World's Finest #5

Ok, I got back to this issue and got some panel scans uploaded, as well as fixing the unexpected truncated synopsis - sorry, recap fans!

At the back end of last week, the final episode of my stint on Amazing Spider-Man Classics went live. A few hours beforehand I strapped on the 'phones and mic and recorded my final contribution, almost two months to the day after the first attempt at recording. With the news that the hosts of the podcast are going to change their recording schedules - apparently, recording a podcast for 7 hours straight, the equivalent of a working day, is pretty hard even if it's not the middle of the night - this makes me the longest guest star on ASMC. Oh yeah, I am amazing!

In other news, I finally got to see Scott Pilgrim vs The World a couple of nights ago. Here in the UK, the film's release came a couple of weeks after the US release, and I've been waiting for my work schedule to allow me a proper night out before I went to see it. I absolutely loved it. I've only read the first three volumes of the series, but what I say adapted on the screen had the tone and feel of the books, and was far funnier than I expected it to be. The only moment that took me out of the film as Aubrey Plaza's portrayal of Julie, which just didn't feel like it fitted with the rest of the film. Everything else was absolutely brilliant, but props have to go to Brandon Routh, who made Todd so wonderful to watch. his delivery of the 'Tell it to the cleaning lady on Monday' speech was worth the price of the ticket alone. What I really enjoyed was that the theatre was mostly full, with quite a few people who I would guess had never read or heard of the original books, and who thoroughly enjoyed theirselves. It's nice for this geek to watch other people enjoy one of his loves, especially when it's one that doesn't occupy a space in the national consciousness like Superman, Batman or Spider-man does.

However, as great as Scott Pilgrim vs The World was, it had no Superman or Batgirl in it. I wonder what does... oh yes! This!

No scans as of yet, it's rather late for me to start scanning stuff in. I hope to get back to this later this week and pop a few in, in particular the panel where Superman and Batgirl start to fly.

A Woman's Work


Words: Karl Kesel
Pencils: Dave Taylor & Tom Morgan
Inks: Robert Campanella
Color/Separator: Alex Sinclair
Letters: Clem Robins
Associate Editor: Joseph Illidge
Editor: Darren Vincenzo
Special Thanks to Barry Kitson and Peter Doherty
Cover Artists: Dave Taylor & Robert Campanella
Cover Date: August 1999
Release Date: 16/06/1999

Six Years Ago. Two burglars attempt to break into the Gotham Public Library, but are stopped by the appearance of Batgirl. The crooks attempt to escape, but are caught by Superman. Batgirl acts nervously around Superman, until he explains that he is not timing her, and that he is not in Gotham on a case but on personal business. Batgirl unmasks the criminals, telling Superman that they are from Metropolis and affiliated with The 100. Surprised, Superman accepts Batgirl's offer to team up and work out what The 100 wants in Gotham.


In an abandoned warehouse, The 100 attempt to recruit a Gotham mobster to their organisation. The meeting is interrupted when Thorn comes crashing through a window on a motorbike. She takes out several of the goons, but one manages to whack her with a wooden plank, knocking her out.

Batgirl introduces Superman to Commissioner Gordon, informing Gordon that they will be working together. Batgirl leads Superman to the car belonging to the crooks, which she had disabled before tackling them. Searching the interior, she discovers that Batman has beaten them to the evidence. Following his notes, Batgirl prepares to ride her motorbike to the location, when Superman decides to try a different way of travelling. Grasping her, he lifts her into the sky. As they fly, Superman asks why someone as bright and upbeat as Batgirl would emulate Batman. Batgirl explains that for all of his darkness, she feels that he is the only one in Gotham who can see 'the light in the distance'.


As The 100 tie Thorn to a chair, she comes too and escapes. Giving chase, the crooks are surprised when the lights go out. In the darkness, something attacks them. The leader manages to escape, getting to his car. Turning on the lights, he is shocked to see Batman in front of him, crashing his car. Crawling from the wreckage, he is confronted by Thorn, whose lust for vengeance is tempered by the intervention of Batman. Superman and Batgirl arrive, with Batgirl wondering what The 100 wanted at the library. The leader confesses all - The 100 intended to plant evidence showing that Barbara Gordon had embezzled library funds, thus giving them leverage over Commissioner Gordon. To protect themselves, The 100 kidnapped the library's accountant, intending to kill her and place Barbara as the number one suspect. Superman takes Batgirl to the accountant's house whilst Thorn takes her leave of Gotham. At his house, the accountant answers his door to Barbara Gordon. Suddenly, Batgirl attacks, revealing Gordon as an imposter, who is quickly apprehended.


After the events of the night, Batman and Superman meet on the skyline of Gotham. Superman tells Batman that Batgirl is going well and doesn't need more training. Although Superman's advice is unsolicited, Batman values what is said, surprising Superman. Batman then confesses that he never thought that someone as dark and tortured as Thorn could have come out of Metropolis. Referencing Thorn's past, Superman wonders if there is a similar tragedy in Batman's past. Although he doesn't want to talk about it, Batman suggests that one day he will do.

In theory, this story should work. We're far enough into Batman and Superman's relationship to start to challenge what each character thinks they know of each other, and their preconceptions of each others cities, having only experienced the extremes in previous stories, is a good place to start. Starting to introduce the extended families (if Thorn can be considered to be part of Superman's extended family) also works as well. We're also working towards a softening of Batman, as opposed to a hardening of Superman. The problem is that all of these elements are filtered through the plot line of Thorn and The 100, a minor and obscure supporting character and criminal organisation from Metropolis.

So, the reason why this review is up a little later than expected is because I dived into this issue thinking I knew who Thorn was. As it turns out, she's someone completely different to who I was expecting her to be, having anticipated the Rose and Thorn version of the character. And once I worked out who she actually was, I realised that it didn't really matter to the issue. There are plenty of subtleties to Thorn's character, but in terms of this story the important thing is that she is a darker, Batman-esque character originating from Metropolis, in a move to help blur the lines between Batman and Superman's worlds. Unfortunately, contrasting her with Batgirl, a far more established and recognisable character in the Batman family, only serves to highlight Thorn's obscurity.

The final scene is probably the most successful part of the issue. For me, it's the first time Superman and Batman approach each other not only as equals, but as colleagues, not competing with each other or trying to prove a point. It feels like their modern relationship, with grudging respect for each other but each being their own superhero. Most notable is Batman's not-quite-a-refusal to talk about his personal history. Superman's gentle, respectful probing into his past elicits the response the one day Batman will tell him about his past. For Batman to be in a position where he considers revealing his most personal secret highlights how far the two heroes have come since their combative first meetings.

The Geeky Bits: I honestly can't remember when Thorn next makes an appearance, and considering my difficulties in identifying which Thorn I am reading, I don't think knowing her next appearance would do me much good! This version of Thorn isn't the schizophrenic Golden-Age-wife-to-Alan-Scott-and-mother-to-Obsidian-and-Jade character, but the schizophrenic Bronze-Age-anti-hero. So, I hope that makes things clear.

Next on World of Superman: It's our final visit to World's Finest for some time, as Batman and Superman take on Mr Mxyptlk, and continuity takes a beating.

World's Finest #4

Hey guys. I'm a very tired writer tonight, having spent the day riding around Central London on my bike as part of the Mayor of London's Sky Ride. It's been a thoroughly enjoyable way to spend the day, with thousands and thousands of fellow cyclists of all ages riding through what are normally some of the most congested streets in the city. I think the highlight of the day was either riding through the tunnel along Victoria Embankment, just south of St Paul's Cathedral, where a Samba band greeted the cyclists along with a huge banner proclaiming 'Make Some Noise' (which we did), or queuing up by Westminster Bridge, waiting to move into Parliament Square, just as Big Ben struck midday.

In other comics-related news, the second of my two guest appearances on Teenage Wasteland: An Ultimate Spider-Man Podcast went up over the weekend. Covering issues #75-#78, it's my favourite of the five podcasts I recorded recently. You can hear me summarise Spider-Man in poetry, reveal my true feelings towards Joe Quesada, and get very angry at the presence of a full moon. No, not because I'm a werewolf, but for a far more insidious reason.

Year Four: Underworlds


Writer: Karl Kesel
Penciller: Dave Taylor
Inker: Robert Campanella
Colorist: Alex Sinclair
Letterer: Clem Robins
Associate Editor: Joseph Illidge
Editor: Darren Vincenzo
Cover Artist: Dave Taylor and Robert Campanella
Cover Date: July 1999
Release Date: 19/05/1999

Four Years Ago. Batman has been hacking military surveillance satellites, discovering that he is not the first person to do so, and that whoever has been before him has focused them on Suicide Slum in Metropolis. With the anniversary of Harrison Grey's death only a few days away, Batman smells a rat, and he heads to Metropolis.


Superman saves a young mother and her child from an inferno in Suicide Slum. He discovers that another child is trapped inside, but before he can save the child, Batman appears, saving the kid. The fire chief shows Superman a high-tech incendiary device that has been found at two previous fires, and Superman prepares for a long night. He meets up with Batman, surprised to discover that his presence in Metropolis is seemingly unconnected to Grey's death. As the two heroes examine the device, Desaad presents more of the devices, along with a powerful technological gauntlet, to Bruno Manheim and Intergang. As one of the gang checks their monitoring of Superman, he and Batman make an appearance, taking out the crooks despite their advanced weaponry. Desaad tests Superman to see if he is a New God by opening a Boom Tube. Superman is transfixed by what he sees through the tube, the war between New Genesis and Apokolips, and inadvertently allows Desaad to escape. Batman brings Superman back to the present, where Superman states that despite not knowing his origins, he is not from that world.

Superman rounds up the rest of the crooks, whilst Batman goes to check out a hunch. He had interrogated the technician monitoring Superman, discovered that he was just taking advantage of pre-existing monitoring, realises that he hadn't seen anyone enter or exit the building, and discerns that there must be a hidden entrance. He soon locates it, discovering underground tunnels that lead to a vast, hidden pseudo-military complex, called Cadmus. As Cadmus soldiers contain an escape of DNAliens, Batman discovers the cloned body of Jim Harper, undergoing memory implantation. Digging further, he discovers the truth of the complex and confronts Director Westfield with the fact that the facility is trying to clone Superman. Westfield admits this, and that they have had trouble doing so. Batman leaves, promising to keep an eye on the project.


Afterwards, Superman shares dinner with survivors of the inferno, whilst Batman returns to Gotham, determined to see Dick Grayson's school play.

So, this is pretty much the Batman and Superman meet the crazy world of Jack Kirby issue, introducing the New Gods into the series (despite Superman having met them twice already, reaching an understanding of their nature and conflicts in Jack Kirby's Fourth World #20) as well as giving us our first glimpse of Project Cadmus, a Kiry concept that would be a key cornerstone of the Superman stories in the first half of the 1990s. It's a chaotic issue, relying on the reader's pre-existing knowledge of these concepts and offering up highlights (Desaad, Boom Tubes, DNAliens, The Guardian) without really touching on why these are important. The Cadmus pages in particular feel more like Batman being given a 'best-of' tour of the facility rather than constructing a coherent story with these elements. Sure, there's the running thread concerning the monitoring of Superman, but once Batman arrives in Metropolis, this takes a back seat to the more pressing need to show off the work of Jack Kirby.

There's a wonderfully surreal moment, where Batman is sneaking through the corridors of Cadmus, and we see a guard who appear to be Obelix from the Asterix series. The posing of the other guard, especially his face, is very reminiscent of the art of Albert Uderzo. The panel is very obviously an homage to these comics, but for the life of me I cannot work out why this would be. It may be Dave Taylor's way of honoring the 40th anniversary of the publication of the first Asterix strip (in October 1959). Normally I like homages to other works, and I'll happily get behind Asterix, one of my favourites as a child, but I have to say, seeing Obelix in Cadmus did derail my reading of this issue as I sat there for a few moments wondering what was going on.

I really wanted to like this issue. Project Cadmus was one of my favourite things about the Superman books in the 1990s (even the Mickey Cannon era), and I was genuinely sad when the last remnant of the project, Dubbilex, died at the start of the World of New Krypton storyline.However, the rushed nature of how the concept is presented to us leaves me cold to the issue. In fact, this issue is the first of several in the World's Finest series that don't quite do it for me. Up to this point, the references to specific continuity have been fun, minor elements. However, with a few exceptions, from here on in the continuity will drive the story rather than flavouring it. At times, it can and will distract from the core purpose of the book, examining the relationship between Batman and Superman. For example, I would happily have not had Desaad in the book if it meant that we could have dealt with the frosty ending to the previous issue.

The Geeky Bits: If I've got my issues straight, then this is the third meeting between Superman and the New Gods. And if I've got my issues straight, then we won't see them again until Darkseid takes center stage in the Legends crossover. Project Cadmus, however, stays out of sight until 1998's Superman Annual #2.

Obelix's next appearance will be in 2001's Asterix and the Actress.

Next on World of Superman: As this is World of Superman, not World of Obelix, I must reluctantly put down my Asterix volumes. Instead, I'm going to see how much of a blog post I can get out of a three-page story with no dialogue. If it takes me a week to write, then I really have gone to live in Lazy Town, and you all have permission to throw rotten fruit at me.

World's Finest #3

Don't panic everybody! This isn't the World's Finest miniseries as recently covered on From Crisis To Crisis. This one is much better! It's safe to read on!

Year Three: Light In The Darkness


Words: Karl Kesel
Pencils: Dave Taylor
Inks: Robert Campanella
Colors/Seps: Alex Sinclair
Letters: Bill Oakley
Associate Editor: Joseph Illidge
Editor: Darren Vincenzo
Cover Artist: Dave Taylor and Robert Campanella
Cover Date: June 1999
Release Date: 21/04/1999

 Eight Years Ago...


Illuminata and her two henchmen rob a truck full of money in Gotham City. Clark Kent steps forward, proclaiming that it looks like a job for Superman, before struggling to remove his civilian clothing, confusing the villains. He then threatens to use his heat vision, before struggling to reach a fast sprint. Illuminata uses a flash bomb to blind him, but having been distracted by the events, they are arrested by Commissioner Gordon. In the tussle, a gun accidentally goes off, striking Superman and dropping him to the ground. Policemen come to his aid, and discover a kevlar vest underneath his costume. With Bruce Wayne overlooking, Gordon comes to the conclusion that 'Superman' is just another member of the public who has gone a little crazy and gently escorts him to Arkham Asylum for evaluation.


At Arkham, 'Superman' joins Jeremiah Arkham for an evaluation. His power either fail or he refuses to display them like a performing animal. Jeremiah persuades him to spend the night . As 'Superman' is led to his cell, the various inmates of Arkham react to his presence. Concerned about Superman, Bruce Wayne contacts Perry White to find out what has happened to Clark Kent, telling White that 'Superman' has been locked up in Arkham. After the call, White celebrates with Jimmy and Lois - Clark has gained access to Arkham Asylum for his undercover story.


That night, in his cell, Superman bemoans that he really cannot see through the lead-based paint. Suddenly his door unlocks, and Illuminata is standing there, having assaulted a guard to steal his keys. She has been busy, having already released the other inmates. Flying off, Superman quickly encounters Scarecrow and Penguin, both of who are surprised to discover that 'Superman' is actually Superman. Superman then follows The Riddler through the corridors, before discovering a scene orchestrated by Two-Face where both Mr Freeze and Poison Ivy stand ready to kill two members of staff at the same time, with Superman only able to intervene and save one of them. Superman chooses to melt Mr Freeze's gun, whilst Batman arrives to take care of Ivy. With the villains apprehended, Batman realises that the Joker is missing.


Batman and Superman enter the kitchens, where they are attacked by the Joker. Batman quickly overpowers Joker, but the two heroes are told that the Joker had caught Illuminata in the pantry. Opening the door, Superman discovers that the Joker has cut off her eyelids.

After order has been restored, Batman angrily confronts Superman over his assumption that Batman would act as backup on the anniversary of Harrison Grey's death. Batman insists that they are not partners or a team, and when Superman suggests that Batman's training of Robin is a reaction to their past team-ups, Batman suggests that the reverse is true. He suggests that Superman's night in Arkham was a reaction to his previous comment that he wouldn't last the night in Gotham. Superman denies this - he was originally going to write an exposé on Arkham with the intention of having it shut down, but his experiences have led him to change the focus of his article, calling for more funding and resources. The work being done there is too important to shut down, as is Batman's. Despite reaching an understanding, Superman has taken Batman's original words to heart, and suggests that the next year they try to remember Harrison Grey in their own ways. The two part company.

Ah, it's nice to return to a series that builds a relationship between Superman and a hero whose presence actually affect the Man of Steel. One of the strongest things about these earlier issues of this World's Finest miniseries is that, with large gaps in the history of the relationship between Batman and Superman, Karl Kesel is unafraid to have the heroes make mistakes with each other. The relationship that is in place by the time the two of them are heading up the JLA is one forged through adversity and across the years. Here, Superman makes some assumptions about the nature of his and Batman's working relationship that are wrong. The end result appears to be what he assumed would happen, but the reasons for the result are very different from what he expected, prompting him to re-evaluate his relationship with his most notable ally.

Although Superman has worked in Gotham prior to this issue, this is the first time he is exposed to the true darkness that inhabits the city. Magpie, for all of her showy theatrics, was a troubled woman and therefore elicited sympathy from Superman. The various Batman villains in Arkham Asylum, at their most demented and powerful, profoundly trouble Superman. When he comes across Illuminata, strapped to a chair with her eyelids sliced off so that she can never close her eyes, he is told by her to turn the light off as it is too bright. Instead of closing the door and quietly extinguishing the light, Superman is so shocked and reviled by what he sees that he cries out in shock, ripping the light bulb from the ceiling. Although he denies putting Batman's decree that he wouldn't last a night in Gotham City, this is very much a trial for Superman, one that he passes unscathed, but not unaffected by what he has seen. Although match-ups between Superman and Batman's villains are rare, each of them is taken seriously, with a respect for the potential for violence and loss of life that Superman gets from this encounter.

I really enjoyed the opening of the issue, where Superman pretends to be a well-meaning but deluded super-hero wannabe. Dave Taylor does a great job with the art in this opening scene, presenting subtly wrong images of Superman in action. I particularly like the detail on 'Superman's' hair, which is deliberately almost-but-not-quite right. I'm not so much of a fan of Taylor's portrayal of the Bat-villains, however. His Joker seems too ordinary, his appearance being at odds with the horrific act he commits. He is a lot creepier on the very striking cover that adorns this issue. I particularly like the way that Batman takes up the whole cover, and yet it's possible to not even notice that it's him unless you take in the small element of non-silhouette at the top of the image.

For me, this is one of the strongest issues of World's Finest, building on the first two issues whilst telling its own story, without being distracted by events that would define the later years of Batman and Superman. And in a few days, we'll be checking out the next issue.

The Geeky Bits: I missed out on creator bios the last two issues thanks to some interesting continuity pieces that needed addressing. And talking of those, this is the first time that Superman encounters The Joker.

Karl Kesel is one of the few people to have worked on the post-Crisis Superman as writer, artist and inker, although never at the same time. He is best known as the creator of the clone Superboy, a 67-issue, 6-year run as writer of Adventures of Superman, and as the writer of 59 issues of the Superboy series, in three runs from the first to the last issue. His main work as a penciller was on the Superman issues of the Time And Again arc, and he was the inker for the majority of John Byrne's run on Superman.

Next on World of Superman: Well, it's not the biggest leap in time that we've made (that honour belongs to an almost 100,000 year jump from World of New Krypton #2 to The Kents #1), but we're leaping ahead an entire year to see how Superman and Batman react to the third anniversary of Harrison Grey's death in World's Finest #4.

World's Finest #2

A Tale Of Two Cities

Script: Karl Kesel
Pencils: Dave Taylor
Inks: Robert Campanella
Colorist/Separator: Alex Sinclair
Letters: Bill Oakley
Associate Editor: Joseph Illidge
Editor: Darren Vincenzo
Cover Artist: Dave Taylor and Robert Campanella
Cover Date: May 1999

Nine Years Ago...

Batman is mourning at Harrison Grey's grave, a year after his death. Sensing that Superman is approaching, he hides. Superman pays his respects, then calls Batman out of hiding. The two talk about what happened, how Grey ran out of fear of both of them. With tensions high, they prepare to depart, but instead get into an argument about each other's cities. Realising that their lack of trust and understanding of each other contributed to Grey's death, Superman makes a suggestion - they spend half the night in each other's cities to try and understand a little bit more about the worlds they come from.

First up is Gotham City, and Superman expresses his dislike of the gothic architecture that epitomises the city. Suddenly, Batman vanishes. In an exclusive club, the patrons are being robbed by a gang compirising of henchmen from various Gotham villains. Batman bursts in, fighting the henchmen. Superman arrives a few minutes later, using his super-powers to catch a spray of bullets fired at the victims. In the aftermath of the encounter, Superman realises that his presence has only heightened the unease of the victims.  He  gracefully makes an exit.


Outside, Superman suggests that Gotham might have an easier time with its crime if Batman became a public figure, someone that the inhabitants of the city would feel more comfortable with. Batman explains that without any super-powers, it is the fear he instils in the criminals that keeps him alive and fighting. They turn to discussing why each other turned down JLA membership. Batman was too busy, as was Superman, although Superman wishes that he was able to talk about aspects of his life with people who understand. As Superman attempts to hold out a hand of friendship, Batman tells him that it's time they visited Metropolis.

Before long, Superman and Batman come across a crook named Khodar, who claims to be from the future. Khodar has a device that allows him to control metal, and he uses it to trap a lady in railway tracks. With a train approaching, Batman tackles Khodar, whilst Superman brings the train to a halt before it can kill the lady. Despite being saved, the lady is petrified.

As dawn breaks, the heroes discuss the night's events. Superman has realised that his raw power and abilities have the power to instil fear in others. He tells Batman that his real reason for not joining the JLA was that he was concerned that he was too powerful, that people would have trouble trusting someone with so much power and that could have hurt the newly-formed League. Superman works as hard to make sure that he can be trusted as Batman does to make himself feared. Despite their differences, they agree that they made a good team that night, and agree to meet up once a year on the anniversaru of Harrison Grey's death. 

This second issue of the World's Finest mini-series sets up the format for the rest of the run, namely that Superman and Batman shall meet up once a year on the anniversary of the death of Harrison Grey, and we as the reader shall watch their relationship grow and develop as time passes and events in their lives shape how they view each other. In this first year, both Batman and Superman have been offered places in the JLA and have both declined. In Superman's eyes, this, combined with their failure to prevent Grey's death, gives the two common ground to start building a relationship, even a friendship, although Batman is far more closed off and unwilling to participate in this.


Kesel draws the comparisons between Superman and Batman in more obvious terms in this issue. Whereas the first issue delighted in the subtleties of this, especially in the opening sequence, here Superman and Batman tackle their differences head-on in downtime between their activities. It's interesting that the person with the most room to learn about himself is Superman, who is faced with the distrust that people can have in him as a result of his powers head-on. Batman is more assured with his place in the world, although he is sufficiently affected by the death of Grey to agree to the team-up.

The two menaces faced in Gotham and Metropolis are wonderfully goofy and lightweight. I really like the idea of a bunch of henchmen teaming up to pull a crime and to try and control their own place in the world, and the visuals of Batman taking down these brightly costumed goons work well. On the other side, the criminal from the future with a fantastic piece of technology kind of riffs on the recent (in the life of Superman) Xotar encounter from The Man of Steel Annual #4. There is an interesting moment where Superman decides that he doesn't have the time to save both the girl and the train, and he confronts the train with his super-strength and super-confidence. He seems to have gone in the complete opposite direction from his being unsure of his powers in Superman Annual #7 and Action Comics Annual #7, having a total and uneasing confidence in his abilties and what he can achieve. My reading of this has it that this, combined with his inherent otherworldliness, is what terrifies the girl so much. Well, that and her brush with a squishy crushed-by-a-train death...

The art here has tightened up from the first issue. Dave Taylor has a better control over Superman face, although the odd panel still seems unusual, such as Superman's first full appearance against the gang of henchmen on page 10. I particularly like the quiet moments at the start of the issue, where Superman's face is imbued with a great sense of expression. The colouring is also particularly effective, with (again) the opening graveyard scene flooded with gorgeous sunset oranges.

The Geeky Bits: As has already been covered, Superman was offered membership in the JLA in both The Man of Steel Annual #4, and JLA Year One . As Batman's continuity didn't receive a 'hard reset' after Crisis on Infinite Earths, I'm not so sure as to when he was first invited to the JLA.

Next on World of Superman:  Superman is pretty legendary, so it's about time we got into a story from the legendary series, Legends of the DC Universe. Crappy hyping aside, this is the first time we get James Robinson writing Superman himself, and having just finished with the whole War of the Superman/World of New Krypton era of Superman, I'm interested to see how his tales from 12 years ago stand up today.

World's Finest #1

Year One: Different Worlds


Writer: Karl Kesel
Penciller: Dave Taylor
Inker: Robert Campanella
Colorist/Separator: Alex Sinclair
Letterer: Bill Oakley
Editors: Darren Vincenzo & Scott Peterson
Cover Artist: Robert Campanella and Dave Taylor
Cover Date: April 1999
Prestige Format

Night in Gotham, day in Metropolis. Batman and Superman apprehend a duo of thugs each, their actions and reactions mirrored yet different. Donnie in Gotham, attempting to rob Wayne Enterprises,  and Lonnie in Metropolis, breaking into LexCorp, both attempt to escape, thinking that Batman and Superman would both be focused on crime lord Eric Stang, who has just busted out from prison. As they independantly make plans to switch cities, the heroes force their cars into the water and finish the chase.


The next day, Perry White approaches Clark with an event to cover - noted plastic surgeon Harrison Grey is opening a clinic in New York. Clark notes that Grey is backed by LexCorp, providing a local angle. Lois want the assignment so she can expose how Grey's work on Hollywood actresses has imposed an impossible standard of beauty. Clark has a trump card - he grew up with Grey in Smallville and is close friends with him. Clark wins the assignment, and calls his parents to tell them the news, prompting Ma and Pa to reminisce about the night they found their son.

Bruce Wayne is flashing back to the murder of his parents. He is brought back to the present by Jim Gordon, who has arrived to provide a report on the break-in at Wayne Enterprises. After he leaves, Alfred reminds Bruce that as his company has invested in Grey's clinic, he should attend the opening. Bruce has been set up with a date by Grey, a leading actress named Savannah Summer, who is put out when Bruce doesn't recognise her.


At the reception, Lex Luthor is boring Bruce Wayne when he unexpectedly runs into Clark Kent, who has been given access to the VIP area by his old friend. Bruce and Clark meet for the first time, noting that the other has a strong grip in the handshake. The four discuss Superman and Batman. Savannah is getting on very well with Grey, giving up her seat next to Wayne to allow Clark to sit with his friend. Clark warns Bruce, who tells him that he has noticed everything, and that he is being used as cover to allow the two to see each other in public without causing gossip.


Harrison starts his presentation, using the different examples of Batman and Superman to illustrate the work he wants to do at the clinic. After praising the staff, he announces that their skill means that he will be retiring. Moving backstage after his speech, Grey is approached by one of his staff. Clark hears a gunshot, just before Savannah runs on stage screaming that Grey has been kidnapped and his bodyguard killed. Clark and Bruce both disappear, and seconds later, both Batman and Superman bear down on the kidnappers. They quickly realise that the Grey they have saved is a dupe, having had surgery to look like the real Grey. Batman quickly gets Alfred to start tracing Grey. Superman overheard the name of a militant group, called the Independent Citizen's Militia, who are rumoured to have broken Eric Stang out. Now that they have a lead, Superman asks how they will handle it. Batman wants to work alone, not be in charge of a team effort, and the two part company on bad terms.

Harrison Grey is brought to Eric Stang, who wants Grey to give him a new face. Suddenly, Superman bursts through the roof, shrugging off gunfire. Then, Batman bursts through the window, tackling more of Stang's goons. Whilst the two of them take out the henchmen, Stang grabs Grey and activates a dead man's switch in his hand - if he lets it go, the building will explode. The heroes attempt to negotiate with Stang, but get nowhere. Stang activates the switch, but nothing happens - Superman had smelled the fertiliser used in the bomb earlier and defused it. Stang jumps for the window. Batman leaps after him, telling Superman to look after Grey. Superman ignores the instruction, and flies out to catch Stang before he hits the ground, eager to ensure that Batman doesn't do anything to Stang. Whilst they do so, Grey runs out in a panic, and is run down and killed by a delivery van.


At the funeral, Savannah suggests to both Clark and Bruce that if Superman and Batman had worked together more then Grey would still be alive.

World's Finest was a maxi-series focusing on annual meetups between Batman and Superman, taking into account changes in each character across the corresponding years. As we slowly work our way through the series, we'll meet the replacement Supermen and Batmen, and watch these two iconic heroes forge a relationship out of the ashes of their failure at the end of the issue. But this is all to come.

The first issue really runs with the seeds sown by John Byrne in Man of Steel #3, that Batman and Superman do not really like each other, and certainly don't trust each other. It makes for a frosty relationship that ultimately ends in tragedy with the death of Harrison Grey. There are two great in-costume moments where this relationship hits the skids - when Batman tells Superman that he doesn't want lead a team-up, and Superman replies that he hadn't thought of Batman leading it, and when Superman dives out of teh window after Stang, concerned over what action Batman might take against him. There's also a lovely moment where Bruce Wayne, Clark Kent, Lex Luthor (who, by the way, looks very off-model for some reason) and Harrison Grey debate the differing approaches to crime-fighting employed by Batman and Superman. As it doesn't take much longer for the Daily Planet to earn Lex's complete animosity, this scene is one of the very few civil interactions between Luthor and Kent without any subtext to their remarks.

As with many team-ups between Batman and Superman, the book opens with a clear presentation of their differences and similarities. The first twelve pages are split directly between Superman and Batman, with near-identical actions and dialogues. What is fun is the subtlety of the differences. On page 5, a building behind Batman has a condemned sign hanging off it, whilst the corresponding Superman panel has a bright, catchy sign for a hair salon. Superman hands his crook into the authorities, whilst Batman trusses his up for the approaching policemen. There's a wonderful moment of confusion after both heroes survive a hail of bullets, where Batman's gunman believes that Batman is more than human, whilst Superman's is convinced that the Man of Steel is wearing kevlar. Of all the contrasts in this section, the one that doesn't come across so well is the Lonnie/Donnie one. Both men are drawn to be similar in appearance, and the reader expects there to be a follow-up with their similarities, but after the opening sequence neither are heard from again.

What doesn't come across well in this book is the artwork. For most of the time, it's fine. Taylor does a creepy Batman, and I really quite like is Clark Kent. But his Lex Luthor is so off-model that if he wasn't identified in the dialogue then I wouldn't have recognised him. And his Superman is just... well... wrong. Especially on the opening splash page, and in the panel to the left. The face is far too slim and out of proportion with the rest of his body. It gets better throughout the issue, but never reaches any noticeable heights. But blowing the two big reveals of Superman at the start of the issue sets me against the artist, and these panels should have been done better and been images worthy of Superman.

The Geeky Bits: The second post-Crisis meeting between Batman and Superman, after Man of Steel #3.

The first post-Crisis meetings between Clark Kent and Bruce Wayne, Bruce Wayne and Lex Luthor and, despite Luthor recognising Clark, this is the first time they meet on-panel.

This isn't the only time Karl Kesel will get involved in a post-Crisis World's Finest series...

Next of World of Superman: There's a part of me that really wants to cover the first Superman/Batman annual, but as that's very clearly not of this continuity, I'm going to have to reluctantly put it to one side. So what's next? Oh, right, another Year One...

Superman:The Odyssey

This is going to be a long recap, as we hit our first Prestige format issue. Bear with me!

Co-Writer/Artist: Graham Nolan
Co-Writer: Chuck Dixon
 Letterer: Tim Harkins
Colorist: Noelle Giddings
Seperator: Digital Chameleon
Editor: Joey Cavalieri; Maureen McTigue
Cover: Graham Nolan
Cover Date: July 1999
Release Date: 12/05/1999

Superman bursts into a Kobra base, disrupting their plans to release anthrax into the Metropolis subway. He makes short work of the terrorists, but after the battle is over, a news report detailing the death of Bhutran leader Terri Chung, executed by the Chinese government. Saddened by Terri's death, he remembers how the two met.


After graduating from college, Clark Kent takes time out to travel the world and discover who he really is. He ends up in Paris, and while sightseeing, he comes across a car crashed into a lamppost. Realising that there is someone trapped underneath, he uses his super-strength to throw the car away. The crowds are scared and flee the scene whilst Clark gives mouth-to-mouth resucitation to the girl. Once she starts breathing again, and ambulances start to arrive, he leaves the scene.


Later that day, while having coffee, he is approached by a young lady called Terri Chung, who saw what he did both to the car and the girl, and has taken pictures. When she brandishes the film he secretly wipes it with his heat vision. The two then spend the day together. Terri tells Clark that she is from Bhutan, a small kingdom in the Himalayas near China. Her father is old-fashioned, and has regretted sending her to America for her education. Terri invites Clark to stay with her, ostensibly to help ease his travelling costs.


Terri's apartment is luxurious and palacial. Although Clark doesn't drink, she has some wine, and attempts to seduce him. She quickly discovers, however, that Clark is a man of his morals, and not interested in anything before marriage. Before the embarrassing moment can continue, armed soldiers burst in. Clark throws himself in front of Terri as the gunmen open fire, and quickly discovers that he is bullet proof. The gunmen quickly retreat. Clark and Terri head into the streets of Paris and shake their pursuers. Terri explains that the soldiers were Chinese commandos, sent to kidnap her to force her father, Bhutran's  religious leader, to yield to China. Terri realises that she has to return home, and Clark accompanies her.


As they fly across Chinese airspace in a freight plane, they come under attack from the Chinese again. The pilots are killed almost instantly, and to save Terri's life, Clark grabs her and jumps from the plane before it explodes. Terri is surprised to discover that Clark can fly, and the two finish their journey to Bhutran. The palace is about a day's walk up a giant staircase. As they climb up, they pass a stoic figure who gives Clark an icy stare - the young Bruce Wayne.


Once they reach the palace itself, they discover the remains of another commando unit who had tried to attack. Terri meets her father, the Rhana, and introduces Clark to him. Her father sings the praises of the abilities of his recently-departed American student who had single-handedly turned back the commando assault, but Terri tells him that he hasn't seen anything yet. It transpires that Terri had not wanted to return to Bhutran as she did not want to take up her duties as her father's replacement. Terri's father can see a strength in Clark, and predicts that he is destined for great things.


The next day, Terri heads into the mountains. Clark and her father have breakfast together. Clark lays out his concerns about his powers - despite his superhuman abilities, all he wants to be is human, to fit in and not be apart. The Rhana tells him that any good man would have assisted in Paris if he had the ability to do so. The Rhana is about to ask for a demonstration of Clark's powers when Clark is forced to fly away into the mountains - Terri is about to be crushed by an avalanche. Clark shields Terri's body from the falling rock and snow, then pulls her to freedom. As they fly back to the palace, Terri kisses him. Back at the palace, her father tells Clark that although his abilities separate him from normal men, he should celebrate his abilities, not deny or abuse them.


Clark spends several weeks in Bhutran, growing closer to Terri and exploring the spiritual nature of the kingdom. As he does so, he is aware of a growing Chinese presence on the borders. He helps keep them at bay in his own way, using his heat vision to disable observers.One night, as Clark and Terri walk through the corridors of the palace discussing Terri's growing acceptance of her place in Bhutran, a strange green gem causes Clark to feel pain and grow weak. They quickly move away to allow Clark to rest.


The next day, Clark flies to the top of a mountain to consider everything he has learnt over the past few weeks. He comes to the conclusion that he can balance his powers with his life, operating in secret, and never again being afraid of the responsibilities that come with his power. Returning to the palace, he is shocked to see that the Chinese army has amassed and is marching on Bhutran. The Rhana has heard of the march, and heads out to meet them. Clark and Terri try to catch him up, but before they can do so, they see him being shot at close range by the Chinese. Crying out at her father's death, Terri inadvertently gives away their position. The Chinese open fire, but Clark catches all the bullets, saving her life again. He then attacks the soldiers, disabling their guns and tanks whilst moving too fast to be seen. Believing the spirits of Rhana Bhutra to be responsible, the army retreats in terror. Clark then collapses the pass used by the army to ensure that they cannot return.


Returning to the palace, he bids farewell to Terri, who takes up her father's position as the Rhana.


Back in the present, Superman cries for Terri, who he never saw again. He flies off. The news report carries on, reporting that the Chinese army are retreating from Bhutran as the spirits of the land rise again to repel the invasion.

Our first Prestige issue is a real cracker. I'm a bit of a sucker for these occasional tales of Clark Kent discovering and coming to terms with his powers and what they mean, and this is a great story built around these themes. The conversations between Clark and the Rhana really help Clark define his own morality, and the page where Clark comes to terms with his powers and thinks about all the people who have helped define him, from Ma Kent to the Smallville pastor, all the way through to the Rhana is a wonderful moment of realisation for Clark. I really enjoyed the moment when Clark discovers that he is bullet-proof - he throws himself in the path of the bullets probably expecting to die, and when he survives he mutters 'Cool' underneath his breath

Terri is a great supporting character, and it's a shame that the story doesn't allow her to appear beyond this issue. Like the best of Clark's romances, Terri sees Clark as an equal, despite his powers. She never takes his unerring ability to save her for granted, and is unselfish enough to part company with him at the end, recognising his worth to world far outweighs his worth to Bhutran. Her journey nicely mirrors Clark's - both are lost and unsure of their place in the world at the start, but by then end, through each other's company and influence, they have accepted their place and are happy with their decisions.

This book is unusually political for a Superman book. Whilst certain plots have used international conflict as a backdrop for stories, most recently in Greg Rucka's run in Adventures of Superman, where the conflict in Umec was used as a parallel for Iraq/Afghanistan, it is rare that the story adopts a moral position on the conflict. Here, the Chinese government and their actions towards Tibet (thinly disguised as Bhutran) is clearly defined as being in the wrong. There is no attempt to provide an alternate viewpoint; the Chinese are as much the bad guys as the Kobra terrorists featured in the framing sequence. Considering the target audience of the book more than likely don't know very much about the situation in Tibet, it's probably not a bad thing, and any attempt to try and justify the Chinese point of view in Tibet is going to be forced and uncomfortable to read. In most cases, a balanced viewpoint is always more preferable to the writer taking one side over another; this issue is more than welcome to be an exception to that rule.

For most writers, the life of Clark Kent stops after High School and starts again at the Daily Planet. This issue is a very welcome exploration into the gap and what turned Clark into Superman.

The Geeky Bits:

Estimated Diamond Pre-Orders: 26,854
Diamond Sales Chart Position: 101
Best-Selling Comic Of The Month: Uncanny X-Men #370

Next on World of Superman: A short break from the scheduled programming to take a look at why Superman needed to rebooted in 1986.

Starman #51

Midnight In The House of El

Story: James Robinson and David Goyer
Words: James Robinson
Pencils: Peter Snejbjerg
Inks: Keith Champagne
Letters: Bill Oakley
Colors: Gregory Wright
Separations: GCW
Editor: Pete Tomasi
Cover: Tony Harris
Cover Date: March 1999
Release Date: 05/09/1999


Lost in space and time, a spacecraft containing Jack Knight, Mikaal Tomas, and a hologram of Ted Knight generated by a Mother Box lands on Krypton in the near past. Upon exiting the ship, the trio are confronted by a large robot, which opens up to reveal a young Jor-El. Jor-El assists the group with re-plotting their course back to the present. Jack finds it hard to focus on the discussions, as he is obsessed with the fact that he is meeting Superman's father. Ted reveals the location of Earth to Jor-El, who is delighted to meet aliens and people from the future all in one. Jack shares the reason for his quest with Jor-El, causing the Kryptonian to compare reproduction on his planet with love on Earth.

The ship is discovered by other Kryptonians, who transport it to the nearest city. Seyg-El, Jor-El's father, splits the three travellers up and interrogates them about their intentions., suspecting them to be connected to the Black Zero terrorist group. Jack is easily able to resist the interrogation, as Seyg-El is rather poor at it (and Jack has had many experiences of watching police drama on television). 

That night, Jor-El breaks his own confinement to free Jack and Mikaal. They go to retrieve Jack's staff and the Mother Box so that they can all escape. Jack holds off Seyg-El's robot guards while the ship escapes the city. Landing outside the city to let Jor-El off, Jack gives him a data disc containing information and the co-ordinates of Earth. They then leave to continue their journey.

I am a big fan of this story. It doesn't matter to me that it's part of a larger narrative, both in terms of the 'Stars My Destination' story-arc, and in the larger story of Robinson's Starman. This is a great look at a young, naive and impressionable Jor-El, which in turn shapes the entire future of the DC Universe.

The tie-ins to World of Krypton and Man of Steel #1 are faithful and respectful. The costumes mirror the Mignola originals, and the image of Earth used by Ted Knight to represent his home is the one still obsessed over by Jor-El in Krypton's dying moments. The Krypton we are shown fits right in as well, a sterile, cold and infertile world where there is almost no direct contact between its inhabitants. In recent years the impression of Krypton given to us in the comics is one of a virtual paradise, and as always it is great to see that Superman's homeworld is a place of flaws and imperfections.

Despite all of this, this is very much a Starman story. Plenty of themes common to the wider Starman series are present. Jack and Ted share a little moment where they find new common ground and learn a little more about each other. All three Starmen react very differently to the interrogation by Seyg-El, taking apart the effectiveness of his questioning with ease but in their own ways. And throughout, Jack's reactions to his unusual situations are wonderful and so well realised, especially the moment where all he can focus on is the fact that he's talking to Superman's father.

Although this is just one part of a sweeping Starman story, it is a story that is well worth thinking of as part 2.5 of World of Krypton, as it fits very neatly into the WoK storyline and requires very little knowledge of the wider Starman story.

The Geeky Bits:

Estimated Diamond Pre-Orders: 28,122
Diamond Sales Chart Position: 84
Best-Selling Comic Of The Month: Uncanny X-Men #366