Adventures of Superman #428

Have you seen that new button at the top of the sidebar? That marks me as an official competitor in the MCM/Blogomatic 3000 Battle of the Bloggers that will be taking place at the end of the month at the MCM Expo. I have no idea what to expect, but with such an event taking place on my doorstep, how could I not take part? Click the button for further information, and expect a write-up of the event a few days after it has happened. If you're coming to the Expo, then swing by the event and cheer me on!

Personal Best

Writer: Marv Wolfman

Artist: Jerry Ordway

Letterer: John Costanza

Colorist: Tom Ziuko

Editors: Andy Helfer and Mike Carlin

Cover Art: Jerry Ordway

Cover Date: May 1987

Release Date: 19/02/1987

Three days after his ‘meeting’ with President Marlo, Superman launches a further assault on Qurac’s military forces, decimating its air force and assaulting its navy with one of its own submarines. Superman holds a televised meeting with Marlo, again warning him over harbouring terrorists. Clark and Cat Grant watch television coverage of Superman’s recent attacks, flirting throughout. Their fun is interrupted by Perry White’s appearance on television to publically condemn reputed mobster and city councilman Jay Falk, as he had been instrumental in investigating and exposing him.

Elsewhere in Metropolis, Jerry White, Perry White’s son, tells Jose XXXX that he is ready to quit his street gang. As he reflects on his volatile relationship with his father, his former gang attacks him for planning to quit. As the beat him up, mobsters arrive, breaking up the fight and kidnapping the unconscious Jerry. The crooks contact Perry and demand that he kills his expose on Falk. Perry clears his office, before storming out of the Planet building.

Later that night, Falk throws a party. Superman arrives to confront Falk, demanding to know where Jerry is. Getting nowhere, Superman drags one of Falk’s ‘bodyguards’ to the roof of the Daily Planet, threatening to leave him stranded atop the globe if he doesn’t get the location of Jerry from him. The terrified goon agrees to talk.

Later on, in the Ace of Clubs bar, Superman asks for the location of mobster Louie Lyppe. Taking offence at his style, Bibbo Bibowski thumps him in the stomach, injuring his hand. The rest of the barflies clam up, but as Superman makes to leave, Bibbo offers to buy him a beer.

At home, Perry White is unable to write his expose on Falk, wracked with worry for Jerry. Alice tries to calm him. The two briefly argue about whether Perry should abandon his journalistic principles to save his son.

Returning home, Louie Lyppe is surprised in his apartment by Bibbo. Bibbo intimidates Louie into giving up the location of Jerry. Bibbo then reveals himself as a disguised Superman, threatening to tell Lyppe’s boss about Louie’s betrayal if anything should happen to Bibbo in retribution for his subterfuge. As Perry settles down to retract his story, Superman breaks into the warehouse where Jerry is being held. A mobster holds a gun to the restrained Jerry’s head. Superman uses his heat vision to set the mobster’s pants on fire, before using his super-breath to extinguish the flames and incapacitate the mobster.

Superman returns Jerry to his family. Jerry and Perry argue about Perry taking so long to take action to save his son. As Superman looks on, the two row, before Jerry storms out.

The last issue of Adventures of Superman eschewed the action scenes (after a few pages) for some mind-bending explorations of what Superman means to different elements of his life. This issue brings back the action, opening with one of most dynamic and ferocious scenes of Superman’s might. Superman’s previous assault on Qurac is merely a warm-up for this sustained assault, decimating its armed forces in the space of three pages. This is real balls-to-the-wall action, the standout being the moment when Superman sinks a battleship by bursting through its hull with a submarine. I was debating the merits of Superman Returns a few nights ago, and one of the points I made was that the plane-crash was a sequence that could only occur in a Superman film, Iron man, the X-Men, Captain America and Batman just don’t have the sheer force and combination of powers required to save that plane. The same can be said of Superman’s actions here. Only Superman (or heroes blatantly modelled on him) could use a submarine to sink a ship. I also love that this scene is only a third of the double-spread. I can’t help but think that if this scene was published today, that one panel would take up an entire double-spread (although it would look absolutely glorious).

Later on in the issue, Superman has to play detective to track down Jerry White. One could ask why he doesn’t just do what he’ll do in an upcoming issue of Superman and use his x-ray vision to scan Metropolis, but if he had done so then we wouldn’t have had Superman doing his best-ever Batman impersonation. Superman’s investigations are superb. He forces – and blunders – his way throughout Metropolis from the heights to the dregs of society. I particularly like his not-so-subtle confrontation with Falk, casually destroying a work of art before denouncing it as a fake, making the councilman sweat with every artefact he touches. Straight after, Superman’s Batman impressions comes to the fore as he drags a henchman to the top of the Daily Planet globe, toying with his fear to get the response he needs.

Wolfman’s writing in this scene – and this issue in general – is excellent, and there’s a moment in this scene where Superman flies away from the henchman, making him think that he’s been abandoned in the skyline. The art shows Superman making a loop back around, and when he returns, he says: “Hi, miss me? I had to rescue a cat from a fire”. In this one line, Superman establishes exactly where the hoodlum sits in the pecking order, and that Superman’s attention regarding him is short and fickle, so he’d better start talking immediately. Of course, the thug is too stupid to ‘fess up. Superman’s next lines – click the image to enlarge – are hilarious.

This issue sees the first appearances of three characters that would form part of the Superman family for the next few years: Jerry White, Jose Delgado and Bibbo Bibbowski. When you consider that this title has also introduced Emil Hamilton and Cat Grant, it seems clear that if Action Comics is the team-up book, and Superman is the flagship title, then Adventures of Superman seems to be primarily concerned with world-building. With the exception of last week’s issue (and, of course, the Apokolips-set Legends crossover), each issue has provided depth and development for Metropolis and Superman’s supporting cast. Here, Perry White takes a feature role for the first time, and we take our first trip into Suicide Slum. This Metropolis has depth and diversity, a more textured and real city than that which we’ve seen in the Superman comics for the past few years.

Overall, this is a fantastically strong and enjoyable issue. Whilst the story of the Circle outstays its welcome by the end, Wolfman’s slice-of-life story in Metropolis is incredibly strong, and his use of Superman throughout the issue, adopting different strategies to track down Jerry, is highly notable. Ordway’s art is also superb. He informs the anguish of Perry’s struggles with his journalistic morality with skill, his action sequences are fantastically well-drawn, and his depiction of Superman-as-Bibbo is delightfully ambiguous, making great use of shadow to convey the deception.

The Geeky Bits: This issue was reprinted in Superman: The Man Of Steel vol. 3 and is covered on episode 7 of From Crisis To Crisis.

Next on World of Superman: Work allowing, midweek will see the posting of the next instalment of my looks back at what I will and won’t be missing in the relaunched DC Universe, whilst next weekend will finally see Superman confronting the mummy!

Adventures of Superman #427

Hello there. Whew, it’s dark in here. Where’s the light switch? Ah, got it. Close your eyes, I’m turning the lights on… now.

Hello, it’s been a while!

I’m not going to insult you with long tales of woe describing many reasons why I’ve not been active over here. There’s a very simple reason for the lack of activity on this blog. For two months, I’ve not felt like writing about Superman. I’ve been having a great time working on my podcast, 20 Minute Longbox (itself suffering from a lack of time to put an episode together), and for a while, I toyed with the idea of shutting the door on this blog and letting the dust gather.

So, why did I change my mind? Put simply, I’ve been missing Superman. With new blood and, indeed, a new Superman hitting the stands as part of the New 52, I’ve been feeling strongly about the Man of Steel again. More than ever, a project like this seems like something worth doing, celebrating the comics that made many of us Superman fans at a time when, hopefully, many people are finding similar things to celebrate in the new Superman. Oh, and I miss arguing with myself over which order to do the comics in!

I’d like to think that this is a return to regular posting, but if you’ve been following this blog for a while, you’ll know that this isn’t a promise that I can keep. The best way to keep up to date with happenings over here is to subscribe, either through Google Friend Connect or Networked Blogs, both of which are over on the sidebar. That way, if I have another absence (hint: I work in retail and Christmas is a-coming), you’ll know when I pick up this project again.

Enough procrastination. If you’ll join me, I’d like to take you on a journey to Qurac.

Mind Games

Brought to you by Marv Wolfman and Jerry Ordway

Lettered by John Costanza

Colored by Tom Ziuko

Edited by Andy Helfer and Mike Carlin

Cover Art: Jerry Ordway

Cover Date: April 1987

Release Date: 15/01/1987

Superman invade Quraci airspace, attacking Quraci defences. He fights his way to the palace of President Marlo, bursting in and confronting the dictator. He accuses Marlo of orchestrating the recent attacks on Metropolis, but the dictator denies this, suggesting that rogue elements in his country are responsible. Superman demands information, but suddenly collapses as a result of a psychic attack from Prana, a feline-looking member of a mysterious group called The Circle. Prana falls to his knees, his mind connected with Superman’s.

Superman sees a vision of his parents on Krypton, instructing him to conquer and rule the Earth. Superman attempts rejects this, causing psychic feedback to Prana, who carries on with the illusion. The two battle further with their minds, before Prana retreats. A drained Superman leaves the palace, confused by the vision of his parents and their oppressive instructions. He returns to the hotel he’s using as Clark Kent and falls asleep, allowing Prana to re-establish contact with him.

Superman awakes in costume, confronted by Bizarro, Metallo, Synapse and Lex Luthor. The villains attack him, demanding to know his true motives, whilst Luthor works to undermine Superman’s confidence. Superman fights back, denying Lex’s words and dispelling the illusions again. Prana is once again weakened and pained by the contact, but he has become determined to mentally defeat Superman. As Clark takes a shower to recover, Prana once again makes contact.

Superman finds himself in Japan, where a Godzilla-esque monster is attacking a city. Refusing to be bowed, Superman quickly defeats the monster, shrugging off Prana’s attack. Prana, weakened by the final assault, dies in the sewers beneath Qurac. His wife, Zahara, steals his powers and combines them with her own, launching one final assault. Superman is confronted by Lana, Lois and Cat, all of whom accuse him of being fickle with his love and lying to them about his origins. Superman is able to withstand this assault, and drifts into a restless sleep. In the sewers, other members of the Circle find Prana’s corpse and Zahara’s unconscious body.

This is a different and interesting issue of Adventures of Superman. Initially continuing the story of the assault on Metropolis, the issues turns into something else, taking some interesting turns and leading us in a far more character-driven direction than the awesomely action-filled cover would suggest.

Prana and Zahara assault Superman’s psyche from four different and relevant angles – his heritage, his villains, force of nature, and his women. I find it amazing that so early on in the life of the post-Crisis Superman, Marv Wolfman lays out the four origins of almost every Superman story. Whilst the vision of Lara and Jor-El and Lex’s gang of villains contain accusations that are easily rejected, the accusations of Lois, Lana and Cat strike much closer to home. Superman does lie to those he loves. At this stage in his life, with Lana not-quite behind him and with Lois and Cat as potential partners, he is fickle with his affections. Frankly, this is a far more realistic and chilling potential outcome of Clark’s alien nature than we saw in Action Comics #794.

Superman taking overt action against a foreign state is a big moment. We saw in The Dark Knight Returns a potential future where Superman is a weapon for the United States Government, covertly assaulting America’s enemies, the fear of his intrusion being as great as the his presence. In his run on Adventures of Superman, Greg Rucka would use the concept of what Superman’s presence in a war-zone would do to the conflict as the driving force behind his story. It’s great to see the sheer power of Superman unleashed against an army, something we’ve not really seen before, and the callous nature of his entrance into the palace, smashing down the doors with a casual flick of his finger, hints at a darker side to his rage that is manipulated by Prana. Thankfully, Qurac would remain in the comics through this run and beyond, and the consequences of Superman’s actions here would be felt in future issues.

As normal, Jerry Ordway’s art is great. The cover is one of the early favourites, and his renditions of Prana’s attacks are just otherworldly enough whilst remaining grounded. I particularly like how he draws the illusion of Krypton, with Zahara and the sewers breaking through into the illusion. Even the panel borders reflect this, become much rougher and unfinished. Once the assaults start, Superman appears shaken and disturbed, pale and sweating, and thin in the face. Although it’s Prana who ultimately dies, Superman is taking a toll from the battle and it’s showing on his face throughout the night.

The Geeky Bits: Qurac was for many years the fictional middle-eastern state used by DC whenever they needed a stand in for countries like Iraq or Afghanistan, that is, a state that supports or condones terrorism and an anti-West stance. It's no coincidence that President Marlo bears more than a passing resemblance to Saddam Hussein. The country once named the Joker as an ambassador, although this was a retcon as in the original storyline, it was Iran. Cheshire once decimated the country with a nuclear weapon. Over the years, more fictional middle-eastern territories, including Bialya, Khandaq and Umec would appear to give more texture to this region in the DC universe.

If, like me, you're wondering who the guy in the orange armour in the villains hallucination is, then you'll be pleased to hear that according to comicbookdb.com his name is Synapse, and his only other appearances were in three issues of Extreme Justice in 1995. And now you know!

This issue was reprinted in Superman: The Man Of Steel vol. 3 in 2004.

Coverage of this issue can be found in Episode 6 of From Crisis To Crisis

Next on World of Superman: Superman goes a-time-travelling.

Adventures of Superman #426

It's here! Golden Age Superman episode 19, featuring myself with the host Jon M Wilson covering Superman #3, Action Comics #20 and a whole bunch of newspaper strips, has gone live. I had a blast recording the show last week, and although I get a little quiet towards the end as my local time heads towards midnight, I think I made a good shot at talking about comics that I have very little experience with. Thanks to Jon for having me on!

It's been a busy week, what with a whole bunch of work for my job, and preparation for this weekend's MCM Expo. I'm really looking forward to the show - I'm off in a couple of hours to the preview day. I can't wait to re-meet some creators from last year, including Kieron Gillen, who had yet to have his first issue of Uncanny X-Men published, and Tony Lee, the writer of the fantastic IDW Doctor Who series. There are panels for both the Green Lantern and X-Men First Class movie, and most of the voice cast of Futurama are making an appearance, although sadly no Bender or Leela. But I'm really looking forward to meeting some great Superman-related guests. Occasional JLA: Classified writer Warren Ellis (I'll admit, that's a very tenuous connection) is a guest of honour for the weekend. Hitman artist John McCrea will be there, and in celebration of that I picked up a copy of the award-winning Hitman #34, featuring Superman, for him to sign.

The biggest Superman name for the convention, though, is All-Star Superman and JLA: Earth-2 artist Frank Quitely. I have these titles from the original release, and I also picked up the first trade of Batman and Robin yesterday to re-read and get signed, and I can't wait to meet this amazing artist.

As with last year I'll be posting a review and round-up after the event, but for 'live' coverage, be sure to follow me on Twitter as that's how I'll be keeping up with the world.

Legends Chapter 18: From The Dregs…

Writer: Marv Wolfman

Artist/Co-Plotter: Jerry Ordway

Co-Plotter: John Byrne

Letterer: Albert de Guzman

Colorist: Tom Ziuko

Editor: Andrew Helfer
Cover Art: Jerry Ordway

Cover Date: March 1987
Release Date: 18/12/1986

The fires of Apokolips burn. Beneath the surface of the planet, a scavenger collects waste and debris from the flame pits. He has a luck catch when he snags red material, and pulls the unconscious body of Superman from the flames. Realising that his catch has survived the fires, he wonders whether he should attempt to sell him to Darkseid, but decides against it, choosing instead to let the Hunger Dogs of Apokolips know of his find. Word spreads, and a crowd forms around Superman’s prone form. The scavenger attempts to show Superman’s invulnerability by scorching his hand with a fiery torch, but gets a surprise when Superman revives and grabs his hand. Superman is more surprised to discover that his hand has actually been burned. The Hunger Dogs react to the apparent deception by forming a mob, but the appearance of Amazing Grace, the woman from the previous issue, cows the threat. She declares Superman their saviour, one of the New Gods of New Genesis, and announces his arrival as the start of a revolution.

Watching Amazing Grace and the Hunger Dogs on a monitor screen, Darkseid is unconcerned, unleashing his parademons on the crowd. Although he is unable to remember much of who he is or how he came to Apokolips, Superman recognises innocents in danger, and leaps to their defence, fighting the parademons. After a short but furious battle, Superman is victorious, and the Hunger Dogs strip the defeated parademons of their amour. Superman notices that every time he begins to think clearly and remember details of his life, his mind starts to cloud over. Unable to resist, he accepts Amazing Grace’s proclamation of him as Apokolips’ saviour, and becomes a figurehead for the rebellion.

Elsewhere, Highfather of the New Gods feels a sense of dread and unease, and consults the Source. The Source shows him something that makes him fear for the safety of all the New Gods.

On Apokolips, Amazing Grace fires up the leadership of the rebellion, before tending to Superman, relaxing his aches away in a herbal bath. Grace replaces Superman’s costume with armour emblazoned with Superman’s symbol. As Superman leads the battles, his logo and costume become symbols of the rebellion. The battle approaches Darkseid’s citadel. Amazing Grace oversees the battle from a balcony. Declaring victory, Superman embraces her and gives her a passionate kiss. Superman addresses the crowd, telling them that their hope for freedom must now be ended. Parademons swoop down and massacre the Hunger Dogs. Superman and Amazing Grace then turn away from the slaughter and face their master, Darkseid.

The second chapter of this three-part Apokoliptian romp gives us a Superman who is barely the character we know and love, and whose passion and drive to fight against injustice is gruesomely subverted in the closing pages of the book.

I came out with a lot of love for Jerry Ordway when he made his artistic debut on the Superman books, and that love stands, but it’s unfortunate that in the midst of the entire Legends event and this crossover, all of which was pencilled by John Byrne, we didn’t get a guest spot from Byrne on Adventures of Superman. Ordway’s style, whilst strong and distinctive, feels out of place in the middle of such a Byrne-led story. There is some great artwork on display here. Ordway draws the heck out of the crowds of rebelling Hunger Dogs, and his parademons look and act as threatening as the characters treat them. In later years, parademons would come to be used cannon fodder for the fists of various heroes, but here a small force are as great a threat to the rebellion as Darkseid himself. Talking of Darkseid, he is well-presented by Ordway, but the hard, malicious tone that Byrne brings to the character is sadly missing. The final panel in particular should be far more ominous than it looks. Wolfman's scripting also feels out of place in the wider context of the crossover. His scripting is more verbose than both Byrne and Ostrander, resulting in pages that look more crowded than the other issues, and that take longer to read. It's a good read, but like the artwork, it sits awkwardly in the middle of the story.

The growth of the rebellion is interesting. As the crowds grow and they get closer to their goal, Amazing Grace becomes more… well… amazing! Her transformation from rag-clad fugitive to glorious princess overseeing the advance of her troops is a sure tip to the reader that not is all as it seems, although subtle enough to prevent the shock of the final twist from being lessened.

And what a final moment this is. Superman unleashes a horde of parademons onto the massed Hunger Dogs, wiping them out, before pledging allegiance to Darkseid himself. It’s heartbreaking to see Superman party to and instigator of these actions, even though it is clear, if unstated, that Amazing Grace is the one responsible. What perhaps robs this moment of its true power is the lack of reflection or penance on Superman’s part after he regains his memories. I believe that Superman’s conscience is strong enough that he would feel responsible, even though he was being manipulated by Darkseid and Grace, and indeed, we have seen plenty of occasions where Superman takes responsibility for events completely out of his control. In a couple of years we would see Superman react very strongly to three deaths that he took complete responsibility for, but I feel that it was a missed opportunity to deal with Superman’s guilt, regardless of whether he could be truly blamed or not.

The Geeky Bits: Several references are made throughout this series to the one-shot titled The Hunger Dogs, published in 1985 as DC Graphic Novel #4. This was Jack Kirby's final work for DC, and his intention was to bring the Fourth World saga to a close with the death of the New Gods. DC disagreed, demanding that the New Gods survive the series. When the story finally saw publication, it was not as Kirby had intended, with many page orders restructured and plot points revised. The plot featured a rebellion on Apokolips by the slave population, the titular Hunger Dogs, that saw Darkseid fleeing Apokolips. At some point between that story and this, Darkseid regained control of Apokolips, and the massacre of the Hunger Dogs in this issue would be the final rebellion on Apokolips.

This issue was covered on episode 5 of From Crisis To Crisis

Next on World of Superman: We'll be back after the weekend to cover a four-way smackdown featuring Orion, Lightray, Superman and Darkseid.

Adventures of Superman #425

Welcome back to World of Superman. Things are moving rather smoothly here, and there's not a huge amount to report. So I'd like to take this pre-post waffle-space to introduce you to a new podcast out there, hosted by friend of this blog Jon M Wilson, called Golden Age Superman, and focusing, surprisingly enough, on the Golden Age Superman. I got the chance to have a sneak preview of this podast just before Christmas, and the first episode was a good listen, covering the entirety of Action Comics and not just the Superman story. I think this is going to be a really good listen, and I encourage all of you give it a try.

And with the podcast-pimping now over, let's turn our attention to the issue.

Going The Gauntlet

Writer: Marv Wolfman

Artist: Jerry Ordway

Letterer: John Costanza

Colorist: Tom Ziuko

Editor: Andy Helfer

Cover Artist: Jerry Ordway

Cover Date: February 1987

Release Date: 20/11/1986

Emil Hamilton pleads with an unknown listener to hear his story and to understand how he came to be where he is.

A few weeks previously, Hamilton was summoned to a meeting by Lex Luthor. There, he reveals that the company Hamilton was working for when he created his magnetic force-field generator was owned by LexCorp, and that he owns the rights to the generator. He demands the blueprints in return for a paltry payoff to twenty years of Hamilton’s work.  Returning to his lab, Hamilton starts to destroy his work to keep it out of Luthor’s hands, but a visit from Luthor’s goons leaves him fearful for his life. With the police unwilling to assist, Hamilton approaches the Department of Defence, hoping that they will work with him this time, but he is turned down.

Hamilton is approached by Compucon Services, who are interested in helping Hamilton complete his work. A few days later at a public demonstration of the forcefield, industrial saboteurs arrange the death of one of the visiting businessmen.  Branded a thief and a murderer, Hamilton finds himself without any support.

In the present, Superman faces off against the combined Freedom League machine. He survives the first attack, and uses a steel girder to render the weaponry of the machine useless. A missile is launched, and Superman flies through the streets as a decoy, before returning to the machine where he tricks the missile into blowing up on the machine. The machine is crippled, but as Superman prepares to confront the Freedom League inside, Hamilton appears with his force-field generator, trapping Superman and the machine inside an impenetrable force-field. The machine still has some functioning weaponry, which Superman is eventually able to defeat. Bursting into the machine, he is shocked when the Freedom League soldiers inside choose to commit suicide rather than answer for their crimes.  The machine explodes, but Hamilton’s field prevents the explosion from harming Metropolis. However, his contribution goes unnoticed as the public lauds Superman.

A week later, Hamilton broadcasts a challenge to Superman, calling him to Fifth Avenue to save the life of an innocent. Arriving at the location, Superman discovers Hamilton with a gun to the head of a prostitute. Hamilton’s force-fields prevent Superman from flying, forcing him to walk through a series of traps.  Superman battles through the numerous traps, surviving each one but getting weaker with each challenge. His resilience shocks Hamilton, who prepares to detonate his generator, killing himself, his hostage, and Superman. Superman smothers the generator with his body, saving their lives, and shocking Hamilton into realising what he has done.  Hamilton hands himself over to the police, and is revealed to be in jail telling his story to a disinterested guard.

In a voiceover, Lex Luthor reveals that Compucon was another LexCorp subsidiary, and that he engineered the death at the demonstration to drive Hamilton to improve the generator, which he now owns.

The second part of this two-issue story is a great introduction and character piece for Emil Hamilton. Hamilton would later, after Wolfman’s departure from the title, become Superman’s unofficial ‘scientific advisor’, participating in his adventures up until his revelation as Ruin at the end of Adventure of Superman. Even if he had never been seen again, he would have stood out in Superman’s gallery of opponents, thanks to a sensitive and detailed portrayal in this issue.

The focus here is very strongly on Hamilton, opening with a flashback to show how Emil has reached his point of desperation, relegating the resolution to last issue’s cliffhanger to almost halfway through the issue. Emil is a victim of Luthor’s schemes. For the most part he does no wrong, only finally falling foul of the sin of Pride when the public of Metropolis ignores his contribution to the defeat of the Man O’ War. He is good enough to recognise his failings, and to cease his activities when it looks like Superman has seriously injured himself to save him from the exploding generator, telling the police to shoot him if they want, but to help Superman first.

 

Lex Luthor is a master-villain here. Although the gauntlet of the title specifically refers to Hamilton’s set of challenges for Superman, it can equally apply to the events masterminded by Lex. Every obstacle faced by Hamilton, with the exception of the newsmen who ignore his actions, is constructed by Lex, not only to gain ownership of the force-field generator (which he achieves within the first pages of the book), but to discredit Hamilton to the point where he won’t be able to gain funding to repeat his work. Like in the last issue, Luthor’s renown as a scientist is an element, but here it comes from Emil’s respect for Luthor that makes Lex’s takeover more personally galling. At no point in the issue does Luthor threaten Hamilton, but the physical threat of the bodyguards coupled with the assault immediately after Hamilton leaves Luthor’s office, clearly shows Lex’s colours in a way that cannot come back onto him.

The Freedom League and its attacks feels very much like a subplot within the issue. For Superman, the fight is testing, but the real defeat comes when the Man O’ War is disabled. Superman breaks into the machine, only to find that the members of the Freedom League within choose to commit suicide in the name of their goals. This failure is later partially-atoned for when Superman throws himself on the exploding generator before telling Hamilton that he wouldn’t let him destroy himself.

Jerry Ordway is on top form again here. He provides a strong, visually arresting cover, sadly an event not featured within the story itself, and the fight between Superman and Man O’ War really shows how much Superman is thinking on his feet and determined not to be beaten. There’s a highly detailed panel on the final page showing Hamilton’s nervousness and worry whilst in prison that really stands out, and contrasts nicely with the previous page where the height of his madness was depicted with his face basked in red light from the overloading generator. Also notable is the panel where a near-unconscious Hamilton is given the warning by Luthor's goons, as unusually for comics, the full extent of his beating, including several bleeding gashes across his face, is shown.

Although this title takes a breather in the next issue for the Legends storyline to play out, this issue marks a satisfying conclusion to the first act of Marv Wolfman's tenure on Adventures of Superman.

The Geeky Bits: Jerry Ordway is a writer, penciller and inker best known for his re-invention in the 1990s of Captain Marvel, in the Power of Shazam! graphic novel and ongoing series. Starting as an inker at DC in the early 1980s, Ordway’s most notable inking work was over George Perez’s pencils on Crisis on Infinite Earths. As a writer and artist, his work was notable during the 1980s on titles such as All-Star SquadronI and Infinity Inc, dealing with legacy characters most commonly associated today with the Justice Society of America. After Marv Wolfman departed Adventures, Ordway became the title’s writer, moving across to Superman when John Byrne finished his run.

The flashbacks in this issue take place prior to the events of Superman #1, most likely during the three-month gap between the conclusion of The Man of Steel and the start of the relaunched title. The Superman/Man O'War confrontation takes place immediately following the last issue, whilst Hamilton's gauntlet, occuring a week later, happens after Action Comics #584. Directly following his encounter with Man O' War, Superman follow up on his phone call from the last issue, calling on David Gunderson.

This issue of Adventure of Superman was covered on episode 4 of From Crisis to Crisis.

Next on World of Superman: When Superman goes out of control, it falls to the youngest team of heroes to halt his rampage.

Adventure of Superman #424 (or, I love Jerry Ordway)

As I already covered a bunch of stuff yesterday, I thought I'd quickly cover where my reading and viewing in an internet-free world has taken me over the past couple of weeks. There's been an awful lot of Doctor Who, both the new Christmas special, which was spellbindingly brilliant, and the entirety of the Series Five boxed set. I also got to grips with Sherlock, the modern-day retelling from earlier in the year, on DVD, and finally got to the the final episode which has the most amazing cliffhanger. No spoilers, but it's up there with the reveal of Locutus for sheer 'how the hell are they going to get out of this one'-ness!

There were comics as well. A very long time ago, I made an illicit eBay purchase of the then-entire run of Captain America on DVD. I found it a few weeks ago, and picked up where I left off, which was the first issue of Mad Bomb, the return of Jack Kirby to the title in the 1970s. I made it all the way through to about #385 before the scratches on the DVD made the files unreadable, but I had a real blast with the comics, especially the Gruenwald run that I wasn't quite able to finish. From there, I went to the Legion of Super-Heroes, working my way through several years of the 1960s. I generally run cold with the Silver Age - I've been trying to read my way through the Hal Jordan Green Lantern series from the start and can only make a couple of issues in a sitting - but I love the Legion, their ridiculous rules and bylaws, the silly nature of their applicants, and wonderfully absurd concepts such as Miss Terious and Sir Prize. With the return of the internet, I know I won't be able to read as much as I have done, but I had a blast going through these comics and I look forward to reading a few issues a week.

Man O’ War

Writer: Marv Wolfman

Penciller: Jerry Ordway

Inker: Mike Machlan

Letterer: John Costanza

Colorist: Tom Ziuko

Editor: Andy Helfer

Cover Art: Jerry Ordway, Alex Jay
Cover Date: January 1987

Release Date: 16/10/1986

Somewhere in Metropolis, a man storms out of a meeting concerning the future of an oil-rich country subversively controlled by America. Once outside of the meeting, he summons a large mechanical construct to destroy the building where the meeting was being held.

At the Daily Planet, Clark Kent meets the latest addition to the staff, gossip reporter Cat Grant. The two stumble over each other in the lift, and find themselves attracted to each other. Clark and Cat happen upon the destroyed building and start to investigate. Whilst Clark surreptitiously uses his powers to search for survivors, Cat views a note left by the perpetrators, the Freedom League, stating that the destruction is a response to an American invasion. As the two head away, the mechanical construct surfaces again, this time to attack City Hall.

Cat and Clark visit the Suicide Slum laboratory of Professor Emil Hamilton, who claims that the government are trying to discredit him and his work.  He demonstrates a magnetic force-field that Clark is unable to break with his powers, and which is impervious to bullets. As Cat interviews Hamilton, Clark picks up radio messages concerning the attack on City Hall. Sneaking away, he changes to Superman and heads off.

Arriving at City Hall, Superman discovers a large metallic caterpillar-like construct which attempts to detain him with metallic constricting bands before hurling him away. Inside the machine, members of the Freedom League control the battle. Superman recovers from the assault, breaking free from the rubble just in time to be crushed by the ‘caterpillar’.

Superman breaks free from the rubble again and helps rescue survivors of the assault before heading after the construct.  However, all traces of the machine have vanished, forcing Superman to visit Inspector Henderson for further information.  He learns that the Freedom League are likely a Quraci terrorist group. He departs suddenly when he learns of an attack on the Daily Planet. Arriving at the Planet he discovers another type of construct, which is quickly joined by all of the machines. The different machines combine together to form a juggernaut, which faces off against Superman.

Meanwhile, the Lane family gather at the bedside of Elinore Lane, who lies comatose following an accident at a chemical plant she was visiting. Lois is distracted by her personal problems, presenting a bitchy front to Cat Grant when they meet at the Planet. As the machines start to focus on City Hall, Lois leaves the Daily Planet, and is forced into a limousine by Lex Luthor’s driver. The limousine takes her to the airport where Lois meets with Lex Luthor on his private jet. He reveals that the chemical plant where Lois’ mother had the accident was a minor LexCorp subsidiary. Feeling responsible, he has managed to develop an expensive serum that can cure Elinore Lane, as long as she takes it monthly. He gives the serum to Lois for free, only asking that she accompany him to dinner. After dinner, with Lois returning to Metropolis alone, Luthor reveals to his assistant that he purposefully caused the accident to manipulate Lois into becoming indebted to him.

The first issue of Adventures of Superman, picking up the numbering from the first volume of Superman, opens with a strong start. From the off, Wolfman is less interested in re-inventing classic villains, or building Superman’s relationship with the rest of the DCU, and more interested in building Superman’s supporting cast and giving him new and interesting threats to counter. In this one issue alone, we see Lois’s family grow with the introduction of Sam and Elinore Lane, get another addition to the Daily Planet staff with the assured and exciting introduction of Cat Grant, and meet Professor Emil Hamilton, originally conceived to serve the purposes of this story, but who would go on to become a regular member of Superman’s supporting cast and Superman’s go-to scientific advisor all the way through to Infinite Crisis nearly twenty years later.

These new characters immediately jump off the page. Straight away we understand that Lois is not the favoured child in the eyes of her father, and her calling him ‘Sam’ instead of father speaks volumes about her relationship with the main male influence in her upbringing. Emil Hamilton doesn’t have a huge amount to do in this issue, so we’ll take a closer look at him when he takes a starring role in the next issue. But Cat Grant is the real guest-star here. Her introduction is a true classic, forcing Clark into the kind of pre-Crisis bumbling reporter role with the sheer force of her appearance and her attraction to him. Thankfully, we don’t see much of this version of Clark, but to have him bowled over by her beauty to the point that he gets his leg trapped in an elevator door is a lovely bit of humour. Clark and Cat have a great chemistry together, and it’s really evident from the start that Cat is intended as a threat to the concept of Clark and Lois being together.

For the threat, Wolfman gives us Middle-Eastern terrorists attacking public monuments with weapons of mass destruction, all in response to American activities in foreign countries where oil is the motivating factor. It’s an idea that resonates far beyond the original 1986 release and, at least at the start of Wolfman’s year of plots, grounds Superman (mostly) in a realistic world with problems that reflect those of our own. Of course, this is Superman, so the terrorists use a combining Transformer-like assault vehicle. The Quraci storyline forms the main thrust of Wolfman’s year on the title, and goes through its ups and downs over the next twelve issues. But for this issue, it’s Wolfman’s depiction of Lex Luthor that really stands out. Everything that makes the post-Crisis re-invention of Luthor great is present. He’s a notable scientist, devoting his skills to curing Elinore. He’s callously manipulative, toying with the lives of innocents as he did with yacht-full of people in Man of Steel #4 and the armour pilot in Man of Steel #5. In this case, he deliberately orchestrates a near-death experience for Lois’ mother, not to win Lois’ heart but to place her in his debt for years to come. This strong portrayal, coupled with Superman #2, clearly sets up the post-Crisis Luthor in his own right, a more worthy nemesis for Superman than simply an evil scientific genius.

The real highlight of this issue, however, is the art of Jerry Ordway. Through his writing and art, Ordway would come to be as synonymous with late 1980s Superman as Dan Jurgens would be with 1990s Superman, and he literally bursts into the Superman titles here. His designs for the Clark, and especially Lois and Cat, are very grounded in the fashions of the day, which does date the art a little, but shows a closer attention to detail and greater concern for grounding the book in ‘reality’ than John Byrne’s more ‘timeless’ approach in Action Comics and Superman. But it’s his Superman that really stands out. The splash page revealing Superman for the first time on page 12 is absolutely beautiful, distinct from the familiar Byrne rendition, dynamic and full of energy, especially in the way that Superman's arm breaks free of the panel and thrusts right off the page. The cover is similarly iconic, and even quieter moments, such as Superman pondering events whilst in Henderson’s office, look great. Another interestingly composed moment is the panel where Superman perches atop a cinema billboard, confronting the newly-combined machine. Relegating Superman to the corner of the panel lends the attacking machine greater weight, presence and threat.

The Geeky Bits: Although it is never named as such in this issue, the giant Quraci machine is referred to as Man O’ War in later issues.

During the scenes at the Daily Planet, Clark Kent receives a call from Mr Gunderson. This links into this month’s Action Comics issue, where Gunderson is the antagonist (But, as we won’t get there for a couple of posts, I’ll refrain from spoiling what he does. Even though the comic is 23 years old. And even if you haven’t read it, you’ve all probably listened to the episode of From Crisis To Crisis that covers it. Or you actually recorded that episode.)

This issue was covered on episode 3 of From Crisis To Crisis.

Next on World of Superman: We get a bit wibbly-wobbly, timey-wimey, as Adventures of Superman #425 manages to not only follow directly on from this issue, but take place before it, and after Action Comics #584. Confused? You will (not) be!

The Man Of Steel #4

Enemy Mine...

Story & Pencils: John Byrne
Inks: Dick Giordano
Colors: Tom Ziuko
Letters: John Costanza
Editor: Andrew Helfer
Special Thanks to Marv Wolfman
Cover Artist: John Byrne
Cover Date: November 1986

Lois Lane unexpectedly arrives early at Clark Kent's apartment, taking him by surprise as he hasn't finished getting ready yet. He invites her in, and she takes a good look around, taking in the neatness, and the mementoes of Clark's High School football days. The two have another argument about Clark's scooping of Lois, even though it was eighteen months ago, and in frustration Lois gives up, allowing Clark to finish getting ready. Clark shaves using his heat vision and a fragment of metal from the ship he arrived on Earth in, and in no time at all is dressed up in his finest evening wear. Lois leads Clark to the roof, where a private helicopter from Lex Luthor is waiting to escort them. The chopper flies out over the bay and lands on a giant yacht, where Lex Luthor is holding a fundraiser.


A steward leads Clark and Lois to Lex, as the two reporters discuss Lois' relationship with Luthor. They enter Lex's suite, and meet Lex, the first time for Clark. Luthor congratulates Clark on the Superman story, but when news of Mayor Bewkowitz's arrival on the yacht reaches him, he asks Clark to leave so that he might have a private word with Lois. After Clark has left, Lex complements Lois on her dress, which he has gifted to her. Lois is surprised, as she thought it was just a loaner. The two argue, and Lois storms out, pausing only to step out of the dress and to grab Clark's jacket for decency, and to take a cheap shot at Lex's balding head.


As Lois charges down a corridor, she comes face to face with an UZI. A bunch of hijackers have taken control of the ship. Clark gets between them and Lois, but is pistol-whipped unconscious, and is dumped over the side. Panicking about Clark, Lois is manhandled up onto the deck and is placed with the other passengers. Luthor is nowhere to be seen. Suddenly, the deck tilts, and the ship rises out of the water. Lois takes advantage of the situation to overpower one of the hijackers, grabbing his gun and using it to keep the hijackers at bay. Superman is underneath the ship, carrying it to the harbor of Luthor's private island, the ship's original destination. Setting the yacht down in the water, Superman races to the deck, just in time to save Lois from one of the gunmen that she had overlooked.

Lex Luthor appears on deck, ecstatic at Superman's intervention, and brandishing a cheque for $25,000. Superman refuses, as he is not for hire. Lex continues to press his offer, pointing out that Superman won't be a private security guard, as Lex has his own security force. Lois wonders where they were during the attack, and Lex reveals that he not only knew that an attempt might be made on the yacht, but that he ordered his own security to hold back to allow Superman to show what he could do. Superman, Lois, and the Mayor are outraged at Lex's casual attitude to the life-threatening situation they were all in, but Luthor is uninterested - after all, he is the most powerful man in Metropolis. 'Not any more', says the Mayor, who authorises Superman to arrest Lex. Luthor is taken to Metropolis, photographed, and thrown in a cell.


Three days later, Superman flies into the subway to locate and help a pregnant woman who had gone into labour on a train. After getting her to hospital and making sure that she is OK, he walks out onto the street, where suspects that he is photographed, even though he cannot locate the photographer. He is accosted by Lex, who warns him that he has made a mistake. The people of Metropolis have forgotten who their master is, and he intends to remind them. From this moment on, Superman is a dead man.

Ah, this is more like it. Of all the issues of Man of Steel, I feel that this is possibly the most important of all. Without this issue, nothing that follows over the next decade makes as much sense. It is here that the seeds of Luthor's hatred of Superman are sown (and, indeed, said seeds take root, put forth shoots, and blossom, even though the harvest would be long and fruitful... enough with the seedy metaphors!) in a logical and compelling fashion. Prior to the Crisis, the only lasting explanation for Luthor's hatred of Superman was that Superboy was involved in a lab accident that caused Lex to lose his hair. Here, Lex is already not a nice person, but his mis-judgement of Superman's character and morals leads to a very public and embarassing downfall, one he blames entirely on Superman, and which fuels his decades-long obsession with the Man of Steel. Of all the changes made in Man of Steel to established continuity, this one was possibly the greatest and most impactful. In all major Superman media produced since 1986 (Like Bryan Singer, I'm discounting Superman IV), Lex Luthor is a man of business who has made his fortune legitmately (well, mostly legitimately...), who develops an obsession with Superman when he realises that he is no longer the top dog in town. As someone who came into Superman through the Death, going back and watching the original Superman film is tough, not because the effects and style of storytelling is from a different era, but because Lex Luthor just doesn't match up with my knowledge and expectations of the character.

This is completely Lex Luthor's issue, his introduction to modern continuity, and his first very public fall from grace. He's on sparkling form here, exalting in his power and his perceived untouchable status. His threat is very much that of a shark - graceful and powerful but with a distinct feeling that he could turn on your in a second and destroy your life. He is callous and manipulative, toying with Lois Lane more for the sport of toying with her than for any other reason. Although he appears shocked by Lois' baldness quip, he seems to relish in his destruction of her assumptions as to the intentions of the dress. And just watch how his face drops into a deep, menacing scowl when he is placed under arrest, and how that scowl stays in place right through to the end of the issue.

Lois is also on top of her game in this issue. We see just about every facet to her character, from the feisty reporter standing her ground in an argument with Clark, to the righteous fury when she realises that she has been played, culminating a superb moment where she strips off in front of Lex, leaves the five thousand dollar dress on the floor, grabs Clark's coat, and storms out dropping insults in Lex's path. We also see her army brat upbringing coming to the fore when she proves more effective at reacting to the hijacking than anyone else on the boat.

Although Lex steals the show, and Superman himself is relegated to only a few pages, there is a lovely moment when Superman confronts a gunman. Instead of heating up his gun, or disarming him at super-speed, Superman slowly crumples the machine gun from the barrel right down to the grip, where it is suggested that the stunned gunman lets go. It's a great, subtle moment, where Superman is completely in control, and doesn't need to make a big show to resolve the situation. We also get some insight into the difficulties of maintaing a dual-identity for Clark, as he realises that his weight really were just for show, and vows to replace them with heavier versions to help support his Kryptonian physique. Nice to see more nuance and subtlety beyond the 'I'd better be afraid of this bee so everyone thinks that Clark Kent is a real wimp and no-one will suspect that he is Superboy' approach of the Superboy comics of the 1960s!

I just love this issue. I have a memory of reading it and being aware of the plot long before I actually read The Man of Steel as a trade; it possibly may have been printed in the same treasury that contained The Man of Steel #2. This version of Lex, and the confrontations between Lex and Superman in this issue, are so much more interesting to me than any amount of Lex being dolled up in his battle-armour with kryptonite gloves beating up on Superman could ever be.

The Geeky Bits

Although the businessman Lex is a key part of the Byrne reboot, Marv Wolfman, depending on which source you read, had either significant input or was completely responsible for the reinvention of Luthor, hence his Special Thanks credit on this issue.

Next on World of Superman: It's been a year since the death of Harrison Grey, and for one night only, Superman goes to Gotham.