Legends #6

Hey all, not much to say by the way of an introduction, save to point out that my podcast, 20 Minute Longbox, is out there, awaiting your ears. Go check it out after we wrap up our coverage of Legends!

Finale!

Plotter: John Ostrander

Scripter: Len Wein

Penciller: John Byrne

Inkers: Karl Kesel, Dennis Janke

Letterer: Steve Haynie

Colorist: Carl Gafford

Editor: Mike Gold

Cover Art: John Byrne

Cover Date: April 1987

Release Date: 29/01/1987

Darkseid relishes his imminent victory, listing to Phantom Stranger the various ways that he has destroyed humanity’s faith in their modern legends. The Stranger warns that Darkseid has overlooked one crucial factor that will lead to his downfall.

In Washington, Godfrey faces off against Doctor Fate’s heroes, using his PA system to maintain his control over the crowds. Martian Manhunter arrives, despite not being summoned, just as Godfrey orders the warhounds to attack.  The heroes use their various powers to remove the controllers from the warhounds, allowing the stronger heroes like Superman to unleash their full powers. As the final warhound hits the ground, Godfrey opens up a boom tube, summoning legions of parademons from Apokolips. Doctor Fate reveals that this is why he brought the various heroes together, charging them with the fate of humanity.  As the heroes head off to fight the invasion, Fate turns his attention to the crowds. Seeing his distraction, Godfrey sends in a parademon who wrenches the Helm of Nabu from Doctor Fate, carrying it off into the skies. Unmasked and having lost most of his powers, Kent Nelson flies away to safety.

Leaving the Lincoln Memorial, Godfrey moves on to where he has captured Captain Boomerang. As Boomerang prepares to tell Godfrey all about Task Force X, Deadshot takes aim with a sniper rifle. Rick Flag disrupts his aim, revealing an alternative plan. The Enchantress steps up, turning the warhounds into Jell-O, sending Godfrey running. Bronze Tiger confronts Godfrey, but falls foul of his mind-controlling powers, letting him go. Boomerang is reunited with Task Force X, and Flag tells him that his televised threats have resulted in him being permanently assigned to the Suicide Squad.

Batman patrols Washington, controlling the rioters and looters. Guy Gardner unleashes his power ring on the warhounds. One warhound terrorising innocent civilians suddenly finds confronted by Wonder Woman, who has decided that she cannot remain concealed from the world whilst innocents are in danger. Gardner is impressed with Wonder Woman’s powers, and the two continue to battle.

Several of Godfrey’s troops blast their way into the Oval Office, attacking President Reagan. The President is unharmed by their attack, quickly defeating them, before revealing himself as a disguised Martian Manhunter. As Manhunter moves on to continue the fight, Reagan officially rescinds his executive order, giving all of Earth’s heroes free reign to join the fight.

In the skies, Superman and Captain Marvel corral the parademons, whilst Flash, Changeling, Black Canary and Blue Beetle help control the crowds on the ground. They are quickly joined by Batman, Guy Gardner, Wonder Woman, Captain Marvel, Doctor Fate and Superman, and the heroes face off against the controlled mobs. Godfrey arrives with Bronze Tiger, urging the crowds to attack and destroy the humans, watched from afar by a gloating Darkseid.

Suddenly, a gang of children, led by Lisa, burst through the crowds. The children line up in front of the heroes, confronting their parents in the crowds. Robin arrives, imploring the mob to see through Godfrey’s words and see sense. Lisa stands up to Godfrey, who tells her to be quiet and hits her. The act of violence dispels his control over the crowd, and they turn on him. In desperation, Godfrey reveals the Helm of Nabu, which he dons. When he tries to use the power within, the helm destroys his mind. Kent retrieves his helm, whilst Bronze Tiger slips away into the crowd to reunite with Task Force X.

The crowd asks for forgiveness, but Guy berates them for already distrusting heroes, which allowed Godfrey to take control. Captain Marvel suggests that the heroes themselves may have been responsible for this, necessarily having to stand apart from humanity to face the threats that only they can face. Wonder Woman agrees, and Doctor Fate suggests reforming the Justice League, to which all the present heroes agree to, save Flash and Superman, who offer themselves when needed, and Wonder Woman, who has slipped away.

On Apokolips, Darkseid vows that Earth will one day fall to him. The Phantom Stranger states his pride in standing with the legends of Earth.

I’ve not been kind to various part of this crossover. Read issue by issue, there was a lot of monologuing from Darkseid, and way too much repetition by constantly touching base with the same heroes, operating outside of Reagan’s edict. Here, this weakness turns into a strength, as Ostrander unleashes the new Justice League onto the forces of Apokolips. Every hero gets a part to play in the battle, and the use of such a wide variety of heroes allows for a very unexpected moment, where the first hero to encounter Wonder Woman is Guy Gardner!

Wonder Woman’s appearance here, although brief, is superb. A shadowy female figure observes Guy Gardner facing off against the Warhounds, resolving that to stay hidden would be a disservice to her Amazonian heritage. We then see her move, quite literally in a blur, before John Byrne unleashes one of the best pieces of artwork we’ve seen from him, a full page spread of Wonder Woman lifting a Warhound

It should be noted that Guy Gardner isn’t the only one taken with Wonder Woman. Superman here notices Wonder Woman, becoming gently obsessed with her over the next few months, before agreeing to a meetup/gentle date in Action Comics #600. It’s interesting that John Byrne teased this 25 years ago, with the rumours that one major element of the relaunched DC Universe in September will be a relationship between Superman and Wonder Woman. With the knowledge that both Action Comics and Justice League will initially be telling stories set in ‘the past’, my hope is that this fledgeling relationship will be given more room to grow, but with Superman ending up with Lois Lane, as per the last 20 years or so.

I like the way this story ends. It’s a very circular ending. Darkseid’s actions against Captain Marvel led Billy Batson to meet Lisa, strengthening her belief in heroes, leading her to be at the front and centre of the revolt against Godfrey. I would have liked to have seen more made of the fact that a child achieved what the heroes were unable to, breaking Godfrey’s spell, although the message that all you need to save the Earth from Darkseid’s machinations is a little child abuse is probably not one DC were wanting to play up! On a side-note, the last time Superman met Captain Marvel there was a definite air of unintentional paedophilia around. Here, Superman meets Marvel and a child gets beaten up. Maybe the two should stop having meetups! (I mention this, as one of the most popular posts on this site is my coverage of Superman/Shazam!: First Thunder #4, and I’m wondering if my audience are a bunch of strange, dark people who enjoy Superman endangering children. We’ll see what the hits are like for this page in a few weeks!).

Although Superman again declines membership in the Justice League, it is clear that his presence is a powerful and inspiring one. He takes the lead against the parademons when they appear, and his words are a big part of the reformation of the Justice League. It would be several years before Superman would become the leader of heroes that we are used to, but seeing him stand up and be counted amongst the heroes of the DCU is a rarity at this stage, and a pleasure to see.

I’m going to wrap up by simply stating that I have really enjoyed the appearances of Task Force X in Legends. I love the way Ostrander wraps up their story whilst setting the scene for further adventures, and it’s a pretty safe bet that if I had been reading comics at this time, I would have definitely been out there picking up the first issue of Suicide Squad when it hit the shelves.

The Geeky Bits

The new Justice League would be written by Keith Giffen and JM Dematteis. The series would become notable for the way the writers worked around the restrictions of not being able to use many of the A-List superheroes. Characters like Booster Gold, Blue Beetle and Guy Gardner would find their feet in Justice League International, and the title would become renowned for the use of humour, becoming colloquially known as the ‘Bwa-ha-ha’ League. This incarnation of the Justice League is well worth seeking out, as are the ‘sequels’ from the mid-2000s, Formerly Known As The Justice League, and JLA: Classified #4-9.

Wonder Woman would return to her own title, having been completely rebooted in the wake of the Crisis, in 1987. George Perez initially handled the character - the various trade paperbacks that reprint his issues were recently plugged in the letter columns of DC comics - with successive runs from creators such as John Byrne, William Messner-Loebs, Phil Jiminez and Greg Rucka.

Next on World of Superman: Probably another 3 week break. Either that, or Superman facing off against a gun-toting ex-marine called Bloodsport.

The Man Of Steel #5

Happy birthday to you,
Happy birthday to you,
Happy birthday dear worldofsuperman.blogspot.com,
Happy birthday to you.





Yes, believe it or not, it's been a year since the World of Superman snuck onto the blogging scene. In that time, we've covered the death of Krypton, affairs with Lex, the birth of the Heroic Age Silver Age, Superman joining - and leaving - the Justice League of America, some very bad comics, and most of all, the introduction of Superman to the DC Universe. We've also suffered some dramatic delays to posting, which I very much hope will be a thing of the past. Sadly, I missed my self-imposed target of completing The Man of Steel by the time the first anniversary came around, but that was as much down to me having my dates all wrong as anything else.


So, we're back with The Man of Steel, and we're going to finish it in the next few posts before moving onto the regular series. Well, apart from a couple of diversions. But it wouldn't be the World of Superman if we didn't detour along the way...


The Mirror, Crack'd...

Script and Pencils: John Byrne
Inking: Dick Giordano
Lettering: John Costanza
Coloring: Tom Ziuko
Editing: Andrew Helfer
With special acknowledgement to the work of Otto Binder
Cover Artist: John Byrne
Cover Date: December 1986
Release Date: 11/09/1986

Superman returns a LexCorp-built battle armour suit to Lex's penthouse. Luthor claims that the suit was registered as stolen, and that the pilot was fired from LexCorp weeks ago. Sadly, the pilot cannot corroborate Lex's story as prolonged exposure to the suit has left him brain-dead. As Superman flies away, Lex heads into his laboratory and talks to Doctor Teng, who tells him that his scans have revealed that Superman is not a mutated human, but an alien. Lex asks how this will affect the duplication process, and Teng replies that they will see. A chamber opens, and an exact replica of Superman steps out. After a few seconds, the replica collapses, its body crystallising. Luthor is disappointed and orders that the duplicate be destroyed.


In Metropolis, Lois Lane prepares to leave for work. She argues with her sister Lucy, who is bitter about her blindness. Outside, an ambulance gets stuck in traffic. Suddenly, it is lifted above the streets and dropped off at the hospital. The EMTs prepare to thank Superman, but are shocked to see that a monster has saved them. As 'Superman' flies away, he saves the life of Lucy Lane, who has thrown herself off of Lois' balcony. 'Superman' flies away, as Lucy wonders why he was so dusty.


At the Daily Planet, a disturbance in the lobby causes Clark to run out of the newsroom. He confronts the source of the disturbance, the distorted Superman who has partially disguised himself as Clark Kent. 'Clark Kent' wallops Superman, sending him flying out of the Daily Planet building. As the two fight, 'Superman' uses his heat vision on Superman, causing him intense pain. As they fight, Superman notices Lois watching, and uses his heat vision to destroy 'Clark Kent's clothing to protect his identity.


'Superman' grabs Lois Lane and flies away with her. In the air, he gives her a kiss, before taking her to her sister. As Superman arrives, Lucy explains that since 'Superman' saved her, she has been able to see shapes and shadows. The two Superman fight some more. Superman analyses the dust that falls off 'Superman', and discovers that his foe is not an organic creature. Deciding that he is not truly alive, Superman charges him with all of his might. The impact causes 'Superman' to explode, showering the neighbourhood with dust. Exposure to the dust restores Lucy's sight. Superman wonders if 'Superman' knew of the healing powers of his dust when he died.

For an issue of one of the most notable Superman mini-series ever published, there doesn't seem to be a whole lot to say about it. Of all the issues, this is the most 'business-as-usual', with its notable first occurrences being rather understated.

I think the problem with this issue is how little has carried over into the continuity of the comics. Lucy Lane has her blindness cured and stops being suicidal in this issue, and her blind period is rarely referred to again. Of course, in terms of things about Lucy Lane that are never mentioned again, her blindness comes in a distant third to her marriage to Ron Troupe and her child. We also have the revelation to Lex Luthor that Superman is not human in any way, that he is an alien. Having Luthor in a position where he knows more about Superman's origins than Superman does is potentially an interesting status quo, but this doesn't last beyond the next issue.

Superman faces a being whose powers match his own for the first time here. Although he has fought aliens and encountered New Gods, this is the first time that he feels his own powers being used against him. He is concerned for his well-being, and feels pain, possibly for the first time, when 'Superman' unleashes his heat-vision on him. However, this encounter is soon forgotten. When Metallo attacks in Superman #1, he wonders when the last time he was hit so hard was.

Perhaps the biggest event in the issue which fails to carry over into the ongoing series that followed The Man of Steel is the bogus 'Superman', or as fans know him better, Bizarro. He is never named in this issue, and it's another eight years until the character returns. The character is also played down in a more muted fashion. Most of the bizarre elements associated with the character, from the reverse-speak to the literal Bizarro-world, are missing. Instead, this version of Bizarro is very much a Frankenstein's monster, misunderstood and unable to comprehend the results of its actions, except possibly in one moment of realisation and sacrifice. However, the encounter doesn't seem to phase Superman at all. Having deduced that 'Superman' is an artificial being, Superman shows no signs of following up his appearance. He seems to accept that such warped doppelgangers exist, and that having got rid of one, he has faith that there will be no more.

There is an interesting moral dilemma for Superman that occurs during his fight with 'Superman'. Realising that only one of them will walk away from the fight, Superman examines the dust that 'Superman' sheds wherever he goes and theorises that he is an artificial being, and thus, not being alive, can be killed. Once Superman has made this distinction, he is able to use levels of force that he would otherwise be unable to use against a living being, no matter how dangerous that being may be. In short, Superman is able to terminate 'Superman' for the greater good without any of the guilt that would follow the next time he decided to kill.

These issues aside, there are some strong moments in the issue. We get a good look at how Lois and Clark function in the Daily Planet newsroom, and we also get the first instance of Clark abandoning the newsroom to address a problem as Superman. Lucy's suicidal tendencies, whilst melodramatic, are a hint to a darker type of storytelling to that normally associated with Superman. The same goes for the implication that Luthor deliberately caused one of his henchmen to suffer brain damage in one of his schemes to better Superman. And whilst Superman's fears for his mortality in his fight with 'Superman' aren't as pronounced as the ones he felt whilst stranded in space in Action Comics Annual #7, the art and writing effectively communicates the feeling that Superman is out of his comfort zone.

The Geeky Bits: The Special Thanks credit for Otto Binder refers to the fact that this issue's plot owes a lot to the original appearance of Bizarro in Superboy #68 from October 1958. There, as here, Bizarro is very much cast in the Frankenstein's Monster role, and the subplot involving a blind girl is shared between the two stories. The more familiar version of Bizarro wouldn't appear until Action Comics #254 in July 1959.

This is the first of three post-Crisis version of Bizarro. 1994 saw the publication of the Bizarro's World story, in which Lex Luthor II recreates the duplication experiment, but with similar failure. The current version of Bizarro debuted in the Emperor Joker storyline from 2000, where he was a creation of The Joker, who had been infused with Mr Mxyzptlk's powers, and this incarnation has regularly appeared in the Superman books since then.

Next on World of Superman: A mere six months after reviewing The Man of Steel #1, we finally reach the conclusion veer off one more time to examine the first post-Crisis appearance of Superman.

JLA Incarnations #3

So, we'll pass right by my last post, which inflated a minor mistake into an entire blog entry, before making a huge error at the end of the article. Thanks to Michael Bradley for catching that one for me in the comments!


I'd also like to return a shout-out to Kevin Cushing of the Geoff Johns Podcast, who read out an e-mail of mine on his second episode and plugged the blog a little. The Geoff Johns Podcast is a new podcast looking at the work of Geoff Johns. In a few episodes time, the podcast will alternate between the current month's worth of Geoff Johns work, and the same month 11 years ago (starting at the beginning of Johns' writing career), but for now the podcast is playing catchup with current titles and storylines to provide context for future episodes. I've really enjoyed the first two episodes, even with the second episode being a Brightest Day catchup (not a fan of Brightest Day, which seems to be heading towards Countdown standards as opposed to 52 standards). I hope you'll be able to find some time to catch this podcast, as once the 'historical' episodes get underway I think Kevin will be covering some really interesting titles.


Anyway, it'll be a very long time before we cover any Geoff Johns work here at the World of Superman. Today, we'll be looking at John Ostrander. Please open your issues to page 1.


Like A Tombstone In The Sky


Writer: John Ostrander
Penciller: Val Semeiks
Inker: Prentis Rollins
Colorist: John Kalisz
Separations: Heroic Age
Letterer: Ken Lopez
Assistant Editor: Steve Wacker
Editor: Dan Raspler
Cover Artist: Val Semeiks, Prentis Rollins, John Kalisz
Cover Date: September 2001
Release Date: 11/07/2001

Having been established for some time, the Justice League outgrows its original headquarters and builds itself a satellite headquarters in orbit around the Earth. Green Arrow resents the symbolism of the League looking down upon the Earth, and concerns over the 'sitting duck' nature of the satellite. Superman tries to address his concerns, telling him that only the League know that the satellite is there. However, Superman is wrong, as Lex Luthor gains positive confirmation that the satellite exists. He draws his plans against the League.

In the next few weeks, a new terrorist organisation known as Kobra makes itself known when an all-out attack on Cheyenne Mountain is routed by the Justice League. WLEX reporter Tully Reed presents footage of the attack, which is seen by Lex, who makes contact with the head of Kobra and reveals the existence and location of the League's satellite. Kobra plans to attack and destroy the satellite in retribution for the League destroying his mobile base of operations during the Cheyenne Mountain attack.


Green Arrow gives an inflammatory performance during an interview with Tully Reed, criticising the League for getting above its station and not doing enough for social issues. Hawkman takes offence at Arrow's comments, saying that the interview has jeopardised the League's UN backing and funding. He calls for the League to censure Green Arrow, but before they can do so, Arrow quits. Green Lantern follows his friend, and two talk. Green Arrow is having a mid-life crisis, and wonders if he needs the League as much as it needs him. Their conversation is interrupted by an emergency call from Black Canary, who is alone on the satellite and has detected a horde of Kobra spaceships heading towards her. The satellite is boarded and although Canary fights hard, she is overwhelmed by sheer force of numbers, and is captured by Kobra. As the the heroes prepare to rescue Canary, Atom tells the League to rendezvous at LexCorp.


The League confronts Luthor, who protests his innocence, claiming that Kobra stole LexCorp equipment to mount his raid on the satellite. He then turns on a screen broadcasting Kobra's message to the world -  a trussed up Black Canary and an ultimatum for the League to surrender to him. Although they doubt Luthor's innocence, the League realises that Kobra has laid a trap for them. They decide to distract Kobra, and Green Arrow teleports to the satellite to be that distraction. Taking out the first few guards, he fires an arrow into a control panel before announcing his presence to Kobra and drawing his troops. Alone in the control room, the arrow starts to shape-shift - it was really a disguised Martian Manhunter.


Green Arrow is quickly captured, and is beaten and brought to Kobra. Green Arrow taunts his captor, telling him that Martian Manhunter has already disabled his traps and bombs. The League then burst in to confront Kobra, whilst out in space, Superman, Green Lantern and Firestorm take care of the spaceships. With the Kobra troops defeated, the League search for Kobra himself, but find that he has managed to escape. However, they find the badly beaten body of Green Arrow, and transport him to a government hospital for him to receive treatment. Recovering in bed, Arrow decides not to rejoin the League, although Atom tells him that he is family and will always be welcome.

There's not a huge amount to say about this issue from a Superman point of view. He is listed on the opening splash page as a reserve member, a status he holds with League pretty much until the Watchtower era starts in JLA #1. There's a good moment where Green Arrow is freaking out with the League's self-appointed protectorshipbenevolance and humanity shines through. Green Arrow's response, a semi-mocking 'You're not the same as other people', speaks volumes about how he views Superman.

Although Superman doesn't really contribute to the rest of the plot, he does get to use his powers against Kobra a couple of times. These are nicely rendered by Val Semeiks, who really gives some panache to the battle scenes in the book. I particularly like the splash page where Superman, Green Lantern and Firestorm take apart the Kobra spaceships, especially the bits where Firestorm turns the ships into stone. Semeiks does a great job with the issue, bringing a real sense of unease to Kobra, especially his temple.

The issue opens with the construction of the iconic Justice League satellite, then jumps forward in time with the caption 'Some time later...' on page 8. This leap in time covers the most notable incident to occur on the JL satellite, the rape of Sue Dibney by Doctor Light and the mind-wiping of both Light and Batman. Although not specifically stated in this issue, the League's actions in the aftermath of the assault is the trigger for Green Arrow's feelings towards the League and his actions in this issue.

There are a few continuity errors in this issue. Luthor is shown with his kryptonite ring, an item he wouldn't acquire until Superman #2, a year or so down the line. He's also pictured in his post-Underworld Unleashed body, taller, slimmer and more well-built than his original Man Of Steel body, which was shorter and stockier. Luthor should also have some red, receding hair, and I do get a little irritated when the Luthor from the Man of Steel era is rendered as fully bald, as one of the nice touches throughout the original miniseries was how Luthor gradually lost his hair across his appearances. In a wider DC sense, Ollie and Diana were residents of Star City at this time, not Seattle.

The Geeky Bits: On the topic of Superman and the JLA, around the time of this issue, three Justice League of America story-arcs from the Silver Age featuring Superman as a member/reserve member can be definitively said to have occurred in the Post-Crisis history. The first, issues 96-98 from 1972, contains the original appearance of Starbreaker, who would return in Justice League America #62-65 (1992), Adam Strange: Planet Heist (2005) and Justice League of America #29-34 (2005). The second is issues 120 and 121 from 1975, which featured the marriage of Adam Strange and Alanna. The last, issues 185-187 (1981) show Superman's first time on Apokolips and his first encounter with Darkseid. This story is important, as during the Legends crossover, Superman exhibits knowledge of Darkseid that he would otherwise not have had the opportunity to gain.

Next on World of Superman: I really don't want to do this, but I'm going to have to unleash the continuity-challenged JLA: Classified #49 upon you all. Put on your finest continuity cop uniforms, and meet me back here in a few days time.

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.

Superman/Shazam!: First Thunder #4

Good gravy, how the time flies. It's been a busy old week over here behind the scenes. There have been more than a few distractions from the actual business of writing about Superman. As well as the already linked podcasts (Amazing Spider-Man Classics Episode 13 and Teenage Wasteland: An Ultimate Spider-Man Podcast Episode 37), the Amazing Spider-Man Classics team wrangled the next episode into shape, added in some extremely dodgy renditions of various television theme songs, and released it as Episode 14. As before, I joined the team, and had a great time whilst doing. it.

In addition to this, a twitter papertrail led me to the SFX 200th Issue Celebrations. I started collecting SFX with issue 37 (Uma Thurman on the cover, promoting Gattaca), and stopped about 100 or so issues later. It's a big part of how I became a SF fan, and I think it's fair to say that without the magazine's glowing coverage of Buffy The Vampire Slayer, which started long before the series made its way to the BBC, I may have overlooked the brilliance that was and is Joss Whedon until a lot later. A more direct influence on my comic reading is the article they did to celebrate the finale of Preacher, which turned me onto that series, and in turn to the idea that comics didn't have to be about men in capes and tights. The linked site is a special even they did for their 200th issue, whereby they link one feature from each of their issues. It's a great piece of nostalgia, especially for any Brits out there. Remember the days when the best we had in the UK was Bugs?

Anyway, that's enough distractions. We have some serious business to get down to.


First Thunder Part 4: Men And Boys! Gods And Thunder!


Writer: Judd Winick
Artist: Joshua Middleton
Letterer: Nick J Napolitano
Associate Editor: Tom Palmer Jr.
Editor: Mike Carlin
Cover Artist: Joshua Middleton
Cover Date: Febuary 2006
Release Date: 21/12/2005

Back in Metropolis, Clark relaxes in the Daily Planet newsroom, fending off questions from Lois Lane concerning his scoop from Fawcett City. Meanwhile, Dr Sivana is relishing the fact that he is about to rid himself of Captain Marvel. He doesn't care that this involves murdering a child, and that there is a possibility that the child being targeted might not even be the right one.

In the subway, Billy Batson changes into Captain Marvel, who shrugs off a hail of bullets. He leaps into the attackers, making quick work of them. Turning back to make some lighthearted banter with Scott, Marvel is shocked to see his friend unconscious, with a bullet wound to his chest. Marvel takes Scott to a nearby hospital. The doctors and surgeons work long and hard, but are unable to save his life. At the Fawcett City police station, Spec is being grilled by two detectives. Suddenly, Captain Marvel appears, ripping the door to the interrogation room off of its hinges. Ignoring the policemen with their guns on him, Marvel demands to know who sent him.


Dr Sivana is drinking to cover his disappointment at not having Captain Marvel killed. Marvel appears at the window, shattering all the glass in the penthouse. He grabs Sivana by the throat, wondering whether or not to let him live. When Sivana passes out, Marvel drops him to the floor and leaves. Coming to, Sivana decides to leave Fawcett for good.


The next morning, Clark sees reports of Captain Marvel's rampage. He flies to Mount Everest and finds Captain Marvel sitting in their spot. Superman demands answers as to why Marvel put so many lives in danger, but is taken aback to see him crying. Marvel tells Superman about Scott, that he was his best friend. Superman doesn't understand, and Marvel realises that he has to reveal his secret. He says 'Shazam' and turns back into Billy Batson, telling Superman that he feels it's too dangerous to be Billy anymore. Superman asks who did this to him.


A little while later, Superman confronts Shazam in the Rock of Eternity. He is angry that the wizard has given this responsibility to a child, removing the gift of childhood from Billy. Shazam tell Superman that Billy is a boy who needs guidance. Later on, Clark goes to visit Billy in a run down building. When Billy asks if he is from social services, Clark unbuttons his shirt to reveal his identity. Sitting down, he introduces himself to Billy.

Way back, in my coverage of issue one of this series, I teased in reply to a comment that I don't react to this series in the way I normally react to a Judd Winick comic. I normally find Winick to be a heavy-handed writer, fond of championing social issues but doing so with about as much subtlety as the time Darth Vader decided to use the Death Star to do a spot of light pruning in the garden of his holiday home on Coruscant. Wether dealing with homophobia in Green Lantern, or HIV in Green Arrow, readers have found themselves lectured by the comics they have read. Here, the social issue is homelessness, but instead of making it a focus of the story, Winick uses it as flavouring, an element to enrich the story without having Superman tell the readers that kids living on the street is A Bad Thing. It helps that the homelessness is an element of the original origin story for Captain Marvel.

Although the first three issues of the series don't do much for me, this fourth issue is far stronger. I can really get behind Marvel'sMarvel's driving seat, seeing the fears of a small boy in Marvel's actions comes across well on the page. I particularly like the way Superman redirects his anger when he sees Marvel crying, angrily defending a child's right to be a child to Shazam.

And then we get to the end of the issue, which ends with Superman stripping off to share a bed with a young, emotionally vulnerable boy. Yeah, in context of the issue it almost works as a moment where Superman puts the needs of one of his allies over his own desire to maintain a secret identity. But let's face it, there is a very uncomfortable and more-than-likely unintentional subtext to this scene that is completely wrong for the two characters involved.

The Geeky Bits: In this current age of the multiverse, Earth-53 has Superman as a fugitive, hunted by the JLA for crimes against minors. Or not...

Next on World of Superman: Superman gets locked up in Arkham Asylum. Have I taken the opportunity to skip 15 years of comics and jump right into Emperor Joker? Or have I just reached issue 3 of World's Finest?

Superman/Shazam: First Thunder! #3

First Thunder Part 3: Titans


Writer: Judd Winick
Artist: Joshua Middleton
Letterer: Nick J. Napolitano
Associate Editor: Tom Palmer Jr.
Editor: Mike Carlin
Cover Artist: Joshua Middleton
Cover Date: January 2006
Release Date: 02/11/2005

The wizard Shazam narrates the secret origin of Eclipso. Knowing that his champion is about to face Eclipso in battle, Shazam fears for Captain Marvel. Spec speaks to the homeless of Fawcett City, looking for information on the boy he saw Captain Marvel turn into. One old man is able to give him some information, and Spec asks for a name.


Superman and Captain Marvel arrive at the site of the demonic ritual. Although Marvel doesn't recognise Sabbac, he recognises the strong magical powers within him. The two engage, but Sabbac belches fire all over them and flies away. Meanwhile, Eclipso uses the Fawcett City Solar Center to broadcast the energy from the black diamond into the sun, causing rays of black light to fall onto the city, turning anyone they touch into Eclipsos. Superman saves Captain Marvel from one of these rays, and the two turn to face their increasing problems.


Doctor Sivana observes the chaos from the top of his building. Spec arrives with a piece of paper bearing the secret of Captain Marvel's vulnerability.


Eclipso is gloating over his success when the machinery used to spread his influence is suddenly destroyed by Superman. The two fight, and Eclipso uses his posessed minions to attack. Meanwhile, Captain Marvel and Sabbac trade blows. Sabbac is gloating and monologuing, and accidentally gives away that his name is the source of his power. Superman uses his powers to vibrate the air around him, repelling the posessed people, and the uses his super-breath to provide a cushion for them to fall on. Having broken free, Superman races into the sky, and locates the cavern where Sabbac was summoned. Breaking in and destroying the seals within causes the darkness over the sun to withdraw, diminishing Eclipso's power and freeing his minions, including Bruce Gordon. With the sun returned, Captain Marvel is able to face off more effectively against Sabbac. Taunting and teasing him, Marvel makes Sabbac so mad that he yells out his name, returning to human form. Marvel then grabs the human by his mouth, preventing him from re-summoning his power.


Superman and Marvel say their goodbyes, with Superman feeling more comfortable about the world of magic, knowing that he has an ally who can stand up to that power. Marvel changes back into Billy and returns to his shelter, where he discusses the events with Scott. A noise alerts them, and suddenly they are confronted by a group of soldiers, who open fire.

So, this would be the fighting issue, then? We get a full issue of Superman and Captain Marvel vs Eclipso and Sabbac. I'm not quite sure why Eclipso needs to be here, displaying a command over his powers that wasn't otherwise present during the earlier years of Superman's life. Thematically his presence makes a kind of sense, a random element thrown into the mix as a result of Sivana's work with Sabbac, but all he does is occupy Superman and keep him from engaing with Sabbac. When the whole gist of Superman's involvement in this story is to confront his fears and concerns about his ability to face off against magical forces, giving him an easy option to back out of a fight with a supremely mystical being and having him bow out after a couple of punches feels like a cop out. But as we're talking about Superman's resistance to magic, one panel has Superman countering Ecliso's black diamond energy beam thingy with his heat vision, and succeeding. If Superman is able to face down the power of the former Spirit of Vengeance with his heat vision, then why does he have concerns about facing magical enemies? Why does he even have a weakness against such foes?

As is becoming a regular trait with this series, we have more examples of dialogue that just doesn't fit the mouths from which it springs. Eclipso taunts Superman, telling him that he smells of flesh and blood and bone, that he smells mortal. And what does Superman respond with? 'Good. I won't tell you what you smell of.' Wow, this has all the sharp, biting wit of a six year old who doesn't like being called stinky-pants. This isn't the Man of Steel, the figurehead of all heroes on Earth, and reading such poor dialogue coming out of Superman's mouth is just painful. And let's just not start of Superman vibrating the air around him to provide enough kinetic energy to repel twenty of so humans and then directing enough of his breath quickly enough to cushion their fall without blowing them away. My science-type brain kinda melted when I read that.

The Geeky Bits: Joshua Middleton is mainly known as a cover artist, although he has occasionally been an interior artist. He started at CrossGen with the title Meridian in 2000, and next surfaced as the penciller for the 2004 series NYX. However, Middleton's work is often subject to delays, partly because of his all-encompassing work that sees him pencil, ink and colour his own work. Middleton was nominated for an Eisner award for his covers for NYX in 2004.

Next on World of Superman: We finish off First Thunder! Are you prepared to cry? Because the creative team would like you to.

Superman/Shazam: First Thunder #1

And we're back. The latest event to take me away from blogging has been a trapped nerve in my shoulder, which made it almost impossible to lie down without heavy doses of medication, meaning no sleep for a couple of days. Thankfully it appears it has become untrapped and I have recovered my mental state from 'zombie' all the way back to 'normal, if a little geeky'. Later on tonight I'll be joining the crew from Amazing Spider-Man Classics for another shot at recording our episodes. If all goes well then the first should be up by the end of the week. Anyway, enough distraction... shall we take a look at some comics?

First Thunder Chapter 1: A Face In The Crowd!


Writer: Judd Winick
Artist: Joshua Middleton
Letterer: Nick J. Napolitano
Associate Editor: Tom Palmer Jr.
Editor: Mike Carlin
Cover Artist: Joshua Middleton
Cover Date: November 2005
Release Date: 08/09/2005

The wizard Shazam observes the emergence of super-heroes into the world, and decides that the time has come for him to have a champion again. Captain Marvel makes his first appearance to the world, saving the an aeroplane from crashing into the center of Fawcett City. As Shazam watches, he decress that Marvel is locked in a battle with fate.


Three months later. Superman apprehends a gang of crooks who are breaking into the Metropolis Museum of Natural History and are attempting to steal a 1000 year-old golden statue. To cover their escape, the crooks produce staves which they strike onto the floor, summoning a giant mystical beast who attacks Superman. Superman engages the monster, but after a few seconds of fighting the beast vanishes in a puff of smoke. He spies a coin on the floor, and realises that magic was involved.


The next day, two giant robots attack the Fawcett City Solar Center contruction site. Captain Marvel engages and defeats them after a short battle. In the aftermath, Marvel agrees to leave the robots in the care of Dr Bruce Gordon, the chief scientific advisor of the project. Marvel then takes off. Later that night, Billy Batson returns to his makeshift home in an abandoned subway station. He and his best friend, Scott Cooper, who also knows his secret, discuss Captain Marvel's popularity in Fawcett City. Scott wants Billy to come back to the foster home with him, but Billy doesn't want to be part of the system, happy to sleep rough with the other homeless people.


Doctor Sivana, frustrated by his failed attempts to kill Captain Marvel and his failure to obstruct the Solar Center project, decides to contact Lex Luthor to exchange ideas on killing caped superheroes.


Later still, Billy is scoping out the Mckeon History Museum when he sees a gang breaking and entering. Changing into Captain Marvel, he confronts the gang, who had previously robbed the Metropolis museum. They employ the same tactics, summoning two mystical beasts to cover their escape. The beasts throw Captain Marvel out of the museum into the street. Looking up, he sees Superman, who offers his assistance.

In 2005, Judd Winick launched two projects to highlight not only Captain Marvel but also his relationship with Superman. The first, Lightning Strike Twice, was a three-issue crossover that ran through the Superman titles coverdated June. This was a prequel to Day of Vengeance, itself a prelude to Infinite Crisis. A few months later came this four-part mini-series depicting the first meeting between the two heroes.

This is a perfectly serviceable first issue to the series. It's solid without being spectacular, but is also a surprisingly brisk read. There's very little dialogue in this issue, and this results in Captain Marvel and especially Superman coming across as ciphers, there to wear their uniforms and do some fighting without displaying any character of their own. The two pages of Doctor Sivana work a lot better, as we get an interesting portrayal of the character as well as a nice setup for his role in the rest of the series. I really like the idea that Sivana - pre-mad scientist, and Fawcett City's version of Lex Luthor - would swap notes on cape-killing with Luthor. It's only a little bit crazy, and in the long run makes Superman's inclusion in the story better setup than we get here. I also like the fact that we get a homeless Billy Batson, an element of the character

There are a few slippages in the issue. Some of Captain Marvel's dialogue just seems wrong. The Captain Marvel I know (admittedly I don't know very much, mostly from the pages of JSA) wouldn't yell 'Hey! Iron butt!' at a robot, and such a saying seems out of character for someone blessed with the wisdom of Solomon. Joshua Middleton's art, whilst pretty good throughout the issue, falls down in one close-up of Superman's face that ages him by about twenty years. It's a shame that these little moments occur, as they detract from the comic.

The Geeky Bits: Right, a short history of Captain Marvel in one paragraph. Created in 1940, became the best-selling super-hero of the 1940s and the first comic character to have a live-action adaptation. Publishing ceased in 1953 when DC sued Fawcett Publishing for trademark infringement. Twenty years later, DC bought Fawcett and started publishing Captain Marvel, although Marvel had trademarked their own Captain Marvel in the meantime, so the book had to be called Shazam!. Captain Marvel had a rough ride out of Crisis on Infinite Earths, and it wasn't until Jerry Ordway created The Power of Shazam! in 1994 that a permanent ongoing series featuring the character was established. This series ran for five years, and after its conculsion, Marvel joined the JSA until Infinite Crisis came along.

Next on World of Superman: Superman and Captain Marvel do more than say 'hello' in their first ever team-up.

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.