
