Copy Link
Add to Bookmark
Report
The Kryptonian Cybernet Issue 49
_____________________________________________________________________________
T H E K R Y P T O N I A N C Y B E R N E T
_______________________________________________
http://www.ms.uky.edu/~sykes/kc
Issue #49 -- April 1998
_____________________________________________________________________________
CONTENTS
--------
Section 1: Superscripts: Notes from the Editor
The Re-Read Factor
Ratings At A Glance
Titles Shipped March 1998
And Who Disguised As...
The Basement Columns: Part 4
The Way it Ends, by J.D. Rummel
Section 2: News and Notes
New blood on the Superman titles, a Golden Age loss, a DC
preview for the rest of the year, animation updates, bad
movie news, and new merchandise in the works
Origins
Part Four: Lana Lang
Enola Jones looks at the legend's girl next door
Section 3: New Comic Reviews
Millennium Giants
Adventures of Superman #557, by Dan Radice
Steel #50, by Jeff Sykes
Section 4: New Comics Reviews
Millennium Giants (cont)
Action Comics #744, by Shane Travis
Superman: The Man of Steel #79, by Mike Smith
Superman #135, by Thomas Deja
Section 5: New Comic Reviews
The Return of the Man of Steel
Superman Forever #1, by Shane Travis, Derek Jackson, Dan
Radice, Emmanuel Soupidis, G.M. Nelson, Joey Ochoa,
Jeff Sykes, Mike Smith, Simon DelMonte, and Vic Vitek
Section 6: New Comic Reviews
Super-Family Titles
Superboy #51, by Rene' Gobeyn
Supergirl #21, by Thomas Deja
Other Superman Titles
JLA #18, by Anatole Wilson
Superman Adventures #19, by Cory Strode
Section 7: New Comic Reviews
Specials
Team Superman Secret Files #1, by Rene' Gobeyn
The Mailbag
Section 8: Manuscripts of Steel
Return to Superman's 50th anniversary in Action Comics #600,
reviewed by Denes House
The Phantom Zone
Superman Family #200
See how close DC came to predicting today in this issue
which peeked into the future, by Scott Devarney
Section 9: The Phantom Zone
Tales of Earth-One
Episode 5: What's In a Name? Metalo, Metallo, Metalman and
Hyphenated-Metallo, by Bob Hughes
STAFF:
------
Jeffery D. Sykes, Editor-in-Chief
Shane Travis, Executive Editor: New Comic Reviews
Neil Ottenstein, Executive Editor: S:TAS section
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 1998 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
----------------------------------------
By Jeff Sykes (sykes@ms.uky.edu)
THE RE-READ FACTOR
There are all sorts of ways to tell just how much I'm enjoying what I'm
reading, and most of you can probably identify with them. How about the old
top/bottom of the stack method? When I bring my comics home, I prefer to
read the best books first, so I push them to the top of my stack. Others do
similarly, but save their best reads for last. For example, _Astro City_
tends to be at the top of my stack each and every time it comes out, simply
because it has such a strong track record and I expect so much from it.
Perhaps more unique to myself is the "stupid grin." From time to time I'll
read something that just touches me -- wonderful dialogue, an unexpected plot
twist, a bit of nostalgia -- and I find myself wearing an idiotic grin from
ear to ear. The more I catch myself grinning, the better the issue usually
is.
Or how about anticipation? Ever catch yourself getting impatient waiting for
that big story or issue to come out? When was the last time you were so
eager to read something that you got to the comic shop as early as possible?
Not just because you can, but because you just can't wait to see what
happens... Most of don't get excited about titles which have continually let
us down.
I've recently discovered that there's another pretty good indicator of my
satisfaction, one I hadn't recognized because of its recent absence -- the
re-read factor. It's really quite a simple principle: the comics I re-read
the most are generally the ones I've enjoyed the most. Probably not too
Earth-shattering, I know, so you're probably wondering what has prompted this
sudden revelation. :)
Yesterday, I read _Superman Forever_ for the third time, and followed it with
my second reading of _Adventures of Superman_ #558 (the Silver Age tribute
which hit stands the next week), and it hit me that it had been quite a while
since anything in the super-books had interested me enough to prompt a
re-read. I scoured back through my 1998 index (a work in progress) and
discovered that the last time I had done so was *five* months ago!
Believe it or not, the last issue of a Superman title that I read more than
once was _Superman_ #131, which came out way back in November. This was the
story in which Luthor had Mayor Berkowitz assassinated, gained revenge on his
foster father, and placed the Contessa in a coma after the birth of their
daughter. In the months following that exceptional tale, we were "treated"
to the saga of Superman Red and Superman Blue, which has only just concluded
with the Millennium Giants "event".
Folks, five months is *way* too long to go without seeing anything
interesting enough to make me read it twice. Thank goodness we finally saw
the end to that particular drought. Hopefully, the rest of this anniversary
will be more like the last two weeks than the prior five months. Otherwise,
it's gonna be a long, boring summer.
For the record, _Adventures of Superman_ #558 prompted a load of stupid
grins, and both it and _Superman Forever_ were at the top of my stack the
week they came out. Furthermore, my teaching schedule makes it nigh
impossible to pick up new comics on Wednesdays, so I've been doing so on
Fridays all semester -- but _Superman Forever_ got me there on Wednesday.
We've got a ton of news for you this month, so I'm going to cut my ramblings
short. When we meet here again next month, I hope that the re-reads are up
to six or seven consecutive weeks ... and counting!
_____________________________________________
RATINGS AT A GLANCE: Titles shipped March 1998
-----------------------------------------------------
Prepared by Shane Travis (travis@sedsystems.ca)
Key:
----
Issue -- Issue for which 'Current' Rating and Rank are calculated. The
'Previous' columns refer to the issue immediately prior to this.
Rating -- Average Rating, in Shields (maximum rating is 5.0). The number
in () indicates how many people submitted ratings.
Rank -- The relative ranking of the book among the regularly-published
Superman titles.
Average -- Average of the ratings for this title over the indicated number
of months, based on the book's cumulative average. Each month is
weighted equally, regardless of the number of people rating the
book that month. If this book is averaged over fewer months than
the rest, the number of months is displayed in ().
Current Previous Avg (6Mth)
Title Issue Rating Rank Rating Rank Rating Rank
----- ----- ------ ------ ------ ------ ------ ------
Superboy 51 4.0(8) 1 3.8(9) 1 3.20 5
Superman Forever 1 3.9(9) -- --- -- -- --
Superman Adv. 19 3.7(5) 2 3.8(7) 2 3.38 4
Supergirl 21 3.4(6) 3 3.5(8) 3 3.48 3
JLA 18 3.4(9) 4 3.1(11) 5 3.50 2
Team Superman SF&O 1 2.9(10) -- --- -- -- --
Steel 50 2.8(7) 5 3.2(5) 4 3.53 1
Action Comics 744 2.5(11) 6 2.7(11) 6 2.67 7
Man of Steel 79 2.2(10) 7 2.5(10) 8 2.65 8
Adv. of Superman 557 2.0(12) 8 2.0(12) 9 2.62 9
Superman 135 1.6(8) 9 2.6(7) 7 2.78 6
"The Mighty One Returns!" SUPERBOY #51 (4.0 Shields, 1st place)
- Superboy continues its dominance, attaining the highest overall mark for
the second consecutive month. Not only are the long-time fans enjoying its
resurgence, but even those who are not regular readers are noticing the
upswing in quality and joining the Kesel/Grummett bandwagon.
Depowered Armor Doesn't Float: Steel #50 (2.8 Shields, -0.4 Shields)
- Despite two consecutive months of sub-par stories, this title is still
on top of the six-month average, showing just how much it was appreciated
by its fans before TPTB started mucking about with it. Too bad it can't go
out on more of a high note, rather than have one of its last issues be a
tie-in with a fan-unfavourite crossover.
He's Back! SUPERMAN FOREVER #1 (3.9 Shields, 2nd Place overall)
And Just In Time Too... SUPERMAN #135 (1.6 Shields, dead last.)
- Only one of the March titles even managed to work its way up to 'average'
(ACTION #744); everything else was bad to abysmal. Bringing in the lowest
mark on a regularly-published title that I've seen in my year at KC was the
final installment of both the Millennium Giants story and the Electric Blue
Superman era. The return of the *real* Superman was greeted with much fanfare
and many huzzahs by our reviewers, who all got a chance to voice longer-than-
normal opinions on this milestone book.
Information for 'Ratings at a Glance' and the ratings accompanying the
monthly reviews of Superman comics are obtained from KC readers. Anyone
interested in contributing may contact Shane Travis <travis@sedsystems.ca>
and will be added to the monthly mailing-list to receive a Ratings Form.
_____________________________________________
AND WHO DISGUISED AS...
---------------------------------------------------------
A Column of Opinion by J.D. Rummel (rummel@creighton.edu)
The Basement Columns Part 4: The Way It Ends.
(His lovely companion at his side, the Collector works among the piles of
comics, examining his life, coming to grips with who he is and what he is
meant to be).
Here's one way to measure someone's love for you: Have that person sit in a
cold basement and bag and box comic books on warm Friday nights, and pleasant
Saturday afternoons. If they do it, that is the mark of a good friend; if
they do it while you play your Elvis records, that is the measure of an
extraordinary affection.
Now, here's a way of seeing just how alien some parts of your life are: Amy
and I sat there organizing the thousand or so comics I had so far decided to
liquidate. She sat bagging comic after comic sometimes asking about the issue
she held. At one point she held up a Marvel Fanfare with an "autographed"
picture of the Thing on the cover.
"Who's this?"
"Ben Grimm--The Thing. One of the Fantastic Four."
"One of them is named Stretch, right?"
"Mr. Fantastic."
"Hmmm. So, how did they get to be Fantastic?"
"They were in a rocket and got caught in a cosmic storm that gave them
powers..." Even as I explained this basic piece of comic history I felt a
little foolish. This was not a conversation one has with regular people. One
talks this way with kids and other members of one's own private club. Thank
God she didn't ask me about the radioactive spider story.
I wondered how she perceived me, this adult man who still goes to pick-up his
funny books every Sunday. Although not always comprehending it, she has
always been accepting of the side of me that embraces the fantastic, the
fanciful. She continued to sit by me when I whooped during previews for
_Batman and Robin_ last year (how could either of us know how it would
suck?). She went with me to see _The Phantom_, and only mocked it lightly (it
wasn't as bad as _B&R_, but the fan base for what is possibly the world's
first comic strip hero is pretty small, methinks). She knows that if the
Superman/Batman hour is on, I am probably unavailable for conversation even
if the apartment is on fire ("Honey, please, it's hard enough to watch TV
with all this smoke!").
As she plowed through my silver age comics she must have been thinking about
the images that she was slipping into plastic and maybe a little about the
man she was involved with. She asked me:
"Why does Superman need a pal?"
"Why does the Justice League have all of these characters?"
"Does Superman sort of lord it over the others?"
For her, they were probably innocent interrogatives, an attempt to understand
the geeky hobby of this otherwise average guy she was dating. For me, they
were complex questions. If you have spent your life reading comics, then go
ahead, try and answer them . No matter how you try, those questions require
multi-tiered responses. Each answer would have to involve psychology,
marketing, history and a host of other considerations.
The bottom line is, as I approach forty I am still in an alien, somewhat
suspect world. I know that my mom always hoped I would "grow out of it."
Other members of my family accept it, but some still look at the titles with
a cocked eyebrow when they see them sprawled on the kitchen table. My real
friends know that it is part of me just like needing glasses or breathing. I
think maybe some defend me in their heads with the do-you-know-how-much-
those-things-are-worth rationale. I don't think they know that I still read
and enjoy them. Some I actually look forward to. I dearly love _Concrete_ and
the new JLA. _Legends of the Dark Knight_ can still thrill me. Although I
haven't really been that excited by the last few years of Big Blue (the Byrne
years were the last time I eagerly anticipated reading a Super title), he is
very much a part of me. When he returned to his true self in _Superman
Forever_ this last Sunday, I felt like I had come home again after a long,
boring trip.
Looking at them today, so much more expensive, so much more exploited and
available in the age of direct marketing, so much more of a business than I
ever realized in my youth, I do not fool myself about liking them as an art
form. I don't read all the high art material that the critics tell me to. I
like super hero comics. There is something about caped, costumed, super, or
just way-above-average guys who rise to meet some need that thrills me. I
love stories about guys in masks who try to do the right thing. For some
reason I suspect I always will.
Even though I am selling quite a few of them, I know that I will continue to
buy them. I don't know how they will be produced in the next century, I
suspect that big changes are coming, but wherever they rise up, I will be
there. On some level I may never fully understand, they speak to me. Some
people love baseball, some can't stand it--many are in-between those two
poles. Who can really explain why anyone finds certain subjects and embraces
or disdains them?
Because of my love for masked do-gooders, I will be in line to see _The
Mask of Zorro_ this summer. Because of her love for me, even the parts she
doesn't understand, Amy will be there too. Although I think Antonio
Banderas might have something to do with it as well. I still read comics,
but I'm not an idiot.
Away!
And Who Disguised As... is copyright 1998 by J. D. Rummel. Its contents
may not be reproduced in any format without the written permission of the
author.
_____________________________________________
NEWS AND NOTES
--------------
BOGGED DOWN
** After seven years of drawing and occasionally writing _Superman: Man
of Steel_, Jon Bogdanove has announced that he is leaving the title he
helped launch. Citing an increased workload resulting from additional
writing chores and an urge to dabble in inking, Bogdanove decided that
the extra creative control was causing problems meeting deadlines. The
exit will be gradual, as he has plotted a "fun farewell" in issue #85
(4th Quarter 1998).
** Bogdanove won't be leaving the Man of Steel completely, either. His
next project is DC's half of the Superman/Savage Dragon crossover.
Bogdanove will pencil and ink that effort.
** So who will become just the second regular creative team on _Superman:
Man of Steel_? Word has it that Mike Carlin announced some new blood at
the recent WonderCon. Mark Schultz (_Xenozoic Tales_) will become the
new writer, while Doug Mahnke (_The Mask_) will take over on pencils.
In addition, Ron Frenz will be moving to another Superman project, and
Steve Epting (_Marvel Universe_) will take over the pencils on
_Superman_.
GOLDEN AGE LOSS
** Artist John Sikela, well-known for his work on both Superman and
Superboy stories in the 1940s and 1950s, passed away in late March.
DC'S SECOND-HALF PREVIEW
DC recently released a preview of their projects scheduled for the remainder
of the year. Most of the items in this section hail from the preview, via
Comic Shop News and Newsarama.
** The _Adventure Comics 80-Page Giant_ (August) will involve both Superboy
and Supergirl. Keep watching Coming Attractions for further news on
this and other Giants as they are solicited.
** According to writer Dan Brereton (via Newsarama), the _Superman: Silver
Banshee_ miniseries has been rescheduled for October release, which will
better take advantage of the tales' Halloween setting.
** Look for Grant Morrison's return to _JLA_ in July, and he'll be kicking
things off with the return of the villain formerly known as Starro the
Conqueror, in a follow-up to the team origin story from _JLA Secret
Files_ #1. Following that, readers can expect a tale featuring Mr.
Mxyzptlk and a JLA invasion of the fifth dimension!
** Expect a couple more Superman tales in upcoming issues of _Legends of
the DC Universe_, beginning with a Superman team-up with Jimmy Olsen and
the Newsboy Legion. The creators are the big news on this one, as Mark
Evanier writes from an original plot by King Kirby himself, with art by
Steve Rude (_World's Finest_) and Bill Reinhold. Down the road, look
for another new Superman story written by Jean-Marc L'Officier
(_Superman's Metropolis_) with art by Jose Ladronn (_Spider-Boy
Team-Up_ #1).
** DC hopes to exploit the popularity of the JLA in the launching of a new,
yet familiar, hero team. _JLA Versus Titans_ (3rd Quarter) is a three-
issue miniseries pitting the JLA against everyone who's ever been a
member of the Titans. Co-plotted by writer Devin Grayson and artist
Phil Jimenez, this tale leads into the new ongoing _Titans_ series
which will feature the original core lineup of the Teen Titans.
** In a series of interconnected annuals, the seven core members of the
JLA will face "Ghosts" from their pasts. Based on a concept by Ty
Templeton, the "Ghosts" story unfolds over the course of the summer in
the _Batman_, _Flash_, _Wonder Woman_, _Aquaman_, _Green Lantern_,
_Superman_, and _Martian Manhunter_ annuals, leading to a conclusion in
_JLA Annual_ #2. Each issue will find the featured member facing de-
ceased friends, lovers, ancestors, and enemies in a plot masterminded
by Felix Faust. Each "Ghosts" annual features a unified cover design,
with cover art by Bernie Wrightson.
** In September, DC travels to the 853rd century in _DC One Million_, this
year's crossover event. The weekly, four-issue miniseries is written by
Grant Morrison with art by Val Semeiks, and each DC Universe title will
feature its one millionth issue. Not only will readers discover clues
about the futures of their favorite heroes, but they will also meet
someone from the distant future who will become a regular fixture in
DC's present.
** The legendary Barry Windsor-Smith writes and illustrates his first
in-continuity work for DC in the oversized graphic novel _An Evening
With Superman_ (4th Quarter). In a glimpse into the development of one
of the strongest relationships in comics, the story follows Superman and
Lois Lane on their first date.
** Last month we mentioned that Dan Jurgens will be writing and pencilling
a new three-issue miniseries called _Superman: Life_, featuring the
return of Doomsday and guest-starring the JLA. DC's preview of upcoming
projects lists this miniseries to appear in the 3rd quarter of 1998.
** John Francis Moore, Kieron Dwyer, and Hilary Barta, the creative team
behind last year's _Elseworlds' Finest_ have re-teamed for a new
Superman Elseworlds project, _Superman: The Dark Side_ (3rd Quarter).
This three-issue, prestige format miniseries addresses the simple
question of what would have happened if Kal-El's rocket had landed
on Apokolips instead of Earth.
** The next Golden Age collection for your bookshelves will be _Superman:
The Dailies_ (3rd Quarter). This hardcover set (co-published with
Kitchen Sink Press) reprints the black and white daily strips from
the 1930s and 1940s in three volumes and the full-color Sunday strips
in a fourth volume.
** Jeph Loeb and Tim Sale, the creative team behind _Batman: The Long
Halloween_, turn their attention to the Man of Steel in _Superman For
All Seasons_ (3rd Quarter). This four-issue, prestige format miniseries
follows Clark Kent from his final days as a boy in Smallville to his
arrival in Metropolis, centering on the development of Superman's moral
code and the maturity that helped shape him into the greatest of all
heroes.
** One of the creators of the current Batman and Superman animated series
teams with one of the most celebrated comics artists of our time to
produce what will almost certainly be one of the most sought after books
of the holiday season. Paul Dini and Alex Ross present _Superman: Peace
on Earth_ (4th Quarter), an oversized, fully-painted one-shot which
combines comic-book storytelling with a children's storybook sensibility.
The story reveals just how much one man can do to ease the problems of
poverty and hunger throughout the world, but as it turns out, there may
be some things that are beyond even a Superman...
** Other future Superman projects include _Superman Annual_ #1 (4th
Quarter), a reprint of the first 80-Page Giant annual from 1960; the
previously announced _Superman/Batman: Generations_ (4th Quarter), John
Byrne's Elseworlds miniseries; _Lex Luthor_, a four-issue miniseries by
David Michelinie and Val Semeiks; and _Superman: Save the Planet_, a
one-shot special by Louise Simonson and Scot Eaton.
ANIMATED ADVENTURES
** The final new Superman episodes of the season are scheduled to air the
weekend of May 2nd on the Kids' WB. The two-part story, featuring the
debut of Supergirl, will air back-to-back in the full hour block of _The
New Batman/Superman Adventures_. Check local listings for the exact
times in your area.
** We've already told you that Mark Millar (_JLA: Paradise Lost_, _The
Flash_) will be taking over the reigns of _Superman Adventures_ in June.
That month's issue (#22) will begin a two-part story featuring Brainiac,
and that will be followed by an appearance by the Parasite. Then
readers can look forward to "World's Vilest," a sequel to the "World's
Finest" cartoon teaming of Batman and Superman.
** By the by, the home video release of the "World's Finest" movie is
currently scheduled for mid-August, though the date could change before
then.
** Speaking of "World's Finest," viewers can also look forward to another
teaming of Batman and Superman on the Kids' WB next season. This time
out, the feature villain will be Ra's Al Ghul. Other returning
characters for the third season include Supergirl, Darkseid, and Mr.
Mxyzptlk. New guests for the third season include a villainess named
Volcana, the Legion of Super-Heroes, Green Lantern, Sinestro, and
perhaps Captain Marvel!
** Some details on the Daytime Emmy nominations for _The New Batman/
Superman Adventures_: composer Shirley Walker is nominated in the
category of Music Direction and Composition; Robert Hargreaves, Mark
Keatts, John K. Hegedes, George Brooks, Greg Beaumont, Kelly Ann Foley,
and Diane Griffen (as a group) are nominated in the category of Sound
Editing Special Class.
BACK ON THE SHELVES AGAIN
** So let's begin with the bad news (or good, depending on your
perspective). Information all over the media this past week announced
that Warner Brothers has once again delayed the production of _Superman
Lives!_ Though there had finally been some promising developments in
the preceding weeks (see below), Warner Brothers was happy with neither
the script nor the budget. Beyond this, there are conflicting reports
on the status of the film. Some sources indicate that Tim Burton and
screenwriter Dan Gilroy continue to work on a new script, while others
indicate that the project is all but dead, with Nicolas Cage, Burton,
and the rest all having moved on to other projects. A _Variety_ report
indicates that Cage and Burton have "pay-or-play" deals, meaning that
each will get paid regardless of whether the production proceeds.
As an aside here, let me just point out that if Warner Brothers hadn't
been so fired up to bring Tim Burton on board, they could have chosen
another quality director. Then they would have been able to use Kevin
Smith's script, with which (by all indications) both DC and Warner
Brothers were more than satisfied. Had this been the case, the
principal filming would have been complete some time ago, and we'd
just be waiting for Industrial Light & Magic to finish the special
effects.
** Oddly enough, just days prior to announcing the most recent production
delay, another Warner Brothers press release hyped the selection of
Pittsburgh to portray the city of Metropolis, including the transfor-
mation of the city's City-County building into the Daily Planet.
** Interested in learning about one of the principal problems with the
development of this film? Go find a copy of the May/June issue of
_Cinescape_ (now on stands), in which Kevin Smith is speaking out about
his experience with writing a script for producer Jon Peters. Need your
curiosity piqued? In the article, Smith relates several weird ideas
that Peters had for the film, including wanting Brainiac's robot
assistant to be a "gay R2-D2". Peters also wanted Brainiac to give
Luthor a space dog which wouldn't get along with Lex. His reasoning
was that the movie needed a Chewie (_Star Wars_ again) because,
"Chewie's cuddly, man, you could make a toy out of him." This insanity
and more in the newest issue of _Cinescape_.
** In the weeks prior to the delay announcement, Nicolas Cage made several
appearances on morning and late night talk shows, in which he made a
point of explaining his support for the traditional Superman costume...
almost. As his story went, he wanted to wear the traditional Red,
Yellow, and Blue, but he wanted to lose the red trunks. However, when
he showed the costume design to his seven-year-old son, the boy set his
father straight, explaining that the red trunks were a must. Shortly
thereafter, the trunks found their way back into the costume.
AND ON THE MERCHANDISE FRONT...
DC's preview (mentioned above) also indicated plans for various products to
appear over the course of the year. Some of the below may or may not involve
Superman, as the descriptions weren't always character specific.
** Been listening to the Superman on Radio collection from the Smithsonian?
More classic DC-inspired radio shows are coming up on tape later this
year.
** _The Ultimate Superman_ is an upcoming book which will feature a
comprehensive look at the hero, his history, and all the items he has
inspired.
** West End Games will be producing a new DC Universe role-playing game
which will utilize the talents of DC creators to link it as closely as
possible to the DC Universe. West End Games to aggressively support the
game with modules, expansion, reference works, and more.
** The three JLA mugs solicited a few months ago have been postponed until
August in order for DC to guarantee the highest quality.
** Bruce Timm, Brian Stelfreeze, Alex Ross, and others are working on
posters for DC, featuring more classic images and fewer promotional
posters linked to specific projects.
** DC will be offering a set of prints from Alex Ross' lenticular cover
paintings for _Kingdom Come_. (This is how CSN lists it, but I don't
recall any lenticular cover for _Kingdom Come_. I imagine these are
from the _Superman Forever_ cover.)
** A sterling silver emblem ring featuring the Superman S-Shield will kick
off a series of such emblem rings.
** The eagerly anticipated Superman statue designed and sculpted by Alex
Ross, based on his _Kingdom Come_ vision of the Man of Steel is scheduled
for September release. The statue, which you will find solicited in the
next issue of _Previews_, will ship with a signed Alex Ross print.
** Working with Kenner, DC is producing an exclusive JLA seven-figure set
that will only be available in comic shops. The set will feature
Superman Red and Superman Blue figures that will be available nowhere
else. The other figures in the series will be repaints of hard-to-find
Total Justice figures.
** Finally, CSN is reporting that the Superman Animated action figures line
has *not* been discontinued after all, and that we can expect a variety
of new releases coming up later this year. I'm so confused...
_____________________________________________
ORIGINS
-----------------------------------
by Enola Jones (sj1025@gte.net)
Part Four: Lana Lang
All through his life, people with the initials LL have played an important
role in shaping Superman. Perhaps the first of these was a red-haired ball of
fire that lived next door to the Kents. Her name was Lana Lang.
Lana was the only daughter of a widowed archaeologist. He would often go on
digs for weeks at a time, leaving her with a housekeeper. More often than
not, what he would bring back from these digs was a source of trouble for
Superboy and, later, Superman... and his friends!
I can recall one *very* interesting story from the 60s (illustrated by Kurt
Schaffenberger) which focused on Jimmy Olsen. Mister Lang had brought what he
thought was Pandora's Box from a dig. When Jimmy opened it, the demons
escaped and tormented Jimmy. Turned out the box held a radioactive stone and
the 'demons' were hallucinatory in nature.
Lana and Clark were portrayed as the best of friends growing up. However,
Lana had a *huge* crush on Superboy. She also had a suspicious nature, and
became obsessed with trying to prove Clark was Superboy since she never saw
them in the same place at the same time.
Much of Lana's stories revolved around the "Oh-I'll-prove-he's-Superboy"
plot. This is ironic, considering that Lana was also a superhero in her own
right.
Mister Lang brought Lana a ring back from a dig. It belonged to a pharaoh who
had the ability to communicate with insects. When Lana put on the ring, she
found herself with the ability to become half-girl/half-insect for one hour
at a time, but never the same insect twice in 24 hours. Lana fashioned a
distinctive yellow-and-black costume, and began a crime-fighting career as
the Insect Queen. She did such a good job that she even became an honourary
member of the Legion of Super-Heroes. Superboy found out her secret identity
and, concerned for her safety, persuaded her to hang up her tights. However,
Lana *did* keep the ring and sporadically still became the Insect Queen.
In one comic from the early 80s, an ancient helmet that housed a malevolent
entity used Lana as its focus of escape due to her "latent mental abilities."
Sadly, this aspect of Lana was never developed nor mentioned again. (I no
longer have this book, and if I am remembering wrong, I welcome corrections.)
Clark and Lana dated some as they grew older. One comic opens with Clark
shyly asking Lana if she will go to a Carpenters concert with him. A few
panels later, Superboy is rocketing into the sky, cheering, "She said YES!!!"
This attraction lasted into adulthood.
When they were adults, Lana followed Clark to Metropolis. I am unclear what
her career was in the 60s -- help, anyone? -- but the writers played up the
Lois-Superman-Lana triangle for all it was worth!
One story stands out in my mind. Superman had to leave Earth on some
mysterious mission, but he left a new superhero from the planet Knarp to
protect Earth. Lois and Lana both became attracted to him, and chose for who
would go after him. Lana won, and Lois made herself seem silly and childish
to the newcomer. Well, Lana ended up at the altar with the newcomer, who
pulled off a mask halfway through the ceremony, stopping it cold. He was
Superman! He went through such an elaborate charade -- Knarp was prank
spelled backward -- to show the girls that their rivalry was silly.
Unfortunately, it was a lesson that did not last long.
In the books beginning in the 70s, Clark was chosen as a TV news anchor for
WGBS. His co-anchor was none other than Lana Lang. This arrangement continued
till the mid-eighties, when the revisions to the Superman universe began in
earnest.
And *here* we come to a major source of irritation to me. I like Lana Lang. I
truly do. She is bright and inquisitive -- yes, a little annoying, but then
who isn't?
And I feel that in the universe created by John Byrne et al after the Crisis
on Infinite Earths, Lana Lang was given the short end of the stick.
Lana was still Clark's next door neighbour, and she was still the girl he
dated. There was, however, no Superboy for her to suspect Clark of being, as
his powers developed gradually. On her 16th birthday, if memory serves, he
revealed his powers to her, then kissed her and flew out of her life. Lana is
now married (to Pete Ross?) and living a happily quiet life in Smallville.
A rather anticlimactic ending to an eventful story, isn't it? The red-haired
spitfire who excelled at making mischief, who was a superhero in her own
right, who was a highly visible news anchor -- is now a Kansas housewife.
I do wish Lana happiness in her new role. It seems a waste of such a vibrant
and exciting character, however. I hope the powers that be can come up with a
storyline/story arc that will once more permit this fireball to shine in the
spotlight.
_____________________________________________
NEW COMIC REVIEWS
------------------------------------------
Comics Arriving In Stores March 1998
As usual, there were a couple of books involving the Superman family which we
chose not to review this month. Also as usual, the first of these was the
most recent issue of _The Kents_ (#10), the wonderful story of Clark Kent's
adopted ancestors. Making an appearance in _Adventures in the DC Universe_
#14 was Superboy, involved in a race with the Flash.
Ratings Panelists:
-----------------
AW: Anatole Wilson DWk: Douglas Wolk MS: Mike Smith
CoS: Cory Strode ES: Emmanuel Soupidis RG: Rene' Gobeyn
DC: David Chappell EJ: Enola Jones ST: Shane Travis
DJ: Derek Jackson GN: G.M. Nelson SDM: Simon DelMonte
DR: Daniel Radice JO: Joey Ochoa TD: Thomas Deja
DWd: Darrin Wood JSy: Jeff Sykes VV: Vic Vitek
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.
=================================================
MILLENNIUM GIANTS:
-----------------
17: THE ADVENTURES OF SUPERMAN #557 May 1998 $1.95 US/$2.75 CAN
"The End of the World As We Know It!"
Writers: Karl & Barbara Kesel
Guest Penciller: Val Semeiks
Inkers: Denis Rodier & Scott Koblish
Colors: Glenn Whitmore
Separations: Digital Chameleon
Letters: Albert DeGuzman
Assistant: Maureen McTigue
Thrives on Chaos: Joey Cavalieri
Cover Design: Ron Frenz
Cover: Tom Grummett, Denis Rodier, and Patrick Martin
RATINGS
Average: 2.0/5.0 Shields
DR: 2.3 Shields (Story: 1.8, Art: 2.8)
DJ: 1.4 Shields - This issue did nothing to develop an already pathetic
story.
EJ: 3.7 Shields - It was really great to see so many guest-stars fighting
alongside the Supermen, especially Geo-Force and Terra, whom I have
sorely missed. Superior art this time (except for one panel on p. 14)
and Red's quip to SG about catching up over coffee had me in STITCHES!
ES: 1.3 Shields - Nothing like beating up on a non-existent country to
yank your heartstrings. Not even the JLA can save this story.
_Secret Wars II_ feels epic besides this one...
JO: 3.0 Shields - This issue was typical "Lets save the world from the big
unbeatable monsters," action. The best thing about this was that it
put an end to the "Two Supermen, Two stories" crap.
JSy: 2.0 Shields - Sinking fast. The Supes readers should have been given
a better introduction to Brion and Terra, especially given their
roles in this issue.
MS: 1.8 Shields - Too... many... guest stars! For being two people, Superman
sure does take a back seat this issue. Great art from Semeiks, though.
SDM: 0.1 Shields - The most unreadable Superman comic I've ever seen. Bad
story, weak guest art, and interchangeable characters doing nothing
that makes the least sense.
You know, I love it when stories are named after songs (see this issue) or
bands (see Aquaman's MG crossover issue). It gives me something to sing while
I read! The only problem is that I don't know the words to this REM song.
It's a little confusing, and the chorus can get a bit repetitive and boring.
What does this have to do with the latest part of the Millennium Giants
crossover? Well, it's a bit repetitive and a bit confusing, but it's got a
catchy beat and you can dance to it. Of course, you'll look funny...
We take you to the compound, Hawaiian headquarters of the teen known
as Superboy! Our intrepid hero is dutifully playing "Riven" when he's
interrupted by a news bulletin from Steel! (If you haven't been paying
attention to the Super-titles, the Millennium Giants are in the process of
destroying the world.) Superboy decides that he might as well join the
troops. A quick ride later and the JLA arrives to assist Superman-Blue in
Mexico, where Cabraca is wreaking havoc. Superboy, Green Lantern and Steel
take off for Markovia, where Cerne and Sekhmet are heading, and Blueperman,
Aquaman, and the Martian Manhunter take off after Cabraca.
Meanwhile, in Markovia, Terra and Geo-Force attempt to protect the citizens
from the impending meeting between the two giants. Luckily, reinforcements
arrive, in the form of (deep breath) Superman-Red, Superboy, Steel, Green
Lantern, Supergirl, Tempest, and the Teen Titans - including Captain Marvel
Jr! Using the tried and true tactic of "Blast them with our useless powers,
until they swat us away", the team fails miserably and can only watch as
Cerne and Sekhmet succeed in lifting a section of the country away. That's
right. Like a big ol' piece of pie. Gone. Poof!
And how are The Man of Teal and friends doing? A bit better, but not by much.
They succeed in stopping Cabraca's imminent stomping of Tritonis. How? A
contrived manner, so to speak, but it's bearable. Thankfully, the underwater
city is spared. Of course, by issue's end, Cabraca has resurfaced... in
Metropolis Harbour!
Oooh! That's scary! Will our heroes succeed? Will Metropolis survive? Will
the Earth be spared? Will this story drag on even longer? If you answered
"no" to any of those questions, you really don't understand comic book logic,
do you? World-ending threats are *always* neatly dealt with. They're good
guys. The good guys *always* win...
Just because they're the good guys, though, doesn't mean they are bereft of
problems. This book had a few of them -- like logic mistakes. How the heck
did Cabraca get to Metropolis from Tritonis so quickly? We have to assume
that Tritonis is in the middle of the Atlantic Ocean. Cabraca managed to get
there in the same time it took the Markovia heroes to admit defeat. I'd say
about 5 minutes. Cabraca sure is a speed walker!
Other problems? How 'bout art and colouring mistakes? Fringe, the behemoth
from _Teen Titans_ with the vocabulary of my dog, manages to utter, "Careful
Tempest". I think that's a mistake. Also, good ol' CM3 is removed in the
second last page, and The *real* Captain Marvel stands in his place. Sure,
they're minor mistakes, but that's why we have an editor. There are *two*
people editing this book, right? Those sorts of things shouldn't see print.
What about the art, in general? Well, for starters, as poorly as Denis Rodier
works with Tom Grummett, he meshes even worse with Val Semeiks. Is Rodier,
the real owner of DC and this is what he wants to do with his life so no
one can kick him off? He really just shouldn't be inking. Everything looks
rushed. Cheaply done. Poorly done. Scott Koblish, on the other hand, doesn't
do too bad of a job. His stuff is a bit sharper, but he doesn't completely
work well with Semeiks. Of course, I could be completely off base and
mistaking Rodier's work for Koblish's, because they aren't credited by page,
but I just know their styles.
The pencilling itself is sharp, kinda like a more bulky version of regular
penciller Tom Grummett. Semeiks is handling the art chores on this year's
big DC Event, "DC ONE MILLION". I just hope he gets a better inker than these
two! A few things about his pencils irked me, though. 1) Martian Manhunter:
Lay off on the forehead! A little can go a long way! 2) On page 13, Cerne
destroys part of Markovia with his foot. That was the *worst* drawing in the
book. Ugh. Horrible. Other than that, I was quite impressed with this fill-in
job. Just GET RID OF DENIS RODIER and things will be fine.
Well, except for the story. I'm sorry, Karl, but you gotta stop doing this
book. Why? It's a waste of your talents. You shouldn't have to put up with
these boring, annoying, "event" stories. You can only do so much, man. I feel
for you. It's not your fault. I don't blame you for what you had to work
with. I *do*, however, blame you for Aquaman's line, "Leave the minnow to
me. I'll keep him from swimming into the shark's mouth." Erk. Bad bad bad
Karl. Of course, I suppose I'll forgive you because of the circumstances.
Having to coordinate your book to follow the rest of the story would cause
me to write such hackneyed lines as well.
So there you have it! Get this issue to complete the amazing "Millennium
Giants" storyline! It's well worth it's price as part of a filler tale that
goes absolutely nowhere, and will probably have very few repercussions!
Isn't that great? Oh, woe woe woe to the readers of this book. I am *highly*
anticipating the upcoming "Time-Slip" stories! Each title is having, get
this, AN INDIVIDUAL STORY ARC! Can you believe that? No more soap-opera!
No more "continued in _Action Comics_ #744 from _Man of Steel_ #79"! What a
novel idea! I sure hope it catches on!
Dan Radice
<dradice@caninet.com>
=================================================
17.1: STEEL #50 May 1998 $2.50 US/$3.50 CAN
"Among Giants"
Writer: Priest
Artists: Denys Cowan and Tom Palmer
Letters: Pat Brosseau
Colors: John Kalisz
Separations: Digital Chameleon
Asst. Editor: Maureen McTigue
Editor: Mike McAvennie
Cover: Ron Frenz, Denys Cowan, Tom Palmer, and Josh Myers
RATINGS
Average: 2.8/5.0 Shields
JSy: 2.8 Shields
DJ: 3.0 Shields - Superboy thinking Steel was mad at him was pretty damn
funny. A good story, showing that heroes do sometimes think.
DWk: 3.3 Shields - I miss the old character-oriented _Steel_, though not as
much as I'm going to miss the title. I do appreciate the idea of his
having a potentially dangerous plan, and then deciding that it really
isn't worth the risk--maybe the first time I've seen that in a comic.
ES: X.X Shields - I wish I could've found an issue to buy, but how could
Priest pooch this lame 'Giants' story further?
JO: 2.0 Shields - I don't get this one. They took a great hero like Steel
and made him look like an idiot. The John Henry *I* know would never
screw up that bad. Despite some bad ideas, this book was still well-
written; cancel the artist and not the title.
MS: 4.8 Shields - You know, if my book were about to be cancelled, I'd
probably let the world be destroyed too. Priest proves why Steel
deserves to be in the JLA, and maybe suggests that the JLA doesn't
deserve to have him.
TD: 1.5 Shields - A fairly nonsensical entry in an overall nonsensical
crossover--and I *love* this book. Priest should've said "no thanks'
to this idea.
At least it was a *good* burger and fries...
In this day and age of comics with a greater base in reality, one of the
most intriguing aspects of super-heroism is the exploration of the choices
that a hero must make while performing his heroic acts. Take the following
situations, for example.
-- A car has stalled in the path of oncoming train, and the driver can't open
the door to escape. At the same time, a bus filled with 37 kids has gone out
of control, broken a guardrail, and now teeters precariously over a deadly
drop. Each tragedy will happen in a matter of seconds, and Steel simply
doesn't have the time to save both. What does he do? Now, what if the bus is
full of prisoners being transported to death row? Or what if the car's driver
is his niece Natasha? In each situation, a split-second decision must be
made; the choice will be based on instinct and emotion, and helps to define
the character.
Suppose, on the other hand, that Steel is given time to think. He has one
hour to locate either his kidnapped niece Natasha or a bomb which will
release nerve gas into the city, killing thousands. Which search does he
start first, knowing that in completing one he may not have enough time to
do the other?
Situations like these can make wonderful scenes and/or stories, especially
with heroes who don't possess super-human abilities -- heroes such as Steel
and Batman. The more the hero is capable of doing, the greater his powers and
abilities, the less interesting these situations become. Re-read the previous
two paragraphs, but replace "Steel" with "Superman", and "niece Natasha" with
"wife Lois". Where's the story there? Superman's abilities provide him the
luxury of not having to make such choices unless the threats are much larger
in scale.
What happens, though, when you take situations that would give even the
mightiest of heroes pause and drop them on the shoulders of a 'mere mortal'
like Steel? Well, you get an issue like this one is what. In the Millennium
Giants, the folks at DC have created a threat of such magnitude that even
Superman could have some difficult decisions to make. (It's a shame the core
titles themselves couldn't have made better use of that possibility.) By
placing Steel's "tough choices" within the scope of this event they end up
with results in one decision which isn't much of a choice at all and a second
which is essentially meaningless.
The first comes early in the book, as Steel and a host of other heroes are
assisting Superman in an attempt to stop Cerne and Sekhmet. As the heroes
regroup for a new attack, Steel sees a woman and her infant child trapped
amidst the debris of a crumbling bridge and sinking fast. He chooses to drop
back from the group of heroes and rescue the woman and child.
This *would* be a tough choice if we didn't already know that the heroes have
had no success in stopping the giants. They've primarily been using their
abilities only to rescue the unfortunate souls in the giants' path. Thus,
Steel hasn't made a choice at all. He's simply switched his focus from the
people in the giants' path to those in the giants' wake.
Furthermore, John's thought processes during this rescue are simply odd.
First, he's short with Superman Red because Red tells him not to stop, but
Red knows nothing about why he's stopping. If he'd known the situation,
Superman would have made exactly the same decision. Later, during the rescue
itself, Steel worries about what it will cost him to "focus on the big
picture." For some odd reason, he seems to think that the Leaguers are
ignoring the victims to concentrate on the giants. In fact, the *only*
consistency of this crossover has been the illustration that the heroes are
doing both -- rescuing people *while* trying to stop the giants. It's almost
as if Steel hasn't been paying attention.
The second decision occurs at the end of the issue. Steel proposes a theory
about how to defeat the giants and, with the Martian Manhunter's assistance,
creates a device to isolate the giants from the Earth's magnetic field. Such
an act, however, could have a devastating effect on the entire planet. While
the device seems to work -- at least temporarily -- Steel decides that the
risk is not worth the possible cost, and so he destroys his device, leaving
the giants free to roam the Earth once more.
The problem, as presented, is not only too large for most readers to wrap
their brains around, but also boils down to a "damned if we do, damned if we
don't" choice. Whether or not he chooses to use the device is completely
irrelevant. Either way, millions could die. Either way, he'll never know with
any certainty what the best choice would have been.
Ironically, Steel's decision means that the giants continue unchecked, just
as they would have if he'd never even *had* the original inspiration for
the device. For all his ingenuity, Steel now finds himself shouldering the
responsibility for the possible deaths of millions.
I think a better plot twist, one which would have made for a much more
interesting story, would have come from combining the two scenarios. Suppose
John found the device a success and *then* had to choose between continuing
to employ that solution and stopping to rescue the woman and child. That
would have been a meaningful and *extremely* difficult choice to make... and
since the giants had to keep moving on into the Superman titles, his decision
would have made for some great discussion fodder on the newsgroups. :)
Well then, how about some thoughts on the rest of this issue?
The one brief scene involving Natasha was the first stale use of her
character that I can remember. Nevermind the fact that it felt *way* out of
place among everything else that was happening. Regardless, there's still a
bit of the sharp dialogue which characterizes Priest's use of the supporting
cast.
As usual, Cowan and Palmer's art is quite scratchy. In addition, their
Superboy just plain needs help, and their giants are... less than impressive.
On the other hand, they were the only art team during MG to really get
Steel's armor right. In this issue, they turn out a pretty nice Supergirl on
page 1 and a fantastic rendition of the Teen Titans' Argent on page 2.
Note to Cowan: When swimming, it's easier to hold your breath in your lungs
than in your cheeks. Something tells me that Steel would not be puffing his
cheeks out while diving down towards the woman and her child.
While we're talking art, it's really not fair of DC to use Alex Ross' artwork
in the ad for _Superman Forever_. The regular artists (of *any* book) just
can't win that comparison.
All in all, this was kind of a letdown for _Steel_. Even so, it was quite a
bit better than what we got out of the Superman titles during this so-called
event, and still above average in comparison to most other books.
Jeff Sykes
<sykes@ms.uky.edu>
_____________________________________________
MILLENNIUM GIANTS (cont):
------------------------
18: ACTION COMICS #744 May 1998 $1.95 US/$2.75 CAN
"Crossroads"
Writer: Stuart Immonen
Guest Penciller: Anthony Williams
Inkers: Scott Koblish and Jose Marzan, Jr.
Letterer: Bill Oakley
Colorist: Glenn Whitmore
Separations: Digital Chameleon
Assistant Ed.: Maureen McTigue
Brobdingnagian: Joey Cavalieri
Cover Sketch: Ron Frenz
Cover: Stuart Immonen, Jose Marzan, Jr., and Patrick Martin
RATINGS
Average: 2.5/5.0 Shields
ST: 2.1 Shields
EJ: 3.8 Shields - Art was not as good as usual this time out. I couldn't
BELIEVE it when Red blasted Blue! When he grew as tall as Cabraca
I literally SCREAMED, and I did so again when he discorporated.
ES: 2.6 Shields - Now, a huge Superman Red is a GREAT idea! Why wasn't this
part of the big finale? It had the feeling of a classic Ultraman or
Godzilla movie. Savour this issue, folks...
JO: 3.0 Shields - The action in this book was enough for me to give it a
semi-decent rating. The two Supermen sounded like they were pulled
from a _Star Trek_ episode (think evil Kirk), but with each issue
Red and Blue prove to me that neither are worthy of being Superman.
JSy: 1.5 Shields - Move along. Nothing to see here. The "towering giants
battle over Metropolis" was done much better a year ago, and Anthony
Williams should use his own style instead of aping Immonen's.
MS: 1.6 Shields - Giant Superman was cooler the first time, when Bogdanove
did it eleven months ago. And why is the story not over? The
nine-cover grid is.
VV: 2.0 Shields - I have trouble believing either Superman would endanger
so many in Metropolis on an "iffy" proposition. Then again, we have
to do something to keep the story going for a few more issues.
When we last left our intrepid band of heroes... well... they were in
trouble. Sekhmet and Cerne were tearing up Markovia, Cabraca had just turned
up in Metropolis Harbour, and ley lines all over the world were turning into
those little perforations that say 'Peel Here'.
Things don't get much better this issue. Sekhmet starts lifting great chunks
of the North Atlantic into outer space, while the Teen Titans piffle away at
her ineffectually. Cerne is in China punching holes in the Earth's crust
while being ineffectually piffled by Green Lantern and Steel. And Cabraca?
Well, he's about as fast as a glacier, because while the other two were
zipping around the globe, he's managed to walk from one end of the harbour to
the other.
One of the nice things about shifting the focus to Metropolis is that we now
have a legitimate reason to examine the reactions of the supporting cast. Of
late, they have been relegated to a minor role, appearing in a few panels to
remind the reader what happened last issue and serving as a bridge between
the fight scenes, but no characterization and little of any consequence.
Finally, though, we get to see:
Lois -- acting like Lois. Brave, smart, tough as nails, and a reporter to the
last, she flies with the Challengers of the Unknown trying to gather more
data, trying to get the story, trying to pass along useful information to
Superman... above all, *trying*.
Perry -- Last one out of the Planet building, like a captain going down with
his ship.
Ron Troupe -- On the phone with his girlfriend Lucy Lane until the
communications blackout hit, and stoicly showing Perry that he has learned
the first rule of Journalism; get the story.
Jimmy, Misa, Ashbury and Scorn -- Mercifully absent after their over-exposure
in the last four months. (Hey! Maybe there _is_ an up side to this whole
Millennium Giants story....)
Lex -- Saving the skin he values the most, which surprisingly in this case is
no longer his own. Gotta figure that a man like Lex would have a contingency
plan for these World Shattering Events that rock the DC universe on a regular
basis... and how in-character can you get, that he blames the power failure
on Superman despite a total lack of evidence?
Unfortunately, almost all of this great characterization takes place in the
first 14 pages. Page 15 is wasted by a poster-shot of the Titans failing to
have any effect on Sekhmet, and things go downhill from there.
Notice how I didn't include either of the actual Supermen in the above back-
slapping session on characterization? Well, there's a good reason for that;
neither of them displays the brains that God gave a thimble. Let's examine,
shall we?
Superman Blue -- Clark doesn't know where his new powers came from, and he
doesn't know why the Giants roam the earth -- yet he has been smacked in the
face repeatedly by evidence that the two are linked. First was the Millennium
Guard who came looking for him as 'the Anomaly'. They came back again when he
split into two, and that splitwas the triggering event for calling the
Giants. We've seen that the only time Earth's heroes are even remotely
successful in diverting the Giants is when Superman uses his powers to do it,
and that the Giants seem to react disproportionately to Superman's presence.
Despite all this, Blue just doesn't get it. When he thinks to himself, "I
need a natural ley line," and one *appears*, does he make any connection
between thought and event? When Cabraca takes an interest in Superman's
handiwork, does Blue apply Occam's Razor and look for the simplest answer?
Sadly, no; instead, he comes up with a Dana Scully-esque twist of logic
involving the silicate ore that he's just dredged up from the harbour. For a
guy who's supposed to be the calculating, logical, *thinking* half of the
two, he seems rather dim.
Superman Red -- Brash, impulsive, prone to action before thought; these
things I can deal with. What I can't deal with is out-and-out stupidity
coupled with a "Hulk Smash!" mentality. It's fine to act without due
consideration or planning, but Red does more than that; he actively spurns
the plans that others come up with. I can see him ignoring Blue, as the two
Supermen seem to have a psychological blind-spot when it comes to listening
to one another, but Red ignores both Lois and the Challengers in favour of
his hare-brained scheme to 'grow big and fight Cabraca'. The only redeeming
moment for Red is that he was willing to sacrifice himself if it meant
destroying one of the Giants.
In the end, it is only the little touches in the first half of the book which
provide any sort of saving grace whatsoever. Without them, this issue would
simply have been yet another boring and redundant chapter in the non-event
that was The Millennium Giants. With them... well... it still wasn't worth my
$2.75, but at least my money wasn't totally wasted.
Final thought: I am *so* glad that this era is drawing to a close. From day
one, the writers have had a tenuous grasp (at best) on what Electric Superman
can and cannot do. Another blunder crops up in this issue; after taking great
pains on numerous occasions to point out that Superman 'zaps' from place to
place at light speed Superman complains that his journey from Tritonis *took
too long*. Give it up folks. Stop even trying to pretend that you understand
what Big Blue can and cannot do, or that you are all working from the same
script. Bring on _Superman Forever_ and the non-crossover stories.
Shane Travis
<travis@sedsystems.ca>
=================================================
19: SUPERMAN: THE MAN OF STEEL #79 May 1998 $1.95 US/$2.75 CAN
"End of the World!"
Plot: Louise Simonson and Jon Bogdanove
Words and Pictures: Jon Bogdanove
Inker: Dennis Janke
Letter: Ken Lopez
Colorist: Glenn Whitmore
Separations: Digital Chameleon
Goddess and Nudge: Maureen McTigue
Boss: Joey Cavalieri
Special Thanks to: Dave Cullen
Cover: Jon Bogdanove, Dennis Janke, and Patrick Martin
RATINGS
Average: 2.2/5.0 Shields
MS: 2.0 Shields
DJ: 2.8 Shields - I shudder to read another comic with Bog's art and a
Louise Simonson story, but this one was better than usual. The fold-
out was cool, but they are really dragging this story out.
DWd: 1.5 Shields - Are we there yet????
ES: 1.2 Shields - The Keeper Of The Flame is the surprise guest/plot twist?!
Weak! This storyline proves that the Super-Team is no longer inspired
and the Triangles must come to an end.
JO: 2.5 Shields - You mean that's it?! You save the world from one of the
biggest threats its ever faced by blowing out a candle! I don't think
so! The Millennium Giants had a great reason for existing, and they
deserved a much better defeat.
TD: 2.8 Shields - To my surprise, Janke and Bog merge to produce the sort of
powerful art Jon is capable of--the first few pages are breathtaking.
Pity the story had to go and mess it all up.
VV: 2.0 Shields - Transdimensional rifts and rafts? Didn't Supermen think
about why the "Keeper of the Flame" wasn't too unhappy about having
it extinguished?
Welcome to the next installment of the Millennium Giants crossover! Yeah,
this issue was solicited as an epilogue, and it doesn't have a place on that
nine-panel cover grid, and it's not sporting the "BEHOLD THE MILLENNIUM
GIANTS" tie-in banner at the top, but these are merely details. It'll take
more than common sense or marketing savvy to keep a DC Big Event down!
I'm at a bit of a loss to review this issue. I thought the Giants storyline
would be winding down by now, but it's just now finally starting to get
somewhere. Glancing at the top of the issue, I see the phrases "THE END OF
THE WORLD!" "INSIDE THE GIANTS" and "TONS OF GUEST STARS" just above the
title, "SUPERMAN: MAN OF STEEL." So I'll break with tradition and judge this
book by its cover.
1. END OF THE WORLD! -- This never happens. I see global disasters, but
nothing worse than any other MG tie-in so far. The Giants move, they destroy
things. They faint, they destroy more things. Heroes try some crazy stunt,
and it doesn't work. Par for the course. Sure, there's a shot of impending
doom on the last page, but even that is continued in _Superman_ #135. This is
more like "End of the World's Eve" if you ask me.
2. INSIDE THE GIANTS -- Thanks to Steel, the Challengers of the Unknown, and
Lois, the Supermen learn that they must tunnel into one of the Giants to stop
them. So we get the inside of one Giant. The rocky one. He's full of rocks
and cold water. Makes me glad I didn't ask.
3. TONS OF GUEST STARS -- About half of the JLA, the Titans, Superboy,
Supergirl, and the aforementioned Challengers. This claim was accurate,
except most of these characters were talking like pod people the whole time.
Too many guest stars equals too many mischaracterizations. Superboy: "I think
she's headed straight for Johannesburg!" What kind of wisecrack is that?
4. SUPERMAN -- Yeah, at first. The first page is a great shot of Blue
rocketing into space to save his red self from dispersing. They cobble their
containment suits together, and spend the rest of the issue joined at the
wrist. Throughout the story, the Supermen adamantly refuse to give up their
individualities, bicker with each other, and complain that their old self
could have handled the job better. The only respite from this is when they
fearlessly risk their lives to extinguish the flame in the Altar of the
Giants. Too bad that it was all a trick by the Keeper of the Flame, whoever
that is, to free himself. Superman plays the fool again. I imagine that this
disgrace is just to build up to Superman's glorious return to normal, but
I've had enough of reading Superman comics that are little more than
twenty-two page ads for the next one.
5. THE MAN OF STEEL -- The only redeeming quality of this issue was the guest
appearance of Steel. With all the plot, characters, and story elements under
the reins of the crossover's grand design, Simonson, Bogdanove, and Janke
make it all up to me by welcoming back the hero who got me on board in the
first place: Steel! Perhaps the only guest-star handled properly this issue,
John's already on the scene in Australia to give the Supermen the weapon they
need to stop Cabraca. Even as he explains the situation to them and the
Martian Manhunter, he's still taking time to save lives along the way. If not
for him, this book wouldn't have had any Supermen at all. Kudos to the entire
creative team for stopping this thing just short of rock bottom. Trust me,
it's a compliment.
In the end, however, _Man of Steel_ #79 fails to live up to its own cover.
Not even Steel is enough to bring this up to standard quality. I'm really
frustrated with this title right now. I hope the next three issues will be
able to escape these problems on the way to the 1930's.
Here's hoping...
Mike Smith
<mpsmit0@pop.uky.edu>
=================================================
20: SUPERMAN #135 May 1998 $1.95 US/$2.75 CAN
"Shattered Worlds"
Vocals: Dan Jurgens
Lead Guitar: Ron Frenz
Bass Guitar: Joe Rubinstein
Drums: John Costanza
Keyboards: Glen Whitmore
Light Show: Digital Chameleon
Manager: Maureen McTigue
Sellin' T-shirts: Joey Cavalieri
Cover: Ron Frenz, Joe Rubinstein, and Patrick Martin
RATINGS
Average: 1.6/5.0 Shields
TD: 1.5 Shields
DC: 2.2 Shields - While we finally learn the point of the Medallion, it
seems rather lame.
DJ: 1.9 Shields - Wow! Let's see how many different characters we can throw
into a story. And what happened to the Millennium Guard?
ES: 1.0 Shields - A large rip-off of Fin Fang Foom converses (not fights)
with the Supermen, talks in riddles, and dies from boredom as Red
rips the Medallion from its chest. This issue was so dull it couldn't
give me a paper cut.
JO: 3.0 Shields - If Red and Blue had to end their existence in such a
predictable, boring and "I've seen this before" kind of way at least
they did it with the right attitude. For once they acted like
Supermen! Call me generous, but that saved the book.
JSy: 1.5 Shields - The art was rough, the plot was completely indecipherable,
and the lava "dragon" was just a bit too weird for my tastes. I still
don't know what the heck was going on with the Keeper and all...
MS: 0.1 Shields - The lamest part of the lamest story arc of Superman
history, from the lousy amnesiac recap of events by the Supermen,
to the "shocking" revelation that a boring new character and an
irritating new character are the same guy. Superman's had enough?
That makes three of us.
*Sigh*
I suppose we should just be grateful it's over. After this absolutely
nonsensical finish, all us true Superman fans can go back to reading about
Superman Flesh, the one true All-American hero, but I guess Jurgens didn't
want to let us leave without one final pain, like an Indian Burn across our
souls.
I've read this twice but I still can't really tell you what happened. The
Dynamo Duo succeeded (I think) in overloading the Millennium Giants, but in
doing so (I think) they managed to tap into and destroy much of Earth's
bioetheric energy. As the Legion o' Heroes evacuates Australia, the Men of
Sparks take the word of the ancient Latin American mystic who (I think)
showed up earlier in this crossover. They head to the center of the Earth
(I think) to find the Medallion of the Damned and meet a dragon (I think)
that speaks colloquial English and is (I think) the spirit of Mother Earth
herself. Little Boy Blue decides to go straight to the center of the Earth
and (I think) suck all the geothermal energy back into the Earth while Little
Boy Red (I think) endeavors to utilize his energies to (I think) recharge the
shorted-out ley lines.
As they do this, the shaman is revealed as the Keeper of the Flame, who was
introduced (I think) in last week's _Man of Steel_. He has been making
rumblings all throughout the story about the twins transforming (I think),
and the two Electric-Kals also discuss this a lot but (I think) aren't so
happy with the idea. The Keeper rants on about being (I think) released from
his vows while the world (I think) heals itself. As everyone breathes a sigh
of relief, J'onn J'onzz announces that he cannot detect the thought patterns
of either Superman--meaning (I think) that the Men of energy are no more.
This story is Jurgens at his worst, with characters acting *way* out of line,
Supes Blue behaving like some Vision knock-off and a plot that is so hazy as
to be transparent. I suppose I should be more outraged, but I can't; this
story is just typical of almost all the stories in the this crossover. Is
Team Superman *so* contemptuous of us that they think this sort of babbling
let's-make-stuff-up-as-we-go-along garbage is what we really want? God, I
sincerely hope that this is the last megacrossover I have to sit through in
the Triangle titles; I honestly don't think I can take another one this
shabbily put together.
Which leads us to the art; I want to know why Jon Bogdanove is so reviled
when his pencils at least have a Simonson/Kirby-esque power and strength
while Ron Frenz's sloppy, unexciting, dull and just plain lazy pencils are
approved of. Some panels are so painfully bad that I can't bear to look at
them--the worst offenders include page 5, in which Frenz literally just
alters the figure of Prysm in the top panel to make the Green Lantern of the
bottom panel, the ludicrously forced perspective on the top of page 17, and
the panel of the Keeper on page 21 that is the SAME DAMN PANEL as the one on
page 20, with some slight background alterations. Frenz needs time off, if
not a new assignment, because his work has simply become painful to look at
(I'd almost be willing to let Josh Hood take over this book, it's so bad).
[Don't even joke about these things, Tom. -ST]
"Shattered worlds" is simply an awful ending to a wretched crossover -- a
finale so totally without merit it should never have been allowed in the
printer's press. I feel like I should make a comment about things getting
better after next week's return of the one, true Superman, but I have a
horrible feeling this is *not* going to be the case. Superman deserves better
than Ron Frenz; I would almost say the character deserves better than Dan
Jurgens, but Dan's been getting better. I can only hope somebody sees the
light and never lets such a miserable crossover happen again.
Thomas Deja
<manciniman@rocketmail.com>
_____________________________________________
THE RETURN OF THE MAN OF STEEL
------------------------------
21: SUPERMAN FOREVER #1 Lenticulated Cover $5.95 US/$8.50 CAN
June 1998 Standard Cover $4.95 US/$6.95 CAN
Plot: Karl Kesel, Dan Jurgens, Stuart Immonen, and Jon Bogdanove
Script: Dan Jurgens, Karl Kesel, Stuart Immonen, Louise Simonson,
and Jon Bogdanove
Pencils: Dan Jurgens, Tom Grummett, Val Semeiks, John Byrne,
Kieron Dwyer, Norm Breyfogle, Stuart Immonen, Anthony Williams,
Dick Giordano, Scot Eaton, Jon Bogdanove, Steve Yeowell,
and Paul Ryan
Inks: Brett Breeding, Denis Rodier, Klaus Janson, Hilary Barta,
Joe Rubinstein, Jose Marzan Jr, Dick Giordano, and Dennis Janke
Letterer: Albert DeGuzman
Colorist: Glenn Whitmore
Separations: Digital Chameleon
Asst. Editor: Maureen McTigue
Editor: Joey Cavalieri
Special Thanks to: Bob McLeod
Cover Paintings: Alex Ross
RATINGS
Average: 3.9/5.0 Shields
Synopsis:
_Superman Forever_ opens with that scene we have all seen before -- Kal-El
being rocketed away from Krypton as a child. We see again the pain and
anguish of Jor-El and Lara as they send their child to Earth... but this
time, it seems to have a slightly different ending. What crashes in that
field in Kansas is not a rocket, but a full-grown Superman! Fortunately, he
is once again found by Jonathan and Martha Kent, only this time their son is
injured. They realize that he must have been trying to make it home after his
battles with the Millennium Giants, and put him to bed back on the farm.
When Clark awakens from his deep and restful sleep, he hears his parents
talking, worrying about him. He goes downstairs to comfort them -- only to
realize that they are outside! Hoping that the return of his super-senses
also means he has the rest of his powers back, Clark risks a hernia by
lifting a tractor to show off; fortunately, his guess is right! The three of
them go back inside to recap the Giants cross-over. Claiming that she, "...
[N]ever did care for that blue suit," Ma hands Clark his old red-and-blue
duds. He puts them on, and it's Up, Up, and Away!
[Cue spooky music]
Kismet (one of those beings who runs the universe) reveals that Superman was
restored because of his truly selfless act, but that the Earth is not out of
trouble yet. There is still a danger, "... one which may send Earth into the
Abyss of Darkness, never to return!"
[Organ swells, then fades.]
Lois Lane, biggest jinx in the world, has called a few of her father's
friends and managed to hitch a military plane back from Australia, when the
engine blows up, sending it spiraling towards the city! Much of the
collateral damage is handled by the timely arrival of Superboy, Steel, and
Supergirl, but it is only the reappearance of The Last Son of Krypton that
really saves the day. He leaves a rather large pothole (and roadblock) in the
middle of downtown Metropolis, but saves the plane and its inhabitants.
This timely arrival is the first Lois has seen of Clark since he disappeared
fighting the Giants, and she is ecstatic that he has returned safely. She is
about to plant a big wet one on him when her ardor is cooled somewhat by the
arrival of SB, SG, and Steel. Everyone is buzzing with questions for Superman
on how he survived and regained his powers; fortunately, Supergirl knows of
Clark's secret ID and manages to discreetly steer everyone away. Superman
flies Lois home and drops her on the roof; as she makes her way downstairs,
he uses his newly-rediscovered super-speed to zip inside and start the
champagne chilling... only it isn't champagne that Lois is thirsting after.
(nudge nudge, wink wink, say no more!)
A discreet time-interval later, at the Daily Planet...
Perry, outraged that editorial consultant Simone DeNeige has run a front-page
picture of Lena Luthor, storms out of his office -- and right into Jimmy
Olsen, who has come back to the Planet, tail firmly tucked between his legs,
to beg for his old job back. Amazingly (to Jimmy) Perry hires him back on the
spot. His victory dance is interrupted, however, by a raging Lex Luthor who
barges into the newsroom demanding an explanation for the paper's picture,
but before he can work up a good head of steam, he receives a phone call;
Lena has been kidnapped!
Moving to the crime scene, a large hole in Lex's 42nd story apartment is a
good indication that the criminal is super-powered, so both Superman and the
SCU are on hand to try and help and look for clues. Turns out, one arrived in
the mail -- a box full of dead black roses. Luthor immediately recognizes
them as the handiwork of the Contessa Erica del la Portenza -- Lena's mother
and Lex's wife. He doesn't let on to the police that he knows, though, and
all leave to do their respective jobs.
Also doing their jobs are Lois and Cat Grant, who run into each other as they
both track down a hunch on Strykers Island. Unfortunately, their idea fails
to pan out, as Toyman is still safely secured. In an attempt to come up with
some other suspects, they consider Superman's rogues gallery but draw a
blank. Superman has no better luck when he visits Cadmus. Seems like everyone
is drawing a blank.
The only person who is finding anyone is Jimmy; he runs into Roughhouse of
Intergang during a trip to Bibbo's bar. Following him back to their hideout,
Jimmy feels safe in the knowledge that he is invisible to Intergang after
Misa used one of her gizmos on him -- only to rudely learn that the gizmo has
long since worn off! Captured, Olsen is questioned by Boss Moxie. Fortunately
the gizmo has lingering effects; Moxie seems unable to remember why he wanted
to talk to Jimmy, so he simply orders him killed. Misa to the rescue! Amidst
much gunfire, Jimmy and Misa make their escape moments before Lex walks in.
He gets to finish that tirade that he started at the Planet, and smacks Moxie
around while ordering to find Lena, under pain of death!
Ron troupe gets a hot tip, leading the SCU to check on noted Markovian
painter Dmitri Yezhov. This lead too proves to be a dud; he only *wishes* he
had stolen the child so that he could return Lena to his beloved Contessa,
with whom he is much enamored.
Taking a break from his inventing, Emil Hamilton looks in on Kandor, where
they are celebrating Cerimul's birthday -- a fact which a homesick Ceritak
recalls even as he spends time with Ashbury Armstrong. The pair heads back to
the Armstrong domicile, but not fast enough to avoid running into her father,
Dirk. Such a scene would usually lead to him yelling at both of them, but for
now he just seems happy that his daughter is safe and well-protected by her
big blue bodyguard. Leaving the pair rather confused, he heads back to the
Planet for 'the biggest news day of the year'.
Everyone is getting antsy now, looking for Lena. Intergang is roughing up its
stool-pigeons, and Lex is roughing up Mayor Sackett for involving the SCU,
the FBI and Superman -- none of whom are people he controls, or wants
involved. While choking Sackett with his own necktie, Lex reminds him that
the last Mayor who got in his way was removed... with a bullet. During this
confrontation, a ransom demand arrived -- $10 million to be dropped off under
the Queensland Bridge. Lex smells a rat; the Contessa doesn't need money.
Still, he plays along.
The drop-off point turns out to be anything but deserted, Clark finds out as
he covers the scene. As a matter of fact, it seems that most of Metropolis
has converged on this point; the SCU, lying in wait for the kidnappers, runs
into Intergang, and are rescued by the Golden Guardian while Lex and Clark
look on. In the confusion, only 'Machine' Gunn is captured, and everyone else
makes good their escape. During questioning, Gunn reveals that he saw
Superman near the Hypersector last night. Knowing that he was nowhere near
there, Clark checks it out. Following a hunch, Lex does too.
The hunch proves true, and Superman finds himself face-to-face with the
kidnapper -- Bizarro! Lena lies in a replica-rocket atop a ton of dynamite;
in his own twisted way, Bizarro feels that he is saving the little girl from
the evil Lex, and will send her off to live on another planet and be raised
by good people. Unfortunately, in doing so he would destroy the Hypersector
and kill Lena in the process. As Superman and Bizarro battle one another, the
imperfect duplicate momentarily gains the upper hand for a moment and lunges
for the detonator!
Watching the whole scene from closed-circuit TV is the real villain, the
Contessa. She has arranged the whole scheme to prove to Lex how vulnerable he
is to her now that he loves someone, but she has no desire to see Lena die.
(After all, she is Lena's mother!) She activates a signal, and the Bizarro
goes up in flames... but not fast enough! Only the speed and invulnerability
of the real Superman protect Lena from the explosion. In a
beautifully-rendered sequence, Lex arrives on the scene and orders, then
blusters, then begs Superman to return Lena to him. Watching still, Contessa
gloats to her partner, the mad scientist Dabney Donovan who created the
Bizarro, as Superman flies away to the adulation of the city once again.
Finally, the epilogues. Kismet, who has been watching Superman, cries, "Wait!
It begins now!" and we are treated to four epilogues -- one each from the
Golden Age, the Silver Age, the 'Polyester' Age (1970s), and a future version
of Superman. What, exactly, is going on? Well, all will be revealed over the
next three months in the individual Triangle Titles. Stay tuned!
(Synopsis written by Shane Travis <travis@sedsystems.ca>)
Opinions:
==========
Derek Jackson (DJ)
Rating: 3.8 Shields
The GOOD: A very good story, with a big surprise as to who the kidnapper is.
I hope we see more Bizarro creations soon. Lena seems to be making Lex a
little more human, showing that he can actually care for someone. Most of the
art was decent, and most of the plot was above-average. The best part of the
whole story is we are rid of the damn electric duo. The bizarre ending both
confused and made me look forward to the upcoming stories. I hope that the
original Superman will bring us some better quality stories than we have seen
recently.
The BAD: They really need to set some rules for the artists. In the first few
pages, Pa Kent has absolutely no hair on his head; after Clark wakes up, we
see Pa Kent with a full head of hair. While I understand each artist draws
characters differently, they need to have some basic rules about characters.
The UGLY: The Contessa steals her baby, and then lets Luthor have Lena
back?!?! I don't buy that. That's her daughter too, and I don't see the
Contessa giving her up just to get back at Lex. If anything, keeping Lena
would drive Lex even more crazy. There is no bond greater then a mother and
her child.
==========
Dan Radice (DR)
Rating: 4.3 Shields (Story: 4.0, Art: 4.6)
Lenticular Cover: Nice idea. If you hold it right it looks animated. You
can't dwell on each individual image, though. Regular cover: beautiful.
Just beautiful. That's all I can say.
Though this book didn't answer all my questions, it was excellent book! I'm
still wondering exactly how the twins came to be, and exactly how Superman
got electric powers in the first place, etc. I'm sure that this book wasn't
produced for those reasons, though -- merely to give us a quick ending to
the Electri-Kal saga. The story was filled with some great bits, such as a
glimpse at Luthor's fear and vulnerability beneath his rough exterior. The
rest of the cast was handled great; the return of Jimmy Olsen to the Daily
Planet was handled quite nicely. What we have here is a good Superman book
which answers some questions, gives us a few more, and also serves as a great
starting point for new readers! What more could you ask for?
Over 20 artists lent a helping hand to this book, and I could fill a full
30 lines gushing about what I liked. Good Art: Jurgens, Grummett, Dwyer,
Eaton, Bogdanove, Semeiks, Immonen, Dick Giordano, Breyfogle, Williams and
Yeowell, and their respective inkers. I wish I had the room to describe
everything I enjoyed. Poor Art: John Byrne and Klaus Janson. I think this
was partly the inker's fault, but that two page villain spread was horrific.
Where's Kerry Gammill when you need him?
The Epilogues: The first three epilogues were all fantastic, especially Bog's
two-page glimpse of The Golden Age Superman. I could barely stop laughing as
I read the captions. The fourth epilogue wasn't all that good -- likely
due to Janke's inks on Ryan's pencils -- but Rubinstein inks Ryan in
_Superman_ #136 so I can let this slide. Great stuff, all around.
Overall: Well worth the price, whether you purchased the lenticular cover
or standard edition; I'm glad that I stuck it out, and now I get to see a
harkening to eras past! The Superteam has outdone itself. Here's looking
forward to never-ending battles, for years to come!
==========
Emmanuel Soupidis (ES)
Rating: 3.0 Shields
At long last, the issue that everyone has been waiting for has come. Although
the path getting there was rather bumpy, we seem to be on course once again
for super-hero action of the highest order.
Off the top, let me say that I liked the flow of changing art teams, except
for Klaus Janson's butchering of John Byrne's pencils with his inks.
With this book, we are still left without a thorough explanation of the
electric powers Kal-El has been saddled with (which I never minded), and no
hint of when we will know its origins. If there was a tip-off in the last few
months, pardon me, but they all seem like a 'giant' blur.
Despite this, _Superman Forever_ does rectify some things. First, Jimmy is a
cub reporter again, and a humbled one at that. I'm still not enamoured with
the Intergang plot line that has dragged on far too long, but at least Jimmy
is reporting about it rather than joining the never-ending battle first-hand.
(Misa is still an oddity in this sub-plot, though.) Second, the focal point
of all evil in Metropolis seems to be leaning back towards Lex Luthor with
the kidnapping of his daughter. Superman vs. Luthor is perhaps the most
famous of all super-hero conflicts, yet it had really lost its lustre until
just before the Giants. Treat Luthor like a mainstay fixture, and not a
sub-plot, and things will get better for the readers as it gets worse for
Superman. Third, there is an acknowledgment of the Super-Rogues' Gallery.
Let's hope that they use them.
What _Superman Forever_ should give each reader an impression of is that the
Man of Steel is back on track. It offers a sense of nostalgia, of good times,
and of an old friend who has returned to a position of prestige. Considering
what recently came before, this should make all Super-fans grin with
anticipation. Just in case you thought I'd overlook the obvious, Alex Ross'
mighty cover is my winner for cover of the year RIGHT NOW, lenticular or not.
Contest is CLOSED!!
==========
G.M. Nelson (GN)
Rating: 4.7 Shields
Overall, a pretty good read and a fairly satisfying conclusion to the new
powers storyline. The Alex Ross lenticular cover and the opening sequence by
themselves were worth the cover price -- of course, any time Superman readers
get to see their favorite hero drawn again by Dan Jurgens it's a good day.
(If he won't take back the monthly chores on Superman, maybe he'd take the
S:MOT quarterly?) That the Jurgens segment was early in the book was good
too, as it got the classic Superman back into the action quickly and allowed
the story to move ahead from there.
The writers and artists made good use of the larger canvas throughout the
issue; the required recaps didn't even seem forced. (Though it's the best-
known origin story in comics, it wouldn't have been an anniversary issue
without a re-telling of it.) The supporting cast was well used throughout
(Kesel again showed he has the best handle on the married Kents), and the
revelation of Bizarro and his "plan" was a clever twist. Great scene with
Luthor at the end. Overall, a well-balanced, full tale.
Two flaws, however. First off, the how or why of Superman's transformation
into an energy being was never adequately explained. Was it his efforts to
get his powers back after Final Night? Did some other agent cause the change?
Who can tell?
Secondly, I can't believe the Contessa would endanger her daughter by putting
her in such an unstable situation; the Superman-Bizarro battle could have
gotten out of the Contessa's control quickly and set off the explosives.
==========
Joey Ochoa (JO)
Rating: 4.5 Shields
The Man of Steel Is Back! As much as I found the change interesting, I was
always glad that it was temporary. The classic look has a lot of great things
going for it. I loved the opening pages where Clark slowly discovers his old
powers have returned amongst some pretty cool dream sequences. At first I
thought that people were a bit too accepting of the transformation, but then
I remembered that the folks in Metropolis are very hard to freak out.
The book made some changes that were long overdue. Jimmy is finally back
where he belongs and can stop running around the wild ways; that whole story
was nothing but a waste of time and pages. I'm also happy to say goodbye
to Superman Red. Sparky the Wonder Kryptonian had his moments, but Sparky
squared was the first piece of bad writing I've seen from this team in a
while.
Perhaps the best thing about this book was the point of view it took. This
book could have been all about Superman and his powers. Instead, it chose to
focus on how the return of our original hero affected the people around him.
Combining the reaction of the supporting cast (who are really the strongest
point of what makes Superman) with the suspense of the kidnapping made for
an excellent piece of work.
The one thing that worries me are the epilogues. We just got our hero back;
looking at him in all these different times is totally unnecessary and I hope
it ends quick. I would prefer that the writers return to current continuity
and continue the great job they started with this book.
==========
Jeff Sykes (JSy)
Rating: 4.0 Shields
Since the first thing noticeable about this issue is the art, let's begin
there. Alex Ross' cover was breathtaking (as was the stand-up in the store),
but I much prefer the standard cover to the lenticular, which sacrifices the
quality of the paintings for the simulated motion. As for interior art, I was
quite impressed with the smooth transitions between artists; the differences
were much less jarring than these types of projects usually are. It was nice
to see Jurgens pencilling the Man of Steel again, though Breeding's inks
weren't as strong as I remember them. The only true negatives to the art were
the surprisingly bad combination of Byrne and Janson, and a less than stellar
effort from the usually strong Immonen.
As for story, I was ecstatic to see the return of the real Karl Kesel, who's
been somewhat missing in recent issues of _Adventures of Superman_. His plot
twist at the conclusion of the kidnapping was wonderful, and the portions
that he scripted included some of the strongest characterization in months.
Stuart Immonen's script was also pretty good, especially in the Armstrongs/
Scorn scenes. Simonson's script of the SCU battle with Intergang left me a
bit cold, but what followed was pure gold.
The climax of the story, in which the culprits are revealed was some of
the most magical storytelling and artwork the Superman books have seen in a
while. Bogdanove draws perhaps the most powerful scenes of his career, from
the tremendous image of Superman rising from the debris, cradling Lena in his
arms, to the classic aerial of Superman at the conclusion. Most impressively,
Kesel, Simonson, Bogdanove, and Janke manage to take the same Luthor who has
recently been portrayed as so gloriously evil and turn him into a helpless,
caring father who is more concerned with his daughter than anything else. At
the same time, the formerly victimized and sympathetic Contessa is made to
look like an uncaring monster. (What mother would allow Bizarro to get *near*
her daughter!?) Fabulous.
Finally, Bog's two pages of the Golden Age Superman are so dead-on that it's
scary. If the next few months can live up to what was begun here, then we're
in for the thrill ride we've been waiting for.
==========
Mike Smith (MS)
Rating: 3.8 shields
A lot of repetition in this book. I liked the numerous splash panels of
Superman, but hated the constant exclamations of "Wow, Superman you're back
to normal!"
Ma never liked the energy suit? That's not what she said about it in
_Superman_ #123, and Jurgens wrote the script for both! Nice to see the
writers so quick to defend their creative decisions.
The writers said early on that the New Powers had a cause and that cause
would be revealed. I still don't see it. Moreover, I have no idea how
Superman changed back.
I'm surprised to see that this is indeed a jump-on point for new readers!
Lena is kidnapped at the beginning, rescued in the end. Nice and neat. The
question is: what new reader will pay so much for a jump-on point? Especially
when none of the plotlines established in this issue will be dealt with for
another three months!
Loved the preview of the Golden Age Superman. The Silver Age Preview looks
great. Looks like Immonen got the raw deal; his preview looks just like
Kesel's without the humor or style. Jurgens' is pretty dull. Overall, great
to see Superman charging back into action.
Amazing the difference a change of clothes can make....
==========
Simon DelMonte (SDM)
Rating: 2.8 Shields
I really wanted to love this one, but I didn't. This was not a bad comic, but
the good elements (strong characterization of Luthor; Bog's art work, good
scripting for the most part) and bad elements (a weak portrayal of Supes, bad
penciller/inker combinations, inappropriate artists, the Jimmy/Misa story)
were about equal. While there might be reasons for hope, there are still
reasons for worry.
I suppose I should be happy that, if nothing else, the real Superman in the
real costume with the real powers and the real S-shield is back, but I just
can't help feel foolish. Why did I buy this at $4.95? Why did DC do this in
the first place? Wouldn't just making it a four-parter (or better yet, a
two-parter) have worked just as well? Why not do a special truly and clearly
celebrating the 60th anniversary instead?
Of late, everything DC is doing with its big guns worries me, and nothing
here calms me at all. I wonder if I'm getting ready to pack it in, as I've
threatened to do but never have. I still love Superman, but the thrill is
gone in these parts. The costume is back, but not much else followed.
==========
Vic Vitek (VV)
Rating: 4.5 Shields (Story: 4.8, Art: 4.2)
For those people looking for an explanation as to how Superman gained or lost
the energy powers, or split into two, forget it. Call it "story needs" and
leave it at that; anything that brings back the Man of Tomorrow works for me.
This story shows exactly what you can do if you really want to put out a
quality issue. While the return of the real "Man of Steel" is the reason for
this issue, the Super-writing-team did a bang-up job on a lot of the subplots
that have been going on forever. Personal favourites included Perry accepting
Jimmy back to the Planet staff (a very in-character move) and the realization
by Dirk that having Scorn as a bodyguard for his daughter isn't a bad thing
after all. I'm not sure that Ceritak will be around much longer, though; I
think he is getting homesick.
The epilogues bring promise of stories like I read growing up as a Silver
Age fan and I can't wait for the coming month, especially the Superman of
the Future and maybe Elastic Lad <g>. (BTW- is the license plate in the
last GA panel something to do with John Byrne?)
The whole kidnapping is done superbly, in my opinion. The clue to the
kidnapper's identity is given very early, and even if you don't catch it
right away (I didn't), it falls into place when the kidnapper is revealed.
We learn that the Contessa is alive (hinted at, and known by all, but not
shown), and that Luthor has a very formidable foe whom he can't even describe
to the police. Watching those two spar in the months/years ahead will be fun
and very interesting.
The overriding theme in this book is a return -- not just of the Man of
Steel, but of NORMALCY. Things are back to the way they should be. Superman
as Clark Kent, husband of Lois Lane. Perry White as commanding Editor-in-
Chief of the Daily Planet. Jimmy Olsen, NEWSPAPER reporter. Lex Luthor, evil
genius aiming to control Metropolis, but not truly in control of himself,
between Lena on one side and the Contessa on the other, and Superman watching
all the while.
Let's hope the "normalcy" is around for a long time to come.
_____________________________________________
SUPER-FAMILY TITLES:
-------------------
SUPERBOY #51 May 1998 $1.95 US/$2.75 CAN
"The Test!"
Game-plan and Cleanup: Karl Kesel
Home Run Hitter: Tom Grummett
Scoreboard: Comicraft
Color Commentary: Buzz Setzer
Equipment Wrangler: Frank Berrios
Halftime Entertainment: Mike McAvennie
Wrote the Rules: Jack Kirby
Cover: Tom Grummett, Karl Kesel, and Patrick Martin
RATINGS
Average: 4.0/5.0 Shields
RG: 4.0 Shields (Story)
4.5 Shields (Art)
DWd: 4.0 Shields - Finally a Super comic that can be enjoyed on a number of
levels. Keep up the good work boys!
EJ: 4.0 Shields - EXQUISITE art! I LOVE Superboy with long hair! The panel
where he remembers was worth the price of the book.
ES: 4.1 Shields - The plot thickens! Congrats to Kesel for building suspense
and interest not seen in the regular Super-titles. Grummett's art is
so much his and yet also so much Kirby goodness. You must buy this
book; you deserve a good Super-story!
JO: 4.5 Shields - You survive bullets, a big rock and a volcano and that
makes you God? I suppose that works if your Bible happens to be a
bunch of old newspapers.
MS: 3.5 Shields - Another crappy Millennium Giants tie-in that... what? It
wasn't? Oh, right. Must have been what made it so good.
SDM: 3.7 Shields - Not quite as much fun as the first part, but made lively
by the full-fledged return of the Kid as the star. This is not a
profound comic but it's what I expect from my escapist entertainment.
Karl and Tom deliver what I need.
The new team got things off to a great start last issue, and they seem to be
trying to out-do themselves. I didn't think they could top last issue, but
instead the team has raised the bar on my expectations. We can but hope that
they can keep it up. This book has everything that I read comics for: humor,
quality, a well-paced story, and artwork that makes me want to pick the book
up again just to see if I missed any of the hidden details. I miss the Kirby
stories of the 70s and this one reminds me why.
Last issue found Superboy in a place where animals talk and humans don't.
Humans are kept as slaves and even as pets. When he saved the leader's life
(Caesar) and regained his speech, he was believed to be the prophesied
Mighty One -- but to prove it, he has to take a test. Long-time readers know
the Kid doesn't test well.
To prove that he is the Mighty One, he has to pass four tests that would have
given Hercules problems. The first is the test of the _Fortress of Solitude_
(I know, it gets better) where the Kid has to prove he is 'faster than a
speeding bullet' by surviving a gauntlet of automatic weapons. The next is
the _Deadline of the Daily Planet_ where he must catch a huge stone globe (a
la Indiana Jones). The last obstacle combines the remaining two tests where
the Kid needs to 'Leap over the tallest building' and face the 'Fury of
Doomsday'. The animals have taken a few, _small_ liberties in creating these;
The Kid is loaded into a catapult and thrown into a volcano.
The sight of the volcano triggers Superboy's recollections of Hawaii,
restoring his memory in full (and with it, the knowledge of how to fly and
use his powers. Since he has earned the title of `Mighty One', the Kid gets
answers to a few of his questions. As you probably guessed by the nature of
the tests, the 'Mighty One' was really Superman, and somehow Superboy has
been transported far into the future.
He turns down Caesar's crown, and asks to be allowed to explore the world to
look for a way home. Prince Tuftan offers to be his guide. They make a quick
visit to "Sakers Store" where Superboy gets his costume back, and it's time
to get a few answers.
After last month I went back and found some of my original Kirby _Kamandi_
books. I can't believe how well Kesel and Grummett have taken the original
story and brought it, intact, into the `90s. When I read the Previews of the
story line I was almost dreading what was going to be done to one of my all-
time favorite series. I'm no longer worried. In fact if they continue doing
this good a job, I'll be very sorry when Superboy leaves to go home. The
story is full of action and reads so well that it's over before you expect.
The art in the book is just short of incredible. Nicely detailed with a lot
of subtle jokes hidden in the background. (Look for a life preserver from the
S.S.Minnow -- and there are more.)
If you're one of the people who dropped this book about a year ago (I don't
blame you!), you should seriously consider picking it up again. I doubt
you'll regret it.
Rene Gobeyn
<bedlam@frontiernet.net>
=================================================
SUPERGIRL #21 May 1998 $1.95 US/$2.75 CAN
"Through a Fractured Prism"
Writer: Peter David
Artists: Leonard Kirk and Prentiss Rollins
Letters: Pat Prentice
Colors: Gene D'Angelo
Seps: Digital Chameleon
Assists: Frank Berrios
Cracked: Mike McAvennie
Cover: Gary Frank, Cam Smith and Patrick Martin
RATINGS
Average: 3.4/5.0 Shields
TD: 3.0 Shields
ES: 3.5 Shields - This title is never boring. A little bit of combat, a
little bit of romance... none of it what you'd expect, as is with
good PAD writing. That's enough reason for you to be buying this
title monthly. Leonard Kirk's pencils are solid as usual.
GN: 4.3 Shields - Peter David's take on Supergirl/Linda Danvers continues to
engage. I especially liked her exploration of angels and her scene
with Andy. Since she originated as "protomatter," Linda might at
least give some thought to what Andy is saying, even if she chooses
not to accept her "invitation."
JO: 3.7 Shields - I'm with Supergirl; I hope things work out for her and
Comet, but the last thing she needs is to hook up with another bad
guy. As always the supporting cast and their ongoing problems make
this book a joy.
JSy: 2.5 Shields - While the extraordinary (even for Linda) circumstances
in this book result in some great dialogue (and thoughts), the main
plot just bored me to tears. Let's dump the Comet thing and move
back into the Earth-bound angel/Wally the God-boy thing.
VV: 3.6 Shields - Peter David plants some clues for Supergirl to find to
convince her she is who Buzz and Wally says she is--but are they
real? The Kents continue to shine in this series; Martha shows the
incredible perception only a mother could show. I do hope this Comet
plot is resolved soon, though.
If you've been following my reviews, you know I'm not entirely fond of the
Comet storyline, or for the Andy Jones 'Let's-not-reveal-her-shocking-secret'
one. Well, in this issue, David starts bringing one storyline to a head and
resolves another, and neither of these are as awful as I imagined. That's not
to say they couldn't be better, but at least I'm not gacking.
We open on Comet being pursued by a generic super-villain-type called
Fracture. Fracture represents something called the Stable, and has been sent
after Comet to collect the money this figure owes for skipping out on his
contract. It stands to reason that their paths would cross with Linda's who
is busy in the library reading up on angels. It seems that the book to which
Wally directed her contains information on an 'Earth Angel,' a spirit created
when a person selflessly sacrifices him or herself for the purpose of saving
someone who is beyond hope. (Gee, I wonder who THAT is.) She also finds a
picture of a Cherub that bears a resemblance to Wally, but is interrupted by
Andy before she pursues it further.
Andy takes Linda to lunch, and the big revelation EVERYONE saw coming comes,
and things get awkward until Fracture shows up, declares that he's going to
make off with Linda because she's pally with Comet, leading us into our
obligatory fight scene that ends with Fracture giving Comet 24 hours to pony
up (sorry, couldn't resist) or the collection agent will level Leesburg.
Linda tries to get some answers out of Comet, but ends up in a liplock with
the super-fast hero instead. Elsewhere, Martha Kent doesn't have nearly as
much success in reaching Sylvia as John did with Fred; declaring she's gonna
be stuck on the bottle for a while prompts Fred to make a painful decision to
divorce his wife.
I still have no idea where David is going with Comet, although at least I'm
beginning to see that there is a plan, and it's not the one I was afraid it
was. I would prefer fewer horse jokes, though--the one in which Fracture
decides not to break Comet's leg because 'then we'll have to shoot you' is
a bit much. I also would have preferred a bit more characterization of
Fracture. There are glimmers of what this character is like, especially in
relation to the man's philosophy, but the fact is he's generic -- a character
with no real sense of past or future, who's just there for the ride.
As for the Andy Jones sub-plot, which comes to a head here, I really have to
question why David put it here at all. The revelation just sits there, and
there's no real resolution as David has Fracture show up to interrupt the
tete-la-tete (although it does result in a very funny line). I guess I would
have preferred to see more with Sylvia and Fred, whose scenes are where
PAD's script gains its electrical charge. I also deeply missed an appearance
by Wally, who's become as integral to the book in this phase as Buzz was in
the first year.
Kirk's artwork is serviceable this time, as he's once again teamed up with
Prentiss Rollins. I will say, though, that this cover, which marks the swan
song of Gary Frank on the book, is priceless.
David and Land have been hitting more often than missing these days.
"Through a Fractured Prism" is squarely in the middle, neither engaging nor
off-putting, and maybe holding a promise out for a better second half to the
story.
Thomas Deja
<manciniman@rocketmail.com>
_____________________________________________
OTHER SUPERMAN TITLES:
---------------------
JLA #18 May 1998 $1.95 US/$2.75 CAN
"Synchronicity"
Guest Writer: Mark Waid
Penciller: Howard Porter
Inkers: John Dell
Colorist: Pat Garrahy
Separations: Heroic Age
Letterer: Ken Lopez
Assistant Editor: L.A. Williams
Editor: Dan Raspler
Cover: Howard Porter and John Dell
RATINGS
Average: 3.4/5.0 Shields
AW: 3.5 shields
DWk: 3.5 Shields - So much happening so quickly that it felt like reading a
Silver Age comic. Not up to Morrison's standards, but close.
JO: 3.7 Shields - Messing with time and or probability always makes for big
trouble and good reading in comics. I'm looking forward to the next
issue to see what they do without the Bat.
JSy: 3.1 Shields - I still don't care for Porter and Dell, and there's no
way that Batman would have forgotten about Oracle the way he did.
Still, there's some fabulous dialogue, and I loved how Wally and
Kyle were so in awe of Batman.
MS: 4.0 Shields - Batman can't count, Flash can't recognize his girlfriend,
Superman's powers make sense, and Steel makes his sixth appearance
of the month. That Engine of Chance doohickey really _does_ work!
SDM: 3.3 Shields - A fun Waid story, the kind he used to write when he did
_JLI Quarterly_. Not much Supes here, but Waid seems a bit more sure
with the Blue version than the regular writers (and thank God that
era is over!).
Looking back on some recent critiques, I've realized something.
Caught up in the complexity of Grant Morrison's plots and characterization,
I've spent inordinate amounts of time dwelling on the minute details and
blurring my focus on the reason most of you read this review and the rest of
the Kryptonian Cybernet--to see what our favorite Kryptonian is up to and how
he is being portrayed. (Now, of course, there's a double purpose as Steel is
added to the JLA roster.) So in the future, if it's okay with you, I'll
dwell less on the minute details and try to concentrate on how Grant Morrison
(or whoever is writing JLA) uses or abuses our Men of Steel.
That said, I sadly have to say Superman is only a bit player in the current
drama, and Steel disappears early on.
In essence, one Julian September is the villain of this piece. He has
invented a device that triggers good or bad luck, depending on your point
of view. For the Justice Leaguers, the bad luck is a string of villains and
disasters. The good luck is that, by seeming coincidence, whenever a JLA'er
needs a hand, a fellow teammate pops up to help out. Once the disaster is
averted, though, one hero from the team disappears, and we see a newspaper
headline or other reference to the latest successes of Julian September:
Being awarded a Nobel Prize, scoring big in the stock market, winning the
lottery, etc. In the case of Superman and Steel, they converge with Wonder
Woman just in time to prevent seven airplanes from crashing into each other.
Crisis over, Steel vanishes in a flurry of newspapers reminiscent of the
disappearance of Robert DeNiro's character in _Brazil_.
Finally, the remaining heroes converge on an emergency in Washington D.C.
where seven villains have simultaneously decided to kill the President. The
JLA handily defeats them, only to discover that the Chief Executive is none
other than Julian September. Apparently, nobody remembered voting for him
and realize something is amiss. In the ensuing struggle, the fortune machine
is destroyed and September disappears, to be replaced by a woman president.
Green Lantern may be naive enough to think that a woman could actually be
elected President in the United States, but the rest of the JLA instantly
realizes that the fortune machine has skewed reality, and that it's changing
history.
Batman deduces the nature of the fortune machine (events are all based on the
number seven), as the Flash looks on with complete adulation. Batman is just
pointing out that the JLA has been reduced to seven members and therefore
won't be further affected by the fortune machine, when he disappears. Whoops!
Did he forget, perhaps, to count Oracle as a team member, or is some other
cause afoot? Tune in next issue....
Mark Waid does a capable job scripting this issue. The actions flows
smoothly, and the characterizations seem fairly consistent: Aquaman is
irritable, Plastic Man annoying, and the Flash precariously balancing between
experienced hero and awestruck Batman fan. More importantly, Mark appears to
really be having fun as he writes the characters. I've never seen Batman pace
back and forth as he did here, though; that seems to suggest an uncharacter-
istic nervousness on his part.
Steel gets a couple of panels to himself, disabling a plane's engine in order
to change its trajectory. His dialogue, however, is somewhat bland, only
serving to explain why he's not following up on a plane that, with one engine
down, would still be in some danger of crashing. I have to say I'm still
questioning whether Steel is an ideal member of the League. As much as I
liked him in his own series, I'm still not sure that he adds enough contrast
-- power-wise or character-wise -- to really make a difference here. I'd like
him to be more than just the JLA's version of Iron Man.
The Porter and Dell artwork was enjoyable as always. As much as I loathe
Plastic Man's personality, I have to admit that he, like Green lantern, has a
lot of graphic potential that lets the artists go wild, and that's when they
do their best work.
Anatole Wilson
<awilson@us.oracle.com>
=================================================
SUPERMAN ADVENTURES #19 May 1998 $1.95 US/$2.75 CAN
"The Bodyguard of Steel"
Writer: Mark Millar
Penciller: Aluir Amancio
Inker: Terry Austin
Colorist: Rick Taylor
Letterer: Lois Buhalis
Assistant: Frank Berrios
Editor: Mike McAvennie
Cover: Rick Burchett, Terry Austin, and Rick Taylor
RATINGS
Average: 3.7/5.0 Shields
CoS: 3.0 Shields - While this isn't bad, it isn't good either. An average
comic that does little more than set up a premise and follow it
through in a pedestrian manner.
DWd: 4.0 Shields - I think the writers of the regular super titles should
have a look and see how a proper super story should be handled!
ES: 3.3 Shields - Well-drawn story, and the ending had me surprised! I'm
glad this book is getting away from the kiddie fare and returning to
its earlier glory.
GN: 4.4 Shields - Multi-face looks to be a good addition to the Superman
Rogues' Gallery. The revelation of his actual target was a clever
twist. I still wish they'd use brighter colors for Superman's
costume.
JSy: 3.9 Shields - So this is the new regular creative team for the book
(as of a couple of months from now). Fun story and nice dialogue,
and good use of a minor character from the series. Look forward
to Millar's ideas for the book.
If you've ever hung out around a comic shop with older fans, or been on an
internet newsgroup, you'll inevitably get a fan who complains about the books
put out by DC, saying that they used to be so much better in the Silver Age.
He'll say that the stories had less filler, were never continued, and were
more than issue-long fight scenes. What I don't understand is how these same
fans won't even look at a book like Superman Adventures, since it as close to
a Silver Age comic book as you are going to get without buying a back issue
or a reprint.
When I was a kid, I didn't like the DC books because the stories rarely lived
up to the cover. I've heard how those books were created by editors such as
Mort Weisinger and Julie Schwartz, and how they would come up with the cover
first, then assign a writer to base a story on the cover. This issue of
_Superman Adventures_ seems to have started the same way, with a great shot
of Clark Kent in a crowd, firing at someone while Superman swoops in,
deflecting the bullets. Much like those Silver Age books, though, the story
doesn't have the same impact as the cover.
We open with a great sequence of Superman barreling through a series of
defenses to get to the Oval Office of the White House. When he makes it
through, we find out that he is testing to see if the military can stop a
superhuman intent on killing the President -- and of course, it can't.
Superman offers to be the President's bodyguard for the next 48 hours. That
time-frame is important because that's how long until the President signs a
major peace treaty, and someone has posted a one billion dollar bounty on his
head to prevent him from signing it. (Story flaw #1: Even if the President
signs the treaty, it has to go through Congress...are they going to offer a
bounty on anyone who votes to confirm?) Clark had been assigned to cover the
signing ceremony, but he makes a lame excuse to get out of it and Perry buys
it. Lois is assigned to cover the event.
Meanwhile, Lex Luthor has hired an assassin named Multi-face, who
demonstrates his skill by posing as Luthor and passing through LexCorp's
security without being stopped. The group at the White House gives Superman
information on Multi-face, saying that the FBI has received word that he's
been hired for his biggest hit ever. (Story Flaw #2: If the FBI knows that
he's been hired, shouldn't they know by whom and for what? Heck, if they know
he's a hired assassin, and can find out when he's accepted a job, could it be
much harder to actually catch him? The writer obviously couldn't think of
another way for Superman to be on the lookout for him.) Superman helps the
military stop a number of assassination attempts by former foes such as the
Toyman, Weather Wizard, the Parasite and Intergang (all told to us in
captions). When the time comes for the announcement and signing, Superman is
with the President, looking for anyone who could be Multi-face.
It is at this point we get the cover scene, only... Superman never blocks the
shot, as shown. He is about to, but the military commander pulls Superman out
of the way since he had found out seconds before that Multi-face had been
hired to kill Superman, not the President. (Incredible Coincidence #1: The
General is told seconds before the press conference is to be held.) A subplot
of the General not liking Superman (hefeels it's easy to be brave when
you're invulnerable) is wrapped up quickly with this bit of business.
One of the reasons the Silver Age style of storytelling finally went away was
because people got tired of the formula. As much as the Silver Age boosters
go on about how much they hate gimmicks, the stories of that era were almost
all gimmicks. This story held both the good and bad points of that formula,
making just an average comic to me. This is not to say that Silver Age = bad;
the current story on _The Flash_ ("The Human Race") makes good use of the
Silver Age style, so it can be done right. It was done very well in Scott
McCloud's baseball story of SA #13 -- it just didn't work for me here.
Mark Millar is taking over the book in a few months as the regular writer,
and it's likely he will continue in this manner, since it follows his pattern
from other books he's worked on, both alone and with his writing partner
Grant Morrison.
Amancio's art does a fine job of telling the story, but it doesn't go much
beyond that. Other artists who have worked on the book have done a nice job
of characterization in how the characters act and react, adding to the story
without overpowering what was going on with little asides. There isn't any of
that, and other than a very nice Kirby-ish opening sequence, the story-
telling is uninspired, simply getting us from point A to point B.
One of the highlights of this series for me is how Lois influences the story
even if she isn't a major character. The artists and writers give her little
bits of business to do in each of her panels with expressive looks that get
the reader inside her head even if it doesn't matter to the story. In this
issue, Lois just seemed to be put in because she's a character who has to
appear in every Superman story.
All in all, this felt like a fill-in story. Even though _Superman Adventures_
doesn't have the soap-opera aspect of Superman's never-ending battle, it has
always had a feel that something is going on. This one felt like it was the
second week of the month, so a Superman story had to be done. It could have
worked with any other superhero. A better story was in the offhand remark by
the General, who wondered about Superman's bravery. This book has done good
stories in the past on premises like that one; maybe Millar will do that
story soon.
Cory Strode
<Cory.Strode@aexp.com>
_____________________________________________
SPECIALS:
--------
TEAM SUPERMAN SECRET FILES #1 May 1998 $4.95 US/$6.95 CAN
"Secret Origin: Those who wear the Shield"
Writers: Barbara and Karl Kesel
Penciller: Bob McLeod
Inker: Mark Pennington
Additional Features:
Writers: Eddie Berganza, Matt Brady, Chris Duffy, and Priest
Pencils: Eric Battle and Georges Jeanty
Inks: Doug Hazlewood, Jimmy Palmiotti, and Dexter Vines
Letters: Clem Robins
Colors: Tom McCraw and John Kalisz
Separations: Digital Chameleon
Asst. Edits: Maureen McTigue and Alisande Morales
Editors: Mike McAvennie and Dan Thorsland
Cover: Dave Johnson and Matt Hollingsworth
RATINGS
Average: 2.9/5.0 Shields
RG: 2.0 Shields (Story)
3.0 Shields (Art)
DC: 3.0 Shields - Makes me long for a new "Superman Family" comic book.
ES: 2.3 Shields - Nothing new here (aside from Steel's hammer tale, which
was good), but it was told well and drawn decently. Was it worth the
high price, though? Not really...
GN: 3.5 Shields - The origin recap was pretty good, revealing a lot about
how Superboy, Steel, and Supergirl view Superman.
JO: 4.0 Shields - These issues are always fun and a must-have for any fan
of the characters. They shouldn't have crammed the three of them
into one book -- it made their origins seem too short. Still, it was
well worth the money.
SDM: 2.5 Shields - Some good stuff, like the Steel/Warrior story and the
Who's who items by PAD and Priest, but the lack of new info, a weak
(if sometimes intriguing) lead story, and that horrid timeline lower
the grade.
TD: 3.0 Shields - The origin stuff was a waste, and Josh Hood should never
be allowed near a pencil AGAIN, but a good jumping on point for
potential new readers (not that STEEL will have a chance to keep
them--*sniff*)
What can I say; it's yet another of the DCU (DC Universe) Secret Files and
Origins (SF&O) books. That means that it's a great place to learn more about
your favorite heroes. The stories are not usually as good as the ones in the
heroes' own titles, but if you're looking for a solid and current background
on a given hero (in this case heroes) then they are an excellent starting
point. The profiles could bring a new reader up to speed fairly quickly.
This one was no exception to the formula. What was different was that it was
a single book concentrating on the three other heroes currently in the DCU
who wear the 'S' shield; Supergirl, Superboy, and Steel.
The introduction story of the book establishes the time as being right after
the Millennium Giants story line of the past few months, taking place during
the brief time when both Superman Red and Superman Blue have disappeared.
Superboy, Supergirl, and Steel gather in Metropolis looking for Superman to
make an appearance. As things progress they stop some looters, each in their
own special way, then get to talking about themselves. We get (very) brief
origin stories from each of them. The talk drifts from origins )Supergirl
doesn't give quite all of hers to the other two) to what the "S" shield
really means to each of them and to the world at large. It's... informative,
but didn't quite cut it for me. Each has their own view of what the shield
stands for, but it takes Perry White to put it all into perspective for them.
As the story comes to a close, there is the sound of a plane exploding, that
leads directly into the _Superman Forever_ book. Overall, a fair intro to the
other members of the Superman Family.
The remainder of the book (like others in the SF&O series) is made up of
single-page profiles that go a long way to introducing the members of the
ongoing casts of the various titles. Each page has a picture of the cast
member and a brief biography, and explains how they fit into the lives of our
heroes. Not all of them are good guys either; each of the series' main
villains are represented as well.
Other pages are filled by a two-page teen-magazine style interview with
Superboy, a couple pages of Linda Danvers' (aka Supergirl) diary, and a
background story on the changes to Steel's hammer starring Guy Gardner:
Warrior.
The story (what there was of one) was forced, though it did explain why the
three were in Metropolis when Superman returned. The backup story with Steel
and Guy Gardner didn't work either; it certainly won't convince DC to keep
Steel's title going. It read like it was just there to take up pages.
I think my biggest complaint with the book is that it seemed as if it was
just thrown together at the last minute. Either the editors didn't proof it
carefully or there are bits of Steel's history that have never made print,
and seem to contradict each other (Steel played baseball in one mention and
football in another).
My favorite feature of the book was the condensed time line that anchors the
three characters into the rest of the Superman history (post-Zero Hour). I
also liked many of the profile pages.
Artwise, what can I say? I think very nearly every current artist at DC
contributed to this book. As such some of the pages were fantastic, others
not so great. It happens in a book like this.
Overall, I can only recommend this book to new readers and people who don't
pick up the other (non-triangle) titles in the Superman Family. If you are a
regular reader this one can be skipped.
Rene Gobeyn
<bedlam@frontiernet.net>
_____________________________________________
THE MAILBAG
-------------------------------------
(sykes@ms.uky.edu, KryptonCN@aol.com)
KC Responses are indented and begun with ****
=========================================
From: David Thomas Chappell (dtc@acpub.duke.edu)
[Derek Jackson wrote, in the review of the _Challengers_ crossover,] "It
would be nice if DC would print more of these if they plan to run a crossover
from one of their biggest comics. Four comic stores, and these were all sold
out. (One of the stores only had 2 to begin with!)"
The problem rests not on DC's shoulders but the individual comics stores.
Each store decides exactly how many copies of each issue they will order.
Stores were warned about each part of the Millennium Giants crossover, so
managers who paid attention could have easily ordered extra copies this
month. You can be mad at your store, but please don't blame DC for something
that isn't their fault.
**** I also want to point out that if you want to make certain that you
receive a copy of a title you don't normally buy, you should let your
comic shop owner know that you want a copy. Information about
crossovers is provided in _Previews_ and in our own Coming Attractions.
While you shouldn't order if you have no intention of buying, most
store owners won't force you to buy a pre-ordered mainstream title
(most DC and Marvel qualify) if it turns out that the crossover isn't
substantial enough to justify the purchase.
=========================================
From: Neil Hansen (Neil4161@aol.com)
"The Game of Secret Identities" is a very fun piece. One day, all of these
articles (or at least the best of) will have to be assembled for a special
magazine available on the newsstands. I think it would be a real kick and I
know I'd buy one. The writer was correct about Byrne not developing Lois and
Clark's relationship. I always thought Byrne fell flat after the first issue
of _Man of Steel_. However his ideas were sound because they worked well
within the realm of television, from the _Lois and Clark_ series to the
current animated version.
**** I've often wondered if there would be enough interest for a printed
special edition of the Cybernet, collecting the best of our opinion
pieces and Phantom Zone reviews. Of course, that would mean
investigating printing costs, distribution methods, copyright
concerns, etc. Proceeds from such an effort, after compensating
the contributors, of course, could be used to defray the costs of
a domain name and/or web host in the future.
Granted, there's no way on Earth I'd pursue this until I get that
little piece of paper with the letters P, h, and D on it, but that
day is drawing closer and closer, and the concept *is* intriguing! :)
=========================================
From: Jim Lesher (jlesher@npr.org)
If you haven't been buying _Supreme_, I *strongly* urge it. In fact,
according to the most recent _Previews_, there will be a trade paperback
reprinting the first six parts of the storyline Alan Moore has been writing
since he started on _Supreme_. It is *very* well done. If you have not read
or cared for _Supreme_ before this, don't worry. Moore takes the new reader
through the story very skillfully. It's specifically written to appeal to the
comics fan who likes modern comic storytelling, but who also enjoyed the
Superman stories of the 1950's and 1960's. Pick it up. I can promise you that
you will be glad you did.
**** Unfortunately, _Supreme_ did not survive the Awesome Implosion, as it's
come to be called. When Awesome scaled back its line during the past
month, _Supreme_ wasn't one of the titles rescued. If the trade
paperback actually comes out, I'll likely give it a try, but it would
appear that Alan Moore's job on _Supreme_ is gone for the immediate
future. Of course, that means he's currently available for a Superman
title! [HINT, HINT, DC!]
Speaking of Alan Moore, that brings me to a comment that J.D. Rummel made in
"The Basement Columns, Part 3." He said that "as long as the pictures are
good, we forgive bad writing" and that "if the stories aren't pretty, then
even extraordinary writing will have a difficult time making a success."
I suppose that's true. I can certainly think of many examples that fall into
those two categories. For example, I found the _Legends_ mini-series from
the late 1980's to be very good because of the phenomenal art by John Byrne
and Karl Kesel. It made me forgive the terrible story, which was by John
Ostrander and Len Wein. Wein and Ostrander are two of my favorite writers,
and it's odd that they produced such terrible work together.
On the other side of the equation, I can think of a few good stories that
were ruined by terrible art. One such story that comes to mind comes from, I
believe, _Justice League International Annual_ #3. In this story, Batman and
the Martian Manhunter teamed up, and the story [by Keith Giffen and J.M.
DeMatteis] explored their similarities and their differences. Unfortunately,
the whole story was illustrated by, I believe, an artist named Tim Gula. If
you've never seen it, don't bother. Bad, bad, bad, bad, bad art. Ruined
everything...
**** I'd like to add much of Louise Simonson's run on _Man of Steel_ to
that. I think she has always been given short shrift by the fans
simply as an extension of the general dislike of Jon Bogdanove's
pencils.
However, I can also think of exceptions to J.D.'s rules, and this is where
Alan Moore comes in. Moore, as many people will remember, caused something
of a revolution in comics during his four years as writer of DC's _Swamp
Thing_. That run produced many, many classic tales, but the one I want to
focus on right now came during the "American Gothic" storyline, in which the
Swamp Thing was combatting misc. evils throughout the U.S. I don't want to
give too much away if you haven't read it, but it concerns a large house
haunted by the ghosts of people [and animals] killed by gunfire since the
days of the early Colonists. The art for the story was, in a technical
sense, bad: the few human characters who appeared were mis-proportioned and
had few discernible facial characteristics. The inks for the story were done
by Alfredo Alcala, who always inks everything far too heavily. [Dennis
Janke's got *nothing* on this guy!] Nevertheless, the story is a classic
because the artist [Rick Veitch, I believe] drew what Moore needed him to
draw. The story was so strong, and the script so precise as to what was
happening, that the characters didn't need to be figure- perfect. They said
and did exactly what they needed to at the right point in the story, and the
results were *amazing*. DC Comics has been re-printing the original Alan
Moore stories in black-and-white, and I urge anyone who has not read them
before to pick them up.
This, then, is an example [in my mind] of extraordinary writing producing
extraordinary results, despite less-than-stellar art.
For an example of a comic with good pictures and *unforgivable* bad writing,
I can turn to the recent _Kingpin_ one-shot [featuring Spider-Man and
Daredevil] from Marvel Comics. It's a sad day when one of the greatest comic
book writers can no longer write his best character, but that is what
happened here. The Kingpin story was written by none other than Stan Lee
[from a plot by Tom DeFalco, who is also capable of better], and God it's
bad. It's bad enough that the story ignored the complicated events going on
in Spider-Man's other titles, as well as the return of Captain America and
the rest of the Avengers from the pocket universe I call "Liefeld's Limbo,"
but every piece of dialogue and exposition reads like a cute footnote from
bad issue of Dazzler. In addition, Lee has Spider-Man and Daredevil reciting
dialogue as if they [and *we*] had never progressed past the 1960's. Sorry,
Stan, but times have changed. Perhaps his own characters have simply passed
him by. It's happened before, but it's still a sad day...
On the bright side, the artwork [by John Romita Sr!] is fantastic and some of
the best he has ever done. Spidey and DD look great, like *real*
super-heroes, with no hand-held missile launchers or blue sparks in sight.
In short, 5 out of 5 for the art, zero for the story.
I wanted to like this book. I *really* did, but I just couldn't. So the end
result is a story with great pictures, bad writing, and a disappointing read.
I guess the point of all this is to say that there is no mathematical formula
for producing a good comic. If there was, Marvel would never have had to
sell out to Liefeld [thank God *that's* over].
Finally, I feel I have to come to the defense of Ron Frenz and Sal Buscema,
who spent most of their careers as artists for Marvel and whose art I have
always liked, though not always loved. I think the reason that Frenz's art
just hasn't been resonating is because the storylines just haven't been
tailored to his strengths. Ron Frenz excels in stories that have action;
specifically, he can really draw big, *big* fight sequences. Take a look at
any of the issues of Thor that Frenz drew. When Frenz puts his all into a
full-page splash of Thor throwing one Hell of a punch, the effect is [forgive
the pun] smashing. Hopefully, now that Superman has regained his original
powers, Frenz will have opportunities to draw like he used to.
**** Except for the fact that he's soon to be stepping down from the title
to work on something else. At least it's Superman-related work, though.
Oddly enough, do you realize what Ron Frenz will probably go down in
history for? He's the man that designed the Superman Blue costume...
As for Buscema, his artwork on _Superboy_ wasn't the best of his career. For
that, I refer to his run as penciller *and* inker of Spider-Man just before
the Clone Saga grew out of control. Specifically, look at issue #'s 210
through 216 of _Spectacular Spider-Man_. Great stuff...
**** I liked his fill-ins on _Superboy_, if for nothing else than it was a
wonderful break from Ramon Bernado.
That's all from me, but I want to say one more thing: I read _Superman
Forever_ over the weekend, and it was a story that was long overdue, but
enthusiastically welcomed nonetheless. Several of the full-page spreads of
Superman were suitable for framing. When was the last time you could say
that?
=========================================
From: Monty Bond (mwbond@m9.sprynet.com)
I was a major fan of Superman about 13 years ago... I kept up with all the
comic books of him, _Action Comics_, _Superman_... Even _DC Comics_ presents,
I had almost everyone of them. There were other comics I really enjoyed also,
like _Justice League of America_, _All-Star Squadron_ and some Marvel titles.
Then came an event which at first I thought was going to be a cool thing. It
was called _Crisis on Infinite Earths_. So I said to myself, all right a
mega-JLA/JSA crossover special. I had envisioned a powerful foe which heros
from several Earths fought and would defeat. I did not expect that this was
DC's way of destroying its own history and ruining many good things that were
happening then.
Well I got all 12 issues of it... Got some of the post-Crisis books. And then
I decided to hang it all up. DC was not the same comic that I had been
collecting since 1971. I kept buying Marvel, but then it seemed this Crisis
thing even came over there. So by the beginning of 1987, I was no longer
buying comic books.
I attempted to get back into comic book buying, I got some copies of a very
neat Batman book, about alternate Universes, but I could not get into it as I
had done earlier.
Now I read in your wonderful Cyberzine that things seem confused over at DC.
I have not collected comics in 13 years and had not bought any in 6 years. It
seems that you can no longer go down to the drugstore and buy the latest
_Flash_ or _Action Comic_ off the rack? Is this what has happened??? From
reading the letters of others, it sure seems that way. I am sadly
disappointed at how DC has gone. It died, in my opinion, at the _Crisis on
Infinite Earths_... Got worse over the years. (With the exception of the one
Batman series I saw, but then that was not even sit in the so-called normal
continuity of DC).
**** The mainstream DC titles are still available off the rack, but the
problem is that the racks have become harder to find. As well, the
cost of the issues has made them unattractive, especially when placed
side by side with the myriad magazines available today. But they can
still be found.
I read in one of the other web pages that people are pretty much convinced
that DC cannot reverse the effects of what has happened since Crisis... I
like to think otherwise... If DC wants me to return, then they may want to
look at this suggestion... This is how I would fix the DC universe... I do
not know how many agree with me, but this is just my opinion....
1. The events that happened during and after Crisis took place on
Earth-Crisis. The super-heroes of Earths Zero, One, Two, etc. have been
abandoned, but they are still there. (Probably wondering why no one makes
comics of them anymore.)
2. Have some sort of rift develop between Earth-Crisis and Earth-Zero, where
the Superman of that Earth uses his almost God-like powers to dispel the
people from Earth-Crisis across the other Earths just before the whole Crisis
Universe implodes.
3. Start old titles like _Action Comics_, with the Superman of Earth-One,
make it clear that he has not gone anywhere, that it was DC that went
somewhere. Also have old titles like _Green Lantern_ (Hal Jordan), _Flash_
(Barry Allen), etc return... End this 3 or 4 series gimmick and return to
publishing good quality comics along the Earth-One Universe style... End the
fancy graphic comics, and stop trying to be like Marvel. (But do not stop the
DC/Marvel crossovers -- those happen on another Earth entirely.)
4. Set the price at maybe $1.50 and sell them by the month. Bring back all
the old classics like Wonder Woman... I can already see story titles to
explain what the heroes have done while DC decided to concentrate on the
Earth-Crisis universe. It would be neat to see what JLA/JSA crossovers were
like and who had taken part...
I realize this letter may seem to some like coming from the dim distant past
or from out of left field... But DC and indeed much of the comic world today
seems to be quite un-user friendly...
**** I think we can all agree that reducing the cost of an issue would be a
major help to restoring the comics industry. In fact, I would imagine
that you're not going to see a lot of pre-Crisis fans return at today's
prices, even *if* your suggestions were implemented.
The *most* important thing here is that you simply can't toss aside the
current set of characters. This was perhaps DC's biggest mistake with
Crisis, not so much in that they decided to focus on only one of each
character (and not two or three different Supermen, for example), but
in that they alienated some of the readers that had been following
those characters for years. The only real reason for such a drastic
change as this is to improve readership (comics is a business, after
all). When trying to bring in new readers, it's always best not to
alienate the ones you already have.
=========================================
From: Sean Hogan (shogan@intergate.bc.ca)
On Millennium Giants continuity problems: I wasn't as bothered by the
problems you cite (although, to be truthful, I didn't know there were as many
or as flagrant as you mention), perhaps because I only bought the core issues
(and _Steel_ #50). I'm generally not in favour of slug-fest issues, but I
really enjoyed the arc. Perhaps it's because I liked the Red/Blue idea from
the get-go. Perhaps it's because the storyline is going somewhere after so
many issues with mired, endless and repetitive plots.
On Dan Jurgens: Probably the biggest reason Jurgens has been my favorite
Superman writer for a while is that he comes up with some really interesting
plots and story ideas. Much of the criticism of Jurgens (and there does seem
to be excessive complaining) is on his execution of those ideas. Karl Kesel
can also have some great story ideas, but lately they have been infrequent
and sluggish (read: kick up the Intergang/Donovan plot!). It's too bad that
Roger Stern wasn't allowed/able to contribute more to the Super-team. Too
many stories are dragged out plots or sub-plots and/or repetitive pointless
slug-fests.
On "They Call It Suicide Slum" -- I voted for this as my favorite story of
the year (and some others shared my opinion), largely inspired by the page
with Clark's shirt open to reveal the "S" to show the importance of saving a
life over a risk to his secret identity. I was surprised to read Cole Odell's
comment that: "I think the worst story of the year, hands-down, was the
classist and racist 'They Call it Suicide Slum.' Please mark this as my worst
single issue and worst story vote." It certainly caused me to re-think the
story, and while I see why he feels that way, I am still strongly affected by
and attracted to the story. I wonder how many share Cole's opinion either on
initial reading or on re-reading.
**** To be perfectly honest, I don't understand the accusation, so I can't
take a stance to either condemn or defend the issue. I would certainly
welcome Cole (or anyone else, for that matter) to share his opinions on
what he finds offensive about the story.
On Kaycees Story/Story Arc vs Issue: I still think the categories should be
renamed for clarification. Or perhaps a longer explanation when the
categories are set out. At least now I see what you are getting at. Perhaps
best/worst "Writing in a Story or Story Arc" and best/worst "Single Issue by
a Creative Team"
On KC: as always, another great job. Well done and thanks!
**** We'll definitely clarify the categories and/or descriptions for next
year's awards. Then, hopefully, everything will some day be as clear
as crystal! :)
-- Jeff Sykes
_____________________________________________
MANUSCRIPTS OF STEEL
------------------------------
Reviews of After-Byrne Superman Special Stories
by Denes House (househld@borg.com)
---------------------------------------------------------------------------
ACTION COMICS #600
Five Tales Commemorating Superman's Golden Anniversary
Cover by John Byrne (after Curt Swan)
1988
Squarebound Format, $2.50 US/$3.50 CAN
Rating:
4.3/5.0 Shields
---------------------------------------------------------
Going out BY REQUEST this month to the long-suffering Steve Kaplan...
I had been looking forward to this one for a LONG time -- probably longer
than I'd looked forward to any comic, ever. I had seen house ads in DC Comics
for months, and those little teasers in the "next issue" boxes were driving
me crazy with anticipation. The issue immediately preceding this one,
story-wise, was the FANTASTIC "Date with an angel" issue ADVENTURES OF
SUPERMAN #440, which went through a resolution of the "Superman robots"
storyline, Superman's anticipation for his upcoming date, his INCREDIBLE
repartee with the Dark Knight showing that they knew each others' secret
identities, and culminated in the smooch to end all smooches, Superman and
Wonder Woman! It was 1988, and I was 15 years old.
Those house ads featured that kiss prominently -- The Man of Steel and the
Amazing Amazon! Wow! I never really had read Wonder Woman's adventures, but
like many teenage males of the time, I had been rocketed through puberty
under the tutelage of Lynda Carter's benevolent smile. I had always been
interested in girls (they were never "yucky" to me) but it was Lynda Carter's
Wonder Woman reruns that made me realize why guys got all jumpy and sweaty
around some women.
ACTION COMICS #600 cost $2.50 at a time when regular Superman comics cost
$.75. I did not have an allowance, my mom bought me all of my comics. This
issue took all of my convincing power to wrangle out of her. I held it
tightly in my eager hands there in Drug City in Watertown, CT. Wow. She let
me buy it! We ran out to the car through the rain, but I didn't feel the
spray. I clutched the precious cargo under my sheltering arm, and -- I
tripped! The comic went flying out of my hands, and landed on the parking lot
pavement! I snatched it up, and began frantically drying it off. AAAARGH! My
mom didn't see what the big deal was, but I knew the difference between
"Mint" and "Fair."
I let it dry, and soon forgot all about values and price guides and ratings.
I got lost in the pages of a mesmerizing series of tales.
It is a challenge to review a piece of your own history. I hope that I
succeed in having SOME objectivity. If not, I don't care. I still get that
same old chill when I open the slightly-warped, water damaged cover of this
"80pg. GIANT" issue.
SUPERMAN and WONDER WOMAN in "DIFFERENT WORLDS"
===============================================
Story & Breakdowns: John Byrne
Finishes: George Perez
Letters: John Costanza
Colors: Tom Zuiko
"Different Worlds" picks up where THE ADVENTURES OF SUPERMAN #440 left off,
with THE KISS. Much to her surprise, Wonder Woman finds herself in Superman's
embrace. It seems the Man of Steel has jumped the gun a bit. "This is our...
FIRST DATE. We seek here UNDERSTANDING, not CONSUMMATION. Am I RIGHT?" "Sorry
again, Wonder Woman. I freely ADMIT I'm not all that GOOD at this sort of
thing..."
They decide to start over, with introductions. It becomes clear that Wonder
Woman thinks of Superman as a sort of demi-god, while the Man of Tomorrow
thinks of himself as "just a boy from a SMALL TOWN in KANSAS." Suddenly, they
are interrupted by a summons for Diana from Hermes, the messenger of the
Greek gods. Not willing to lose his chance to be with Diana, Superman hitches
on for the ride, and finds himself in a rotting Olympus!
Designed by George Perez for the WONDER WOMAN series, this Olympus is a
Escher-esque maze of odd perspectives and topsy-turvy Greek architecture.
Superman has been separated from Wonder Woman, and he begins to search.
Meanwhile, Diana has found Hermes, locked in a prison. She busts him out, and
he reveals that a NEW god has invaded Olympus -- DARKSEID!
Darkseid and his lackey Desaad observe the new arrivals from a control center
deep within Olympus. He schemes up a way to have Superman and Wonder Woman
destroy each other in battle. Will they figure it out before it's too late?
Will they thwart Darkseid's plans to kill the Greek gods and steal their
power? What do you think!
The story ends with Superman and Wonder Woman back on Terra firma. The
adventure has made Superman realize something. At heart, he is a farm boy.
Wonder Woman walks with the gods (recently, she BECAME one!). "You're way out
of my league!" "I agree with your DECISION, Superman, if not ALL your
reasoning. We are of different worlds -- different PHILOSOPHIES. Perhaps we
can never be LOVERS... But I hope we can be FRIENDS."
This story is fresh and exciting. John Byrne inked by George Perez is packed
with energy, detail, and oomph. For those of us who fell in love with the Man
of Steel at least in part due to Byrne's art, this is a must-have story. The
tale has the dubious distinction of serving as the foundation for the ideas
that led Byrne to write the GENESIS crossover of recent memory. Don't let
that stop you. As much as that story stunk, this one soars.
Rating: 4.5 out of 5 Shields
LOIS LANE in an untitled story...
=================================
Plot: John Byrne
Pencils: Kurt Schaffenberger
Script: Roger Stern
Inks: Jerry Ordway
Letters: Bill Oakley
Colors: Petra Scotese
Lois Lane is one tough customer. This story opens up with her taking down a
well-armed extortion ring in hand-to-hand combat. Using Green Beret combat
techniques, along with a move that would make the Rockettes proud, Lois holds
back nothing in her quest for the story. For three pages she charges along
like a Journalistic Juggernaut, only to be stopped by the headline of a
Boston-area paper: "TRUE LOVE? Super-romance of the century" accompanied by
pictures of Superman and Wonder Woman.
The news crumples Lois' internal defenses like a wrecking ball. Can this
story be believed? Clark Kent says it has been blown out of proportion, but
equivocates as to whether he thinks there's nothing to it. "UH...nothing like
the Boston papers imply. I'm sure that Superman and Wonder Woman share a
certain...respect...and admiration for each other, but THIS..."
Lois heads for home, feelings and thoughts swirling through her head in a
blizzard of confusion. Could it be true? Who would be a better match for the
Man of Steel than an Amazonian princess? "Certainly no ORDINARY woman was in
her league." She makes her way to her apartment, wondering "How much rest
does SHE need? Will SHE have to worry about gray hairs or smile lines? Would
she ever even grow OLD?" Lois had been nicknamed "Superman's girlfriend" by a
rival paper, because of her many Superman stories. She had teased the idea
for all it was worth, but at heart she'd secretly wished it were true. "If
there were someone else -- anyone else -- maybe..." NOK NOK! "KENT?!"
A great little 8-page story that captures Lois Lane perfectly. This story is
full of passion, hope, and despair. Roger Stern records Lois' thoughts with
clarity and vibrancy, and we are left understanding her frustration with
Clark Kent and with Superman, and yet also the attraction she has for them
both.
Kurt Shaffenberger's pencils have never done anything for me, but Jerry
Ordway's a great inker, and the art is not the point of this story. The text
carries it all.
Rating: 4.0 out of 5 Shields
LEX LUTHOR and MAGGIE SAWYER in "THE GAMES PEOPLE PLAY"
=======================================================
Story: John Byrne
Pencils: Dick Giordano
Inks: John Beatty
Coloring: Tom Zuiko
Lettering: Albert DeGuzman
Lex Luthor stands, surveying Metropolis through the giant windows in his
office, when Captain Margaret "Maggie" Sawyer, head of the Special Crimes
Unit arrives for an appointment. Luthor has called Sawyer there to ask her to
lay off of him. She and the SCU have been watching him closely, convinced
that he is operating illegally in many capacities. Luthor refers to this as a
waste of taxpayer money. Sawyer shoots back that though she cannot prove
anything yet, she's sure that he is up to his ears in evil.
"On the other hand," Luthor continues, "I have discovered some...INTERESTING
things about YOU, my dear." "You've been...watching ME? How DARE you?" "I
dare ANYTHING, Margaret. I dare ALL." Luthor has discovered that Sawyer is a
lesbian, and proceeds to subtly but menacingly reveal to her that he knows.
He threatens to reveal his information on her to the public, unless she backs
down. She resists, and Luthor becomes furious, pounding his right fist on the
desk with frustration -- and screams out in deepest pain! He crumbles to the
ground, clutching his hand, and then bolts out of the office in search of Dr.
Kelley, his personal physician. Maggie is left in the office alone, with
Luthor's dossier on the desk in front of her.
Luthor doesn't realize that he's taken on more than he can manipulate in
Maggie Sawyer. She doesn't steal the dossier, though she is tempted, but she
makes it clear that she will not run from Luthor. Luthor, meanwhile,
discovers that the Kryptonite ring that he has worn for many months to keep
Superman at bay has given him radiation poisoning. "I'm afraid it's likely to
COST you your HAND."
Superman readers had known for some time that Maggie was a lesbian, but this
was the first concrete use that this character trait had been put to. The
REAL shocker in this story was Dr. Kelley's diagnosis -- one that took
readers completely by surprise.
Giordano is an able penciller, but under Beatty's thick, blocky inks every
person looks like a Neanderthal. This story has the worst art of the book as
a result. Still, the story is powerfully told, and marked a significant
turning point for Lex Luthor.
Rating: 4.0 Shields out of 5
SUPERMAN and JIMMY OLSEN in "A FRIEND IN NEED"
==============================================
Plot: John Byrne
Script: Roger Stern
Pencils: Curt Swan
Inks: Murphy Anderson
Letters: Albert DeGuzman
Colors: Tom Zuiko
ZEEEEEEEEEEEE! Jimmy Olsen's signal watch calls Superman into action at the
site of a potential toxic waste tanker explosion. Superman arrives and ends
the crisis in seconds, but collapses to the ground in agony. What is it? Even
Jimmy's slightest touch causes the Man of Steel to recoil in pain. Superman
tells Jimmy he needs to move.
Resourcefully, Jimmy finds a forklift in a mattress factory, and according to
Superman's potentially delirious instructions, drives him out of town,
heading for caves just to the North. Superman diagnoses his problem:
Kryptonite radiation!
Jimmy brings him out of town, wondering; if it is Kryptonite, surely they are
out of range by now?
Down, deep into the caves, Superman explains: the radiation must be from
Krypton itself. Radiation, released from the planet's explosion, travelled
through space at light speed, while Superman's rocket went through
hyperspace. It took decades for the spaceborne radiation to reach Earth, but
it's here, now. The caves contain lead ore, and provide some shelter, but
Superman is in bad shape. He needs help, and he directs Jimmy to find someone
-- Martian Manhunter, Green Lantern, the Justice League, anyone who could
help him. Jim dashes off, intent on helping his friend.
A rather pedestrian telling of a great idea -- spaceborne radiation from
Superman's destroyed homeworld! Byrne had to tell this part of the tale to
get to the next, but fails to find an interesting way to do it. Longtime
readers will know that I'm not a big fan of Curt Swan's pencils, either --
they seem flat and listless when compared to today's best artists. So, on the
whole, this segment gets a low rating, even though the core idea is a zinger.
Rating: 3.0 out of 5 Shields
SUPERMAN and MAN-BAT in "THE DARK WHERE MADNESS LIES"
=====================================================
Written by: John Byrne
Drawn by: Mike Mignola
Lettered by: Bill Oakley
Colored by: Petra Scotese
Man-Bat arrives at a darkened cave for "The Gathering," expecting his
bat-brethren to be there. Strangely, the cave is empty and still. Man-Bat
quickly perceives the problem: there, curled up on a rock, is Superman, and
he's not well.
In his delirium, Superman sees Man-Bat as a horrible monster, and lashes out
at one who could well help him. The next few pages are a blood-chilling
battle, as we see Man-Bat try to calm a demented Superman, as the Man of
Tomorrow flies into a fever-maddened rage.
Finally, Superman comes to his senses and groggily tells Man-Bat of the
Kryptonite problem. As he collapses, Superman says a single name, a plea for
help. Man-Bat flies off to find...HAWKMAN!
This is yet another tiny plot, but Byrne's scripting and Mignola's
passionate, moody artwork make this one of the best sections of the book.
Mignola's Superman is powerful, graceful, and at the same time obviously ill.
Nobody draws a fever dream like Mike, and this whole story crackles with
energy.
Fun for the whole family, and it leads directly into SUPERMAN #19, where Mike
Mignola draws "Superman's RETURN to KRYPTON!"
Rating: 4.8 out of 5 Shields
PINUPS
======
The Justice League by Linda Medley and Art Adams
Cool, basic, not all that unusual. 3.5 out of 5 Shields
Superman Saves a Baby from a Fire by Jon Bogdanove
Probably my favorite Superman image, ever. The emotion in this piece
is what still draws me to Bog's work. 5.0 out of 5 Shields
Superman and Two Punks by Kevin Maguire and Dave Gibbons
Very funny! I love Maguire's work. 4.5 out of 5 Shields
Superman Saves Lois from a Hail of Bullets by Mike Zeck
Great composition, a powerful Superman, a sexy Lois, and yes -- a
hail of bullets! 4.8 out of 5 Shields
Superman vs. Brainiac (pre-1986 version) by Walt Simonson
Powerful but poorly composed and executed. 3.0 out of 5 Shields
Pinups overall: 4.2 out of 5 Shields
Capsule review:
Story: A great book! A lot happens here, and much of it is significant in the
life of the Man of Steel. Each tale has at least a grain of genius in it,
many even more so.
Art: The art is uneven, but great work by Byrne and Perez, Mignola, and
pinups by Bogdanove, Maguire and Zeck make this book an artistic must-have.
Overall: The average of my ratings gave it a 4.1, but nostalgia brings it up
a notch or two. One of my favorite books in my collection. 4.3 Shields out
of 5.
_____________________________________________
THE PHANTOM ZONE: Reviews of the pre-Crisis Man of Steel
------------------------------------------------------------------
SUPERMAN FAMILY #200
----------------------------------------------------
Reviewed by Scott Devarney (devarney@ll.mit.edu)
Written by Gerry Conway
Lettered by Ben Oda
Edited by Julius Schwartz
April 1980
Rating: 4.0/5.0 Shields
To celebrate its 200th issue, _Superman Family_ gave its readers a series of
imaginary stories, set in a possible future, which detailed the day of Clark
and Lois' wedding anniversary. Set on a day not long before the turn of the
21st century, this issue postulated the possible futures of the members of
the Superman family and of the planet itself. So join us on a journey into
the very late 1990's or year 2000 when electric cars roam the highways,
regularly scheduled sub-orbital space shuttle flights ferry passengers to all
corners of the globe, everyone has a personal wrist computer ... and Clark
and Lois have been married for a number of years.
================================================
SUPERMAN'S WIFE, LOIS LANE: Unhappy Anniversary
Artists: Bob Oksner & Joe Giella
Colorist: Adrienne Roy
Lois awakens to discover that she's been sleeping on a cloud. As Superman
flies her home and the Kent family prepares for the day, the readers are
brought up to speed. We are introduced to Clark and Lois' teenaged daughter
Laura, who did not inherit super powers from Clark. Lois had given up
investigative reporting to write columns and raise Laura; today she is
returning to reporting full-time and she is clearly thrilled about it.
Lois drives her electro-cycle into Metropolis for a doctor's appointment. As
she exits the doctor's office, she is fuming. From there Lois goes to get
Clark's anniversary gift, a family portrait hologram of Clark, Laura, and
herself from renowned hologram artist David Angel. When she arrives at his
studio, located beneath the bay, Lois discovers the artist's dead body and
his studio in shambles. She also discovers that her hologram shows Superman,
instead of Clark, standing between her and Laura. The rest of the story
shows Lois rather quickly tracking the murderer and realizing that the
hologram was the result of an accidental merging of the family portrait and a
separate hologram of Superman.
The murder mystery wrapped up incredibly quickly and it suffered because of
it. This was because it only took up 6 pages of a 12 page story; the first 6
pages were given to explaining the status of Clark and Lois' marriage and
showing or explaining some of the changes in society. Frankly, this set up,
which was more character-focused, was much more interesting than the murder
mystery which was more plot-driven. The art by Oksner and Giella was a mixed
bag; the close-ups were beautiful but the mid-range and long view shots
lacked a sense of depth and perspective.
=====================================================
SUPERMAN'S PAL, JIMMY OLSEN: The Thief at Sky's Edge
Penciller: Alex Saviuk
Inker: David Hunt
Colorist: Jerry Serpe
Jimmy is waiting at the airport for the morning sub-orbital flight from New
Delhi to arrive with his wife, airline president Lucy Lane Olsen. Intending
to show Jimmy the gift she bought for Clark and Lois, Lucy reaches into a
handbag handcuffed to her wrist, only to discover that the item is gone.
Lucy relates the story of how she bought a jade buddha while in New Delhi and
kept the bag with her at all times. Other passengers on the flight confirm
that no one went near Lucy's seat during the flight.
Jimmy retraces Lucy's trip and Lucy uses her pull as airline president to get
the same crew and shuttle assigned to the run. On the trip home, the thief
makes his move by lowering Jimmy's seat into the cargo hold after attempting
to lull Jimmy to sleep. Jimmy gets the drop on the thief and subdues him.
The theft involved a ring of thieves including a guard at the New Delhi
terminal, an airline attendant, and a baggage handler. Lucy's missing buddha
is discovered in the unclaimed baggage from her flight, as the thieves never
had a chance to retrieve it.
In contrast to the Lois Lane story, this was a nice little mystery. Gerry
Conway spent most of his pages focused on it, and he played fair with the
readers by giving enough clues in the narrative to discern who did it, if not
exactly how it was done. It was interesting that Lucy Lane was chosen as
Jimmy's wife since she wasn't a cast member in his stories at the time,
although she is probably his most memorable girlfriend. Alex Saviuk did
something that no artist did in any of the other stories: he aged the main
characters, showing Jimmy and Lucy in middle age. All of the other
characters, except Perry White, looked as they did in their contemporary
stories.
=========================================================
THE PRIVATE LIFE OF CLARK KENT: Clark Kent's Frantic Fan
Artists: Kurt Schaffenberger & Vince Colletta
Colorist: Jerry Serpe
As Clark is entering city hall for an interview with the mayor, an elderly
woman, Amanda Boot, tries to have him arrested. She shows the officers a
picture of Clark handing her a note which she alleges is a blackmail demand.
Clark recognizes her as a fan and the note as an autograph and brusquely
continues inside. As Clark is on his way to pick up Lois' gift after the
interview, Ms. Boot emerges from the back seat of Clark's car with a gun.
She forces him to drive to her decrepit apartment building. Clark talks her
into putting her gun away and makes her realize that she's really angry with
her son, not Clark. The story ends with Clark comforting Amanda and vowing
to help her.
This was a nice little story, but, with minimal editing, it could have easily
taken place in then-current continuity. Gerry Conway shows us a very human
Clark; he is impatient with Amanda in the beginning but realizes his mistake
and tries to make amends. I just wish that this story had been used to
examine Clark's thoughts and feelings about his married life; we didn't get
any of that in this issue.
============================================
SUPERWOMAN: Something Swims the Time Stream
Superwoman, formerly Supergirl, saves an offshore tidal energy station from a
tidal wave. Then, as Florida Governor Linda Danvers, she grants a last
minute pardon of an innocent man about to be executed. Later she enters the
time stream and records special moments from Clark and Lois' lives together,
from their first meeting to their wedding day. She is attacked by a beast in
the time stream who can manipulate the flow of time around itself.
Superwoman battles the beast by rushing forward through the time stream; this
causes it to lose control its time manipulation ability and it rapidly ages
and turns to dust. Superwoman then rushes back to her own time and the
anniversary party.
This was one of the most disturbing and intriguing stories of the issue. The
disturbing part was that Superwoman plotted a defense which she knew would
cause the time beast's death, thus breaking her code against taking a life.
It would have been understandable if, in the course of defending herself, she
had _accidentally_ caused the beast's death, say by forcing it out of the
time stream to give her a level playing field. However, via a telepathic
link with the creature (which was a clunky way to provide an origin for the
beast), Superwoman knew what effect her rush through the time stream would
have. She wasn't surprised by the beast's rapid aging and made a feeble
excuse about the beast being older than eternity to rationalize her actions.
The intriguing part of this story was the idea of Linda Danvers becoming
governor of Florida. This came straight out of left field. Of course, Linda
has followed an eclectic career path, from college student to newscamera
operator to high school counselor. Although it is hard to see how she could
keep a secret identity with such a high profile job, it never stopped
television anchorman Clark Kent.
=================================
MR. & MRS. SUPERMAN: Celebration
Artists: Bob Oksner & Joe Giella
Colorist: Adrienne Roy
Clark comes home to an angry Lois who announces that she's pregnant. Whereas
Clark is delighted, Lois is frustrated. She's been looking forward to
resuming her career and doesn't know if she can shelve her career for
motherhood again. Meanwhile Laura discovers that she _does_ have her dad's
powers after displays of super speed, super hearing and, in the CLARK KENT
story, super strength. Clark and Lois continue discussing their problems.
They discuss the sacrifices Lois has made while Clark has made none. For
this baby, Clark must choose between being a full-time father and a reporter
or being a full-time father and a superhero. Clark decides to give up
reporting. The story ends with Clark and Lois kissing amidst friends and
family.
This story made the entire issue. There was no adventure, just Clark and
Lois relating to each other and discussing issues with their marriage. This
is something we've seen little of in the current Superman family of comics
and this story shows how it can be done intelligently. This story also
played to the art team's strengths with many close-ups which helped carry the
emotions of the scenes.
Gerry Conway did an outstanding job in providing Lois her voice. She has
been portrayed in the past, notably in the Silver Age, as a career-minded
reporter who would abandon it all for the chance to be Mrs. Superman. Here
we see that dichotomous personality again. She put her career on a perceived
slow track to raise her daughter; her ambition flared when she finally had
the opportunity to resume her investigative career; and she became anguished
when it appeared that she might have to shelve those ambitions yet again.
The solution is one that many families in the 80's and 90's found: increased
participation by the father.
Overall this issue contained a mixed bag of stories, as is typical for
multiple story comics. It was exciting to briefly glimpse the then-current
Superman and Lois' married life and this made up for any individual story
deficiencies. It made this anniversary issue of _Superman Family_ special.
_____________________________________________
TALES OF EARTH-ONE
--------------------------------------
by Bob Hughes (rhughes3@ix.netcom.com)
Episode 5
What's In a Name? Metalo, Metallo, Metalman and Hyphenated-Metallo
When you're feeding a plot destroying engine like the Superman franchise,
material gets used up rather quickly. Even in the Forties, DC needed 40 new
Superman stories a year, not counting the comic strip. By the 1960's, 102
stories were needed.
Fortunately for his own peace of mind, editor Mort Weisinger was convinced
there was a complete turn over of readership every five years. So when ever
he was stuck for a plot he would just drag out some old comic books and
recycle the ideas. Thus we get Metallo, a name in search of a character,
wandering through Super history, with each appearance having little or
nothing to do with its predecessors.
The first Metallo appeared in _World's Finest Comics_ #6, Summer 1942 in "The
Case of the Metal Man" by Jerry Siegel, Joe Shuster, and John Sikela. Metalo
was one of the first villains in the series who could actually hold his own
with the Man of Tomorrow, allowing for the kind of super-powered mayhem which
people now expect to see in every issue.
When a strange super-powered being steals a mail car from the Metropolis
train terminal, Superman is immediately blamed. (See that kind of stuff
happened way back in the Forties too. It didn't start with Peter Parker.)
Superman investigates but even he agrees the evidence points to him. The
railroad cops try to arrest Superman but he just stands there and shrugs off
their efforts.
"Awk! It--it bent an'-- an'-- he just smiles!" moans a cop who whacks him
over the head with a crowbar.
"Who wouldn't smile at the amazed expression on your face?" sneers Superman
before he leaps away. (Can't say "flies"-- he didn't know how to do that
yet.)
Over at the Daily Planet (not the Star, the Golden Age Clark worked at the
Planet for Perry White), Lois stands behind Superman and wants to suppress
the story, but Perry tells her to print news, not interpret it. (Wish there
was more of that attitude these days).
Meanwhile, Jimmy tells Clark about strange characters hanging about the
Farnham Circus. "Great Kid. He'd make Superman a swell assistant." thinks
Clark.
Perry might not want interpretation, but Clark sure as heck isn't going to
write an article attacking Superman. Perry's ranting is interrupted by a news
bulletin about "Superman" attacking an ocean liner and Clark hurtles off to
"get the story" and find out who's imitating him and ruining his reputation.
There's a great 3/4-page aerial shot of New York (excuse me Metropolis) with
Superman soaring over his head, most likely done by Sikela. (Shuster's
skyscrapers all looked like they were built on Krypton!). Using his super
vision, Superman sees a metallic man wearing a purple cape with a
Starman-like crest on his head and Sandman-style eye and mouth pieces
dragging the huge ocean liner out of the water. Superman initially believes
the figure is a robot. When it announces it's name is "Metalo" he's convinced
of it. Confronted with two super beings, the local gendarmes immediately
decide the two are in cahoots.
Metalo whips Superman over his head and hurls him off into the distance. "But
one of Superman's out-flung arms catch a tree limb..." Superman whirls around
and flies back at Metalo only to run into his hard metal fist. Pounding each
other with their fists, the evenly matched foes, eventually fall off the dock
and continue their battle at the bottom of the harbor. "And what a battle!
The violence of their movements causes the water to foam and fly for miles!
Great liners are tossed by the massive waves like toy boats!" Metalo smashes
into a passing sub, steals a torpedo and hurls it at Superman! The explosion
does not harm Superman but allows Metalo to make a getaway.
Meanwhile Clark and Lois try to investigate the circus based on Jimmy's tip,
but they are thrown out because the owner doesn't want any publicity! Lois
doubles back and sneaks under a tent. "Haven't done this in years!" she
thinks. Good thing, too, because she is captured almost immediately.
Having proven how much destruction he can cause, Metalo demands five million
dollars or he'll destroy Metropolis. Perry nominates Clark to deliver the
ransom money. The thugs don't sit still for an interview however, slugging
Clark and taking off. Superman follows shortly behind. Coincidence of
coincidences (and lucky for Lois) the thugs lead him right to the Farnham
Circus!
Superman watches from a distance with his X-ray vision as Metalo gloats over
the loot. Lois meanwhile seizes a chance, grabs one of the henchmen's guns
and fires point blank at Metalo, to no avail. Angered, Metalo hurls her at
the wall with his full strength, but Superman's hands crash through and catch
her; "gently" it says. The rest of Superman then bursts through the wall, and
Metalo shouts at his henchmen. "Stop Him! Your lives depend on it!" (Why do
henchmen always fight the hero in order to give their boss time to get away?
What do they get out of it?)
Metalo seizes Lois and makes his getaway into the air. She, of course,
presses him for an interview. He tells her that he's an inventor who has
discovered the most powerful metal on Earth and a strength serum. "You'll
need it," Lois replies, confident that Superman will soon come to her rescue.
Sure enough, within panels, Metalo and Superman are flinging huge boulders at
each other. "The very mountains tremble and are rent asunder by the colossal
battle of these two super powerful opponents. Eventually Metalo topples into
a crevice full of molten lava.
"Too bad you couldn't save the ransom money," Superman says to Lois. "But I
did" she replies, "All he got was worthless paper."
In the last panel we find that Metalo has survived however and vows revenge
against Superman. Siegel must have been distracted by the war however, for
that was Metalo's only appearance. (although Nelson Bridwell used him in an
_Superman Family_ issue once.)
Metalo was too obvious a name to leave be, so Jerry Coleman and John Sikela
brought it back for "Metallo of Krypton" in _Superboy_ #49 in June 1956.
Scientists send Superboy into space in order to stop a comet from crashing
into the Sun. On his way back though, he passes through a cloud of Kryptonite
dust which causes him to lose his powers and crash land on a nearby asteroid.
The asteroid is completely surrounded by the Kryptonite dust so there is no
way that the Boy of Steel can get off again. Realizing that the Kryptonite
dust will eventually settle to the surface, Superboy builds a lead igloo and
then starts searching for food and water. Suddenly, an orange robot shows up
and orders Superboy to leave at once. It begins hurling rocks at him but when
he proves to be invulnerable the robot decidesSuperboy must be from Krypton,
too.
Metallo tells Superboy that scientists from Krypton had used this asteroid
for secret experiments and they made him to guard it against all strangers.
The robot begs to be allowed to serve Superboy, the last Kryptonian, and
states that he too is vulnerable to the falling Kryptonite also, which means
to him "not weakness but death". With the robot's help Superboy soon drills
for water, plants fruit trees, and builds a giant lead building to live in
after the Kryptonite falls. All the while, though, the robot seems to be
holding a secret from him. Then while Superboy sleeps, Metallo lures him into
a trap. He uses the lead to build a space capsule, locks Superboy in it, and
hurls him through the Kryptonite cloud, thus sacrificing himself to save his
master.
This is one of those 8 page stories which followed DC's decision in 1954 to
cut down to 32 page comics and still keep three stories in each issue. The
result was generally pretty flat. There was no room for much more than
exposition of the plot and a twist ending that was insufficiently developed.
No action. No characterization. Telescoping everything so tightly also meant
that the story was inadequately explained. Why did Kryptonite mean death to
Metallo? Why does Metallo think it doesn't mean death to Superboy? Why didn't
Superboy just build a lead shell around the two of them and just fly though
the Kryptonite? Sorry, no time. We gotta squeeze two more stories and a few
cartoons into this issue.
Not much is known about Jerry Coleman. He seems to have spent his entire
writing career at DC in the fifties. His main claims to fame are accidentally
renaming Mxyztplk as Mxyzptlk and writing the "first" Fortress of Solitude
story.
But six years later, Weisinger took his plot and handed it to Otto Binder and
Al Plastino for the "Robinson Crusoe of Space" in _Adventure_ #276
(September, 1960) and given 12 pages, they do a much better job.
Outside of Smallville one day, where Superboy has secretly gathered his super
robots (who take turns replacing him whenever necessary), he takes them into
space to test their super speed but runs (OMIGOSH!) into a kryptonite meteor.
The meteor smashes his robots to bits and is blown into dust itself by the
collision. Weakened, Superboy crashes onto a nearby asteroid as the
Kryptonite dust settles into orbit around it. He tries to blow the dust away
with super breath, but it only makes the rings wider. Heat vision makes it
rain Kryptonite! And (this time) there's no lead anywhere on the asteroid.
Superboy soon realizes he's marooned alone, like a Robinson Crusoe of Space.
Later he finds footprints which lead him to (surprise!) a robot.
"I am named Metalman! I was created by a scientist named Jor-El on the planet
Krypton many years ago." Metalman was used as a test subject in one of
Jor-El's many experimental rockets. "Now neither of us will be lonely!" says
Superboy. Soon he teaches the robot to play checkers, thus justifying the
cover. Superboy even uses the robot's circuits to call home and tells Mom and
Dad Kent not to worry. He'll probably be able to leave in a few years after
the dust blows away.
Superboy and Metalman become the best of friends. They play super-ball and do
mathematical puzzles together. Superboy even saves Metalman's life by
rescuing him from an acid-shooting plant.
Then one day Superboy's strength starts to diminish. The Kryptonite rings are
closing in. Superboy will die if he can't get off the asteroid. Superboy
resolves to send Metalman to Earth to take his place and works feverishly to
rebuild him into a super-powered robot. Superboy gives Metalman his costume
and re-sculpts his head to make him into a "Superman". Metalman then offers
to fly Superboy through the rings of Kryptonite, but the rings are too thick
and the pain is too great. He also offers to fly to Earth and bring back lead
shielding, but Superboy says he won't last that long.
Heartbroken at his inability to save his friend, Metalman starts to fly off
to Earth but at the last moment he reverse direction and smashes himself into
the surface of the asteroid! Horrified, Superboy searches the robot wreckage
looking for a clue as to why Metalman had chosen to commit suicide. Aha!
Inside his secret cape pouch, Superboy discovers a note from Metalman! It
appears that the metal robot was made of lead all the time. Quickly, Superboy
fashions a lead coating out of the pieces, so that he can escape the
Kryptonite rings. Superboy brings Metalman's remains back to Earth, where he
fashions a memorial for the dead friend who sacrificed himself so that
Superboy might live.
Both these stories deal with the main issues that occupied Superboy in the
50's and 60's-- loneliness and the search for a friend. Young Clark Kent had
much in common with Harvey's hit character, Casper the Friendly Ghost.
But why did Weisinger change Metallo's name to Metalman? Because in the adult
world of Superman, a much more malign character had stolen the other name in
Robert Bernstein and Al Plastino's "Menace of Metallo" (_Action_ #252, May
1959).
John Corben believes he has committed the perfect crime. He's wiped the
prints from the gun and made it look like a suicide. There are no witnesses.
But he's still a reckless driver, and his car careens over a cliff.
Fortunately for him, Professor Vale finds his body and repairs it using
mechanical parts. John Corben is now a man of metal, his heart powered by one
of two elements which can keep him alive, a uranium capsule which will last
for one day. Before the Professor can tell Corben the second element the
Professor is felled by a stroke. Corben doesn't care much though. He leaves
the stricken Professor's body to be discovered by his housekeeper and gets on
with his life.
He soon gets a job at the Daily Planet and begins to wine and dine Lois Lane.
Corben's ability to fit in is hindered, however, by his need to continually
steal uranium to keep himself alive. Life gets even more complicated one day
when he inadvertently gets in the way of a rain of mob gunfire meant for Lois
Lane. Of course his invulnerable body stops the bullets, causing Lois to jump
to the conclusion that Corben is Superman and had saved her on purpose.
Seizing on this idea, Metallo disguises himself as Superman to make it easier
to steal uranium. Unfortunately, the real Man of Steel doesn't take kindly to
this impersonation and starts to make life hot for Metallo.
Desperately, Corben visits Prof Vale (who has recovered enough to talk) and
asks what the second element was, the one that can keep him alive
indefinitely. The answer-Kryptonite! The Professor just happens to have some
in his safe, but instead of using that to power his body, Corben decides to
use it to kill Superman and steal another meteor from the Metropolis Museum
to power his heart. Of course, it doesn't work and Corben ends up dying in
Lois Lane's apartment. To add insult to injury, the last panel reveals that
Corben was due to be arrested shortly for the murder he had thought was a
perfect crime.
Robert Bernstein is one of the great unsung heroes of the Silver Age of
Comics. While fans were busy tracking down every story by Otto Binder, Jerry
Siegel, and Ed Hamilton, Bernstein was ignored, overlooked, or worse yet, had
his stories inadvertently credited to one of the others. After a long career
writing for Lev Gleason and Stan Lee, Bernstein came to DC just in time to
help launch Lois Lane's own title and to participate in creating major
portions of the Superman legend; including Mon-El, Sun-Boy, Pete Ross, the
Superboy Revenge Squad and the Phantom Zone. On top of that he created
Aqualad and Congorilla. For Marvel, he wrote the second Iron Man story and a
bunch of early Thors, then went over to Archie Comics where he created the
Jaguar and wrote most of the Adventures of the Fly!
In John Corben, Bernstein created one of the most memorable rats in comics.
Corben had no redeeming values whatsoever. He didn't even want to conquer the
world! He was just a creep who thought nothing of killing, stealing, kicking
dogs or anything else that struck his fancy at the moment. In the end, his
own meanness killed him. The character must have struck a chord though,
because the fans wanted him back. Unfortunately, he was dead and Bernstein
was too good a writer to waste his time writing the same story twice.
In 1964 though, he split writing duties with Leo Dorfman, a writer with whom
he is often confused (Dorfman uses different sound effects), on an _Action
Comics_ two-parter: "Superman King of Earth" (#311, April) and "King Superman
vs Clark Kent- Metallo" (#312, May) both with art by Curt Swan and George
Klein. Leo started writing Superman in 1963 when he wrote "The Last Days of
Ma and Pa Kent" and a long-forgotten tale called "The Amazing Story of
Superman Red and Superman Blue". (His version was much better, and much,
much, *much* shorter!)
_Action Comics_ was "Where the Action Is!" back in the 60's. Most issues
featured at least one continued story, and the extra length allowed Weisinger
the opportunity to indulge in all kinds of wild, extrapolations on the
ever-more complicated "Superman Legend". Remember the two panel destruction
of the Superboy robots in the last story? By 1964, dozens of characters had
to have their whereabouts accounted for before any action could begin.
Superman, while trying to come up with a cure for Red Kryptonite,
accidentally splits himself in two, a good powerless Clark Kent and an evil
powerful Superman. The evil Superman quickly blacks out Kandor's monitors so
the tiny Kryptonians who live there can't interfere with his plans, then he
smashes all his robots (as if they could stop him anyway). Horrified, Kent
tries to project him into the Phantom Zone but is not fast enough. Superman
just picks him up and drops him into in the middle of the Atlantic where he
is rescued by a Coast Guard vessel just in time to hear Superman demanding to
be made King of Earth!
With Supergirl off in the future, only Clark Kent is left to stop the
maniacal Man of Steel from taking over the world. Fortunately, Clark knows
where there's a large supply of Kryptonite and just happens to have the super
vault combination. But the military won't let him use it on Superman because
he hasn't actually committed a crime yet. (Demanding the governments of the
world cede all power to him or he'll freeze all the world's oceans isn't a
crime? Shades of Dr Doom!) By the time the military is ready to concede their
mistake, Superman has built himself a Kryptonite-proof castle from which to
rule the planet. Soon all the world submits to Superman's mad demands, except
for a small cadre of Daily Planet reporters led by a fighting-mad Clark Kent!
In part 2, Clark desperately breaks into Supergirl's house, hoping she has
some Kryptonite. But the police spot him. His only recourse is to change to
Superman and hope the costume will convince them to leave him alone. But the
cops don't believe the real Superman would leave his palace so they shoot
Clark in the chest. The still invulnerable costume saves Clark's life but
he's seriously wounded. Clark staggers off and falls into the Midvale River
where one of his mermaid ex-girl friend Lori Lemaris's friends finds him and
brings him to Atlantis. There, Atlantean science saves his life by turning
him into ...Metallo! Atlantis too has a supply of Green Kryptonite (how much
of that stuff is there in the world?) so Clark is soon on his way back to
Metropolis where he sneaks into Superman's palace. Soon, its a battle to the
death!
"Clark you fool!" gasps Superman, as Clark opens the lead shield on his chest
to let the green glowing Kryptonite rays shine on the helpless dictator, "By
killing me you might kill yourself! Remember if one of us dies, we may both
die!"
"Assassinating you is worth the risk! Anyway I'm willing to give my life to
take yours!"
Yes, the world's situation is so desperate that Clark is willing to forsake
his (and the Code Authority's) code against killing. Fortunately, he doesn't
have to. There's a twist ending that's so unbelievable I can't bring myself
to reveal it, but the red K wears off, an alien invasion is thwarted, Clark
doesn't have to kill anybody and they all live happily ever after. At least
until next month when Supergirl deliberately gives Clark's secret identity
away to Perry White.
I remember when I first saw this story I was sure it was going to turn out to
be one of those ubiquitous "imaginary" tales. But Bernstein and Dorfman
managed to squeeze these most incredible events into the regular continuity.
Clark really was turned into a Kryptonite robot. Superman really did try to
conquer the world. Spider-clones? Bah! That's trivial kid stuff!
There were many more Metallos born in the decades ahead. Marty Pasko turned
him into one of those awful green and orange costumed villains that plagued
Superman (and his readers) in the Seventies. John Byrne made him into a
generic evil robot in the eighties. Neither succeeded in capturing the
banality of evil epitomized by Corben, or the nobility of spirit epitomized
by robots who befriended Superboy in his space exile, or the courage and
determination shown by a crippled, powerless Clark Kent determined to save
the world from his evil other self. Ah, there were giants in those days......
_____________________________________________
**********************************************************
End of Section 9/Issue #49
